Woolley & Wallis Auctioneers

BRITISH & CONTINENTAL CERAMICS & GLASS

TUESDAY 30TH APRIL 2024

SPECIALIST DEPARTMENTS

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

VALUATIONS FOR INSURANCE & PROBATE

Clare Durham

Hollie Morrison

20TH CENTURY DESIGN

Michael Jeffery

Zoe Smith

AFRICAN & OCEANIC ART ANTIQUITIES

Will Hobbs

Georgina Way

ASIAN ART

John Axford MRICS 424506

Alexandra Aguilar 424583

Freya Yuan­Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu

Olivia Jones

Nelson Chui

CHINESE PAINTINGS & CALLIGRAPHY

Freya Yuan­Richards 424589

Michelle Yu 424571

Mark Yuan­Richards

Neil Grenyer

Jim Gale

Sarah Stone 339161

Victoria Elwell 339161

JAPANESE ART

Alexandra Aguilar 424583

JEWELLERY

Marielle Whiting FGA 424595

Jonathan Edwards FGAA (Consultant) 424504

Samuel Hug FGA DGA

Megan Corbett

Beth Reardon MEDALS

Ned

Georgina

SILVER

Rupert

Archie

Jacob Carpenter

PAINTINGS

Victor

Ed Beer

Sarah Bennie

Victoria Sturgeon

Jeremy Lamond MRICS FRSA

Neil Grenyer

Amanda Lawrence 424509

Hannah Farthing (Trainee Valuer)

GENERAL OFFICE

Ruth Pike (Office Manager) 424500

Lynda Cummins

Ellie Briant

Gemma Pointer

CASTLE GATE RECEPTION

Sally Litherland MARKETING

Chloe Davie

ACCOUNTS

Ania Antkowiak

BOARD OF DIRECTORS

John Axford MRICS

Chairman

Natalie Milsted FCCA

Managing Director

ASSOCIATE DIRECTORS

Alexandra Aguilar

Ed Beer

Ned Cowell

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

CBP006075

BRITISH & CONTINENTAL CERAMICS & GLASS

TUESDAY 30TH APRIL 2024

10.00AM

AT OUR CITY CENTRE SALEROOMS, SP1 3SU

VIEWING WILL TAKE PLACE AT OUR OLD SARUM GALLERIES

Saturday 27th April 10.00am – 1.00pm

Monday 29th April 10.00am – 4.00pm

Tuesday 30th April 9.00am – 1.00pm

Clare Durham 01722 424507 cd@woolleys.live

Hollie Morrison 01722 446964 hm@woolleys.live

DIRECTIONS TO THE OLD SARUM GALLERIES

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 27th April 10.00am – 1.00pm

Monday 29th April 10.00am – 4.00pm

Tuesday 30th April 9.00am – 1.00pm

THE AUCTION ON 30TH APRIL 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.

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ILLUSTRATIONS

Front cover: Lot 506

Back cover: Lot 160

Catalogue £10.00 (£15.00 by post)

1 Two wine glasses and an ale flute, c.1750­60, the wines with round funnel bowls on multiseries opaque twist stems, the ale with a slender drawn trumpet bowl rising from a thick airtwist stem, a filled chip to the foot of one wine, 20.2cm max. (3) £150­200

2 Three wine glasses, c.1750­60, one with a cup bowl, another a bell bowl, the last with a moulded funnel bowl, all over plain stems, two with folded feet, 14.5cm max. (3) £150­250

3 Two English balustroid wine glasses, c.1740, one with a bell bowl, the other with a funnel bowl, raised on balustroid stems over folded conical feet, and a similar Continental glass with greyish metal, two filled rim chips, 15.5cm max. (3) £300­500

4 Three wine glasses, mid 18th century, one with a bell bowl on a plain stem, another a drawn trumpet rising from a teared stem above a folded conical foot, the last with ogee bowl with moulded vertical flutes, engraved with a band of flowers, a short crack to the folded foot of the last, 16cm max. (3) £150­250

5 Four wine glasses, mid 18th century, three with bell bowls raised on airtwist stems, the last with a drawn trumpet bowl over a multiseries opaque twist stem, some footrim chips, 17.5cm max. (4)

£150­250

6 Five various English glasses, c.1740­60, including two sweetmeat glasses raised on pedestal stems over domed feet, a composite stem wine glass with an airtwist section rising from a knop enclosing tears over a short plain stem, a wine glass with annulated collars on a plain stem, and an ale glass engraved with hops and barley, some chipping, a crack to one bowl, 19.4cm max. (5)

£150­250

7 Three wine glasses and a goblet, c.1760, the wine glasses with round funnel bowls, raised on multi­series opaque twist stems, the goblet with a deep bucket bowl engraved with stylised flowers, raised on an opaque twist stem, a small chip to the goblet’s foot, 19.2cm max. (4)

£250­350

8

£1,000­1,500

Purchased from Brian Watson Glass in 2011. Formerly in the Albert Hartshorne Collection.

9 Nine ‘hidden Jacobite’ wine glasses, c.1760­70, the ogee bowls engraved with a continuous band of flowers and grapevine, the bases cut with lappets which view as a six­petalled rose to the interior, raised on faceted stems, 15.8cm. (9) £500­800

8 A set of six ale glasses, c.1750, with slender bell bowls raised on shoulder­knopped airtwist stems over domed feet, 21cm. (6)

10 A small baluster wine glass, c.1730, with a bell bowl over a cushion knop and inverted baluster section above a basal knop and domed folded foot, 12.5cm. £500­700

Provenance: a private London collection. Acquired from Brian Watson.

11 A baluster wine glass, c.1720, the bell bowl with a solid base, raised above a drop knop stem and plain conical foot, 15cm. £250­350

12 A baluster wine glass, c.1720, the bell bowl with a solid base enclosing a single tear, raised on a stem with inverted baluster section over a basal knop and folded conical foot, 16.5cm. £500­800

13 A large baluster wine glass, c.1730, the deep round funnel bowl with a solid base, raised on a stem with a ball knop over an inverted baluster knop, raised on a tall domed and folded foot, 19cm. £500­800

14

A large and rare baluster wine glass or goblet, c.1710, the thistle bowl with a solid base, raised on a baluster stem with large cylinder knop enclosing a long tear, over a smaller basal knop and folded conical foot, 21.7cm. £2,000­3,000 Green collector’s number 1506, for the Walter F Smith Collection.

15

A rare Royal commemorative moulded stem glass, c.1714, the round funnel bowl with a solid base, raised on a four­sided pedestal stem moulded with a crown to each corner, flanking diamonds or stars, over a folded conical foot, 12.7cm. £2,000­3,000 These glasses are believed to have been made to celebrate the coronation of King George I and are thought to be a pre-cursor to the moulded glasses with diamonds on the shoulders (c.f. L M Bickerton, An Illustrated Guide to Eighteenth Century Drinking Glasses, no.191 for an example with crowns but no diamonds).

16

17

16 A short wine glass, c.1730, the bell bowl with a solid base enclosing a round tear, raised on a short plain stem over a folded foot, 12cm.

£150­250

Provenance: a private London collection. Acquired from Brian Watson.

17 Two baluster wine glasses, c.1730, one with a bell bowl engraved with a stylised foliate band, raised on a stem comprising a triple annulated knop over a true baluster section, the other with a bell bowl over a stem with two mushroom knops over a domed and folded foot, a manufacturing flaw to the foot, 16.4cm max. (2)

£500­800

18 Two Dutch engraved baluster wine glasses, c.1750, one engraved with the Royal coat of arms over a composite stem comprising of a short knopped airtwist section over a baluster stem enclosing tears above a basal knop, the second engraved with Asclepius holding his rod, flanked by potted trees, raised on a balustroid stem with beaded knop over a hollow baluster section, with a folded conical foot, chips to the former, 19cm max. (2)

£500­800

19 A small balustroid wine glass, c.1730­40, the bell bowl raised on a balustroid stem with a baluster section enclosing a tear over a basal knop and folded conical foot, 15cm.

£250­350

20 Three wine glasses, mid 18th century, one English with a bell bowl, two Continental with round funnel bowls, all on opaque twist stems, together with a commemorative coin goblet for the coronation of George VI, a small tumbler engraved with dogs flaking a monogrammed shield, and a tall tazza or sweetmeat glass engraved with three armorial crests, 17.2cm max. (6) £150­250

21 Six dwarf ale glasses or flutes, c.1730­60, one with flammiform moulding, two with vertical moulded flutes over knopped stems, one on a short balustroid stem, all on folded conical feet, 14.5cm max. (6) £200­300

22 A pair of small wine or cordial glasses, c.1740, the bell bowls raised on balustroid stems enclosing long tears, and a larger wine glass with ogee bowl over a plain stem, all on folded conical feet, 14.5cm max. (3) £150­250

23 Three wine glasses, c.1750­60, with drawn trumpet bowls, one raised on a dense airtwist stem, another with a plain stem enclosing a single tear, the last on a slender plain toasting stem, 18cm max. (3) £150­200

24 Four German waldglas beakers, 15th century, three of a pale green tone, with wrythen moulding and kick­in bases, the other moulded with raised prunts and a

25 A façon de Venise wine glass, early 18th century, the generous bowl raised on a hollow stem, a façon de Venise small vase, of thistle shape, the glass of a yellowish hue, and a Continental wine glass with drawn trumpet bowl raised on a pedestal stem and folded foot, 15.7cm max. (3)

£150­250

800

26 A tall Continental glass beaker or short vase, late 18th century, the flared form moulded with vertical flutes, a thistle­shaped vase, and a Roman­style beaker with engrailed trailing on a spiral­moulded body, with a pale green iridescence, 13cm max. (3) £100­200 The first with a paper label for Athelny Antiques, 1959.

slight kick­in base, broken and restuck, 10.8cm max. (4) £500

27

A Jacobite wine glass of Scottish significance, c.1750, the drawn trumpet bowl engraved with a rose and bud spray, the reverse with a small star above a large thistle, raised on a dense airtwist stem above a folded conical foot, 16.5cm. £600­800

28

An unusual wine glass of possible Jacobite significance, c.1760, the drawn trumpet bowl engraved with an unusual flower stem and a single moth or butterfly, raised on a slender plain stem with central knop, over a conical foot, 17.2cm. £300­500

29

A Jacobite wine glass, c.1750, the drawn trumpet bowl engraved with a large rose and bud spray encircling an oak leaf motif, raised on a thick plain stem enclosing a single tear, over a folded conical foot, 15.6cm. £500­700

30 A Jacobite wine glass, c.1760, the generous bucket bowl engraved with a rose and bud spray, the reverse with a six­pointed star, raised on a multiseries opaque twist stem, over a conical foot, 15.4cm. £300­500

31 An unusual wine glass of Jacobite significance, c.1750­60, the deep ogee bowl engraved with a butterfly and two ants on a large daffodil with oak leaves, raised on a plain stem above a conical foot, 16.5cm. £500­800

32 A small wine glass of Jacobite significance, c.1750, the ogee bowl engraved with a sunflower spray and a bird perched on a leafy branch, raised on a plain stem above a folded foot, 14cm. £150­250

33 A good and large cider glass, c.1755­60, the deep ogee bowl engraved with two fruiting branches of apples, raised on a thick plain stem above a conical foot, 18cm. £2,000­3,000 Cf. Geoffrey Walton, English Cider and Perry Glasses of the 18th Century, no.70 for an identical example.

34 A wine glass or goblet of Jacobite significance, c.1760, the generous drawn trumpet bowl finely engraved with a continuous band of flowers including rose, carnation and narcissus, with flying insects alongside, raised on a thick airtwist stem above a conical foot, 18.7cm. £1,200­1,500

35 A large glass goblet of Jacobite significance, c.1760­70, the generous round funnel bowl finely engraved with butterflies, moths and other insects around Jacobite flowers including rose, daffodil and sunflower, raised on a multiseries opaque twist stem and conical foot, 19.5cm.

£1,000­1,500

1,200

c.1750, the ogee

with a fruiting apple branch, the reverse with a spray of flowers and wheat, raised on a plain stem above a folded conical foot, 15.8cm. £250­350 Cf. Geoffrey Walton, English Cider and Perry Glasses of the 18th Century, no. 6 for an identical example in the Hereford Cider Museum.

37 A small cider glass,

bowl engraved

36 A small Beilby wine glass, c.1770, the round funnel bowl moulded to the base with vertical flutes, enamelled in white with a continuous band of fruiting grapevine, raised on a short multiseries opaque twist stem above a conical foot, 13cm. £800­

38 An Admiral Byng wine glass, c.1763, the round funnel bowl engraved with the officer hanging from a gibbet flanked by the initials A B, the reverse inscribed JUSTICE, raised on an airtwist stem above a conical foot, 15.6cm. £1,000­1,500 Admiral John Byng was a Royal Naval officer and an MP from 1751 until his death in 1757. During the Seven Years War, Byng was sent to relieve a besieged garrison at Minorca. With his ships in a poor state of repair, Byng opted to return to Gibraltar to see to his ships and await further promised resources. On his return to Britain he was court-martialled for failing to “do his utmost” to prevent the loss of Minorca. He was executed by firing squad on 14th March 1757 - the engraving on the glass being symbolic rather than accurate - despite appeals to King George II for clemency. Byng was seen by many as a scapegoat for the Admiralty’s inefficiency and the execution in this way of such a high-ranking officer divided the country. His descendants today continue to campaign for a posthumous pardon.

39 Three small wine glasses, c.1760, with ogee bowls raised on varying stems, one with a mercury twist, another with an opaque tape twist, the last cut with facets, 16cm max. (3) £200­300

40 Three small wine glasses, c.1750­70, two with ogee bowls, one gilded with grapevine, both raised on multi­series opaque twist stems, the last with a drawn trumpet bowl raised on a plain stem enclosing a long tear, chips to two of the feet, 15.3cm max. (3) £100­200

41 Three wine glasses, c.1760­70, one with a bucket bowl engraved with grapevine and raised on an opaque twist stem, the others with round funnel bowls raised on facet cut stems, one bowl engraved with flowers and grapes, the other with a band of polished ovals, 15.5cm max. (3) £150­250

42 Three small wine glasses, c.1760, two of possible Jacobite significance, engraved with a bird and a flower stem, one on a plain stem and folded foot, the other on a faceted stem, the last with a small round funnel bowl cut with facets over a cut stem and folded foot, one foot probably a replacement, 15.4cm max. (3) £150­250

43 Two wine glasses, c.1740­50, with drawn trumpet bowls, one over a dense airtwist stem, the other on a plain stem, above folded conical feet, 15.8cm max. (2) £250­350

44 Two wine glasses, c.1740­50, with drawn trumpet bowls rising from plain teared stems over folded conical feet, 16.5cm max. (2) £200­300

45 Two dram or firing glasses, 2nd half 18th century, one with a drawn trumpet bowl over a thick airtwist stem and firing foot, the other with a waisted bowl over a solid flared foot, 11cm max. (2) £400­600

Provenance: a private London collection. Acquired from Brian Watson.

46 Two wine glasses, c.1760, one with ogee bowl and traces of a gilt rim, the other a round funnel bowl, raised on opaque twist stems over conical feet, 16.4cm max. (2) £150­250

47 A large wine glass, c.1730, the bell bowl with a solid base enclosing a long tear extending into the plain stem, over a folded conical foot, 17.5cm £150­250

Provenance: a private London collection. Acquired from HSC Fine Arts Ltd.

48 A mixed twist wine glass, c.1760, the slender flared bucket bowl raised on a mixed twist stem with a single opaque thread entwined with an airtwist cable, over a conical foot, 16.3cm.

£200­300

49 A large wine glass or goblet, c.1740, the generous drawn trumpet bowl raised on a plain stem enclosing a large tear, over a folded conical foot, 20.5cm.

Provenance: a private London collection. Acquired from Delomosne & Son Ltd.

£150­250

50 A wine glass, c.1720­30, the drawn trumpet bowl raised on a plain stem enclosing a long tear over a thick helmet foot, 16cm. £200­300

Provenance: a private London collection. Acquired from Jeanette Hayhurst.

51 A large glass goblet, c.1760, the round funnel bowl engraved with a butterfly and a large bunch of polished grapes, raised on a knopped airtwist stem over a conical foot, 20.3cm. £200­300

52 A large toasting glass or goblet, c.1740, the tall bell bowl with a solid base, raised on a plain stem above a folded conical foot, 24.5cm. £300­500

Provenance: a private London collection. Acquired from Sotheby’s.

53 A wine glass, c.1760, the rounded funnel bowl with honeycomb moulding, raised on a double knopped airtwist stem over a conical foot, 16cm. £200­300

54 A small wine glass, c.1730, the drawn trumpet bowl raised on a slender plain stem enclosing a single tear, over a folded conical foot, 15.3cm. £100­200

Provenance: a private London collection. Acquired from Jeanette Hayhurst.

52

51

55 A balustroid wine glass, c.1730­40, the generous round funnel bowl with honeycomb moulding to the base, raised on a balustroid stem enclosing a long tear, over a conical foot, 16cm. £250­350

56 A wine glass, c.1740­50, with a bell bowl raised on a mercury twist stem over a conical foot, 15.5cm. £200­300

Provenance: a private London collection. Acquired from David Gish.

57 A small Giles­decorated wine glass, c.1765, the rounded funnel bowl moulded with vertical flutes, gilded in the London atelier of James Giles with delicate flower stems, raised on a multiseries opaque twist stem, 14.7cm. £300­500

58 A large wine glass or goblet, c.1740­50, the generous drawn trumpet bowl rising from a plain stem enclosing a single tear over a conical foot, 18.9cm. £100­200

Provenance: a private London collection. Acquired from Butler’s Antiques.

59 A colour twist wine glass, c.1760­70, the bell bowl raised on a stem combining blue spirals around a central white gauze cable, over a conical foot, a slight trim to the foot, 16cm. £1,200­1,500

61 A ‘Friendly Hunt’ firing glass, c.1750, the drawn trumpet bowl engraved around the rim with ‘The Friendly Hunt’ and a foliate sprig, raised on a short plain stem above a thick foot, 9.5cm. £500­800

Cf. Bonhams, The Ron & Mary Thomas Collection of English Glass, 4th June 2008, lot 39 for an identical example.

The Friendly Hunt was a meet associated to a Jacobite Society in Worcestershire. Founded in 1747, the Association met annually in rotation in the neighbouring towns of Droitwich, Bromsgrove, Dudley, Kidderminster and Stourbridge.

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

£500­700

62 A Williamite wine glass, probably early 18th century, the flared bowl engraved with an equestrian portrait within a banner inscribed ‘To the Glorious memory of King William’, the reverse inscribed ‘Boyne 1st July 1690’, raised on a baluster stem and folded foot, broken and restuck, 15.4cm. £80­120

63 An unusual glass goblet, c.1770, the cup bowl engraved with a scene of a figure carrying ladders onto a castle with an overgrown turret, a ship at sail beside an island with a windmill, raised on a facet cut stem over a conical foot, 19.8cm. £400­600

64 Three small wine glasses, c.1770, the rounded bowls engraved with polished swags over cut designs, raised on faceted stems, 13.3cm. (3)

£100­150

65 A sweetmeat glass, c.1740, the bowl moulded with spiral flutes, raised on a pedestal stem with annulated rings over a folded foot, and a hunting or toasting glass, the cup bowl engraved with a fox and ‘Just one before we start’ over a teared baluster stem and domed folded foot, 18.6cm max. (2)

£100­200

66 A large toasting or mixing glass, c.1760­70, the deep U­shaped bowl raised on a multiseries opaque twist stem over a conical foot, 24cm.

