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The Warner Collection of British Delftware Tuesday 17th September 2019


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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424505 446955

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

424507 446964

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

411854 339161 446974

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA Amanda Lawrence (PA)

424509 424598 424509

MARKETING Sally Trench Megan Corbett

446959 446960

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie

424500

SALEROOM MANAGER Matt Hill CASTLE GATE MANAGER David Jordan

JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

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

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE RECEPTION Sally Litherland BOARD OF DIRECTORS John Axford Chairman

MRICS ASFAV

Clive Stewart-Lockhart Deputy Chairman

FRICS FRSA

Natalie Milsted FCCA Managing Director Paul Viney ASFAV Non-Executive Director ASSOCIATE DIRECTORS Janice Clift Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • Fax: 01722 424508 • www.woolleyandwallis.co.uk SOCIETY OF FINE ART AUCTIONEERS AND VALUERS


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THE WARNER COLLECTION OF BRITISH DELFTWARE Tuesday 17th September 2019 at 10.30am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 14th September Monday 16th September Tuesday 17th September

10.00am – 1.00pm 10.00am – 4.30pm 9.00am – 10.30am

ENQUIRIES LIVE BIDDING PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE.

Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Monday 16th September. BUYER’S PREMIUM

Hollie Morrison 01722 446964 hm@woolleyandwallis.co.uk

Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 16th September. COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Castle Gate office on Monday 23rd September. If you are collecting items on or after this date please contact the department on 01722 424507. All accounts to be settled prior to collection. Payment is still made at Castle Street. Our Castle Gate address details and map are at the back of this catalogue.

ILLUSTRATIONS Front cover: Lot 163 Back cover: Lot 32 Catalogue £12.00 (£15.00 by post)


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PROFESSOR SIR FREDERICK EDWARD WARNER (1910-2010) Like many of the well-known delftware collectors and academics that predeceased him, Sir Frederick Edward Warner was an intelligent, spirited man with a keen scientific brain. Sir Frederick, always known as Ned, was born in St Pancras in March 1910 and educated at Wanstead National School and Bancrofts School in Essex. He graduated in chemistry from University College London in 1931 and soon returned to carry out a post graduate diploma in chemical engineering. At his first job at a chemical works in East Stratford, Sir Frederick noticed the odd effects that chemical vapours were having on his colleagues, who were later diagnosed with methylation. This fuelled in him a life-long interest in risk assessment and ensuring the health and safety of people working and living in high risk areas – an interest that was to see him serve on many future government committees and important international projects. After several jobs for other chemical engineering companies, Sir Frederick established his own firm of Cremer and Warner in 1956 with his friend, Herbert Cremer. The firm worked internationally, focusing on problem-solving at largescale chemical production plants and on the issues of air and water pollution. Hugely ahead of his time, Sir Frederick was particularly pleased with the work his company undertook on understanding the flow of the River Thames and local sewage outputs; work which resulted in a significant improvement in the river’s water quality, leading to the return of migratory salmon and sea-trout, which had been absent since the 19th century.

Sir Ned Warner by D.G. Herbert depicted with one of the vases in lot 104.

During his long career as a chemical engineer, Warner was a founding member of the Royal Academy of Engineering and was the longest-serving member of the Institute of Chemical Engineers, which he joined in 1936. He was knighted in 1968 for his services to chemical engineering, and he was awarded the Leverhulme Medal in 1978 and the Buchanan Medal in 1982, the latter “for his important role in reducing pollution of the River Thames”. At the age of 76 Sir Frederick bravely led a team of scientists into the nuclear fallout zone at Chernobyl, following the disaster in April 1986. What he saw inspired him to create a permanent task force of chemical experts (Volunteers for Ionising Radiation) who would be prepared to enter dangerous situations and carry out essential analysis. Disturbed by the deaths of 31 young Soviet soldiers and firefighters at Chernobyl, he insisted on the volunteers being over the age of 65, as they were proven to be more tolerant of exposure and had, in his words, less to lose. Sir Frederick’s interest in delftware appears to have started in the early 1950s, with his catalogue recording a number of purchases in Bethnal Green in 1952. However, the collection began in earnest in the 1960s when, alongside his second wife, Barbara, he began buying principally from the London auction houses. Many pieces in the collection were sourced from the sales of important named collections such as those of Louis Lucian Lipski, Sir Gilbert Mellor, and Professor Frederic Horace Garner, the latter a fellow chemical engineer. The collection spans three centuries – the earliest piece being a London delftware ‘Fecundity’ dish dated 1638, one of the earliest dated examples of this type of ware and illustrated in Michael Archer and Louis Lipski’s book on Dated English Delftware. Sir Frederick’s records indicate that this was acquired from Christie’s in 1975 for the sum of 500 guineas. The whole collection was on permanent display in the Warners’ home in Nottinghamshire, and it is clear from the catalogue that Sir Frederick bought with an eye to the aesthetic as well as with an aim of acquiring different examples of shapes and decoration. This is particularly evidenced in his blue dash chargers, which show the differences in depictions of the same subjects of tulips and of The Temptation. It has been a joy and privilege to put this catalogue together and to handle objects that, over the last seventy years, have in some cases formed part of the knowledge and understanding of some our most notable ceramic historians. It is Sir Frederick’s family’s wish that the objects from his collection go on to be loved and appreciated by collectors as enthusiastic as himself.

Sir Frederick & Lady Warner.

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A CONSENSUS OF COLLECTORS Professor Frederic Horace Garner, OBE (1893-1964) Frederic H Garner was, like Sir Frederick Warner, a chemical engineer of some renown. Coming from a poor background, he won a scholarship to the University of Birmingham and then went on to America, obtaining his PhD at the Mellon Institute of Industrial Research in 1921. Between 1935 and 1942 he was Director of Research at the Esso European Laboratories, and in 1942 was appointed first Professor of Chemical Engineering at the University of Birmingham. Teaching then became his focus and although he served on a number of government committees he remained dedicated to his students and to the world of academia. His interest in delftware seems to have begun at a relatively young age, and he wrote his first published article on the subject in 1937. During and after the Second World War he put together a collection of sherds from sites in Lambeth that had become accessible owing to bombings. From these sherds he taught himself a considerable amount about the production methods, form and decoration of English delftware, and his research led to a book, English Delftware published in 1948, which was one of the first truly academic reference works on the subject. Ever the teacher, Garner was eager to share his knowledge with similarly keen collectors and Oliver van Oss wrote in his obituary, “No young collector asked his advice in vain and the first contact was soon followed by an invitation to the house in Selly Park to see his collection.” A few objects from his collection, and the excavated sherds from Lambeth, were bequeathed to the Victoria and Albert Museum, where he was a regular visitor. The rest was dispersed in three sales at Sotheby’s on 6th October 1964, and 2nd March and 1st June 1965. See lots: 4, 5, 6, 8, 9, 11, 14, 16, 17, 22, 25, 26, 27, 28, 29, 30, 35, 36, 37, 38, 47, 52, 53, 54, 55, 84, 86, 88, 91, 92, 95, 110, 117, 122, 127, 131, 141, 142, 144 and 152. Louis Lucian Lipski (1914-1979) Polish born Lipski trained as an architect in Warsaw, the son of a chemist, and inherited his love of art from his mother. When war broke out in 1939 he was on holiday in England and was unable to return to Poland. Putting his training to good use, he started work on repairing bombed out houses and developed an interest in the delftware tiles that he sometimes rescued from damaged fireplaces. From here his fascination with English delftware grew and although tiles remained his first love, he amassed a collection of considerable scope and enormity. Along with Garner and Dr James Glaisher, he had a fascination with objects bearing dates and in his later life put together a large collection of photographs and descriptions of dated examples. He died before the book could be published, but the job was taken over by Michael Archer and the publication remains a key reference work for anybody interested in the subject. In common with Garner, Lipski had an academic as well as an aesthetic interest in his subject, and carried out a number of excavations at Wincanton, retaining a vast amount of sherds in his garage in north London. The collection itself was kept predominantly in his flat and in his Delftware book Michael Archer describes how, “No visitor to his austere bachelor flat in Maida Vale could help being overpowered by the sheer number of pieces he owned…. The walls were crowded with Blue-dash chargers, while one whole side of the drawing room was lined with glazed shelves where the choicest objects were set out.” Excepting a few bequests, the collection was sold posthumously at Sotheby’s on 10th March and 17th November 1981, and 1st March 1983. See lots: 3, 6, 17, 18, 30, 37, 39, 45, 77, 79, 93, 114, 118, 131, 143, 144, 148 and 159. Mrs G I Cameron Sadly, little can be discovered regarding Mrs Cameron, whose collection was posthumously sold at Christie’s on 2nd June 1975. See lots: 7, 15, 19, 24, 37, 39, 115 and 125.

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Sir Gilbert Mellor, KBE, CB, CMG, KC, Chevalier of the Legion of Honour (1872-1947) Sir Gilbert Mellor was educated at Charterhouse and Trinity Hall, Cambridge and was called to the Bar by the Inner Temple in 1900. He retired from the legal branch of the War Office in 1932 and settled in Kent, where he became a Justice of the Peace. He was an early member of the English Ceramic Circle and was a keen collector from the early 1920s. He had a particular interest in Bristol delftware and wrote a number of articles on the subject. His collection was bequeathed to the Victoria and Albert Museum on his death in April 1947, and 22 pieces were accepted. His wife offered a selection to the British Museum and the rest was dispersed after her death in three sales at Christie’s on 29th March, 5th April and 26th April 1965. See lots: 2, 8, 9, 11, 14, 15, 16, 31, 32, 33, 34, 46, 48, 52, 56, 58, 86, 90, 108, 116, 117, 130 and 133.

Herbert Reginald Pomeroy Lomas (1860-1941) A linguist, musician, traveller and antique collector, Lomas was also a very astute businessman and successfully ran the largest hotel in Buxton for a number of years. The Buxton Hydro was a place for rest and recuperation using the fashionable hydrotherapy, but Lomas later changed the hotel’s name to Spa Hotel. When questioned by a local reporter as to the reason for the change, he replied, “The number of invalids we get here now is small…. Women nowadays are out playing games and trying to imitate men; they have no time to be ill.” Described as a rather lonely and slender figure, keen and pedantic but strictly just, Lomas was a generous benefactor as well as a wealthy entrepreneur. He established the farming hamlet of Pomeroy and, in 1904, took over the running of Hargreaves & Son who ran two “china” shops in Buxton at the turn of the 20th century. One of the shops is still in existence today. A keen collector of glass as well as pottery, Mr Lomas made a number of bequests to museums including his local Buxton Museum and Art Gallery and the British Museum. See lot 102.

Charles J Lomax Charles Lomax was a civil engineer and the author of Quaint Old English Pottery, published in 1909. He amassed a fine collection of 17th and 18th century English pottery, including slipwares and creamwares as well as delftware. Alongside other collectors in the Manchester area he was key in organising two important exhibitions of English pottery at the Whitworth Institute in 1911-12 and 1915. His collection was dispersed in two sales at Sotheby’s on 7th April 1937 and 3rd May 1940. A number of pieces from his collection are held at museums including the Victoria and Albert Museum and the British Museum. See lot 66.

Major E R W Robinson, MC Major Robinson, a descendant of Sir Henry Tate, the sugar merchant and philanthropist who established the Tate Gallery in 1897, named his collection of delftware after the house he shared with his wife, Prudence, in Cirencester. Their collection was sold at Sotheby’s on 15th May 1979. See lot 107.

