Woolley & Wallis Auctioneers

ENGLISH & EUROPEAN CERAMICS & GLASS TUESDAY 13TH SEPTEMBER 2022

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

VALUATIONS FOR INSURANCE & PROBATE 424507 446964

Jeremy Lamond MRICS ASFAV FRSA Neil Grenyer Amanda Lawrence

424505 446955

GENERAL OFFICE

424502 446974 424509

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs Molly O’Reilly

339752 446980

Ruth Pike (Office Manager) Sarah Bennie Leyanne Hind Nicola Young

424500

CASTLE GATE RECEPTION Sally Litherland

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

424506 424583 424589 +44 (0)7812 601098 424571

MARKETING Chloe Davie

446951

ACCOUNTS Sharon Ringwood Anna Gentleman

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards Michelle Yu

424589 424571

BOARD OF DIRECTORS

411854 446974 339161 446974 339161

Natalie Milsted FCCA Managing Director

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan­Richards Neil Grenyer Jim Gale Suzy Becsy Sarah Stone

JAPANESE ART Alexandra Aguilar

424583

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Samuel Hug FGA DGA Emily O’Donnell Megan Corbett

424595 424504 424586 424561 424562

John Axford MRICS ASFAV Chairman

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

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Molly O’Reilly

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970 CBP006075

SILVER Rupert Slingsby Lucy Chalmers

424501 424594 SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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ENGLISH & EUROPEAN CERAMICS & GLASS INCLUDING THE LADY ROTHES COLLECTION TUESDAY 13TH SEPTEMBER 2022 10.00AM at our Castle Street Salerooms, SP1 3SU

Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

VIEWING AT OUR NEW EXHIBITION SPACE AT CASTLE GATE Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX

Hollie Morrison 01722 446964 hm@woolleyandwallis.co.uk

VIEWING Saturday 10th September Monday 12th September Tuesday 13th September

10.00am – 1.00pm 10.00am – 4.00pm 9.00am – 12 noon

DIRECTIONS TO THE NEW EXHIBITION SPACE AT CASTLE GATE Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

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Kia Motors

Old Sarum Park

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Westover Garage Sarum Business Park

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WOOLLEY & WALLIS Castle Gate

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1st Self Access Storage

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MARLBOROUGH & SWINDON

AUCTION HERE

WOOLLEY & WALLIS Salisbury Salerooms

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THE VIEWING OF THIS SALE WILL TAKE PLACE AT Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX Client Parking Available Saturday 10th September Monday 12th September Tuesday 13th September

10.00am – 1.00pm 10.00am – 4.00pm 9.00am – 12 noon

THE AUCTION ON 13TH SEPTEMBER WILL TAKE PLACE AT CASTLE STREET 51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Requests for telephone bids cannot be accepted after 5pm on Monday 12th September

LIVE ONLINE BIDDING – FREE OF CHARGE

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Monday 12th September

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

Instagram: @woolleyandwallisceramics @woolleyandwallissalerooms Facebook: @woolleyandwallis Twitter: @woolleywallis Pinterest: Woolley and Wallis

EXPORT AND CITES LICENCES Some lots may require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

ILLUSTRATIONS Front cover: The Lady Rothes Collection: lots 253­336 Back cover: Lot 496 Catalogue £12.00 (£15.00 by post)

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GLASS

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1

A glass goblet, c.1750, the deep bucket bowl raised on a thick plain stem over a conical foot, 20.2cm.

2

A large toasting glass or goblet, c.1750, the generous drawn trumpet bowl rising from a thick plain stem enclosing a single tear, above a conical folded foot, 22.7cm. £200­300

3

A large wine glass or goblet, c.1740, the bell bowl raised on a baluster stem enclosing a long tear, with a basal knop, raised on a folded conical foot, 21.7cm. £300­500

4

A large wine glass or goblet, c.1750, the generous bucket bowl raised on a plain stem enclosing a long air bubble, above a folded conical foot, 19.8cm. £200­300

5

5 4

£200­300

A firing glass, c.1760, of Masonic or other symbolic significance, the drawn trumpet bowl deeply engraved and gilded with the initials ‘GB’ around crossed anchors beneath a crown, raised on a thick foot, 10.4cm. £250­300

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

6 A large glass goblet, c.1765, the generous bowl of slight ogee form and raised on a double series opaque twist stem, above a conical foot, 17.7cm. £200­300

6 7

A large wine glass or goblet, c.1750, the ogee bowl raised on a thick multi series airtwist stem, above a conical foot, 19.1cm.

8

A large toasting glass or goblet, c.1750, the generous drawn trumpet bowl rising from a thick plain stem, above a conical folded foot, 22.8cm. £200­300 Paper label for the Towse Collection, no.564.

9

A large glass goblet, c.1750, the generous round funnel bowl raised on a thick plain stem above a conical foot, 22.1cm.

£200­300

10

A large wine glass or goblet, c.1750, the deep bell bowl raised on a thick airtwist stem above a folded conical foot, 21cm.

£150­250

7

8

9

£200­300

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11 A small Jacobite wine glass, c.1750, the drawn trumpet bowl engraved with a rose and bud spray, an oak leaf and a star, over a dense airtwist stem above a folded foot, 14.2cm. £300­500

12 An Irish cordial glass of Jacobite significance, c.1740­50, the small rounded funnel bowl engraved with a rose spray raised on a thick stem enclosing a long tear above a basal knop and domed, folded foot, 17cm. £700­1,000

13 A large Jacobite goblet, c.1760, the generous round funnel bowl engraved with a rose and thistle, the reverse with a large moth, raised on a thick multi series airtwist stem over a conical foot, 21.7cm. £300­500

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14 A large Williamite armorial goblet, c.1740, the generous round funnel bowl engraved with the arms of King William III of England, the reverse with an eight­pointed star, raised on a plain stem above a domed foot, 25.5cm. £2,500­3,000 William III (William II in Scotland) was also widely known as William of Orange. He participated in several wars against the Catholic Louis XIV in France and was seen by many Protestants as a champion of their faith.

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16

17

15

A large wine glass or goblet, c.1770, the round funnel bowl engraved with a long flowering branch and a smaller flower sprig, raised on a thick faceted stem, 16.7cm. £150­250

16

A small wine glass, c.1770, the rounded bowl engraved with a continuous hunting scene, a figure on horseback trailing two dogs in pursuit of a fox, raised on a faceted stem, 14.3cm. £100­200

17

A wine glass, c.1750, the ogee bowl with moulded flutes around the base, raised on an airtwist stem above a folded conical foot, 16.6cm. £200­300

18

A large wine glass or goblet, c.1750­60, the rounded funnel bowl engraved with a border of hatched swags and stylized tassels, over a plain stem enclosing a single tear, above a thick conical foot, 16cm. £150­250

19

A wine glass, c.1730, the funnel bowl rising from an eight­sided pedestal stem above a basal knop and folded conical foot, 16cm.

20

A wine glass, c.1750, the bell bowl engraved with a stylized sunflower and a bird in flight, over a solid teared base above a plain stem and folded foot, 16.7cm. £150­250

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19

20

£400­600

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22

23

21

A large wine glass or goblet, c.1735, the rounded funnel bowl with a solid base enclosing a tear, raised on an eight­sided pedestal stem above a folded foot, 19.2cm. £400­600

22

A large toasting glass or goblet, c.1750, the generous drawn trumpet bowl rising from a thick plain stem enclosing a single tear, above a conical foot, 24.1cm. £200­300

23

A large glass goblet, c.1740, the deep rounded funnel bowl raised on an eight­sided pedestal stem above a folded conical foot, 23.8cm. £400­600

24

A large wine glass or goblet, c.1760, the generous ogee bowl raised on an opaque twist stem with a thin air thread, 18.5cm.

£150­250

25

A large wine glass or goblet, c.1750, the generous bell bowl rising from a multi series airtwist stem above a conical foot, 21.5cm.

£200­300

26

A large wine glass, c.1750, the rounded funnel bowl raised on a dense airtwist stem with central knop, over a folded domed foot, 18.4cm. £300­500

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25

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28

29

30

27

A large wine glass or goblet, c.1765, the rounded bowl raised on a double series opaque twist stem, above a conical foot, 19cm.

£200­300

28

A wine goblet, c.1760­70, the wide rounded bowl raised on a double series opaque twist stem above a conical foot, 15.2cm.

£150­250

29

A toasting glass or wine glute, c.1760­70, the slender drawn trumpet bowl rising from a tall opaque twist stem, above a conical foot, 17.7cm. £200­400

30

A wine glass, c.1765, the rounded funnel bowl raised on a double­knopped multi series opaque twist stem, above a conical foot, 16.4cm. £300­400

31

Three glass rummers, late 18th/early 19th century, all with diamond point engraving, one rummer inscribed for ‘Thomas & Susy Senior 1792’ and ‘The Gift of Elizabeth Senior’, another with a chinoiserie landscape border, the last with the initials ‘RCP’ above a sheaf of corn, 14.2cm max. (3) £150­200 Thomas Senior married Susey Maud on 17th October 1791 in Halifax, West Yorkshire.

32

Five unusual acid­etched wine glasses for the Earl of Bristol, early 19th century, the generous bowls inscribed ‘Je N’oublierai Jamais: The King, Loyalte M’oblige’, raised on plain stems over conical feet, 12.5cm. (5) £200­300 The motto is for the Hervey family and probably relates to Frederick William Hervey (1769-1859), the 5th Earl of Bristol and later 1st Marquess of Bristol.

He died of gout.

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34

33

A large wine glass or goblet, c.1770, gilded in the London atelier of James Giles with a spray of fruiting grapevine and two flower sprigs, raised on a knopped faceted stem, 18.2cm. £400­600

34

A rare portrait firing glass, c.1790, one side engraved with the head and shoulders portrait of a man, possibly Bonnie Prince Charlie, the reverse with a dolphin within an eight­pointed star, raised on a plain stem above a thick foot, 11.8cm. £500­800

35

A wine glass, c.1740, the funnel bowl engraved around the rim with a formal foliate border enclosing flowerheads, raised on a balustroid stem with angular knop above a teared stem and basal knop, over a folded conical foot, 15.4cm. £300­500

36

A glass goblet, c.1770, the rounded bowl cut with seven petals around the base, above a knopped faceted stem, 17.8cm.

35

£150­250

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38

37

A large ceremonial goblet, c.1750, the cup­shaped bowl engraved with a band of fruiting grapevine around a scrolling device possibly disguising the initials JE, raised on a plain stem above a folded conical foot, 24.8cm. £300­500

38

A ceremonial goblet or mixing glass, c.1750, the generous bowl of baluster form and raised on a short knop above a folded helmet foot, 26.5cm. £400­600 Paper label for the Paul Kettle Collection.

39

A ceremonial glass or mixing rummer, dated 1801, engraved in the manner of James Giles with the Bucrania pattern of bulls’ heads and paterae between husk and leaf swags, engraved with the initials ‘GB’ and ‘EB’ and the date 1801, 20.5cm .£400­600 Cf. Stephen Hanscombe, James Giles China and Glass Painter (1718-80), pl.127 for examples of opaque glass and Worcester porcelain decorated in this pattern.

40

A large glass commemorative rummer, c.1840, one side engraved with an array of brick kilns for smelting iron, the reverse in scribed ‘Success to the Iron Industry’, above a band of vertical fluting, over a short knopped stem and plain foot, 15.9cm. £250­350

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41

A heavy baluster goblet, c.1710, the generous round funnel bowl raised on a baluster stem with two bulbous knops over a folded conical foot, 22.1cm. £2,000­2,500

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43

44

42

A glass goblet, 19th century, the deep rounded funnel bowl engraved with a man with a gun aiming at a snipe or pheasant, in a continuous landscape, raised on a double knopped stem over a domed folded foot, 23.6cm. £200­300

43

A Dutch engraved wine glass, c.1740­50, the wide drawn trumpet bowl engraved with crossed cannon and other military trophies above a ribbon inscribed ‘Haec Libertatis Ergo’, raised on a plain stem above a folded foot, 18cm. £400­600 The motto on the glass is that of the city of Leiden and the military trophies may relate to the annual celebration of the city’s liberation following the Siege of Leiden each year on 3rd October, which was formalised in 1886 and continues to this day.

44

A large Dutch wine glass or goblet, mid 18th century, the flared bucket bowl engraved with panels containing swans and other aquatic birds, over a facet cut baluster stem, 20cm. £100­200

45

A façon de Venise wine glass or goblet, late 17th/18th century, the rounded funnel bowl raised on a hollow inverted baluster stem between shoulder and basal knops, above a folded foot, 19cm. £300­500

46

A large façon de Venise goblet, 18th century, the rounded bowl engraved with stags between buildings and trees in a continuous landscape above moulded gadrooning, raised on a pincered and twisted winged stem around a figure of eight applied with raspberry prunts, over an angular basal knop and folded conical foot, the foot cleanly broken and reattached, 23.5cm. £150­250

47

A façon de Venise wine glass or goblet, late 17th/18th century, the rounded funnel bowl raised on a hollow inverted baluster stem, above a conical folded foot, 19.6cm. £300­500

45 14

46

47

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49

48

Two façon de Venise wine glasses, early 18th century, one of a pinkish hue, the bucket bowl with honeycomb moulding, raised on a moulded stem above a folded foot, the other with a band of honeycomb moulding over vertical flutes, raised on a hollow stem with shoulder and basal knops over a folded foot, 12.7cm max (2) £100­200

49

A Venetian latticino glass plate, 19th century or earlier, decorated with a network of white canes, 18.4cm dia.

50

A Salviati decanter and stopper, c.1900, the bottle form with honeycomb moulding rising to a spirally moulded neck, with blue rigaree decoration and copper­coloured aventurine prunts, 37.3cm. (2) £100­200

51

A Salviati Venetian decanter and stopper, 19th century, the pale brown body trailed in vertical white stripes, and a small turquoise glass tulip vase, the globular body with four openings to the shoulder, and a Continental double­ended glass goblet, engraved ‘Zygmont Winnowski’, 31.5cm max.

(4) £100­150

£200­300

Zygmont Winnowski was born in Yvelines, France on 6th January 1931. There is no obvious record of him as a glass maker.

52

A Dutch amethyst glass decanter or bottle, c.1760, the flattened globular body applied with rigaree decoration of vertical pinched trails, the tall tapering neck with a single ring, 21.6cm. £400­600

50

51

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53 A façon de Venise glass tazza, 17th century, the flat top with slightly everted rim, decorated to the underside with a trailed chain of turquoise glass between clear milled trailing, raised on a spreading folded foot with single trailed ring, 20.2cm dia. £2,000­2,500 Tazzas of this type were widely produced in the Netherlands and have also been attributed to Catalonia. They can vary in size and are thought to be the product of one particular workshop, owing to the consistency in the style of decoration.

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55

54

A small glass bottle or carafe of possible Jacobite significance, c.1760­70, the rounded body rising to a narrow tapering neck, the whole engraved with a rose spray and other six­petalled flowers, 16cm. £200­300

55

A blue glass vase, c.1770, the thistle shape gilded in the London atelier of James Giles with small flower sprays including sunflower, rose and honeysuckle amidst scattered leaf sprigs, 15.5cm. £100­200

56

A graduated pair of glass jugs, late 18th century, roughly engraved with a leaf and barley design below two neck rings, raised on low circular feet, each applied with a hollow blown handle, a chip to the spout of the smaller jug, 25.8cm max. (2) £100­200

57

A pair of green glass decanters and stoppers, 19th century, the bottle shaped bodies vertically faceted, with a single neck ring below the flared necks, each with a metal­mounted cork stopper, 30cm. (4) £150­250

56

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59

A rare composite stem candlestick, c.1740, the deep moulded sconce raised on a baluster knop enclosing a row of tears, raised on a Silesian pedestal stem set into triple mereses over a basal teared knop, all over a panel moulded helmet foot, 21.1cm. £500­800 Provenance: a private collection from West Yorkshire. Purchased from Hotspur Ltd., 27th February 1968.

59

A rare composite stem glass candlestick, c.1740, the deep sconce set into a waisted annulated knop above a knop enclosing a row of tears, over an inverted Silesian stem above further annulated knops enclosing a beaded knop, all raised on a moulded helmet foot, a chip to the foot, 25.2cm. £200­300 Provenance: a private collection from West Yorkshire. Purchased from Hotspur Ltd. on 27th February 1968.

60

A pair of cut glass tapersticks, c.1790, the slender faceted stems rising to flared sconces above hexagonal knops, raised on shaped domed feet, minor chipping, 15.3cm. (2) £300­500

61

A cut glass taperstick, c.1760­80, the narrow sconce with a wide quatrefoil drip pan, raised on a knopped faceted stem above a shaped helmet foot, 15.8cm. £100­200 Provenance: a private collection from West Yorkshire.

60 18

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62 A pair of small moulded glass candlesticks, mid 18th century, the thistle shaped sconces raised on annulated knops above Silesian pedestal stems, over angular knops and panel­moulded feet, and a similar larger candlestick with inverted Silesian stem, some footrim faults, 21cm max. (3) £300­500 Provenance: a private collection from West Yorkshire. Purchased from Delomosne & Son Ltd. on 14th June 1978.

63 Three small cut glass candlesticks, c.1760­80, the shaped sconces with wide drip pans, one raised on a triple knopped faceted stem, another on a twisted Silesian stem, all on shaped helmet feet, some faults, 15.6cm max. (3) £150­250 Provenance: a private collection from West Yorkshire.

64 An Irish glass decanter and stopper, c.1820, Waterloo Glass Works of Cork, of Prussian shape, engraved with stylized flowers between ribbon bows above a band of vertical moulded flutes, the neck applied with three rings, the flattened stopper with a trellis design, moulded mark to the base, 26.2cm. (2) £500­800

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65

66 65 An Irish cut glass bowl or centrepiece, c.1820, of navette shape, the turnover rim cut with bands of fluting, raised on a bobbin stem and a fluted foot, 35cm across. £300­500 66 A pair of large cut glass tazzae or centrepieces, 19th century, probably Irish, the circular forms deeply cut to the everted rim above two horizontal bands of polished ovals, the domed feet with a band of polished circles, 27cm dia. (2) £400­600 67 A large cut glass bowl or centrepiece, of circular form, the turnover rim engraved with a repeated floral motif, the bowl’s base with a band of hobnail cutting, 28cm dia. £250­350 68 A pair of tall Bohemian glass goblets, dated 1886, the slightly flared octagonal forms cut with scenes of horses beneath trees in continuous landscapes, bearing monogrammed initials and ‘1886’, raised on low faceted stems and thick feet, 22.5cm. (2) £300­400 69 A tall Saxon glass armorial Reichsadler humpen, inscribed 1599 but later, the cylindrical body painted in cold enamels with the double­headed eagle between the 56 states of the Holy Roman Empire, flaking to the enamels, 39cm. £200­300

67

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Four paper collection numbers to the base.

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70 A pair of Bohemian glass goblets, 19th/ 20th century, probably Josef Lenhardt, and a smaller similar goblet, each with schwarzlot decoration of an equestrian figure and another hunter in a continuous landscape, and a similar smaller glass with a continuous stag hunt scene, one broken through the stem and repaired, 24.4cm max. (4) £300­400

71 Seven Bohemian glasses or goblets, 19th/20th century, probably Josef Lenhardt, three with large rounded bowls, four with bell bowls, all with schwarzlot decoration of continuous hunting scenes with figures on horseback, 17.3cm max. (7) £550­750

70 72 Eight Rowland Ward brandy glasses and four tumblers, modern, each engraved with a safari animal including antelope, rhinoceros, giraffe, buffalo and elephant, 12cm max. (12) £100­200

73 A large Rowland Ward glass punchbowl and eleven various glasses, modern, the bowl engraved with a giraffe, rhinoceros and lion beneath trees, the glasses with varying safari animals. Including three tankards, two tall wine glasses, three shot glasses and three liqueur glasses, 22.5cm dia. max. (12) £150­250

71

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75

74 A glass hookah base, of near bell shape with a kick­in base, the tapering neck with a turnover rim, pontil mark, 18.5cm. £150­200

75 A Continental overlaid glass hookah base, 19th/early 20th century, the bell­shaped body cased in white and overlaid in blue, cut with a geometric design of repeated circles and ovals, 21.2cm. £100­150

76

76 A pair of armorial verre eglomisé glass dishes, late 18th/19th century, reverse decorated in gilt and enamel with a shield and crest for the Sewell family, the rims gilded and cut the other side with bands of polished circles, some flaking, 20.5cm. (2) £100­200

77 An unusual double­ended glass spirit flask, 19th century, of barrel form, engraved with two continuous bands of fruiting grapevine, each end set with a small metal tap, 24cm across. £50­100 77 22

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79

78

Seven glass scent bottles or flasks, 19th/early 20th century, one Lobmeyer with schwarzlot decoration of peacocks between foliate scrolls, one an emerald green hue with internal stopper and metal cap, four of varying cut glass form, the last moulded with pinched decoration along the edges, some faults, 13.5cm max. (7) £200­300

79

A small Baccarat spaced paperweight, c.1850, set with seven varying canes, including three animal silhouette canes, reserved on a latticino gauze ground, some shallow surface dints, 5.3cm. £200­300

80

A miniature Baccarat paperweight, c.1860­65, set with a specimen of heartsease or pansy, starcut base, and a large paperweight, possibly English, set with eight latticino tubes amidst colourful floral canes, some scratching, 7.3cm max. dia. (2) £80­120

81

Two Clichy spaced paperweights, c.1850, the smaller set with 19 varying canes, the larger with 37 canes, both including a Clichy rose, some scratching, 6.5cm and 7.5cm dia. (2) £400­600

80

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82 A plaster model of the Portland vase, probably late 18th century and attributed to James Tassie from a mould taken by Giovanni Pichler, moulded with figural decoration, the base with a roundel of a figure in a Phyrigian cap, the whole decorated in a brown lacquer, 25.5cm high. £600­800 The Italian gem engraver, Giovanni Pichler, took a mould of the Portland vase c.1780 which was subsequently used by James Tassie to produce a number of casts.

