Woolley & Wallis by Jamm Design Ltd

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

Fine Porcelain & Pottery

Tuesday 9th September 2014

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

20TH CENTURY DESIGN Michael Jeffery Amanda Lawrence

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VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598

ASIAN ART John Axford MRICS ASFAV Sophie Lister Alex Aguilar Doméracki Freya Yuan

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ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

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MARKETING Tamzin Corbett

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CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 Amanda Lawrence — 329477 FURNITURE Mark Richards Jim Gale Anna Brown

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler SILVER Rupert Slingsby Lucy Chalmers

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SALEROOM MANAGER David Jordan BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs — Gemma Bush —

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Members of The Society

GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young

ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

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

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FINE PORCELAIN & POTTERY

Tuesday 9th September 2014 at 10.30am Viewing Times Saturday 6th September Monday 8th September Tuesday 9th September

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

ENQUIRIES Clare Durham 01722 424507 claredurham@woolleyandwallis.co.uk Amanda Lawrence 01722 329477 amandalawrence@woolleyandwallis.co.uk

CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults.

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Monday 15th September. If you are collecting items after this date please contact the department to arrange in advance.

LIVE BIDDING

Please register by 6pm Tuesday 6th May. There is no surcharge for using this service.

Front cover: Lot 205 Back cover: Lot 165 detail Catalogue £10.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

298

1. A good Staffordshire model of Jumbo the elephant, 19th century, the ill-fated creature standing four square on a titled oval base, his long trunk curled as it touches the ground, glazed in a greyish brown, 27cm high. £200-300 Cf. P D Gordon Pugh, Staffordshire Portrait Figures, p.426. Jumbo became the highlight of Phileas Barnum’s circus in 1882, touring the US and Canada. On September 15th 1885 Jumbo was hit by a train, which was derailed, crushing him to death and breaking his skull in over a hundred places. Barnum had a taxidermist immortalize the 6 ton elephant and later told the world that Jumbo had charged the train in an attempt to save Alice, a smaller beast whom he billed as Jumbo’s ‘widow’.

2. A large Staffordshire pearlware bear-baiting jug and cover, c.1820, the muzzled grizzly licking his chops and holding a chained dog between his forepaws, the dog with teeth bared, some restoration, 32cm (2). £300-400 Cf. Myrna Schkolne, People, Passions, Pastimes and Pleasures, p.130. Bear baiting was not abolished in England until 1835, but as early as 1550 reformer Robert Crowley attacked the sport in an epigram ending with the words “...at the last Day their Conscience will declare, That the Poor ought to have all that they can spare. If you therefore it give to see a Bear fight, Be sure God his Curse upon you will light”.

3. A large Nottingham salt-glazed stoneware bear jug and cover, mid 18th century, modelled seated on its haunches and clutching a cub between its front paws, its fur depicted in crumbed clay, the snout, paws and collar decorated in a brown lustre glaze, the body pierced to accept a tap, the chain lacking, chips to the feet, 26.7cm. (2) £400-600

4. A pearlware part dessert service, c.1800, probably Wedgwood, decorated with stylized orange flowers reserved on an apple green ground, some damages. Comprising: two sauce tureens with covers and ladles, two baskets, one stand, a comport, three shell-shaped dishes, a two-handled dish, and nine plates. (23) £400-600 Together with a card from Mrs B Moffatt (née Oakley) of Goodrich Court, Herefordshire, dated 1938, which states the service had belonged to her grandfather at Lydart House in Monmouthshire.

5. Four pearlware nursery or toy plates, early 19th century, printed and hand-coloured with rural scenes including a windmill, a thatched cottage and figures fishing, the feather-moulded rims edged in green, 11.6cm. (4) £200-300

6. A pearlware cylindrical mug, c.1800, printed and handcoloured with a couple being wed by a blacksmith, titled ‘Gretna Green, or the Red Hot Marriage’ after a contemporary mezzotint, and inscribed with the stanza ‘Oh Mr Blacksmith ease our Pains And Tye us fast in Wedlock’s chains’, rim crack, 12.2cm. £150-250

7. An unusual small pearlware figure, late 18th/early 19th century, of a Dutch woman, modelled in the Astbury manner, seated with wide blouson sleeves, wearing an apron, 10cm. £300-500

8. A pearlware blue and white eyebath, 1st half 19th century, perhaps Dilwyn, printed with a continuous foliate design with smoke ring flowers to the bowl and foot, a faint rim crack, 5.5cm. £250-350 The design is taken from the border of a pattern known as ‘Blind Man’s Bluff in the Open’, see Friends of Blue, Bulletin 69, page 11 for a plate with the full pattern.

9. A Spode pearlware blue and white eyebath, c.1800, transferprinted with a version of the Willow pattern, three figures crossing a bridge between pagodas beneath two birds in flight, raised on a moulded stem, impressed mark, 7cm. £250-350

10. A Copeland Late Spode pearlware eyebath and a Spode eyebath, 19th century, the first printed in blue with a continuous floral design to the bowl and foot, continuing to the bowl’s interior, impressed and printed marks, the latter with figures in a Chinese pagoda landscape, each raised on a baluster moulded stem, some damages and restoration, 7cm max. (2) £250-350

11. A rare Dutch ‘Hoorn’ botanical tile, c.1630-50, probably Haarlem, painted with a large striped red and white tulip with faint manganese detailing, 12.8cm. £300-400

12. A rare pair of Wincanton delftware tiles, c.1740, half of each tile covered diagonally in a characteristic bubbled cobalt blue glaze, 12.5cm. (2) £300-500 Cf. Transactions of the English Ceramic Circle, Vol. 19, Part 2, 2006, p. 234 for a brief discussion of these tiles as part of Hamish Cole’s article on Wincanton Revisted.

Cf. Christie’s, Amsterdam, 4th - 5th October 2011, lot 97 for a similar complete panel of these tiles, formerly attributed to Hoorn.

13. Three Liverpool delftware woodblock printed tiles, c.1756-57, one decorated with a pair of shepherd lovers seated beneath a tree with a dog beside, printed in manganese then over-enamelled, the other two printed in blue with a Dutch canal scene, the former broken and restuck, 13cm. (3) £300-500 Cf. Jonathan Horne, English Tin-Glazed Tiles, p.126 for examples of both types of tile.

detail 14. A panel of seven rare Spanish ceiling tiles (ladrillo por tabla), 1st half 16th century, decorated in the cuerda seca technique, each with a running brown hare wearing a blue collar, amidst green leaves, some damages and repairs, 171cm overall. ÂŁ300-500 Cf. Anthony Ray, Spanish Pottery, no.877 for an identical tile. Ray goes on to explain the rarity of ceiling tiles produced in the cuerda seca technique.

detail 15. A panel of five rare Spanish ceiling tiles (ladrillo por tabla), 1st half 16th century, decorated in the cuerda seca technique, each with a running brown hare wearing a blue collar, amidst green leaves, some damages and repairs, 125cm overall. ÂŁ250-350

16. A panel of two rare Spanish ceiling tiles (ladrillo por tabla), 1st half 16th century, decorated in the cuerda seca technique, each with a running brown hare wearing a blue collar, amidst green leaves, some damages and repairs, 52cm overall. ÂŁ100-200

17. Three Antwerp floor or pavement tiles, 16th century, two painted with a profile portrait of a man believed to be Federico da Montefeltro, Duke of Urbino, the other of a woman wearing a cloth turban hat, 9.8cm. (3) £500-800 Cf. Anne Berendsen, Tiles - A General History, p.109 for a similar example, and p.102-107 for a discussion of Antwerp tiles, including those commissioned for The Vyne, Hampshire. Montefeltro is known as a popular subject for tiles of this type and can be recognised by the bump on his nose, where surgeons removed the bridge following injuries sustained during a jousting tournament.

18. Three English delftware tiles, mid 18th century, London or Liverpool, two decorated with figures standing before other figures on staging, one with a couple walking before a stately home, with rare foliate spray corners, 12.8cm. (3) £200-300 Cf. Jonathan Horne, English Tin-Glazed Tiles, p.26, nos. 66 and 67 for the same scenes on London tiles.

19. Three Liverpool delftware tiles, c.1750-75, painted in blue with figures at various pursuits in village and harbour scenes, within a chamfered square panel with flowerhead corners, 12.7cm. (3) £150-250 Cf. Jonathan Horne, English Tin-Glazed Tiles, Nos. 189-200 for similar examples.

20. An early London delftware dish, c.1690, painted in blue, green and red with a central bird perched on Oriental flowers with flying insects around, within three floral panels, the rim with a scrolling foliate and pinecone border, a restored crack, 30.3cm. £500-800

21. A Bristol delftware charger, c.1750, painted in blue with lovers before a ruined archway and beneath a tall tree, a little retouching to the rim, 34.7cm. £150-250

22. A London delftware lobed dish, c.1680, the well painted in blue with a bird perched on a flowering stem, the rim with a border of stylized flowerheads, 25cm. £200-300

23. An early London delftware dish, c.1690, painted in a palette of blue, red, green and yellow with a central bird between panels of stylized Oriental foliage, the rim with a simple geometric scrolling border, the underside with a blue dash and circle design, 29.3cm. £800-1,200 22

24. An English delftware plate, c.1740, decorated in blue, red and green with a Chinaman seated before a fence in a garden scene, his right arm extended, the rim with a border of hatched panels and half mon, 22.2cm. £200-300

25. A small Delft fluted dish, c.1760, the well painted with a crowned monogram within a stylized floral and scrolling border, blue mark for The Star factory, 16.7cm. £200-300

26. A large Delft tankard, 18th century, painted in manganese with stylized Oriental flowers, the wide strap handle with horizontal dashes, minor faults, the pewter mount lacking, 18.7cm. £300-500

27. A tin-glazed tea canister, 18th century, of chamfered rectangular form, one side painted with a figure in a boat before tall pagodas, the reverse with a tulip and other flowers issuing from a vase, between floral tendrils and panels of foliate scrolls, chipping to the neck, 13.2cm. £200-300

28. A Liverpool delftware two-handled strainer, mid 18th century, the shallow bowl pierced with four concentric rows of holes, the rim painted in blue with a small peony spray, 15cm dia. £200-300

29. A pair of small Vauxhall delftware plates, c.1730-40, painted in red with central vases of flowers, the rims with leaf panels reversed on a hatched ground within concentric blue lines, a little chipping to the rims, 17cm. (2) £300-500

30. An Italian maiolica albarello, probably late 17th century Sicilian, painted in a muted palette of blue, green and yellow with a shield surmounted by an armoured head, inscribed ‘VI TA’, with foliate tendrils reserved on a blue ground incised with scroll motifs, rim crack, 28cm. £300-500

31. A large Italian maiolica albarello, probably 17th century, one side painted predominantly in blue with a bearded saint with a golden halo, the reverse with bold foliate scrolls and incised with the letters GMF, some wear, 30cm. £400-600

32. A good Castelli circular plaque, 18th century, painted with Neptune astride his chariot drawn by hippocampi, his trident held aloft in his right hand, a merman holding on to a trapped maiden while dolphins swim around, 31cm. £400-600

33. An Italian maiolica istoriato footed dish or crespina, painted after Federico Zuccari in the 16th century Pesaro manner with centurions standing before a row of tents, with urns full of coins, within a shaped yellow line rim, raised on a low foot, a section of the foot broken and restuck, 23.5cm. £500-800 Partial red seal wax for a 19th century Continental collector.

A PRIVATE COLLECTION OF WESTERWALD STONEWARES

34. Two Westerwald stoneware tall jugs, 17th/18th century, each ovoid body applied with circular stylized flowerhead roundels in grey clay on a deep blue glazed ground, the tall necks with lion masks beneath the spouts, some damages, 28cm. (2) £250-350 Provenance: from a private collection in Wiltshire.

35. Two tall Westerwald stoneware jugs, 18th century, one pear-shaped, incised and applied with an allover design of stylized continuous flower tendrils on a blue ground, with a hinged pewter-mounted lid, the other with a shaped manganese panel containing a large stylized leaf design below a tall cylindrical neck, small damages, 37cm max. (2) £250-350 Provenance: from a private collection in Wiltshire.

36. Two Westerwald pewter-mounted jugs, late 17th/early 18th century, one applied with circular flowerheads on a rich blue ground, the other with heartshaped motifs in stripes between blue bands, with hinged pewter metal mounts, one inscribed with the initials AS, 22.5cm max. (2) £300-500 Provenance: from a private collection in Wiltshire.