Arthur Hurst (1857-1940) Arthur Hurst was educated at Malvern College and King’s College, London, and worked as a civil engineer for the North Eastern Railway of York. Between 1917 and 1940 he was honorary keeper of ceramics at the Yorkshire Philosophical Society, an organisation of which he was a member for over 50 years. He was a keen collector of pottery, porcelain, enamels, silver and pictures; he had an especial interest in Yorkshire Pottery and wrote widely on Leeds creamware. On his death a large part of his collection was distributed between the Yorkshire Museum, the Victorian and Albert Museum and the British Museum. The rest was dispersed in three sales at Sotheby’s on 20th June and 28th November 1940, and 30th January 1941. See lots: 5 and 29.

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1. A Delft or German faïence charger, c.1690, painted in blue with two Chinese figures in a garden setting, the wide rim with alternating panels of further figures and formal foliate designs, painted 4 mark to the underside, and another, c.1680, painted in the Kraak manner with floral panels around a central vase of flowers design, damages and repairs, 35.5cm max. (2) £100-200 Provenance: acquired from Bethnal Green, c.1952.

2. Two delftware chargers, c.1720-40, probably London, one boldly decorated in red, blue and green with insects in flight above flowering plants, the other with confronting cockerels above bending bamboo, the rim and cavetto with shaped panels of formal floral designs, both with blue X or O and II designs to the underside, the latter broken and restuck, 34.5cm max. (2) £200-300 Provenance: acquired from Christie’s, 5th April 1965, lot 94 (part), formerly in the collection of Sir Gilbert Mellor. The other believed acquired from Bethnal Green, c.1952.

3. Two delftware chargers, c.1700 and c.1740, one probably London and decorated in blue, yellow and red with a geometric sunburst design, the rim with demi flower mons, the other Bristol and decorated in polychrome enamels with a stylized floral motif within a chequered border and a rim with flower panels reserved on a diaper ground, numeral 10 mark to the latter, the former with a section broken and restuck, 33.4cm max. (2) £150-250 Provenance: respectively acquired from Sotheby's, 6th December 1983, lot 609, formerly in the collection of Louis L Lipski; and Sotheby's, 9th May 1967, lot 1.

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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.

4. Three delftware bowls, c.1740-60, probably London, one painted in bright enamels with flying insects and flowering branches within narrow yellow and red borders, another with formal floral swags to the exterior, the last decorated in blue, green, yellow and manganese with flowering branches issuing from rockwork, some damages, 19cm dia. max. (3) £200-300 Provenance: respectively acquired from Sotheby's, 2nd March 1965, lot 42 (part), formerly in the collection of F H Garner; Christie's, 14th October 1968; and Sotheby's, 1st June 1965, lot 58 (part), formerly in the collection of F H Garner.

5. Four delftware slop bowls, mid 18th century, the smaller Bristol and painted in blue with flowering Oriental plants, one bowl Lambeth and painted with peony and wisteria, another painted with huts and large round rocks in a landscape scene, the last decorated in polychrome enamels with a peony spray to the exterior and flying insects to the well, some damages, 19.3cm max. (4) £150-250 Provenance: respectively acquired from Sotheby’s, 1st June 1965, lot 58 (part), formerly in the collections of F H Garner and Arthur Hurst; Sotheby’s, 1st June 1965, lot 166 (part), formerly in the collection of F H Garner; and Sotheby’s, 14th February 1967, lot 6 (part).

6. Three delftware bowls, c.1760, in three sizes, all painted in blue, the largest with small huts beneath pine trees and beside rockwork, the next with flowers and fruiting vine, the smallest with a hut beneath a tall willow tree, each with a narrow blue border to the inside rim, minor damages, 30.4cm max. (3) £200-300 Provenance: respectively acquired from Sotheby's, 2nd March 1965, lot 15, formerly in the collection of F H Garner; Sotheby's, 6th December 1983, lot 750 (part), formerly in the collection of Louis L Lipski; and Sotheby's 1st June 1965, lot 122 (part), formerly in the collection of F H Garner.

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7. Three delftware plates, c.1740-70, probably London, one painted in green and manganese with a large bunch of grapes within a continuous border, another in manganese, red and blue with a hut between stylized trees within a garland border, the last of primitive shape and decorated in polychrome enamels with a simple flower sprig, with small foliate motifs to the rim, one cracked, 23.3cm max. (3) £150-250 Provenance: respectively acquired from Christie's, 2nd June 1975, formerly in the collection of Mrs G I Cameron; and Christie's, 20th February 1967, lot 25 (part).

9. Three delftware plates, c.1760, two of octagonal form, one attributed to Michael Edkins at Redcliffe Back Pottery, painted with a reclining fisherman beside a figure in an arbour, the other Lambeth and with a Chinese figure carrying a stick beside flowering plants, the powder blue rim with flower sprays left in the white, the last a larger Bristol plate painted in blue with a small hut beside towering rockwork within a shaped cartouche, the rim with vignettes of plants and rocks, some rim damages, 26.4cm max. (3) £150-250 Provenance: respectively acquired from Sotheby’s, 1st June 1965, lot 77 (part), formerly in the collection of F H Garner; Christie’s, 5th April 1965, lots 79 and 78 (part), both formerly in the collection of Sir Gilbert Mellor.

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8. Three delftware plates, c.1730-50, one probably Bristol and painted in blue, red and green with a bird standing beside flowering branches, another London and painted in polychrome enamels with an insect in flight above flowering branches, the last of primitive shape and painted with a basket of flowers within a geometric manganese border, some faults, 22.8cm max. (3) £250-350 Provenance: respectively acquired from Christie’s, 5th April 1965, lot 85 (part), formerly in the collection of Sir Gilbert Mellor; and Sotheby’s, 2nd March 1965, lot 109 (part), formerly in the collection of F H Garner.

10. Three polychrome delftware plates, c.1740-70, one painted with a Chinese figure holding out a leaf frond before a low fence, the border with leaf panels reserved on a diaper ground, another probably Bristol and painted in blue, manganese and yellow with a gnarled tree in a pagoda landscape, the last probably London and painted with a pagoda island landscape featuring sponged green trees, one cracked, 22.6cm max. (3) £150-250 Provenance: one with a paper collection label with the initials GB, possibly for the Golding Barrett collection. The latter plate acquired from Puttick & Simpson, 23rd August 1966, lot 130.


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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.

11. Four Lambeth delftware dishes, c.1740-50, probably William Griffith, two plates in different sizes, and two soup bowls, one with a scallop-edged rim, all painted in blue with a Chinese boy carrying a long stick and turning his head to look over one shoulder, beneath tall flowering plants, reserved on a powdered blue ground with flower sprays in imitation of bianco-sopra-bianco, some damages, 30.3cm max. (4) £300-400 Provenance: respectively acquired from Sotheby's, 2nd March 1965, lot 109 (part), formerly in the collection of F H Garner; and Christie's, 5th April 1965, lot 79 (part), formerly in the collection of Sir Gilbert Mellor.

12. Six Lambeth delftware plates, c.1780-90, painted in green, manganese and blue with a bunch of grapes on the vine suspended above a flared basket, the rim with leaf sprigs and a feathered blue border, some damages, 22.8cm. (6) £200-300 Provenance: acquired from Minette Puxon Antiques, Colchester, 9th June 1966. Cf. Michael Archer, Delftware, no. B.182 for an identical example.

Cf. Michael Archer, Delftware, p.146 for a discussion of this type of decoration, sherds of which have been excavated in Lambeth.

13. Three delftware plates, c.1785-95, of ‘Ann Gomm’ type, painted in polychrome enamels with a seven-sided central motif radiating a formal floral design, the design echoed to the rim with four floral sprays, and a delftware charger decorated in the same design, 34cm max. (4) £250-350 Provenance: respectively acquired from Sotheby’s, 26th January 1965, lot 36; and Sotheby’s, 9th May 1967, lot 6. The pattern takes it name from a well documented set of plates in the same design, inscribed for Ann Gomm and dated 1793.

14. Four delftware plates and a charger, c.1760, Bristol or Liverpool, two decorated in blue with oriental flowering plants, another with figures in a Chinese landscape, the last plate in blue, yellow and manganese with a figure before a two-storey pagoda, the charger in the same design, all within shaped rims with bianco-soprabianco decoration, some damages, 34cm max. (5) £200-300 Provenance: respectively acquired from Sotheby’s, 2nd March 1965, lot 106 (part), formerly in the collection of F H Garner; Christie’s, 5th April 1965, lots 147 and 82 (part), formerly in the collection of Sir Gilbert Mellor; Puttick & Simpson, 1st March 1966, lot 162 (part); and Minette Puxon Antiques, Colchester, c.1963.

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15. A near pair of Lambeth delftware plates, mid 18th century, painted in bold polychrome enamels, each with a basket of flowers, the rim with floral motifs and small diaper panels, a large Lambeth charger painted with a stylized plant within a garland border, and a Bristol delftware punch bowl painted to the exterior in blue, red, yellow and green with a bird amidst flowering branches, the interior in blue with a figure fishing beneath wisteria, damages, 33cm max. (4) £150-250 Provenance: respectively acquired from Christie’s, 5th April 1965, lots 130 and 94, formerly in the collection of Sir Gilbert Mellor; and Christie’s, 2nd June 1975, lot 207 (part), formerly in the collection of Mrs G I Cameron.

17. Three delftware shallow bowls, c.1760-90, the largest painted in polychrome enamels with a central yellow flower, the everted rim with stylized leaf sprays, one painted in blue, green and manganese, with rose swags around a central flowerhead, the swags echoed to the exterior, the last painted in blue with Oriental flower sprays within trellis borders, a repaired section to the first, 30cm max. (3) £150-250 Provenance: respectively acquired from Sotheby’s, 6th December 1983, formerly in the collection of Louis L Lipski; Sotheby’s, 2nd March 1965, lot 15 (part), formerly in the collection of F H Garner; and Sotheby’s, 26th May 1970, lot 9 (part).

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16. A large delftware charger and two punch bowls, c.1740-80, the charger probably Liverpool and finely pencilled in pale blue with a flowering prunus tree, both bowls of shallow form and painted in blue with Oriental flower sprays, and a Delft charger painted with a bold floral arrangement within a yellow line border, some damages, 36cm max. (4) £150-250 Provenance: respectively acquired from Sotheby's, 18th January 1972, lot 205; Sotheby's, 2nd March 1965, lot 15 (part), formerly in the collection of F H Garner; Dunmow, 1956; and Christie's, 5th April 1965, lot 18 (part), formerly in the collection of Sir Gilbert Mellor.

18. Four delftware shallow bowls, c.1710-50, Lambeth and Bristol, two moulded with flutes and painted in blue with flower arrangements, two with scallop-edged rims and decorated with flower sprays and with flowering peony branches, some damages, 23.5cm max. (4) £150-250 Provenance: acquired from Sotheby's, 6th December 1983, lot 643 (part), formerly in the collection of Louis L Lipski.


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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.

19. A large delftware punch bowl, c.1725, probably Brislington, boldly decorated in blue, red and green with panels of flowering branches reserved on a blue ground with formal floral motifs inbetween, the interior with a large flower spray and a narrow blue band, damages and repairs, 29.5cm dia. £200-300 Provenance: acquired from Christie’s, 5th December 1975, lot 207 (part), formerly in the collection of Mrs G I Cameron.