Examples can be found in the British Museum, no. OA 17055; the Boston Athenaeum and the Wedgwood Museum. See also an example sold by Sotheby’s on 5th December 2020, lot 65.

The dating to the late 18th century is attributable to a number of factors. Firstly, the inclusion of the roundel at the base, which was removed in 1786; secondly, the visible fracture lines which are not present in copies taken after 1845 when the vase was broken and restored. The unevenness of the rim and handles is another feature present in earlier casts and not in the later Wedgwood and 19th century examples.

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83 A Wedgwood Jasperware portrait plaque of Captain James Cook, late 18th/19th century, modelled

by John Flaxman in profile, facing right, on a pale blue ground, titled beneath, impressed mark, in a hardwood frame, the plaque 11.3cm. £300­400 This portrait was modelled by Flaxman in 1784, probably after the Royal Society model by Lewis Pingo. See John Flaxman, ed. David Bindman, p.54, no.28 for more details.

84 A Wedgwood Jasperware portrait plaque of Sir Isaac Newton, late 18th/19th century, modelled as a younger man, in profile and facing right, a star falling to earth behind him, on a pale blue ground, titled beneath, impressed mark, mounted in a hardwood frame, the plaque 11.1cm. £300­400

85 A Turner & Co Jasperware anti­slavery medallion, c.1805, the oval plaque modelled in relief with a kneeling chained figure depicted in black on a cream ground, inscribed ‘Am I Not a Man and Brother’, under a mica covering, impressed mark, broken and restored, 3.4cm. £150­250

86

86 Two pairs of Wedgwood Jasperware vases, 19th/early 20th century, one pair of campana form and raised on tall circular bases, applied with Classical figures and fruit swags, the other pair of ovoid form and applied with the Dancing Hours, all in white on a lilac ground, covers lacking, 18cm max. (4) £150­250

87 A Jasperware cheese bell and stand, 19th century, decorated with Classical figures between trees, sprigged in white on a blue ground, between bands of continuous oak, 26.5cm across. (2) £150­200

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88 A Wedgwood Jasperware part tea service, 19th century, crisply applied with differing signs of the Zodiac within elaborate floral scroll bands between berried borders, impressed ‘WEDGWOOD’ and A marks. Comprising: a teapot with cover and stand, two cake plates, a slop bowl, a sucrier and cover, six cups, eight saucers, and a similar cup in a different design.

(23) £400­600

88

89 A Wedgwood Jasperware part coffee service, 19th century, crisply applied in white on a blue ground with differing signs of the Zodiac between elaborate floral scrolling borders, with further berried and leaf borders, impressed WEDGWOOD and A marks. Comprising: a coffee pot and cover, a sucrier and cover, two cake plates, a slop bowl, ten coffee cans and seven saucers. (24) £400­600

90 A silver­mounted Jasperware mug, c.1796, decorated in white on a blue ground with four Classical maidens emblematic of the Four Seasons, the silver mount with hallmarks for Thomas Law, Sheffield, 1796, 12.8cm. £100­150 91 A near pair of Wedgwood Jasperware bough pots and covers, 19th century, of campana shape, crisply applied with elaborate floral scrolls above stiff leaf bands, the scroll handles issuing from ram masks, a Wedgwood coffee pot and associated cover and a straight­sided pot, each sprigged with a figure of Neptune depicting Aquarius, within crisp flower scrolls, impressed WEDGWOOD A marks, some damages to the coffee pot and cover, 22.3cm max.(7) £200­300 89

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92 A pair of small octagonal delftware plates, c.1770, Liverpool or Dublin, painted in blue with La Pêche, a lady fishing, regarded by a figure beneath an archway, within stylized narrow panelled borders, a few small filled chips, 17.8cm. (2) £250­350

93 A pair of delftware plates, c.1770­80, painted in blue with four flower sprays to the rim around a large central sprig, 23.3cm. (2) £100­200

This design, commonly seen on Caughley and Worcester porcelains, is copied from a design by Jean Pillement, engraved by P C Canot and published in 1759. It was then published in the second edition of The Ladies Amusement the following year.

94 A pair of delftware chargers, c.1760, probably Liverpool, painted in blue with bold branches of flowering peony issuing from holey rockwork, 35cm. (2) £250­350

95 Two large delftware chargers, c.1740­70, one probably London and decorated with a dense floral design in red, green and blue, the other Bristol and painted in blue, yellow and manganese with a two­storeyed pagoda in a landscape scene, some damages, 35.8cm max. (2) £150­250

96 Two delftware plates, c.1720­50, one painted in red, blue, green and yellow with a bird perched on flowering plants within a floral arcaded border, number 10 mark to the base, the other with a yellow­breasted bird perched on a large leaf, the rim with flying insects and stylized flower sprays, 23.3cm max. (2) £200­300

97 Two delftware chargers, mid 18th century, one Liverpool and painted with vases of flowers, the rim with six flower sprays, large 2 mark to the base, the other charger Bristol and painted with moths in flight above flowering branches, 34.3cm max. (2) £200­300

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98 A large delftware charger, c.1780, probably Lambeth, painted in polychrome enamels with flowering plants and rockwork beside an ornamental fence, the rim with a formal border in blue, manganese and yellow, restoration, 36.4cm. £200­300

99 A large delftware plate, c.1760­70, probably Bristol or Liverpool, well painted in a pale blue with a Chinese warrior figure holding a spear and seated at the base of a flowering prunus tree, the rim with floral panels on a narrow trellis border, 30.6cm. £100­200

100 A delftware plate, c.1750­60, probably Dublin, well painted in the Fazackerly palette with a bold arrangement of flowers, the rim with two further flower sprays and scattered leaves, the underside with blue leaf tendrils and painter’s numeral 4, 22.8cm. £400­600

101 A Vauxhall delftware plate, c.1720­30, the shallow dished form painted in blue, red, green, manganese and yellow with a continuous flower band within a swagged and tasselled border, 22.6cm. £200­300

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103 102 A delftware plate or shallow dish, c.1720­30, painted in blue with a couple in court dress promenading through a landscape beneath tall sponged trees, a church visible in the distance, some rim chipping, 25.6cm. £150­250

103 A small delftware plate, c.1760­70, painted in underglaze blue with a Chinese lady seated in an interior beside a latticed window and flowering plants, within a hatched border and brown line rim, 17.8cm. £150­200

104 104 An octagonal delftware charger, c.1770, Dublin or Liverpool, painted in blue with La Pêche, a lady fishing and watched by a figure beneath an archway, within stylized narrow panelled borders, a rim section broken and restuck, 41.5cm. £200­300 This design, commonly seen on Caughley and Worcester porcelains, is copied from a design by Jean Pillement, engraved by P C Canot and published in 1759.

It was then published in the second edition of The Ladies Amusement the following year.

105 A delftware octagonal charger, c.1760, Dublin or Liverpool, painted with peacock feathers in a vase beside a large chrysanthemum bloom and a spray of flowering prunus, within a cell diaper border, a rim crack, 41.5cm. £200­300 105 30

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106 Two London delftware drug or apothecary jars, c.1740­50, each painted in blue with a cartouche surmounted by a shell flanked by putti holding flower stems, one inscribed ‘UNG. ALB. C.’, the other ‘UNG: CAERUL’, some glaze loss and stabilising, 19cm max. (2) £1,500­2,000

107 A delftware dry drug jar, c.1760, painted in blue with a cartouche inscribed ‘E:E,SCORD:C:OP’ beneath two putti holding flowers and flanking a shell, glaze flaking and restoration, 19cm. £200­300

Unguentum Album was an ointment made with white lead, egg white and oil of roses, used in the treatment of burns. Unguentum Caeruleum (The Blue Ointment) was made from mercury, hog’s lard and turpentine and was thought to guard against venereal disease.

Electuary of Scordium (Water Germander) with opium had a variety of uses in the treatment of diseases such as smallpox, measles and other ‘pestilent’ diseases.

108 A delftware puzzle jug, c.1740­60, probably Lambeth, the rounded body inscribed in blue with ‘Here Gentleman Come try your skill, I’le hold a wager if you will, That you Don’t Drinke this liquor all, Without you spill or lett some Fall’, flanked by flowering peony branches, the tall cylindrical neck pierced with a geometric floral design highlighted in blue, the hollow rim with three narrow spouts, 18.7cm. £300­500

109 A delftware flower brick, c.1770, of rectangular form, painted with sprays of Oriental flowers, with a shaped foot, the recessed top set with three rows of circular holes flanking two rectangular apertures, restoration to one corner, 15.5cm across. £300­500

Provenance: formerly the Sir Frederick Warner Collection and acquired from Sotheby’s, 16th July 1965, lot 18.

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110 Two delftware chargers and a plate, c.1760­90, one Bristol and painted in polychrome enamels with flowering plants, another of ‘Ann Gomm’ type and painted with an octagonal motif, the plate with flowering plants echoed to the rim, some faults, 34.3cm max. (3) £200­300

111 Three delftware chargers, c.1760­80, two decorated in green monochrome with weeping willow issuing from stylized rockwork, the last in blue with a large lotus flower beneath weeping willow, 34.7cm max. (3) £150­250

112 A Liverpool delftware plate, c.1740­50, the well painted in blue with two strutting cockerels beneath flowering branches, and a small Delft plate in imitation of Chinese porcelain, painted with a dense floral design within a shaped panelled rim, some restoration, 27cm max. (2) £100­200

113 A pair of small delftware plates, c.1720­40, each painted in blue with a Chinese boy punting before a two­storeyed pagoda on an island, a large bird in flight above, and a London delftware plate painted with a stylized flower spray within a formal scroll border, the small plates broken and restuck, 22.6cm max. (3) £100­150

114 Five delftware plates, 18th century, three painted in blue variously with a figure, flowers and a landscape, two in polychrome enamels with stylized flowering plants, and two rare delftware tiles painted with flower sprigs to the centre and corners, some damages, 22.6cm max. (7) £150­250

115 Four delftware plates, .1720­80, a pair of pancake form and painted in blue with birds in flight above a low hut and tall tree, one painted with a Chinese figure seated beneath a parasol, the last of simple shape and painted with a geometric star design, some damages, 23cm max. (4) £150­250

Provenance: the tiles formerly in the Lipski Collection.

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116 Two Bristol delftware chargers, c.1760­80, the smaller painted with a figure fishing from a grassy hillock before a village with a tall tree, the other with trees above a low hut, 34.5cm max. (2) £100­200

117 Two large delftware chargers, c.1750­70, one probably Liverpool and painted in a dark blue with flowers and feathery leaves within a simple border, the other Bristol and painted with flowering Oriental branches, some rim chipping, 35.8cm max. (2) £150­250

118 Two large delftware chargers, c.1730­70, one probably Bristol and decorated in polychrome enamels with a formal panelled floral design, the other Lambeth and painted with flowering Oriental branches issuing from holey rockwork, the rim with four branches, 35.3cm max. (2) £200­300

119 Two delftware bowls, c.1760­70, one painted to the exterior with panels of polychrome flowers reserved on a pale sponged manganese ground, the interior inscribed ‘One Bowl more & then’, the other painted in blue with flowering Oriental branches, damages and repairs, 22.5cm dia. max. (2) £150­200

120 Three delftware plates, c.1730­50, one painted with a bird diving down to a seated Chinese lady, another with huts in a Chinese landscape, the last with panels of a hut beneath willow reserved on a manganese cracked ice ground, some damages, 23.8cm max. (3) £100­200

121 Four delftware plates, c.1730­60, one Bristol and painted with a woolsack panel on a pale powdered manganese ground, another London and brightly painted with a bird on flowering branches, the last two with bianco-sopra-bianco borders, 23cm max. (4) £100­200 33

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122 A Liverpool delftware shallow bowl, c.1760, the interior painted in blue with gardeners or haymakers, a man holding a hayfork or hoe, his companion a tall staff, the rim with a continuous scroll border, 22.7cm dia. £300­500

123 A deep delftware bowl, c.1730­40, probably Bristol, decorated to the interior with a formal panelled design of flower stems in blue, red and green, the interior with a wide blue border, with an unusual everted rim, cracked, 22.5cm dia. £80­120

Paper label for Wm. H. Plummer & Co. Ltd., New York City.

124 A delftware bowl, c.1730, probably Bristol, painted to the interior with a Chinese figure standing beside flowering plants, within a crimped rim, broken and restored, 25.2cm. £100­200

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125 A Delft bowl, early 18th century, the interior painted in blue with an elephant reaching its trunk up to a tree above, the outside painted in the Kraak manner with panels of figures alternating with formal floral designs, riveted, 25cm dia. £150­250

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126 A small delftware lobed dish or cracknell, c.1700, painted in blue and manganese with a seated Chinese figure in a garden, the rim with the same scene repeated, a chip to the footrim, 21.2cm. £200­300

127 A Lambeth delftware plate, c.1720, painted in blue with an octagonal panel of a European figure fishing from a riverbank with buildings and trees beyond, reserved on a dark powdered manganese ground with eight small stylized flower panels, broken and restuck, 22.5cm. £200­300

128 A small delftware octagonal plate, c.1680, painted in blue with a seated Chinese figure in a mountain landscape, the scene repeated twice to the rim, some restoration to the rim, 21cm. £200­300

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129 A London delftware charger, c.1770, painted in blue with a maiden reclining on a rocky outcrop and attended by a young shepherd, beneath a tall sponged tree and before a ruined archway, 34.4cm. £200­300 The figures are copied from an engraving by Charles Albert von Lespiliez after François de Cuvilliés in Morceaux de Caprice. Cf. Frank Britton, London Delftware, p.161 for a similar example and a copy of the print from which it derives.

130 A Bristol delftware charger, c.1760, painted in blue with figures in a boat being punted along a wide river before a long building or Customs House beneath tall sponged trees, 32.8cm. £150­250

131 A large Bristol delftware charger, c.1750­70, of Bowen type, painted in blue with two ladies walking among buildings beneath a tall tree, a faint rim crack, 36.7cm. £200­300 Cf. Anthony Ray, English Delftware Pottery in the Robert Hall Warren Collection, no. 81, pl.42.

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132 A delftware tulip charger of small size, c.1690, probably London, painted with three large tulips flanking other flowers above formal foliage, within a blue dash border, some glaze chipping to the reverse, some retouching to the rim, 30.8cm. £1,500­2,000

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133 A Delft tile, c.1660­80, painted in blue and ochre with a turkey, within a circular panel, the corners with foliate motifs, broken and restuck, 13cm. £100­150

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134 A rare delftware Biblical tile, mid 18th century, painted in manganese with Saul on the road to Damascus, depicted falling from his horse in surprise at the light from the heavens (Acts 9: 3­6), in a circular panel with foliate corner motifs, a glaze chip to the upper edge, 13cm. £200­300

135 A panel of four Bristol delftware tiles, c.1750­70, of Bowen type, painted in manganese each with a figure travelling through a rural landscape between tall sponged trees, within circular panels, the corners with small foliate motifs, mounted on a modern board, 27cm overall. £200­300

136 Six delftware Biblical tiles, mid 18th century, painted in blue and manganese with scenes including Joseph interpreting the butler’s and baker’s dreams, Elijah fed by the ravens, the Annunciation, and the beheading of John the Baptist, and three Delft tiles painted with putti and other figures, some damages, 13cm. (9) £100­200 136 38

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137 A rare Delft sauceboat, 2nd half 18th century, the moulded form painted with small flower sprigs over faint bianco-sopra-bianco trellis work, 19.5cm. £80­120

138 A Delft vase or small jardinière, 18th century, the rounded form painted in blue, to one side with a figure fishing beneath trees, the reverse with travellers in a landscape, applied with two mask handles, raised on a tall foot with formal leaf bands, a small pierced hole to the base, 14.1cm. £300­400

139

139 A pair of Delft figures of horses, 19th century, each modelled with a front hoof raised in processional stance, wearing elaborate ceremonial saddles and with yellow and red rosettes in their manes, raised on chamfered rectangular bases, red APK monograms after Koeks, some damages and repairs, 20.5cm across. (2) £300­500

140 A faïence oval tureen and cover, mid 18th century, the straight sided form painted in blue with baskets of flowers among formal foliate scrolls and motifs, the cover with an acorn finial, the cover broken and restuck, 24.5cm across. (2) £150­250 141 No Lot 140 39

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142 A Delft charger, mid 18th century, painted in blue with an aquatic bird perched on holey rockwork above water, between bamboo and flowering branches, the rim with a continuous pomegranate scroll border, 34.3cm. £200­300 143 A Delft charger, mid 18th century, painted with two finches perched on a low fruiting tree, the rim with a continuous garland border in polychrome enamels, 34.2cm. £200­300 144 A Delft charger, late 17th century, painted in blue with insects in flight beside flowers in a vase, the rim with birds and flowering branches, the underside with a buff lead glaze, a rim crack, 34cm. £150­250 145 A Delft lobed dish, c.1690­1700, painted in blue with a seated Chinese figure to the well within a formal border, the wide rim with further figures in garden settings, raised on a low circular foot, 34cm. £150­200 146 A Delft fluted dish, c.1680­90, moulded with two bands of fluting around a central well, left in the white, raised on a low circular foot, some glaze chipping, 33.2cm. £300­400 147 A lobed faïence dish, c.1690­1700, probably Portuguese, the well painted with a bird perched beside a large building, the rim with a formal foliate border, raised on a low circular foot, 29cm max. £100­200

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148 A Delft lobed dish, c.1690, the octagonal well painted in blue with a seated Chinese figure, the rim with further figures in garden settings, 25.5cm. £300­500

149 A large Delft circular dish, c.1690­1700, decorated in blue and manganese in the Chinese manner with a figure on the back of a stylized camel, a further figure standing beside, in a Chinese island landscape, 40cm. £200­300

150 A Frankfurt faïence lobed dish (buckelplatte), c.1670, painted in blue with figures in a Chinese garden setting, the rim with a similar design alternating with stylized floral panels, 34.3cm. £200­300

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151 A Delft Crucifixion charger, c.1690, painted in blue with Christ on the cross between sponged trees, the underside decorated with a buff lead glaze, 30.7cm. £120­180

152 A small Delft lobed dish, c.1690, painted in blue, green and yellow with a portrait of King William, flanked by the initials ‘KW’, the rim with a continuous border of tulips and other flowers, raised on a low foot, blue painter’s numeral to the base, 22cm. £600­1,000

153 A small Delft lobed dish, late 17th/early 18th century, decorated with a stylized design of yellow tulips amidst other flowers and leaves in blue and green, blue numeral 5 to the underside, 21.2cm. £150­250

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154 A small Brislington delftware dish, c.1690­1710, painted with a large bird standing on a grassy hillock flanked by sponged trees, the underside decorated with a buff lead glaze, 22.2cm. £800­1,200

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155 A large German faïence pewter­mounted jug (enghalskrug), c.1690, the globular body spiral moulded and left in the white, restoration to the handle, the mount later, 32.3cm. £100­150 156 A Delft vase, late 17th century, the octagonal baluster form painted in blue with a peacock and other birds perched among flowering bushes, the slender neck rising to a swollen knop above a stiff leaf border in the Chinese Transitional style, restoration to the neck and foot, 25.2cm. £100­150 157 A German faïence pewter­mounted tankard, dated 1778, the cylindrical form painted in polychrome enamels with a panel of buildings within a crowned foliate scroll cartouche, the pewter cover inscribed ‘JHG 1778’ within leaf swags, blue CCC/P mark to the base, 20.3cm. £150­250 158 Two Delft vases, 18th century, of baluster shape, one painted in blue with a Chinese figure in a garden with two animals, and a later Delft sugar caster of Rococo shape, both vases reduced at the neck, 22cm max. (3) £80­120 159 A pair of faïence vases and covers of Veuve Perrin style, probably 19th century, painted to one side with figures of harvesters, the reverses with landscapes, within scrolling panels in puce, yellow, green and raised gilt, the domed covers pierced, blue VP monogram marks, 21.5cm. (4) £100­150

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160 A Rouen faïence cruet stand, c.1705­20, the oval form painted in blue and black with a dense floral and foliate ground around arcaded panels. the sides applied with lion mask handles, the top set with two large holes and two smaller, 27.3cm across. £150­200 Cf. The Metropolitan Museum, Accession No. 17.190.1762a-e for the same shape in petit feu enamels.

161 A Nove di Bassano faïence monteith, 19th century, the moulded form painted with bold flower sprays, the interior and foot with garlanded flowering branches, blue star mark, minor chipping, 28.4cm across. £200­300

162 A Manises (Spain) maiolica octagonal plate, 19th century, painted in blue with tall buildings on a dense foliate ground, drilled to the rim, 20.3cm. £80­120

163

Cf. Victoria and Albert Museum, Accession No. C.56-1936, for a similar plate gifted by Queen Mary.

163 Two Savona maiolica armorial dishes, late 17th/18th century, of oval form, one painted in blue with a crested shield flanked by a dense ground of birds, running animals, buildings and flowering branches, the other painted in manganese with green and yellow highlights, depicting two shields beneath a crown, flanked by figures, animals, birds and buildings, damages and repairs, 41.2cm max. (2) £150­200

164 A Nove di Bassano cruet or tureen stand, c.1770, painted in iron red with panels of figures in landscapes within raised leaf scrolls, and a pair of oval Savona faïence dishes decorated with shaped landscape and figural panels on a manganese ground, G and orb marks for Giordano, damages and repairs, 23.2cm max. (3) £80­120 164 45

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165 A Talavera or Puente del Arzobispo jug, painted with a scrolled cartouche inscribed ‘UNICORNIUM’ amidst foliate scrolls in dark blue and ochre, beneath the handle inscribed ‘1570’, some foot chipping and general crazing, 23.3cm. £400­600 Throughout the 16th century belief in unicorns was commonplace and their horns were thought to have magical properties and to guard against poison.