£250­350

67

67 Two unusual Continental lead wine glasses, 18th century, with rounded funnel bowls, one of greenish hue and raised on a double­knopped balustroid stem, the other greyish and raised on a square pedestal stem, both over folded conical feet, 13.5cm max. (2) £150­250 The smaller glass with a paper label for the Chris Crabtree Collection.

68 A pair of Bohemian wine glasses, dated 1796, the drawn trumpet bowls engraved with a profile portrait of Frederick the Great, after a woodcut by Johann Georg Unger, titled ‘Fridericus Magnus’, raised on a plain stem enclosing a row of tears, 17cm. (2)

£200­300

69 A Continental trick glass, 2nd half 18th century, probably Dutch, the bell bowl with a solid base, the rim engraved with a pierced flowerhead border, raised on a hollow baluster stem and folded foot, the foot engraved with a single tulip, 16.5cm.

£100­200

70 An English glass roemer for the export market, 18th century, the cup bowl raised on a thick hollow stem applied with raspberry prunts, over a tall conical foot with trailed decoration, 13cm. £100­200

71

72

71 A façon de Venise beaker, 18th century, the U­shaped form with gilt or bronze powdered inclusions, raised on a circular foot, 8.2cm. £250­350

72 A German enamelled glass beaker (humpen), dated 1715, painted with two cavorting hares, one playing a drum, the other swigging from a large stein, the reverse with an inscription in white enamel within leaf swags above the date ‘1715’, 17cm. £400­600

73 A German enamelled glass flask, 18th century, painted with a white rabbit or hare smoking a long­stemmed pipe, the reverse with stylised flowers picked out in red, blue, yellow and white, 15cm. £100­200

74 A façon de Venise thistle­shaped glass, late 17th century, the round bowl moulded to the base with gadroons and rising to a short straight neck, over a moulded flattened knop between rings, above a conical foot, 11.5cm. £300­500

75 A small glass rummer of naval interest, late 18th/early 19th century, moulded with lappets rising from a short plain stem, the bowl engraved with shield panels containing sailing boats and spoiled anchors, linked by laurel leaf swags, 12cm. £150­250

77 A glass rummer of naval interest, early 19th century, the funnel bowl

with shield panels containing spoiled anchors, linked to oval star panels by polished swags, raised on a square lemon squeezer foot, 13.5cm. £150­250

engraved

76 An engraved glass rummer, early 19th century, the deep funnel bowl engraved with an unusual scene of three men hauling on a rope to tow a small sailing boat with two further figures aboard, the reverse with the initials WPW, 15.5cm. £300­400

H F Leithead by H H Bright, R Miller & J B Burden, Hartlepool 1857’,

fruiting grapevine, raised on a short plain stem, 17.2cm.

300

An H F Leithead is listed as being enrolled as a member of the Liverpool Photographic Society in 1858, suggesting that this was a farewell gift from fellow enthusiasts in Hartlepool the previous year.

78 A large glass rummer of photographic interest, dated 1857, engraved with a panel containing a camera, inscribed ‘Presented to H

within

£200

79 A small commemorative glass rummer for the Battle of Trafalgar, c.1806, the cup bowl engraved with a spoiled anchor and laurel sprigs, inscribed ‘Nelson, October 21st 1805’, raised on a short plain stem, 10cm. £250­350

80 A large engraved glass goblet, c.1770­80, the slightly waisted bowl engraved with a continuous band of fruiting grapevine, the base of the bowl cut with lappets above a faceted stem and helmet foot with polished ovals, small footrim chips, 26.5cm. £150­250

81

82

81 A massive ceremonial goblet or mixing glass, c.1790­1800, the deep U­shaped bowl raised on a knopped plain stem over a thick stepped foot, 35.3cm.

Provenance: a private London collection. Acquired from David Foord-Brown Antiques.

£300­500

82 A glass mug, c.1780, of bell shape, the base moulded with a band of gadroons, the strap handle incised with grooves, 14.5cm. £100­200

83 An unusual English glass mug, late 18th century, of bell shape, enclosing colour twists of red and white, raised on a circular foot, 14.5cm.

84 An armorial glass tumbler of Masonic significance, 19th century, engraved with a shield bearing a quartered coat of arms including crossed keys, the pascal lamb and a skull and crossed bones, beneath a dexter hand crest charged with a heart, the rest cut with formal lappets, 9.7cm.

86 85

85 A large glass coin goblet, c.1860, the deep cup bowl engraved with a monogram ‘CC’ in a circular panel, the reverse with birds among flowering branches, the knopped stem enclosing a threepenny piece dated 1860, 20.8cm. £150­250

86 A glass rummer, 19th century, the bucket bowl engraved with the Honours of Scotland, the crown resting on a tasselled cushion beside the sceptre and the sword of state, the rim engraved with a continuous thistle border, raised on a faceted knopped stem above a starcut foot. £500­700

87 A large suite of glass, 19th century, with octagonal cut bowls raised on knopped faceted stems over octofoil feet. Comprising: 18 large wine glasses (14.8cm), 16 small wine glasses (13cm), 18 sherry or liqueur glasses (11.6cm) and 18 hock glasses (13.8cm). (70) £250­350

88 An early glass candlestick, c.1700, the slender sconce with an applied string rim, over a tapering airtwist stem and a tall conical foot, 20cm. £500­800

89 A tall pedestal glass candlestick, c.1720, the moulded sconce with everted rim, raised on a pedestal stem above annulated rings, flanked by beaded knops, over a moulded helmet foot, 27cm. £300­400

90 A moulded glass candlestick, c.1720, the tall sconce moulded with vertical flutes, above a beaded knop, raised on a pedestal stem with diamonds on the shoulder, a basal knop flanked by collars, the domed base with further diamond moulding, 22.5cm. £400­600

88

89

90

91 A rare moulded glass candlestick, c.1710­20, the unusual double pedestal stem with a moulded baluster section over a further moulded pedestal with eight diamonds to the shoulders, raised on a moulded helmet foot, 23.7cm. £2,000­3,000

93 A composite stem glass candlestick, c.1740, the U­shaped sconce raised on an inverted Silesian stem over a flattened ball knop between annulated rings, raised on a moulded helmet foot, 19cm. £400­600

92 An unusual cut and moulded glass candlestick, late 18th century, the sconce moulded with vertical ribs over a facet cut stem, the helmet foot similarly moulded and cut to the rim, a large chip to the base of the removable drip pan, 24.5cm. (2) £300­500

94 A cut glass candlestick with removable drip pan, late 18th/early 19th century, with a faceted baluster stem raised on a tall helmet foot with shaped rim, 24cm. (2) £250­350

95 A pair of glass candlesticks, c.1770, with moulded sconces and moulded pedestal stems between beaded knops, the removable drip pans and helmet feet cut with faceted designs, one sconce a replacement, 25.5cm. (4) £800­1,200

96 A small pair of cut glass lustre candlesticks, early 19th century, the six­petalled drip pans hung with lustres, the cut baluster stems raised on stepped square feet with starcut bases, 18.5cm. (2) £250­350

97 A French glass lacemaker’s lamp, 17th century, the hollow stem rising to a swollen knop over a domed and folded foot, applied with a handle with thumbpiece and scroll terminal, a filled crack beside the handle, 23cm. £50­80

98 A glass lace­maker’s lamp, mid 18th century, with an ogee shaped hollow lens over a wide collar, raised on a short plain stem above a folded helmet foot, 12.2cm high. £100­200

99 A sealed wine bottle, dated 1767, the squat mallet form applied with a circular seal bearing the initials HL above the date 1767, with string rim and kick­in base, 23.7cm. £800­1,200

This bottle was by repute discovered by a road worker near Scorrier in Cornwall. The seal is unrecorded but may possibly relate to Henry Lanyon of nearby Kenywn, son of Nathaniel Lanyon. There are many branches of the Lanyon family, most of whom were connected with the nearby tin mining industry.

101 A small cruciform glass serving bottle or decanter, c.1740, of slight cruciform shape, the body rising to a tapered neck with applied string rim, 21cm. £300­400

100 A heavy cruciform glass serving bottle or decanter, c.1740, the body of strong cross shape, the tapering neck applied with a string rim, 24cm. £300­400

102 A cased set of nine French glass decanters and stoppers, early 19th century, the square decanters gilded to the shoulders with flowerhead and husk design, with two small wine glasses with facet cut stems, all contained in a wooden case with marquetry designs, the box 23cm high.

£1,000­1,500

103 A pair of glass decanters and stoppers, c.1770­90, of mallet shape, the shoulders cut with polished lappets beneath three applied neck rings, each with a bullseye stopper, 27cm. (4)

£300­500

104 A pair of glass carafes and stoppers, late 18th century, cut with bands of lappets and polished ovals, the wide necks with a honeycomb design, 30cm max. (4)

£500­800

104

102

105 A small decanter and stopper, late 18th century, of shaft and globe form, with a facet cut stopper, 25.3cm. (2) £200­300

106 An armorial glass decanter and stopper, late 18th century, of mallet shape, engraved with an armorial shield possibly relating to the Cheshire region, beneath a band of polished lappets and three faceted neck rings, with a flattened stopper, 26cm. (2) £200­300

The quartered armorial may relate to the families of Meales and Manley.

107 A ship’s decanter and stopper, c.1800, the spreading base cut with vertical flutes, the tapering neck with three applied neck rings, with bullseye stopper, 25.5cm. (2) £200­300

108 No lot

107

106

105

109 A pair of decanters and stoppers of shipping interest, late 18th/early 19th century, each engraved with a three­masted ship at sail, beneath the inscription ‘Success to the Ship Cathrine’, the reverse with monogrammed initials GAJ, the necks applied with two rings, with bullseye stoppers, 26cm. (4) £1,000­1,500

110

111

110 A lipped glass carafe, c.1780, the pear­shaped body rising to a slender neck with short spout, with slight kick­in base, 23.5cm. £250­350

111 A cut glass claret jug and stopper, early 19th century, cut with vertical bands of polished circles, the neck with stepped cutting, the decoration echoed to the ball knop, 27.5cm. (2)

£200­300

112 A ship’s claret jug and stopper, c.1800­10, the tapering conical body cut with concentric bands of polished ovals, the neck with three facet cut rings, 25.5cm. (2)

113 A cut glass magnum carafe, c.1790­1800, with a band of hobnail cutting beneath polished lappets and three facet­cut rings, 23cm.

£300­500

£200­300

114 A façon de Venise low tazza, 17th century, the shallow convex top with a folded rim and applied rib to the underside, raised on a spreading folded foot, 25.3cm dia.

£300­500

115 A glass tazza or comport, late 18th century, the concave top with a folded wavy rim, raised on a circular folded foot of waved design, 29.5cm. £100­200

116 An Irish cut glass bowl or centrepiece, 19th century, the circular bowl with an everted rim cut with a diamond design, raised on a multi­knopped or bobbin stem over a square lemon­squeezer base, a chip to one corner of the foot, 20.5cm high.

£300­500

117

119

118

117 An unusual pair of Irish cut glass decanters and stoppers, 19th/early 20th century, the rounded bodies with a wide band of hobnail cutting, the tapering necks with three faceted rings, raised on heavy square bases with a star cut beneath, 35cm. (4) £600­800

The exceptionally heavy bases on these decanters would indicate that stability was paramount as the extra glass would have made them heavy to pour when full.

118 A cut glass water jug and a vase, 1st half 19th century, the jug with a band of polished ovals between lappets, raised on a starcut foot, the jug of thistle shape and cut with intricate hobnail designs, a few small chips to the rim of the vase, 22cm max. (2) £120­150

119 A pair of Irish cut glass centrepieces, 19th century, of navette shape, deeply cut with a diamond design, raised on faceted stems with ridges over octagonal feet, 25.5cm across. (2) £150­250

120 A large cut glass punchbowl, 19th century, cut with star and diamond roundels between swags, and a pair of thistle­shaped vases, the bases cut with diamonds, the upper sections with horizontal bands, 22.5cm high max. (3) £150­250

121

122

121 A large Bohemian glass punch pot with cover and stand, mid 19th century, flashed in amber and cut with scenes of stags among trees, the cylindrical faceted pot raised on a circular foot, 37.6cm across. (3)

£400­600

122 An enamelled waisted decanter and stopper, 19th century, the square form pinched around the middle and enamelled with sprays and garlands of flowers in orange and white, 27cm. (2)

£100­200

123 A small Bohemian glass decanter, early 19th century, with schwarzlot decoration of a seated figure with a pipe, a further figure holding a bird, and two birds perched on black foliate scrolls, 14.5cm.

£100­200

124 A Bohemian or Czechoslovakian glass goblet and cover, late 19th century, the panelled flared bowl engraved with flower and bud stems over a tall stem with annulated rings over a hollow baluster section, the cover and bowl base with applied pinched decoration, diamond point engraved monogram mark to the base and number 97 possibly for 1897, 37cm. (2)

£300­500

125 A German glass Electors Beaker (Kurfürstenhumpen), dated 1682, the tall cylindrical form enamelled with the portrait of the Holy Roman Emperor and the seven Electors of the Empire, all on horseback, each titled above in white and flanked by twisted columns, damaged, 25.3cm.

£150­250

126 A tall pair of Bohemian glass vases, 19th century, the slender forms overlaid with white over ruby and painted with panels of flowers alternating with diamond cut panels, the wide flared rims with a lappet design, 38.7cm. (2)

£500­700

127 A tall Clichy glass ewer and stopper, 19th century, the squat body rising to a tall slender neck with single applied ring, decorated in latticino spirals of blue and white, a short crack to the handle, 43cm. (2) £150­250 Provenance: from an English private collection, Sussex.

128 Two blue glass rinsers, late 18th/early 19th century, one of waisted form and applied with a trailed band, the other heavily cut with vertical flutes to the scalloped rim, and a blue glass sugar bowl raised on a tall domed and folded foot, 11.5cm high max. (3)

£100­200

129 A pair of Continental glass bowls or vases, late 19th century, possibly St Louis, the oval forms engraved and gilded with panels of small birds perched on grapevine, the sides with a trellis design, 15.3cm high. (2)

£300­500

130 Three Continental glass scent bottles, late 18th century, one of flattened pear­shape applied with blue glass pinched decoration to the sides, the other two of gourd shape, one with pinched applications in amethyst glass, the other with ridged trailing, 7.5cm max. (3)

131 No lot

£200­300

132 A cut glass sulphide scent bottle, 19th century, set with the head and shoulders portrait of a military gentleman, with an unmarked metal hinged cover, 7.7cm. £250­300

133 A glass scent bottle decorated in the workshop of James Giles, c.1770, the rich blue glass of chamfered square form, gilded with birds perched on branches and with Classical ruins, with a gilded internal stopper and a gilt­metal outer cover with screw fitting, 7.5cm. £900­1,200

134 A St Louis glass ruler weight, mid 19th century, of octagonal form, enclosing spiralling canes of red and white, 24.5cm. £80­120

135

136

135 A Clichy sulphide portrait paperweight, c.1850, enclosing a profile sulphide portrait of Charles­Louis Napoleon Bonaparte (Napoleon III) on a translucent green base, 8cm dia.

£250­350

136 A Clichy sulphide paperweight, c.1850, set with a head and shoulders portrait of Arthur Wellesley, 1st Duke of Wellington, on an opaque blue ground above a white base, the sulphide marked A&M, 7.5cm dia.

£250­350

137 A John Ford & Co, Holyrood Glassworks sulphide paperweight, mid 19th century, containing a profile portrait of Captain James Cook, engraved ‘James Cook’ to the foot, 5.5cm high.

£500­700

138 A small Baccarat paperweight, dated 1848, enclosing silhouette canes of various animals on a jumbled gauze ground, date and B canes, 6cm dia.

£500­700

137

£250­350

139 A large Baccarat garland or loop paperweight, c.1850, set with a central flowerhead group with a pale blue and white border, enclosed by six loops of millefiori canes in red, white and green, 7.5cm dia.

140 A Thomas Webb & Sons (Stourbridge) silver­mounted cameo glass swan’s head scent bottle, dated 1884, of small size, cast in ruby glass in the form of a mute swan’s head, overlaid in white and finely carved with feathers, its long beak delineated in white, the silver mount with London hallmarks, a faint crack, inner stopper lacking, 14.5cm.

£800­1,200

£250­350

141 A Stourbridge cameo glass vase, late 19th century, attributed to Thomas Webb, the yellow body overlaid and carved in white with a spray of blossom issuing from the rim and encircling the shoulder, 14cm high.

142 A Stourbridge cameo glass vase, late 19th century, the colour graduating from yellow to a deep pink, overlaid in white with a spray of flowering wild rose, 20.2cm. £500­800

POTTERY

143 A slipware model of a cradle, dated 1815, one side incised ‘Sarah Pattrick Westbridge 1815’ on a cream ground, the reverse with squiggles in cream slip on a treacle ground, the runners lacking, 24.5cm. £100­200

145 Four small Sussex slipware money boxes, 19th century, two modelled as pinecones with alternating layers of cream and treacle, one gazed a dark brown and inscribed ‘Harold Dean’ beneath the spout, the last modelled as a pot with integral cover, minor faults, 12.8cm max. (4)

£120­180

147 Four slipware jars and covers, 19th/early 20th century, a Sussex agateware pot pourri modelled with a stepped base rising to a cover with vase finial, a Sussex agateware tobacco jar applied with leaves, a Sussex tobacco jar inscribed with a verse and titled for ‘A Gordon Jones, Sept 19 1911’, and a Devon tobacco jar modelled as a tree trunk and decorated with a yellow glaze splashed with green, some faults, 18.7cm max. (8)

£150­200

144 Two slipware models of cradles, 19th century, one with cream and brown striations to simulate agate, the hood applied with chickens, the other sponged in manganese on a cream ground, each raised on two rockers, some restoration to the applications on the first, 22cm max. (2)

£150­250

Cradles of this type were traditionally given to newly-weds, often as a symbol of good luck and fertility, and also to celebrate the birth of a new baby.