20. A rare delftware bowl, c.1760, boldly painted in blue with the Dragon pattern, the large beast depicted to the well, with his tail folding over the rim to the bowl’s exterior, amidst cloud scrolls, some glaze cracking, 22.5cm. £150-250 Provenance: acquired from Christie’s, 14th October 1968, lot 79a.

21. A massive delftware punch bowl, c.1760-80, of exceptional size, the interior painted in blue with an exotic bird perched on an ornamental fence between flowering plants, the rim with an elaborate border of diaper panels, scrolls and Chinese motifs, the exterior painted with flowering branches and an ornamental fence, some damages, 39.3cm. £500-800 Provenance: acquired from Sotheby’s, 22nd December 1970, lot 172.

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22. Two delftware bowls, c.1750-80, the smaller probably Liverpool, inscribed in blue to the interior well with ‘Success to trade & navigation’, the exterior painted with flowering Oriental plants, the larger probably Lambeth, painted in blue and manganese to the exterior with a pagoda island landscape, inscribed to the interior well with ‘One Bowl more And then’ within a bianco-sopra-bianco border, damages, 26.3cm max. (2) £250-350 Provenance: respectively acquired from Sotheby’s, 1st June 1965, lot 122 (part), formerly in the collection of F H Garner; and Sotheby’s, 14th March 1971, lot 167 (part).

24. Two delftware bowls, c.1760, the larger polychrome, the smaller painted in blue, each with the same design of bold flowering oriental plants and bamboo, the interior with a single flower stem to the well within a wavy border, 25.8cm max. (2) £100-200 Provenance: acquired from Christie’s, 2nd June 1975, lot 164, formerly in the collection of Mrs G I Cameron. The smaller from Sotheby’s, 17th April 1973, lot 167 (part).

26. A delftware punch bowl, c.1725-40, probably Bristol, the tall flared sides painted in red, blue and green with stylized flower sprays beneath semi-circular panels of red and blue diaper trellis, the interior with a narrow blue border and a single flower spray, and another smaller bowl unusually decorated with a repeated design of stylized flowers in polychrome enamels, some damages, 26.3cm max. (2) £250-350 Provenance: acquired from Sotheby’s, 2nd March 1965, lot 15 (part) and lot 12 (part), formerly in the collection of F H Garner.

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23. Two delftware bowls, c.1730-50, the smaller painted in blue to the exterior with overlapping scales, raised on a slightly flared foot, the larger decorated in red, blue, green and yellow with a design of stylized flowering plants beneath a panelled border, the interior with a single blue flower spray, some damages, 26.3cm max. (2) £200-300 Provenance: the larger bowl acquired from Christie’s, 5th December 1975, lot 21.

25. A pair of delftware slop bowls, c.1740, each painted in polychrome enamels with a long-tailed parrot perched on a branch, and with insects in flight above further flowering branches, the interior with a rockwork vignette in blue, some damages to one, 19.5cm max. (2) £100-200 Provenance: acquired from Sotheby’s, 26th January 1965, lot 35, and Sotheby’s, 2nd March 1965, lot 15 (part), formerly in the collection of F H Garner.

27. Two Bristol delftware punch bowls, c.1725-35, the deep forms with slightly everted rims, one painted in blue, red and green, the other in blue, each with stylized flower sprays within shaped panels on a diaper ground, the interiors with further flower sprays, damages, 26cm max. (2) £200-300 Provenance: respectively acquired from Sotheby’s, 2nd March 1965, lot 12 (part), formerly in the collection of F H Garner; and Sotheby’s, 14th February 1967, lot 6 (part).


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28. Six delftware plates, mid 18th century, one painted in blue with peony beside an ornamental fence, another with figures in a Chinese island landscape, three with vases of flowers, the last with a single flower spray in blue, green and manganese, some damages and repairs, 22.8cm max. (6) £120-180 Provenance: respectively acquired from Sotheby's, 1st June 1965, lot 77 (part), formerly in the collection of F H Garner; Puttick & Simpson, 8th August 1967, lot 163 (part), and 22nd November 1967, lot 56 (part); and Christie's, 9th October 1967, lot 19 (part). The polychrome plate with a paper label for the W L Little Collection, no. 101.

30. Three small Bristol delftware plates and two shallow bowls or dishes, c.1740-50, all similarly decorated with low huts beside tall trees, the cavettos with a hatched diaper band, one shallow bowl with a pagoda before an ornamental fence within a swag border, some faults, 23cm max. (5) £200-300 Provenance: respectively acquired from Sotheby’s, 1st June, 1965, lot 58, formerly in the collections of Gautier and F H Garner; Sotheby’s, 6th December 1983, lot 643, formerly in the collection of Louis L Lipski.

29. Five delftware plates, mid 18th century, including a pair of plates painted in polychrome enamels with flowering branches issuing from rockwork, another in manganese, ochre, green and blue with vases and jardinières of flowers, one in blue with a pagoda landscape, the last octagonal and decorated with two figures crossing a bridge, some damages and repairs, 23cm max. (5) £150-250 Provenance: four plates previously in the F H Garner Collection. The octagonal plate with a faded, paper label for the Arthur Hurst Collection. Variously acquired in 1965 and 1966.

31. Five delftware plates, c.1740-60, including Liverpool and Bristol, one painted in blue with chrysanthemum sprays, another with flowers in the Fazackerley palette, both within bianco-sopra-bianco borders, one plate with polychrome flower sprays, the last two with a similar design of chrysanthemum branches issuing from rockwork, some faults, 22.5cm max. (5) £200-300 Provenance: respectively acquired from Christie's, 5th April 1965, lot 147 (part), formerly in the collection of Sir Gilbert Mellor; Sotheby's, 26th May 1970; Christie's, 20th February 1967, lot 25 (part); Puttick & Simpson, 23rd August 1966, lot 139 (part); and van Oss, Southwold, c.1953. 15


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32. A rare delftware mug, c.1740, probably London, the cylindrical form slightly waisted and decorated in an allover chequered design of green squares and blue stylized floral motifs, the wide strap handle with blue stripes, cracked, 9cm. £300-500 Provenance: acquired from Christie’s, 5th April 1965, lot 160 (part), formerly in the collection of Sir Gilbert Mellor.

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33. A delftware glass-bottomed mug, c.1780-85, painted in blue with a maid pouring tea for a couple seated in a garden, the other side with three figures playing a game at a small table beneath trees, either side of a bell inscribed ‘I T B’ in black, the rim and foot with a trellis band, some damages, 12cm. £250-350 Provenance: acquired from Christie’s, 5th April 1965, lot 160 (part), formerly in the collection of Sir Gilbert Mellor. Illustrated: Lipski & Archer, Dated English Delftware, p.191, no.855. The description claims that the mug is dated 1783 on the bell with the initials, however no date is apparent.

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34. Two Delft mugs, 18th century, of cylindrical form, one painted in polychrome enamels with flowering branches before a low fence, the strap handle with blue detailing, the other with a stylized band in manganese, green and blue, damages, 12.3cm max. (2) £100-200 Provenance: acquired from Christie’s, 5th April 1965, lot 160 (part), formerly in the collection of Sir Gilbert Mellor.

35. Two delftware coffee cups and a small mug or can, c.1750-90, the can probably Lambeth and painted in the Ann Gomm manner with a demi hexagonal motif amid stylized flower sprays, one cup painted in red, green, yellow, blue and manganese with a bold flower spray, with blue dashes to the loop handle, the other cup with flowering branches of Oriental plants in blue, damages and restoration, 6cm max. (3) £200-300 Provenance: acquired from Sotheby's, 1st June 1965, lot 54, formerly in the collection of F H Garner.

36. A small delftware jug, c.1700-20, painted in red, green and blue with a bird in flight above flowering branches, the side handle with a blue dash design, a delftware tavern measure with a blue oak leaf beneath a tall ribbed neck, and a small mug of cylindrical form with a flared foot and wide strap handle, painted with stylized flower sprays between formal stiff leaf bands, some damages, 16.5cm max. (3) £200-300 Provenance: respectively acquired from Christie's, 9th October 1967, lot 54, formerly in the collections of F H Garner and W L Little; Sotheby's, 23rd October 1968, lot 221 (part); and Sotheby's, 1st June 1965, lot 54 (part), formerly in the collection of F H Garner.

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37. A delftware pickle dish, c.1740-50, of leaf shape, painted in blue with a bird perched atop flowering branches, within a scroll border, and two delftware saucers, one of toy size and painted in blue with flying insects and prunus sprays, the other with polychrome flower sprays reserved on a drab brown ground, 11.3cm max. (3) £250-350 Provenance: respectively acquired from Sotheby's, 1st June 1965, lot 54 (part), formerly in the collection of F H Garner; Christie's, 2nd June 1978, lot 203, formerly in the collection of Mrs G I Cameron; and the collection of Louis L Lipski, no. 192.

38. A delftware cream jug, c.1760, the pearshaped form painted in blue with a bird before flowering branches and rockwork, the rim with a formal border, the narrow loop handle with horizontal blue detailing, the handle broken and restuck, 7cm. £150-250 Provenance: acquired from Sotheby’s, 4th June 1965, lot 54, formerly in the collection of F H Garner.

39. Two delftware miniature teabowls, c.1760, one painted in polychrome enamels with Oriental flower sprays, the other with stylized flowers beneath a yellow and green border, and a larger teabowl painted with leaf swags suspended from a continuous manganese scroll band, small damages, 7.6cm max. (3) £100-200 Provenance: respectively acquired from Sotheby's, 1st March 1983, lot 422, formerly in the collection of Louis L Lipski, no. 923; Christie's, 2nd June 1978, lot 203, formerly in the collection of Mrs G I Cameron.

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40. A rare delftware stand or trivet, c.1720-40, the flat circular form painted in blue with figures in a pagoda island scene, previously raised on three small feet, the feet lacking, a chip to the underside, 22.7cm. £100-200 Cf. Lipski & Archer, Dated English Delftware,p.352, no.1554 for an octagonal tray of similar construction.

41. A Delft punch pot and cover, late 18th or 19th century, finely painted in blue with pagoda landscapes featuring willow, pine trees and rockwork, the shoulder and cover with an elaborate foliate border, the handle broken and restuck, 30.5cm across. (2) £100-200 Provenance: acquired from Sotheby's, 15th December 1965, formerly in the collection of Cecil Baring, Lord Revelstoke, London (until 1934; Puttick and Simpson, Novmber 20th-23rd 1934). Paper label for his collection.

42. A small delftware spirit flask, c.1730-50, probably English, the flattened circular form painted in blue, green and red, one side with a bird perched amidst flowering branches, the reverse with flowers issuing from a campana vase, the side with red flowerheads reserved on a blue ground, 12cm. £150-250 Provenance: acquired from Sotheby's, 24th July 1976, lot 2.

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43. A delftware puzzle jug, c.1740-60, 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. £250-350 Provenance: acquired from Sotheby’s, 16th July 1965, lot 18.

44. A Liverpool delftware puzzle jug, c.1740-50, the rounded body inscribed in blue with ‘From Mother Earth I take my birth, Am Made a Joke for Man, And now am here fill’d with good Cheer, Come taste it if you can’, flanked by peony sprays, the tall neck pierced with geometric floral designs, the hollow rim with three narrow spouts, repairs to the handle and neck, 20cm. £150-250 Provenance: acquired from Christie’s, 9th October 1967, lot 9.