Elizabeth I of England had a unicorn horn cup from which to drink. Philip II of Spain had 12. In fact, the horns were probably those of the Narwhal.

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166 A Spanish or Portuguese faïence albarello or drug jar, dated 1730, the narrow waisted form decorated in copper lustre with a crowned two­ headed eagle enclosing a roundel inscribed ‘N.B’, reserved on a dense blue foliate ground, the reverse inscribed ‘1730’, a short rim crack, 22.7cm. £300­500

167 Two Savona maiolica drug jars or albarelli, c.1760, of dumbbell form, inscribed in manganese with ‘Conf: Rosar’ and ‘Ung: Basilir’, within continuous scrolling bands of flowering branches, raised on circular feet, 19.3cm. (2) £300­500 Rose syrup was made by infusing petals in water and thickening with sugar. It has an aperient action.

Basilicon ointment was made from wax, pitch, olive oil and other ingredients, and was used in the treatment of wounds.

168 A Savona faïence drug or apothecary jar, mid 18th century, the slight dumbbell form inscribed ‘U. egiptiac’ in manganese between wide blue foliate designs, a small panel to the shoulder enclosing the initials ‘DR’, a 4cm rim section lacking, 18cm. £150­250

167

Egyptian Ointment contained copper acetate, vinegar and honey and was used in the treatment of ulcers.

169 A Savona faïence albarello or drug jar, mid 18th century, the squat dumbbell form raised on a tall circular foot, the waist inscribed ‘Ung: Priorat:’ in manganese, between stylized flowering branches, the rim with a later pewter mount, some restoration to the reverse, 18.7cm. £150­250 Priorat is a county in Catalonia (Spain) famous for its wine production, which flourished in the 18th century.

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170 A French faïence albarello, c.1690­1740, the slightly waisted form painted in blue with a shaped cartouche inscribed ‘Conf. flor. Urticae’ beneath a basket of flowers, the reverse with a large flowering plant, the base broken out and restuck, 14.2cm. £200­300 Cf. Rudolf E A Drey, p.105, pl.50B for a similar example.

Urtica is the Latin name for the common stinging nettle, which has a variety of medicinal and culinary uses, although the leaves and roots are more commonly used than the flowers.

171 A Pesaro maiolica albarello, late 18th century, possibly from the workshop of Casili e Callegari, the waisted form painted with continuous flowering branches in green, blue, yellow and ochre, a large chip to the footrim, 15.8cm. £100­150 172 A Talavera de Pueblo (Mexico) maiolica albarello, 18th century, the small waisted form decorated in a thick blue with C scrolls and small fleur de lys motifs, 13.5cm. £100­150 173 A Spanish maiolica tazza or crespina, late 17th/early 18th century, probably Puente del Arzobispo, painted in blue and manganese with a running dog beneath a large flying insect, the fluted rim with large floral sprays, raised on a spreading circular foot, cracked, 30.5cm. £100­200 174 A French faïence dish, mid 18th century, painted in blue, manganese, green and ochre with a lady wearing an elaborate court dress with wide skirt, flanked by plants, minor chipping, 22.2cm. £120­180

173

175 A Talavera or Puente de Arzobispo faïence salt or spice dish, 18th century, the triangular form set with three wells and applied on each side with a mask head, painted in yellow, green, manganese and ochre with stylized bushes and leaf motifs, some chipping, 15.5cm. £100­150

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176 A large Talavera de Pueblo (Mexico) punchbowl, 2nd half 18th century, decorated in a deep blue with a dense foliate design partitioned

by Islamic­style scrolls, 34.5cm dia. £250­350

177 A Montelupo maiolica jug, c.15th century, the swollen body simply painted in blue and green enamels with an owl, contained in a circular panel reserved on a ground of scrolling foliate motifs, with a wide strap handle and pinched spout, some glaze wear and chipping, 16.5cm high. £800­1,200 Cf. Faustio Berti, La Maiolica di Montelupo, pl.59.

178 A large Puente del Arzobispo maiolica charger, mid 18th century, painted with a young deer between tall trees, its head turned back over one shoulder, the rim with narrow concentric bands in yellow, blue and manganese, a short rim crack, a chip to the underside, 36.3cm. £400­600

179 A Samson Iznik­style jug, late 19th century, boldly painted in traditional style with red carnations between blue and green saz leaves, a little enamel loss, 24cm. £300­500

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180 A pair of Tunisian pottery shallow cups and a jug, 1st half 20th century, possibly Chemla, variously decorated in turquoise, yellow and manganese with an oeil de perdix design, one cup signed to the interior, and a Tunisian pottery bowl, painted with narrow borders around a central star design, script mark to the base, some faults, 29.4cm max. (4) £150­250

182 Two Kutahya (Turkey) pottery rosewater sprinklers, 19th/20th century, of bottle form with long tapering necks, painted in blue and black with flowers and foliate motifs, one broken through the neck and restuck, 28cm. (2) £200­300

181 Three Moroccan pottery dishes or chargers, 19th/20th century, of varying size, decorated with geometric designs in bold enamels, one signed underneath in manganese, 36.7cm max. (3) £200­300

183 A Hispano­Moresque copper lustre albarello, 19th/early 20th century, the slightly waisted form applied to the shoulder with four mythical creatures, decorated in the Islamic manner with formal panels alternating with roundels enclosing Arabic script, the shoulder with further Arabic inscriptions, 25.8cm. £200­300

184 A pair of Indian terracotta figures, 19th century, one of a young man carrying a large round shield and a bow and arrows on his back, his companion wearing a sari and a bead necklace, damages and repairs, 25.6cm max. (2) £150­200

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185 A rare creamware model of a dog, 18th/early 19th century, standing four square on a flat rectangular base, his head cocked to one side, wearing a wide collar, some clean repairs to the base and forelegs, 15cm high. £200­300

186 A pearlware stag stirrup cup, c.1800, modelled as the head of deer with yellow antlers, decorated in an allover ochre glaze, and a brown­glazed stirrup cup of a fox, some restoration, 13.5cm max. (2) £150­250

185

187 A pearlware watch stand, c.1800­10, modelled as a longcase clock flanked by two figures wearing black crowns, one holding a bunch of grapes, the other a lyre and an orb, the clock case painted with flower sprays, raised on a flat, shaped base, some good restoration, 22.6cm. £100­200

188 A Ralph Wood figure of Jupiter, late 18th century, standing with one hand holding a staff which rests on his right shoulder, an eagle standing by his right foot, on a grassy base raised on a white square base, impressed ‘Ra Wood Burslem’ to the base, some restoration, 28.5cm. £100­200 186

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189 A large Staffordshire model of a Medici lion, c.1825, of Obadiah Sherratt type, standing with its left paw raised on a ball, its mouth agape and tongue protruding, raised on a table base titled ‘The Roran [sic] Lion’, the base cracked, some flaking, 34cm across. £400­600

190 A rare pair of Wedgwood Majolica models of a sphinx, mid 19th century, each decorated in a variegated glaze to imitate serpentine or porphyry, seated on haunches and facing forward, raised on rectangular bases, impressed marks, some restoration, 24.2cm high. (2) £300­500

191 A Copeland Majolica plovers’ egg holder, late 19th century, modelled with eight circular hollows lined with moulded fern, a lapwing perched on a grassy stump in the centre, impressed mark, 22cm high. £600­1,000 A delicacy of English dining, plovers’ eggs (laid by the Northern Lapwing, or Green Plover) were traditionally eaten around Easter but were in such high demand during the Victorian era that it began to lead to the bird’s demise. The Lapwing Act of 1926 made the collection of plovers’ eggs illegal, which continues to this day.

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192 A Staffordshire Tithe Pig figure group, c.1820, modelled with three figures beneath flowering bocage, a couple handing a baby and a piglet to the village parson, the base moulded with foliate scrolls picked out in blue and puce, some restoration, 19cm. £200­300

193 A rare Enoch Wood pearlware figure of a musician, c.1820, playing the flute and seated with a book of music on his lap, and a pearlware figure of John Wesley, raised on a square base, minor restoration, 15.5cm max. (2) £100­200

194 Three Staffordshire pearlware figure groups, early 19th century, two of couples seated beneath flowering bocage, one couple gardeners and holding a rake and a sickle, the third group titled ‘Departure’ and modelled with a sailor bidding farewell to his lass, some restoration, 24.5cm max. (3) £100­200

195 Five Staffordshire figures, 1st half 19th century, one Pratt ware and depicting Hope next to an anchor, one of a young girl holding a bird, a large figure of Spring holding a pink lustre cornucopia, another of a hunter with his dog, the last of a putto standing before flowering bocage, some damages and repairs, 22cm max. (5) £100­200

196 Three Staffordshire figures, c.1820­30, one of a rabbit, another of a hunter carrying a gun and standing before a dog, the last of an elderly woman carrying a basket and leaning on a stick, some restoration to the latter, 18.5cm max. (3) £80­120

197 Four figures of animals, 1st half 19th century, including a creamware model of a seated cat decorated in Whieldon type colours, a pearlware model of the Medici lion raised on a green tasselled cushion, a Brampton (Derbyshire) brown stoneware model of a spaniel, and a copper lustre figure of a cat, minor damages and repairs, 12.3cm max. (4) £200­300

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198 198 A rare pair of creamware figures of sailors, c.1830­40, one seated on his trunk with one elbow resting on a barrel, smoking his pipe and with a foaming jug of ale, the other of a shipwrecked sailor washed up against rocks with the remains of his ship visible beyond, each raised on a D­shaped stepped base, 18.7cm across. (2) £500­800 One with a paper label for Drury & Drury, 40 Eaton Terrace, SW1.

199 Two Toby jugs, c.1790­1810, of Ordinary type, both seated with a foaming jug of ale, one pearlware and wearing a brown jacket over a polka dot waistcoat, the other creamware with a blue coat over a green waistcoat, repairs to both hats, 24.8cm max. (2) £200­300 200 A Delft snuff­taking Toby jug, 19th/early 20th century, standing and taking a pinch from a snuff box held in his left hand, wearing a floral coat over chequered breeches, VK monogram to the base, 27.3cm. £100­150

199

200

201 A pearlware Toby jug with a ‘Collier’ type base, c.1800, seated with a foaming jug of ale, an upright barrel between his feet, the base moulded with florets, and a Davenport Toby jug, decorated in Portobello type colours with a red jacket over yellow breeches, the base sponged in green and red, impressed mark, some restoration to the first, 25.5cm max. (2) £150­250

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202 A Ralph Wood Toby jug of Martha Gunn, c.1780, seated and holding a gin bottle and glass, wearing a manganese splashed apron over a green dress, her hat applied with the Prince of Wales feathers, raised on a stepped base, some restoration, 26.2cm. £1,200­1,800

203 A Ralph Wood Toby jug, c.1790, seated with an empty round­bellied jug on his knee, his long­stemmed pipe by his right foot, wearing a pale green jacket over yellow breeches and a brown waistcoat, some good restoration to his hat, 24.7cm. £700­1,000

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204 A good and rare Pratt ware Thin Boy Toby jug, c.1790­1800, seated with a patterned jug resting on his left knee, wearing a striped coat over a yellow waistcoat and ochre breeches, 22.2cm. £1,500­2,000 55

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205 A creamware Wood type Toby jug, c.1785­ 90, seated with an empty jug on one knee, his clay pipe at his side, wearing a sponged manganese coat over an ochre waistcoat, some restoration, 25.3cm. £150­200

206 A Pratt ware Toby jug, c.1800, seated with a foaming jug of ale on one knee, wearing a blue coat over yellow breeches, the handle glazed yellow, 23.5cm. £150­250

207 A Wood type Toby jug, c.1790­1800, seated with an upright barrel between his feet, a foaming jug of ale resting on one knee, wearing a sponged manganese coat over black breeches and an ochre waistcoat, a repair to his hat, 24.5cm. £100­150

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206

208 A good Wood type Toby jug, c.1790­1800, seated with an upright barrel between his feet, a foaming jug of ale resting on one knee, wearing a sponged blue coat over black breeches, his hat sponged in grey, 24.8cm. £150­200 Exhibited: English Ceramic Circle Commemorative Exhibition, 1948, catalogue No. 66.

209 A silver­mounted brown stoneware armorial tankard, mid 19th century, sprigged with the coat of arms and motto for the Congreve family, the chased silver lid set with a German victory medal, a small fluted brown stoneware teapot and cover, and a large brown stoneware basket, both probably Brampton, 29cm max. (4) £120­180

210 A medieval encaustic floor tile, c.14th century, decorated in cream slip with a geometric design, and a post­medieval Tudor Green or Border Ware jug, the neck and handle decorated in a mottled green glaze, the tile restored, 16.3cm max.

(2) £200­300 207

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211 A Frechen (Germany) stoneware bellarmine or Bartmannskrug, c.1650, the body a grey buff colour, applied with a crisply moulded stylized floral roundel, the neck with a grimacing face mark, 22.8cm. £300­500 Cf. David Gaimster, German Stoneware, p.222, no.72 for a similar bottle.

Paper label for Jonathan Horne Antiques.

212 A Frechen (Germany) stoneware bellarmine or Bartmannskrug, late 16th/17th century, the pale buff body decorated with three oval roundels of stylized flowerheads, the spout applied with a bearded mask, 21cm. £400­600 Paper label for Jonathan Horne Antiques.

213 Two Cologne or Frechen (Germany) stoneware bellarmines or Bartmannskrugs, late 16th/early 17th century, the larger applied with three roundels bearing the arms of the Duchy of Jülich­Kleve­Berg, the smaller with an indistinct roundel, each neck with a bearded mask, damages and restoration, 24cm max. (2) £300­500

211

212

Cf. David Gaimster, German Stoneware, p.220, no.

68 for a bottle bearing the same arms which was excavated in the City of London.

214 A large Westerwald stoneware jug, 19th century, the tall body incised with formal flower scrolls between chequered borders, on a blue ground, with a hinged pewter cover bearing faint inscribed initials, 38cm. £100­150 215 Literature: A Catalogue of the Frank Thomas Collection of German Stoneware, two volumes in a sleeve case. £50­150

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216 216 A Wedgwood Majolica part dessert service, c.1865­70, the octagonal forms moulded in relief to the wells with scenes of putti and of differing figures in green monochrome, the rims with oak leaf garlands on a brown ground, impressed marks. Comprising: a low tazza raised on dolphin feet and eight plates. (9) £250­350 217 A Wedgwood Majolica pot pourri vase and cover, c.1863, the egg shape supported on three terms wearing Egyptian headdresses, decorated in blue and brown splashes, the cover delicately pierced, impressed mark and date code ‘TWR’, 19.7cm. (2) £150­250 218 A pearlware wall pocket, c.1800, of cornucopia shape, moulded with cattle and goats before a church, decorated in green, yellow and manganese, some restoration, 20.5cm. £80­120 219 A pearlware puzzle jug, c.1800, the flattened moonflask body moulded with a sun motif and brightly decorated with colourful bands, the neck with three apertures beneath a pierced rim, the handle modelled as a term, some restoration, 29.2cm. £100­200

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220 A Pratt ware cow creamer, early 19th century, with a seated milkmaid, two Pratt ware plates painted with stylized flower sprays, and a pearlware mug printed with a six line prayer within a hand­coloured border, some damages, 21cm max. (4) £100­200

221 A Pratt ware money box and seven Staffordshire cottages, 19th century, two as moneyboxes, one modelled as a castle with an attendant soldier, three as pastille burners, some damages, 19.3cm max. (8) £100­200

222 Two pearlware miniature teabowls and saucers, 19th century, a miniature Spode blue and white transferware plate with an Eastern landscape, a toy­sized pearlware teapot, a teabowl and saucer decorated with a Chinese family, a small Spode dish decorated with the Net pattern, and a mochaware beaker, some faults, 15.8cm max. (10) £100­150

223 A Neale & Co porcelain mug, c.1795, painted in polychrome enamels with Cupid beside a landscape, a pearlware mug applied with a roundel of Queen Anne and decorated in the manner of Scratch Blue stoneware, a fluted pearlware mug, and a nursery mug inscribed for ‘Christopher Fenwick’, some damages and restoration, 12cm max. (4) £100­200

224 Two Wedgwood pearlware dishes, 1st half 19th century, one shaped like a large scallop shell with pink decoration, the other printed in orange with the Waterlily pattern, and a Wedgwood blue and white transferware teabowl and saucer, printed with a landscape design, impressed marks, 21cm max. (4) £50­100

225 A commemorative pearlware jug and three mugs, c.1800­30, the jug printed with a portrait of Admiral Lord Nelson, one squat mug with Wellington as Prime Minister, a creamware mug printed in black with a ship at sail and the name ‘Thomas Cook’, the last in red with ‘The Virtuous Woman’, some faults, 18cm max. (4) £150­250 59

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226 A commemorative lustre mug for the 1826 General Election in Alnwick, c.1826, printed with a portrait of Henry Thomas Liddell, a large Dixon, Austin & Sunderland lustre mug printed with The Sailor’s Farewell, and a smaller silver lustre mug painted with Hope, some faults, 12.7cm max. (3) £100­200 At the general election held on 6th July 1826 the two Tory candidates were triumphant, with Henry Thomas Liddell polling 1,562 votes and Matthew Bell 1,380. Cf. Lincoln Hallinan, British Commemoratives; Royalty, Politics, War and Sport, pl.92 right.

227 Three creamware frog mugs, early 19th century, one printed with a commemorative print of the Battle of Trafalgar and inscribed for Lord Nelson, another with a view of the bridge at Sunderland, the last inscribed with a four line stanza within a painted floral cartouche, each containing a large model of a frog, some damages and restoration, 13.6cm max. (3) £150­200

228 A group of Sunderland lustre items, 19th century, including a Dixon & Co frog mug with a view of the Iron Bridge, another frog mug decorated with the Mariner’s Compass, a shaving mug dated 1851, two jugs, a rectangular plaque titled ‘Retribution Steamer’, and a bowl with a variety of prints, all with splashes of pink lustre, minor faults, 23.8cm max. (7) £120­180

229 A small collection of nursery ceramics, 19th century, including six pearlware mugs variously decorated with letters of the alphabet, a Pratt flower border, a scene from Robin Hood, one inscribed ‘A Present for John’, two miniature creamware soup plates, a toy plate inscribed ‘Victoria’, another with a moulded rim, and a small green­glazed face jug probably depicting the actor John Liston as Paul Pry, some faults, 14.2cm max. (11) £100­200

230 Two Sunderland lustre jugs, 19th century, one decorated with goldfinches on thistles, the other with Charity on a copper lustre ground, a pink lustre mug, a copper lustre vase modelled as a pocket watch, and a small pearlware model of a longcase clock, some faults, 16.8cm max. (5) £100­200

231 Three commemorative pearlware jugs, early 19th century, one Pratt ware and decorated with portraits of Prince Cobourg and the Duke of York, a lustre jug with an equestrian portrait of Wellington, the last printed in blue with Nelson and Collingwood, a lustre mug with a portrait of Queen Caroline, and a moulded lustre plate with a portrait of King George III, some faults, 18.3cm max. (5) £200­300

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232 A pearlware pilgrim flask, dated 1847, possibly Scottish, the flattened circular form decorated in Portobello type colours with fruiting grapevine, inscribed ‘1847’ to the neck, the reverse with the initials ‘RP’, 18cm. £100­200

233 A large Scottish pearlware circular portrait plaque of Queen Victoria, c.1854, moulded in relief with the queen on horseback after Carlo Marochetti’s sculpture in Glasgow, the rim with a band of flowerheads, 27.8cm. £100­200

234 A creamware melon tureen with cover and ladle, late 18th/early 19th century, the base moulded as a melon resting on a large leaf, the cover formed as the upper half of the melon, the ladle of pierced cinquefoil form with a heart­shaped terminal, 25cm across. (3) £300­500

235 A Whieldon type pearlware model of a plum, late 18th century, decorated in green and manganese, and a small salt­glazed stoneware pickle dish in the form of a leaf, raised on three floral pad feet, 11.2cm max. (2) £100­200 The leaf with a paper label for the Beckinsale collection.

236 A small Whieldon type creamware teapot and cover, c.1780, the globular body decorated in washed stripes of yellow, green and manganese, 14cm across. (2) £100­200

237 A Staffordshire red ware teapot and cover, c.1760­70, the cylindrical form applied to each side with a bird holding a branch in its beak above rococo scrolls, the cover probably associated, 15cm across. (2) £80­120

Marochetti’s sculpture was erected in 1854 and commemorated the Queen’s visit to Glasgow in 1849. It was Britain’s first equestrian statue of a woman and drew enormous crowds for its unveiling.