37. Two tall Westerwald stoneware jugs, 17th century, one decorated with a band of the seven Electors of the Holy Roman Emperors holding shields with their respective coats of arms, the last including the numbers 16 and 3, the shoulder with a band of incised flowerheads, the other with incised geometric and foliate decoration, the cylindrical necks of both applied with animal and sun or cherub masks between stylized floral motifs, some damages, 26cm. (2) £400-600 Provenance: from a private collection in Wiltshire.

38. Three Westerwald stoneware jugs, 18th century, the globular bodies incised with stylized flower stems on a manganese ground, and applied with flowerheads picked out in a rich blue, the cylindrical necks ribbed with blue bands, small damages, 25.5cm max. (3) £400-600 Provenance: from a private collection in Wiltshire.

39. Three Westerwald stoneware mask jugs, 17th/18th century, two decorated with a large star-shaped floral panel and with applied and incised bands running down the shoulders, the other with incised bands, each with a lion or mythical face mask to the spout, some damages, 25cm max. (3) £300-400 Provenance: from a private collection in Wiltshire.

40. Three Westerwald stoneware jugs, probably c.1700, each applied with circular stylized flowerhead roundels in grey clay on a blue glazed ground, one with a lion mask spout, minor damages, 23cm max. (3) £250-350 Provenance: from a private collection in Wiltshire.

41. A good Siegburg stoneware mug with contemporary English silver mount, 16th century, the globular body with vertical carved diaper panels (kerbschnitt) below the narrow cylindrical neck applied with mythical and animal masks, the wide silver mount engraved with foliate scrolls and the initials GI and MB, 13.8cm. ÂŁ800-1,200 Cf. David Gaimster, German Stoneware, p.179, no.17 for a similar example. Provenance: from a private collection in Wiltshire.

42. A Westerwald salt-glazed stoneware jug, c.1700 or later, incised and applied with swirling floral motifs, the neck and foot with turned rings, 21cm. £150-250 Provenance: from a private collection in Wiltshire.

43. A Siegburg stoneware jug with silver-gilt mount, c.1600, the globular body with vertical carved diaper panels (kerbschnitt) above a band of moulded lappets, the narrow cylindrical neck applied with mythical and animal masks, the silver-gilt mount with chased decoration, the mount perhaps later or associated, 16cm. £300-500 Cf. David Gaimster, German Stoneware, p.179, No. 17 for a similar example. Provenance: from a private collection in Wiltshire.

44. A Westerwald stoneware jug, 17th century, applied with vertical stripes of a circular design beneath a band of flowerheads, the spout with a lion mask, with a deep blue glaze over the grey body, 25.5cm. £250-350 Provenance: from a private collection in Wiltshire.

45. An unusual pewter-mounted Westerwald stoneware jug, 17th century, decorated with alternate panels of a bearded figure and a group of spired buildings, the latter panels surmounted by a figure in Tudor costume with legs akimbo, piercing himself on the panel’s apex, glazed in blue and manganese, the pewter cover perhaps later and engraved with the initials IPR, 21.5cm. £250-350 Provenance: from a private collection in Wiltshire.

46. A Westerwald stoneware Royal jug, c.1690, applied with a roundel of King William III, titled around the portrait with ‘WILHELMVS III. DG. MA BRI. FRA. ET HIB. REX’ (William III, by the Grace of God, King of Great Britain, France and Ireland), reserved on a ground of incised and applied stylized tulips and other flowers reserved on manganese glaze, 20.5cm. £300-500 Cf. David Gaimster, German Stoneware, pl.121 for an identical example. Provenance: from a private collection in Wiltshire.

47. A Westerwald stoneware Royal jug, dated 1691, applied with a roundel moulded with the portraits of William of Orange and Queen Mary in coronation robes, a trumpeting herald between them, above the inscription ‘Uifonschollanffe Tuynloo Bloof enorinicappellenenRoofen’ (In our Dutch garden bloom oranges and roses), reserved on a ground of applied and incised tulips and other flowers, the body glazed in manganese, a chip to the rim, 17.5cm. £300-500 Cf. David Gaimster, German Stoneware, p.264 for a similar example. Provenance: from a private collection in Wiltshire.

48. Five small Westerwald stoneware jugs, late 17th century and later, one applied with a hexagonal portrait plaque of William III, two of squat globular shape with geometric designs in blue, manganese and grey, one with vertical applied panels beneath a lion mask spout, the last with a hinged pewter lid bearing the initials CB, some damages and restoration, 17cm max. (5) £500-800 Provenance: from a private collection in Wiltshire.

50 49

49. A small Westerwald stoneware jug, 18th century, decorated with a small circular roundel with a crown over the letters GR within a flowerhead design in blue, the sides with large stylized foliate scrolls, the cylindrical ribbed neck glazed in purple, 15.5cm. £100-200 Provenance: from a private collection in Wiltshire. 50. A Westerwald pewter-mounted jug, late 17th/early 18th century, moulded with a crowned AR in an oval panel surrounded by applied scrolling floral motifs picked out in purple with incised grey foliage on a blue ground, damages, 27cm. £200-300 Provenance: from a private collection in Wiltshire. 51. A small Westerwald jug, c.1700, decorated with a crowned WR in an oval laurel wreath panel on a blue ground incised with flower stems and applied with blooms in purple, small damages, 17.5cm. £150-250 Provenance: from a private collection in Wiltshire.

52. Two Westerwald jugs, c.1700, the globular bodies applied with roundels of stylized leaves and vases with flowers, the tall necks with lion mask spouts, the main body glazed in blue, one with a pewter hinged lid, some faults, 29cm max. (2) £250-350 Provenance: from a private collection in Wiltshire.

53. A salt-glazed stoneware Bellarmine jug, Rhenish 17th century, moulded with a bearded face to the neck, the body of typical form, and a later Bellarmine type jug in the manner of 16th century Siegburg stoneware, the wide globular body moulded with three circular religious panels including Christ crucified, pewter hinged lid, minor faults, 28cm max. (2) £400-600 Provenance: from a private collection in Wiltshire..

54. A large Westerwald stoneware jug, probably 19th century, the ovoid body moulded with the English coat of arms, within incised grey floral scrolls reserved on a deep blue ground, 30cm. £250-450

55. A large Westerwald jug, 19th century, the tall baluster body incised with a starshaped flowerhead within large foliate tendrils above a panelled design, reserved on a rich blue ground, 35cm. £100-200 54

56. A massive John Dwight brown stoneware jug or bottle, c.1680, the upper section of the tall ovoid body decorated in a warm brown glaze, the wide strap handle with a slight groove, some damages, 49cm. £300-500 John Dwight was the first potter to successfully produce salt-glazed stoneware for commercial production in England. Cf. Chris Green, John Dwight’s Fulham Pottery: Excavation 1971-79, pp.117-124.

57. A London brown stoneware tavern mug, c.1800, probably Mortlake, sprigged with a punch party scene far more refined than the Hogarth debauchery of lot 59, above hounds and huntsmen chasing a fox, cracked, 19cm. £200-300

58. A Westerwald stoneware small jug and pewter-mounted tankard, 18th century, the jug applied with a small roundel bearing the initials GR within bold incised foliate sprays, the tankard applied with flowerhead roundels between continuous floral bands, small damages, 18.2cm max. (2) £150-250 57

59. An important and documentary London brown stoneware tavern mug, dated 1740, applied with a punch party scene after Hogarth’s Modern Midnight Conversation, above a shield bearing the arms of the Worshipful Company of Butchers, a further plaque of a bull about to be slaughtered, and another of a hunting scene, all above hounds and huntsmen in pursuit of a stag, incised ‘Walter Vaughan of Hereford. His mugg must not be break’, small footrim chips, 23.5cm high. £1,000-2,000 Walter Vaughan was a butcher in Hereford. This mug is sold together with a photocopy of his will, dated 22nd November 1800, courtesy of the National Archives in Kew. Illustrated: I E Hodgkin FSA and E Hodgkin, Examples of Early English Pottery: Named, Dated and Inscribed, p.167, no. 614. Listed in the collection of Harold Charles Moffat, of Goodrich Court, Herefordshire.

60. A Staffordshire lead-glazed pineapple teapot and cover, c.1770, probably Thomas Whieldon, the globular body moulded with diamonds of pineapple ‘meat’ behind long green pointed leaves, the diamonds with a notch at two corners, the hexagonal-faceted spout with stylized designs which are echoed on the loop handle, a little nibbling to the spout, 13.5cm high. (2) £1,500-2,500 Cf. Leslie Grigsby, The Henry H. Weldon Collection, English Pottery 1650-1800, p.192 for a Whieldon example with very similar moulding to the pineapple ‘meat’.

61. Two creamware cow creamers, c.1765-75, decorated in the Whieldon manner with striations of manganese, yellow and green, each standing four square on a shaped base with a calf suckling at her udder, one with a stopper with a floral finial, 15.5cm across. (3) £1,000-2,000

THE COLIN RUSSELL COLLECTION OF TOBY JUGS Colin Russell, an avid collector of all manner of objects from philately to pistols and postcards from his teenage years onwards, is calling time on the pursuit of his drinking companion, the toby jug. During nearly a decade of collecting, his eye has alighted on many unusual colour variants on the toper theme, with the addition of dogs, babies, plugs of tobacco or diminutive figures to more standard models being a particular collecting achievement. New collecting opportunities now await his discerning eye.

detail of lot 62

62. A pearlware Toby jug of Ordinary type, c.1810, his jug of ale foaming over on one side, a large clay pipe tucked between his feet, the base sponged in purple, an unusual ram’s head motif moulded beneath the handle, 25cm. £600-800 Provenance: the Colin Russell Collection.

63. A Pratt ware Toby jug of Ordinary type, c.1800, holding a floral jug on one knee, wearing a polka dot waistcoat and yellow breeches above striped socks beneath a blue coat, with ruddy cheeks and a drinker’s nose, some damages and restoration, 25cm. £150-250 Provenance: the Colin Russell Collection. 62

64. An unusual pearlware Toby jug, c.1790-1800, holding the stem of his long clay pipe in his teeth, the usual jug of ale on his left knee, wearing a blue suit with yellow buttons over an ochre waistcoat, the chamfered base edged in green, some restoration, 24.5cm. £700-900 Provenance: the Colin Russell Collection. Previously from the estate of Colin Sharp, dec’d.

65. A pearlware Toby jug of Portobello type, mid 19th century, brightly enamelled with a puce face, yellow breeches above striped socks and a blue coat over a pale blue waistcoat, his jug of ale with an elaborate floral design, 25cm. £200-300 Provenance: the Colin Russell Collection.

66. A rare Mexborough (Yorkshire) or Crown mark Toby jug, early 19th century, holding a miniature Toby jug on his knee and a cup in his right hand, with the unusual addition of a Sibyl type figure resting in the crook of his right elbow and a dog reclining between his feet, the base and inside of his hat sponged in blue, ochre, black and manganese, the handle moulded with a caryatid with black hair, impressed crown mark, minor faults, 25cm. £1,000-1,500 Provenance: the Colin Russell Collection.

69. A Wood-type Sharp Face Toby jug, c.1790, a globular jug of ale on his knee and a cup held in his right raised hand, wearing a blue coat over yellow breeches, with thick black eyebrows beneath his tricorn hat, restoration to his hat, 25cm. £1,500-2,000 Provenance: the Colin Russell Collection. Previously in the Coil Collection. Paper label for Alistair Sampson Antiques Ltd.

67. A pearlware Toby jug, c.1820, perhaps Swansea, left in the white with gilt detailing except for his ruddy face, his overflowing jug titled ‘Honest Old Stingo’, 25cm. £200-300 Provenance: the Colin Russell Collection. The inscription on the jug comes from a line in the poem ‘Toby Philpot’ which is often credited for the naming of toby jugs. ‘With a friend and a pipe puffing sorrow away, and with honest old stingo was soaking his clay’ were the hero’s last actions before he died. Stingo is a slang term for strong beer.

68. A Mexborough (Yorkshire) Purple Face Toby jug, early 19th century, a miniature Toby jug resting on his left knee and a hexagonal cup held in his right hand, a snake-coiled pipe leaning against his chest, his face enamelled a deep purple, 25.5cm. £600-800 Provenance: the Colin Russell Collection.

70. A creamware Toby jug, late 18th century, wearing a coat and breeches of ochre and brown striation with green socks, his hair, eyebrows and hands unusually enamelled in blue, his clay pipe leaning beside his left leg, some restoration, 25cm. £600-800

71. A pearlware Toby jug of Ordinary type, c.1820, decorated in Portobello colours with sponged red and green around the base and to the jug he holds, his face applied with a crumbed clay beard and moustache, his hair and eyebrows pencilled in black, 24.5cm. £250-350

Provenance: the Colin Russell Collection.