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45. Two delftware large plates or chargers, c.1730-60, one Bristol and painted in blue with a three storey house with a smoking chimney, a figure punting in the foreground, 3 mark to the underside, the other probably Liverpool and painted with a Chinese figure holding a bird by its long tail while a lady watches from a window, the rim with flowering branches and flying insects, some chipping, a short rim crack, 30.7cm max. (2) £150-250 Provenance; the latter plate acquired from Sotheby's, 6th December 1983, lot 753 (part), formerly in the collection of Louis L Lipski. The other plate with a paper label bearing the initials GB, possibly for Golding Barrett.

46. A pair of delftware polychrome chargers, c.1730, possibly London, painted in blue, red, yellow and green, each with a stylized central squirrel in a pinwheel flower within concentric foliate type borders, cracked, 33.4cm. (2) £150-250 Provenance: acquired from Christie’s, 5th April 1965, lot 131 (part), formerly in the collection of Sir Gilbert Mellor.

47. Two delftware shallow bowls, c.1760-70, one probably Abigail Griffith at Lambeth, painted in blue, green, manganese and yellow with a pagoda island landscape, the other painted in blue with a Chinese boy holding a tall bamboo stem with a bird perched atop it, before an ornamental fence and flowering branches, 29.8cm max. (2) £250-350 Provenance: respectively acquired from Sotheby's, 26th January 1965, lot 32; and Sotheby's, 1st June 1965, lot 92 (part), formerly in the collection of F H Garner.

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48. Three large tin-glazed chargers, 18th century, one probably London delftware and painted in blue, green and red with insects in flight above flowering plants, another possibly Dutch and, similarly decorated, red 8 mark to the underside, the last painted with flowering plants behind an ornamental fence, damages, 26.3cm max. (3) £100-200 Provenance: respectively acquired from Christie's, 5th April 1965, lots 94 and 131 (part), formerly in the collection of Sir Gilbert Mellor; and Bethnal Green, c.1952.

50. Three delftware plates, c.1760, painted in polychrome enamels, two with cranes amidst flowering branches, the last with low huts beneath fronded trees, some damages, 26cm max. (3) £100-200 Provenance: respectively acquired from Puttick & Simpson, 8th March 1966, lot 149 (part); and Sotheby’s, 26th January 1965, lot 32 (part).

49. Two large delftware plates, c.1730-40, one Liverpool and painted in blue with two cockerels beneath a bending spray of flowering prunus, the rim with further prunus sprays, the other London and painted in polychrome enamels with a strutting cockerel beneath a flowering branch and a vase of flowers, within a panelled rim, and an unusual plate painted in blue with three ducks swimming beside a jetty, the rim with willow tree vignettes, some chipping, 26cm max. (3) £150-250 Provenance: the Liverpool plate with a paper label for the Moreton Collection, no.52, acquired from Puttick & Simpson, 22nd November 1967, lot 93.

51. Two delftware chargers, mid 18th century, one painted in manganese with blue detailing, with a figure fishing beside rockwork and pine trees, within a panelled border, the other decorated in blue with bamboo and peony beside a low ornamental fence, together with a Continental faïence charger painted with plants and banded hedges within a panelled border, blue H mark, some faults, 35.5cm max. (3) £200-300 Provenance: respectively acquired from Sotheby’s, 26th May 1970, lot 37; Sotheby’s, 14th February 1987, lot 6 (part); and Bethnal Green, c.1952.

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52. Two Lambeth delftware plates, c.1740, both painted in red, yellow, green and blue, one with a seated Chinese boy between flowering branches, the other with a long-tailed bird perched on a leafy branch beside rugged rockwork, a Lambeth saucer dish painted with flowering plants, and a Bristol delftware plate painted in polychrome enamels with a Chinese figure walking in a garden, some damages and repairs, 22.5cm max. (4) £150-250 Provenance: respectively acquired from Sotheby's, 26th January 1965, lot 35 (part), formerly in the collection of F H Garner; and Christie's, 5th April 1965, lots 136 and 139 (part), previously in the collection of Sir Gilbert Mellor.

54. Two Bristol delftware plates, c.1740-50, Temple Back pottery, one painted in blue, the other in polychrome enamels, with a Chinese figure holding a fan and standing beneath a gnarled tree, and two Lambeth delftware plates, one painted in blue with a Chinese figure seated beneath a large parasol, the other with a figure standing behind an ornamental fence beside holey rockwork, some faults, 22.8cm max. (4) £250-350 Provenance: respectively acquired from Phillips, 4th November 1970, lot 3; Puttick & Simpson, 8th March 1966, lot 149; and Sotheby’s, 1st June 1965, lot 77 (part), formerly in the collection of F H Garner.

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53. Four delftware plates, c.1740-60, one Lambeth and painted in polychrome enamels with a jardinière of flowers within a swag border, one Liverpool and painted with bamboo behind a fence, and a pair of Liverpool plates decorated with peony sprays beside holey rockwork, minor faults, 23cm max. (4) £150-250 Provenance: respectively acquired from Cambridge, 12th July 1968, formerly in the Gautier Collection; and Sotheby’s, 26th January 1965, lot 34 (part), formerly in the collection of F H Garner.

55. Two pairs of delftware plates, c.1740-50, one pair Bristol and painted in blue with a hut beneath a willow tree, the design echoed to the rim reserved on a manganese cracked-ice ground, the other pair Liverpool and decorated in blue, manganese, green and yellow with flowering chrysanthemum branches, manganese painter’s marks to the underside, damages, 23.5cm max. (4) £150-250 Provenance: respectively acquired from Puttick & Simpson, 8th August 1967, lot 163 (part); Sotheby’s, 2nd March 1965, lot 106 (part), formerly in the collection of F H Garner; and Puttick & Simpson, 22nd November 1967, lot 65 (part).


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56. Four delftware plates, c.1760-70, two Bristol and painted in blue with a figure fishing and two figures in a boat before a village landscape with a tall tree, one Liverpool with two Chinese figures beneath a willow tree, the last larger and painted with peony and bamboo beside an ornamental fence, all with floral bianco-soprabianco, borders, some faults, 30cm max. (4) £200-300

57. Four delftware plates, c.1710-50, one of primitive shape and painted with figures in an island landscape within a panelled border, another with a similar Chinese landscape in blue, one with a polychrome basket of flowers and feathered foliage, the last painted in red, green and blue with feathery foliage and floral motifs, some faults, 23.3cm max. (4) £150-250

Provenance: acquired from Christie's, 5th April 1965, lot 82 (part), formerly in the collection of Sir Gilbert Mellor.

Provenance: respectively acquired from Puttick & Simpson, 8th August 1967, lot 163 (part); Minette Puxon Antiques, Colchester, 25th March 1963; Puttick & Simpson, 2nd October 1968, lot 61 (part); and 22nd November 1967, lot 56 (part).

58. Three large Bristol delftware chargers, .1760-70, one painted in blue with a tall pine tree flanked by huts, another with a figure fishing in an island landscape, the last painted in blue and manganese with a figure holding a staff beneath gnarled trees in a mountain landscape, all within bianco-sopra-bianco borders, some damages and restoration, 33cm max. (3) £200-300

59. A London delftware charger and a plate, c.1725-35, both decorated in polychrome enamels with a long-tailed parrot perched atop a large yellow ring encircling flowering branches and rockwork, the rims with a narrow yellow border hatched with red and blue, and a further delftware charger painted with a Chinese figure with arm outstretched to a bird perched in branches, the latter cracked and restored, 34.5cm max. (3) £150-200

Provenance: respectively acquired from Christie's, 5th April 1965, lot 82 (part), formerly in the collection of Sir Gilbert Mellor; Sotheby's, 19th December 1966, lot 35; and Chistie's, 29th March 1971, lot 67.

Cf. Michael Archer, Delftware, p.172, no. B.111 for an identical plate.

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60. A garniture of three drug jars, mid 18th century, consisting of two syrup jars and a dry drug jar, all decorated in blue with shaped cartouches surmounted by birds in branches, flanking the spouts of the syrup jars and a basket of fruit on the ovoid jar, one inscribed ‘S:BALSAMIC’, another ‘S:DE:ARTEM’, the last ‘C.CYNOSBAT’, 17.5m. (3) £500-800 Provenance: acquired from Dr Middleton of Battersea on 12th July 1981. Formerly in the Twentyman Collection. Syrupus Balsamicus (Syrup of Balsam of Tolu) was used for digestive complaints. The main ingredient of Syrupus Artemesia is mugwort, which had a variety of uses, including calming hysteria in children. Cynobastos used a variety of rose hips, including dog-rose, for a confection that warded against colds and flu, and was also believed to alleviate arthritis.

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61. A pair of delftware drug jars, mid 18th century, the ovoid bodies painted in blue with narrow cartouches surmounted by winged putti holding single flower stems either side of a scallop shell motif, beneath the cartouche with simple flower swags around an angel mask, one inscribed ‘U:ex:ALTHAE’, the other ‘U:TUTIAE’, some cracking, 18cm. (2) £300-500 Provenance: acquired from Sotheby’s, 20th June 1967, lot 81. Unguentum extractum Althaea used an extract from the root of the marshmallow and was used as a cough mixture and to relieve an irritated throat. Unguentum de Tutia (sometimes known as ‘tutty’) was an ointment of zinc oxide used for skin irritations and minor burns.

62. Two delftware dry drug jars, mid 18th century, of ovoid shape, each painted in blue with a narrow cartouche topped by winged putti holding flower stems either side of a scallop shell, underneath the cartouche with an angel mask and floral motifs, one inscribed ‘C:AURANT’, the other ‘U:ENULA:C:MER’, extensive glaze cracking to the latter, 18cm. (2) £300-500 Provenance: respectively acquired from Christie’s, 9th October 1967, lot 65; and Sotheby’s, 26th March 1968, lot 13 (part). Confectio Aurantium, similar to marmalade, was used as a flavouring agent but was also believed to assist in lowering blood pressure, among other uses. Unguentum Enulatum cum Mercurio was an ointment made from a rhizome, oil of wormwood, turpentine and lard with added mercury. Culpeper’s understandable opinion of the latter ointment (said to help “the itch”) was that, “without quick-silver it will do no good; with quick-silver it may do harm”.

63. Two Continental maiolica or faïence apothecary jars or albarelli, 19th century, one of dumbbell form and inscribed ‘U plarentini’ the other cylindrical and inscribed ‘Ext. Gentian. Lut.’ between two snakes, a maiolica flower vase with three shell apertures between Classical motifs, blue JT mark, a small maiolica jug painted in blue with a cockerel, and a Delft flask in the form of a barrel, inscribed ‘Boy’, some damages, 20.5cm max. (5) £150-250 Provenance: respectively acquired from Sotheby's, 8th February 1966, lot 12; Sotheby's, 26th March 1968, lot 63 (part); Paskell & Cann, 2nd June 1986, lot 266; and Christie's, 27th July 1965, lot 1 (part).

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64. A delftware syrup or wet drug jar, mid 18th century, the globular body painted with a narrow cartouche titled ‘S:ROSAR:SOL’, surmounted by two winged putti holding single flower stems either side of a scallop shell, raised on a tall spreading foot, marked ‘Px’ to the underside, 19cm. £300-500

65. A large delftware syrup or wet drug jar, c.1750, the globular body painted in blue and black with two birds flanking a basket of fruit above a cartouche inscribed ‘S:E:SUC:FUMAR’, raised on a tall spreading foot, with a knopped spout and wide strap handle, some glaze chipping, 19.5cm. £150-250

Provenance: acquired from Sotheby’s, 20th June 1967, lot 71.