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238 A Staffordshire salt­glazed mug, c.1750, the slender cylindrical form painted with a large peony spray, a salt­glazed stoneware moulded sauceboat and a quatrefoil dish with moulded rim, 25cm max. (3) £150­200

239 A creamware puzzle jug, c.1770, the neck pierced with shaped holes from playing card suites, a Wedgwood creamware cruet or bottle stand, and a creamware sauceboat of silver shape with crossover strap handle, some restorations, 26cm max. (3) £100­200

240 A Pratt ware quintal, c.1800, the five splayed apertures painted with stylized floral sprays, a smaller moulded creamware quintal with a pinched rim, and a small Davenport pearlware bough pot painted with Chinese figures in a garden, impressed mark, some damages to the bough pot, 18.7cm max. (3) £100­200

241 Three Mochaware jugs and a mug, 19th/early 20th century, two jugs applied with a crowned roundel, all decorated with seaweed fronds on a coloured ground between brown and blue bands, and a brown stoneware puzzle jug sprigged with topers beneath a tall reticulated neck, three handles repaired, 21.7cm max. (5) £100­200

242 A Spode miniature earthenware dinner service, c.1820, glazed white and edged in gilt, impressed marks. Comprising: two large platters, five smaller oval platters, an oval tureen and cover, two sauce tureens and covers, two gravy boats, an oval dish, six bowls and eleven plates. (33) £150­200

243 A satirical creamware mug, c.1790­1800, printed in black with ‘Old Women Ground Young’, sometimes known as ‘The Wonderful Mill’, another large creamware mug printed and hand­coloured with ‘The Tythe Pig’, and a later pearlware commemorative jug in protest of the Corn Laws, titled ‘Our Bread Untaxed’, small damages and repairs, 18cm max. (3) £150­200

Provenance: the Geoffrey Fisk Collection. Sold at Phillips, 3rd May 2000, lot 131 (part).

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244 A Staffordshire salt­glazed coffee pot and cover, c.1760­65, the pear­shaped body brightly painted with panels of flowers within C scroll borders on a dark pink or puce ground, a short rim crack, the cover’s finial broken and restuck, 21.5cm. (2) £300­500

245 A Prattware novelty pipe, c.1800, formed of elaborate coils of clay decorated in blue and ochre dots, some restoration, 29.8cm. £200­300

246 A William Greatbatch creamware teapot and cover, c.1760, painted with flowers, a large creamware coffee pot and cover painted in blue with a low hut between plants, a Pratt ware jug moulded and decorated with peacocks, and a pearlware jug decorated with flower sprays, some faults, 24.5cm max. (6) £200­300

247 Five creamware mugs of maritime interest, late 18th/early 19th century, three decorated with sailors and their lasses, variously titled ‘Jack on a Cruise’, ‘The Sailor’s Adieu’ and ‘The Neglected Fair’, another printed in black with a view of Sunderland Bridge, the last with a mariner’s compass enclosing a portrait of Nelson, some faults, 15cm max. (5) £250­350

248 Seven pearlware plates, 19th to early 20th century, three French and printed in black with bicycling subjects, two octagonal nursery plates, one with a scene from Robinson Crusoe, the other with Jim Crow, another nursery plate printed with a portrait of Reverend Adam Clarke, and a Sarreguemines plate depicting the 1904 sinking of the battleship Petropavlosk and the survival of Grand Duke Kirill Vladirimovich, 19.7cm max. (7) £150­250

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249 A satirical creamware mug relating to the Mary Anne Clarke scandal, c.1809, printed and hand­coloured with the Duke of York and Albany hiding behind a curtain while Mrs Clarke instructs her servants to burn books and paper records on a large fire, a long crack, 12.5cm. £100­200

250 A creamware commemorative mug, c.1815, printed in black and hand­coloured after James Gillray with a satirical scene of a glutton slicing into a side of roast beef, entitled ‘British Slavery’, flanked by Britannia and a scroll, cracked, 14.6cm. £100­200

Cf. David Drakard, Printed English Pottery, p.220. Mary Anne Clarke was the mistress of Prince Frederick, Duke of York and Albany. He set her up with a lavish lifestyle that he lacked the funds to maintain. A scandal broke in 1809 when Clarke revealed to the House of Commons that she had sold army commissions with the knowledge of the Duke of York.

Gillray’s anti-Gallican cartoon, published by Hannah Humphries on 21st December 1792, contrasted the excesses of the French revolutionaries as compared to the dignity of the Englishman, albeit obsessed by tax. Cf. David Drakard, Printed English Pottery, pp.168-169.

251 A large William Greatbatch creamware mug, c.1770, enamelled probably in the Leeds workshop of Rhodes & Robinson with a Chinese figure smoking in a garden and waited on by a smaller attendant, the rim with a cell diaper border in black and red, applied with a large grooved handle, three small chips, 16cm. £800­1,000

252 A commemorative creamware frog mug, c.1805, printed in black with a naval engagement scene titled ‘Lord Nelson engaging the Combined Fleets of Cape Trafalgar’, the interior with a large grey glazed frog climbing up the side, some good restoration to the rim and foot, 14.8cm. £300­500

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THE LADY ROTHES COLLECTION OF WELSH PORCELAIN LOTS 253-336

Proceeds to benefit Salisbury Hospice

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253 A good pair of Nantgarw dessert plates, c.1818­20, London­decorated with bold sprays of flowers in blue monochrome, the rims with C scroll moulding, gilt dentil rims, impressed NANT­GARW CW marks, 24.7cm. (2) £200­300 Provenance: the Lady Rothes Collection.

254 A pair of Swansea plates, c.1815­17, painted probably by Henry Morris with colourful floral posies and single scattered sprigs, the rims with continuous berried tendrils in green and gilt, 22.8cm. (2) £200­300 Provenance: the Lady Rothes Collection.

255 A pair of Nantgarw plates, c.1818­20, London­decorated in the Sèvres manner with three sprays of flowers around a smaller sprig, each cavetto and rim with a blue line with gilt intersections, the rims with C scroll and floral moulding, impressed NANT­GARW CW marks and gilt Mortlocks marks, 25cm. (2) £250­350 Provenance: the Lady Rothes Collection.

Mortlocks was a firm of London dealers in china and were patrons of both the Sims workshop and that of Robins & Randall.

256 A pair of Nantgarw dessert plates, c.1818­20, painted in London with sprays of flowers in dry blue, the rims moulded with C scrolls and flowers, impressed NANT­GARW CW marks, one with a crack to the well, 24.6cm. (2) £100­200 Provenance: the Lady Rothes Collection.

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257 257 A Swansea part dessert service, c.1817­20, each piece painted with large single flower specimens including tulip, rose, daffodil, iris and forget­me­ not, within simple gilt rims, two with faint impressed marks. Comprising: a rectangular two­handled dish, ten plates, and two further similar plates painted with flower arrangements and with red printed marks. (13) £400­600 Provenance: the Lady Rothes Collection.

258 A Swansea trio and a plate, c.1815­17, the trio comprising a coffee can, teacup and saucer, all printed and hand­coloured with the Parakeets in a Tree pattern, the green birds perched on colourful flowering branches, the cup and can with faint iron red upper case marks, 21.3cm max. (4) £150­250 Provenance: the Lady Rothes Collection.

259 A Swansea part tea service, c.1815­17, printed and hand­coloured with the Kingfisher pattern, the eponymous bird perched on flowering Oriental branches, red script mark to the sucrier. Comprising: a sucrier and cover, a cream or milk jug, a trio formed of a coffee cup, teacup and saucer. (6) £150­250 Provenance: the Lady Rothes Collection.

258

259

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260 A pair of Nantgarw spill vases, c.1818­20, London­decorated probably in the Sims workshop with sprays of flowers, the rim with further spiralling sprays issuing from a shaped turquoise border edged with gilt flowers, the interior rims with formal panelled gilt designs, 11.7cm. (2) £800­1,200 Provenance: the Lady Rothes Collection.

261 A good Nantgarw cabinet plate, c.1818­20, London­decorated probably in the Sims workshop, the well with a finely painted flower arrangement including rose, stocks and passionflower, the rim with spiralling flower sprays issuing from a shaped turquoise border edged in gilt flowers, impressed ‘NANT­GARW CW’ mark, 23.5cm. £400­600 Provenance: the Lady Rothes Collection. Paper label for the David M Phillips Collection.

262 A good Nantgarw cabinet cup and saucer, c.1818­ 20, London­decorated, probably in the Sims workshop, with a bright design of spiralling flower sprays issuing from a shaped turquoise border edged with gilt flowers, the saucer with a central spray of flowers echoed to the cup’s interior, and a large teacup in the same pattern, 13.9cm.

(3) £600­1,000 Provenance: the Lady Rothes Collection. The saucer with a paper label for Currie Collection.

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263 A pair of Nantgarw plates, c.1818­20, painted in London with naive flower sprays in dry blue within gilt band rims, 21.2cm. (2) £100­200 Provenance: the Lady Rothes Collection.

Cf. Rowland Williams, Nantgarw Porcelain 1813-1822, fig 37 for a shell-shaped dish in the same pattern.

264 Two Nantgarw dessert dishes, c.1818­20, one painted in the Sèvres manner, probably in London, with scattered flower arrangements within a blue line and gilt dentil rim, the other with a continuous band of flower sprays linked by a gilt foliate band, impressed NANTGARW CW marks, one with a restored crack, 21.5cm. (2) £300­500 Provenance: the Lady Rothes Collection.

265 Three Nantgarw plates, c.1818­20, of Brace Service type, decorated in London probably at the Bradley workshop, each with a large central mixed flower arrangement, the moulded rims enclosing smaller sprigs of fruit, flowers and birds on branches, gilt dentil rims, impressed marks, 25.2cm. (3) £800­1,200

266 Three Swansea soup plates, c.1815­20, one from the Marino Ballroom service and decorated with colourful flower sprays in a naive style, another of lobed form and painted with flower sprays in pink, grey and green, the last with scattered pink roses, the rim applied with white beading, impressed marks to two, 25.3cm max. (3) £150­250

Provenance: the Lady Rothes Collection.

Provenance: the Lady Rothes Collection. The largest formerly in the Sir Leslie Joseph Collection and exhibited in 1969 at the Glynn Vivian Art Gallery in Swansea.

The Marino Ballroom Service contained over 200 pieces and was ordered from the Swansea factory by Mr J H Vivian of Marino, Swansea. The pattern is reminiscent of Indian flowers on contemporary chintz wallpapers and textiles.

267 A Nantgarw cabinet plate, c.1818­20, probably London­decorated, brightly painted with flower sprays on a dense gilt ice ground, impressed mark, and a Swansea plate painted with a central flower spray within six further sprays within gilt C scrolls on a moulded rim, the Nantgarw plate broken and restuck, 24.5cm max. (2) £150­250 Provenance: the Lady Rothes Collection. The Nantgarw plate formerly in the Elis Jenkins Collection.

268 Two Swansea dishes, c.1815­20, one square and locally decorated with small sprays of flowers including rose and poppy, gilt line rim, impressed ‘SWANSEA’ and crossed tridents mark, the other, with three large flower sprays within a dark brown rim, 27.5cm max. (2) £150­250 Provenance: the Lady Rothes Collection.

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269 A pair of Swansea cabinet cups and saucers, c.1815­17, London­decorated probably in the Sims workshop, each cup with an identical vase of flowers, the saucers with smaller floral arrangements, within delicate gilt scroll borders, 15.8cm. (4) £800­1,200 Provenance: the Lady Rothes Collection. Previously the Harry Sherman Collection.

270 A Nantgarw cabinet cup and saucer, c.1818­20, each piece painted, probably in London, with diagonally placed sprays of garden flowers, three reserved within a feathered gilt panel, the cup’s interior with a small rose and auricula spray, the handle of inverted heart shape, a little gilt wear, 13.7cm. (2) £200­300 Provenance: the Lady Rothes Collection.

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271 A Nantgarw cup and saucer, c.1818­20, decorated probably in London with sprays of flowers on a white ground, within an elaborate gilt border of diaper and other panels, the cup with an inverted heart shaped handle, 13.9cm. (2) £200­300 Provenance: the Lady Rothes Collection.

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272 A Swansea cabaret or petit dejeuner set, c.1815­17, decorated with spiralling stripes of pink roses between gilt borders with rose hip sprays, red SWANSEA mark to one saucer. Comprising: a large square tray, a small coffee pot and cover, a cabinet cup and saucer, a sucrier and cover, a breakfast teabowl and saucer, and a candlestick. (11) £2,000­3,000 Provenance: the Lady Rothes Collection. The candlestick with a paper label for the Harry Sherman Collection.

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273 An English porcelain circular box and cover, dated 1827, painted in the manner of Henry Morris, the cover with a basket of flowers on a plinth, the sides with a continuous band of wild flowers, inside the cover gilded with the monogram ‘WJ’ above ‘1827’, 7cm across. (2) £80­120

274 A porcelain pounce pot, c.1815­20, possibly Swansea, the slight barrel form painted with three sprays of flowers, the top pierced with a radiating design of holes, and a drum inkwell painted with blue and pink flower sprigs, 4.3cm. (2) £100­200

Provenance: the Lady Rothes Collection. Paper label for G E F Bents of Cardiff.

Provenance: the Lady Rothes Collection.

275 Two Swansea inkwells, c.1815­17, of deep shell form, one painted probably by David Evans with a continuous band of flowers and strawberries, with two pen holders, the exterior picked out in gilt, red upper case mark, the other painted with small pink rose motifs, with a glass liner and replacement cover, modelled with a single pen holder, 9.8cm across.

(4) £300­500

276 A Swansea violeteer and cover, c.1815­17, the oval form painted with flowers, the cover pierced with a band of shaped holes, red script mark, the handles restored, 9.6cm across. (2) £100­200 Provenance: the Lady Rothes Collection.

Provenance: the Lady Rothes Collection.

277 Two Swansea­style pen trays, c.1820­40, one probably Coalport and painted with a floral arrangement, the sides with small floral vignettes on a blue ground, the other possibly Paris and painted with roses and cornflower sprigs, each of narrow boat shape and applied with gilt swan handles, 25.8cm max. (2) £250­350 Provenance: the Lady Rothes Collection.

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278 Two Swansea spill vases, c.1815, of glassy paste and flared trumpet shape, one painted with a bird on a branch, the reverse with a spray of flowers, the other with a formal continuous floral and foliate border on a band of red seaweed ground above a geometric gilt border, the latter with a puce script mark, some chipping, 10.1cm max. (2) £200­300

279 Two Swansea­style spill vases, c.1815­30, of flared trumpet form, one painted with a tumbling basket of flowers, the rim with a repeated flowerhead and scroll border, the other painted with flowers between white beaded borders, blue W or M mark, a crack to the latter, 11.5cm max. (2) £150­250

Provenance: the Lady Rothes Collection.

Provenance: the Lady Rothes Collection.

280 A pair of Swansea­style small vases, c.1815­25, well painted probably in London with flower arrangements, each reverse with a formal foliate scroll motif in gilt and monochrome enamel, each applied with two gilded dolphin handles and rows of narrow white beading, one broken and restuck, 11.3cm. (2) £150­250

281 A pair of English porcelain spill vases, c.1815­20, painted with continuous bands of flowers including rose, poppy, auricula and convolvulus, between bands of white beading, 9.8cm. (2) £100­200 Provenance: the Lady Rothes Collection.

Provenance: the Lady Rothes Collection.

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282 A pair of English porcelain vases, 19th century, possibly Derby, of Paris shape, each painted with a bird’s nest containing eggs among garden flowers including rose, auricula, lilac and poppy, the reverses with smaller floral panels, reserved on a pale blue ground with a dense gilt diaper pattern, the handles formed as swans, one restored, 22cm. (2) £150­250 Provenance: the Lady Rothes Collection.

283 A garniture of three Coalport vases, c.1800­20, of campana form, boldly decorated, possibly in a London workshop, with flower arrangements including tulip, convolvulus, rose and poppy, the reverses with large gilt scroll designs, the loop handles issuing from lion masks, some damages and repairs, 23.8cm max. (3) £400­600 Provenance: the Lady Rothes Collection.

284 A garniture of three Paris porcelain vases and covers, 19th century, each finely painted with flowers before garden statuary, the reverses with arrangements of pink roses, the shoulders and necks unusually pierced with hearts and other shapes, the scrolling handles with mythical beast masks, with pierced, domed covers, some faults, 30.3cm max. (6) £300­500 Provenance: the Lady Rothes Collection.

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285 A near pair of rare Swansea tureens and covers, c.1815­20, of unusual shape, painted by Henry Morris with sprays of delicate wild flowers including buttercup, heather, dog rose and forget­me­not, the sides applied with lion head masks, raised on circular bases above three paw feet, small damages and repairs, 19.4cm max. (4) £1,500­2,000 Provenance: the Lady Rothes Collection.

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286 Three Swansea trios and a cup and saucer, c.1815­17, two trios of London shape, variously decorated with flower sprays and small sprigs, the cup and saucer in pink and gilt with wide foliate scrolls, the last trio of moulded form and painted with sepia flower sprays, together with a plate in the same design probably decorated by David Evans, red script marks to some, some faults, 20.5cm max. (12) £100­200

287 A Swansea part tea service, c.1815­20, painted with single sprays of rose, convulvulus and other flowers linked by gilt foliate tendrils.

Comprising: a milk jug, a cake plate, two breakfast cups, four teacups, a coffee can and five saucers. (15) £150­250 Provenance: the Lady Rothes Collection.

Provenance: the Lady Rothes Collection. One trio formerly in the Elis Jenkins Collection.

288 Three Swansea plates, c.1815­17, painted probably by Henry Morris, one with a large central floral arrangement including carnation and convolvulus, another with small scattered flower sprays, the last with single stems, printed red SWANSEA marks, 22.5cm max. (3) £250­350 Provenance: the Lady Rothes Collection.

290 A Swansea egg cup, c.1815­17, printed in blue and gilded with a floral and trellis border, and a Swansea cup and saucer and a London shape cup, printed with flowers, the tea wares with printed retailer’s marks for Pellatt & Green, 15cm max. (4) £100­200 Provenance: the Lady Rothes Collection.

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289 A Coalport ‘Fable’ plate, 19th century, painted with the fable of the Fox and the Crow, the latter perched in a tree above the former, a Nantgarw­style cup and saucer painted with flowers, faint pseudo mark, and a Coalport mug painted with flowers and inscribed ‘James’ in gilt, the mug cracked, 21.6cm max. (4) £80­120 Provenance: the Lady Rothes Collection.

291 A pair of Nantgarw­style miniature vases, c.1830­50, probably Coalport, painted with small flower sprays, iron red script ‘Nantgarw’ marks, and a pair of miniature two­handled vases, painted to one side with birds, the reverses with flowers, the rims with continuous pink rose borders, minor damages, 8.2cm max. (4) £100­200 Provenance: the Lady Rothes Collection.

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292 A Nantgarw part service, c.1818­20, painted in London in the Sèvres manner, each piece with a central spray of dog rose within wide borders of repeated stylized sprigs in gilt and green, impressed marks to some. Comprising: a two­handled dish, a shaped quatrefoil dish, a slop bowl, a cabinet cup and saucer, and a taperstick. (6) £400­600 Provenance: the Lady Rothes Collection.

The shaped dish is painted in a more botanical fashion and is titled ‘Rosa aciphylla’ in red.

293 A Swansea part tea service, c.1815­17, decorated in an extended Imari palette, in pattern 436, with flowering branches and panels of stylized flowerheads on a green seed ground, red script marks and pattern numbers. Comprising: a teapot and cover, a sucrier and cover, a cake plate, a milk jug, and a trio of a coffee cup, teacup and saucer.

(9) £400­600 Provenance: the Lady Rothes Collection.

294 A Coalport botanical part dessert service, c.1830, each piece finely painted with a floral specimen on a white ground within moulded C scrolls. Comprising: two sauce tureens with covers and stands, three square dishes, two oval dishes, and twelve plates. (23) £300­500 Provenance: the Lady Rothes Collection.

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295 A rare Swansea cup and saucer and a plate, c.1815­17, the cup of London shape, finely painted, possibly by George Beddow, with sailing vessels and other boats at sea and in harbour, within wide gilt foliate borders, 23.4cm max. (3) £250­350 Provenance: the Lady Rothes Collection.

296 A Swansea miniature cabinet cup and stand, c.1815­17, painted with landscape scenes of sailing boats and buildings beside water, within gilt seaweed borders, a small chip to the cup’s rim, 11.8cm. (2) £200­300 Provenance: the Lady Rothes Collection. Paper label for the F E Andrew Collection, no.35.

297 A Swansea coffee can and saucer, c.1815­17, of glassy paste, painted by William Billingsley with landscape panels within gilt and green borders, red script marks, and a Swansea teacup and saucer from the Vachell Service, painted with landscape vignettes in sepia, printed red SWANSEA marks, the can and saucer with some damages, 15cm max. (4) £250­350 Provenance: the Lady Rothes Collection. The Vachell Service with paper labels for the Sir Leslie Joseph Collection. Probably also previously belonging to Ivor Vachell of Cardiff.

The Vachell Service is discussed by E Morton Nance, The Pottery and Porcelain of Swansea and Nantgarw, pp 332-333 and illustrated at plates CXLV and CXLVI. Two hands appear to have worked on the service. Unmarked pieces appear to be by William Billingsley, marked pieces by a lesser hand.

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298 A pair of Swansea dishes from the Marquis of Anglesey pattern, c.1815­17, the moulded quatrefoil forms painted in London with fine continuous bands of flowers including primrose, narcissus, rose, chrysanthemum and convolvulus on a gold ground, a central flower spray within a gilt chain border, impressed SWANSEA marks, one riveted, 23.3cm. (2) £300­500 Provenance: the Lady Rothes Collection. Formerly the Sir Leslie Joseph Collection nos.1028 and 1029.

299 A Swansea teacup and saucer and a plate, c.1815­17, painted in London with the Marquis of Anglesey pattern, a wide band of finely painted flowers on a gold ground, with a gilt formal chain border, the plate with an impressed mark with crossed tridents, 23.1cm max. (3) £300­500 Provenance: the Lady Rothes Collection.

300 A pair of Swansea­style two­handled cups and covers, c.1810­30, each painted with a wide band of flowers on a gold ground between white beaded borders, the covers with pinecone finials, some restoration, 15cm. (4) £100­200 Provenance: the Lady Rothes Collection. Formerly the collection of Viscount Bledisloe.