146 A Staffordshire slipware cup, late 18th century, modelled as agateware with cream and treacle striations, a pair of Staffordshire slipware octagonal small plates or saucers with agateware roundels, and an agateware teapot and cover, inscribed for ‘Harriet Clapton’, some faults, 21.5cm max. (5)

£150­250

148 Three large slipware jars, 19th century, one decorated with a panel in cream slip inscribed ‘M H Parker Dress Maker 1844’, a cylindrical jar inscribed ‘MH 1822’, the other decorated in a treacle glaze, trailed in cream slip with ‘1824 MMR’, covers lacking, 22.3cm max. (3) £200­300

150 A large Sussex slipware salt pig, dated 1821, decorated with a cream slip inscription to one side, a slipware tyg of flared thistle form, inscribed ‘GSM’ between concentric bands of slip, and a small Sussex slipware tobacco jar and cover, inscribed ‘EAR 1847’, some losses, 26.5cm max. (4)

300

£200­300

152 A large Halifax slipware bird whistle, c.1800­20, with a large central bird mounted on a perch flanked by smaller birds above a conical base, a small slipware model of a cow wearing a large bell around her neck, and a slipware figure of a woman, decorated with cream dots on a treacle ground, some damages, 24.5cm max. (3)

£100­150

149 Three slipware money boxes, 19th century, one probably Yorkshire, decorated in cream slip and mounted with a chicken surrounded by chicks and a snake, another Sussex and topped with two birds, the name ‘ERIC’ beneath the slot, the last a double money box in agateware with cream and brown striations, some losses and repairs, 27cm max. (3) £200

151 A Yorkshire slipware plant pot and stand, 19th century, the flared top applied with Prince of Wales feathers and stars, the base with running horses, and a Buckley pottery plant pot stand sprigged with husks in cream slip on a treacle ground, 31cm max. (3) £100­200

153 A slipware double inkwell, 19th century, the cover modelled with a recumbent lion, the rectangular base modelled from agateware and set with a small inkwell and a pounce pot, raised on scrolled feet, impressed 2 marks, some surface chipping, 16.5cm across. (4)

154 A post medieval earthenware jug, 16th/17th century, the upper section decorated with a greenish lead glaze, and an earthenware flagon decorated in an allover buff glaze, 21cm max. (2) £150­250

£150­250

156 A Yorkshire slipware puzzle jug, probably 19th century, inscribed ‘TW 1758’ in cream slip, the neck pierced with tulips and an elaborate star, a Halifax slipware model of a rocking chair, inscribed ‘LP’ and dated 1865, and a slipware tankard with stylised motifs, minor faults, 20cm max. (3)

£150­200

155 Two slipware flagons, 19th century, one Sussex and decorated in a treacle glaze, inscribed ‘A Quyne 1864’, the other Halifax with a striated manganese glaze, titled ‘J. Milne’, a large Wiltshire mug of barrel shape, decorated in a black glaze, and a slipware quaich of circular form, decorated in manganese, some faults, 21cm max. (4)

£150­250

158 A large slipware puzzle jug, dated 1831, inscribed ‘J + ny 1831’ in cream slip on a rich treacle ground, the tall neck pierced with an elaborate design, the neck with three conical spouts, some restoration to the rim, 26cm.

£100­200

157 A slipware puzzle jug of agateware type, dated 1901, decorated in cream and treacle slip to simulate hardstone, inscribed ‘T. Smith Clitheroe’, the tall neck cut with triangles, the rim set with three pointed spouts, one spout broken and restuck, 18cm. £200­300

159 A good Donyatt slipware puzzle jug, dated 1829, with sgraffito decoration of birds perched atop leafy stems, around the shoulder inscribed ‘No handy craft can with our art Compare we make our pots of what we potters are’, the neck pierced, the rim with a single pointed spout, all in a rich yellow slip, 21.5cm. £800­1,200 Cf. R Coleman-Smith and T Pearson, Excavations in the Donyatt Potteries, nos 33-36 for jugs of the same form.

160 A large Staffordshire combed slipware dish, 18th century, the shallow oblong form decorated with a cream ground combed with brown slip, with piecrust indentations to the rim, some wear, 35.5cm. £1,000­1,500 Provenance: from an English private collection, Sussex.

161 A Hispano Moresque lustre bowl or charger, late 17th/18th century, decorated in copper lustre with a large bird amidst stylised branches, the rim with a repeated foliate motif, three rim cracks, 36cm. £250­350

Provenance: from an English private collection, Sussex.

163 A Kutahya Iznik­style dish, late 18th/19th century, boldly painted with a formal arrangement of flowers and leaves in blue, green, manganese, yellow and terracotta red, some damages and repairs, 26.8cm. £100­200

162 A Zsolnay Iznik style jug, late 19th century, painted in typical palette of blue, green and dark red with a formal design of carnations and other floral motifs, printed and impressed marks, 20.8cm. £150­250

164 A Castelli maiolica armorial plate, 1st half 18th century, painted in typical palette of green, yellow, blue and manganese, with figures beside trees and a tall Corinthian column, the top with a quartered armorial shield surmounted by a crown, 23.8cm. £200­300

165 A small Italian maiolica dish or tazza, 18th century, painted with St Francis of Assisi kneeling and receiving the stigmata, raised on a low circular foot, a long rim crack, 20.2cm. £120­180

166 An unusual Continental faïence large cup or handled pot, 18th century, perhaps French, the rounded body moulded with a spiral design, decorated in a pale celadon glaze, 8.5cm high. £100­200 An old museum or exhibition label to the underside.

167 A large French faïence plate or charger, late 18th century, boldly painted with a flower spray, with scattered sprigs to the rim, blue M mark to the base, 32.5cm. £200­300

168 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. £2,000­3,000

169 An Italian maiolica floor tile, 17th century, painted in the Pesaro manner with two dogs facing each other with a raised forepaw, two corners with bell motifs, reserved on a green ground within a yellow border, some chipping and surface wear, 14cm. £200­300

170 Two Caltagirone maiolica wet drug jars or ewers, 18th/19th century, typically decorated with flowerheads and foliate scrolls in green, ochre and manganese on a blue ground, raised on circular socle feet, some damages and repairs, 20.2cm max. (2) £150­250

171 A Delft apothecary or tobacco jar, 2nd half 18th century, the ovoid form painted in blue with an elaborate cartouche surmounted by a vase of flowers, inscribed ‘Tonca’, blue B:P mark, a French faïence drug jar of cylindrical form, inscribed ‘Bals Nervin’ between leaf scrolls, and a later leadglazed earthenware salt jar, 26.5cm max. (3) £200­300 Tonka beans are now a banned substance in many countries, but had a variety of occult and more mundane uses. Some believed that desires could be fulfilled by carrying around a bean until the wish came true and then burying or stamping on it.

173 A small Italian maiolica albarello or pill jar, 18th century, the narrow waisted form painted in blue with a shield enclosing a flower stem, surmounted by a cross, a little chipping, 13.2cm. £150­250

172 A Delft wet drug or syrup jar, 18th century, the rounded body painted in blue with a cartouche inscribed ‘O ANETHI’ within a foliate scroll and surmounted by putti, beneath a short knopped spout, raised on a flared foot, blue mark for The Hatchet (Het Bijltje) factory, the rim chipped or ground, 18.3cm. £200­300

Oil of Anethum Graveolens (Dill) is still used today to relieve stress, aid the digestion and ease pain.

174 An Italian maiolica albarello, early 18th century, the slender waisted form painted in blue and black with St Francis receiving the stigmata, titled around the base ‘Sy: DI: SPINA. PONTICA’, repaired, 26.3cm. £150­200

175 A Delft feeder or wine ewer, c.1680, the globular body painted in blue with a figure seated and reading from a scroll, the reverse with two figures beneath a pine tree beside an ornamental fence, the flared neck with a stiff leaf design, the spout restored, some chipping to the rim, 12.5cm

£200­300

176 A Nevers faïence bough pot, 18th century, modelled as a chest of drawers and painted in yellow, ochre, blue and manganese, the sides with flower sprays, the top pierced with small holes around three larger apertures, some glaze chipping, drilled to the base, 22cm across. £100­200

177 A Delft armorial jug, 1st half 18th century, painted in blue with a crowned shield containing a wooden bucket, and a delftware straining bowl, painted to the exterior with peony and other plants, the concave top pierced with holes, the jug cracked, restored rim chips to the bowl, 19.5cm max. (2)

£250­350

178 A Delft caster or sugar sifter, 18th century, of octagonal form, painted in blue with birds standing and in flight beside flowering branches, the domed top pierced with small holes, raised on three feet, a little glaze chipping, 12cm. £100­200

180 A large and early Delft jug or ewer, c.1660, painted in a bright blue with clusters of Chinese figures some in a boat, one holding a large flag and addressing a group, the rim and foot with stylised trellis designs, blue 7 mark to the foot, some restoration, 37.3cm. £400­600

179 A very large Delft jardinière, late 18th/19th century, of ten­sided form, painted in blue with birds on a dense leaf sprig ground, the moulded foot with a band of stiff leaves, blue APK monogram mark, an 8cm rim section lacking, 35cm tall. £800­1,200

181 A Delft bowl, c.1690­1710, painted in manganese and green with Chinese figures in a continuous landscape, the interior with two stylized figures carrying long staffs, riveted, 21.5cm dia. £100­200

182 A Delft figure of a horse, late 18th century, modelled with ears pricked and left fore hoof raised, wearing a patterned saddle and decorated in blue enamel, raised on a chamfered rectangular base, letters mark for Jacobus Halder, repairs to the ears, 21cm. £150­200

183 A Delft comical monkey jug and cover, mid 18th century, modelled as a monkey holding a fruit up to its mouth and forming the spout, wearing a hat decorated in manganese, blue V over 3 mark, 19.7cm. (2) £200­300

The subject matter derives from enamelled wine ewers of the Kangxi period in China where the monkey holds an open peach, based on a 16th century story called The Journey to the West.

184 A small Delft figural salt, 18th century, modelled as a girl seated and holding a box or instrument, before a small bowl, all raised on a rocky base, blue AL monogram mark, 10.5cm. £200­300

185 Four small Liverpool delftware bowls, c.1770, painted in pale blue with a Chinese figure standing in a window and watching another figure holding a bird aloft, the rims with floral motifs, some faults, 21cm. (4)

£200­300

186 A rare pair of Delft plates, early 18th century, boldly painted in blue, red, green and yellow with a formal Dutch garden landscape showing a narrow canal before spired buildings and a prominent cockerel weather vane, with a rare Liverpool delftware plate painted in blue with the Eight Horses of Mu Wang after a Chinese original, damages and restoration, 29.5cm max. (3) £200­300

187 Two delftware plates, c.1730­60, one of primitive shape and painted in blue with a long­tailed bird perched on a foliate sprig, the rim with formal sprig motifs, the other with a wading bird and a figure in a Chinese island landscape, some restoration to the rims, 13cm. (2)

£100­200

£200

£400­600

Paper label for Mrs W Glasgow Reynolds, Foxwood, Delaware.

£400­600

188 A pair of Wincanton delftware plates, c.1760, painted with three shaped panels of stylised flower sprays around a central motif, all reserved on a powdered manganese ground, some glaze chipping, 23cm. (2)

300 Paper labels for A F Allbrook, 24 Cromwell Place, SW7.

189 A delftware plate, c.1750, the well finely painted in blue with a Chinese dignitary seated at a table with an attendant beside, the rim with three fish, reserved on a powdered manganese ground, restored, 22.5cm.

190 A delftware plate, c.1750, the well painted in blue with an octagonal panel depicting a bird in flight over buildings, the rim with five fish, all reserved on a powdered manganese ground, a rim crack, some restoration, 22cm.

A Delft

in red,

£200­300

192 A rare Lambeth delftware shallow dish or bowl, c.1785, painted in blue, green, yellow and manganese with a hot air balloon in flight above buildings and a low fence, the rim with stylised leaf swags, some chipping, 22.8cm.

£600­800

The dish commemorates the demonstration flight of Italian aeronaut, Vicenzo Lunardi, on 15th September 1784 from the Artillery Ground in Finsbury. A crowd of over 200,000 watched the ascent, and others (no doubt including the workers at the nearby delftware factories) would have seen the balloon pass overhead on its flight to Standon Green End.

£100­200

191

plate, c.1730, brightly painted

yellow, blue and green with a Chinese man crossing a garden before a low hut and ornamental fence, the rim with three flower sprays, some glaze chipping, 22.7cm.

193 A Delft Crucifixion plate, mid 18th century, painted in blue with Christ on the cross between the two robbers, his blood detailed in red, the rim with a floral border, some chipping, 22.8cm. £200­300

194 A Continental tin­glazed plate, 18th century, the well painted in polychrome enamels with a roundel of a tower in a landscape, within concentric manganese circles, some glaze chipping to the rim, 24cm.

195 A London delftware Royal blue dash charger, c.1690­95, painted with a full length standing portrait of King William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, within a blue dash and yellow border rim, the underside with a buff lead glaze, a section broken out and cleanly restored, 35.3cm. £3,000­5,000

196 A pair of large Delft vases, c.1700, of Chinese shape, the baluster bodies painted with panels of Chinese figures in gardens, the flattened shoulders with lotus mons and ruyi scrolls, the tall flared necks with a band of stiff leaves, some chipping, 37.5cm. (2) £800­1,200

197 A large delftware vase, c.1750, of baluster form, painted in blue with Chinese figures in a continuous landscape, the shoulder and foot with panelled floral and trellis designs, the cover lacking, some restoration to the neck, 31.5cm. £500­700

199 A delftware puzzle jug, c.1760, probably Liverpool, painted with flower sprays flanking a four line verse inviting drinkers to try their luck, the tall neck pierced with hearts and ovals, the rim with three small spouts, some good restoration to one spout, some glaze chipping, 18.5cm high. £300­500

198 A Delft tulipiere or flower vase, late 18th century, formed of four apertures moulded with overlapping petals edged in blue, raised on a square base, minor restorations, 19cm high. £150­200

200 A small Delft vase, late 17th/early 18th century, in Chinese Transitional manner, painted in dark blue with panels of a figure seated in a garden alternating with landscape vignettes, between bands of stiff leaves, the tall neck knopped near the flared rim, 18.8cm. £150­250

201 An unusual Delft puzzle jug, 18th century, the globular body painted in blue with a figure holding out a cloth or garment to two figures seated nearby, possibly a biblical scene of Jacob offering Joseph his coat of many colours, a further figure holding a parasol, the tall neck pierced with a flowerhead design, 18cm. £500­800

202 A delftware posset pot and cover, c.1700, painted in blue with Chinese figures at various pursuits in a garden setting, a large chip to the cover and to the flange of the pot, 21.5cm across. (2) £150­200

203 A rare English delftware night light holder, c.1770, probably London, the cylindrical jar shape with an everted rim, pierced with five small arched windows, the rest painted with flying insects around flowering branches, with a concave base, 12cm. £400­600

Cf. Michael Archer, Delftware, pp.328-329, Nos. G5 and G6 for similar examples.

A

204

rare and previously unrecorded Irish delftware tureen and cover, c.1760, the circular form with everted rim, painted in blue with the Feathers in a Vase pattern, a vase of peacock feathers beside flowering branches, the cover’s rim with a panelled border, the cover with a floral knop, painted numeral marks, 22cm across. (2) £2,000

3,000 Cf. Peter Francis, Irish Delftware, p.134 for a discussion regarding documentary evidence of round Dublin tureens.

205 A large English delftware posset pot and cover, c.1720, London or Bristol, the large body painted in blue with birds perched atop flowering branches, the strap handles with blue dashes, the narrow spout with a foliate scroll design, a good repair to the rim, 25.3cm. (2) £2,000­3,000

206 Three Liverpool delftware tiles, c.1760­70, printed by John Sadler, one with a girl blowing bubbles in a garden, after John Bowles, another with a gentleman doffing his hat to two ladies (after The Ladies’ Amusement), the last with a lass being chucked under the chin, and two Delft tiles painted in manganese, one from a larger panel, the other with an armorial shield for the Dutch town of Gorchum, damages, 12.8cm max. (5) £100­200

207 A Creussen stoneware pewtermounted tankard (Apostelkrug), late 17th century, moulded in relief and enamelled with the twelve Apostles flanking the pascal lamb, with an 18th century German red­glazed hot water jug with gilded decoration, a tall English creamware mug painted in polychrome enamels with a Long Eliza holding a parasol, and a pearlware mug printed and hand­coloured with Chinese figures in a garden, damages, 15.8cm max. (4) £200­300

208 Three Majolica tureens or pots and covers, 19th century, one Joseph Holdcroft and modelled with a crab finial, another George Jones and modelled with three fish lying on a bed of seaweed, the last probably Continental and mounting with a swan finial to the cover, together with a Portuguese Palissy­style dish of garlic, 23.8cm max. (7) £200­300

206

207

209 A redware punch pot and cover, mid 18th century, the cylindrical form sprigged with a figure blowing a hunting horn beside formal flowering branches, square seal mark, and two redware teapot and covers, applied with birds flanking a rose bush, the other with formal rose and leaf motifs, impressed seal mark to one, together with a hexagonal teapot moulded with Chinese figures, minor damages, one cover probably associated, another lacking, 26cm max. (7) £250­350

210 Two redware cylindrical teapots and covers, mid 18th century, a small coffee pot and cover, and a jug and cover, the coffee pot of tapering form, all turned with continuous designs, impressed square seal marks to one teapot and the jug, some damages, 20cm max. (8)

£300­500

211 A large redware punch pot and cover, mid 18th century, sprigged with small hunting scenes beneath formal flowering branches, with three teapots and covers applied with grapevine, and a small teapot applied with various figures and dogs, damages, one cover lacking, 28cm max. (9)

£200­300

212 Five English redware coffee pots, c.176070, four with covers, of baluster form, the smallest sprigged with grapevine, three variously applied with birds in flight and Chinese figures, the last with formal foliate designs, some damages and repairs, 23cm max. (9)

£250­350

213 Two Jackfield coffee pots and covers, c.1750, the larger coffee pot with later silver­coloured metal mounts linked by chains, the smaller with a crabstock spout and handle, together with a milk jug and cover, raised on three paw feet, some damages, 27.6cm max. (5) £150­200

214 Two large redware coffee pots and one cover, mid 18th century, of baluster shape, finely turned with continuous shaped bands, with acanthus leaf moulding to the spouts, one spout formed as a mythical bird some damages, 25.5cm max. (3) £150­250

215 A large Jackfield jug and a teapot and cover, c.1760­80, the teapot with crabstock spout and handle, raised on three paw feet, with traces of gilding to the shoulder, the jug of baluster shape and raised on a low circular foot, with a later black­glazed cow creamer and cover, 19.3cm max. (5)

£150­200

216 A large English redware punch pot and cover, c.1760, the cylindrical form applied with exotic birds in flight among flowering branches, impressed seal mark to the base, 30cm across. (2) £150­250

Paper label for Jonathan Horne Antiques.

The jug exhibited at the English Ceramic Circle, 1977, no.58.

218 A large silver­mounted Jackfield coffee pot and cover, c.1750, of baluster form, raised on three paw feet, with unmarked silver mounts to the handle, cover and spout, an old repair, 30cm. (2) £100­200

200

217 A Leeds creamware cruet or condiment stand, late 18th century, the circular galleried stand set with three casters, a mustard pot and cover and a vinegar bottle, raised on a low circular foot, some damages, one bottle lacking, 27.5cm. (7) £100

219 A Westerwald stoneware square flask or bottle and stopper, early 18th century, the four sides each decorated with a scrolling blue design, the rounded shoulders with a grey trefoil motif, the stopper with a screw fitting, chipping to the edge of the stopper, 20.3cm. (2) £100­200

Provenance: from an English private collection, Sussex.

220 A large Fulham stoneware flagon or serving bottle, mid 19th century, of four gallon size, impressed inscription ‘335 George Dady Norwich’ beneath the spout, the handle impressed with a 4, beneath that ‘Fulham Stone Pottery Glazed Inside’, 46cm. £400­600

Provenance: formerly the Jonathan Horne Collection.

George Dady was landlord of The Walnut Tree Shades pub in Norwich, and is listed as a wine and spirit merchant in directories of the 1850s. He died in a suspected suicide in 1859 at the age of 27, having been found drowned in a cistern after experiencing financial worries. His wife took over the pub but was killed the following year in a gunpowder explosion. Their two young children were rescued from the blast by a passing sailor and were cared for by their grandparents before being transferred to a London orphanage in 1865.

221 A large salt­glazed stoneware dish, c.1750, crisply moulded with alternating diaper panels within a reticulated rim, and a saltglazed stoneware plate with silver­shaped rim, 31cm max. (2)

£150­200

222 Four Staffordshire green glazed plates or dishes, 2nd half 18th century, one Brameld and moulded with differing osier panels, another with a scalloped basketweave rim, one with a border of overlapping leaves, the last a leaf dish, 25.3cm max. (4) £150­250

Provenance: the Martin Mortimer Collection.