72. A Mexborough (Yorkshire) or Crown mark Toby jug, early 19th century, resting a miniature Sunderland lustre jug on his left knee and holding a tall cup edged with pink lustre, the end of his long-stemmed clay pipe likewise decorated, sponged around the base and inside his hat in a typical palette of ochre, blue and black, very faint impressed crown mark, minor faults, 25.5cm. £600-800

73. A large Postillion Toby jug, c.1790-1800, the coachman’s jug of ale overflowing onto his left thumb, wearing a yellow waistcoat and ochre breeches beneath a Royal blue coat, the inside of his hat brim also glazed ochre, the base painted with a continuous blue foliate band, some restoration to the handle, 24.5cm. £800-1,200 Provenance: the Colin Russell Collection.

Provenance: the Colin Russell Collection.

mark

74. A creamware Long Face Toby jug of Wood type, c.1780-90, decorated in Whieldon colours with a pale washed brown coat over an ochre waistcoat and green breeches, a large globular jug resting on his left knee, some restoration, 27cm. £800-1,200 Provenance: the Colin Russell Collection.

75. A rare Spode & Copeland pearlware Toby jug, c.1811-15, wearing a mustard yellow coat over a chevron-striped waistcoat and blue breeches, his jug of ale painted with a blue and black foliate spray, his grin revealing misshapen teeth, incised ‘Spode & Copeland’ to the reverse, a chip to the back of his hat, 26cm. £1,500-2,500 Provenance: the Colin Russell Collection. Old Christie’s label for 4th June 1979. The rare mark on this jug refers to the partnership of Josiah Spode II and William Copeland who traded under this name from 1797 to 1816.

76. A Pratt ware Sailor Toby jug, late 18th century, of Rodney type, seated on his sea chest with a spoiled anchor between his feet, a jug of ale resting to his left and a small cup clutched in his right hand, his trousers striped in blue and ochre, his coat sponged in the same palette, painted ‘Lord Hou’ beneath the base, some restoration to his hat, 29cm. £800-1,200 Provenance: the Colin Russell Collection.

77. A Pratt ware Hearty Good Fellow Toby jug, c.1810, modelled in typical animated pose, his jug of ale overflowing as he turns, clutching his clay pipe in his left hand, his coat patterned in ochre and blue over a horizontally striped waistcoat, with the unusual addition of a small dog seated between his feet, the handle issuing from the gnarled stump behind him, some damages and repairs, 29cm. £500-800 Provenance: the Colin Russell Collection. Paper label for the Zeitlin Collection.

78. A Wayte & Ridge comical Toby jug, c.1864, modelled as a Prussian soldier in blue and orange uniform, wedged into a wooden barrel and pulling a face of frustration and disgust, his tongue protruding, the handle formed from his plaited hair, impressed W&R mark, some restoration to his hat, 34cm. £400-500 Provenance: the Colin Russell Collection. Previously in the Les Steer Collection.

79. A rare Lord Howe Toby jug, c.1785, seated on a barrel with his dog recumbent beneath his right foot, simply enamelled in blue and yellow, his clay pipe resting by his left foot, an empty jug clutched to his left side, some restoration, 24.5cm. ÂŁ2,500-3,500 Provenance: the Colin Russell Collection. This model is usually made with the jug held in the right hand, however there appear to have been some firing issues which has left the handle of the jug still clutched in that hand but away from the jug itself. Cf. Vic Schuler, Collecting British Toby Jugs, p.58 for a discussion of the Lord Howe model.

80. A good Long Face Toby jug of Convict type, c.1790, decorated in Pratt colours with sable arrows on a yellow coat over a blue polka dot waistcoat and yellow breeches, a globular jug of foaming ale resting on one knee, 27cm. £800-1,200 Provenance: the Colin Russell Collection.

81. A rare Mexborough (Yorkshire) or Crown mark Toby jug, early 19th century, a miniature Toby jug resting on one knee and holding a faceted goblet in his right hand, with the unusual addition of a small figure standing between his feet, the stem of his clay pipe resting in the crook of his right elbow, around the base and the interior of his hat sponged in blue, black and ochre, caryatid handle, impressed crown mark, some restoration, 25cm. £1,000-1,500 Provenance: the Colin Russell Collection.

82. A pearlware Toby jug, c.1830, wearing a blue coat over a yellow waistcoat and black breeches, the jug on his knee with crumbed clay to simulate the foaming ale, 24.5cm. £100-200 Provenance: the Colin Russell Collection.

83. A rare Thin Man Toby jug, c.1800, holding a small cup in his right hand, a jug of ale held in his left, wearing yellow and red striped breeches under a blue and yellow sponged coat, some restoration, 24cm. £500-800

84. A Yorkshire Toby jug of Ordinary type, c.1830, wearing a distinctive green tartan coat, holding a jug and hexagonal cup, with a figurehead handle, the inside of his hat’s brim sponged in brown and pink, 24.5cm. £100-200

Provenance: the Colin Russell Collection.

Provenance: the Colin Russell Collection. By repute from the S J Benwell Collection.

It is unusual to see enamel decoration of this type on a Thin Man model.

85. A Mexborough (Yorkshire) or Crown mark Toby jug, early 19th century, seated with a miniature Toby jug on one knee and holding a hexagonal cup, decorated in a typical palette of blue, black, ochre, red and green, caryatid handle, some restoration, impressed crown mark, 25cm. £450-600 Provenance: the Colin Russell Collection. Previously from the estate of Colin Sharp, dec’d.

86. A Neale & Co creamware Toby jug, c.1790, enamelled with green eyes, waistcoat and breeches under a washed grey coat, a globular jug of foaming ale, his clay pipe laid along the back of his right hand, the bowl clutched in his fingers, minor faults, 26cm. £500-800 Provenance: the Colin Russell Collection.

87. A Ralph Wood ‘Mould 51’ Toby jug, c.1790, a large brown jug of ale on his left knee and a cup in his right hand, his clay pipe resting up against the box on which he sits, decorated in a muted palette with primrose yellow breeches and a blue waistcoat under a camel coat, impressed 51, a small amount of good restoration, 25cm. £800-1,200 Provenance: the Colin Russell Collection.

88. A rare female Snuff Taker Toby jug, c.1830, wearing a green dress with a polka dot scarf tied around her neck, holding a circular snuff box and raising a pinch to her right nostril, minor faults, 23.5cm. £400-600 Provenance: the Colin Russell Collection. Female snuff-takers are more commonly seen in the Portobello type form, such as the example sold at these salerooms on 25th February 2014, lot 438.

89. A Staffordshire pearlware Toby jug, c.1830-40, of Ordinary type, with rosycheeked complexion, the base sponged in red, the jug on his knee with a floral design and foaming with ale, 24.5cm. £150-250 Provenance: the Colin Russell Collection.

90. A creamware Ralph Wood Toby jug, c.1785, smoking a long-stemmed clay pipe and holding an empty brown jug on his left knee, wearing a green waistcoat and primrose yellow breeches beneath a greyish brown coat, some small damages, 25.5cm. £600-1,000 Provenance: the Colin Russell Collection.

91. A pearlware Sailor Toby jug, c.1810, seated on his sea chest with a spoiled anchor between his feet, holding a large jug which rests to his left, and a foaming cup of ale, wearing a red jacket over a pink waistcoat and black cravat, some restoration, 28.5cm. £600-1,000

92. A creamware Toby jug, c.1780, seated with an upright barrel between his feet, a red pottery jug of foaming ale on his left knee, wearing a sponged blue coat over black breeches and an ochre waistcoat, restoration to his hat, 24cm. £300-500

93. A George Jones Majolica strawberry dish, c.1870, modelled with a sparrow perched between two nests forming the bowls for cream and sugar, the shaped dish moulded with flowering strawberry sprays, impressed registration diamond, some good restoration, 27.5cm. £400-600

94. A George Jones Majolica nut dish, c.1872, the leaf-shaped dish moulded with further leaves and cob nut sprays, a squirrel perched on the edge with a nut clutched between its forepaws, impressed factory mark and registration diamond, restoration, 26cm across. £300-500

95. A Minton Majolica teapot and cover, c.1870-80, modelled as a monkey wearing a Japonism waistcoat, clutching a large melon, its tail forming the handle, its head the cover, impressed mark, some chipping, 24cm across. (2) ÂŁ1,500-2,000

96. A Minton Majolica game tureen and cover, date code for 1873, the oval basketweave dish with entwined branches of oak leaves, the cover surmounted with dead game including a hare, duck and rook lain on a ground of fern and oak leaves, 36cm. (2) ÂŁ250-350

97. A George Jones Majolica oval game tureen with liner and cover, c.1875, the tapered oval sides moulded with hanging game and hunting motifs between net swags, the cover with a fox lying beside a dead duck on a bed of fern leaves and reeds, a small chip to the footrim, 29cm. (3) ÂŁ500-800 Cf. Marilyn G Karmason & Joan B Stacke, Majolica, p.94.

98. A Minton Majolica centrepiece in the French manner, date code for 1862, the quatrefoil dish marbled to simulate agate with a raised enamel and gilt border, supported on the backs of two winged putti holding leaf garlands around a pair of doves, impressed marks beneath the base, 27.2cm across. £500-800 Cf. Paul Atterbury and Maureen Batkin, The Dictionary of Minton, p.213.

99. A Minton Majolica pigeon pie tureen, c.1864, the deep basketwork bowl resting on the backs of three fan-tailed pigeons in turn perched on leafy oak branches, the interior glazed turquoise, unmarked, the cover lacking, 14cm high. £800-1,200 Cf. Marilyn G. Karmason & Joan B. Stacke, Majolica, p 47.

100. A Minton Majolica game tureen and cover with liner, date code 1877, the basketwork sides interlaced with leafy oak branches, the cover surmounted with dead game including a hare, duck and rook, all laid on a bed of leaves and fern, impressed mark, minor damages, 37cm. (3) £300-400

101. A Majolica sardine pot and cover, 19th century, the rectangular base supported on four feet formed from long fish, the cover surmounted with a swan swimming among waterlilies, 17cm across. (2) £100-200

102. A pair of Minton Majolica oyster dishes, date codes for 1893, each plate reserved with nine turquoise shell-shaped compartments around a central circular well, inbetween moulded with further small shells, impressed marks, 26.3cm. (2) ÂŁ300-500

103. A Continental Majolica fish tureen and cover, late 19th/early 20th century, modelled as a large crayfish glazed in red and pale yellow, the back lifting as a lid, 42cm long. (2) ÂŁ100-200

104. A large and rare Minton Majolica fish tureen and cover, c.1876, modelled as a large ochre-glazed carp resting on a bed of reeds and surmounted with a cut lemon finial, the interior glazed turquoise, impressed mark, some good restoration, 56cm. (2) ÂŁ1,000-2,000 Cf. Michael Strawser, Majolica Auctions, 27 & 28 October 2000, lot 1000, for an example of this extremely rare model, wherein Strawser speculates that this form was produced for the Philadelphia Centennial Exhibition of 1876.