Provenance: acquired from Christie’s, 14th October 1968, lot 80.

Syrupus rosarum solutivus was made by infusing rose petals with water and adding sugar. It was taken to relieve constipation.

66. A delftware bleeding bowl or porringer, c.1680-1700, the shallow circular form with a single handle pierced with a heart, decorated in a pale blue glaze, the handle broken off and restored, 15.5cm. £100-200 Provenance: acquired from 11th October 1977, lot 48. Formerly in the Lomax Collection and the C H Spiers Collection.

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67. John Doubleday (British, b.1947) Sir Frederick Warner (1910-2010) Verdigris bronze on a stone plinth Signed and dated 1974, inscribed 2/2 49cm high

£100-200

69. Literature: Leslie G. Matthews, Antiques of the Pharmacy; Hugo Morley-Fletcher, Investing in Pottery and Porcelain; Lady Evans, Lustre Pottery; Larney, Restoring Ceramics, J M Rogers and R M Ward, Süleyman the Magnificent; B W Robinson, Persian Miniature Painting; and a number of other books and catalogues on ceramics, glass and Islamic Art. (36) £50-100

68. Literature: Noel Hume, Early English Delftware from London and Virginia; Michael Archer, Delftware; Lipski & Archer, Dated English Delftware; Claude Bonnet, Faïences Révolutionnaires; Alan CaigerSmith, Tin-Glaze Pottery in Europe and the Islamic World; Timothy Wilson, Ceramic Art of the Italian Renaissance; Bernard Rackham, The Glaisher Collection of Pottery and Porcelain (two volumes); and a number of other reference books pertaining to pottery. (22) £80-120

70. Literature: a large quantity of auction catalogues, largely Sotheby's and Christie's from the 1960s to the 1990s, including those of collections such as Louis L Lipski, Rous Lench and Frederic Garner; many pertaining to Sir Frederick's own collection. (A lot) £50-100

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71. A Delft biblical charger, 18th century, painted in blue with the Stoning of Stephen, within a continuous floral border, a Pratt ware charger, c.1800, painted with flower sprays in ochre, green and blue, and a small pearlware posset pot with blue floral decoration, damages and repairs, 31cm max. (3) £100-200 Provenance: respectively acquired from Bethnal Green, c.1952; and Puttick & Simpson, 8th March 1966.

73. Seven French faïence plates, probably 19th century, four decorated with Revolutionary subjects including a putto holding a banner titled ‘La Paix’ above the date 1791, one painted in manganese with a profile portrait titled ‘W Le Roy 1790’, one with a cornucopia and the date 1793, another with crossed tricolore flags either side of an orb, three variously decorated with flowers, a Quimper two-handled dish painted with a Breton lady, and a bowl painted with a woman carrying a furled umbrella, some damages, 28cm max. (9) £100-200 Provenance: variously acquired from Puttick & Simpson, 23rd August 1966, lot 139 (part); 2nd October 1968, lot 47 (part); Sotheby's, 8th February 1966, lot 53 (part); Reeman & Dansie, 22nd August 1985, lot 99 (part); and 30th August 1988, lot 106 (part).

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72. Four faïence and maiolica small bowls, probably 17th century and later, one decorated in the 16th century manner with a geometric design in green and blue, another with a stylized flowerhead design in ochre, blue and yellow, two in blue with floral or fabric swags, and a pair of faïence casters or pounce pots, painted with stylized flower swags, damages and restoration, 13.3cm max. (6) £100-200 Provenance: respectively acquired from Christie's, 21st November 1966, lots 176 and 109; and Reeman & Dansie, 27th August 1988, lot 99.

74. Eight French faïence Revolutionary subject plates, 19th century, variously decorated in polychrome enamels with cockerels and putti beside cannon, one with the death of Marat, another with a traveller beside a lodging house, some inscribed with dates from 1790 to 1793, and with inscriptions relating to peace and liberty, some damages, 24.5cm max. (8) £100-200 Provenance: acquired from Sotheby's 8th February 1966, lots 53, 54, 59 (part).


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75. Four Liverpool delftware tiles, c.1750-70, painted in blue with octagonal panels of harbour scenes, reserved in dash borders within flowerhead corners, some chipping, 12.7cm. (4) £100-200

76. Four delftware tiles, c.1730-60, one Biblical and painted in blue with Peter’s denial of Jesus, one with two travellers in conversation, another with a sailing boat beside buildings, the last with an octagonal panel of figures in boats beside a jetty, within an elaborate border of putti and foliate scrolls, damages to the last tile, 12.7cm. (4) £100-200

77. Six delftware biblical tiles, c.1730-50, painted in blue with varying scenes including Rahab helping the spies to escape, David returning with Goliath’s head, the Annunciation and St Paul escaping from Damascus, mounted in a later wooden frame inscribed ‘From Hazard House, Newport’, 43.2cm overall. £150-250

78. Four delftware Biblical tiles, c.1730-50, painted in blue with Christ in the Garden of Gethsemane, Christ at the Column, Christ carrying the cross, and the Crucifixion, in circular panels with foliate motifs to each corner, mounted in a later wooden frame, 28.3cm overall. £100-200

Provenance: acquired from Sotheby’s, 24th July 1984. Believed to have been in the collection of Sir Cyril Fred Fox, archaeologist. Removed from Hazard’s House, Newport, Isle of Wight in 1901 during alterations by the then owner, George Thomas Gubbins, possibly formerly in the collection of Louis L Lipski.

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79. Nine delftware Biblical tiles mounted as two panels, c.1720-40, the first panel containing four tiles, the second five, variously painted in manganese, one in blue, with scenes including the Death of Jezebel, the Disobedient Prophet, Abraham and Isaac, the Rich Man and Lazarus, the Prodigal Son, Jonah and the Whale and Rebecca at the Well, both mounted in later painted wooden frames, some damages, 70.6cm overall max. (2) £300-500 Provenance: the smaller panel acquired from Sotheby’s, 24th July 1984, formerly in the collection of Louis L Lipski.

80. Eight delftware tiles, c.1750-70, painted in blue with various scenes of figures in landscapes, tending sheep, sailing in small boats and promenading by the water’s edge, some chipping, 12.8cm max. (8) £150-250

81. Two Liverpool delftware printed tiles, c.1770, printed in black by John Sadler, one with lovers seated beneath a tree, the other with a Biblical scene of Abraham and Isaac at the point of sacrifice, a Liverpool tile painted in blue with boats beside Classical ruins within an octagonal panel, a Lambeth tile painted with two figures conversing beneath trees, and a Dutch tile painted with a peasant woman holding a staff, 13cm max. (5) £100-200

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82. Three London delftware plates, c.1760-70, probably William or Abigail Griffith, Lambeth, of simple form, decorated in blue and polychrome enamels with stylized floral motifs and geometric designs within continuous borders, two cracked, 22.5cm max. (3) £100-200 Provenance: the central plate acquired from Christie's, 14th October 1968, lot 60 (part). One with a paper collection label for GB, possibly relating to Golding Barrett.

83. Three delftware plates, c.1760-80, probably London, of simple shape, one painted in red, green and sponged blue with a stylized flowering plant, the other two with geometric floral designs in blue and polychrome enamels, some faults, 22.6cm max. (3) £200-300 Provenance: respectively acquired from Christie's, 20th February 1967, lot 25 (part); and Phillips, 1st December 1971, lot 72.

84. Two delftware plates, c.1760, one Bristol and painted in blue with two cranes standing beside an ornamental fence and flowering plants, the other Lambeth and painted with birds in flight above a pair of recumbent deer, and a Liverpool delftware soup plate painted with flowering plants to the well, the rim with three birds in flight, some chipping, 25.5cm max. (3) £150-250 Provenance: respectively acquired from Christie’s, 12th December 1966, lot 147 (part); Sotheby’s, 29th July 1971, lot 117 (part), formerly in the Warren Collection; Sotheby’s, 1st June 1965, lot 92 (part), formerly in the collection F H Garner.

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85. A pair of delftware plates, c.1740-60, probably Lambeth, of simple shape, each painted with a potted plant with sponged manganese leaves, within a continuous leaf and berry border in green, red and blue, and another plate of similar shape painted in blue and manganese with a central flower, one plate broken and restuck, 22.8cm. (3) £200-300 Provenance: respectively acquired from Sotheby's, 9th January 1973, lot 21; and Puttick & Simpson, 22nd November 1967, lot 56 (part), with a paper label for the W L Little Collection. Cf. Bonhams, Sampson and Horne; Defining the British Vernacular, 28th April 2010, lot 395 for a similar plate to the pair.

86. Three delftware plates, c.1750, one painted in blue with a Chinese boy jumping to catch a bird, beside a lady and flowering prunus, the shaped rim with a trellis design, another painted with two Chinese figures either side of a hanging lantern, the last with a Chinese lady holding a large parasol beside a vase of flowers, the rim with three rockwork panels, some rim faults, 23cm max. (3) £150-250 Provenance: respectively acquired from Christie’s, 5th April 1965, lot 78 (part), formerly in the collection of Sir Gilbert Mellor; and Sotheby’s, 2nd March 1965, lot 106 (part), formerly in the collection of F H Garner.

87. Four delftware bowls, mid 18th century, the shallow forms variously decorated in blue and polychrome enamels with vases of flowers, bamboo and flowering plants issuing from rockwork, and stylized flower sprays, two with an everted rim, some damages, 23cm max. (4) £150-250

88. Three shallow delftware bowls, c.1770-80, one inscribed ‘One Bowl More & then’ to the interior well, the exterior with concentric stylized borders, another with a large rose spray to the outside, the interior rim with a scalloped green border, the last with formal foliate bands beneath a yellow rim, 19.2cm max. (3) £200-300

Provenance: the bowl with the flower vase acquired from Puttick & Simpson, 15th January 1969, lot 76 (part).

Provenance: respectively acquired from Sotheby’s, 27th July 1982, lot 29, formerly in the Moreton Collection; Sotheby’s, 2nd March 1965, lot 15 (part,) formerly in the collection of F H Garner; and Puttick & Simpson, 15th January 1969, lot 76 (part).

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89. Three pairs of delftware miniature vases, mid 18th century, in three sizes, the double gourd forms painted in blue with flowering prunus branches either side of a formal motif, the rims with a hatched trellis border, 11cm max. (6) £200-300 Provenance: acquired from Sotheby's, 9th January 1973, lot 31.

90. A delftware flower pot, 1st half 18th century, Dutch or English, painted in blue with Chinese figures in a garden setting, moulded with mask handles, the flared foot painted with a band of stiff leaves and pierced with a row of drainage holes, and a two-handled vase of baluster form, painted with a bird amidst flowering branches, with scroll handles and a tall flared foot, some damages and restoration, 15.2cm max. (2) £150-250 Provenance: respectively acquired from Christie's, 29th March 1971, lot 38; and Christie's, 5th April 1965, lot 120 (part), formerly in the collection of Sir Gilbert Mellor.