223 A silver lustre pearlware jug, dated 1814, decorated in relief with birds and inscribed ‘Thomas Buston, Tann House, 1814’, and two green­glazed jugs, one moulded with a hunting scene, the other with putti and Prince of Wales feathers, minor faults, 19cm max. (3)

£150­250

Provenance: the Martin Mortimer Collection.

The lustre jug appears to relate to the Buston or Burston Family of Tan House Farm in Leigh, Gloucestershire.

224 Three Staffordshire green glazed baskets and a stand, c.1760, two oval, one circular, variously moulded and formed of overlapping strips of clay, decorated in a rich green glaze, the circular basket with an impressed Wedgwood mark, 25.7cm max. (4) £150­250

Provenance: the Martin Mortimer Collection.

223

222

221

225 An English salt­glazed stoneware plaque or roundel, early 18th century, probably Fulham, modelled in relief with a full length portrait of Henrietta Maria of France, wife of Charles I, holding an orb and scpetre, pierced with a suspension hole to the top, 9.5cm. £300­500

The deeply Catholic Henrietta Maria was unpopular in Protestant England and was felt to have too much power over her husband. It is possible that, as the mother of James II, this was produced for a Jacobite sympathiser.

226 A silver­mounted brown stoneware jug, dated 1874, sprigged with George slaying the dragon, a windmill and topers above a continuous hunti scene, the hinged silver cover with a dolphin crest and inscribed ‘From EBK to G&A Aug 6th 1874, 21cm.

£150­250

227 Two Naples (Guistiniani) creamware plates, 19th century, decorated in the Egyptian Revival manner with figures in black and terracotta within formal leaf borders, incised marks, and a Giacomo Boselli creamware vase and cover, painted with figures in a continuous landscape, the neck and shoulder pierced, some damages and repairs, 25.3cm max. (4)

£250­350

228 A miniature or toy creamware tea service, late 18th century, painted in blue with a pagoda landscape, some damages. Comprising: a coffee pot and cover, a sugar bowl and cover, a circular stand, three teabowls and four saucers. (12)

£150­250

226

227

225

229 A very large pearlware punch bowl, 19th century, printed and handcoloured in the Mandarin manner with Chinese figures, including vignettes of the Boy in the Window pattern, 35.3cm dia. £100­200

231 A large pearlware commemorative jug for the coronation of William IV, c.1831, printed in puce with portraits of the King and Queen Adelaide, the interior rim with flowers of the Union, all on a moulded flowerhead diaper ground, 24.2cm. £150­250

230 A Herculaneum creamware tureen and cover, 19th century, printed in red with Etruscan figures and vases on a dense grapevine ground, impressed H mark, 35.5cm. (2) £150­250

232 A creamware mug, c.1780, of Whieldon type, the cylindrical form decorated with small drips of green and manganese, the handle formed of overlapping grooved straps issuing from flowerheads, some cracking, 12.5cm. £200­300

233 Three Staffordshire pearlware printed plaques, 1st half 19th century, printed with Faith, Hope and Charity, depicted as three maidens and titled to the base, modelled with integral black frames, 14.5cm. (3)

£150­250

234 Two brown stoneware lions, 19th century, the smaller possibly Newcastle, naively modelled with head turned, a collector’s pen inscription to the underside, the larger recumbent with head turned and decorated in a lustrous brown glaze on a rectangular base, 21cm wide max. (2)

£250­350

235 A pearlware stirrup cup, early 19th century, modelled as the head of a dog or hound, its coat detailed in brown patches, some glaze chipping, 13.5cm. £200­300

236 Two Continental faïence Toby jugs, 19th century, seated with hands clasped over their stomachs, wearing peaked hats, picked out in blue, yellow, ochre and manganese enamels, some faults, 26cm max. (2)

£200­300

Provenance: from an English private collection, Sussex.

Cf. Pat Halfpenny, English Earthenware Figures 1740-1840, p.90 for the spaniel model.

500

237 A pair of Wood type pearlware figures of dogs, c.1785­95, modelled as a spaniel and a pointer seated with heads turned on tasselled cushions picked out in ochre, green and manganese, small damages and repairs, 18cm. (2) £300

238 A pair of Staffordshire pearlware figures of monkeys, 19th century, each seated on a low rocky base and clutching a green fruit to its chest, 8.5cm. (2) £150­250

239 A rare pearlware figure of a cat, early 19th century, seated on its haunches with head turned to the left, its coat sponged with manganese over an orange glaze, raised on a grey patterned cushion, a chip to the base, 17.2cm. £300­500

240 A Staffordshire figure of a girl, 1st half 19th century, seated on a rocky stump beneath flowering bocage and reading a book, raised on a square base, 26.3cm. £100­200

241 A Staffordshire figure group of the Flight to Egypt, early 19th century, modelled with Mary and the infant Jesus on the back of a donkey guided by Joseph, raised on an unusual shield base picked out in red, blue and yellow, some restoration, 19cm. £100­200

242 An unusual pearlware spill vase, early 19th century, formed as a hollow tree trunk draped with game birds and a rabbit beside a satchel, 21cm. £100­200

243 A large Brampton (Derby) stoneware Toby jug, c.1820­30, seated with a foaming patterned jug of ale on his left knee, 29.5cm. (2) £150­250

244 Two Staffordshire Toby jugs, c.1820­30, of Ordinary type, each seated with a foaming jug of ale, one wearing a purple waistcoat over green breeches, the other a blue coat over yellow breeches and striped stockings, some restoration or retouching to one hat, 25cm. (2)

£200­300

246 An Ordinary Toby jug and stopper, c.1800, seated with a foaming jug of ale and a long­stemmed pipe, his coat with unusual manganese motifs, , his hat, hair and breeches in an indigo blue, some restoration to the stopper, 24.5cm. (2)

£150­250

245 A creamware Wood type Toby jug, c.1790, seated with a foaming jug of ale, his waistcoat and breeches washed in a pale green, his coat, hat and stockings sponged with manganese, some restoration to one side of the base, 25.2cm.

£300­400

247 A Yorkshire standing toby jug, c.1810­20, holding a glass and bottle, wearing a sponged blue coat over a yellow waistcoat and breeches, and another small standing toby, possibly Scottish, clutching a foaming jug of ale, decorated in Portobello colours, small chips, 18.2cm max. (2)

£150­250

248 An unusual Pratt ware Toby jug, c.1800, seated with a patterned jug of ale, wearing an ochre coat over black breeches, his hands painted green with dark fingernails, 25.5cm. £250­350

250 A small Pratt ware Toby jug, c.1800­10, seated on a tall base and holding a jug of ale decorated with polka dots, the base sponged in blue and ochre, and a second small Toby jug, wearing a turquoise coat over lilac breeches and holding a glass to his lips, the second toby’s handle a replacement, 19cm max. (2) £250­350

249 Two Ordinary Toby jugs, c.1820, each holding a foaming jug of ale on one knee, wearing a red coat over a pale waistcoat, some flaking and retouching to enamels, a repair to one handle, 24.5cm. (2) £150­250

251 A Wood type Toby jug, c.1790­1800, seated with a jug of ale and a long­stemmed clay pipe, his coat sponged with manganese over an ochre waistcoat, the base painted green, a small amount of restoration to his hat, 25cm. £250­350

253 A large Minton Parian model of Una and the Lion, c.1860, by John Bell, the maiden seated sideways on the back of her faithful companion and holding his mane in one hand, and a Minton Parian model of the Babes in the Wood, sleeping on the woodland floor, restoration to Una’s left leg, 38cm max. (2) £250­350

Cf. Richard Dennis, the Parian Phenomenon, p.64. The story of Una and the Lion is taken from Spencer’s 16th century ‘Faerie Queene’.

252 A large Minton Parian figure group of Love Restraining Wrath, date code for 1885, with Venus and Cupid hampering the progress of an armed centurion, raised on an oval base, impressed marks, some restoration, 42cm high.

£100­150

254 Two Kerr & Binns (Worcester) Parian busts of Queen Victoria and Prince Albert, mid 19th century, the young couple modelled by E J Jones with heads slightly turned, raised on circular socle bases, some restoration to Victoria, 34.5cm. (2) £100­200

255 Two Parian figures of The Greek Slave, mid 19th century, after Hiram Powers, the naked figure chained to an adjacent post draped in a tasselled cloth, the smaller Minton, the larger Copeland, incised and impressed marks, some losses and restoration, 47cm max. (2) £200­300

257 A pair of Staffordshire porcelain figures of Punch and Judy, 19th century, the grotesque couple riding on the back of goats, raised on oval bases with gilt detailing, a little flaking to the enamel, 17cm. (2) £150­250 Provenance: Mrs Winifred Gladstone (1898-1985).

256 An unusual pair of Minton figures, c.1895­1900, of high society ladies wearing bustle dresses, decorated in a rich coral pink, their faces and arms left in the white, one with a gilt monogram for Marc­Louis Solon, gilt globe mark and indistinct swan date mark, 25.8cm max. (2) £300­500

258 A Chamberlain’s Worcester figure of a swan, c.1810, modelled with wings folded across its back, red script mark, and a small Derby model of a cow grazing, some good restoration to the cow’s horns, 6cm high max. (2) £150­250

The cow with a paper label for D M & P Manheim.

259 An extremely rare Minton porcelain Robin teapot and cover, c.1876, designed by William James Goode and modelled as a fluffed­up robin with tail erect and beak agape, standing on a mossy ground applied with berried holly, its plumage naturalistically coloured, printed and impressed marks including for T. Goode & Co., restored, the cover a replacement, 16.3cm high. (2) £8,000­10,000

Provenance: formerly in the collection of Archibald Brabazon Sparrow Acheson, 4th Earl of Gosford (1841-1922).

It seems likely that this teapot is the one commissioned from William Goode in 1876 by the then Princess of Wales (Alexandra of Denmark) for her husband, later Edward VII. That teapot is no longer in the Royal Collection and, since the 4th Earl of Gosford was Vice-Chamberlain to Queen Alexandra, it is entirely possible that she gave the teapot to him, since she was in the habit of regularly gifting high value items to her staff and friends.

Illustrated: Philip Rayner, Thomas Goode of London 1827-1977, p 13; see also Paul Atterbury and Maureen Batkin, Dictionary of Minton, p 215.

Cf. Bonhams, Selected Items from the Minton Museum Collection, 5th October 2004, lot 65 for a near identical example, believed to have been made at the same time as the Princess's commission and retained by the factory.

260 A rare Chamberlain’s Worcester figure of the Pelican in her Piety, c.1810­20, the bird modelled with wings raised behind, her beak piercing her breast to draw blood, raised on a chamfered rectangular base, puce script mark, good restoration to one wing tip, 9.3cm high. £150­250

The Pelican in her Piety is a Christian symbol relating to sacrifice and salvation. It was believed that the pelican would draw its own blood to feed its chicks in the absence of food.

261 A rare Minton porcelain ‘Mermaid’ ewer, c.1880, of askos shape, moulded with putti and a horned mask, on a blue ground with gilt star design, the handle formed as a mermaid, printed mark including for retailer’s mark for Daniell, Wigmore Street, London, 17.5cm across. £200­300

262 A good and rare Royal Crown Derby commemorative casket, 2012, produced for the Diamond Jubilee, finely decorated in the Imari palette and inscribed ‘HM Queen Elizabeth II’, the front decorated with her Royal cipher, 22.5cm. Together with its original box and certificate showing it to be number 59 of a limited edition of 60. (2) £300­500

263 Three Royal Crown Derby commemorative plates, modern, two for the Ruby Jubilee of Queen Elizabeth II, numbers 38 and 123 of a limited edition of 500, and the other for her Diamond Jubilee, number 90 of a limited edition of 750, in their original boxes. (3) £100­200

264 A pair of Royal Worcester vases and covers, date codes for 1912, of shape 2486, painted by Harry Davis with travellers in rural landscapes, beneath tall trees and before misty castle ruins, reserved within gilt panels on a green and white striped ground, signed, printed marks, some damages, 31cm. (4)

£750­900

265 A pair of Royal Worcester Aesthetic Movement ‘Japonism’ vases, c.1870, the square forms moulded in relief and decorated in blue with cranes beneath towering bamboo, the sides applied with lion dog masks issuing ring handles, impressed marks, 28.7cm. (2). £300­400

266 A cased Royal Worcester coffee set, date codes for 1936, including twelve coffee cups and twelve saucers, decorated with a continuous gilt leaf scroll over a green simulated hardstone ground, with silver­gilt coffee spoons, retailed by Mappin and Webb, contained in a fitted green case, two spoons lacking, some faults, 51.3cm overall.

£200­300

267 Six Coalport cabinet plates, 20th century, each painted to the well with a small landscape panel reserved within elaborate raised gilt borders on a cream and blue ground, each titled to the reverse ‘Loch Lomond’, ‘Capel Curig’, ‘Near Devon’, ‘Dunollie Castle’, ‘Windermere’ and ‘Heather Island’, printed marks including retailers marks for H G Stephenson of Manchester, 23.4cm. (6) £150­250

268 An English porcelain part dessert service, 19th century, possibly Minton, painted with scenes of figures in pastoral landscapes within overlapping square borders in turquoise and gilt, pattern numbers 2062 in iron red. Comprising: five tazzae and 12 plates. (17) £300­500

269 A rare Factory Z (Staffordshire) porcelain part tea service, c.1800, decorated in red, blue and silver lustre with a floral roundel and stylised scrolls on a ground of silvered leaf motifs. Comprising: a teapot and cover, a milk jug, a slop bowl, a sugar bowl, a cake plate, seven tea cups and 11 saucers. (24) £150­200

270 A Derby part tea service, c.1815, richly decorated in pattern 44 with diagonal panels of red flowers and blue cornflower within gilt vertical and foliate stripes. Comprising: a teapot with cover and stand, a sucrier and cover, a milk jug, two cake plates, a slop bowl, four teacups, four coffee cans and four saucers. (21) £150­250

271 A Chamberlain’s Worcester part tea service, c.1820, richly decorated in the Imari palette in pattern 240, with a panelled design of flowers and leaves. Comprising: a teapot and cover, a water jug, a milk jug, a slop bowl, two cake plates, ten tea cups and eight saucers. (25) £100­200

272 A Grainger’s Worcester tea service, c.1810, decorated with bands of oak leaves wrapped in orange ribbon. Comprising: a teapot with cover and stand, a sucrier and cover, a milk jug, a slop bowl, two cake plates, 12 teacups, six coffee cans and 12 saucers. (39) £150­250

273 A Flight, Barr and Barr part tea service, c.1820, decorated with a gilt panelled border of flower designs, reserved on a salmon ground. Comprising: a sugar bowl, a slop bowl, two cake plates, four breakfast cups, six coffee cups and three saucers. (17) £100­200

Provenance: the Charles Dawson Collection.

274 A pair of Spode vases, c.1820, painted with tavern scenes in the Teniers manner, reserved on a blue ground, the necks painted with pink roses, each vase with winged term handles, some damages, 25.8cm. (2) £150­200

275 Two Flight, Barr and Barr vases, c.182030, one well painted with a dog chasing a mallard duck onto the open water, reserved on a claret ground, the other with a continuous band of flowers including rose, convolvulus and passionflower, script marks, the handles restored or lacking, 22cm max. (2) £150­200

Provenance: the Charles Dawson Collection.

272

273

276 A garniture of three English porcelain spill vases, c.1820­30, the flared forms with galleried rims, painted with baskets of flowers reserved on a claret ground, and a pair of Bloor Derby spill vases, painted probably by Richard Dodson with colourful birds perched on branches before lakes, some cracking, 11.2cm max. (5)

£200­300

277 Nine Barr, Flight and Barr coffee cans, c.1805­10, four printed with vignettes of Classical figures, one with shells reserved on a pink ground, one printed in puce with a large moth, two with baskets of flowers, one with Classical motifs, all with ring handles, impressed marks, 6.2cm. (9) £150­250

Provenance: the Charles Dawson Collection.

278 Six Flight, Barr and Barr miniature vases, c.1815­20, four of straight­sided shape with beaded borders, raised on three paw feet, variously painted with birds, flowers and landscapes including a view of Warwick Castle and another of Bothall Castle, another of small campana shape painted with a boy holding a stick, the smallest painted with colourful feathers, script and impressed marks, damages and repairs to all, 9.3cm max. (6) £100­200

Provenance: the Charles Dawson Collection.

279 Three Worcester inkwells from the Flight and Barr partnerships, c.1800­20, one a waisted drum Barr inkwell painted in sepia with Classical ruins on a faux marble ground, a Barr, Flight and Barr inkwell and cover of Etruscan shape painted in blue and gilt and applied with a band of white beading, the last Flight and Barr and decorated with stylised gilt flowerheads on a pink band, reserved on a green ground, some damages, a cover lacking, 14.5cm max. (4) £100­150

Provenance: the Charles Dawson Collection.

280 Seven coffee cans from the Flight and Barr Worcester partnerships, c.1805­25, two Barr with a matching saucer and painted with sepia landscapes on a faux marble ground, another can and saucer with convolvulus on a pink ground, a Flight, Barr and Barr can and saucer with gilt foliage on a peach ground, the other three cans Barr, Flight and Barr and variously decorated with gilt seaweed tendrils on a salmon ground, impressed or incised marks to most, minor faults, 15.1cm max. (10)

Provenance: the Charles Dawson Collection.

£150­250

282 Two Barr Worcester beakers and two Flight, Barr and Barr coffee cans or small mugs, c.1800­35, the flared beakers with gilt initials, the cans similarly decorated with initials and monograms, one with gilt seaweed tendrils, another on a green ground, impressed and incised marks, 9.5cm max. (4)

Provenance: the Charles Dawson Collection.

£100­150

281 Five Flight and Barr partnership cups and saucers, c.1800­15, including a Barr trio of coffee can, teacup and saucer with a boar’s head armorial crest, a Flight, Barr and Barr trio with birds on an apple green ground, a Barr cup and saucer in the Dr Wall manner, a Barr, Flight and Barr cup and saucer with gilt palmettes on an orange ground, and a Flight, Barr and Barr cup and saucer with flowers on a blue ground, various marks, 15cm max. (12)

Provenance: the Charles Dawson Collection.

£150­250

283 Four English porcelain vases, 19th century, a pair of Chamberlain’s spill vases painted with flowers, a Minton two­handled vase painted with birds, and a larger two­handled vase painted with exotic birds, all reserved on a mazarine blue ground, restoration to the handles of the Minton vase, 23cm max. (4) £150­200

284 A pair of Barr, Flight and Barr small plates, c.1808­10, painted with single flower sprigs around a central floral posy, a Flight and Barr plate painted with a continuous band of strawberries, and a single­handled dessert dish painted with a spray of bilberry and further flower arrangements, various marks, the strawberry plate cracked, 23cm max. (4) £200­300

Provenance: the Charles Dawson Collection.

285 A Derby part tea service, c.1815, decorated with a formal gilt and polychrome foliate border on a salmon pink ground, comprising a sucrier and cover, a slop bowl, a cake plate and three trios, together with a large Derby jug, c.1785, painted with a spray of flowers beneath a blue and gilt rim, puce crowned D mark, and a hard­paste Chelsea­Derby style quatrefoil dish, 21.5cm max. (15) £100­200

286 A small study collection of English and French porcelains, 18th century, including a Worcester plate, a Chelsea­Derby vase and cover with flowers on a turquoise ground, a Chelsea­Derby saucer and two plates, a Sèvres teabowl painted with monogrammed initials, a small ecuelle painted with puce putti, and two saucers painted with flowers, 26.3cm max. (10) £150­250

287 Three Barr, Flight and Barr (Worcester) teapots with covers and stands, c.1810, bat printed in black, two with vignettes of shells on a seaweed ground, the other with Classical figures and laurel sprigs, impressed and incised marks, some faults, 25cm max. (9) £150­250

Provenance: the Charles Dawson Collection.