105. A massive Minton vase, date code for 1865, the shoulders applied with grotesque horned satyr masks linked by rope garlands between swags of fruit and leaves, the main body glazed, turquoise, raised on a square base, impressed marks, some restoration, 89cm. ÂŁ7,000-1,0000

106. A large pair of Continental glazed terracotta garden seats, 19th century, in the Majolica manner, each formed of a blackamoor child seated and supporting a tasselled cushion on its turbanned head, wearing a brocade cummerbund and yellow boots, small damages, 59cm. (2) ÂŁ400-600

107. A large pair of Minton jardiniĂ¨res, date code for 1863, each applied with six columns rising from paw feet and with lion mask and ring handles to the shoulders, the main bodies glazed turquoise with a lilac interior, impressed marks, 45cm. (2) ÂŁ5,000-8000

108

109

108. A large Minton Majolica jardinière, date code for 1867, raised on six lion paw feet running down from lion mask handles enamelled in yellow on a rich blue ground, the interior glazed pale pink, damages, 35.5cm. £200-300 109. A Majolica centrepiece or tazza, 19th century, the oval dish supported on a tall leafy trunk, a boy standing before, wearing a peaked cap and holding a striped ball, a pony munching on a basket of greens behind him, a little restoration beneath the bowl, 33.5cm. £450-600 110. A George Jones Majolica strawberry basket, c.1873, modelled with two deep bowls moulded with sprays of flowering strawberry, the side with two small pockets for cream and sugar, raised on four twig feet, impressed registration diamond, some good restoration to the handle, 29.5cm. £300-500

110

111. An English Majolica bread plate, 19th century, in the manner of George Jones, the oval rim moulded with inscription ‘Eat Thy Bread With Thankfulness’, the sides with ears of wheat, some restoration, 34cm. £180-220 112. A pair of Minton Majolica strawberry dishes, date codes for 1868 and 1869, the shell-shaped dishes moulded with flowering and fruiting strawberry sprays, impressed registration diamonds, 21.7cm. (2) £200-300

112

111

113. An extensive Derby dinner service, c.1815-20, richly decorated in the Partridge pattern, with two birds amidst bold foliage in a version of the Kakiemon palette, iron mark crossed batons marks, some damages and restoration. Comprising: two soup tureens and covers, four vegetables dishes with covers, four sauce tureens with covers and stands, a rectangular bowl, four large serving dishes in three sizes, twelve smaller serving dishes in three sizes, 16 soup plates and 60 plates. (117) £2,000-3,000 Cf. John Twitchett, Derby Porcelain 1748-1848: An Illustrated Guide, p.156 for some of the remaining service. Over 200 pieces of this service were sold at Christie’s on 9th October 1989, lot 317.

114. An extensive Paris (Marc Schoelcher) porcelain armorial dinner service, c.1827, decorated with the crest for the Russell family, reserved on a white ground with gilt rims, most pieces with red printed marks for Schoelcher, some damages. Comprising: two sauce tureens and covers, five oval serving dishes in four sizes, a large salad bowl, a footed bowl, five soup plates, 78 plates in three sizes, two small bowls, two jugs, 22 cups in three sizes and 20 saucers in two sizes. (140) £800-1,200 Provenance: Ordered by Sir Henry Russell, 2nd Baronet (1783-1852) for use at Swallowfield Park on 18th September 1827 for a total of 2,851 francs. Thence by descent. Sir Henry Russell’s second wife, Marie Clotilfe Mottet de la Fontaine, was the daughter of the last French governor of Pondicherry (now Puducherry).

115. A cased Royal Worcester coffee set, date codes for 1927, jewelled in orange and green raised enamels, reserved on a mottled green simulated ground, printed marks. Comprising: six coffee cups, six saucers and six silver-gilt coffee spoons. The case marked for J C Vickery, Regent Street. £150-250

116. A cased Royal Worcester coffee set, date codes for 1927, decorated in the Imari palette with pattern 1550, printed marks. Comprising: six coffee cups, six saucers and six enamelled silver coffee spoons in the Deco style. £250-350

117. A cased Royal Worcester coffee set, date codes for 1930, painted with fruit by various artists including Townsend, Lockyer and Price. Comprising: six coffee cups, six saucers and six silver coffee spoons. The case marked inside for Asprey, Bond Street. £600-800

118. A cased Royal Doulton coffee set, c.1920s, painted in the Aesthetic manner by E. Percy with kingfishers perched on leafy branches reserved on a golden yellow ground, printed marks. Comprising: six coffee cups, six saucers and six silver spoons enamelled in blue and white in the Deco style. The case marked for Davidson, Henderson & Sorley, Glasgow. £300-400

119. A cased commemorative Royal Crown Derby coffee set, c.1939, richly decorated in the Imari palette in pattern 9310 with panels of stylized Oriental flowers, printed marks. Comprising: a coffee pot and cover, a cream jug, sugar bowl, six cups and six saucers. The case inscribed “Presented to the Right Honourable Sir Kingsley Wood, MP (HM Secretary of State for Air) by the Corporation of Derby to Commemorate the Opening of the Derby Airport, 17th June 1939”. £200-300

120. Eight Royal Worcester small cups and saucers, date codes for 1915 and 1926, painted with fruit including apples, cherries, blackberries and grapes on a woodland floor, with gilt exteriors, six painted by Ricketts, one by Ayrton, one by E Phillips, signed, printed marks, 9.8cm max. (16) £500-800

A year after this service was presented to him, Sir Kingsley was appointed Chancellor of the Exchequer, in which office he was responsible for the introduction of PAYE income tax immediately before his death in 1943.

119 inscription

122. A large Royal Crown Derby comport, date code for 1976, richly decorated in the Imari palette in pattern 1128, the square well with flowerhead panels of stylized Oriental flowers within a panelled border of diaper and flowerheads, raised on a chamfered square foot with moulded dolphins, printed mark, 30cm dia. £400-600 121. A large pair of Royal Crown Derby vases, date codes for 1976, richly decorated in the Imari palette in pattern 1128 with lotusshaped panels of stylized chrysanthemum between panelled borders of diaper and flowerheads, the slender necks surmounted with fixed covers, printed marks, 41.5cm. (2) £800-1,200

124. A Royal Worcester square dish from the Kellogg Service, date code for 1928, painted by Harry Davis in the Corot style with a central panel of cattle standing in a stream beneath trees, a figure seated on the bank before, reserved on a claret ground with elaborate raised gilt design, and a similar square plate also painted by Harry Davis with a figure picking flowers with a village beyond, both signed, 21cm. (2) £500-800

123. A pair of Royal Crown Derby two-handled vases and covers, date codes for 1920, decorated in the Imari palette in pattern 1128, with petal-shaped panels of stylized Oriental flowers reserved on a blue ground, printed marks, minor faults, 24.5cm. (4) £300-500

125. A massive Royal Worcester fruit bowl, 20th century, painted by John Freeman with peaches, bunches of grapes, sprays of blackberry, plum and raspberry with scattered cherries, signed, the exterior similarly decorated, black printed mark, gilder’s mark for Ken Russell, 30cm dia. £400-600

Provenance: the Kellogg Service plate purchased from Ascott Antiques in February 1989. Harry Davis was responsible for the decoration of the dessert service for William K. Kellogg and his landscapes were based on a book in the library of the Royal Worcester factory, Les Paysages de Corot.

126. A Royal Worcester fruit bowl, date code for 1926, painted by William Ricketts with three apples and a bunch of red grapes beside a spray of blossom, a small butterfly alighting on one of the fruits, signed, the exterior glazed peach with running gilt decoration, printed mark, 23.2cm. £200-300

127. A large Royal Worcester vase and cover, date code for 1910, of shape 1481, painted by John Stinton with two Highland cattle in a mountainous moorland landscape, the reverse with a misty lake scene, the foot richly gilded and with a narrow moulded foliate band, printed mark, 39cm. (2) £1,500-2,000

128. A large Royal Worcester vase, date code for 1924, the pear-shaped body painted by Harry Davis with two sheep and a lamb on a grassy hill beside a mountain tarn, with heather-covered hills beyond, signed, the foliate handles issuing from mythical masks, printed mark, some good restoration to the neck, 31cm. £2,000-3,000

129. A tall Royal Worcester vase and cover, date code for 1912, of shape 2192, painted by Harry Stinton with two Highland cattle beside heather-covered rocks in a moorland landscape, signed, the foot elaborately moulded with stylized foliate motifs, printed mark, 31cm. (2) £1,500-2,000

130. A tall Royal Worcester vase and cover, date code for 1905, of shape 2425, painted by Arthur C Lewis with three storks at the water’s edge, with fungi growing beneath trees, signed, the angular handles issuing from feathery leaves, printed mark, 34.5cm. (2) £2,000-3,000

131. A tall Royal Worcester vase and cover, date code for 1918, of shape 2192, painted by John Stinton with two Highland cattle standing in a tarn, one bending to drink, with misty rocky mountains in the background, signed J Stinton, printed mark, some damages to the cover, 30cm. (2) £800-1,200

132. A Royal Worcester two-handled vase and cover, date code for 1904, of 1937 shape, the inverted pear painted by Harry Davis with two sheep, one nibbling the grass while the other gazes across the stream to the mountains beyond, signed, the shoulders applied with leafy garlands, printed mark, some faults, 24.5cm. (2) £600-800

133. A large Royal Worcester vase and cover, date code for 1903, of shape 1575, painted by Charles Baldwyn with four swans in flight amongst reeds and gilded seedheads on a sky blue ground, the reverse with swallows in flight, signed, the flattened shoulder moulded with a stiff leaf border, the neck with foliate scrolls, the handles issuing from mythical masks, printed marks, some restoration to the cover, 27cm. (2) £1,500-2,000

134. A large Royal Worcester pot pourri vase with inner and outer covers, date code for 1918, of shape 1286, painted by John Stinton with two Highland cattle standing in a tarn within a moorland landscape, signed J Stinton, above a wide panel of moulded basketwork, printed mark, 31cm. (3) £1,500-2,500

135. A large Royal Worcester pot pourri vase with inner and outer covers, date code for 1914, of shape 1286, painted by John Stinton with two Highland cattle in a moorland landscape above a moulded basketwork panel, signed, printed mark and date code, restoration to the inner cover, 31cm. (3) £1,500-2,500

136. A large pair of Royal Worcester cylindrical vases, date codes for 1924, of shape 6/161, painted by James Stinton, each with a pair of pheasants before silver birch in a wooded landscape, raised on reticulated feet in the manner of Chinese hardwood stands, printed marks, some good restoration to the feet, 26.5cm. (2) £1,200-1,500

137. A small pair of Royal Worcester sack-shaped vases, date codes for 1919, of shape G957, painted by James Stinton each with a pair of pheasants at the edge of a wood, signed, printed marks, 8cm. (2) £100-200

139. A small Royal Worcester twohandled vase, date code for 1920, painted by Harry Stinton with two shaggy Highland cattle in a moorland landscape, signed, raised on a low foot moulded with stiff leaves, printed mark, 14cm. £400-600

138. Four Royal Worcester silver-mounted menu holders, c.192628, the small circular plaques painted by James Stinton with pheasant, grouse and woodcock, signed, raised on circular silver bases, hallmarked for Sanders & MacKenzie, Birmingham, 1926-28, 5cm. (4) £500-800

140. A small Royal Worcester twohandled vase, date code for 1933, of shape G995, the pear-shaped body painted by Harry Stinton with two Highland cattle standing in a grassy moorland landscape, printed factory mark, and retailer’s mark for Maple of London, 14.5cm. £400-600

141. A Royal Worcester slender ovoid vase, date code for 1921, of shape 1957, painted by Harry Stinton with two Highland cattle nosing amongst the heather in a moorland landscape, signed H Stinton, printed mark, 21.8cm. £400-600

142. A large Royal Worcester pot pourri vase with inner and outer covers, mid 20th century, of shape 2048, painted by Harry Ayrton with three ripe peaches before a spray of fruiting bramble, with scattered blackberries and a cobnut, the reverse with a strawberry spray, signed, the foot moulded with foliate panels, the tall cover pierced, black printed mark, gilder’s mark for Dennis Hancocks, 35cm. (3) £800-1,200

143. A large Royal Worcester blush porcelain vase, date code for 1898, of shape 1619, decorated in the Raby manner with loose flower sprays, the shoulder dramatically applied with winged griffins, printed mark, 34cm. £200-300

144. A Royal Crown Derby ovoid vase and cover, date code for 1913, painted by George William Darlington with a panel of blue flowers, surrounded by four panels of pink roses by Albert Gregory separated by stylized borders and turquoise jewels, signed ‘Darlington’ and ‘AG’, printed marks, 19cm. (2) £400-600

145. A Royal Crown Derby two-handled vase and cover, date code for 1911, painted by George Jessop with a floral arrangement to one side, the reverse with a colourful bird perched on a leafy branch, within a hatched gilt design, reserved on a deep blue ground, printed marks, signed ‘G Jessop’, painted 1643/8790, 24cm. (2) £300-500

146. A small Royal Worcester two-handled vase, date code for 1903, of shape 1539, painted by Charles Baldwyn with four swans in flight above reeds and gilded seedheads reserved on a sky-blue ground, the reverse with a swallow in flight, signed, printed mark, 15cm. £600-1,000

147. A pair of Royal Crown Derby ewers, date codes for 1897, painted by Desiré Leroy, one side with panels of colourful birds, signed, the reverses with panels of pink roses, reserved on a blue ground within shaped turquoise cartouches, the shoulders with radiating stripes, printed marks, some damages and repairs, 17.2cm. (2) £300-500

148. A good pair of Royal Crown Derby vases, date codes for 1900, finely painted by Désiré Leroy with floral arrangements including rose, forget-me-not, cornflower and pansy, signed, reserved on a deep blue ground with richly gilded borders, the reverses with a single gilt spray, the slender ovoid bodies with tapering necks between scrolling handles, printed marks, 20cm. (2) £2,500-3,500