91. Two delftware vases, mid 18th century, one Liverpool and painted in blue with flowering peony sprays, the rim with a stiff leaf band in the Chinese Transitional manner, the other Lambeth of bottle form, painted with two Chinese figures in a garden setting, damages and restoration to the rims, 21.5cm max. (2) £150-250 Provenance: respectively acquired from Sotheby’s, 2nd March 1965, lot 102 (part), formerly in the collection of F H Garner; and 19th December 1968, lot 84.

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93

92. A small delftware vase, c.1760, the small pearshaped body painted in shades of blue with a Chinese figure in a landscape beside feathery foliate motifs and starburst designs, restoration to the rim, 15.2cm. £150-250 Provenance: acquired from Sotheby’s, 2nd March 1965, lot 102 (part), formerly in the collection of F H Garner.

93. A Bristol delftware two-handled vase, mid 18th century, of campana shape with a wavy everted rim, painted in blue with two hayricks beside a farmhouse beneath tall sponged trees, applied with ropetwist handles, some chipping, 17cm high. £250-350 Provenance: acquired from Sotheby’s, 10th March 1981, lot 162, formerly in the collection of Louis L Lipski. Cf. Frank Britton, English Delftware in the Bristol Collection, p.175, no.11.26 for a vase of the same shape.

94. A massive delftware vase, c.1760, probably Liverpool, the baluster form painted in blue with a large spray of flowering peony issuing from rockwork, a butterfly or moth in flight to the reverse, the neck ground, 40.5cm. £300-400 Provenance: acquired from Sotheby’s, 19th May 1969, lot 71.

94

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95. A small delftware flower brick, c.1760, the rectangular form painted in shades of blue with flowering branches issuing from a short fence, the recessed top pierced with nine small holes either side of a central circular opening, some restoration, 12.5cm across. £200-300 Provenance: acquired from Sotheby’s, 2nd March 1965, lot 102, formerly in the collection of F H Garner.

96. An unusual small delftware flower brick, c.1760, probably Liverpool, the shallow rectangular form painted in blue to the long sides with swans swimming before a bridge and buildings, the short sides with a figure in a boat, raised on four shaped feet, the inside divided into three compartments with internal walls, the top pierced with an arrangement of 16 small holes around a central aperture, edged in blue, some restoration, 12.5cm across. £200-300 Provenance: acquired from Christie’s, 29th March 1971, lot 22. Cf. Frank Britton, English Delftware in the Bristol Collection, p.104 no.7.27 for an identical example.

97. A large delftware flower brick, c.1760, probably Liverpool, painted in blue with a small figure fishing in a landscape containing trees and bold rockwork, the landscape echoed to the shorter sides, the recessed top pierced with 26 small holes arranged in rows either side of a larger circular opening, some chipping, 17.3cm across. £150-250 Provenance: acquired from Christie’s, 27th June 1965, lot 1 (part).

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98. A small delftware flower brick, c.1750, the rectangular form painted with flowering mimosa sprays to all four sides, the recessed top pierced with an arrangement of 18 small holes around a central circular aperture, some chipping, 11.5cm across. £200-300 Provenance: acquired from Sotheby’s, 7th April 1970, lot 56 (part).


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99. A pair of delftware flower bricks, c.1740-50, the rectangular forms painted in blue with bamboo and flowering Oriental plants, the recessed tops pierced with 26 small holes around a larger circular aperture, some chipping, 16.2cm across. (2) £300-500 Provenance: acquired from Sotheby’s, 7th April 1970, lot 60.

100. A delftware flower brick of exceptionally large size, c.1760, probably Bristol, the rectangular form painted in blue with two figures meeting on a bridge, another fishing from a boat in a Chinese island landscape, the short sides each with a lone Chinese figure scratching his head, the top pierced with twelve rows of four small holes, a few small chips, 22.8cm across. £600-800

101. A delftware flower brick, c.1750, the rectangular form painted in blue with a dense foliate design, the recessed top pierced with rows of three small holes detailed as flowerheads flanking a central square aperture, some faults, 14.7cm across. £150-250 Provenance: acquired from Sotheby’s, 7th April 1970, lot 56 (part).

Provenance: acquired from Sotheby’s, 22nd December 1970, lot 196.

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102. A delftware flower brick, c.1760, the rectangular form painted in blue with low huts beneath trees in a rocky island landscape, the recessed top pierced with an arrangement of 6 small holes around a shaped aperture, chipping, 16cm across. £150-250 Provenance: acquired from Sotheby’s, 14th February 1967, lot 6 (part), formerly in the collection of H R P Lomas.

103. A delftware flower brick, c.1750, possibly Lambeth, the rectangular form painted in blue to each long side with a Chinese lady holding a single flower beside flowering plants, the shorter sides with flowering mimosa sprays, the top pierced with seven even rows of three holes with blue stars between, blue 4 mark to the underside, some chipping, 15.7cm across. £200-300 Provenance: acquired from Sotheby’s, 26th March 1968, lot 30.

104. Two delftware bottle vases, c.1750-60, one Liverpool and painted in the Fazackerly palette with flowering branches and rockwork, the other Lambeth and painted in blue with a Chinese figure standing beside another seated before rockwork in a pagoda landscape, damages and losses to the rims, 23cm max. (2) £250-350 Provenance: respectively acquired from Christie’s, 5th April 1968, lot 74; and Puttick & Simpson, 21st March 1967, lot 211.

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105. A delftware guglet and wash basin, c.1750-70, the guglet or bottle form with long neck and everted rim, the bowl with a wavy everted rim, each painted in blue with two Chinese figures beside trees and rockwork in a garden setting, some damages and restoration, 26.7cm max. (2) £300-400

106. Two delftware vases or guglets, c.1750-60, of bottle form with long necks tapering to a flared rim, one painted with a large chrysanthemum spray beside bamboo, the other with flowering Oriental branches, the neck with husk chains, some chipping to the rims, 25cm max. (2) £300-400

Provenance: acquired from Christie’s, 12th May 1969, lot 105.

Provenance: respectively acquired from Goold, Cambridge, 3rd November 1969; and Puttick & Simpson, 21st March 1967, lot 210.

107. A delftware flower bowl, c.1700-20, of circular form, painted in blue with insects in flight around flowering plants, the fixed domed cover pierced with an arrangement of ten small holes around a central aperture with raised rim, detailed in blue with stylized floral motifs, blue 3 mark to the underside, and a delftware colander bowl, the exterior painted with flowering plants before an ornamental fence, the concave fixed cover pierced with three concentric bands of holes, damages, 22.5cm max. (2) £300-400

108. A Delft jug, c.1700-20, decorated in red and blue with a peacock and other long-tailed birds amidst flowering plants, the loop handle with blue dash detailing, and a Delft plate painted in polychrome enamels with a vase of flowers within concentric circle bands in blue, yellow and red, the jug broken and restuck, 22cm max. (2) £150-250 Provenance: the dish acquired from Christie's, 5th April 1965, lot 85, formerly in the collection of Sir Gilbert Mellor.

Provenance: respectively acquired from Sotheby’s, 15th May 1979, lot 30, formerly in the Moorwood Collection; and Quinneys Ltd, Chester, c.1955.

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109. A Liverpool delftware wall pocket, c.1760, of cornucopia shape, moulded with a large bird picked out in blue and standing on polychrome flowering branches, the rim with shell scroll details in polychrome enamels, two cracks to the rim, 21cm. £200-300

110. A delftware two-handled storage jar, c.1705-15, of bulbous shape, painted in red, blue and green with a formal floral design between stiff leaf and lappet borders, one handle restored, 11.2cm. £250-350 Provenance: acquired from Sotheby's, 1st June 1965, lot 116 (part), formerly in the collection of F H Garner. The purpose of this rare type of jar is unclear. Michael Archer has suggested that they may have been used to store ginger root, but they have also been suggested as a vessel for storing wig powder.

111. A London delftware food warmer base, c.1760-80, the cylindrical form with a shaped opening beneath a moulded mask, a further mask to the reverse, the sides with scrolled handles, painted with stylized foliate motifs, 17.5cm. £150-250 Provenance: acquired from Sotheby’s, 4th March 1975, lot 6.

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112. Two delftware sweetmeat trays or hors d’oeuvres dishes, c.1740-60, one probably London and with four shaped wells around a central square compartment, painted in blue with Chinese figures in boats and with flowering plants, the whole raised on four low feet, the other tray probably Liverpool and formed of three compartments, each painted with a tree before a fence, edged in a trellis design, raised on three peg feet, minor faults, 20.3cm max. (2) £400-600 Provenance: respectively acquired from Sotheby’s, 22nd June 1976, lot 60; and Goold, Cambridge, 4th April 1969.

113. A Delft Toby jug, c.1770, seated on a low box with his hands resting on his knees, wearing a sponged blue suit with manganese detailing, some chipping, 24.5cm. £200-300 Provenance: acquired from Puttick & Simpson, 29th November 1967, lot 48. Bought as Lambeth delftware.

114. A rare Lambeth delftware butter bowl or sweetmeat dish, c.1770-80, the small bowl affixed to a plate or stand, decorated with simple formal borders and swag motifs, the interior inscribed with the letter A over J:S, some chipping, 21.5cm dia. £150-250 Provenance: acquired from Sotheby’s, 6th December 1983, lot 642, formerly in the collection of Louis L Lipski, no. 324. Cf. Lipski & Archer, Dated English Delftware, p.303, no.1247 for a similar bowl dated 1777. Lipski described such bowls as being used to serve syllabub, but their true purpose is unclear.

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115. Two delftware plates and a saucer dish, c.1750, one plate and the dish probably London, painted to the wells in a bold polychrome palette with Oriental flower sprays and a two-storey pagoda, the rims with flying insects and flower sprays detailed in yellow on a powdered manganese ground, the other plate Bristol or Wincanton, unusually painted in blue with birds perched on and beneath bamboo within a six-petalled flowerhead panel, the rim with four blue fish on a powdered manganese ground, a riveted crack to the latter, 22.6cm max. (3) £150-250

116. A pair of Bristol delftware plates, mid 18th century, painted in blue with a figure in a boat before a low hut on an island, a further sailing boat in the background, and a large octagonal plate painted with a solitary figure fishing beside a low fence, before an island village scene, two dash marks on the reverse, some rim damages, 26.5cm max. (3) £150-250 Provenance: respectively acquired from Sotheby’s, 14th February 1967, lot 5 (part); and Christie’s, 5th April 1965, lot 79 (part), formerly in the collection of Sir Gilbert Mellor.

Provenance: respectively acquired from Christie’s, 2nd June 1975, lot 232, formerly in the collection of Mrs G I Cameron; and Archibald Frith Allbrook, via Sotheby’s, 18th April 1972.

117. A Bristol delftware plate, mid 18th century, painted in blue with small buildings and trees in an island landscape, the cavetto with flower panels reserved on a hatched diaper ground, the underside inscribed ‘S W A’, and a small Lambeth dish or shallow bowl, painted with a low hut beneath a gnarled tree beside cannon ball rocks, some chipping, 23cm max. (2) £100-200 Provenance: respectively acquired from Christie’s, 5th April 1965, lot 79 (part), formerly in the collection of Sir Gilbert Mellor; Sotheby’s, 2nd March 1965, lot 42 (part), formerly in the F H Garner Collection.

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118. A large delftware shallow bowl and a charger, c.1740-60, the bowl of large size and painted in blue with a Chinese lady looking out of a window at a further figure holding a long-tailed bird aloft, the cavetto with a panelled diaper border, the charger painted in blue with a Chinese figure seated on a chair before a pagoda beneath a willow tree, the rim with a formal foliate border, the former cracked, some chipping, 35.7cm max. (2) £150-250 Provenance: respectively acquired from Sotheby's, 6th December 1983, lot 753 (part), formerly in the collection of Louis L Lipski; and Sothebys, 7th April 1970, lot 44.