288 A garniture of three Bloor Derby bough pots and covers, c.1825­30, painted perhaps by Thomas Steel with panels of flowers including rose, auricula, primula, iris and clematis, reserved on a mazarine blue ground, the tops pierced with multiple holes edged in gilt, red printed factory marks, some damages, 22.5cm max. (6)

£150­250

289 A Barr, Flight and Barr combined breakfast set, c.1810, comprising a muffin dish and cover, a buttertub with cover and stand, printed in black with birds in flight, and a honeypot and cover, printed with shells, impressed marks, 21.3cm max. (7)

£100­200

Provenance: the Charles Dawson Collection.

290 Three English porcelain porter mugs, c.1820­30, two Derby and painted with baskets of flowers resting on a stone shelf, with formal gilt designs on a white ground, the last decorated with stylised red and gilt flowers on a green pointille ground, red retailer’s mark for J Mist of 82 Fleet Street, a crack to the foot of the last, 12.5cm max. (3)

£150­200

291 A Barr, Flight and Barr sauce tureen with cover and stand, c.1810, finely painted with flowers and edged with white beading on a gilt band, printed and impressed marks to the stand and cover, and two Flight, Barr and Barr small vases, painted with arrangements or bands of flowers on pale green and blue grounds, raised on square bases, impressed marks, some restorations, 16.3cm max. (5) £250­350

Provenance: the Charles Dawson Collection.

292 A small Chamberlain’s Worcester hunting scene jug, c.1820, painted with a spaniel chasing a cock pheasant, after a painting by Stephen Elmer, reserved on a sage green ground, titled beneath ‘Spaniel and Wounded Pheasant Vide Daniels Rural Sports’, a 4cm rim crack, 13.5cm. £100­200

William Barker Daniel’s ‘Rural Sports’ was published first in 1801, then republished in 1812. The volumes including many printed versions of paintings by artists including Elmer, Sawrey Gilpin, Nathan Drake and George Stubbs.

293 A rare Spode pineapple stand, c.1815­20, painted with large sprays of pink rose and moulded with other flower sprays left in the white, reserved on an apple green ground, the decoration echoed to the underside, iron red factory mark, 23cm.

£400­600

The decoration to the underside would probably have been reflected in a mirror placed beneath to show off the porcelain to great effect. The hole in the base of the stand would have accommodated the stalk of the uncut pineapple to make it more stable. Slices of another pineapple or other fruit would have been placed around the edge of the plate. It was not uncommon for the uncut pineapple to be saved and used at a second event, such was the expense of the exotic fruit at that time. Cf. Leonard Whiter, Spode, pl.218 for a similar example.

294 A Derby botanical sauce tureen and cover, c.1800, painted in pattern 216 with floral specimens of Blitum virgatum, Scilla campanulata and Melissa grandiflora, after prints by John Edwards, within rich yellow borders, titled in blue, restoration, 22cm across. (2) £100­200

295 A Minton trompe l’oeil plate, c.1830, the well piled with sweet chestnuts, the spectacle rim applied with a continuous band of pink flowers, raised on four foliate scroll feet with gilt detailing, some retouching to one chestnut, a crack to the underside, 18.5cm. £200­300

297 A rare Flight and Barr honey pot and cover, c.1800, the square cylindrical form painted with a continuous landscape view depicting figures among ruins, the domed cover in gilt with a formal leaf and seaweed design, puce script mark, the cover broken and restuck, 12.3cm. (2) £100­150

296 An English porcelain small tureen or sucrier in the Welsh manner, c.1815, painted in the Swansea style with bands of pink roses between formal foliate gilt designs, the cover with a pinecone finial, 18cm across. (2) £100­150

Provenance: the Ann and June Kieft Collection, no.415.

297A A documentary Flight, Barr and Barr coffee can, dated 1833, gilded with the monogram ‘JT’ reserved on a claret ground with flower sprays, the underside titled in red ‘James Tomlins born February 25th 1833’, 6cm. £100­150

Provenance: the Charles Dawson Collection.

Illustrated: Charles Dawson, Worcester Flight & Barr Porcelain, p.214, fig.18.34.

James Tomlins Senior (1800-79) is recorded in the 1819 list of workers as a ground-layer. It would appear he painted this mug to celebrate the birth of his son, also James.

298 A pair of Minton porcelain vases and covers, 19th century, decorated in the Sèvres style with panels of birds and flowers on a blue ground, a Minton vase of the same shape painted with landscape panels and boats at sea, a two­handled vase and cover painted with a courting couple, and a lamped Sèvres­style vase and cover painted with birds on a blue caillouté ground, damages, 38cm max. (8) £150­250

299 Four Flight and Barr Worcester monogrammed jugs, c.1810­20, a pair simply decorated with gilt initials for ‘CMS’ and ‘JJW’, another decorated with the initials ‘CW’ on a claret ground, the last with the initial ‘J’ between strawberry bands in brown and gilt, incised and script marks to two, some restoration, 23.3cm max. (4)

Provenance: the Charles Dawson Collection.

£250­350

300 A pair of Coalport vases and covers, 19th century, in the Sèvres manner, painted with panels of exotic and aquatic birds within gilt panels on a turquoise ground, a pair of Continental porcelain vases and covers in the same shape, painted with panels of flowers, and a tall English porcelain vase and cover of hexafoil shape, painted with stripes of rose, cornflower and barley, the handles formed as ribbons, some damages and restoration, 31.5cm max. (10) £200­300

301 A Barr armorial slop bowl, c.1800, decorated with the arms of Macdonald accolée Forbes, a sauce tureen and cover with the crest of an arm embowed between purple flower sprays, and a Flight sugar bowl and cover decorated with a gilt monogram ‘MS’, 17cm max. (5)

£100­200

A Chinese armorial service was produced circa 1795 in this design. This bowl may have been made as a replacement or possibly an addition.

302 A Barr, Flight and Barr coffee pot and cover, c.1810, decorated with a wide band of gilt foliage on a burnt orange ground, and another coffee pot of the same shape, painted in Kakiemon­inspired enamels with flowering branches, one cover lacking, 24.8cm max. (3) £100­200

Provenance: the Charles Dawson Collection.

303 A Barr, Flight and Barr vase and a jar and cover, c.1810­15, bat printed in black with arrangements of sea shells, urchins and coral on a seaweed ground, the jar with ring handles issuing from eagle heads, the vase of campana shape, some gilt wear, 16.7cm max. (3) £150­200

Provenance: the Charles Dawson Collection.

304 A Bloor Derby tray in the Sèvres style, 1st half 19th century, painted with a panel of birds reserved on a royal blue ground, with an elaborate pierced rim, a Sèvres­style cylindrical spill vase and a teacup and saucer with similar decoration, pseudo interlaced LL marks to the latter, some faults, 23.8cm max. (4)

£100­200

305 Two English porcelain rectangular plaques, 19th century, one painted by Evans with a view of Balmoral Castle, the other with a dog recumbent beside game in a woodland, dated 1874, 20.2cm max. (2)

£200­300

303

304

305

302

306 A pair of Barr, Flight and Barr dwarf candlesticks, c.1815, painted with landscape scenes including a stone bridge over a waterfall, reserved on a duck egg blue ground within formal gilt motifs, broken and restuck, 13cm. (2) £100­200

Provenance: the Charles Dawson Collection.

307 Two small Flight, Barr and Barr vases, c.1815, the smaller painted with a figure standing beside a tall arched bridge with mountains in the distance, the larger with a view of Great Malvern Priory, reserved on green grounds beneath beaded borders, puce script marks, a small repair to one handle, 10.8cm max. (2) £250­350

308 A pair of small two­handled vases, c.1820­30, painted with roses, tulips and other garden flowers in a continuous band on a black ground, with gilt serpent handles, some restoration, 13.5cm. (2) £100­200

Provenance: the Charles Dawson Collection.

309 A pair of Derby tulip cups, c.1815, on circular feet, each modelled as a six­petalled tulip picked out in red, green and gilt on a yellow ground, raised on circular feet, some restoration, 6.5cm. (2) £100­200

306

308

309

307

310 A miniature Spode pot pourri jar and cover and a basket, c.1820, decorated in pattern 3945 with raised gilt birds and flowering branches on a green ground, iron red factory marks, some restoration to the basket, 10.3cm max. (3) £150­250

Paper labels for the Richard Ronald John Copeland Collection.

Exhibited: Royal Academy, Spode Bicentenary Exhibition, 1970, no.196.

311 A Coalport miniature solitaire tea service, 1st half 20th century, decorated with gilt designs on a dark blue ground, printed marks, comprising a teapot and cover, a milk jug, a sugar bowl, a cup and saucer and a tray, the tray associated, 12.9cm. (7)

£150­250

312 A large collection of English porcelain miniature teawares, late 19th/20th century, including a Coalport teapot and cup and saucer with gilding on a yellow ground, a Coalport coffee pot, two cups and saucers and a porter jug with Japonism design, two Royal Doulton Titanian ware vases, a pair of Royal Worcester jugs, three Coalport vases and covers, a Royal Crown Derby Imari tea kettle and cover, a teapot and two cups and saucers with roses, and two blue and gilt mugs, 7cm max. (35) £200­300

313 Four Flight, Barr and Barr toy­sized cabinet teabowls and three stands, c.1825, variously decorated with birds, flowers and landscapes reserved on blue ground, the teabowls raised on paw feet, printed marks to the stands, some damages, 10.7cm. (7)

£150­250

311

312

310

314 A Swansea cabinet cup and stand, c.1818, raised on a circular foot with a curved handle, a pounce pot, a small inkwell, a small tazza or pin tray applied with flowers to the rim, a Nantgarw­style cup and saucer, and a cover for an incense burner, all painted with European flowers, 14.7cm max. (8)

£80­120

315 A Swansea ‘Pembroke’ ewer and stand, c.1818­20, painted with flowers, a pair of miniature Swansea­style vases painted with birds, and a small toilet pot painted with flowers, some restoration, 14.7cm max. (5)

£100­200

317 Two Derby miniature watering cans, c.1820­30, one painted with butterflies in flight around flowers on a rich yellow ground, the other with a panelled design in the Imari palette, iron red crowned crossed batons and D marks, some restoration, 10cm max. (2)

£150­200

316 A pair of English porcelain circular plaques, 19th century, painted with ewers amidst large rose, lilac and dahlia flowers, resting on decorative table tops, and an English porcelain square plaque painted with a colourful bird alighted on a fruiting branch on a tilted basket filled with grapes and other fruits, in a later giltwood frame, 13.3cm max. (3)

£150­250

318 A fine Staffordshire porcelain vase, 1st half 19th century, well painted with butterflies, damselflies, ladybirds and other insects on and around summer grasses, reserved on a white ground, the neck with a gilt foliate border, pattern number 5377 in red, 26cm.

£100­200

319 An English porcelain cruet with six egg cups, early 19th century, the oval form painted with birds, insects and flowers on a white ground, the egg cups similarly decorated and moulded with floral panels, 19.8cm across. (7)

£150­250

320 A large Derby serving dish, c.1815, the oblong form well painted with a bouquet of flowers to the interior, the exterior with single botanical floral stems, iron red crowned crossed batons mark, 36.7cm. £100­200

321 A Derby sauce tureen stand from the Blenheim Service, c.1790­1800, painted possibly by George Robertson with a landscape view of Dovedale in Derbyshire, within a colourful border of red, yellow and blue flowerheads linked with gilt foliage, titled and marked in blue to the underside, pattern number 178, 23cm.

£100­200

319

320

321

318

CONTINENTAL CERAMICS

322 A Paris porcelain cabinet cup and stand, early 19th century, the cup painted with a figure placing a wreath on a burning censer, the sides with gilt victory motifs, raised on three paw feet, the saucer with winged torch motifs and other symbols on a dark brown ground, 13.8cm. (2)

Provenance: from an English private collection, Sussex.

£150­250

324 A Meissen coffee can, c.1780­90, finely painted in sepia with a head and shoulders portrait of a gentleman wearing a breast star and medal, reserved on a dark blue ground, blue crossed swords and star mark for the Marcolini period, 7.2cm high. £100­200

323 A Continental porcelain saucer of Russian significance, c.1770, painted with Victory holding a laurel branch and a shield bearing the cipher of Catherine the Great, seated on clouds beside Fame, above a cornucopia spilling fruits, a sailing ship at sea behind her, the underside with Catherine’s cipher repeated in gilt and sepia, 14.5cm. £150­250

Provenance: from an English private collection, Sussex.

325 A Paris porcelain rectangular plaque, 19th century, painted by Celeste Breton (née Colen) with the portrait of a smiling man within a wooden frame, surrounded by an artist’s accoutrements, various books and playing cards, signed bottom right ‘Celeste Breton née Colen d’apres Grimaud’, signed again to the reverse stating that Breton was a pupil of Madame Jaquotot, 24.1cm x 19.6cm. £500­800

Marie-Victoire Jaquotot was a former painter at the Sèvres factory who painted the 1811-12 Tea Service of Famous Women. Between 1816 and 1836 she ran a painting school at her workshop and this plaque was executed by one of her pupils.

326 A German porcelain rectangular plaque, 19th century, probably Berlin (KPM), painted with the Penitent Magdalen after Pompeo Gerolamo Batoni, she lying wrapped in a blue robe and studying a large book which rests on an upturned skull, mounted in a giltwood frame, the plaque 23cm across.

£300­500

327 A large Meissen porcelain plaque, 19th century, painted with courting couples beside ruined statuary and overhanging rocks, reserved in a green and gilt scale border, blue crossed swords mark, framed and glazed, broken in two and restored, the plaque 23.5cm x 30.5cm.

£100­200

328 A large oval porcelain plaque, 19th century, painted with two figures reclining on a river bank, two further figures fishing with a net from a boat, an arched bridge leading to a building on the opposite bank, mounted in a gilt wood frame, the plaque 32.5cm, 35.5cm overall.

£100­150

329 A pair of Continental porcelain oval plaques, 19th century, painted with young girls seated at their work, one knitting, the other winding a ball of wool and being pestered by a cat, mounted in gilt metal frames with blue velvet mounts, the plaques 13.5cm, 21cm overall. (2)

£100­150

326

328 329

327

330 A Paris porcelain part coffee service, early 19th century, painted with wild, exotic and domestic animals including sheep, dogs, cattle, foxes, a stag, a donkey, a goat, a tiger, a wolf and an elephant, blue crossed swords marks. Comprising: a large coffee pot and cover, a hot water pot lacking cover, a sucrier and cover, a bowl, three coffee cans and five saucers. (14) £200­300

331 A composite Meissen­style tea service, probably 19th century, decorated with panels of figures beneath trees and before buildings, within elaborate laub und bandelwerk borders in puce and gilt, varying blue crossed swords marks, some cancelled. Comprising: an ogee slop bowl, three ogee cups and three saucers, seven coffee cups, seven saucers, one large plate and five smaller plates. (27) £500­800

332 Four Sèvres­style circular dishes (compotiers rond) and eight plates, probably late 18th century, painted with colourful birds to the wells, the rims with panels of flowers within gilt trellis borders on a bleu celeste ground, together with two oval dishes in the same pattern, and two Sèvres saucers, one with ormolu mounts to form a chamberstick, various marks, 29.5cm max. (16) £300­500

333 A study collection of Continental porcelain cups and teabowls, 18th and early 19th century, including Höchst, Meissen, Berlin, Wegely and Paris, variously decorated with flowers, landscapes, animals and insects, damages, 11.3cm max. (15)

£100­200

334 Two German and Austrian porcelain coffee cans and three cups, 2nd half 18th century, two cups Vienna, one painted with a profile portrait, the other with a botanical flower spray, the last Thuringian and decorated with a silhouette, a Vienna can painted with a huntsman and two dogs, and another with a geometric design, some damages, 7.4cm max. (5)

£150­250

335 Two Meissen cups and saucers, c.1740, painted with European landscapes, one within a gilt trellis border, the other within shaped orange borders, a Meissen shell salt painted with flowers, and a small lobed dish painted with Watteau­esque figures within a puce scale border, blue crossed swords marks, 13.5cm max. (6)

336 A pair of Sèvres ormolu­mounted small vases, 2nd half 18th century, painted with flower sprays within gilt foliate borders on a later bleu celeste ground, and a pair of Sèvres­style vases of campana form, ormolu­mounted and decorated with putti and Classical motifs, 7.7cm max. (4)

£200­300

£250­350

337 Two Continental porcelain coolers (seaux), 18th/early 19th century, one Vienna and painted with flower sprays, the other Sèvres and painted in puce monochrome with European landscape scenes, together with a Sèvres­style jardinière, painted with panels of birds and fruit within elaborate gilt borders on a turquoise ground, damages, 24cm across max. (3)

338 A small sucrier and cover, c.1770, possibly Brussels, painted in purple camaieu with scenes of putti and panels of Classical motifs, the cover with a fruit finial, together with a Zurich cup painted with a bird, a Nymphenburg coffee can painted with a goat, and a Nove tea cup painted with birds in a landscape, some damages, 9.4cm max. (5) £100­200

£150­250

339 An early Frankenthal hot water jug, c.1759­62, painted in the Meissen manner with shaped landscape panels and scattered flowers, blue monogram mark for Adam Hannong, a Russian porcelain plate, probably St Petersburg, in the Meissen manner, with basketweave moulding to the rim, painted with a large flower spray, with a court inventory mark in puce to the underside, and a later Russian porcelain coffee can and saucer with gilt decoration on a blue ground, damages, 24.2cm max. (4) £100­200

340 A large Herend bottle cooler, modern, painted with the Rothschild Birds pattern, with European songbirds perched on branches draped with jewels, and a pair of small flared vases in the same pattern, raised on claw feet above square bases, blue printed marks, 20.5cm max. (3) £150­250

342 A pair of large Meissen chargers, c.1735, painted in the Kakiemon palette with the koreanische Löwe pattern, an exotic bird in flight above a winged dragon and flowering plants, the shaped rims moulded with basketweave, blue crossed swords marks, 34.3cm. (2)

£400­600

341 A Meissen armorial plate, 19th century, the well painted in the Kakiemon manner with an exotic bird perched on flowering branches, the rim painted in purple camaieu with a mantle coat of arms believed to be for the Höpfner family, cancelled blue crossed swords mark, 25.5cm.

£250­350

The original service for this family is believed to have been produced circa 173540. A sugar box from this service is in the Victoria and Albert Museum, Accession No. C.92&A-1929. A plate was in Part Three of the Hoffmeister Collection of Meissen Porcelain, Bonhams, 24th November 2010, lot 75. This plate is presumed to have been made as a replacement at a later date.

343 A Chantilly style plate, 19th century, painted in Kakiemon enamels with Chinese boys fishing and at other pursuits, the rim with scattered sprigs, insects and cloud scrolls, red hunting horn mark, 23.5cm.