149. A rare Coalport vase and cover, c.1900, of Islamic rosewater sprinkler shape, the body painted to simulate malachite, raised on a narrow reticulated and gilded foot, the tall neck similarly doublewalled with gilt over red, printed factory mark, gilder’s mark JB, some damage to the neck, 28cm. (2) £200-300

150. A good Royal Worcester two-handled vase, date code for 1897, by George Owen and Harry Chair, painted with garlands of flowers suspended from elaborate gilt scrolls beneath reticulated panels and a beaded rim, the foot with further reticulation and beads of white and turquoise, printed marks, 14cm. £2,000-3,000

151. A Royal Crown Derby vase and cover, date code for 1905, painted by Désiré Leroy with a panel of pink roses and blue forgetme-nots, signed, reserved in a gilded and jewelled border, the flattened shoulder with further small floral panels within a rich gilt foliate design, printed marks, a section of the cover’s flange broken and reglued, 18cm. (2) £1,500-2,000

152. An unusual English porcelain campana vase, 19th century, probably Derby, finely decorated in tooled gilt with two lovers embracing, titled ‘Susan’s Interview with William’, the reverse with a full length portrait of Susan, the twisted stalk handles issuing from fruiting grapevine, raised on a cylindrical stand above paw feet, 28cm. £600-800

153. A Derby campana vase, c.1815-20, finely painted with garden flowers tumbling over a marble bench, reserved in a chamfered square panel reserved on a deep blue ground, the handles issuing from mythical face masks, the neck applied with a band of white beading, 20cm. £300-500

154. A pair of Flight, Barr and Barr dessert plates, c.1815, of lobed hexafoil shape, brightly enamelled with flowering and berried Oriental sprays in orange, gilt and pink, impressed crowned FBB marks, 22.5cm. (2) £150-250

155. A good pair of Coalport shell-shaped dessert dishes, c.1820, the wells painted with flower arrangements of poppy, chrysanthemum and rose, the moulded rims with six smaller floral vignettes between gilt detailing, 24cm. (2) £250-350 Cf. Geoffrey Gooden, Coalport, pl.134 for the shape.

156. A pair of English porcelain plates for the Prince Regent, c.181520, probably Chamberlain’s Worcester, finely painted with the three feathers of the Prince of Wales issuing from an ermine-lined crown, within stylized floral borders, impressed letter marks, 26.3cm. (2) £200-300

157. A Coalport trio and two cups and saucers, c.1820-25, finely painted in pattern 830 with polychrome flower sprays reserved within elaborate gilt panels on a white ground, gilded pattern numbers, 15cm. (7) £200-300

158. A Flight, Barr and Barr cabinet plate, c.1815, painted by William Billingsley with a small floral arrangement including two large passion flower blooms, reserved on a ground of gilt seaweed tendrils issuing from the gadrooned rim, faint impressed mark, a little regilding to the rim, 22cm. £200-300

159. A Derby botanical plate, c.1813-15, probably painted by William ‘Quaker’ Pegg with a bold arrangement of flowers from the Ranunculus family, within a simple gilt rim, titled in iron red to the reverse, a little wear to the gilt rim, 22.3cm. £400-600

160. A Flight, Barr and Barr cup and saucer, c.1815, finely painted with bold flower sprays including clematis, nasturtium, poppy, convolvulus and rose, reserved on a primrose yellow ground, impressed crowned FBB mark, 14.5cm. (2) £200-300

161. A good Flight, Barr and Barr tea cup and saucer, c.1815, finely painted with a band of colourful feathers within simple gilt borders, impressed crowned FBB mark, 14.5cm. (2) £400-600

162. A good Coalport sauce tureen with cover and stand, c.1810, painted in the Imari palette with shaped panels of birds, butterflies and Oriental flowers, the stand with a jardinière of flowers and leaves, with scallop shell handles and a conch shell finial, 20.6cm. (3) £300-500

163. A rare English stone china octagonal plate, c.1804, probably Mason’s, copying a Chinese porcelain design in the famille rose palette, painted with a boy on the back of a water buffalo, reaching across a precipice with two geese on the other side, within a red and yellow foliate border, 22.8cm. £400-600

Provenance: purchased from Barclay Antiques, Bexhill-on-Sea in May 1989.

Cf. Godden’s Guide to Mason’s China and the Ironstone Wares, pl.129 for an identical example.

164. An impressive pair of English porcelain ice pails with covers and liners, c.1818, probably Coalport, of Warwick vase shape, painted with small panels of flowers in the manner of Joseph Birbeck, reserved within gilt foliate cartouches on a lilac blue ground, the covers surmounted with pinecone finials, the shoulder applied with a fruiting grapevine border, a little restoration, 36cm. (6) £3,000-4000

165. A rare and fine Minton porcelain tray, c.1840, beautifully painted in the manner of Thomas Steel with an effusion of flowers including rose, narcissus, honeysuckle, delphinium and chrysanthemum reserved on an eau de nil ground, the shaped rim of primrose yellow with gilt detailing, 42cm. £800-1,200 Illustrated: Geoffrey Godden, Minton Pottery and Porcelain of the First Period, col. pl. IX, where it is mentioned as being at that time in the author’s collection.

166. A rare Samuel Alcock two-handled vase and cover, c.1828, painted with a shaped panel of flowers including rose, tulip, poppy and forget-me-not, reserved on a delicate ground of lilac-blue, the flat cover with a low circular knop, marked with pattern number 940 to the base, some good restoration to one handle, 26.5cm. (2) £300-500

167. A rare Flight and Barr câchepot, c.1800-10, finely painted by John Pennington with a young girl wearing a white dress with a purple sash, eating bread while her spaniel watches and waits hopefully, the flared form applied with ring handles and decorated with a continuous foliate band to the rim, a small chip to the foot, 14cm. £800-1,200

168. A good Flight Worcester plate from the ‘Hope’ Service, c.1791-92, painted en grisaille by John Pennington with a central figure allegorical of Hope, standing on the shore with a ship at sail behind her, the end of an anchor to her right, the border elaborately decorated with gilt paterae, stars and dots on a rich blue ground, blue crown Flight and crescent mark, 25cm. £2,000-3,000 Provenance: HRH William Henry, Duke of Clarence, later King William IV, thence by descent to Lord Frederick FitzClarence, William George (18th Earl of Erroll), Charles (20th Earl of Erroll) and then sold at Christie’s, 11th May 1893, with the rest of the service (260 pieces). The largest remainder of the service sold at Christie’s, 24th February 1997, lot 65.

169. A pair of Flight, Barr and Barr sphinx candlesticks, c.1805, the rectangular forms finely painted with panels of flowers between capital columns, the reverse gilded with a winged figure, each surmounted with a sconce resting on the back of a recumbent sphinx, 16.5cm high. (2) £3,000-5,000 Cf. Sotheby’s, June 1987, lot 446 for a similar pair with shell decoration.

170. A Flight, Barr and Barr campana vase, c.1825, finely painted perhaps by Samuel Astles with a shaped panel of flowers including narcissus, poppy, convolvulus and forget-me-not, reserved on a pale green ground, the handles issuing from ram’s head masks, impressed and painted marks, 25cm. £400-600

171. A good Bloor Derby two-handled topographical vase, c.1825, finely painted by Daniel Lucas Snr. with a view of Warwick Castle to one side, with swans and figures on a lake, the reverse with a view of Derbyshire, a thatched cottage beside a sloped bridge over a river, with elaborate swan handles, titled in red to the underside, printed mark, 24.7cm. £300-400 Cf. David Manchip, Artists and Craftsman of the 19th Century Derby China Factory, col. pl. 60 for a vase of the same shape.

172. A pair of English porcelain vases, c.1820, probably Coalport, finely decorated in a London atelier each with a bird perched on a low branch to one side, the reverses with baskets of flowers, a garland of pink roses around the foot, 19.5cm. (2) £200-300

173. A Samuel Alcock porcelain pot pourri vase and cover, c.1835, painted with a spray of flowers including rose, forget-me-not and convolvulus, within a wide gilt and pale yellow border reserved on a dark green ground, the cover pierced with concentric rings of small holes, 20.5cm. (2) £150-250

174. A rare Coalport centrepiece, c.1802, of circular two-handled form, painted by William Billingsley with a central floral panel including tulip, nasturtium, poppy and convolvulus, the rim decorated in the Worcester manner with shaped panels of flowers reserved on a blue scale ground, 32cm. £400-600 Cf. W D John, Billingsley, col. pl. 8 for a dish from the same service.

176. An English porcelain tulip vase, c.1820, probably Derby, formed from three central yellow petals within three further divergent petals in pink and yellow, beside a closed pink bud and two straight green leaves, 19cm. £450-600

175. A rare Coalport armorial sauce tureen and cover, c.1820, the rectangular shape painted with small floral arrangements reserved on a primrose yellow ground, the cover with a crest of a griffin’s head issuing from a crown, the tureen’s sides applied with foliate scrolls above masks, raised on four paw feet, restoration to one handle, 19.5cm across. (2) £400-600

177. A rare Neale & Co large dry-bodied stoneware mug, c.1790, moulded in relief with a girl playing the triangle to one side, a boy playing a large tabor to the other, the turned rim enamelled in turquoise, impressed mark, 14.5cm. £500-800 Cf. Diana Edwards, Neale Pottery and Porcelain, p.98 for a similar example.

178

179

178. A Wedgwood rectangular Jasperware plaque, 19th century, decorated in white on a pale blue ground with six Classical maidens holding hands and dancing, one on the far right holding a laurel leaf, impressed mark, framed and glazed, 39.5cm overall. £250-350

179. A Wedgwood rectangular Jasperware plaque, 19th century, applied in white on a black ground with five figures emblematic of the Arts, holding various attributes including a mask, a lyre and a scroll, framed and glazed, impressed mark, 34cm overall. £250-350 180

180. Two pairs of South Staffordshire enamel candlesticks, c.1770, finely painted with arrangements of European flowers and single stems of narcissus, tulip, primrose and other flowers, the baluster stems made in two parts and knopped, one pair with removable hexafoil drip pans, some damages and repairs, 30cm. (4) £500-800

181

181. A Battersea enamel rectangular plaque, c.1760, decorated with Mary Magdalen raising her eyes to the sky, the skull of Christ at her feet, cracked, 10.3cm. £200-300

182. A large German porcelain rectangular plaque, 19th century, painted with The Penitent Magdalen after Pomeo Gerolamo Batoni, lain before rockwork and reading from a book which rests on a skull, titled ‘Die Busende Magdalne’ to the reverse, framed, the plaque 27cm x 36cm. £750-1,000 Old paper collector’s label to the reverse.

183. A good pair of small Meissen topographical plaques, 19th century, finely painted with views of the River Elbe, blue crossed swords mark, in gilt metal frames, 6.7cm across. (2) £500-800

184. A small German porcelain rectangular plaque, 19th century, painted with the Penitent Magdalen after Pomeo Gerolamo Batoni, she lying wrapped in a blue robe and studying a large book which rests on an upturned skull, titled in pen to the reverse, framed, the plaque 12.5cm x 17.5cm. £200-300

185. A large Meissen lobed dish, c.1740, painted in the Kakiemon palette with a rare version of the Three Friends of Winter pattern, two birds above pine, prunus and bamboo, two quail to the base of the rim, blue crossed swords mark, impressed 21, some restoration, 31.7cm. £800-1,200

186. A rare and early Meissen plate, c.1740, painted after the Chinese original with a miniature pine tree in a lobed jardinière also planted with lingzhi fungus, within a gilt and red spearhead border, the rim with flower sprays in the famille verte palette, blue crossed swords mark, broken and restuck, 22cm. £100-200

Cf. Bonhams, The Hoffmeister Collection of Meissen Porcelain Part III, 24 November 2010, lot 22. This pattern is more commonly seen with the Three Friends issuing from a banded hedge rather than rockwork.

Cf. Bonhams, The Hoffmeister Collection of Meissen Porcelain Part III, 24th November 2010, lot 31.