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301 A rare Swansea pen tray, c.1815­17, the long form with swan handles, painted to the interior with a bold band of pink and white roses, the walls with further flower sprigs, the exterior moulded with a band of ovals picked out in green and gilt, one handle restored, 25.6cm. £400­600 Provenance: the Lady Rothes Collection.

301

302 A Nantgarw pen tray, c.1818­20, the oval form painted with sprays of pink roses within a gilded border of diaper panels enclosed on a seeded ground, impressed NANT­GARW CW mark, 24cm across. £150­250 Provenance: the Lady Rothes Collection.

302

303 A Swansea pen tray, c.1815­17, the oval form painted to the interior probably by Henry Morris with a wide band of flowers including tulip, daffodil, rose, primrose and bluebell, and a taperstick painted with flower sprays, the ring handle formed as a serpent, restoration to the pen tray, 21.9cm max. (2) £100­200 Provenance: the Lady Rothes Collection.

303

304 A Swansea taperstick, c.1815­20, the drip pan decorated with a continuous band of stylized heart­shaped leaves on gilt scrolls, script ‘Swansea’ mark, a Nantgarw­style taperstick with a thick, beaded foot, delicately painted with flowers, and an English porcelain chamberstick painted with landscape scenes, 12.1cm max. (3) £150­250 Provenance: the Lady Rothes Collection.

304

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305 A Swansea taperstick, c.1815­17, painted in the manner of William Pollard with roses, forget­me­nots and a spray of strawberries, the narrow sconce with a band of gilded leaves, black script Swansea mark, the handle cleanly restuck, 6.5cm. £600­800 Provenance: the Lady Rothes Collection.

307 A Nantgarw taperstick, c.1818­20, the tapering form rising from a thick foot and painted with flower sprays including rose and narcissus, with a notched loop handle, the narrow nozzle with a formal gilt foliate border, the handle broken and cleanly restuck, 4.5cm. £600­1,000 Provenance: the Lady Rothes Collection.

306 A Swansea taperstick, c.1815­17, the drip pan painted with sprays of flowers including rose, convolvulus and tulip, the sconce with a narrow gilt seaweed band, printed SWANSEA mark, 6.8cm dia. £800­1,200 Provenance: the Lady Rothes Collection. Formerly the Harry Sherman Collection, no. 31.

308 A Swansea taperstick, c.1815­17, the drip pan boldly painted with four green baskets of colourful flowers, the ring handle gilded, red script Swansea mark, 6.8cm dia. £600­800 Provenance: the Lady Rothes Collection.

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309 A Swansea chamberstick, c.1815­17, the wide drip pan painted by Evans or Pollard with a band of wild flowers including heather, primrose, dog rose and wild strawberry, the cylindrical sconce with a gilt foliate band, red SWANSEA mark, a crack to the drip pan, 12.5cm. £300­500 Provenance: the Lady Rothes Collection.

310 A Swansea circular inkwell, c.1817­20, well painted probably by David Evans with continuous bands of flowers including tulip, rose, heather, buttercup and strawberry, the interior with three quill holders around a central drum enclosing a removable liner, the liner and one quill holder restored, 13.4cm dia. (2) £300­500

Cf. A E (Jimmy) Jones and Sir Leslie Joseph, Swansea Porcelain, p.228, pl.5 for a similar chamberstick by David Evans.

Provenance: the Lady Rothes Collection.

311 A Swansea miniature cabinet cup and stand, c.1815­17, finely painted probably by Henry Morris with arrangements of flowers spilling over marble plinths, between formal gilt foliate scroll borders, faint red script mark to the saucer, 9.8cm. (2) £500­800

312 A Swansea miniature model of a watering can, c.1817­20, painted

by William Pollard with wild flowers including speedwell, dog rose, heather and primrose, the straight spout with a pierced watering rose at the end, the handle restored, 8.5cm high. £300­500

Provenance: the Lady Rothes Collection.

Provenance: the Lady Rothes Collection.

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313 A Swansea trio and a cup and saucer, c.1815­17, the trio comprising a coffee cup, teacup and saucer, painted by William Pollard with delicate sprays of dog rose, heather, primrose and other flowers within elaborate gilt borders with green and gilt foliate suspensions, 14.7cm max. (5) £250­350 Provenance: the Lady Rothes Collection. Formerly the Sir Leslie Joseph Collection, nos. 1451, 1455, 1461 and 1473.

314 A Swansea part tea service, c.1815­17, the gently fluted Paris forms painted by William Pollard with wild flowers including primrose, heather, dog rose and strawberry, with formal gilt rims dropping green leaf tendrils. Comprising: a slop bowl, a breakfast cup and saucer, and a trio comprising a coffee cup, teacup and saucer. (6) £400­600 Provenance: the Lady Rothes Collection.

315 Two Swansea trios, c.1815­17, of fluted Paris shape, each comprising a coffee cup, teacup and saucer, one left in the white, the other painted with sprays of flowers including a divergent tulip, 15cm max. (6) £150­250 Provenance: the Lady Rothes Collection.

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316 A group of Cambrian (Swansea) pearlware botanical dishes, c.1800­05, including three small plates and an oval dish probably painted by Thomas Pardoe with specimens of Four Leav’d Flax, Indian Pink, Branching Toad Flax and Borage Leaved Mullein, impressed ‘SWANSEA’ marks, and a pair of square dishes and a plate painted with Eastern Poppy, Althaea and Carnation within silver lustre borders, all titled to the reverse, some wear, 27cm max. (7) £300­500 Provenance: the Lady Rothes Collection. One plate with a paper label for the Iris Fox Collection.

317 Two Swansea botanical dessert dishes, c.1815­17, one painted with a specimen of Sessile Trillium, the other of shell shape and printed and coloured with a specimen of Yellow Jasmine, each titled to the reverse, the former marked ‘40”2’ in puce, the latter ‘Swansea’ in iron red, 21.3cm max.

(2) £200­300 Provenance: the Lady Rothes Collection.

The specimen on the first plate is taken directly from William Curtis’s Botanical Magazine, the number in puce relating to the plate and volume number.

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318 A pair of Swansea botanical plates, c.1815­17, printed and hand­ coloured with specimens of Dwarf Geranium and Creeping Cereus, titled to the reverse, painted script marks, 20.7cm. (2) £100­200 Provenance: the Lady Rothes Collection.

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319 Two Swansea plates, c.1815­17, one painted by David Evans with a continuous band of flowers including tulip, dahlia, rose and convovulus, one of the stems tied with small blue ribbons, red script mark, the other locally decorated with a large flower spray within a wide border of small colourful birds perched on large gilt foliate scrolls, 21.5cm. (2) £400­600

320 A pair of Swansea plates, c.1815­17, painted by Henry Morris with four small floral arrangements within moulded rims decorated with gilt and green enamel foliate tendrils, upper case mark to one, and a similar square dish painted by William Pollard with a large arrangement of flowers, upper case mark in red, the latter cracked, 25cm max. (3) £600­800

Provenance: the Lady Rothes Collection. The second plate with a paper label for the Sidney Heath Collection.

Provenance: the Lady Rothes Collection. The plates formerly in the Harry Sherman Collection, nos. 47 and 254.

Cf. A E (Jimmy) Jones and Sir Leslie Joseph, Swansea Porcelain Shapes and Decoration, pp.230-231 for similar examples.

321 Two Nantgarw cups and saucers, c.1818­20, one painted with a garland of flowers suspended from a Sèvres­style blue border with gilt intersections, the other with a bold formal gilt design of palmettes and anthemion leaves, 14cm. (4) £200­300 Provenance: the Lady Rothes Collection.

322 A pair of ornithological shell­shaped dessert dishes, c.1820­40, probably Coalport, painted in the Welsh manner with a bird of prey perched on sprays of rose and other flowers with moths and butterflies beside, the rims with C scroll moulding, each titled in red variously ‘The Merlin’ and ‘La Chevechette’, 23.5cm. (2) £100­200 Provenance: the Lady Rothes Collection.

The birds appear to derive from the prints by François Levaillant, after Jacques Barraband. The latter was known to have supplied artworks to the Sèvres factory.

323 A pair of English porcelain candlesticks, c.1840, probably Chamberlain’s, the stems spiral moulded and picked out in gilt, the square bases painted with sprays of flowers, the shaped sconces with gilt foliate motifs, some damages, 17.6cm. (2) £100­200 Provenance: the Lady Rothes Collection.

324 Literature: W D John, Nantgarw Porcelain; W D John, Swansea Porcelain; W D John and others, Nantgarw Porcelain Album; A E (Jimmy) Jones and Sir Leslie Joseph, Swansea Porcelain; two volumes of Welsh Ceramics in Context; E Morton Nance, The Pottery and Porcelain of Swansea and Nantgarw; and three other reference works. (10) £60­100 Provenance: the Lady Rothes Collection.

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325 A Nantgarw coffee cup and saucer, c.1818­20, painted in London, probably in the Sims workshop, with large sprays of pink roses, with small flying insects around, gilt dentil rims, the cup’s handle of an inverted heart­ shape, a little regilding, 13.8cm. (2) £100­200 Provenance: the Lady Rothes Collection.

Paper label for Klaber and Klaber Antique Porcelain.

327 A Swansea spill vase, c.1815­17, of flared trumpet form, painted with repeated flower sprays and smaller sprigs, the rim with a gilt dentil border, retouching to the gilt rim, 10.4cm. £100­200 Provenance: the Lady Rothes Collection.

326 A Nantgarw miniature cabinet cup and associated stand, c.1818­ 20, the cup painted in London, probably in the Sims workshop, with a continuous band of flowers on a graduated ground, the rim applied with two ring griffin handles, the stand painted with three small flower arrangements within a gilt dentil rim, a restored chip to the cup, 9.2cm max.

(2) £150­250 Provenance: the Lady Rothes Collection.

328 A Swansea spill vase, c.1815­17, the barrel­shaped body painted perhaps by William Billingsley with a continuous band of flowers including rose, convolvulus and chrysanthemum, the interior rim with a formal gilt scroll border, printed ‘SWANSEA’ and X mark, some gilt wear to the foot, 11.3cm. £250­350 Provenance: the Lady Rothes Collection.

329 A Swansea inkstand, c.1815­17, of slightly flared drum shape, decorated with gilded flower sprays on a pink ground, with removable liner, and another smaller inkstand painted with flower sprigs, raised on three paw feet, 13.6cm max. (3) £150­250 Provenance: the Lady Rothes Collection. The former with a paper label for the Sidney Heath Collection.

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330 A Swansea plate, c.1815­17, well painted with five colourful birds in flight behind a gilt mesh ground, impressed mark, 21.4cm. £150­250 Provenance: the Lady Rothes Collection.

331 A Nantgarw square dessert dish, c.1818­20, possibly London decorated with a central arrangement of roses, auricula, forget­me­not and strawberries, the rim moulded with C scrolls and decorated with four further sprays of fruit and flowers, impressed mark, 28.5cm. £250­350 Provenance: the Lady Rothes Collection.

332 A Nantgarw cup and saucer, c.1818­20, painted with panels of flowers within gilt C scroll panels alternating with shell motifs and foliate sprays, 14.2cm. (2) £100­200 Provenance: the Lady Rothes Collection.

333 A Swansea bowl, c.1815­17, painted possibly by David Evans with a wide band of flowers to the interior, including tulip, convolvulus and rose, the exterior with vertical fluting picked out in gilt, a few small rim chips, 17cm dia. £100­200 Provenance: the Lady Rothes Collection. Paper label for G E H Bents of Cardiff.

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334 A pair of Nantgarw plates, c.1818­20, painted in the manner of William Pollard with continuous wide borders of flowers and fruit, including primroses, forget­me­not, convolvulus, heather and strawberries, impressed marks, 23.2cm. (2) £400­600 Provenance: the Lady Rothes Collection.

335 A Swansea teacup and saucer, c.1815­17, London­decorated possibly by Robins and Randall in the Sèvres manner with panels of flowers reserved on a turquoise oeil de perdix ground, printed SWANSEA marks, and a pair of spill vases painted with baskets of flowers on the same ground, one vase cracked and restored, 14.8cm max. (4) £300­400 Provenance: the Lady Rothes Collection.

Cf. A E (Jimmy) Jones and Sir Leslie Joseph, Swansea Porcelain, p.135, pl.4 for an identical spill vase.

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336 A good Nantgarw muffin dish and cover from the Spence­Thomas service, c.1818­20, painted by Thomas Pardoe with fine bands of flowers including auricula, rose, stocks, convolvulus and tulip, the domed cover surmounted with a gilt acorn finial, 21.5cm dia. (2) £5,000­8,000 Provenance: the Lady Rothes Collection. Formerly the Rowland Williams Collection, no. N39; and from the Spence-Thomas family.

Illustrated: Rowland Williams, Nantgarw Porcelain 1813-1822, fig 58 and discussed on p.41; and by W D John, Nantgarw Porcelain Album, illustration 21.

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OTHER PROPERTIES

337 A Nantgarw trio, c.1815­18, comprising a teacup, a coffee cup and a saucer, delicately painted with small flower sprays within wide gilt foliate scrolls and two­handled vases, 13.7cm. (3) £300­500

338 A Nantgarw plate, c.1815­20, the well painted with three floral arrangements around a central flower stem, the rim moulded and decorated with moths and other insects, some gilt wear, 21.6cm. £100­200

Paper labels for the Sir Leslie Joseph Collection.

Paper label for Vera Sutcliffe, South Croydon.

339 A Nantgarw cup and saucer, c.1815­20, painted with small floral panels and further flower sprays, and two Swansea­style cups and saucers painted with flower sprays reserved on a blue ground with gilt foliate motifs, some faults, 14.7cm max. (6) £100­200

340 Two Nantgarw teacups and saucers, c.1815­18, painted with sprays of rose and other garden flowers flanked by gilt anthemion, the cups’ exteriors with varying gilt foliate and floral designs, 13.7cm max. (4) £300­500

One cup and saucer with paper labels for the Michael Johnson Collection.

341 A Swansea part tea service, c.1818­20, painted in pattern 219 with an Imari type design around panels of garden flowers. Comprising: a teapot with cover and stand, a sucrier and cover, two cups and saucers of differing shape. (9) £400­600 90

342 Three Swansea trios, c.1818­20, comprising varying teacups, coffee cups and saucers, each decorated in pattern 840 with small floral panels reserved on a blue ground with a dense gilt design of fruiting grapevine, 14.8cm max. (9) £250­350

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343 A garniture of three Coalport vases, c.1800­20, the central vase and cover with two scroll handles, well painted, possibly at Mansfield, with a continuous landscape scene in sepia monochrome, with further landscape panels within formal gilt borders on a yellow ground, the pair of smaller vases with shaped loop handles applied to the shoulders, similarly decorated with figures in landscapes above gilt panels on a yellow ground, some restoration to the cover, 27.6cm max. (4) £1,500­2,000

344 A pair of English porcelain vases, c.1820, each well painted with a panel of flowers, the reverses with pink roses, all reserved on a pink ground between swan neck handles, and a Spode vase and cover painted with an arrangement of fruit and flowers on a puce ground with raised gilt motifs, some faults and gilt wear, 27.6cm max. (4) £200­300 91

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345 A large Chamberlain’s Worcester ‘Grace’ mug, c.1815, painted with fauns, centaurs, satyrs and Classical figures including the Three Graces, flanked by fruiting grapevine bands, the interior rim with a colourful band of fruiting vine, and an armorial dish, painted with a view titled ‘Newcastle upon Tine’ [sic], reserved on a yellow ground beneath an armorial crest and shield, the mug restored, 20.5cm max. (2) £100­200

346 Two large English porcelain porter mugs, c.1815­25, one Chamberlain’s Worcester and two­handled, decorated with a gilt crest of a lion on a yellow band, the other probably Derby and painted with two dogs chasing a hare, 11.4cm high max. (2) £100­200

347 A pair of small Spode câchepots and stands, c.1820, painted in pattern 382 with sepia scenes of figures in rural landscapes, and a Flight Worcester inkwell and cover of drum shape, decorated with Classical scenes on a pale blue ground beneath a beaded border, some damages, 11.5cm max. (6) £100­200

348 Two Rockingham scent bottles and stoppers, c.1830­40, each of flattened square form, one encrusted with a dense ground of blue­edged flowerheads, the other with sprays of large colourful flowers, puce printed factory marks, some chipping to the applications, 10cm across max. (4) £200­300

349 A Rockingham model of a swan, c.1830­40, with head bowed and wings with gilt detailing, raised on a blue glazed base, impressed ‘22’, and a Paris porcelain model of a black and white setter, recumbent with head turned, 14.5cm max. (2) £100­200

350 A Derby porcelain figure of a peacock, c.1820, raised on a tall scrolled base applied with flowers, blue crossed swords mark, and a small Derby figure of a pug dog, seated on its haunches and wearing a gilt studded collar, minor faults, 16cm high max. (2) £100­150

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351 An English porcelain anti­slavery dish, c.1830­50, printed with a seated African woman cradling a child, the moulded rim with Biblical verses regarding labour and oppression, 24.7cm. £250­350

352 A rare Copeland buttertub and cover and dish, late 19th century, copying the 1771 Sèvres service for Madame du Barry, decorated with DB monograms in gilt and flowers, the rims with blue vases and further flower garlands, probably painted by Charles Bayford Brough, blue CB monograms, pseudo Sèvres marks, gilt marks for Thomas Goode & Co, 26.7cm. (3) £200­300 Paper labels for Grand Prize, Paris 1889. Copeland produced, through Thomas Goode, specific commissions which sometimes included reproductions of known Sèvres services. These usually featured the interlaced Ls mark seen on the buttertub here.

353

353 A large porcelain bourdaloue, 19th century, richly decorated in the Imari palette with a stylized floral design, 27cm across. £100­150

354

354 A Chamberlain Worcester plate in the Princess Charlotte pattern, c.1816­17, the well painted with a fruit and flower spray, the wide border probably painted by George Davis with six diamond­shaped panels of exotic birds, all reserved on a pale blue ground with an elaborate gilt design of shells, scrolls and seedheads, black script mark with a foliate cartouche, 23.4cm. £100­150

355 Five English porcelain two­handled porter mugs, 19th century, of varying size, decorated with flowers and landscapes, three reserved on a pink ground, one also inscribed ‘A Present from a Sincere Friend and Well Wisher’, some faults, 14.3cm high max. (5) £150­200

355

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356 Six Coalport topographical cabinet plates, 2nd half 19th century, painted with titled views including ‘Beirout’ [sic], ‘Tivoli’, ‘Cintra’ [sic], ‘Smyrna’, ‘Pomaret Val St Martin’, and ‘Mount Blanc from Chamoni’, within claret borders with gilt and raised enamel scrolls, some repainting to stacking wear, 24.2cm. (6) £200­300

357 Six Royal Worcester cabinet plates, date codes for 1931, all painted by George Evans in the manner of Jean­Baptiste­Camille Corot, signed ‘G H Evans’, reserved on a powdered blue ground with a dense foliate gilt design, printed marks, 23.5cm. (6) £200­300

358 Eight Minton fruit plates, c.1900, painted by Joseph Colclough with central sprays of fruit including apples, plums, cherries, pears, gooseberries and grapes, signed ‘J. Colclough’, printed marks, 27.3cm. (8) £100­200

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359

360

361

359 A pair of Grainger’s Worcester Parian vases and covers, 19th century, in the Islamic style, moulded and decorated in relief with a dense floral and foliate design, the squat globular bodies rising to slender necks with gilded knops, iron red 1/1512 marks, 24.5cm. (4) £200­300 360 A Royal Worcester vase, date code for 1908, the slender ovoid body painted with a stork standing on one leg in a continuous watery landscape, rising to a tall neck with everted rim, printed marks, 26.5cm. £150­250 361 A Royal Worcester ewer, date code for 1893, of shape 1309, decorated in the Raby manner with colourful leafy branches on an ivory ground, and a Hadley’s pot pourri vase and cover, painted with flowers and raised on a tall foot with dolphin motifs, printed marks, restoration to the vase, 26.4cm max. (3) £150­250

362

362 Three Royal Worcester vases and three Hadley’s Worcester vases, 1st half 20th century, one by Kitty Blake and painted with blackberries, another painted with roses, the last moulded to the shoulders, the Hadley’s vases similarly decorated with flowers and applied moulding, one a pot pourri vase with cover, various printed marks, some restorations, 15.8cm max. (7) £150­250 363 A small collection of Royal Worcester, 1st half 20th century, including a cabinet plate painted

by Albert Shuck, a small vase painted by Harry Martin, a small plate painted by Roberts, and a coffee cup and saucer painted by Freeman, all with panels of fruit on a deep blue ground, and a jewelled coffee cup and saucer on a black ground, various printed marks and date codes, some damages, 23cm max. (7) £150­250 363 95

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364 A Royal Worcester ewer, date code for 1911, of shape 1968, painted

by Harry Stinton with Highland cattle in a mountain landscape, signed ‘H Stinton’, the handle formed of two entwined snakes, printed marks, restoration to the handle and rim, 20cm. £300­500

365 A Royal Worcester vase, date code for 1905, of shape 2256, the slender form painted with an arrangement of pears and pear blossom on an ivory ground, signed ‘F Parker’, rising to a flared octagonal neck, 25.3cm. £200­300

366 A small Royal Worcester vase and cover, date code for 1920, painted

by Thomas Lockyer with an arrangement of fruit reserved on a powdered blue ground, signed ‘T Lockyer’, the squat cylindrical body raised on a tall spreading foot, printed marks, broken through the stem and restored, 15.2cm.