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119. A massive delftware charger, c.1760, well painted in blue with a bird in flight above another perched on a prunus branch beside flowering peony and rockwork, the rim with ruyi lappets and a trellis border, a large rim chip, 53.3cm. £400-600 Provenance: acquired from Christie’s, 2nd June 1975, lot 201.

120. A Bristol delftware charger, c.1730, painted in blue, red and green with insects in flight above flowering Oriental plants, within a formal border, the rim with oval panels of flower sprays on a blue ground, the underside rim with an X and II design, square mark to the base, a 12cm rim crack, 33.2cm. £100-200

121. A Spanish maiolica charger, 18th century, painted in blue and black with a winged figure on horseback between sponged trees and a double concentric line border, 31cm. £100-200 Provenance: acquired from Sotheby’s, 14th June 1966, lot 8. Bought as Bristol delftware.

Provenance: acquired from Sotheby’s, 30th April 1982, lot 17. Cf. Frank Britton, English Delftware in the Bristol Collection, p.295, no.19.12 for a similar dish.

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122. A Liverpool delftware char dish, c.1760-70, Zachariah Barnes Pottery, the shallow circular form painted to the exterior with five narrow fish in manganese, green and red, some chipping to the rim, 19.7cm dia. £300-400 Provenance: acquired from Sotheby’s, 1st June 1965, lot 116 (part), formerly in the collection of F H Garner. Char fish (a member of the trout family) are found in deep cold water, and in the UK are found primarily in Lake Windermere. Potted char was spiced and covered with clarified butter, and was a favoured delicacy of the royal court.

124. A Dutch or English delftware milk tureen or broth bowl and cover, c.1700, the shallow circular form painted in blue with a mimosa spray design, applied with two wide strap handles, the interior rim moulded with a pierced straining compartment, marked 4 inside the tureen and 7 inside the cover, some chipping to the cover’s edge, 25.5cm across. (2) £100-200 Provenance: acquired from Sotheby’s, 14th March 1971, lot 7.

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123. A rare delftware two-handled sauceboat, c.1760-70, the double-ended form painted in blue with a figure in a boat in a Chinese pagoda landscape beneath a trellis border, the interior with sprays of flowering peony, the shaped handles glazed blue with darker detailing, raised on three paw feet, some restoration, 25.3cm across. £100-200 Provenance: acquired from Sotheby’s, 2nd April 1976, lot 12.

125. A Frankfurt faïence tureen and cover, c.1690, the circular form painted in manganese, green and yellow with Chinese figures in a mountainous landscape, the sides with two loop handles detailed in manganese, some damages, 28cm dia. (2) £150-250 Provenance: acquired from Christie’s, 2nd June 1975, lot 206, formerly in the collection of Mrs G I Cameron. Bought as Bristol delftware.


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126. Two Bristol or Wincanton delftware plates, c.1740, one octagonal and one round, each painted with a central octagonal panel in blue with ships sailing before a castellated building flying a pennant, reserved on a powdered manganese ground with small floral vignettes, minor damages, 22cm max. (2) ÂŁ100-200 Provenance: respectively acquired from Minette Puxon Antiques, Colchester, 6th March 1975; and Sotheby's, 20th May 1975, lot 19. Cf. Michael Archer, Delftware, p.140, nos. B49 and B50 for plates with a similar harbour design.

127. Two delftware powdered ground plates, c.1740-50, one probably Lambeth and painted in blue with a pagoda issuing from rockwork, reserved on powdered brown ground with shaped floral motif panels to the rim, the other with a woolsack panel containing a flowering branch, reserved on a pale powdered manganese ground, the rim of the former repaired, 22.3cm. (2) ÂŁ100-200 Provenance: respectively acquired from Sotheby's, 27th July 1982, formerly in the collection of F H Garner and in the Moreton Collection; and Christie's, 2nd June 1975, lot 215. Illustrated: F H Garner & Michael Archer, English Delftware, no.94B for the brown ground plate.

128. A pair of delftware plates, c.1750, probably Lambeth, the wells painted with a scallop-edged panel of bamboo and flowering branches in blue, reserved on a dark powdered manganese ground, the rim with four shaped panels containing a leaf spray, 22.6cm. (2) ÂŁ150-250 Provenance: acquired from Allbrook, via Sotheby's, 18th April 1972, lot 32.

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129. A pair of London delftware plates, c.1770-80, probably Lambeth, painted in blue with a Chinese boy seated beneath a weeping willow and looking up, the cavetto with a geometric border, the rim with a scroll border and yellow line, 25.7cm. (2) £120-180

130. Two delftware plates, c.1740-60, London or Bristol, of primitive shape, painted in blue, red and green, one with birds in flight above trees, the other with a stylized flower spray within a continuous blue and red border, 20.3cm max. (2) £250-350

Provenance: acquired from Sotheby's, 16th December 1968, lot 27 (part).

Provenance: respectively required from Christie's, 5th April 1965, lot 85 (part), formerly in the collection of Sir Gilbert Mellor; and Allbrook, 29th July 1970.

131. Two small delftware plates, c.1740-60, one painted in blue with a standing Chinese figure pointing towards a vase of flowers on a low table, the rim with flying insects and stylized flowering branches, the other of shallow dish form and painted with bamboo behind an ornamental fence and with large flowering plants echoed to the rim, some rim faults, 17.6cm max. (2) £150-200

132. Two delftware plates, c.1750-70, the first Bristol or London and painted in manganese with Arion riding a dolphin, with sailing boats in the background and tall sponged trees to one side, the other of pancake shape and painted with a simple house flanked by bare trees, the rim with stylized leaf motifs, some damages and restoration, 22.5cm max. (2) £100-200

Provenance: the plate with a paper label for the Lipski collection, the dish acquired from Sotheby’s, 1st June 1965, lot 58 (part), formerly in the collection of F H Garner.

Provenance: respectively acquired from Puttick & Simpson, 22nd November 1967, lot 65 (part); and Sotheby’s, 9th January 1973, lot 21 (part).

133. A delftware ‘Merry Man’ plate, dated 1716, London or Bristol, the fifth in a series of six, inscribed ‘But if his Wife do Frown’ within a continuous blue leaf border, and an Italian maiolica armorial plate, painted in blue, yellow and black with a cartouche of a lion rampant within the initials ‘G B T’, the Merry Man plate broken and restuck, 23.3cm. (2) £200-300

134. A pair of Liverpool delftware plates, c.1760, each painted with a European couple dancing in a garden setting, she with left arm outstretched and raising her skirt with her right hand, the rims with sprays of flowering plants, the undersides with a leaf motif, some chipping, 21.5cm. (2) £300-500

Provenance: the armorial plate acquired from Christie's, 5th April 1965, lot 85 (part), formerly in the collection of Sir Gilbert Mellor.

Provenance: acquired from Sotheby’s, 6th December 1966, lot 27 (part). Cf. Frank Britton, English Delftware in the Bristol Collection, p.298, no.19.23 for the same design with a different border.


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135. A delftware plate, mid 18th century, probably Bristol, painted in blue with cattle beside two large hayricks behind a low fence and before buildings, all beneath tall sponged trees, 22.8cm. £100-200

136. A London delftware ballooning plate, c.1785, Lambeth or Vauxhall, painted in blue with two figures seated in a gondola-shaped basket beneath a hot air balloon flying above a village landscape, the rim with a trellis border, broken in half and restuck, 23.5cm. £100-200 Provenance: acquired from Sotheby’s, 26th January 1965, lot 34 (part). The ballooning scene depicted on this plate is that of Dr John Jeffries and Jean-Pierre Blanchard crossing the English Channel from Dover to Calais on 7th January 1785.

137. A delftware plate, c.1730, probably Bristol, painted in blue with a central seated figure wearing a large hat, before a building with a tall spire, flanked by trees sponged in manganese, 21.5cm.£200-300 Provenance: acquired from Christie's, 20th November 1965, lot 162. Cf. Frank Britton, English Delftware in the Bristol Collection, p.299, no. 19.28 for a polychrome plate in the same design.

138. A delftware wash basin, c.1770, the deep form with crimped everted rim, painted in blue to the interior with a pagoda landscape before mountains, a central tree issuing from elaborate rockwork, the exterior with simple flower sprays, some faults, 27.5cm dia. £100-150 Provenance: acquired from Goold, Cambridge, 11th April 1969.

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139. A delftware plate, dated 1766, painted in blue with moths beside a tied floral arrangement including chrysanthemum and peony, within a hatched diaper border, inscribed to the reverse ‘J:G 1766’, a crack to the well, 19.7cm. £150-250

140. A Delft plate, dated 1690, inscribed ‘L P M 1690’ flanked by two griffin terms either side of a basket of flowers and a mask, with tasselled swags suspended from a C scroll design, 22cm. £200-300 Provenance: acquired from Sotheby’s, 20th November 1969, lot 20.

141. A rare Liverpool delftware armorial plate, c.1750-60, decorated probably in Staffordshire in raised polychrome enamels with the arms of Cardonnel impaling Hilton, the cavetto with Chinese auspicious objects between a green trellis border, the rim with sprays of flowering Oriental plants, some wear, 22.3cm. £1,000-2,000 Provenance: acquired from Allbrook, c.1971. Cf. David Sanctuary Howard, Chinese Armorial Porcelain, p.237, no. E4 for the Chinese famille verte original. It is presumed that this plate was made as a replacement or addition to the original service. Two other examples are known; one formerly in the F H Garner Collection and now in the Victoria and Albert Museum; the other sold at Sotheby’s in 2006 as part of the Harriet Carlton Goldweitz Collection (lot 91). See also Michael Archer, Delftware, p.128.

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142. A Bristol delftware punch bowl, c.1755, painted in blue with sprays of flowering plants reserved within shaped panels on a powdered lilac ground, a section broken and restuck, 23cm. £100-150 Provenance: acquired from Sotheby’s, 2nd March 1965, lot 15 (part), formerly in the collection of F H Garner.

143. A rare delftware square bowl, c.1770, of unusual lobed square shape with undulating rim, boldly painted in blue to both sides with a large scaly dragon among cloud scrolls, a section broken and riveted, 31cm. £100-200 Provenance: acquired from Sotheby’s, 6th December 1983, lot 75, formerly in the collection of Louis L Lipski, no. 615.

144. A large delftware punchbowl, dated 1755, probably London, painted in blue to the exterior with a large continuous flower spray, the interior inscribed ‘One Bowl More and Then 1755’ within flower sprays and auspicious objects in biancosopra-bianco, a 9cm rim crack, 30.5cm dia. £500-800 Provenance: acquired from Sotheby’s, 27th July 1982, lot 634, formerly in the collections of Louis L Lipski and F H Garner. Illustrated: Louis L Lipski and Michael Archer, Dated English Delftware, p.272, no.1150.

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145. A large and early English delftware posset pot, c.1695-1700, probably Brislington or Bristol, painted in bright polychrome enamels with birds perched among flowering branches, applied with two double roll handles topped with green snakes reaching for the flared rim, the whole raised on three bun feet, some damages and restorations, the cover lacking, 21cm high. £800-1,200 Provenance: acquired from Christie’s, 27th July 1982, lot 305, formerly in the Moreton Collection, no. 4. Cf. Michael Archer, Delftware, no. D.15 for a similar pot dated 1697. Archer discusses the use of serpents on the handles, fragments of which have been excavated at Brislington. Moreton’s label attributes the pot to Lambeth, and it is possible that the London factories were producing similar pots around this time.