187. A Zurich porcelain plate, c.1765, painted with a large spray of indianische Blumen within a moulded border, blue Z mark, three dots to the inside footrim, a small chip to the footrim, 24cm. £200-300

188. An early Meissen blue and white plate, c.1740, painted with the Onion or Zweibelmuster pattern, blue crossed swords and dot mark, 23.3cm. £200-300

189. A pair of Meissen bowls and covers for the Turkish market, c.1780-1800, each painted with panels of flowers within oeil de perdrix borders, one reserved on a café au lait ground, the other on an apple green ground, the interiors painted with further flowers, each cover surmounted with a lemon finial, blue crossed swords and star mark for the Marcolini period, 21cm dia. (4) £300-500

190. A Meissen ornithological part dessert service, 19th century, each piece painted with a single bird perched on low leafy branches, the rims with small flower sprigs and scattered butterflies and insecys, within gilt dentil rims, cancelled blue crossed swords mark. Comprising: two circular deep dishes, two small oval dishes and eleven plates. (15) £800-1,200 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke.

191. A large Meissen ornithological plate, c.1770, decorated with a blackbird standing before a further bird perched on a low branch with scattered insects, within a blue garland border, blue crossed sword and dot mark, 29.5cm. £200-300

192. A large German porcelain ornithological charger, 19th century, painted with a hoopoe and three other birds perched in leafy branches, the rim with scattered flower sprays, a grasshopper and other insects within a shaped pale green border, mark disguised under a leaf, 40cm. £100-200 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke.

193. A Meissen teapot and cover, c.1730-35, the small globular body richly painted with indianische Blumen issuing from a small blue and gilt table standing on rockwork, the octagonal faceted spout with small flower sprigs, wishbone handle, blue crossed swords mark, Dreher’s mark of a cross probably for Johann Elias Grund Senior, painter’s numeral 14 to the inside of the footrim, some restoration, 16.7cm. (2) £600-1,000

194. A small Meissen teapot and associated cover, mid 18th century, the bullet-shaped body painted with sprays of deutsche Blumen, with moulded wishbone handle and the spout formed as the gaping mouth of a mythical beast, blue crossed swords mark, 18cm. (2) £250-350

195. A Meissen white-glazed cup and saucer, c.1740, each applied with three sprays of flowering prunus, faint blue crossed swords marks, 13.7cm. (2). £300-400

196. A small Furstenberg teapot and cover, c.1780, the cylindrical body painted with figural scenes, one side with a lady on horseback asking directions from a figure wading in a river, blue F mark, 12cm. (2) £200-300

The saucer with a paper label for Rudolf Weigang, no. 106

197. A Meissen matched teabowl and saucer, mid 18th century, each finely painted in purpurmalerei with naturalistic floral sprays and single sprigs, brown line rims, blue crossed swords marks, 13cm. (2) £150-200

198. A Meissen saucer, c.1732-35, painted in the Oriental manner with a bold spray of orange peony issuing from a banded hedge and holey rockwork, a small butterfly in flight beside, brown line rim, blue crossed swords mark, Dreher’s mark to the inside footrim, 12cm. £300-500 The Dreher’s mark of three circles arranged in a triangle is that of Gottfried Seydel, recorded at the factory from 1732.

199. A Thuringian porcelain inkstand, c.1780, probably Wallendorf, of rectangular form raised on six bun feet, the front applied with fabric swags, the sides with ring handles, the top pierced with two circular holes, decorated with a hatched diaper ground, W mark, 15.5cm. £200-300

200. A Meissen teapot and cover, c.1740, the lobed bullet-shape body finely painted with a damselfly and other flying insects and bugs, the wishbone handle with gilt scrolled detail, the spout formed as a mythical grotesque, blue crossed swords mark, indistinct Dreher’s mark, restored, the cover associated, 17.2cm. (2) £300-500

201. A Meissen teapot and associated cover, c.1740, the bulletshaped body finely painted with sparse arrangements of deutsche Blumen, with wishbone handle, the spout modelled as the gaping mouth of a mythical beast, blue crossed swords mark, faint Dreher’s mark to the inside footrim, restored, 20cm. (2) £350-500

202. A Meissen architectural cabinet cup with cover and stand, late 19th century, modelled with Corinthian columns at each corner, painted with monochrome panels reserved on a claret ground, the cover surmounted with a griffin finial, blue crossed swords marks, the griffin’s wings restored, 12.5cm across. (3) £300-500

203. A good pair of Paris (La Courtille) two-handled vases, 1st half 19th century, finely painted with buildings by the water’s edge, the reverses with figures in woodland landscapes, reserved within gilded panels with palmette and Greek key designs, the handles formed as the heads of mythical beasts rising from mask heads, blue crossed arrows marks, 33cm. (2) £2,000-3,000

204. A good pair of large Meissen saucer dishes from the Red Dragon service, c.1740, decorated with two scaly beasts encircling the rim between tied scrolls and other emblems, the centre with two long-tailed confronting phoenix, blue crossed swords marks and puce KHC and KHK marks, 30cm. (2) £2,000-3,000 Two services of this pattern were made for the French merchant, Lemaire, c.1730 but confiscated and transferred to the Japanese Palace in 1733. Further wares were then produced for the exclusive use of the Saxon Court, these two dishes having been made for the Saxon Royal Court Pantry.

205. An impressive pair of Meissen ‘Elements’ ewers, c.1880, after the 1741 models by J J Kändler, of Water and Air, the first with a handle formed of reeds bound with pink ribbon, a winged putto above, Neptune beneath the shell-formed spout with a mermaid and hippocampi, the body painted with warships, Air applied with Juno and Zephyr with further putti blown about, the body moulded with birds amidst clouds, blue crossed swords marks, a few small damages, 60cm. (2) £10,000-15,000 This pair of ewers directly copy a white-glazed pair sent to the French Court in 1742 as a diplomatic gift to Louis XV, together with a pair of vases emblematic of Earth and Fire, and a third vase bearing the King's portrait. Later sets turned the two vases into ewers to match those of Water and Air. Cf. Christie's, 22nd May 2003, lot 221 for a complete set from the collection of Lord St Oswald, removed from the store at Nostell Priory.

A PRIVATE COLLECTION OF FRENCH PORCELAIN

206. A Sèvres cabinet can and stand, date code for 1773, of goblet litron shape, painted with leafy fronds and small floral sprigs, further single stems suspended from a gilt and lilac border, the can with the letter I made from pink roses, interlaced LL and U mark, leaf painter’s mark, 14.8cm. (2) £200-300

207. A Sèvres-style coffee can and saucer, late 18th century, richly decorated in a spiralling striped design of gilt foliate bands reserved on a blue ground, interlaced LL mark with R to the can, 12.2cm. (2) £150-250 Provenance: from a private collection.

Provenance: from a private collection.

208. A Sèvres miniature teapot and cover, date code for 1761, later decorated with a continuous garland of European flowers beneath a shaped dark blue band highlighted with gilt floral sprays, interlaced LL and i mark, 12.5cm. (2) £200-300

209. A Sèvres cabinet can and stand, date code for 1760, painted with panels of fancy birds perched in and beneath leafy branches, within gilt cartouches on a bleu celeste ground, interlaced LL and H mark, painter’s mark, 14cm. (2) £150-250

Provenance: from a private collection.

210. A Sèvres two-handled tray, date code for 1780, finely painted with birds in flight about a covered urn draped in bright flower garlands, reserved within an elaborate gilt cartouche on a bleu de roi ground, interlaced LL and cc mark, three dots and a large LG, 32cm. £400-600 Provenance: from a private collection.

211. A Sèvres plate, date code for 1780, the well painted with two butterflies around a small arrangement of split fruit and flowers, the rim with garlanded flowers and gilt foliate scrolls on a oeil de perdrix ground, interlaced LL and cc mark, painter’s mark for Taillandier, 24cm. £200-300 Provenance: from a private collection.

212. A Sèvres cabinet plate, date code for 1784, the well painted with an arrangement of flowers and a fruiting plum branch, the moulded rim with three floral panels and gilt floral wreaths reserved on a green ground, blue interlaced LL mark and gg code, painter’s mark probably for Massy, 24cm. £100-200 Provenance: from a private collection.

213. A Sèvres small ecuelle with cover and stand, date code for 1779, painted with panels of flowers within gilt floral borders reserved on a bleu de roi ground, interlaced LL marks with bb code, painter’s mark for Pierre-Théodore Buteux, 17.6cm. (3) £600-800 Provenance: from a private collection.

214. A Paris porcelain tureen with cover and stand, 19th century, painted with panels of European flowers reserved within floral gilt cartouches on a turquoise ground, a section of the stand broken and restuck, 20.4cm. (3) £150-250 Provenance: from a private collection.

215. A Sèvres-style sucrier and cover with built-in stand, late 18th century, probably later decorated with panels of fruit and flowers reserved on a deep blue ground with gilt caillouté design, incised tt mark, 24cm. (2) £400-600 Provenance: from a private collection.

216. A small Sèvres covered bowl, date code for 1779, finely painted with sprays of pink rose and cornflower issuing from a blue shaped border edged in gilt, the rim with a scrolling blue and gilt design, interlaced LL and bb mark, painter’s mark for Fontaine, 12.5cm dia. (2) £150-250 Provenance: from a private collection.

217. A Sèvres small jardinière or câchepot, date code for 1786, probably later decorated with a panel of colourful birds, the reverse with flowers, reserved on a bleu celeste ground with gilt oeil de perdrix decoration, interlaced LL and ii mark, painter’s mark mb, gilder’s HP mark, a crack to the base, perhaps later decorated, 10.5cm. £300-500 Provenance: from a private collection.

218. A lobed Sèvres dish, 18th century, moulded with three panels painted with European flowers in a muted palette, reserved against three smaller panels with an interlaced design in gilt and blue, some wear, 23cm. £150-250

219. A pair of Paris porcelain vases, 19th century, of squat campana shape raised on tall cylindrical bases, painted with small flower garlands and butterflies, within wide gilt stylized foliate and palmette borders, some wear, 26.5cm. (2) £300-400

Provenance: from a private collection.

220 221

220. Two Sèvres-style cylindrical jars or pots and a miniature coffee can, probably 19th century, the larger cylindrical pot painted with floral panels reserved on a green ground, the smaller and the can with panels of fancy birds reserved on a turquoise and a blue ground, interlaced LL marks, 6.6cm max. (3) £150-250 Provenance: from a private collection. 221. A Sèvres confiture, date code for 1782, the two preserve pots fixed on an oval tray, painted with sprays of European flowers within shaped feathered blue borders, the flat covers with plain finials, interlaced LL and EE mark, 24.5cm. (3) £300-500 Provenance: from a private collection. 222. A large Sèvres-style bowl or saladier, 18th/19th century, of lobed hexafoil shape, painted with sprays of European flowers in a muted palette with alternate panels of gilt arrangements reserved on a green ground, interlaced LL and D mark, 26.5cm. £200-300 Provenance: from a private collection. 222

223. Two Sèvres-style dishes, 18th/19th century, one painted in puce monochrome with Cupid seated on a grassy knoll and holding grapevine, the other with two panels of Cupid recumbent on clouds, edged in green and reserved on a pink ground, interlaced LL marks, 27.4cm max. (2) £200-300 Provenance: from a private collection. 224. A Sèvres saucer, mid 18th century, finely painted with sprays of European flowers, the rim with a blue band intersected with gilt dashes and a gilt dentil rim, and a Sèvres-style ecuelle stand similarly decorated, interlaced LL mark to the latter, some wear, 19cm max. (2) £100-200 Provenance: from a private collection.

223

224

225. A Sèvres cup and saucer, c.1760, perhaps later decorated with polychrome flower garlands within a border of gilt foliate sprays enclosing different diaper panels, interlaced LL marks and h date code, painter’s mark, a restored chip to the saucer’s rim, 14cm. (2) £150-250 Provenance: from a private collection.

226. A Sèvres tasse à glace stand, date code for 1771, probably later decorated with four birds in flight carrying branches and with butterflies around a central flower sprays, the lobed rim with a gilt design on a green ground, raised on a low foot, interlaced LL mark, 23cm. £200-300 Provenance: from a private collection.

227. A Sèvres tasse à glace stand, date code for 1765, painted with four panels of flowers linked by gilt foliate scrolls, reserved on a bleu celeste ground, raised on a low foot, a small restuck rim chip, 22cm. £200-300 Provenance: from a private collection.

228. A Sèvres-style jewelled mug, 19th century, painted with figures seated at the water’s edge with a ship behind, within an oval panel studded with enamel pearls, reserved on a turquoise ground with a rich jewelled border in green, red and white enamels, interlaced LL mark and O, music note painter’s mark, 10cm high. £150-200 Provenance: from a private collection.