(2) £120­180

367 A Royal Worcester pot pourri vase and outer cover, date code for 1902, of shape 2211, painted by Frederick Chivers with an arrangement of fruit on a pale blue ground, signed ‘Chivers’, applied with pink scroll handles, the cover pierced with scale panels, printed marks, the inner cover lacking, 18cm. (2) £100­150

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368 A Royal Worcester vase and a small tazza, date codes for 1930 and 1939, the vase of shape G923 and painted with a small panel of fruit within an elaborate cartouche, the tazza painted by Richard Sebright with an arrangement of apples and blackberries, signed ‘R Sebright’, both pieces with a powdered blue ground, 15.4cm max. (2) £150­250

369 Two Royal Worcester cabinet plates, date codes for 1910 and 1912, one of dished form, each painted by John Stinton with scenes of cattle in a stream or on a mountainside, within a wide dark blue border and a raised gilt rim, signed ‘J Stinton’, printed marks, 23.8cm max. (2) £100­200

370 Four Royal Worcester pin trays, date codes for 1937, 1938 and 1940, all painted with arrangements of fruit including apples, cherries and plums, painted by Moseley, Townsend and Ayrton, signed, printed marks, 11.5cm max. (4) £200­300

371 A small group of Royal Worcester teawares, date codes for 1921, 1926, 1930, 1931 and later, comprising two coffee cups and saucers, a breakfast cup and a jug, variously painted by Moseley, Ayrton, Freeman and Shuck with arrangements of fruit including apples, grapes, blackberries and plums, signed, various printed marks, 11.5cm max. (6) £200­300

372 A small Royal Worcester two­handled vase, date code for 1900, of shape 2036, painted with an arrangement of white and pink blossom on a pale blue ground, the scroll handles issuing from acanthus leaves, printed marks, 14.8cm. £100­150

373 Literature: Michael Messenger, Coalport; Michael Gibson, 19th Century Lustreware; Geoffrey A Godden, Ridgway Porcelains; Dr Chris Girton, The Two Quail Pattern; and five other reference works on ceramics.

(9) £50­80 97

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374 A Bilston enamel bonbonnière, c.1760­80, modelled as a Cavalier spaniel recumbent on a rectangular green tasselled cushion, its coat decorated with black patches, the base painted with a lady seated on a riverbank beneath a tree with a small dog on her lap, 6cm across. £400­600

375 A Bilston enamel bird bonbonnière, c.1760­80, modelled as a finch with russet wings and a lilac breast beneath a black cap, the base decorated with a puce diaper pattern, 4.4cm high. £200­300

376 A rectangular enamel pen rest or stand, 19th century, painted in puce monochrome with cattle in a stream, the concave edge with four further panels reserved on a rich yellow ground, 20.8cm. £80­120

377 A Samson enamel double­ended box, late 19th century, painted to one end with a portrait of a young woman, the other end with a battle scene, with panels of flowers, all reserved on a lilac ground with raised gilt scrolls and white trellis designs, 8.4cm. £100­200

378 A rectangular enamel snuff box, c.1760­70, possibly Birmingham, the lid painted with a soldier and his companion in formal gardens, the sides with scenes of children with musical instruments, the interior with further garden landscapes, some wear and cracking, 8.3cm across. £100­200

378

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379 A rare Birmingham enamel ‘combat’ snuff box, c.1765, of shaped rectangular form, the top moulded with a cavalier spaniel pinning down a cat while in playful assault with a larger tabby cat, the dog’s collar inscribed ‘Mr RC’, the rectangular cover decorated with Venus on the back of a dolphin, being attended by Cupid, within a yellow and puce scrolled cartouche, a little good restoration, 8cm. £2,000­2,500 Provenance: the Hon. Mrs Nellie Ionides Collection, Sotheby’s, 27th May 1963, lot 126; the property of a lady, Christie’s, 18th October 1983, lot 88; Nancy J. McLarty, Sotheby’s, 5th June 2001.

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THE MICHAEL FONTES COLLECTION OF BOW FIGURES LOTS 380-404

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380 A rare matched pair of Bow candlestick figures of the Dutch Dancers, c.1765­70, he standing with his hands behind his back and right leg extended, she with her hands on her hips, each on a footed base before a flowering tree stump supporting a scrolled and colourful candle sconce, 26cm. (2) £600­800

381 A large pair of Bow figures of a piper and his companion, c.1762­65, he standing with a dog and a sheep by his feet, she with an apron full of flowers and a lamb recumbent beside her, each brightly enamelled and raised on a tall scrolled base highlighted in blue, puce and gilt, some restoration, 27.2cm. (2) £500­800

382 A pair of Bow figures of vintners, c.1765, modelled as a boy and his companion standing barefoot among leaves and flowers, holding swathes of fruiting grapevine, raised on scroll footed bases picked out in blue, puce and gilt, 17cm. (2) £200­300

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383 A Bow figure of a grape seller, c.1758­60, modelled as a young girl seated with a basket of grapes, wearing a floral patterned apron over a yellow skirt, raised on a low base with puce highlights, impressed ladder mark, a little good restoration, 14cm. £100­200

384 A Bow figure of Autumn from the Rustic Seasons, c.1765­70, seated on a harvesting basket, spilling grapes and apples, a goblet held in his left hand a bottle between his feet, before flowering bocage, raised on a scrolled, footed base picked out in turquoise and gilt, red anchor and dagger mark, minor faults, 16.5cm. £100­200

385 A Bow figure of Spring, c.1755­58, modelled as a girl seated and wearing a hat trimmed with flowers, leaning on a basket of flowers, with blooms tumbling from her lap into further baskets beside her, a bee skep behind her, some restoration, 11.6cm. £120­180

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386 A near pair of Bow figures of the New Dancers, c.1760, modelled as a boy and girl posed on tall pierced scroll bases beside a variety of applied flowers, the figure of the girl with a blue crescent mark and red anchor and dagger mark, some chipping, 18.5cm. (2) £150­250

387 A matched pair of Bow figures of a piping shepherd and his companion, c.1758­65, he playing the flageolet with a dog at his feet, she beside a recumbent lamb, the boy with a red anchor and dagger mark, some restoration, 15cm. (2) £250­350

388 A matched pair of Bow figures of Autumn and Winter, c.1760­65, from the Rustic Seasons, Autumn seated astride a harvesting basket full of grapes, holding a goblet in his left hand, Winter huddled in a fur­lined coat over a flaming brazier, both raised on scrolled, footed bases, minor faults, 17cm. (2) £200­300 Autumn with paper labels for Jas. A. Lewis & Son Inc., and for Seidenberg, New York.

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389

390

391

392

389 A rare figure of Winter from the Standing Rustic Seasons, c.1760, modelled as an old man warming his hands before a flaming brazier resting on a branch, wearing a large coat over a flowered waistcoat and a striped neckerchief, raised on a scrolled footed base picked out in puce, turquoise and gilt, a little good restoration, 23cm. £300­500 390 A Bow figure of a Turkish Dancer, c.1760, dressed in a flamboyant costume with striped turban and a long fur­lined coat, his left arm outstretched, raised on a low base applied with flowers and leaves and picked out in puce and blue, restoration to the neck and left arm, 17cm. £150­250 391 A Bow figure of a musician, c.1760, seated on a tree stump and playing a fife and a drum slung over one shoulder, wearing a yellow coat over flowered breeches, small losses, 16.8cm. £250­350 392 A rare Bow figure of a boy, c.1770, standing with his left hand resting on his hip, holding a magnifying glass in his right hand, the low base applied with flowers and fruit, red anchor and dagger mark, minor restoration, 17cm. £200­300 393 A small or miniature Bow figure of a musician, c.1758, seated on a low rocky stump and playing the flute, wearing a red cap and flowered breeches, the low pad base applied with flowers, a little good restoration, 9cm. £200­300 Provenance: the Nigel Morgan collection.

394 A Bow figure of a piper, c.1755­58, his bagpipes tucked under his left arm, a ‘dismal hound’ type dog seated by his right foot, the boy’s jacket unusually decorated with flowers in the Kakiemon palette, minor faults, 14.5cm. £200­300

393 104

394

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395

396

395 A Bow figure group of children, c.1765, dressed as Turks and standing side by side before flowering bocage, raised on a tall footed base picked out in turquoise and gilt, rare blue crescent mark, small losses and repairs, 21.3cm. £250­350 396 A Bow figure group of Summer and Autumn, c.1765, from the Adolescent Seasons, modelled as a young girl and boy standing before tall flowering bocage, she holding a sheaf of corn, he with a basket of grapes, raised on a scrolled four­footed base, some restoration, 24.5cm. £300­500 397 A Bow figure of Autumn from the Adolescent Seasons, c.1765, modelled as a youth standing with ankles crossed, holding a goblet in his left hand and a bunch of grapes in his right, raised on a footed base applied with flowers and leaves, the scrolls picked out in blue, puce and gilt, some losses to the bocage, 19.5cm. £200­300 Paper labels for Jas. A. Lewis & Son Inc, and for Seidenberg, New York.

398 A Bow figure of Winter from the Adolescent Seasons, c.1760­65, modelled as a youth wearing ice skates and standing beside a flaming brazier with his hands tucked inside a fur muff, raised on a scroll footed base picked out in green and puce, some restoration, 18cm. £200­300 399 A Bow figure of a huntsman, c.1760­65, wearing a peaked hat and holding a barrel of a long gun, his dog seated by his right foot, raised on a tall scrolled base picked out in puce, losses to the bocage, probably once a candlestick figure, 21.5cm. £150­250

397

398

399 105

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400 A rare Bow figure of Narcissino from the Commedia dell’Arte, c.1760­ 64, striking a pose with his left leg slightly bent, wearing a pale yellow jacket with wide embroidered collar over flowered breeches, a short cloak draped over his left shoulder, raised on a footed base picked out in puce and blue, restored through the legs and trunk behind, 21.3cm. £300­500

401 A Bow figure of a child dressed as Columbine, c.1760, wearing a skirt patterned with flowers and playing cards, holding a slapstick in her left hand, raised on a tall scroll base, some restoration, 14.3cm. £150­200

402 A Bow figure of Pedrolino or Pierrot, c.1755, from the Commedia dell’Arte, wearing a yellow costume edged in puce, his arms outstretched, the low pad base applied with flowers and leaves, restored, 14.8cm. £100­200

403 A Bow figure of a female musician, c.1762­65, seated and playing a zither resting on her lap, a dog beside her seated on its haunches, raised on a scroll footed base picked out in puce, some restoration, 14cm. £150­250

The figure was first modelled by Reinicke at Meissen, using an engraving by Francois Joullain in Louis Riccobini’s ‘Histoire du Theatre Italien’, published in 1731, and was faithfully copied by Bow. 106

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404 A rare pair of Bow Commedia dell’Arte figures of Harlequin and Columbine dancing, c.1765­70, each dressed in colourful costume and stepping with one foot off the tall pierced bases, Harlequin with a mask suspended from his sash and holding a hat in his left hand, red and gold anchor and dagger marks, some repairs, 18cm. (2) £800­1,200 Cf. Peter Bradshaw, Bow Porcelain Figures, p.189, pl.194 for the combined figure group.

405 No Lot

END OF COLLECTION 107

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OTHER PROPERTIES

406 A Bow figure of a Scottish musician or piper, c.1758, wearing a tartan sash and breeches and a blue beret, playing the bagpipes, a dog recumbent beside his feet, restoration to both hands and the dog’s ears, 14.5cm. £100­200 Paper label for Charles Woollett & Son.

407 A Bow figure of a piper, c.1756­58, holding his bagpipes under his left arm, wearing a pink jacket over blue breeches, a ‘dismal hound’ reclined at his feet, some restoration, 14cm. £100­150 406

407

408 A Derby figure group of ‘The Tithe Pig’, c.1760­65, of a young couple and a cleric beneath bocage, a Derby figure of a vendor with a small barrel slung over one shoulder, a figure of a shepherdess beside an unusually large dog, and a small figure of a child in Turkish costume, some damages and repairs, 22.3cm max. (4) £200­300

408

409 Three English porcelain figures, c.1756­60, including a Bow figure of the Sailor’s Lass, wringing her handkerchief, a Bow sweetmeat figure of a black Levantine lady supporting a circular basket on her head, and a Chelsea figure of a musical shepherd, playing the flageolet beside his recumbent dog, red anchor mark, some damages and restorations, 18.2cm max. (3) £150­250

108

409

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410 Two Derby candlestick bird figure groups, c.1765, each modelled with a pair of yellow finches perched amid flowering branches with a small brown dog on its haunches at the base of the tree, raised on scrolling bases picked out in green and gilt, minor faults, 22.3cm. (2) £200­300

411 A small Derby sweetmeat figure of a gardener, c.1780, modelled as a young girl holding a basket, and a pair of Derby­style figures of Spring and Summer from the Grotesque Seasons, 12cm max. (3) £100­200

410

412 A Derby figure group of three putti, c.1780, the three winged figures encircling a tree with two dogs, one with a bird and a cage, two others playing instruments, all raised on a rocky base, some losses and restorations, 25.5cm. £100­200

413 A large Derby figure of Mercury c.1760­65, wearing a winged hat and holding a caduceus, some damages and restoration, 34cm. £150­250 411

412

413 109

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414 A Chelsea figure of Winter, c.1755, modelled by Joseph Willems as a bearded man in a white greatcoat and fur­lined hat, holding a basket of hot coals, his eyes downcast, the circular pad base applied with flowers and leaves, red anchor mark, some chipping to the back of his collar and the base, 13cm. £500­800 Cf. Arthur Lane, English Porcelain Figures of the 18th Century, pl.18 for the series in the V&A.

415 A Bow figure of a boy, c.1758­60, seated on a stump beside a grape­ pickers basket, wearing a yellow jacket over pink patterned breeches, 12.5cm. £100­200

416 A Plymouth figure of a female musician, c.1770, seated between flowering branches and playing the mandolin, raised on a tall scrolled base picked out in gilt and turquoise, restoration, 15cm. £200­300

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417 417 A large Plymouth figure of Europe, c.1768­70, from the Four Continents series, modelled as a Classical maiden standing before a horse and trophies of war, resting a book on one hip and holding an artist’s palette in her left hand, some restoration, 33cm. £1,300­1,800

418 A large Plymouth figure of Asia, c.1768­70, from the Four Continents series, modelled as a Classical maiden standing before a recumbent camel and holding a covered vase in both hands, a tasselled turban at her feet, some restoration, 32.2cm. £1,300­1,800 This series of the Four Continents was first produced at Vauxhall and is thought to have been brought to Plymouth by the former Vauxhall mould-maker named Hammersley.

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18TH CENTURY ENGLISH PORCELAINS

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419 A rare Bristol chocolate cup with cover and stand, c.1775­80, painted with sepia portraits of Classical figures within berried leafy swags suspended from wide gilt borders, 14.8cm. (3) £1,500­1,800

420 A Bristol chocolate cup with cover and stand, c.1775, of slight ogee shape, painted with delicate garlands of flowers suspended from gilt lines beneath basketweave moulded borders, blue X5 marks, a small chip to the cover’s rim, 16.7cm. (3) £800­1,200 Provenance: formerly the Peter Stephens Collection, no.60.

421 A Bristol teapot and cover, c.1775­80, the squat barrel­shaped body painted in polychrome enamels with sprays of fuchsia and rose amid small scattered sprigs, the shoulder with a band of moulded basketwork, with short moulded spout and angular handle, yellow X 18 mark to the underside, a little chipping to the spout, 21.5cm across. (2) £400­600

422 A Bristol teapot and cover, c.1772­75, the globular body painted in green camaieu with loose flower garlands suspended from rings and a brown line border, with small scattered sprigs around, the short spout with rococo moulding, 18cm across. (2) £300­500

423 Two Bristol biscuit porcelain plaques, c.1775­77, one circular and applied with a tied bouquet of flowers, the other oval and applied with a single rose stem, mounted in glazed hardwood frames, 14.7cm overall max.

(2) £800­1,200

424 A Bristol sucrier and cover, c.1775, painted in puce monochrome with scattered single flowers, the rim with a border of C scrolls, shells and floral motifs echoed to the cover, blue crossed swords mark and gilt 6, 11.2cm high. (2) £300­500

One with an old paper label for H R Marden King of Winchester.

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425 A pair of Worcester plates and a dish, c.1770, all decorated in the Marchioness of Huntley pattern with spiralling flower sprays reserved on a shaped apple green ground, some wear, 29.4cm max. (3) £100­200

426 Three Worcester double leaf dishes, c.1770, each moulded with two overlapping vine leaves, painted with an arrangement of flowers, the leaves edged in green and the veining detailed in purple, with a brown twig handle, some wear, restoration to one handle, 20cm. (3) £200­300

427 Two large Worcester baskets, c.1765­75, of varying oval form, the interiors painted with polychrome flower sprays, the pierced sides applied with individual flowerheads, with green handles issuing from applied flowers and leaves, 28cm max. (2) £150­250

428 A pair of large Chelsea fruit dishes, c.1758­60, each lobed dish painted with large sprays of fruit including cherries, pears, gooseberries and plums, amid large moths, brown anchor marks, short rim cracks, 30.5cm. (2) £150­250

429 A Worcester hot water jug and cover, c.1775, the fluted form painted with garlands of spotted fruit, a fluted Worcester slop bowl painted in the Dalhousie manner with an internal landscape panel, and a tea canister and cover decorated with gilt sprigs, some faults, 16.7cm max. (5) £150­250

430 Three Worcester creamboats, c.1765­75, two of Low Chelsea ewer form, variously painted with flowers, the last of a squat strap­moulded form painted with Chinese figures, and an undecorated Worcester teabowl and saucer moulded with panels, minor faults, one handle restuck, 12cm max. (5) £100­200

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431 Two Chelsea plates, c.1755­60, one decorated in the Meissen style with Holzschnittblumen around Gotzkowsky type moulding, red anchor mark, the other with six vignettes of birds around a well of flowers and flying insects, gold anchor mark, and a Chelsea­style plate in the manner of the latter, 23.8cm max. (3) £250­350

432 A pair of Worcester dessert plates, c.1770, the wells painted with bouquets of English flowers within a gilt scroll border on a wet blue ground, open crescent marks, and a pair of later English porcelain plates with similar decoration, 21.4cm max. (4) £150­250

433 Four Worcester ‘Blind Earl’ plates, c.1765, all moulded and decorated with a spray of wild rose, painted around with flowers and insects, one pair painted in underglaze blue, the other two with polychrome enamels, one restored, cracks to two, 20cm. (4) £250­350

434 Three Bow dishes, c.1756­65, one octagonal and painted in Kakiemon enamels with the Two Quail pattern, another of circular scallop­ edged form and painted with bold sprays of English flowers, the last oblong with similar floral decoration, red anchor and dagger mark to the last, 23.2cm max. (3) £200­300

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435 A Bristol coffee pot and cover, c.1775, the baluster body painted with sprays of flowers and single scattered sprigs, the rims with puce foliate bands interlaced with wide green ribbon, restoration to the cover, 21.6cm.

(2) £700­900

436 A Plymouth coffee pot and cover, c.1770, the baluster body painted with bold flowering branches in green, red, blue and yellow, some restoration to the cover, 24cm. (2) £600­800

437 A rare Bristol armorial jug, c.1775, finely painted with the arms of Pye of Faringdon, a shaped shield of Ermine a bend indented gules within a puce rococo border, the crest a cross crosslet between wings, flanked by flower sprays, the grooved handle with elaborate gilt borders, 13.6cm. £1,800­2,200 The two most likely members of the Pye family for whom this jug might have been made are Admiral Sir Thomas Pye (c.1708/9-1785) who served during the American Wars of Independence; and Henry James Pye (1745-1813), MP for Berkshire and Poet Laureate from 1790.

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438 A Bristol quatrefoil sauce tureen with cover and stand, c.1775, painted possibly by Henry Bone with garlands of polychrome flowers suspended from interlaced blue and lilac ribbons around gilt flowerhead roundels, blue X and gilt 6 marks, the cover’s finial restored, 20.4cm. (3) £1,800­2,200 Paper labels for the Trapnell Collection, no. 170.

439 A large Bristol basin or junket dish, c.1775, the fluted form painted in the manner of Henry Bone with fine flower sprays and single scattered stems, gilt dentil rim, blue X7 mark, a rim crack, 28.9cm dia. £600­800 440 A Bristol dessert dish or stand of rare form, c.1772­75, the lobed form with curved rim, painted possibly by Henry Bone with a continuous garland of flowers suspended from a band of interlaced puce and blue ribbons enclosing gilt flowerheads, blue X mark, some restoration, 26.7cm. £250­350

439

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441 A Worcester leaf dish, c.1760­65, moulded as a large cos leaf, brightly enamelled with The Magician pattern, two Chinese figures watching a third standing beside a low table and garden seats with one arm raised, a butterfly in flight above, 21.6cm. £150­250

442 A Worcester fluted milk jug, c.1768­72, brightly decorated in an extended Kakiemon palette with the ‘Chequered Tent’ pattern, with bold flowering plants beside a triangular fence, square seal mark, 11.1cm. £200­300 Cf. The Zorensky Collection, Part II, 23rd February 2005, lot 83.