£100­200

344 A pair of Meisen reticulated dishes, mid 18th century, the circular forms painted to the wells with Holzschnitt blumen and scattered insects, the rims with an elaborate pierced design, blue crossed swords marks, 19.2cm. (2) £300­500

345 A Capodimonte cup, c.1750, the slender form painted with a Watteau­esque scene of a couple in a pastoral landscape above vignettes of putti cavorting among clouds, blue fleur de lys mark, a little chipping, 7.4cm. £300­500

346 A pair of Meissen dishes, mid 18th century, each moulded with an osier border and painted with sprays of Deutsche Blumen, and a large Meissen charger of silver shape with similar decoration, blue crossed swords marks, 33.3cm max. (3) £150­250

347 Four Sèvres cups, date codes for 1767 and 1791, one cup painted by Jean­Baptiste Tandart with flowers and an urn on a bleu mazarin ground, another with a girl holding a furled parasol on a green ground, another with a figure mooring a boat on a bleu celeste ground with gilt dots, the last with a potted plant and a continuous floral border, blue interlaced LL marks, damages, 8.3cm max. (4) £200­300

348 Two Sèvres coffee cans, c.1768­80, painted with pots of flowers reserved on a bleu celeste ground, blue interlaced LL marks and various painter marks, 6cm max. (2) £250­350

349 A pair of Sèvres toilet pots (pots à pomade) and covers, c.1760, later decorated with panels of colourful birds in flight, reserved in gilt foliate borders on a bleu celeste ground, blue interlaced LL marks, 8.5cm. (4) £250­350

350 A Limbach tea canister and cover, c.1780, one side painted with a ragged mother and two children, the reverse with a seated man, perhaps their father, holding a tankard, red crossed Ls mark, and a Meissen sucrier and cover, c.1740, painted with flowers, blue crossed swords and dot mark, 13cm max. (4)

£150­200

351 A pair of Paris porcelain spill vases, 1st half 19th century, by Lahoche, Palais Royal, the slightly waisted forms painted with continuous garden scenes, with mountains visible in the distance, red factory marks, restoration to one, 11cm max. (2)

£200­300

352 A Continental porcelain set of eight custard cups and covers with stand, late 19th century, painted in the Sèvres style with panels of colourful birds reserved on a green ground, later red painted marks inscribed ‘Le Rosey Rue de la Paix’, original marks obscured in gilt, 28.7cm. (17)

£200­300

353 A Vienna feeding cup, c.1760, the shallow form painted with flowers and fitted with a hinged lid, a Continental porcelain snuff box or pot, with silvermetal mounts, and a large Amstel bowl painted with fishermen in a harbour, some damages, 22.5cm max. (3)

£200­300

351

352

353

350

354 A Sèvres plate, the porcelain 18th century, later decorated with a central roundel of pink roses within a garland and concertina ribbon border, interlaced blue LL marks and probably spurious painter’s mark ‘LG’, 24.3cm.

£150­250

356 An early Sèvres or Vincennes cheese dish (fromager), c.1754­59, the shallow cylindrical form pierced with elaborate scroll designs edged in gilt, around small holes edged in blue, with dry blue flower sprays, raised on three peg feet, interlaced blue LL mark, one handle lacking, 13.5cm across.

£100­200

This model was first designed at Vincennes in 1752 and made in two sizes, of which this was the smaller. Cf. Victoria and Albert Museum, Accession No. C.366-1909 for a plateau de fromagier in the same pattern.

355 A large Sèvres teapot, c.1760, the globular body painted with sprays of European flowers on a white ground, with gilt dentil rims, with gilt metal mounts to the spout and handle, attaching the cover by a hinge, traces of a puce mark, the spout cleanly broken and restuck, 24cm across. £150­250

357 A Lille porcelain egg cup, late 18th century, the small U­shaped form painted with small flower sprays on a white ground, raised on a low circular foot, blue L mark, 4.5cm. £100­150

358 A rare Italian porcelain rosewater sprinkler, late 18th century, possibly Nove, of double gourd form with a gilt metal screw fitting in the middle, decorated with geometric bands, 22cm. £100­200

360 A Meissen ‘Böttger Steinzeug’ year plaque, c.1921, by Paul Borner, modelled with a putto standing on a sphere, titled ‘Die Staatliche Porzellanmanufaktur Ihren Freunden 1. Jan. 1921’, the reverse with an impressed crossed swords and numbered 70 of 100, 21cm. £100­200

359 A Meissen sugar caster or sifter, c.1770, possibly made for the English market, the baluster body painted with floral sprays and titled ‘Sugar’ to the foot, the shaped domed cover pierced with rows of holes, blue crossed swords and dot mark, 18cm. £200­300

361 Literature: BGC Yale, The Sèvres Porcelain Manufactory; The Camondo Legacy, The Passions of a Paris Collector; Museum of Fine Arts, Boston, The Forsyth Wicks Collection; The Jack and Belle Linksky Collection in the Metropolitan Museum of Art; Porcelaine de Sèvres, Le Service de la Princesse des Asturies; and a number of other books and catalogues on ceramics and French decorative art. (A lot) £50­80

362 A Höchst cup and two saucers, c.1780, well painted with scenes of peasants beneath fruiting trees, the cup with a barefoot man resting a child on his knee, gold wheel marks, and a Cozzi saucer painted with a girl in a pink dress beside a ruined arch, red anchor mark, 12.5cm max. (4)

£200­300

363 Two small Royal Copenhagen Flora Danica plates, 20th century, painted with botanical specimens Hypericum humifusum L (trailing St John’s Wort) and Alpine groenlandica fzl, titled in Latin to the reverse, within a jagged gilt and pink border, printed marks and three wave marks, 14.2cm. (2)

£200­300

365 Two small Royal Copenhagen Flora Danica plates, 20th century, painted with a botanical specimen of Draba verna L and Illecebrum verticillatum L, titled in Latin to the reverse, within a jagged gilt and pink border, both with printed marks and three wave marks, 14.2cm. (2)

£200­300

364 A Thuringian porcelain coffee cup and saucer, late 18th/19th century, probably Rauenstein, painted with portraits of young ladies reserved on a blue ground, puce R marks, a saucer painted with a girl playing the clavichord, and a small flower pot, possibly Gotha, applied with flowers and inscribed ‘WSMK’, blue G mark, 12.7cm max. (4) £150­250

366 Three Sèvres coffee cans (gobelets litron), c.1779­1800, the largest painted with pink roses around foliate scrolls above a puce band, one with Classical portrait roundels by Sioux between formal scroll motifs and blue bands, the last painted by Marie­Barbe Bunel with a blue ribbon entwining pink roses on a yellow ground above a narrow berried leaf border, various marks, 7cm max. (3) £200­300

368 A small Mennecy teapot and cover, c.1750, the ovoid form painted with colourful birds, three Mennecy miniature campana vases, painted with pink roses and other flowers, and a Mennecy figure of a girl, carrying grapes in her apron, incised DV marks to the vases, some damages, 12.5cm max. (6) £200­300

367 A set of six Tournai custard cups (pots à jus) and covers, c.1775, the rounded forms painted in blue with flowering Oriental branches, the rims with osier moulding, the covers with a gourd stalk finial, together with a Tournai dish or plate, painted in blue with flowering branches within a panel moulded rim, blue castle marks, 23.5cm max. (13) £200­300

369 A small Mennecy campana vase, c.1750­55, fluted and painted with a spray of flowers, incised DV mark, and a Continental porcelain figure of Winter, modelled as a putto wrapped in a fur­lined robe and with hands inside a muff, seated beside a small fire, incised 2B to the base, 13.5cm max. (2) £150­200

370 A Paris porcelain shell inkwell, 19th century, modelled as two deep scallop shells, one set with a small gilded inkwell and cover, mounted on a rocky base with an overhead simulated coral handle, later initials ‘HSW’ beneath, 11.5cm across. (3)

£100­150

371 A Sèvres preserve stand (plateau à deux pots de confiture), date code for 1788, painted with scattered convolvulus flowers and continuous garlands of convolvulus within narrow yellow bands with further floral tendrils, the U­shaped bowls fixed to the base and each with a flat cover with simple gilded knop, blue interlaced Ls mark enclosing date letters LL, 24cm. (3) £300­500

Provenance: from an English private collection, Sussex.

This service was supplied to William Eden, British Envoy-Extraordinary and Minister-Plenipotentiary to France, who was in Paris in 1787 following negotiation of the Anglo-French Treaty of Navigation and Commerce. Correspondence indicates that the service may have been a gift for George Rose, Secretary to the Treasury in the British Government. Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. IV, pp.821-823 for a discussion of the service.

373 A Meissen leaf­moulded sauceboat, c.1740, formed of overlapping cos leaves, painted with Holzschnitt blumen and scattered insects, the interior with a lily spray, the handle formed as a fruiting gourd branch, blue crossed swords mark, 21.2cm. £150­250

£150­200

372 A Samson scent bottle, 19th century, after Chelsea, modelled as a lady holding a dog under her left arm, the dog’s head forming the metalmounted stopper, and a Samson inkwell, after Chantilly, painted in the Kakiemon manner with the flying fox and squirrel pattern, with a metal mounted cover, 7.2cm max. (2)

374 A pair of Tournai coffee cups and saucers, c.1775, finely painted with sprays of flowers including rose and forget­me­not. the scroll handles detailed in gilt, gilt crossed swords and + marks, a crack to the base of one handle, 14cm. (4) £300­500

375 A good pair of Tournai coffee cups and saucers, c.1770, the generous forms painted in the manner of Michel­Joseph Duvivier with figures before harbours and ruins, in purple camaieu, each vignette underlined with a gilt motif, gilt crossed swords and + marks, 14.5cm. (4) £600­800

The decoration here is very similar to that on a service recorded in Christine Deroubaix, Les Porcelaines des Tournai de Musée de Mariemont, nos.229-232, with an example in the Victoria and Albert Museum, Accession No. C.78-1969. Duvivier is thought to have worked at the Chelsea factory before working at Tournai between 1763 and 1771.

376 A pair of Tournai coffee cups and saucers, c.1760­70, painted with sprays of flowers including rose and forget­me­not, the scroll handles edged in puce, 13.2cm. (4) £200­300

377 A very large Sèvres­style biscuit porcelain figure group of Venus and Cupid, 19th century, the goddess reaching out to the infant Cupid, raised on a rocky base applied with roses, incised ‘A Levy’ pseudo Sèvres mark, 50cm. £600­1,000

Provenance: Palais Dorotheum, Vienna, 22nd June 2017, lot 300.

378 A Sèvres­style biscuit porcelain bust of Napoleon, 19th century, as First Consul, modelled with his head slightly turned to the right, wearing a high collared shirt, his jacket lapels decorated with oak leaves, raised on a blue and gilt socle base, pseudo interlaced LLs mark, 29cm. £200­300

379 A pair of Berlin figures of Achilles and Minerva, 2nd half 18th century, each wearing a lilac robe with gilt flowers and seated on a column base, Achilles holding a sword, Minerva resting on her shield bearing the face of the Gorgon, faint blue sceptre marks, some damages and repairs, 26cm. (2) £100­200

380 A set of Meissen figures of the Five Senses, late 19th/20th century, modelled by J C Schönheit, each as a young woman seated with varying attributes, Sight gazing into a mirror, Hearing playing the spinet, Smell lifting a flower to her nose, Touch having her finger nipped by a bird in a cage, Taste beside a table set with fruit and pastries, blue crossed swords marks, incised and impressed numbers, 14.5cm high max. (5) £800­1,200 Provenance: from a private UK collection.

381 Four small Meissen figures, 19th century, two of Cupid in Disguise, one as a musician, the other as a traveller, and a pair of figures of children, raised on low square bases, blue crossed swords marks, minor faults, 10.3cm max. (4) £100­200

382 Four Continental porcelain figure groups, 19th century, one Vienna after Meissen and emblematic of Smell, another after Berlin of a peasant mother and two children, and two Vienna style figures from a monkey band, one of a violinist, the other carrying drums, some faults, 18cm max. (4)

£150­250

383 Two miniature Meissen figures with cows, 18th/early 19th century, a man leaning against the back of a heifer, the other a girl riding on the back of a bullock, and a pair of Meissen figures of children, 19th century, modelled as gardeners, blue crossed swords marks, small losses, 12.8cm max. (4)

£200­300

384 Eight KPM (Berlin) Zodiac figures, modern, modelled as a child with various attributes, each with a plaque depicting the relevant astrological sign, including Sagittarius, Scorpio, Capricorn, Aries, Gemini and Virgo, blue sceptre and red orb marks, some damages, 11cm. (8)

£150­250

385 A Tournai figure group, c.1760, modelled with an impish figure, possibly Daphnis, playing the pan pipes and seated on a rocky base above a winged putto and a Classical maiden, together with a white­glazed figure of an old man, probably emblematic of Winter, incised IL mark, and a white­glazed libation cup moulded with deer, dogs and dragons in the Chinese manner, 18cm max. (3)

£150­250

The Tournai figure possibly modelled by Nicholas-JosephFrançois Gauron, who left Mennecy c.1757-58 to start work at Tournai. He left the factory in 1764 and worked at European factories in Belgium and Holland, before coming to England and working for William Duesbury. Cf. Victoria and Albert Museum, Accession No. C.352.1909 for a Mennecy figure by Gauron. Also, a Tournai figure of Fire from the collection at Stourhead, Wiltshire.

386 A pair of Meissen miniature busts emblematic of Spring and Winter, mid 18th century, Spring modelled as a Classical maiden wearing a diadem of flowers, Winter as a bearded man wearing a fur­lined cloak, raised on chamfered square socles, minor faults, 8.3cm max. (2) £150­250

388 An unusual Doccia figure group, c.1780, modelled with a doublefaced Classical figure or goddess, one face turning up, the other turned down to a putto at her side, seated on a blue globe painted with gilt stars, all raised on a rocky base, damages and repairs, 17.3cm. £50­100

387 A Ludwigsburg figure of a putto, c.1765­70, naked except for a fig leaf, holding a small bird in his left hand, raised on a low scrolled base picked out in puce and gilt, blue lion mark, small losses, 11.5cm. £100­200

389 Two Meissen figures of Cupid in Disguise, mid 18th century, one as a lady draped in an ermine­lined robe, blue crossed swords mark, the other as a gallant with a tricorn hat, and a Höchst figure of a putto, possibly emblematic of Summer, holding a gourd, impressed G2 to the base, some damages and losses, 9cm max. (3) £100­200

390 A Nymphenburg figure of Apollo from the Ovidian Gods series, c.1770, modelled by Franz Anton Bustelli, resting his left hand on a lyre, his right holding a shield modelled as a sun face over his head, raised on a shaped flat base, impressed shield mark to the underside, some restoration to the shield, 11.2cm.

£800­1,200

392 A Continental porcelain figure of a cow, late 18th century, recumbent with her left fore hoof outstretched and head turned over her right shoulder, her coat decorated with patches of manganese, raised on an uneven rectangular base, small restorations, 11cm across. £150­250

391 A Nymphenburg figure of a putto from the Ovidian Gods series, c.1770, modelled by Franz Anton Bustelli with body twisted and hands raised, draped in a red cloth and standing on a flat shaped base, some losses and repairs, 10cm.

£600­800

393 A Meissen figure of a child dressed as Columbine, mid 18th century, the young girl wearing a white dress with blue detailing and a neck ruff, holding the sides of her skirt and standing on a low scrolled base applied with flowers and leaves, incised Z4 to the underside, her left thumb restored, 12cm. £200­300

394 A Meissen group of pugs at play, 19th century, the three dogs wearing blue ribbon collars with gilt bells and tumbling over each other on a low rocky base, blue crossed swords mark, incised F186, a small amount of good restoration, 16.5cm across. £500­800

395 A Meissen model of a nesting chicken, mid 18th century, the hen seated in a nest of moss and feathers within a yellow circular basket, faint blue crossed swords mark, a small amount of good restoration, 7.5cm high.

£200­300

396 Two Capodimonte figures of swans, c.1748­55, modelled by Giuseppe Gricci, each preening its right wing with its beak, raised on rocky bases, enamel detailing to the faces, feet and bases, impressed fleur de lys mark to one, 7.8cm. (2) £800­1,200

Cf. A. Caròla-Perrotti, Le Porcellane dei Borbone di Napoli, no. 179, col. pl. XLVI for a similar example.

397 A Meissen figure of Harlequin, mid 18th century, modelled by J F Eberlein, seated and holding a bird aloft in his right hand, a birdcage resting on the rock beside him, an expectant cat waiting at his feet, raised on a low base applied with flowers, a small amount of restoration to his left hand, 12cm. £400­600

398 A rare Tournai Chelsea­decorated clock case, c.1760­65, modelled with Cupid above a sleeping maiden, watched by a figure draped in a yellow robe, the rococo scrolling picked out in puce, gilt and turquoise scrolls, gold anchor mark, some small restorations, 25.5cm. £400­600

Cf. The Metropolitan Museum, Accession No. 54.147.28 for the same model.

There were strong links between the Belgian Tournai factory and the Chelsea factory in London, with modellers and decorators working at both concerns and influencing shape and decoration in each place. It is possible that some Tournai pieces, brought to London perhaps as inspiration, were decorated at Chelsea. The colours on this piece being more typical of the London concern.

TOYS & OBJECTS OF VERTU

399 An English enamel inkstand, late 18th century, the rectangular base painted with figures in harbour scenes within gilt scroll borders, the inkwell and pounce pot with flower sprays, the stand restored, 20.4cm. (3)

£150­200

400 Three Continental enamel snuff boxes, late 18th/19th century, one oval and decorated in relief with Chinese figures holding precious objects, another rectangular and embossed with metal figures among plants on a blue ground, the last unmounted and painted with flowers on a white ground, with an egg­shaped bonbonniere painted with a battle scene and other figures, some damages, 9cm max. (5) £150­250

402 A Mennecy silver­gilt mounted snuff box, c.1760, the rectangular form moulded with basketweave and painted with flower sprays, the inside lid with a scene of four dogs having a scrap, together with a shaped burr wood box with a hinged lid, the Mennecy cracked and repaired, 9cm max. (2)

£150­250

£200­300

401 Three South Staffordshire enamel boxes, c.1780­1800, one an oval snuff box and printed with a portrait of Admiral Keppel, another a patch box printed and hand­coloured with a portrait titled ‘The Duke of Clarence’, the last an oval patch box inscribed ‘Propitious may the Royal Union prove, Bless’d with peace, happiness and love’, on a blue base, some damages, 7.5cm max. (3)

Augustus Keppel, 1st Viscount Keppel, served during the Seven Years War, and later as First Lord of the Admiralty during the War of American Independence. Charges of misconduct were brought against him by Vice Admiral Sir Hugh Palliser following the battle of Ushant, but following a court martial, Keppel was honourably acquitted. The portrait on this box is after a medal by T Lyng, struck in 1779 to commemorate his acquittal. The Duke of Clarence later became William IV. In 1791, Frederick the Duke of York and Albany married Frederica, Royal Princess of Prussia. Despite the fervent good wish expressed on this box, the marriage was not a happy one and ended within a few years.