229 230

229. A Tournai tureen with cover and stand, c.1770, painted in blue with flower sprays and flowering branches issuing from rockwork, Y and 2 marks to the inside cover and inside tureen, 33cm. (3) £250-350 230. A rare pair of Tournai plates, c.1750-60, each painted in blue with a stylized pagoda landscape beneath a tall fruiting branch, within osier moulded lobed rims, incised and painted marks, 23cm. (2) £300-400 Cf. The Victoria and Albert Museum, No. 1306-1901 for an identical plate gifted by J H Fitzhenry. 231. A large Tournai blue and white charger, c.1770, decorated with a central branch of Oriental flowers issuing from rockwork, the spiral-moulded rim with four further sprays, 39cm. £200-250

231

232. A pair of Meissen rococo scrolled flower vases, 19th century, the moulded bodies painted with scenes of figures in rural landscapes, the reverse with panels of flowers, within bold scrolls highlighted in pink, green and gilt, surmounted with tall arrangements of applied flowers, blue crossed swords marks, a little restoration, 29cm. (2) £300-400 233. A Sèvres-style boxed desk set, 19th century, painted with panels of cherubs and flowers reserved on a turquoise ground, with ormolu mounts. Comprising: a covered inkwell, a pen tray and two candlesticks. All contained in a fitted monogrammed case. £500-800 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke.

232

233

base 234. A rare Chantilly gold-mounted lobster box or bonbonniere, c.1740-50, modelled as a red lobster or crayfish recumbent on a bed of turquoise waves or reeds, the interior and underside of the lid painted in the Kakiemon palette with flowers and a pagoda landscape, Paris assay marks, some wear, the mount loose, 6.5cm. £600-1,000

235. A Continental porcelain eyebath, early 19th century, painted with sprays of flowers to the boat-shaped bowl and flared stem, a faint crack to the bowl, 5.2cm. £150-250

236. A Russian porcelain (St Petersburg) Soviet cabinet cup and saucer, the porcelain late 19th century, later decorated with a stylized floral design in orange and grey, printed factory mark dated 1893, painter’s mark for the Soviet Republic dated 1922, 15.6cm. (2) £100-200

237. A rare Berlin eyebath, c.1770-75, the bowl painted inside and out with sprays of deutsche Blumen, raised on a flared moulded stem highlighted with puce detailing, blue sceptre mark, 4.3cm high. £800-1,000 Cf. Erich Köllmann and Margarete Jarchow, Berliner Porzellan, Vol. II, p. 629, fig. 640 for a similar example.

238. A Russian porcelain propaganda chess set, 20th century, ‘The Reds and the Whites’, from the State Porcelain Manufactory, after the 1922-25 models by Natalia Danko, the Reds depicted as harvesters and workers, the Whites in chains and with Death as the King, hammer and sickle mark, monogram for Natalia Danko, 10.5cm max. (32) £600-800

239. A Russian biscuit porcelain figure of a father and child, Gardner factory, late 19th century, the proud parent seated on a wooden chest and holding the baby aloft, printed red mark, 21cm. £400-600

240. A Russian biscuit porcelain figure of a peasant woman, Gardner factory, late 19th century, seated on a wooden bench between two large cooking pots and stirring a small saucepan which rests in her lap, printed red and impressed marks, 14cm. £400-600

241. A Russian biscuit porcelain figure of a Jewish man, Gardner factory, late 19th century, wearing a double-breasted coat and a brown kippah, using a furled umbrella as a walking stick, raised on a square grassy base, red printed mark, impressed 147, 22cm. ÂŁ1,000-2,000

242. A Russian biscuit porcelain figure of a peasant Jewess, Gardner factory, late 19th century, wearing a purple headscarf and grey shawl over a polkadot dress, a small package in her right hand, a tied bundle over her left wrist, raised on a square green base, printed and impressed marks, 21cm. ÂŁ2,000-3,000

Cf. Martin C. Ross, Russian Porcelains, pl. 58. This figure is one of two figures of Jewish men from different classes, this being the more prosperous.

This figure is believed to be the pair to the figure in lot 241.

243. Two Russian biscuit porcelain figures of workmen, Gardner factory, late 19th century, each bent over a tree stump and sharpening a scythe with a hammer, a scarf tied around their heads, one with an impressed mark, the other with a printed red mark, small damages and restorations, 10.5cm. (2) ÂŁ500-800 Cf. Marvin C. Ross, Russian Porcelains, pl.39.

245

244

246

244. A Samson porcelain figure group, late 19th century, in the Meissen manner, of a couple taking tea at a small table, while a maid stands behind, raised on a low oval scrolled base, pseudo blue crossed swords mark, some losses to the tea things, 24cm. Contained in a contemporary fitted case bearing a shield with three fleur de lys. £300-500 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke. 245. A Samson porcelain figure group, late 19th century, in the Meissen manner, of a gentleman and two ladies playing backgammon, seated on plush chairs, a small bird alighted on the gentleman’s shoulder, pseudo blue crossed swords mark, 23.5cm. Contained in a contemporary fitted case bearing a shield with three fleur de lys. £300-500 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke. The decoration on this group suggests that it was originally made as a pair to the previous lot, probably as a specific order for the family.

247

246. A Meissen crinoline group of lovers, c.1770, modelled by J J Kändler, the amorous pair seated beneath a tree and enjoying an embrace, blue crossed swords and dot mark, some restorations, 19cm. £300-400 247. A large Samson porcelain figure group of Virtue, 19th century, after Meissen, a young maiden being crowned with a wreath of pink roses while a figure behind holds the French Royalist flag, another holding a plaque engraved ‘La Vertu 1775’, a further figure plays the bagpipes while a lady sits beside with a basket of roses, pseudo crossed swords mark, 37cm high. Containing in a contemporary custom-made case bearing the shield for the French monarchy. £500-1,000 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke.

248. A Meissen crinoline group, c.1870, after the model by J J Kändler, walking hand in hand, she gathering her wide skirts in one hand and holding a closed fan, he with his hat tucked under one arm and holding a snuff box, blue crossed swords mark, incised 550, blue Gb mark, minor damages, probably later decorated, 21cm high. £250-350 248

249 251

250

249. A Meissen porcelain crinoline group, 19th century, of two lovers seated beneath a tree and leaning in for an embrace, he holding a gamebird and with a dead hare at his feet, blue crossed swords mark, incised 468, damages to the tree, 26.5cm across. £250-350 250. A large Meissen equestrian figure of Augustus III, 20th century, after the model by F E Meyer, the Elector of Saxony and King of Poland wearing a red and gilt uniform with a blue sash, holding a baton in his right hand and the reins of his dappled steed in his left, blue crossed swords mark, incised 1796, 27cm high. £400-600 Provenance: Sold on behalf of the Executors of Colin Popham deceased. 252 251. A Meissen group of Europa and the Bull, 19th century, after the model by J J Kändler, Europa seated on the back of the bull and draped in a pink robe, attended by two maidens who garland her steed with flowers, 21cm. £600-1,000 252. A pair of Meissen figures of huntsmen with hounds, 20th century, each holding the leashes of three dogs, raised on low bases applied with flowerheads, blue crossed swords marks, 11.5cm. (2) £300-400 Provenance: Sold on behalf of the Executors of Colin Popham deceased. 253. A pair of Meissen equestrian figures of musicians, 20th century, after the models by Peter Reinicke, each astride a white horse, one with drums, the other a trumpet, blue crossed swords marks, and a smaller figure of a huntsman on horseback, minor damages, 20.5cm max. (3) £400-600 Provenance: Sold on behalf of the Executors of Colin Popham deceased.

253

254. A Meissen figure group of putti, 19th century, after the model by J C Schönheit, either side of a large mask resting on a rocky outcrop, a small cat emerging from the mouth, a bird in a cage to one side, blue crossed swords mark, incised H88, a chip to the cat, 14cm. £400-600

255. A Meissen figure group of the Drunken Silenus, 19th century, reworked from the original model by J J Kändler, the inebriated god slumped on the back of a donkey, supported by a young man, while a maiden feeds grapes to the garlanded ass, a putto pulling its tail behind, blue crossed swords mark, incised 2724, a few small restorations, 21cm high. £600-800

256. Eight Meissen musicians from the Gallant Orchestra, 20th century, after models by Kändler and Meyer, including two violinists, a cellist, a lute player, a hurdy-gurdy player, a harpist, a female singer and a conductor, blue crossed swords marks, 16cm max. Each in its original box. (8) £600-1,000

257. A near pair of Meissen figures of children with toys, 19th century, the boy riding a hobby horse and wearing an elaborately plumed hat, the girl spanking her doll, each raised on a circular base with gilt scroll design, blue crossed swords marks, the girl incised E95, some damages and restorations, 16cm. (2) £300-500

258. A matched pair of Meissen figures of children, 19th century, after the models by Acier, firing arrows at an unseen target, each raised on a circular base with scrolled design, blue crossed swords marks, incised F32, some damages and restorations, 16cm. (2) £400-600

259. A Meissen group of the Harlequin family, c.1930, after the model by J J Kändler, the comical character typically attired in chequered costume, embracing his partner who holds an infant in similar costume, blue crossed swords and dot mark, incised 115X, a few small restorations, 18cm. £600-1,000

260. A Meissen figure of Harlequin, early 20th century, seated and quenching his thirst from a tall beaker, taking a break from playing the goat bellows, which he tucks under his left arm, blue crossed swords mark, incised 160, some restoration, 15cm. £300-500

While this model does not appear in Kändler’s work book, it does feature in the overtime records of the repairer Anton Friedrich Kohler from 1738, described as “Two figures of Harlequin with one woman who is carrying a child in her arms”. Another version of the group was made without the child, and both examples are illustrated in Rainer Rückert, Meissener Porzellan 1710-1810, nos. 861 and 862. Both versions were copied in the 18th century at both Continental and English factories. In the 1930s, some 200 years after Kändler’s original model, Meissen chose to resurrect the group to great effect.

261. A Meissen figure of a boy holding a cockerel, mid 18th century, modelled by J J Kändler, the bird tucked securely under the boy’s right arm, a stick in his left hand and wearing striped trousers and a plumed hat, minor faults, 14.5cm. £800-1,200

262. A Meissen figure of a lady gardener, c.1750, watering a plant at her bare feet, a scarf tied about her head, wearing a pink bodice and yellow skirt, blue crossed swords mark to the back of the base, some restoration, 11.6cm. £200-300

263. A Meissen figure of a boy gardener, 19th century, carrying a basket of flowers in his right hand, a maul resting on his left shoulder, his head turned to the right, his clothes elaborately patterned, blue crossed swords mark, a little restoration, 14cm. £250-350

264. A Meissen figure of a boy, 19th century, feeding a pair of geese and a pair of ducks from a bowl between his feet, proffering leaves from his bag to the hungry birds, blue crossed swords mark, incised C41, 12.3cm. £200-300

265. A Meissen figure of a girl feeding chickens, mid 18th century, scattering corn from a shallow basket beneath her left arm, feeding a family with six chicks, blue crossed swords mark, some good restoration, 12.5cm. £300-500

266. A Meissen figure of Cupid in Disguise as a grape seller, mid 18th century, carrying a stick and a basket of grapes, wearing a pale blue suit open at the waist, blue crossed swords mark to the reverse, some good restoration, 8.7cm. £200-300

267. A Meissen figure of a trinket seller from the Cris de Paris, 20th century, after the model by J J Kändler, wearing a white frock coat and holding an open box of sundries including scissors, handkerchiefs, shoe buckles and a pair of lorgnettes, his hat resting on a tall box of drawers behind, blue crossed swords mark, incised 965, 19.5cm. £300-400

268. A Meissen Cris de Paris figure of a lemonade seller, mid 19th century, after the original model by Peter Reinicke, a large cistern on his back partially covered by a pink cloth, a flask to one hip and a small cup in his right hand, blue crossed swords mark, a little good restoration, 14cm. £450-550

269. Six Meissen figures from the Cris de Paris series, 20th century, including a rabbit seller, the Night Watchman, a grape seller, an egg seller, a fruit seller and a flowergirl, all after the original models by Peter Reinicke, modelled with their various wares, the night watchman carrying his lantern and a basket with bottles of wine, all raised on low scrolled bases with gilt detailing, blue crossed swords marks, minor damages, 15cm. (6) £400-600 Provenance: Sold on behalf of the Executors of Colin Popham deceased.

270. A large pair of Meissen figures of singers, 19th century, a gallant and his companion standing and holding music scores, raised on circular scrolled bases, cancelled blue crossed swords marks, incised G104 and G105, some damages, 35.5cm. (2) £200-300 Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke.