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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.

146. A delftware posset pot, c.1680, Brislington or London, of large size, painted in blue and manganese with a figure wearing an elaborate costume and plumed hat to one side of the spout, the other side with a figure seated beside a small tree, the reverse with a further figure in a Chinese landscape, the rim with a blue scroll border, applied with two scroll handles with blue detailing, damages, the cover lacking, 29.5cm dia. £150-250 Provenance: acquired from Dunmow, c.1954.

147. A delftware posset pot and cover, c.1720-30, London or Bristol, the tall body painted in red, blue and green with sprays of Oriental flowers beneath a formal scroll border, the design echoed to the domed cover, with wide strap handles and a narrow applied spout detailed with blue dashes, damages, 23cm high. (2) £400-600 Provenance: acquired from Christchurch, c.1962.

148. Two delftware posset pots, c.16801700, London or Bristol, one of small cylindrical form, painted in blue to two sides with a Chinese figure seated in a landscape, the other of thistle shape and painted with stylized flower sprays, each applied with strap handles and a narrow curved spout, some damages, the covers lacking, 22cm max. (2) £400-600 Provenance: respectively acquired from Sotheby’s, 1st March 1983, lot 415, formerly in the collection of Louis L Lipski; and Sotheby’s, 1st April 1971.

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149

150

149. A Bristol or Brislington delftware tulip charger, c.1730-40, painted in blue, green, yellow and umber with a central tulip flanked by other flowers within a central circular panel, the rim with a wide geometric border of stylized leaf and flower motifs within a blue sponged rim, a large chip to the underside of the rim, 34.8cm. £600-1,000 Provenance: acquired from Sotheby’s, 16th July 1965, lot 2. 150. A delftware blue dash tulip charger, late 17th/early 18th century, probably London, unusually decorated with three large tulips and two thistles in a limited palette of blue, yellow, manganese and green, within a blue dash rim, the underside with a buff glaze, 34cm. £1,000-2,000 Provenance: acquired from Sotheby’s, 15th December 1964, lot 44.

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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.

152

151

151. A Brislington blue dash tulip charger, c.1720, boldly painted in blue, green, yellow and red with a central tulip flanked by smaller tulips and upright foliage, within concentric yellow and blue lines and a blue dash border, some restoration to the rim, 34cm. £600-1,000 Provenance: acquired from Christie’s, 9th October 1967, lot 62. Cf. Bonhams, The Olive Collection, 31st January 2019, lot 70 for a near identical charger. 152. A delftware blue dash tulip charger, c.1680, probably Brislington, boldly painted with three tulips and long straight leaves unusually issuing from a chequered vase or bowl with scrollwork decoration, within concentric yellow and blue lines and a blue dash rim, the underside with a thin buff glaze, a 12cm rim crack, 35cm. £1,500-2,000 Provenance: acquired from Sotheby’s, 14th June 1966, lot 14, formerly in the collection of F H Garner.

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153

154

153. A Bristol or Brislington blue dash charger, c.1730-40, painted with ‘The Temptation’, Adam and Eve flanking the Tree of Knowledge and Eve accepting the Forbidden Fruit from the serpent that entwines the trunk, each holding a leaf to protect their modesty, flanked by sponged trees, within a blue dash rim, 13.5cm rim crack, 35cm. £800-1,200 Provenance: acquired from Sotheby’s, 23rd October 1968, lot 131. 154. A Bristol delftware Adam and Eve charger, c.1730-40, painted with the scene of the Temptation, the doomed couple flanking the Tree of Knowledge with the serpent draped around its trunk, painted in blue with sponged green foliage and detailed in ochre and umber, within a sponged blue border, 33cm. £1,000-1,500 Provenance: acquired from Sotheby’s, 15th December 1964, lot 52. Cf. Michael Archer, Delftware, A.20 for a very similar dish with a blue dash rim.

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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.

156

155

155. A Bristol blue dash Adam and Eve charger, c.1730-40, painted with the scene of the Temptation, Eve handing the Forbidden Fruit to Adam as they stand either side of the Tree of Knowledge, around which the serpent is coiled, predominantly painted in blue with sponged green foliage and yellow and umber detailing, some glaze chipping to the rim, 34.5cm. £2,000-3,000 Provenance: acquired from Sotheby’s, 11th January 1966, lot 8. 156. A Brislington delftware blue dash Adam and Eve charger, c.1700, painted with a scene of the Temptation, the couple standing confidently either side of the Tree of Knowledge, each holding a Forbidden Fruit while a smiling serpent with a forked tail coils around the fruit-laden tree, within a narrow manganese band and a blue dash rim, two sections broken out and repaired with old rivets, 34.5cm. £600-1,000 Provenance: acquired from Sotheby’s, 17th April 1973, lot 190. Cf. Victoria & Albert Museum, Accession No. C.146-1991 for a similar example.

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157. A Bristol delftware Adam and Eve charger, c.1750, probably Richard Frank, Redcliff Back, depicting the Temptation in the Garden of Eden, the first couple flanking the Tree of Knowledge around which the serpent coils, proffering the Forbidden Fruit to Eve, predominantly painted in blue with yellow and red detailing, the leaves sponged in green, the rim with a sponged blue border, some rim faults, 33.5cm. £800-1,200 Provenance: acquired from Sotheby’s, 15th December 1964, lot 47.

158. A London delftware Royal portrait plate, c.1690, painted with the double portrait of William and Mary, each wearing a crown, William III in an ermine-edged robe, titled ‘W M R’ between the figures, all within three narrow concentric blue bands, cracked, 22cm. £800-1,200 Provenance: acquired from Sotheby’s, c.1962.

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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.

159. A Bristol delftware punchbowl of Jacobite relevance, c.1746, painted in blue to the interior with the profile portrait of the Duke of Cumberland, depicted in Classical manner wearing a laurel diadem, inscribed ‘D W For Ever’, the exterior painted in blue and manganese with four panels containing chickens, a section broken out and cleanly repaired, 26.4cm. £800-1,200 Provenance: acquired from Sotheby’s, 10th March 1981, lot 110, formerly in the collection of Louis L Lipski, no. 1247. DW (or Duke William) was the youngest son of George II and commanded the royalist forces during the Jacobite Uprising, defeating the Stuart rebels at the Battle of Culloden in April 1746.

160. A Bristol delftware blue dash Royal charger, c.1714-27, painted with a full length portrait of George I or George II, holding an orb and sceptre and wearing an ermine-lined robe, flanked by green sponged trees, within a blue dash rim, broken and repaired, 32.7cm. £1,000-1,500 Provenance: acquired from Sotheby’s, 23rd October 1968, lot 130.

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161. A London delftware blue dash Royal charger, c.1690, painted with a full length equestrian portrait of King William III, astride his horse jumping a low fence, inscribed ‘KW’ and flanked by blue sponged trees within a yellow line border and blue dash rim, restored, 33.7cm. £2,000-3,000 Provenance: acquired Sotheby’s, 23rd October 1964, lot 134.

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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.

162. A London delftware blue dash Royal charger, c.1702, painted in blue, green and yellow with a full-length portrait of Queen Anne, seated and holding an orb and sceptre, flanked by blue sponged trees, inscribed ‘A R’, all within concentric narrow blue and yellow bands inside a blue dash rim, the underside decorated in a buff glaze, a rim crack, 30cm. £4,000-6,000 Provenance: acquired from Sotheby’s, 15th December 1964, lot 55.

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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.

163. A rare and early delftware Fecundity dish, dated 1638, the oval form moulded in high relief with Venus reclining and attended by putti at various pursuits, inscribed ‘1638 I N’, the rim with eight oval and circular recessed wells painted with leaf motifs, between raised motifs of fruit baskets and masks, the whole decorated in a palette of blue, green and yellow, restored, 49.6cm. £8,000-12,000 Provenance: acquired from Christie’s, 2nd June 1975, lot 280, formerly in the collection of Dr J. Franklin and sold at Sotheby’s, 26th October 1971, lot 11. Illustrated: Louis L. Lipski & Michael Archer, Dated English Delftware, p.38, no.94.

END OF SALE 62


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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 15th October 2019 Items from The Jean Lucas Collection of 18th Century English Porcelain. Various estimates.

ENQUIRIES Clare Durham | Tel: +44 (0)1722 424507 | cd@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price


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THE JUDITH HOWARD COLLECTION OF SÈVRES PORCELAIN Tuesday 4th and Wednesday 5th February 2020

A large Vincennes circular platter from the Blue Service of Louis XV, c.1753

ENQUIRIES Clare Durham | Tel: +44 (0)1722 424507 | cd@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price


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FINE SILVER & OBJECTS OF VERTU Tuesday 29th October 2019

An early 17th century German silver-gilt tankard, by Peter Wiber, Nürnberg, circa 1620, height 14cm. Estimate £4,000-6,000* ENQUIRIES Rupert Slingsby | Tel: +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | Tel: +44 (0) 1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price


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FINE CHINESE WORKS OF ART Tuesday 12th & Wednesday 13th November 2019

A Chinese gilt-bronze figure of Buddha Shakyamuni 18th century Estimate ÂŁ5,000-8,000*

Amber Lees | Tel: +44 (0)1722 424571 | aml@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price


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THE MARTIN BROTHERS POTTERS BRITISH ART POTTERY Wednesday 27th November 2019 Closing date for entries 2nd October

A fine Martin Brothers stoneware bird jar and cover, 26.5cm high. Provenance: The Daryl Fromm collection. Estimate £30,000-50,000* ENQUIRIES Michael Jeffery | Tel:+44 (0)1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price


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

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. 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

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01962 622 133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

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

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


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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.


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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is


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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or 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. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.


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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000


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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 1998 (DPA) and, once in force, 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, 51-61 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; • the-saleroom.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 the-saleroom.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 (the-saleroom.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 government-issued 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; • the-saleroom.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. 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 life-threatening 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 particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available


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

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


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WOO L LE Y & WA L LI S Absentee Bid Form The Warner Collection of British Delftware

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 17th September 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print) Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. ID is required for all first time bidders.

Signature

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

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AUCtion CAlendAr SePtember 4th 17th 18th & 19th

old masters, british & european Paintings the Warner Collection of british delftware tribal Art & Antiquities

FREE VALUATION MORNINGS First Friday of every month 10am-1pm. No appointment necessary.

oCtober 2nd 15th 16th 29th 30th

Furniture, Works of Art & Clocks english & european Ceramics & Glass design Fine Silver & objects of Vertu Fine Jewellery

NEXT VALUATION DATES: 6th September, 4th October & 1st November

noVember 12th & 13th 20th 27th

Asian Art, Chinese Paintings & Japanese Works of Art medals & Coins, Arms & Armour british Art Pottery

deCember 11th

modern british & 20th Century Art

dates may be subject to change.

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

A Staffordshire slipware honey pot, c.1700. SOLD FOR £4,750*


www.woolleyandwallis.co.uk

Profile for Jamm Design Ltd

Woolley & Wallis  

The Warner Collection of British Delftware | 17 September 2019

Woolley & Wallis  

The Warner Collection of British Delftware | 17 September 2019