404 A Staffordshire enamel snuff box or bonbonniere, late 18th century, modelled as a recumbent spaniel curled up on a cushion, raised on a rectangular base with raised enamel decoration, 5.5cm across. £150­250

406 A Continental enamel scent bottle, late 18th/early 19th century, the bottle form painted with a continuous scene of figures at various pursuits on a river dockside, reserved on a pale yellow ground, restoration to the top of the stopper, 8.6cm. £200­300

403 A large enamel egg bonbonniere, late 18th/early 19th century, painted with panels of flowers and fruit within gilt scroll borders on a rich purplish guilloche ground, 7cm. £300­500

405 A Staffordshire enamel scent bottle case, c.1780, of moulded rectangular form, painted with narrow panels of flowers within a lattice ground of blue and white, the gilt­metal mounted hinged cover lifting to reveal a slender glass scent bottle and stopper, a few minor filled chips, 8.5cm. £200­300

407 Five enamel patch boxes, 2nd half 18th century, one circular and painted with a rose spray on a dark pink linen ground, three decorated with scenes and inscriptions of love, the last probably Continental and decorated in raised gilt with a figure riding an elephant, some damages, 4.8cm max. (5) £150­250

408 Four Wedgwood portrait plaques, 19th century, three Jasperware and modelled with a profile portrait of John Wesley, on blue and black grounds, the last black basalt with the same portrait, impressed marks, 10.4cm max. (4) £150­250

409 Two Minton porcelain scarf rings, late 19th/early 20th century, painted by Boullemier, one with a putto standing in a garden, the other with a profile portrait of a soldier, both signed, and two other gilt scarf rings decorated with turquoise jewels, 2.5cm. (4) £100­150

410 A cased set of a Royal Crown Derby flower brooch and ear clips, 1st half 20th century, each modelled as an orchid with petals picked out in shades of purple and pale yellow, contained in a silk­lined shagreen­style case, the brooch 5cm. £50­100

407

408

409 410

411 A German porcelain white­glazed pipe tamper, 18th century, modelled as the leg of a lady, a German porcelain model of an asparagus spear with a brass cap, and a later etui or scent also modelled as an asparagus spear and decorated in polychrome enamels, 11.6cm max. (3)

£150­250

412 A Sèvres style card case 19th century, of rectangular form, painted with a portrait of Marie Antoinette signed ‘A. Vegren’ and panels of floral sprays, reserved on a blue and gilt ground, with gilt metal mounts, 9.5cm high. £100­150

413 An English porcelain scent bottle, probably late 18th century, modelled in the Chelsea manner with two dolphins entwined around aquatic weed above a large scallop shell, with gilt metal mounts to the foot and neck, 9cm.

£150­250

Provenance: from an English private collection, Sussex. Cf. Metropolitan Museum, Accession Number 64.101.528a,b for the original Chelsea model from the Irwin Untermeyer bequest.

414 Two porcelain scent bottles, one English c.1830 and applied with flowers on a white ground, a red pattern number beneath the foot, the other Continental and formed of two putti and a faun entwined in grapevine, 9.3cm max. (2) £100­200

416 A German porcelain rectangular snuff box, c.1760­70, possibly Fürstenberg, the interior lid painted with a colourful bird before a profusion of flowers, a landscape in the distance, the exterior top and sides with European flower sprays on a white ground, with gilt metal mounts, 8.3cm. £500­800

415 A good Meissen silver­gilt mounted box, mid 18th century, the exterior painted with vignettes of figures in Dresden landscapes within C scroll borders and floral moulding, the interior finely painted with boats on the river Elbe in Dresden, the near bank lined with tents and figures, 8.5cm. £500­800

417 A composite Meissen and enamel snuff box, 2nd half 18th century, the top Meissen porcelain and modelled as the base of a rose bloom, the interior painted with an upturned basket of flowers, the base an enamel addition painted with European flower sprays, 5.7cm across. £100­200

418 A silver­mounted Mennecy etui or bodkin case, c.1750, modelled as the leg of a gentleman, wearing yellow breeches and puce gaiters over a strapped sandal, the hinged cover moulded and painted with flowers, the silver mount with Paris discharge marks, 12.3cm.

£300­500

419 A silver­mounted Mennecy etui or bodkin case, c.1750, modelled as the leg of lady, in a white stocking with a blue ribbon garter at the knee, wearing a yellow shoe with a blue heel, the hinged cover painted with flowers, 11.6cm.

£250­350

420 A Meissen silver­mounted etui or bodkin case, c.1760, the cylindrical form finely painted with courting society couples, the top painted with a flower sprig, with silver mounts to the top and foot, 11.6cm. £500­800

421 A good South Staffordshire enamel etui or bodkin case, c.1770, the cylindrical body painted with hunting scenes within rococo moulded scrolls reserved on a ground of raised white dots, with gilt detailing, 13.1cm. £300­400

422 A rare St James (Charles Gouyn) etui or bodkin case, c.1752­54, the top modelled as the head of Columbine wearing a white cap and a black eye mask, her eyes set with rose diamonds, the cylindrical base painted with small flower sprigs, the gold mounts with a waved design, good restoration to the top of the head, 12.5cm. £1,000­1,500 Cf. Yvonne Hackenbroch, Chelsea and other English Porcelain: The Irwin Untermyer Collection, pl.70, fig.230.

423 A Meissen etui or bodkin case, c.1760, the wide cylindrical form painted with four scenes of courting couples in pastoral landscapes above rococo scrolls, with chased gilt metal mounts, 12cm. £500­800

424 A Mennecy silver­mounted combined etui or bodkin case and scent bottle, c.1750, possibly emblematic of Summer, modelled as a classical lady holding a basket of fruit, her head lifting to reveal the scent bottle, the lower half formed of a tapering rectangle painted with flowers, 12.7cm.

This form was also adopted at Charles Gouyn’s factory in London.

£400­600

425 A Chelsea scent bottle, c.1755, modelled as a bottle contained in a pale wicker basket, the neck painted with sprays of Oriental flowers, moulded with a bottle ticket inscribed ‘Eau de Senteur’, with a stopper formed as a colourful butterfly, the stopper possibly associated, 9.5cm. Contained in a fitted velvet­lined case. £1,000­1,500

426 A Chelsea etui or bodkin case, c.1760, in two parts, the top formed as the head and shoulders of a society lady, with head demurely turned, the cylindrical base with a panel containing a pierced heart above a banner inscribed ‘Je Meur Pour Vous’ [sic], on a feathered gilt ground, the two halves joined with gilt metal mounts, the bottom half restored, 13.3cm. £400­600

424

426

427 A Chelsea etui or bodkin case, c.1760, modelled as a sheaf of corn bundled with small blue flowers, tied with red­edged ribbons, a pair of game birds modelled at the base, 11.6cm. £800­1,200

Provenance: The Collection of Mrs Paul Mellon, Sotheby’s, New York, 21-23 November 2014, lot 776.

428 A rare Chelsea double scent bottle, c.1755, modelled as a brown monkey crouched on a domed base painted with flowers, holding a flower in her right paw, carrying a baby monkey in a basket on her back, both heads forming the stoppers, some good restoration, 6.5cm. £1,000­1,500 Cf. G E Bryant, The Chelsea Porcelain Toys, Plate 5, no.4.

429 A Chelsea etui or bodkin case, c.1760, the top modelled as the head and shoulders of a young woman wearing a Turkish­style headdress, the cylindrical base finely painted with pink roses tied with a ribbon bow inscribed ‘Point des roses sans epines’ (No roses without thorns), reserved on a lavish gold ground with chased gilt­metal mounts, 12cm. £800­1,200

427

429

THE JUDITH HOWARD COLLECTION OF ROUGE POTS

430 A Sèvres rouge pot, c.1770­80, one side decoration with a gilt inscription reading ‘Rouge de Mlle Martin’, the reverse with a spray of flowers including rose and forget­me­not, gilt dentil rim, blue interlaced Ls mark, 3.5cm high.

£250­350

Provenance: the Judith Howard Collection. Formerly the Hector Binney Collection, Sotheby’s, Billingshurst, 6th December 1989, lot 1113.

Mademoiselle Martin was not the first to develop a vegetal rouge, but she was the person who had the confidence of Marie Antoinette and as a result served only a few crowned heads of Europe and other ladies of the court.

431 Two Sèvres rouge pots, c.1770­80, one painted with butterflies and other insects, blue interlaced Ls mark and painter’s mark LG perhaps for Le Guay, the other decorated with a gold ground, yellow crowned mark, some damages, 3.5cm max. (2) £120­150

Provenance: the Judith Howard Collection.

432 Two English porcelain rouge pots, c.181020, one decorated with vertical stripes in orange, white and gilt, the other with gilt foliate sprigs, and a later 19th century English pottery rouge pot with original rouge, the blue paper cover inscribed ‘No.18 Vegetable Rouge by A. Pears, London’, a chip to the first, 5cm max. (3) £100­200

Provenance: the Judith Howard Collection.

Andrew Pears (of Pears’ Soap fame) moved to London in 1790 and became concerned regarding the use of lead in cosmetics. By 1802 he was advertising cosmetics “produced from vegetables only”.

433 Three Paris porcelain rouge pots, c.1830, possibly Jacob Petit, one painted with a seated pastoral figure, the reverse with flowers, reserved on a green ground, another with a sheep, the last with a seated maiden, both with panels of flowers on a bleu celeste type ground, some gilt wear, a chip to one, 3.8cm max. (3) £200­300

Provenance: the Judith Howard Collection.

434 Three Paris porcelain rouge pots, c.1800­20, one painted with colourful birds on short branches, another with panels of birds on a dark pink ground, pseudo Sèvres mark, the last painted with a butterfly and flying insects, some damages, 3.8cm max. (3) £150­250

Provenance: the Judith Howard Collection.

435 Two Paris porcelain rouge pots, c.1810­30, one inscribed ‘Rouge de Delcroix’ on a banner amidst flowers, the other with ‘Guerlain, Rue de Rivoli No 14’, the reverse with a gilded coat of arms, and a small pomade pot with a screw cover, inscribed ‘Pommade pour les Lèvres’, some chipping, 3.7cm high max. (3) £200­300

Provenance: the Judith Howard Collection.

Pierre-François-Pascal Guerlain opened his first boutique on Rue de Rivoli in Paris in 1828.

436 Four Paris porcelain rouge pots, c.1800­20, variously decorated with floral, foliate and geometric designs in gilt and polychrome enamels, some chipping and restoration, 3.9cm max. (4) £150­250

Provenance: the Judith Howard Collection.

437 Three Paris porcelain rouge pots, c.1800­30, one decorated with a gilt foliate scroll band on a claret ground, another with small monochrome landscape panels alternating with tassels between curtains, the last with small gilded panels on a black ground, 3.7cm max. (3) £150­250

Provenance: the Judith Howard Collection. The second pot acquired from Klaber & Klaber, Grosvenor House Fair, June 1999.

438 Four Paris porcelain rouge pots, c.1800­30, variously decorated with flowers, one in garland panels on a blue ground, another with a band of cornflowers between narrow pink bands, some damages, 4cm max. (4) £150­250

Provenance: the Judith Howard Collection.

ENGLISH 18TH CENTURY PORCELAIN

439 Two pairs of Derby figures, c.1760, one pair of the Dresden Shepherds, the other of the Garland Shepherd and Shepherdess, modelled with dogs and lambs, raised on scroll bases picked out in turquoise and gilt, some restorations, 24cm max. (4) £150­200

441 A Derby figure emblematic of Taste, c.1770, modelled as a young man seated on a rocky stump and eating from a bunch of grapes held in his right hand, his left hand resting on the head of a leopard or panther, an earlier Derby figure of a boy musician, and another Derby figure of a boy with a dog, small faults, 17.5cm max. (3) £300­500

440 A Bow figure of the Dancing Shepherdess, c.1755, her skirt decorated in Kakiemon enamels, and a Derby Pale Family figure of a singer, seated and holding a sheet of music, damages, 15cm max. (2) £100­200

442 A Chelsea figure of a shepherdess, c.1755, draping a flower garland around the neck of the lamb at her side, and two Derby candlestick figures modelled as a putto draped in flowers and sitting on an upturned basket, holding a moulded sconce aloft, small damages and restorations, 20cm max. (3) £250­350

443 A pair of Chelsea figures of harvesters, c.1765, he carrying a keg on a stick slung over one shoulder, she with a sheaf of corn and a flagon suspended on a strap, each raised on a low scrolled base and standing before flowering bocage, gold anchor marks, some restoration, 21cm. (2)

£200­300

£250­350

444 A pair of Derby figure groups of the Four Seasons, c.1770­75, each modelled with a couple, one depicting Winter and Spring, the other Summer and Autumn, with attributes including grapevine, a corn sheaf, a watering can and a basket of flowers, all standing on rocky bases before leafy bocage, some restorations, 24cm. (2)

445 A pair of Chelsea candlestick figures, c.1765, of a shepherdess and her companion, each standing before flowering spring bocage of blossom and magnolia, he playing the flageolet, his companion with an apron full of flowers, each topped with a pierced sconce and drip pan, gold anchor marks, some good restoration, 28.7cm. (2) £300­500

446 An early white­glazed theatrical Bow figure of Dottore Boloardo, c.1754, after the Meissen figure by Kändler and Reinicke from the Duke of Weissenfels series, wearing a wide­brimmed hat and ruffled collar, his left arm extended and holding a scroll, his right hand on his hip, good restoration to his left arm and hat brim, 15.5cm. £1,500­2,000

The Meissen model was loosely based on François Joullain’s print Habit de docteur ancien.

447 A Plymouth figure of Winter, c.1770, modelled as a putto wrapped in a fur­lined robe and standing over a small flaming brazier, left in the white with gilt detailing and small polychrome additions to the face, 11.7cm. £250­350

448 Two pairs of Derby figures, c.1780­1810, the earlier pair of biscuit porcelain, of a boy and girl with a Macaroni dog and cat in hats, the other pair of the Welsh Tailor and his Wife astride goats, with gilt detailing, blue crossed swords to the latter, some restorations, 14cm max. (4) £150­250

449 A Chelsea sauceboat and a plate, c.1755, the sauceboat formed of overlapping cos leaves with a stalk handle, the plate painted with sprays of flowers, and a Derby dolphin creamer painted with flowers, a restored rim section to the plate, the sauceboat’s handle restuck, 21cm max. (3)

£150­250

The plate with a paper label stating that it came from the descendants of Thomas Rackett, Esq, Rector of Spetisbury and a close friend of David Garrick.

451 A small Bow bottle vase, c.1760, painted with flowers, a Bow vase cover modelled with an eagle, and a Longton Hall plate moulded with strawberries and painted with flowers, the vase reduced, the plate restuck, 23.7cm max. (3) £100­200

450 A Chelsea­Derby sauce tureen with cover and stand, c.1780, painted with sprays of European flowers within borders of gilt leaves and grapevine on a blue ground, together with two plates in the same design, blue crowned D marks, 24.8cm max. (5) £150­200

452 A Chelsea sucrier and cover, c.1755, finely painted with flowers, the cover with a strawberry finial, together with a Derby leaf dish painted with flower sprays, and a Meissen double­leaf dish moulded and painted with flowers, some damages and repairs, 28cm max. (4) £150­250

453 A group of early Derby and Chelsea­Derby teawares, c.1770­90, including four teabowls and saucers decorated with flower and leaf garlands, cornflower sprigs and a Sèvres­style design of pink S scrolls on a trellis band, a chocolate cup and cover with green camaieu flowers on a striped gilt ground, and a teacup and saucer with gilt leaves and white jewelling, various marks, some faults, 13.7cm max. (12)

£100­200

454 A small group of Lowestoft tea wares, c.1765­80, including a teabowl, coffee cup and saucer painted in the Imari palette with the Doll’s House pattern, a teabowl and saucer with back­to­back roses, a coffee cup painted with Chinese figures, another with flowers, and an Imari saucer with chickens beside holey rockwork, minor faults, 12.8cm max. (8)

£150­250

455 Six English porcelain coffee cups, c.1754­70, including a William Reid (Liverpool) fluted example painted in red and gilt with swans, an early Bow cup painted with a bird beside an ornamental fence, a Chelsea cup painted with flowers, a Derby cup in the Meissen manner with Kakiemon panels on a blue ground, a Liverpool cup with lotus sprays, and a Lowestoft cup with Chinese figures, some faults, 6.8cm max. (6)

£150­200

D

£100­200

456 A group of Chelsea­Derby teawares, c.1780, including a thistle­shaped mug, a two­handled cup, a breakfast coffee cup and saucer and a small bowl, all painted with sprays or garlands of flowers, the rims with narrow bands of gilt designs on a blue ground, gilt anchor and D marks or blue crowned

marks, 15.7cm max. (5)

457 A Derby two­handled vase, c.1765, painted with panels of colourful birds reserved on a turquoise ground, with rococo scroll handles picked out in gilt, the cover with a large rose bloom finial, some restoration to the cover, 25cm. (2) £150­250

459 A Chelsea­Derby fluted teabowl and saucer, c.1770­75, well painted with sprigs of fruit including a cut pear, cherries, redcurrants and blackberries, within a continuous border of pink roses entwined with a blue ribbon, gold anchor marks, 12.2cm. (2) £100­150

458 A Worcester sucrier and cover, c.1770, painted with spotted fruits reserved on an apple green ground, the finial modelled as a flower head, the ground possibly later, 13.5cm. (2) £150­250

460 A Chinese porcelain London­decorated milk jug, c.1750, the decoration a little later, finely painted in the atelier of James Giles with a butterfly and two bees in flight around a flower spray including a pink rose, the cover lacking, some retouching to the handle, 9.3cm. £150­200

and

462 A Bristol sauceboat, c.1770­75, moulded with rococo panels and painted with flowers in polychrome enamels, the scroll handle with a leaf­moulded thumbpiece, blue X and 8 mark, a chip to the inside rim, 17.5cm. £150­250 Paper label for A J Filkins.

461 A silver­mounted Chelsea fork, c.1760, the haft of pistol form and decorated with flower sprays in gilt

red, and a St Cloud fork, c.1720­40, painted in underglaze blue with a formal design of leaf scrolls and diaper bands, 21cm max overall. (2) £150­200

463 A Derby creamboat and stand, c.1760, moulded of overlapping leaves edged in green and painted with flower sprays, the creamer’s handle restored, 16.5cm. (2) £150­250

£100­200

464 A group of Derby teawares, c.1790, including a pair of teabowls and saucers painted probably by Zachariah Boreman with small figures in landscapes, a pair of moulded teabowls and saucers of slight ogee form, and a spiral moulded trio of coffee cup, teabowls and saucer with blue and gilt leaf frond design, together with a pair of cake plates with blue and gilt borders, puce marks, a little gilt wear, 21.5cm max. (13)

465 Three Derby plates or dishes, c.1780­1800, one with an armorial shield to the well, the rim with a Sèvres­style border of diagonal flower stems, one a soup plate painted with green camaieu flowers around a pink ribbon band, the last probably made as a replacement for a Meissen service, decorated in Kakiemon enamels with a flying red fox above a squirrel and grapevine, blue and puce factory marks, 24.5cm max. (3) £150­250

466 A pair of Derby pedestal figure or vase stands, c.1770, of chamfered square form, moulded with gilt leaf swags over foliate scrolls, suspended from columns with paw feet and satyr marks, and a porcelain knife handle painted with flowers, some chipping to the stands, 9cm. (3) £200­300

Provenance: the Martin Mortimer Collection.

467 Two rare Worcester quail tureens and covers, c.1760, naturalistically modelled with heads slightly turned, seated in nests of coiled leaves set into basket bases, left in the white with gilt detailing, 19cm. (4) £800­1,200

468 A small Worcester teapot and cover, c.1758­60, printed in black with a cock, hen and chicks, the reverse with peewits, a sparrowbeak jug printed with Les Garçons Chinois, and a Worcester coffee can or small mug printed by John Sadler with the Tea Drinkers, small damages, 14.3cm max. (4) £200­300

469 Three English porcelain milk jugs, c.177090, two Lowestoft and painted with flowers and trellis panels, one Philip Christian (Liverpool) and painted with flower sprays, small faults, 8.5cm max. (3) £100­200

King

a

470 A pair of Chelsea plates of Mecklenburg­Strelitz type, c.1764, the moulded borders with flower garlands suspended between small panels of gilded insects on a mazarine blue ground, the wells painted with an exotic bird standing amidst leafy branches, gold anchor marks, 23cm. (2) £600­1,000

George III and Queen Charlotte ordered the original service of this type in 1762 as

gift to Duke Adolphus Frederick IV of Mecklenburg-Strelitz, the Queen’s brother. Chelsea made a second service in 1764 which is identical except in the shaping of the blue rim panels. On the original service these are convex, whereas the second service bears concave panels.