443 Two Bow frill vases and covers, c.1765­70, one of flared form, the other baluster, both painted with moths and other flying insects among large applied flowers and face mask handles beneath colourful frills, the pierced covers with bird finials, some faults, 28.2cm max. (4) £300­500

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444 A Plymouth salt or sweetmeat stand, c.1768­70, formed of three large scallop shells raised on a bed of seaweed, coral and further small shells around a central coral spray, gilt tin mark, some small faults, 21.5cm across. £600­1,000

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445 A Worcester teapot and cover, c.1780­90, decorated with the Queen Charlotte pattern of spiralling stripes in blue, red, puce and gilt, and a Chamberlain’s Worcester plate in the same pattern, the teapot cracked, 20.5cm across. (3) £80­120

446 A Worcester shell pickle dish, c.1758, painted in underglaze blue with a flower spray and later embellished in red and green, painter’s mark, and a Worcester fluted coffee can, possibly decorated in the atelier of James Giles with a gilt and blue wreath amid gilt leaf swags, the pickle dish broken and restuck, the cup with a rim crack, 11cm max. (2) £80­120

447 A Lowestoft saucer c.1770, painted in polychrome enamels with the Blackbird pattern, a Lowestoft milk jug painted with stylized flower sprays within a polychrome floral border, and a teabowl painted with a simple flower basket, the interior rim with a wide scrolled border, 12.8cm max. (3) £200­300

448 A Lowestoft teabowl and saucer, .1770, painted in polychrome enamels with a Chinese lady and a boy in a garden, and a Lowestoft milk jug painted with four Chinese figures in a garden setting, the saucer broken and restuck, 11.9cm max. (3) £100­150

449 A Lowestoft coffee cup and saucer, c.1770, painted with sprays of flowers in polychrome enamels, within a simple iron red border, a similar Lowestoft coffee cup and a large Lowestoft saucer or small dish with similar decoration, 15.5cm max. (4) £150­250

450 A Derby hexagonal deep saucer or stand, c.1760, painted with polychrome flower sprays within a brown line rim, and a Pennington’s (Liverpool) blue and white saucer painted with a figure holding a staff beneath a tree, 13.7cm max. (2) £80­100 119

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451 A Worcester hot water jug and cover, c.1765, painted with panels of flowers and tied corn stooks in the Kakiemon palette, and a Worcester chocolate cup and stand, decorated in the Old Japan Star pattern, both reserved on a blue scale ground, square seal marks, some chipping, 14.4cm max. (4) £150­250

452 Three Worcester mugs, c.1770­80, one bell­shaped and painted with flower sprays, another smaller and cylindrical with similar decoration, the last painted with floral panels reserved on a later­decorated apple green ground, 12.5cm max. (3) £150­250

453 A rare Worcester Scolopendrium bowl, c.1772­75, moulded with large spiralled scolopendrium leaves amidst small painted floral sprigs, and a small Worcester vase probably later­decorated with panels of birds reserved on an apple green ground, minor faults, 15.1cm max. (2) £100­200

454 A small collection of Worcester porcelain, c.1765­75, variously decorated with panels of flowers, birds and flying insects reserved on a blue scale ground, including a coffee cup and saucer, a coffee cup, a teabowl, a teapot stand, a sugar bowl and cover, a large slop bowl and a shaped dish, square seal marks to most pieces, 26cm max. (9) £300­400

The design of the bowl is a direct copy of wares produced well over a decade earlier at Chelsea.

455 A Worcester armorial mug, c.1770, of cylindrical form, painted with a shield bearing a black star within a scroll and floral cartouche, open crescent mark, and a Worcester slop bowl painted with panels of exotic birds and butterflies reserved in panels on a blue scale ground, square seal mark, 15.4cm max. (2) £150­250 120

456 A pair of Chelsea tripod salts, c.1765, the interiors painted with fruit and flowers, each raised on three paw feet issuing from lion masks, an inkwell painted with flower sprays on a blue ground, and a Mennecy custard cup and cover of spiral­fluted form painted with flowers, a foot of each salt repaired, 12cm max. (6) £150­200

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457 A Bristol teapot and cover, c.1775, painted in puce monochrome with scattered single flowers, the shoulder with a border of C scrolls, shells and floral motifs echoed to the cover, and a hexagonal teapot stand in the same pattern, the teapot with a blue crossed swords mark, 20.3cm max. (3) £400­600

458 Two Derby plates, c.1790, one painted after Meissen in Kakiemon enamels with a flying red fox above a squirrel on a bamboo fence entwined with grapevine, the other with an ikat textile pattern in green, blue, puce and red, puce crowned crossed batons and D marks, some gilt wear to the latter, 24.5cm max. (2) £100­200

459 A Chelsea fluted beaker and saucer, c.1755, painted with flower sprays, and a Chelsea silver­shape dish, painted with small sprigs in a muted palette, red anchor marks, a restored chip to the saucer, 24.5cm max. (3) £200­300

460 A Bristol teapot and cover, c.1772­75, the globular body painted with posies of European flowers in polychrome enamels with single scattered blooms around, blue X8 mark, a restored rim chip to the cover, 21cm across. (2) £300­500

461 A large Derby ‘Lord Rodney’ punch jug, c.1780, painted with polychrome sprays of flowers and single sprigs, the spout moulded with the admiral’s face, flanked by gilt grapevine on a blue band, a chip to the spout, 23.5cm. £100­200

462 A pair of Chelsea leaf sauceboats, c.1760, modelled with overlapping cos leaves edged in green and yellow, the stalk handles issuing from applied flowers and leaves, and a Bow model of a flower pot issuing a profusion of different flowers from a waisted, banded pot, some restoration, 17.7cm max.

(3) £100­200 121

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463 A rare Chelsea dessert plate, c.1752­58, richly decorated in the Imari palette with the Brocade pattern, with sprays of flowering chrysanthemum to the well, the cavetto and rim with a wide panelled border of prunus sprays and hatched designs beneath floating chrysanthemum mons, the underside of the rim with further flower sprays, 23.3cm. £200­300 Paper label for the Frank Arnold Collection, no.E628.

464 A large Chelsea lobed dish or charger, c.1752­55, painted in the Kakiemon palette with the Hob in the Well pattern, two figures retrieving another from a large cauldron, the scalloped rim with panels of stylized flowers, red anchor mark, broken and restored, 31.2cm. £300­500

465 A Bow white­glazed shell salt, c.1755, formed as a large shell resting on a base of further small shells, coral and seaweed, a few small rim chips, 12cm across. £200­250

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466 A Chelsea hexagonal Fable teapot and cover, c.1752­55, painted by Jefferyes Hamett O’Neale with a depiction of the Fox Who Had Lost His Tail, the solo fox encouraging three others to cut off their brushes, in a continuous landscape with birds in flight above blown trees, the cover decorated with a moth and flowers, a red anchor mark to the underside of the handle, some good restoration, 19.5cm across. (2) £10,000­15,000 Provenance: a private collection from the South West of England.

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467 A Chelsea botanical plate, c.1756, painted with a carnation spray, a bud and other flower and leaf sprays, within a feathered rim picked out in turquoise and brown, brown anchor mark, 21.1cm. £300­500

468 A Chelsea botanical plate, c.1752­55, painted with a spray of almonds, a smaller sprig of plum, a caterpillar, moths and other insects, within a feathered rim unusually picked out in blue and brown, red anchor mark, 20.7cm. £300­500

469 A knife and fork with Bow porcelain handles, c.1760, the pistol grip hafts decorated with moths and other flying insects, some faults, 22cm max.

(2) £100­200

470 A West Pans William Littler teabowl and saucer, c.1765, the fluted forms painted with a panelled Japan pattern of flowers and chrysanthemum mons in the Kakiemon palette, 13.8cm. (2) £100­200

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A PRIVATE COLLECTION OF LOWESTOFT LOTS 471-500

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reverse

471 A rare Lowestoft blue and white birth tablet, dated 1790, the circular form inscribed to one side for ‘Maryann Lifin born November 4 1790’, the reverse painted with a dove holding a leafy twig in its beak, perched on a low branch, pierced with a small suspension hole, 7.7cm across. £6,000­8,000 Provenance: a private collection in East Anglia. Formerly the Colman Collection. Sold Sotheby's, 20th April 1948, lot 72.

The Liffin family were connected to the Lowestoft factory through Mary Redgrave (junior), an artist at the factory who married John Liffin in 1785 and died in May 1795 at the age of 33. Mary’s death is commemorated on the reverse of another birth tablet for Martha Liffin, born August 17 1794. Baptism records at St Margaret’s Church show a Mary Ann Liffin baptised on 7th November 1790 as the daughter of John Liffin and Mary Redgrave. Her sister, Martha, is baptised on 18th August 1794. Mary Liffin never married and when Martha was widowed in 1841 she went to live with Mary where she remained until the latter’s death in October 1861 at the age of 70. Mary is buried on the north side of St Margaret’s Churchyard.

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472 A rare Lowestoft blue and white inkwell, c.1790, attributed to Robert Allen, the slightly waisted cylindrical form inscribed ‘St Margret Parish Church of Lowestoft’ within a foliate cartouche, the reverse with insects around a flower spray, the shoulder with further flower sprigs around three small holes encircling a central well with everted rim, a hole to the base, 7.1cm dia. £4,000­6,000 Provenance: a private collection in East Anglia. Acquired from Bob Williams.

Inkwells with underglaze blue decoration are rare survivals. See Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, pp.46-55 for a discussion of pieces attributed to Robert Allen. Also pl.225 for a very similar ‘Trifle from Lowestoft’ inkwell. St Margaret’s Church dates from the 14th century and its spire was once the highest point in Lowestoft. The church had a change of vicar in 1789 with the new incumbent, Robert Potter.

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473 A documentary Lowestoft blue and white mug, dated 1765, the bell shape painted with a fancy bird looking up to an insect in flight, standing beside elaborate flowering plants, inscribed to the underside for ‘Abm. Moore, August 29th 1765’, damages to the rim, 11.5cm. £600­800 Provenance: a private collection in East Anglia.

Cf. British Museum, Accession No. 1887,0307,XI.7 for a smaller example, and 1957,0403.1 for a modern forgery. This example is illustrated in Geoffrey A. Godden, Lowestoft Porcelains, p.79, pl.82 alongside a larger example. It is not known who Abraham Moore was, nor who produced the known fakes in the 20th century.

474 A Lowestoft baluster vase, c.1760­65, painted with a figure crossing an arched bridge linking islands with pagodas, the reverse with a boat sailing beside a small island, the shoulder with a continuous flower garland, painter’s numeral 2 inside the footrim, cracked, the cover lacking, 12.3cm. £300­500 Provenance: a private collection in East Anglia.

Cf. Bonhams, The Susi and Ian Sutherland Collection, 3rd October 2007, lot 327 for a similar example.

475 A good Lowestoft blue and white mug, c.1761­62, painted with a Chinese lady seated in a landscape, holding a parasol and resting one foot on a low stool, a young attendant bringing her a cup of tea, the interior rim with a panelled trellis border, painter’s numeral 5 probably for Robert Allen, 9.3cm. £600­800 Provenance: a private collection in East Anglia. Formerly in the Casley Collection.

Illustrated: Geoffrey A. Godden, Lowestoft Porcelains, p.92, pl.108.

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476 A Lowestoft blue and white patty pan, c.1770­75, the flared sides painted with flowering branches, the interior with a large flying insect, the rim with a husk or berry border, 9.7cm dia. £100­150 Provenance: a private collection in East Anglia.

477 A rare Lowestoft blue and white tea or chocolate cup, c.1765­70, painted with a low hut beside a long fence, the reverse with a hut on a small island, the interior with a panelled trellis rim, with an unusual moulded handle, 4.7cm high. £100­150 Provenance: a private collection in East Anglia.

The larger size of this cup might indicate that it was a breakfast cup. Handled cups of this shape were rarely made at Lowestoft.

478 A Lowestoft blue and white butterboat, c.1770­75, of deep leaf shape, painted with small cannon ball rocks before a low hut on an island with a tall tree, the rim with a trellis border, the underside moulded with leaf floral feet, a short rim crack, 7cm across. £100­200

479 An unusual Lowestoft blue and white cream jug, c.1770­75, of rare barrel­shape, beneath the spout painted with a large trellis panel, the sides with simple floral sprigs, between moulded horizontal bands, a rim crack, a little staining, 6.9cm. £150­250

Provenance: a private collection in East Anglia. Formerly in the Casley Collection.

Provenance: a private collection in East Anglia.

480 A Lowestoft blue and white teabowl and saucer and a rare tea or chocolate cup, c.1775­80, the lightly ribbed forms painted in the Immortelle pattern, the interiors with a single floral sprig, blue crossed swords marks, 12.1cm. (3) £150­250

481 Two Lowestoft blue and white teabowls, c.1772­75, one printed with two exotic birds standing on a foliate scroll, the other with the Squirrel pattern depicting a Chinese figure seated in a garden setting beside a large squirrel, the interior rims with a painted zigzag border, a little chipping and staining, 8cm dia. max. (2) £150­250

Provenance: a private collection in East Anglia.

Handled tea cups were rarely made at Lowestoft - most services being provided with teabowls and handled coffee cups.

Provenance: a private collection in East Anglia.

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482 A very rare Lowestoft blue and white hors d’oeuvre dish, c.1765, the circular form partitioned with eight compartments around a circular well, the centre painted with a figure crossing a bridge beside a low hut, the external compartments with stylized floral sprays, painter’s numeral 5 inside the footrim, a few small rim chips, 18.4cm. £3,000­5,000 Provenance: a private collection in East Anglia.

Illustrated: Geoffrey A. Godden, Lowestoft Porcelains, p.84, pl.91.

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483 Two rare Lowestoft pickle dishes, c.1768­70, of large leaf shape, the wells unusually moulded with sprays of raised berries or currants above three further painted leaves, one serrated rim with a ‘berry’ border, the other with a serrated border, painter’s numeral 3 to one footrim, 15cm. (2) £800­1,200 Provenance: a private collection in East Anglia. Formerly in the Casley Collection.

Cf. Christopher Spencer, Early Lowestoft, p.92, fig.112. Also Victoria and Albert Museum, Accession No. C.532-1924 for a pickle of different shape but with the same unusual raised decoration.

484 A pair of Lowestoft blue and white pickle dishes, c.1761, of leaf shape, painted with a flowering plant within a ‘berry’ border, the undersides crisply moulded with veining, painter’s numeral 6 to each footrim, 10cm. (2) £500­800 Provenance: a private collection in East Anglia. Formerly in the Casley Collection.

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485 A Lowestoft octagonal tea canister and cover, c.1762­65, with Hughes type moulding reserving panels painted with bridges and boats in island landscapes, the shoulder with a floral sgraffito border, the flat cover with similar decoration, the cover broken and restuck, 9.4cm. (2) £800­1,200 Provenance: a private collection in East Anglia. Formerly in the Casley Collection.

486 A small Lowestoft blue and white bowl and a coffee cup, c.1761, both of Hughes type and moulded with small circular panels containing landscape scenes within crisply moulded flowering prunus branches, the interior rims with panelled borders, painter’s numeral 8 to both pieces, the bowl cracked, 11.7cm max. (2) £400­600 Provenance: a private collection in East Anglia.

Cf. Geoffrey A. Godden, Lowestoft Porcelains, p.64, pls. 54 and 55 for similar examples.

487 A Lowestoft blue and white teabowl and saucer, c.1762­65, of Hughes type, moulded with small circular panels containing landscape scenes, on a moulded ground of sunflowers and trellis panels, within a cell diaper border, painter’s numeral 8 to the teabowl’s footrim, 12.6cm. (2) £400­600 Provenance: a private collection in East Anglia.

Cf. Geoffrey A. Godden, Lowestoft Porcelains, p.75, pl.76.

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488 A rare pair of Lowestoft blue and white cider mugs, c.1765, the globular bodies each painted with a bird in flight between two flower sprays, the shoulders and rims moulded with a stiff leaf design on a seeded ground, the interior rims with a formal border, painter’s numerals to the inside footrim, 9.2cm. (2) £3,000­5,000 Provenance: a private collection in East Anglia. Formerly in the Casley Collection.

Cf. Geoffrey A. Godden, Lowestoft Porcelains, p.70, pl.66 for a similar example.

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489 A rare Lowestoft blue and white butter tub with cover and stand, c.1762­65, with Hughes type moulding, the straight­sided oval tub painted possibly by Richard Phillips, with Oriental landscape panels, echoed to the cover, the stand with a more extensive pagoda landscape, painter’s numeral 4 to the tub’s footrim, 18cm. (3) £1,500­2,000 Provenance: a private collection in East Anglia.

Illustrated: Geoffey A. Godden, Lowestoft Porcelains, p.67, pl.61 where the author points out the upside-down flowers on one side of the tub, owing to an inverted mould. Also, Christopher Spencer, Early Lowestoft, p.126, fig.173.

490 A rare Lowestoft blue and white sauceboat, c.1764­66, of narrow shape, painted probably by Robert Allen with long­tailed birds among flowering Oriental branches, the rim with a trellis band, painter’s numeral 5, cracked, 19cm. £400­600 Provenance: a private collection in East Anglia. Formerly in the Godden Collection.

Illustrated: Geoffrey A. Godden, Lowestoft Porcelains, p.83, pl.89. At the time of publication this sauceboat was in Godden’s own collection. He notes the unusual lack of relief moulding.

491 A Lowestoft blue and white punchbowl, c.1765­70, decorated with two long­tailed birds perched on flowering branches either side of a large peony bloom, the interior painted with a formal trellis border, 23.2cm dia. £350­500 Provenance: a private collection in East Anglia.

Paper label stating that the bowl was “Purchased Merrington Smith Sale, Illustrated in Catalogue 6054”. Arthur Merrington Smith was among those responsible for excavating the factory’s old kiln in 1904. See lot 500.

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492 A rare Lowestoft blue and white sauceboat, dated 1765, possibly modelled by James Hughes, painted with a version of the Fisherman and Billboard Island pattern, the interior with flowering branches, the moulding to the side of the spout enclosing the date ‘1765’, painter’s numeral 4 inside the foot, 19cm. £800­1,200 Provenance: a private collection in East Anglia.

Cf. Christopher Spencer, Early Lowestoft, p.8 where this sauceboat is mentioned in the author’s introduction.

493 A Lowestoft feeding cup, c.1770, the straight­sided form painted with flowering plants beside an ornamental fence, the top half­covered and painted with a flower spray, the long, straight spout with a delicate foliate motif, a long rim crack, 8.2cm high. £500­800 Provenance: a private collection in East Anglia.

Cf. Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, Vol 1, no.182.

494 A rare Lowestoft figure of a pug dog, c.1765­70, crisply modelled and standing four square with its head slightly turned to the right, raised on a flat shaped base and left in the white, a chip from the front of the base, 5cm high. Together with a small collection of fragments and kiln wasters. £1,500­2,000 Provenance: a private collection in East Anglia.

Cf. Geoffrey A. Godden, Lowestoft Porcelains, p.132, pl.165 for a polychrome model with head turned to the left, suggesting that these were made in pairs.

Seated figures were more common, but wasters with this flat base have been found at the factory site. See also The Connoisseur, November 1968 for an article by Sheenah Smith titled ‘Unrecorded Lowestoft Pug Dogs’.

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495 A Lowestoft blue and white documentary teabowl and saucer, dated 1778, painted with bamboo and chrysanthemum issuing from rootwork and an ornamental fence, within a trellis border, each piece inscribed to the underside with “Mary Crowfoot 1778’, 12cm. (2) £1,000­1,500 Provenance: a private collection in East Anglia.

Other pieces of this service for Mary Crowfoot of Beccles are recorded. A teapot was sold on 31st October 1961, lot 81; and a cream jug on 23rd January 1962, lot 51, both at Sotheby’s.

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496 A rare and important documentary Lowestoft blue and white mug, dated 1768, painted by Richard Phillips with an unusual scene of a figure tending three lines of herring being hung and smoked over two burning fires, flanked by a three masted fishing smack and a smaller rowing boat, inscribed ‘John Cooper 1768’, the interior rim with a formal border, the handle’s terminal inscribed ‘RP’, painter’s numeral 3 to the footrim, broken and restuck, 11.2cm. £8,000­10,000 Provenance: a private collection in East Anglia. Formerly in the Casley Collection. Sold at Messrs Notley’s, 18th March 1902 for £11.

Illustrated: Christopher Spencer, Early Lowestoft, p.25, figs 13-15. Also A E Murton, Lowestoft China, p.53.

Richard Phillips is associated with the painter’s numeral 3, which is also included on another piece signed ‘Richar’d Phillips’. See Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, p.41 for a discussion about this painter. The mug is illustrated on page 45, and is the only other recorded piece bearing Phillips’ initials or signature. Lowestoft had a strong reputation for its herring trade, despite not having a proper harbour.

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497 A Lowestoft blue and white tea canister and cover, c.1785, of unusual vase shape, painted in the ‘Robert Browne’ pattern with stylised flower sprigs alternating with wavy bands of blue, broken and restuck, 14.5cm. (2) £250­350

498 A Lowestoft blue and white tea canister, c.1765­75, the rectangular form painted with the Dragon pattern, two scaly beasts chasing flaming pearls, the sloping shoulders with stylized cloud bursts, open crescent mark, the cover lacking, 9.8cm. £300­400

Provenance: a private collection in East Anglia.

Provenance: a private collection in East Anglia.

This pattern was produced over several years and is discussed by Sheenah Smith, Lowestoft Porcelain in the Norwich Castle Museum, Vol I, p 88. This vase-style of tea canister was a rare and later introduction to the factory.

499 Literature: Lowestoft China Factory, Fred A Crisp, two volumes of a limited run printed in 1907 detailing pictures of the factory and items from his own collection; Early Lowestoft, Christopher Spencer; Lowestoft Porcelains, Geoffrey A Godden; Lowestoft China, A E Murton; Inscribed Lowestoft Porcelain, George J Levine; and a collection of early auction catalogues and other works detailing collections including those of John Warrell, Mrs Colman,D M Hunting Esq, G W Middleton Esq, Ernest Allman and Geoffrey Godden. (A lot) £100­150 Provenance: a private collection in East Anglia.

500 An early photograph relating to the Lowestoft porcelain factory, c.1903, taken by Arthur Merrington Smith, showing two figures in the factory’s interior, excavating the floor for moulds, inscribed ‘Interior of Old Lowestoft China Factory, excavating for moulds &c, 1903’, the mount inscribed for Walter Boughton & Sons, framed and glazed, 34.2 x 43.5cm overall. £50­80 Provenance: a private collection in East Anglia.

Illustrated: Arthur Hayden, Chats on English China, p.105.