471 A Chelsea cabinet plate, c.1760­65, painted to the rim with three large panels of fruit including figs, peach, lemon and various berries, the well with two birds in flight, reserved within wide gilt foliate borders on a mazarine blue ground, gold anchor mark, 22.3cm. £150­250

472 A Chelsea cabinet plate, c.1760­65, the well painted with three birds perched on a continuous flower garland, the rim with a shaped mazarine blue border with gilt flowers and trellis work, gold anchor mark, 21.7cm. £150­250

350

474 A small Chelsea bottle vase, c.1765, painted with two exotic longtailed birds before leafy plants, reserved within an elaborate gilt foliate and floral panel on a mazarine blue ground, gold anchor mark, good restoration to the neck, 15.2cm. £150­250

473 A Chelsea cabinet beaker, c.1760­65, painted with two panels of courting couples in woodland settings, reserved within gilt floral and trellis work borders on a mazarine blue ground, gold anchor mark, 9cm. £250

475 A Chelsea cabinet cup and saucer, c.176065, finely decorated with panels of colourful birds perched in branches, alternating with mazarine blue panels with gilt trellis and foliage, gold anchor marks, 12.3cm. (2) £150­250

476 A large Chelsea octagonal teabowl and saucer, c.1750­52, painted with panels of flower stems and tied scrolls, alternating with foliate scrolls and gilt flowerheads on a red ground, raised anchor mark to the teabowl, a few small chips, 14.5cm. (2) £500­800

477 A small Scratch Cross Worcester teapot and cover, c.1754, finely painted with a pink rose spray and other flowers beside a large butterfly, the spout with a ladybird and a spray of heartsease, the flat cover with a floral finial, incised cross to the base, 14cm across. (2) £400­600

478 A rare Worcester salt, c.1765, of silver shape, the oval form moulded with gadroons between four ball and claw feet issuing from cherub masks, decorated with a gilt dentil rim, a section of the rim broken and repaired, 10cm across. £200­300

Provenance: formerly in the Zorensky Collection.

479 A rare and early Worcester coffee pot and cover, c.1752­53, the baluster shape derived from silver, painted in the Oriental style after Meissen with a peacock perched on a bamboo stem above flowering branches, with scattered moths and other insects, a long restored crack, 21.5cm. (2) £1,000­1,500

Cf. Simon Spero, Lund’s Bristol and Early Worcester Porcelain, The A J Smith Collection, p.134, no.50 for a coffee pot of the same shape.

480 Two Lowestoft blue and white teabowls and saucers, c.1765­75, painted with Chinese pagodas in island landscapes, and a third teabowl printed with the Three Flowers pattern, 11.7cm diameter max. (5) £150­250

481 A small collection of Caughley miniature teawares, c.1770­80, including a teapot and cover and three saucers painted in underglaze blue with the Island pattern, a miniature teabowl and saucer printed with the Fisherman and Cormorant pattern, and a coffee cup and saucer decorated with gilt flower sprigs, some restoration and damages to the Island pieces, 9.3cm max. (9) £250­350

482 A Worcester blue and white patty pan and a mug , c.1760­ 70, the patty pan painted with the Bare Tree and Speared Bird pattern, the rim with a formal design, workman’s mark, the mug printed with the Bouquets pattern, and a Chinese Worcester style cup, painted with the Gazebo pattern, some chips to the Chinese cup, 15.5cm high max. (3) £150­250

483 Three English porcelain blue and white sauceboats, c.1770­80, one Seth Pennington (Liverpool) and moulded with Liver birds perched on grapevine, another Derby and painted with Chinoiserie scenes on a pineapple­moulded ground, the last Bow and decorated with exaggerated Oriental figures within moulded panels, with a cell diaper border, 20.2cm max. (3) £200­300

484 A pair of large Lowestoft blue and white sauceboats, c.1765­70, of Hughes type, moulded with floral panels, painted with vignettes of Chinese figures in boats and fishing off a small island, the interiors with peony sprays, and a creamboat with similar moulding and decoration, painter’s numerals, a long crack to one sauceboat, 21cm max. (3) £250­350

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

485 A Lowestoft blue and white teapot and cover, c. 1765­70, painted with flowers emerging from holey rockwork, and a small Lowestoft bowl printed with the Fence pattern, crescent mark to the bowl, a small chip to the teapot’s cover and two small cracks to teapot, 13.5cm max. (3) £200­300

486 A rare Caughley blue and white inkwell, c.1780, of capstan shape, printed with small flower sprigs between cell diaper borders, the shoulder pierced with four quill holes, blue C mark, the liner lacking, 8.2cm across.

£400­600

Cf. Geoffrey Godden, Caughley and Worcester Porcelains, pl.127 for a similar example plus wasters excavated from the factory site.

487 A Worcester blue and white coffee can or small mug, c.1757­58, painted with the Listening Birds pattern, possibly by Rogers, with three birds perched in the branches of a tree with further birds in flight around and mountains visible in the distance, workman’s mark, 6.2cm. £300­400

This rare painted pattern is the predecessor to the more common printed Birds in Branches pattern. Very few examples are known.

489 A pair of Lowestoft blue and white pickle dishes, c.1765­70, of leaf form, each painted with a stem of fruiting grapevine within a berry husk border, painter’s numeral to one, 10cm. (2) £200­300

£100­150

488 A Worcester blue and white sauceboat, c.1755, painted with the Sinking Boat Fisherman pattern, within rococo moulded panels, the pattern echoed to the interior, workman’s mark beneath the handle, some restoration to the spout, 16.3cm across.

One with a paper label for Albert Amor Ltd.

490 A rare Vauxhall blue and white saucer dish, c.1755, painted with a Chinese figure standing beneath a tall pine tree on a promontory, a figure fishing from a sampan beside, broken and restuck, 19.6cm. £500­800

Provenance: formerly the Liane Richards Collection.

491 A rare Vauxhall blue and white teapot, c.1756­58, painted with an unrecorded design of low huts beside towering rocks in a Chinese landscape, the shoulder with a continuous plaited border, the cover lacking, restoration to the spout, 15.2cm. £200­300

492 A small and rare Vauxhall blue and white teapot and cover, c.175658, the globular body painted with a small hut and trees in an island landscape, some damages, the cover with a metal repair to the rim, 13.5cm across. (2) £300­500

493 A Vauxhall blue and white pickle dish, c.1755­58, of leaf shape, painted with a moth amidst heavy leaf veining, the veining moulded to the underside, a repair to the stalk, 10.3cm. £300­500

Exhibited: English Ceramics Circle Exhibition, 2007, no.149.

495 Two Vauxhall blue and white saucers, c.175557, one painted with a boat before an arched bridge linking rocky islands, the other with a figure holding a staff in an island landscape, a short rim crack, a few small chips, 12.5cm max. (2) £200­300

Exhibited: English Ceramics Circle Exhibition, 2007, no.111. (the first saucer).

494 Two Vauxhall blue and white saucers, c.175557, one painted with a Chinese figure walking through a garden, the other with a low hut beneath trees in an island landscape, a short rim crack and a chip, 11.8cm. (2)

£200­300

496 A Caughley blue and white mask jug, c.1770, printed with the Three Flowers pattern, and a Lowestoft­style mug, decorated with a bird amongst foliage, the base inscribed ‘Abm Moore August 29th 1765’, 18.2cm max. (2) £100­200

Cf. British Museum, Accession No. 1887,0307,XI.7 for a genuine example, and 1957,0403.1 for a modern forgery. The genuine Lowestoft mugs were made in varying sizes, although it is not known who Abraham Moore was.

497 A small Vauxhall blue and white creamboat or small sauceboat, c.1757­60, moulded with flowers and grapevine, around the foot with a band of stiff leaves, painted with a figures seated with a large fan beside rockwork and a low hut, beneath the spout with a dense foliate design, 16.3cm. £300­400

498 A Worcester blue and white moulded cornucopia wall pocket, c.1758, the traditional spiral horn shape additionally moulded with a detailed landscape of cattle grazing before a chapel, a figure seated beneath a tree beside, above and beneath the moulding painted with flowers and a hatched diaper design, workman’s mark, some restoration, 22.8cm. (2) £300­500

499 A large Seth Pennington (Liverpool) blue and white cabbage leaf jug, c.1780, decorated with naturalistic flower sprays and flying moths, the spout moulded as a bacchanalian mask, and a Worcester oval basket, printed with the Pinecone pattern, 27cm max. (2) £150­250

500 A William Reid blue and white jug, c.1756­58, the barrel shape painted with low buildings and a smoking kiln chimney in an island landscape, a sailing boat to one side, the interior rim with a formal design, the spout with rare scrolled moulding, a rim section broken out and repaired, 17.7cm. £400­600

501 A Plymouth blue and white coffee pot and cover, c.1770, painted in a dark blue with the Mansfield pattern, the cover surmounted with a floral finial, restoration to the spout and finial, 24.3cm. (2) £300­500

502 A good William Reid (Liverpool) blue and white milk jug, c.1756­58, painted with a large spray of flowering peony, the rim with a hatched border, 8cm. £300­500

Exhibited: William Reid Exhibition, Roderick Jellicoe, New York Ceramics Fair, 2001.

THE HENRY LAWRENCE COLLECTION

503 A good Worcester saucer dish, c.1758, painted in a pale blue with the Prunus Root pattern, with flowering branches extending from holey rootwork, workman’s mark, 21.2cm. £400­600

Provenance: the Henry Lawrence Collection. Purchased Bonhams, 30th October 2012, lot 103.

TO BE SOLD WITHOUT RESERVE

504 A rare Bow blue and white two­handled sauceboat, c.1750­52, painted in a bright blue with a bird perched on branches of flowering magnolia within a hatched diaper border, the twin handles with mask head terminals, 17.7cm. £300­500

Provenance: the Henry Lawrence Collection. Purchased Neal’s, Nottingham, 6th May 2002.

Cf. Phillips, The Watney Collection, Part III, lot 838 for a similar example. TO BE SOLD WITHOUT RESERVE

505 A Lowestoft blue and white coffee can or small mug, c.1760, painted with a pagoda beneath a willow tree in an island landscape, the interior rim with a berry border, a Worcester blue and white mug painted with the Walk in the Garden pattern, and a Le Nove saucer painted with a seated Ottoman figure in polychrome enamels, the Worcester mug cracked, 11.5cm max. (3) £150­200

Provenance: the Henry Lawrence Collection.

TO BE SOLD WITHOUT RESERVE

506 A rare and important blue and white Lowestoft spoon tray, c.1757­60, of a deep elongated shape with fluted sides and undulating rim, the well painted with four aquatic birds swimming, walking, in flight and perched on flowering magnolia branches beside holey rockwork, the sides with flower and leaf sprigs, 18.5cm. £5,000­8,000

Provenance: the Henry Lawrence Collection. Formerly the Geoffrey Godden Reference Collection. Sold Bonhams, 30th June 2010, lot 119.

Illustrated: Geoffrey Godden, Lowestoft Porcelains, colour plate 5; English Blue and White Porcelain, colour plate 73 and plate 328; and Christopher Spencer, Early Lowestoft, fig 146, p 114.

TO BE SOLD WITHOUT RESERVE

507 A Chinese soft­paste porcelain blue and white teabowl and saucer, mid 18th century, of lobed form, painted in blue with the Two Quail pattern, crossed swords mark in imitation of Meissen, 12.7cm. £150­250

Provenance: the Henry Lawrence Collection. Purchased at Bearnes, Hampton and Littlewood, 13th December 1978, lot 207.

TO BE SOLD WITHOUT RESERVE

508 A small Meissen teapot and cover, c.1725­30, of bullet shape, painted in Kakiemon enamels with the Two Quail pattern, with curved wishbone handle and a short faceted spout, blue crossed swords mark, 12.5cm across. (2)

£600­1,000

Provenance: the Henry Lawrence Collection. Purchased Christie’s, 12th May 2012, lot 51.

TO BE SOLD WITHOUT RESERVE

509 A Meissen two­handled cup, c.1730, painted in Kakiemon enamels with the Gelbe Löwe pattern, a tiger curled around a stem of bamboo, the reverse with gnarled prunus branches, the handles formed as the heads of birds, probably eagles, puce crossed swords mark over an underglaze blue crossed swords mark, 6.8cm high. £300­500

Provenance: the Henry Lawrence Collection. Purchased Christie’s, 19th April 2011, lot 162. Formerly The Estate of Dr Joseph Kler, sold at Christie’s New York, 27th April 1984, lot 42; and the Kathy Gillmeister Collection, California.

TO BE SOLD WITHOUT RESERVE

510 A rare and early Longton Hall teapot and cover, c.1752, modelled after Meissen with a small bullet­shaped body painted in Kakiemon enamels with a Ho­ho bird in flight above flowering branches, with moulded wishbone handle, the flat cover with a strawberry knop, the spout moulded as a mythical serpent, 17cm across. (2) £1,000­2,000

Provenance: the Henry Lawrence Collection. Purchased Christie’s, 2nd November 1998, lot78.

TO BE SOLD WITHOUT RESERVE

511 A rare Bow saucer dish or stand, c.1758, decorated in a combination of Kakiemon and famille rose enamels with flowering branches and scattered flowerheads, brown line rim, 16cm. £200­300

Provenance: the Henry Lawrence Collection. Purchased Phillips, 23rd September 1998.

TO BE SOLD WITHOUT RESERVE

512 A Derby jug, c.1758­60, painted in the Kakiemon manner with a bird perched on flowering branches beside a red banded hedge and a stem of bamboo, 21cm. £120­180

Provenance: the Henry Lawrence Collection. Purchased Sotheby’s, 8th November 1999, lot 1. Formerly in the collection of Bradshaw Gilhespy.

Illustrated Bradshaw Gilhespy, Derby Porcelain, pl.50.

TO BE SOLD WITHOUT RESERVE

513 A St Cloud coffee cup and trembleuse saucer, c.1730, the lobed form painted in the Kakiemon manner with stems of bamboo and flowering prunus issuing from banded hedges, the handle finely moulded, 12.7cm. (2) £500­800

Provenance: the Henry Lawrence Collection. Purchased from Winifred Williams in 1975.

Cf. Woolley and Wallis, 12th October 2010, lot 470 for a similar example.

TO BE SOLD WITHOUT RESERVE

514 A very rare Bow lobed teapot and cover, c.1753, after a Japanese shape, unusually painted in the famille rose palette with the Two Quail pattern, three blue dots to the base, replacement handle, 16cm. (2) £800­1,200

Provenance: the Henry Lawrence Collection. Purchased Woolley and Wallis, 13th September 2011, lot 492.

Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, col.pl. III, p.48 for the same shape in a different pattern. Only five other examples of this teapot shape are known at Bow, and this is believed to be the only example decorated in the famille rose palette.

TO BE SOLD WITHOUT RESERVE

515 A Chinese Dehua porcelain Dutch­decorated ewer and cover, c.1680­1720, the decoration slightly later, painted in the Kakiemon palette with bamboo stems and other flowering branches issuing from banded hedges, beneath the spout with a poised tiger, the rim with a formal trellis and ruyi scroll design, 16.5cm high. (2) £1,500­2,000

Provenance: The Henry Lawrence Collection. Purchased Sotheby’s, 11th January 1980, lot 106. Formerly in the Richard de la Mare Collection.

Illustrated: P J Donnelly, Blanc de Chine, 133b.

TO BE SOLD WITHOUT RESERVE

516 A rare pair of Bow bottle vases, c.1755, well painted in Kakiemon enamels, each with a long­tailed Ho­ho bird in flight beside another perched on a gnarled flowering prunus branch above banded hedges, 13.7cm. (2) £1,000­2,000

Provenance: the Henry Lawrence Collection. Acquired from Christie’s, 11th March 1996, lot 17.

TO BE SOLD WITHOUT RESERVE

Provenance: the Henry Lawrence Collection. Acquired from Winifred Williams in 1983. At Sotheby’s in 1975.

2,000

Illustrated: Deborah Stratton, Mugs and Tankards, p.114. Also, ECC Transactions. Vol. 13, Part 3, Bernard Watney - ‘The Vauxhall China Works 1751-1764’, pl.205.

Exhibited: The British Museum, Porcelain for Palaces, 1990, no.335, and illustrated in the catalogue of the same. TO BE SOLD WITHOUT RESERVE

517 A good and rare Vauxhall mug, c.1755, the cylindrical form rising from a flared foot, well painted in Kakiemon enamels with a peacock perched on flowering prunus branches and bamboo, beside a further peacock perched on holey rockwork, brown line rim, 12.5cm. £1,500

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

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@woolleys.live

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.

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.

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 info@mbewinchester.co.uk www.mbe.co.uk/winchester

Sackville­West +44 (0)2080 909988

Moving & Storing office@sackvillewest.co.uk www.sackvillewest.co.uk

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.

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/ahvlaen/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 £1,000 and the maximum royalty payable on any single lot is £12,500.

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

Royalties for Droit de Suite are as follows:

4% Up to £50,000

3% £50,000.01 ­ 200,000

1% £200,000.01 ­ 350,000

0.5% £350,000.01 ­ 500,000

0.25% In excess of £500,000

Up to a maximum levy of £12,500

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

1 . Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 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.

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.

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

TERMS OF CONSIGNMENT FOR SELLERS

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

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

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

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower 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. Unsold and withdrawn items. If an item is unsold it may with your consent be reoffered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

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

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

14. Authority to deduct commission and expenses and retain premium and interest.

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

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

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE

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

1. DEFINITIONS

In these Conditions:

(a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate;

(b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals.

(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

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

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 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.

(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.

7. TITLE AND COLLECTION OF PURCHASES

(a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR 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’.

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

15. FORGERIES

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

GENERAL

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

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

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

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

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

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

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.

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

(j) Dimensions are given height before width.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

Royalties for Droit de Suite are as follows:

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@woolleys.live

• 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

We may collect the following personal data about you:

• 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.

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.

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.

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

• our professional advisors;

• the­saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

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

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.

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.

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).

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.

HOW LONG YOUR INFORMATION IS KEPT

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.

In particular:

• 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

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

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS

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

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

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

PROBATE VALUATIONS

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

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

Contact Amanda Lawrence

+44 (0)1722 424500 | valuations@woolleys.live

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500

ABSENTEE BID FORM BRITISH & CONTINENTAL CERAMICS & GLASS

30TH APRIL 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.

Lot Number Brief Decription Price Excluding in numerical buyer’s premium order & VAT

Signature

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2024 AUCTIONS AUCTION CALENDAR

APRIL

16th Collections & Fine Furniture

17th Parker & Morris: The Art of Decorating

18th Furniture, Works of Art & Clocks

24th & 25th Fine Jewellery

30th British & Continental Ceramics & Glass

MAY

1st & 2nd Silver & Objects of Vertu

21st­23rd Asian Art, Chinese Paintings & Japanese Works of Art

30th Medals & Coins, Arms & Armour

JUNE

5th Modern British & 20th Century Art

19th Fine Arts & Crafts

JULY

3rd & 4th Furniture, Works of Art & Clocks

10th & 11th Fine Jewellery

16th & 17th Silver & Objects of Vertu

Dates may be subject to change