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OTHER PROPERTIES

501 A rare Worcester blue and white teapot and cover of small size, c.1755­58, the unusual geometric body formed from two flattened cone shapes, painted with the Mansfield pattern, the flat cover with a floral finial, simple scroll motifs to the top of the spout and the handle, a tiny chip to the spout, 14.5cm across. (2) £500­700

502 A Worcester blue and white teapot and cover, c.1755­60, the squat globular body painted with the Mansfield pattern, workman’s mark to the inside footrim, 17cm across. (2) £100­200

Cf. Woolley and Wallis, 15th September 2015, lot 396 for an identical example.

503 A Richard Chaffers (Liverpool) blue and white teapot and cover, c.1758­60, the globular form painted with the Two Men Bowing pattern, the eponymous figures in a Chinese island landscape, some restoration to the cover, 20cm. (2) £200­300

504 A miniature Worcester blue and white teapot and cover, c.1758­60, painted with the Prunus Root pattern, one side with the main pattern of prunus issuing from holey rockwork, the reverse with a single flowering spray, workman’s marks to the base and inside cover, 11.7cm across. (2) £300­500 Miniature Worcester wares painted with the Prunus Root pattern are believed to have been produced for the Dutch market.

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505 Two English porcelain blue and white teabowls and saucers, c.1765­ 70, one Worcester and painted with the Candle Fence Pavilion pattern, with tall willow above a storeyed pagoda, open crescent marks, the other Philip Christian (Liverpool) and painted with a bird perched on a flowering branches, one teabowl cracked, 12.7cm max. (4) £300­400

506 Four Caughley blue and white pickle dishes, c.1770­80, of leaf shape, the serrated edges simply decorated with a blue line, 8.8cm. (4) £100­150

Provenance: a private collection from the South West of England.

Most examples of the Candle Fence Paviliion pattern have been clobbered with polychrome enamels, and survivals in the original palette are rare.

507 Two Liverpool blue and white bowls, c.1760­70, one Richard Chaffers and painted with a figure in a boat beside a hut on a rocky island, the other Philip Christian and painted with cannon ball type rocks within an island landscape, restoration to the latter, 15.8cm max. (2) £120­180

508 An unusual pair of Bow blue and white shell dishes, c.1760, painted with a Fan­Panelled design of Oriental landscapes around a figure in a boat, reserved on a powder blue ground, the undersides moulded with a shell texture, 20cm. (2) £200­300

509 Three Worcester blue and white patty pans, c.1760­70, of flared shape and varying size, two painted with the Peony pattern, one with the Mansfield pattern, open crescent marks, a restored chip to one, 12.4cm max.

(3) £250­350

510 A group of Lowestoft porcelains, c.1765­75, including a small blue and white milk jug painted with a flowering branch issuing from formal scrollwork, painter’s mark to the footrim, a larger in the Imari palette with figures conversing on a bridge within an Oriental island landscape, a blue and white creamboat, a coffee cup painted with flowering branches, and a saucer painted with the Mansfield pattern, some damages and restoration, 12cm max. (5) £200­300

Provenance: a private collection from the South West of England.

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511 A Worcester blue and white saucer dish, c.1770, of Warmstry fluted form, painted with the Hollow Rock Lily pattern, a bird in flight above flowering branches, the rim with a wide formal panelled border, open crescent mark, a faint 2cm rim crack, 18.3cm. £150­200

512 A Caughley blue and white coffee pot and cover, c.1775, painted with the Rock and Willow pattern, the cover and neck with a trellis border, S mark, some chipping, 23cm. (2) £100­200

Provenance: a private collection from the South West of England.

513 A Worcester blue and white leaf dish, c.1760, decorated with the Gillyflower pattern, a central spray within smaller scattered sprigs, hatched crescent mark, 23.7cm. £150­200

514 A massive Barr Worcester charger or meat dish, c.1800, the shaped form decorated with an unfinished version of the Queen Charlotte pattern, with spiralling panels of white flowers on a blue ground, incised B and 22 to the underside, 57.5cm. £150­250

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515 A rare Vauxhall blue and white teabowl and saucer, c.1758­60, well painted with a European gentleman and his companion seated beneath a tall tree beside a three bar gate, with birds in flight above, some chipping to the teabowl’s footrim, 11.7cm. (2) £1,000­1,500 Cf. Bonhams, The Garrick Bond Collection, 17th May 2017, lot 185. That example illustrated in ECC, Ceramics of Vauxhall, p.74, no.116.

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516 A rare Vauxhall blue and white cream jug, c.1756­65, well painted with a Chinese boy offering a flower to a Chinese lady carrying a tray, beside a tall tree and low huts, the delicate handle with a formal floral scroll, 7.7cm. £1,200­1,500 Provenance: a private collection from the South West of England. Formerly the Billie Pain Collection.

Exhibited: Dreweatt Neate Loan Exhibition 1996, no.91; ECC Echibition 2007, no. 124.

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517 A rare Bow blue and white bowl, dated 1772, the shallow sides painted with a detailed landscape scene with figures conversing on bridges and beside pagodas, the interior with a figure fishing from an island within an ornate formal border, beneath the foot inscribed ‘I*S. 1772’, a rim crack, 15.4cm dia. £1,000­1,500

518 A Vauxhall blue and white plate, c.1756­60, painted to the well with a large peony spray beneath a weeping willow, the cavetto with a panelled border, a narrow loop border to the rim, a 1cm rim chip, 22.3cm. £400­600

519 A rare William Reid blue and white saucer, c.1758­60, of reeded form, painted with the Cross­Legged Chinaman pattern, one figure seated beneath a willow tree with another figure fishing beside, 12.1cm. £300­500

Provenance: a private collection from the South West of England.

Provenance: a private collection from the South West of England.

Cf. ECC Ceramics of Vauxhall exhibition, 2007, catalogue fig.154 for a soup plate in the same design.

Cf. Bonhams, The Barbara Leake Collection, 12th March 2008, lot 270 for a teabowl and saucer in the same pattern.

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520 A Bow blue and white tiered pickle or sweetmeat stand, c.1760, formed as three joined scallop shells, a circular dish rising from a central pillar applied with further small shells, each decorated with a pagoda landscape pattern within cell diaper borders, raised on three peg feet, 13.5cm high. £150­250

521 A small and rare Bow blue and white dish or pudding bowl, c.1755­ 58, the well painted with two figures standing before pagodas and rockwork in a Chinese island landscape, the cavetto with a scroll border, the rim with three flowering branches, painter’s numeral 17, 16.5cm. £800­1,200

522 A Worcester blue and white two­handled sauceboat, c.1755­60, painted with the Two­Handled Sauceboat pattern, the interior with a figure in a boat beside a two­storey pagoda, the moulded exterior with four small vignettes of further figures, birds and flowers, workman’s mark, a small rim chip, 19.3cm across. £150­200

523 A pair of large Bow blue and white sauceboats, c.1752­55, of wide flat­bottomed form, each painted with the Desirable Residence pattern of small huts and trees in an island landscape, the interiors with tied scrolls and a trellis border, a small chip to the rim, 22.5cm max. (2) £250­350

Provenance: a private collection from the South West of England.

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524 A rare Longton Hall blue and white trembleuse saucer, c.1755­58, moulded and decorated in the manner of French porcelain with a lambrequin border around a fluted band enclosing a quatrefoil gallery, painter’s mark to the base, a short rim crack, 12.5cm. £300­500 Provenance: a private collection from the South West of England. Paper label for the Dr C M Signy Collection, no.294.

525 A Richard Chaffers (Liverpool) blue and white saucer dish, c.1758­ 60, painted with a figure in a boat mooring up at an island with trees, in the distance a low hut on a further island, rim flaws, 19cm. £300­400 Provenance: a private collection from the South West of England.

Saucer dishes are an uncommon product of the Chaffers factory.

526 An uncommon Richard Chaffers (Liverpool) blue and white pickle dish, c.1760­64, formed as a large leaf, the centre painted with a large moth or butterfly, with three further insects around, the underside crisply moulded with veining, a tiny rim chip, 11cm. £300­500 Provenance: a private collection from the South West of England.

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527 A very rare Chelsea blue and white plate, c.1754­55, of cinquefoil form, painted after a Kakiemon design with two long­tailed birds perched on a low branch beneath leafy bamboo and dense cloud scrolls, the shaped rim with five small floral panels reserved on a diaper ground, broken and cleanly restored, 23cm. £3,000­4,000 Provenance: a private collection from the South West of England.

Cf. British Museum, Accession No. 1887,0307,11.56.

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528 A Worcester footed sauceboat, c.1754, decorated in black with ‘Smoky Primitive’ prints of a pheasant and a squirrel within elaborate frames with flowers around, also within moulded panels, the interior with a herdsman and a milkmaid beside cattle, a crack around the top of the handle, minor chipping, 19cm across. £150­200

529 A rare Longton Hall commemorative mug, c.1760, printed in black probably by Sadler of Liverpool, with a portrait of William Pitt, flanked by Britannia and Liberty with Fame above, signed in reverse in the print with ‘G Smith Sculpt’, some restoration to the rim, 12.5cm. £300­500

530 A small Worcester King of Prussia mug, c.1757­60, the cylindrical form printed with a portrait of Frederick the Great alongside trophies of War, signed RH Worcester for Robert Hancock and with an anchor rebus for Richard Holdship, a Worcester teabowl printed with L’Amour, and a Philip Christian (Liverpool) teabowl printed with the Rock Garden pattern, both depicting courting couples, 8.7cm max. (3) £150­250

531 A Worcester bell­shaped King of Prussia mug, c.1757, printed in black with a head and shoulders portrait of Frederick II of Prussia, titled and dated 1757, the reverse printed with Fame blowing trumpets, both flanking a design of pennants and military trophies, signed in the print ‘RH Worcester’ for Robert Hancock and with an anchor rebus for Richard Holdship, some restoration to the rim, 12cm. £200­300

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Cf. 18th Century English Transfer-Printed Porcelain and Enamels, The Joseph M. Handley Collection, p.33, no.1.19 for a similar mug signed by Sadler.

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CONTINENTAL PORCELAINS

532 A miniature Cozzi figure of a lady, c.1775, probably emblematic of the Arts, seated and with a hand raised to her breast in dramatic fashion, the flat scrolled base before her modelled with a mask and musical instruments, the base broken and restuck, 7.2cm across. £100­200

533 A pair of Italian porcelain miniature busts, 2nd half 18th century, one of a bearded Turk wearing a turban, the other of a centurion with a leaf diadem over his helmet, damages, 6cm. (2) £50­100

Cf. Raccolta di Porcellane Marino Nani Mocenigo, Venice, 1961, p. 19, no. 2 (illustrated on the front cover) for a figure emblematic of Astrology on a very similar type of base and of the same dimensions.

534 A Continental porcelain figural snuff box or bonbonnière, late 19th century, modelled after Chelsea with the British lion attacking the Gallic cockerel, with gilt metal mounts, pseudo gold anchor mark, the cover lacking, some chipping, 5.3cm high. £100­150

535 A pair of Samson pigeon bonbonnières, late 19th century, after Meissen, each modelled as the head of a pigeon or dove, the hinged metal mounts each decorated with a coat of arms, pseudo blue crossed swords mark to one, one restored, 5cm. (2) £100­200

536 A Meissen desk weight, 19th century, the long, narrow form surmounted with a recumbent pug dog above panels of painted birds, and a Meissen figure of a boar, seated on its haunches with tusks bared, blue crossed swords marks, 19.1cm max. (2) £150­250

537 Five Herend figures of animals, modern, including two elephants in two sizes, a hooded cobra and a group of two rabbits, all decorated in a green scale ground with gilt detailing, and another rabbit group left in the white, printed marks, 18cm across max. (5) £200­300 149

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538

539

540

538 A Meissen figure group, 19th century, of four children holding hands and dancing around a tall tree, the base with rococo scrolls highlighted in gilt, blue crossed swords mark, incised 2728, some chipping and restoration, 32.3cm. £200­300 539 An unusual Buen Retiro figure of a Chinese sage, late 18th century, standing and wearing a long robe, his hands tucked into his capacious sleeves, Chinese characters written on a tablet he holds to his chest, raised on a square white base, blue fleur de lys mark, some faults, 24.8cm. £500­800 540 A Meissen figure of a lemon seller, mid 18th century, modelled by F E Meyer, standing and holding the edge of his apron, full of pale lemons, with further fruit and flowers scattered around his feet, faint blue crossed swords mark, some restoration to his left arm, 13.5cm. £150­250 Cf. Martin Eberle, Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts, no. 7 for a similar figure, previously thought to have been part of this series.

541 A pair of Meissen­style models of guineafowl (perlhuhn), probably 19th century, each standing on a rocky base applied with leaves, restoration through one neck, 16.3cm. (2) £100­200 542 A Meissen­style chicken teapot and cover, 19th century, the bird’s head turned over its back, a Continental porcelain ‘capuchine pigeon’ box and cover, and a Continental figure of an ostrich, pseudo blue crossed swords marks, 17cm max. (5) £150­250

541

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543 Two Meissen figures of Bacchus, 19th century, the larger possibly emblematic of Autumn, draped in grapevine and holding a goblet in his right hand, the smaller of Young Bacchus, wearing a stag pelt, blue crossed swords marks, small damages and restoration, 20.5cm max. (2) £200­300 544 A Ludwigsburg figure group of a courting couple, c.1770, seated beneath a tree, the boy with a fishing net on his lap, his companion holding a small green fish, all raised on a rocky base, the tree broken off and restuck, some chipping to his hat, 22.4cm. £300­400

543

545 A Höchst figure of Mars, c.1765, modelled in warlike pose, wearing a plumed helmet and leaning back with his shield held up to protect his face, left in the white, blue wheel mark, incised letters, 13.3cm. £150­250

544

546 A Sèvres biscuit figure of a boy, c.1760, seated on a tree stump and playing the flageolet, 11.7cm. £300­400 546A A Meissen figure of a musical hunter, mid 18th century, playing the flageolet, his dog recumbent at his feet, blue crossed swords mark to the reverse, minor damages, 15cm. £150­250

545

546A

547 Three Meissen figures from the Five Senses series, 19th century, of Sight, Smell and Touch, each modelled as a lady seated by a table with varying attributes, blue crossed swords marks, and a Minton candlestick figure of Hearing after Meissen, a lady seated at a small piano, some faults, the Minton figure lacking the sconce, 17cm max. (4) £400­600

546

547

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548 A Meissen part dinner service, 20th century, moulded with flower sprays and trellis panels, some flowers picked out in gilt. Comprising: a circular tureen and cover, three oval platters, two square bowls in two sizes, a large circular bowl, a sauceboat, six soup plates (23.5cm), six dinner plates (25cm) and six side plates (21.5cm). (27) £500­800 549 Four Meissen teabowls and saucers, c.1740, each painted in an extended Imari palette with flowering branches issuing from knotty rootwork, brown line rims, blue crossed swords marks, 12.2cm. (8) £600­800 550 A pair of Meissen small dishes and a box and cover from the Arabian Nights series, c.1960­70, decorated by Heinz Werner, the cinquefoil dishes painted with a poodle and a cat beside flowering plants and a bird in a cage, the box with a maiden in Arabian dress seated on a rug with a cat, blue crossed swords marks, 14.5cm max. (4) £200­300

549

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551

552

551 A Meissen stand, 19th century, possibly for a clock, of shaped square form applied with flowers and decorated with gilt foliate scrolls, blue crossed swords marks, minor restorations, 17cm across. £100­200 552 A Meissen quatrefoil cup and saucer, c.1745, painted with sprays of flowers, moths and scattered insects within a brown line rim, blue crossed swords mark, and a large Meissen­style teabowl and saucer, the ogee form painted with butterflies and plants on a pale yellow ground, some good restoration to the cup and saucer, 14.5cm max. (4) £250­350 553 A Sèvres saucer (soucoupe), c.1770, painted possibly by Jean­Charles Sioux l’aîné in overglaze blue enamel with flower garlands within feathered, gilt and speckled borders, crowned blue interlaced Ls mark, indistinct painter’s mark, 13.4cm. £100­150 554 A German porcelain oval plaque, 19th century, probably Berlin (KPM), painted after Angelica Kauffman with a portrait of Dame Als Vestalin, dressed as a Sibyl and holding an oil lamp, in a freestanding wooden frame carved with vine leaves, the plaque 19cm. £300­500 555 An Italian porcelain pot pourri vase, c.1790­1800, probably Le Nove, painted with baskets of flowers between handles formed as mermen, the neck pierced with shaped holes, the cover lacking, one merman lacking his head, 18.2cm. £80­120

554

553

555 153

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556 A Meissen two­handled tray, c.1760, painted with three yellow songbirds perched on the ground and beside a large poppy with moths and other flying insects around, blue crossed swords mark, minor faults, 37cm. £250­350

557 A pair of Meissen double salts, c.1740, the shaped oval forms set with two rounded depressions, painted with flowers and scattered insects, the sides moulded with further floral sprays and raised on four scrolled shell feet, blue crossed swords marks, 18cm across. (2) £150­250

558 A Vincennes or early Sèvres dish or stand, date code for 1756­7, the quatrefoil form painted with two panels of flowers within gilt floral and hatched panel cartouches, reserved on a bleu celeste ground, 23.3cm. £400­600

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559 A Berlin cabinet saucer, late 18th century, the well painted with a spray of forget­me­nots and titled ‘Ulm’ in black, within a gilt floral border on a deep blue ground, blue sceptre mark, 13.3cm. £100­200

560 A Meissen cup and saucer, c.1750, painted with scenes of traders and other figures among boats in harbour settings, reserved on a yellow ground, blue crossed swords marks, 13.2cm. (2) £200­300

561 A Meissen eyebath, 19th century, painted to the stem and interior and exterior of the bowl with small flower sprigs, blue crossed swords mark, 4.3cm high. £100­150

562 A German porcelain snuff box or bonbonnière, c.1770, moulded as a large ruffled flower bud, painted with small floral sprigs and flying insects, the interior cover with three fancy pigeons, with silver­gilt mounts, 6cm across. £200­300

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OLD MASTERS, BRITISH & EUROPEAN PAINTINGS WEDNESDAY 14TH SEPTEMBER 2022

Alexandre Paul Joseph Véron (French 1773­1838) Le jeu de colin­maillard (detail illustrated); Les Plaisirs du Bal A pair, both oil on panel 35 x 25.8cm; 13¾ x 10¼; 35.2 x 25.8cm; 13¾ x 10¼ (2) Provenance: Richard Green, London; The Power Collection; And by family descent Estimate £4,000 ­ 6,000*

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

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ARTS OF AFRICA, OCEANIA AND THE AMERICAS WEDNESDAY 21ST SEPTEMBER 2022

A Paracas stirrup spout vessel Peru, circa 500 – 200 BC pottery, 18cm high Provenance Alan Kalenberg Collection, USA. Romy Rey Collection, London.

Estimate £600 ­ 800*

ENQUIRIES Will Hobbs | +44 (0)1722 339752 | wh@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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EXBURY HOUSE: LE GOÛT ROTHSCHILD WEDNESDAY 5TH OCTOBER 2022 ENQUIRIES Mark Yuan­Richards +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk

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SILVER & OBJECTS OF VERTU TUESDAY 25TH & WEDNESDAY 26TH OCTOBER 2022

A pair of late 19th century French silver mounted claret jugs Estimate £1,000 ­ 1,500* ENQUIRIES Rupert Slingsby | +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | +44 (0)1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm 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. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk You will be asked to show your documents, or fax 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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% 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 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

+44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

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.

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling.

If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card­holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30­97­41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa, Mastercard or Amex Debit cards: Delta, Switch, Connect 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 Regulations when exported.

λ may be subject to CITES

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a a levy.

‡ symbol are potentially subject to

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

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

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

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

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not 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.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

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

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

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

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

4. The purchase price.

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (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. (As at 31st December 2020.

Please refer to SOFAA website for updates to the Terms and Conditions).

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.

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).

Reserves.

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.

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.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

(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.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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

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

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13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale.

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

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

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

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

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

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

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

CONDITIONS OF SALE

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

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

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

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

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

8. REMEDIES FOR NON­PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay­out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

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

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

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

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

GLOSSARY Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

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

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

15. FORGERIES

(j) Dimensions are given height before width.

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

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.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing.

This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

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

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

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

Royalties for Droit de Suite are as follows:

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

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

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

4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a ‡ symbol are potentially subject to the levy.

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

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

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

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

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

THE CATEGORIES OF PERSONAL DATA WE COLLECT

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

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

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

We may collect the following personal data about you:

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

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

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

In particular:

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

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.

• 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

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

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

Woolley & Wallis Salisbury Salerooms Ltd. 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

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

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PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM

ENGLISH & EUROPEAN CERAMICS & GLASS

Lot Number

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

TUESDAY 13TH SEPTEMBER 2022 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

Postcode Daytime telephone Email ID may be required even if you have bid with us before.

Signature

Salisbury Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500 | Fax: +44 (0)1722 424508

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AUCTION CALENDAR 2022 SEPTEMBER 13th 14th 21st

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2022 AUCTIONS

English & European Ceramics & Glass Old Masters, British & European Paintings African & Oceanic Art | Antiquities

OCTOBER 5th 6th 19th 25th & 26th

Exbury House Fine Furniture, Works of Art & Clocks Design Silver & Objects of Vertu

NOVEMBER 2nd & 3rd 15th & 16th 23rd 30th

Jewellery Asian Art, Chinese Paintings & Japanese Works of Art Medals & Coins, Arms & Armour British Art Pottery

DECEMBER 14th

Modern British & 20th Century Art

Dates may be subject to change

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

A privateer wine glass commemorating the Betsy, c.1758 SOLD FOR £15,000*

www.woolleyandwallis.co.uk