270

271

271. A Meissen figure group of a gallant and his companion, 2nd half 19th century, after the model by Acier and Schönheit, she seated on a rocky stump beneath a leafy tree, her lap full of flowers, he standing over her with a gold watch in his left hand, a young girl picking apples from the tree behind them, the base encircled with a ribboned garland of oak leaves, blue crossed swords mark, incised D94, impressed 72, painter’s numeral 49, some restorations, 26cm. £500-800

272. A Meissen white-glazed figure of a lady, mid 18th century, her naked form halfcovered by a robe draped over one shoulder, both arms outstretched in supplication to an unseen force, blue crossed swords mark, the fingers of the left hand lacking, 18cm. £500-800

273. Two small Meissen Classical figures, mid 18th century, one emblematic of Music, holding a lyre and wearing a flowing floral robe, the other a water nymph standing beside two dolphins, blue crossed swords marks, minor faults, 10.5cm max. (2) £500-800

273 272

274. A Meissen bust of a child, late 19th century, her head turned slightly to the left, wearing a bonnet tied beneath her chin, a floral corsage near her left shoulder, raised on a quatrefoil base, blue crossed swords mark, incised 2764, 15.5cm. £300-400

274

275

275. A Frankenthal group of lovers, dated 1774, she slightly inclined away from his eager embrace as one hand strays towards her bosom, raised on a low grassy base, blue crowned CT and 74 mark, a small chip to the hat, 14cm. £300-500

276. A large pair of Meissen figural salts, 2nd half 19th century, each of a reclining figure holding the edges of a large oval dish, the interiors painted with flowers and insects, the exteriors applied with further flowers, raised on low scrolling bases picked out in puce, turquoise and gilt, blue crossed swords marks, some damages and restoration, 32cm across. (2) £400-600

277. A Meissen figure emblematic of Sight, c.1880, from a set of The Senses, modelled as a Classical maiden with a telescope raised to her left eye, holding an open book in her right hand, an eagle with outstretched wings perched by her feet, blue crossed swords mark, incised 2737, 15.5cm. £200-300

278. A Ludwigsburg figure of Old Father Time, c.1765, the winged and bearded figure draped in a scant blue robe and holding an hourglass in his right hand, leaning against a tree trunk, raised on a low scrolling base, blue crowned CC mark, painter’s mark to the reverse, one wing broken and restuck, 22cm. £300-500 Old paper collection labels to the base.

279. A Limbach figure of a queen, c.1775, probably emblematic of Europe, wearing a small jewelled coronet and holding a golden sceptre, wearing Classical robes and beaded bracelets, the owl lacking to the base, 20.5cm. £200-300

280. A Meissen figure of the Moenchgut Skipper, late 19th century, from the Villager series, modelled by Hugo Spieler, the old salt wearing a striped waistcoat beneath his oilskins, holding tight to a furled sail while the sea breaches the deck boards on which he stands, blue crossed swords mark, incised Q190, some restoration, 16.3cm. £300-500

280

281

281. A Frankenthal sweetmeat figure, c.1760, emblematic of Autumn, modelled by Johann Friedrich Lück, a dandified gentleman in yellow waistcoat and a tricorn hat seated beside a deep scrolled basket and holding a length of fruiting grapevine in his left hand, incised r mark, 15cm. £400-600 Cf. The Victoria and Albert Museum, Museum No. C.44-1989, for a similar figure of Winter. These seasonal sweetmeats were from a table centrepiece, only three of which are recorded today.

282. A Meissen figure of Winter, c.1745, modelled by J J Kändler as a putto seated on a tapering chamfered plinth, draped in a fur-lined cloak with a bowl of hot coals on one knee, blue crossed swords mark, a few small chips, 13cm. £300-500

282

283

283. A Meissen figure of a hurdy-gurdy player, c.1775, standing and playing her instrument, wearing a turquoise bodice with matching shoes, blue crossed swords and dot mark, incised B79 to the reverse, some restoration, 13.5cm. £300-400

284. A small Meissen sweetmeat figure, c.1750, modelled as a ragged young boy holding a large upturned straw hat beneath his left arm, a miniature windmill in his right hand, blue crossed swords mark to the reverse, a few tiny chips, 11.5cm. £200-300

285. A Meissen figure of a putto, c.1750, allegorical of Geography, modelled by J J Kändler, holding a globe and draped in a long flowing robe, faint blue crossed swords mark, together with a later ormolu stand, a few small chips, the figure 12.5cm. (2) £400-600 284

285

286. A Meissen figure of the Racegoer’s companion, 19th century, after the model by Acier and Schönheit, studying the racecard she holds in her right hand, her left tucked into a brightly coloured feathered muff, a lace veil crossing the right side of her face, blue crossed swords mark, incised D66, 21.5cm. £250-350

287. A Meissen white-glazed figure of a farmworker or sower, mid 18th century, a large sack of seed by his side, his right arm scattering the seed held in a cloth apron in front of him, blue crossed swords mark, his right hand lacking, 20.2cm. £300-500

289. A Cozzi group of lovers, c.1770, a young man seated on a rocky stump with his beloved resting her arm on his knee, left in the white, 11cm. £300-400

288. A rare Meissen figure of the Dancing Shepherdess, mid 18th century, modelled by Meyer, wearing a flowing yellow skirt beneath a green tunic, holding a pair of castanets, blue crossed swords mark to the reverse, some restoration, 17cm. £400-600 Provenance: previously in the collection of Sister Wendy Beckett.

290. A Höchst chinoiserie figure, c.1770, of a young Oriental man standing wearing a Chinese hat and belted tunic over flowing trousers, holding a gilded vase from which issue large leaves, raised on a small chamfered square base, blue wheel mark, some good restoration, 13.5cm. £300-500

291. Two Meissen white-glazed models of horse heads, c.1949, by Eric Oehme, each with nostrils flared and ears pricked, their manes tousled by an unseen breeze, impressed signature and date, blue crossed swords marks, each raised on a wooden base, 22cm overall. (2) £300-500

293. A Meissen model of a song thrush, 20th century, perched on a rocky stump applied with small blue flowers, its head lifted and slightly turned to the right, its plumage finely detailed, blue crossed swords mark, some good restoration to the beak, 20cm. £250-350

292. A pair of Meissen models of golden orioles, 19th century, each naturalistically modelled perched on a leafy stump with heads turned, their plumage brightly coloured, blue crossed swords marks, incised 820, restored, 26cm. (2) £400-600

294. A pair of Meissen models of magpies, 20th century, after the models by J J Kändler, each perched on a low stump with tails erect, their beaks agape, blue crossed swords marks, 20cm. (2) £150-250 Provenance: Sold on behalf of the Executors of Colin Popham deceased.

295. A Meissen model of a golden oriole, early 20th century, naturalistically modelled perched on a tree stump, its head turned and wings starting to stretch, its long beak agape, blue crossed swords mark, restoration to the beak and leaves, 26cm. £300-500

296. A pair of Meissen models of quails and a pair of turkeys, 20th century, after the original 18th century models by J J Kändler, each with heads turned, their plumage finely detailed, raised on low grassy stumps, blue crossed swords marks, 10cm max. (4) £400-600

297. A pair of Meissen models of swans, 19th century, modelled with wings outstretched, and a model of a swan with two cygnets, after J J Kändler, blue crossed swords marks, the pair incised 2273, the single group E177, 13cm max. (3) £300-500

Provenance: Sold on behalf of the Executors of Colin Popham deceased.

298. A Meissen goose box and cover, mid 18th century, standing with its wings folded over its back, which remove as the box’s cover, its plumage finely detailed in grey and brown, blue crossed swords mark, puce 5 mark to the inside of the cover, the cover broken and restuck, 10cm high. (2) £1,000-1,500

299. A Meissen model of a seated pug, 19th century, with head turned to the right, wearing a blue collar with gilt bells, blue crossed swords mark, restoration to the tail, 12.5cm. £200-300

300. A pair of Meissen models of hares, 20th century, after the 18th century originals by J J Kändler, one seated with head slightly turned, the other slightly raised on its haunches and wearing an alarmed expression, blue crossed swords marks, incised 1279, 15.5cm. (2) £200-400 Provenance: Sold on behalf of the Executors of Colin Popham deceased.

301. Two Meissen bird groups, 20th century, one of two swallows perched on a rocky outcrop, the other of two wrens perched in leafy branches, with a small flying insect, blue crossed swords marks, 16cm max. (2) £300-500 Provenance: Sold on behalf of the Executors of Colin Popham deceased.

302. Two Derby models of woodpeckers, c.1760, each with head turned and burying its beak into an adjacent branch, the plumage picked out in green and red, 12cm. (2) £200-300 Cf. The Irwin Untermeyer Collection, pl.110 for the same model in different colouring.

303. An English porcelain model of a dog, early 19th century, recumbent on a shaped scrolled base, his curly coat sponged in manganese, 22.5cm across. £400-600

304. A pair of Derby models of sheep, c.1760-65, a ram and a ewe each standing before flowering bocage with a lamb before them, their woolly coats sponged in copper red, the low bases applied with further flowers and leaves, small chips, 14cm. (2) £500-700

305. A Minton figural spill vase, 19th century, a woodcutter leaning again the trunk of a partially felled tree with his axe tucked into his belt, his dog begging at his feet, a bundle of faggots leant up against the trunk, blue crossed swords mark, some chipping, 21cm high. £220-300

306. A pair of Bow candlestick groups of Cupid, c.1770, each modelled with the winged putto reaching up to a bird perched amid flowering branches, a dog by his side and his quiver of arrows resting on the ground, raised on scrolling bases picked out in turquoise and gilt, some damages and repairs, 24cm. (2) £300-500

307. A pair of Derby candlestick groups of Cupid, c.1770, kneeling before flowering bocage, one group firing an arrow through the branches, the other pointing towards a flaming heart, each with a quiver of arrows beside, raised on scrolling bases, some damages, 18cm. (2) £250-350

308. A large pair of Chelsea-Derby candlestick figures, c.1770, of a young gardener and his companion, she holding an empty bird cage, each standing before tall flowering bocage between two sconces, raised on scroll bases, some damages, 29cm. (2) £300-400 Provenance: by repute from the collection of Lady Charlotte Schreiber.

309. A large Bow figure of Flora, c.1765, leaning against a tree trunk, her right hand holding the end of a cornucopia of fruit and flowers, a quiver of arrows on her back, raised on a circular base, red anchor and dagger mark, some damages, 33.5cm. £300-500

310. A Bow figure of an abbot, c.1765, standing and holding a cross in his right hand, a sack slung over his other shoulder and a rosary suspended from his belt, raised on a tall scrolling base applied with flowers, red anchor and dagger mark, a little good restoration, 17cm. £200-300

312. A near pair of Bow figures of musicians, c.1760, each seated on a rocky stump with bodies turned, he playing the bagpipes, her lyre lacking, raised on unusual tall scrolled bases picked out in puce, some damages, 22cm. (2) £400-600 Provenance: by repute from the collection of Lady Charlotte Schreiber.

311. A Derby group of four putti, c.1775, one clambering up a tree to reach birds nesting, two others removing chicks from a nest to a wooden cage, raised on a rocky stump applied with flowers and leaves, incised No 234 and with the letters G, and J, 30cm. £100-200

313. A pair of Derby candlestick groups of Matrimony and Liberty, c.1770, of a shepherd and shepherdess seated before elaborate flowering bocage, she with a sheep and a caged bird, he with a dog and a goldfinch perched on his right hand, raised on pierced scrolled bases, some damages, 29cm. (2) £300-500 Cf. Frank Stoner, Chelsea, Bow and Derby Porcelain Figures, pl. 62 for a similar pair.

314. A Bow figure of Winter, c.1770, personified as a bearded figure wearing a turquoise hooded coat and huddled over a small flaming brazier, raised on a tall scrolled base, red anchor and dagger mark, 16.5cm. £200-300

315. A Bow figure of Cupid, c.1765-70, kneeling before flowering bocage and reaching up to a colourful bird perched in the branches, a dog waiting patiently below, raised on a tall scrolled base, red anchor and dagger mark, some damages, 18cm. £150-250 Paper label for Mortlock’s of Oxford Street.

316. A Derby figure of Apollo, c.1760, crowned with a laurel wreath and standing amidst symbols of the Arts including books and musical instruments, wearing a long flowered robe, a small amount of restoration, 16cm. £200-300

317. A Derby figure of Winter, c.1770, personified as a young boy wearing a fur-lined coat and hauling a bundle of faggots over one shoulder, 22cm. £100-200

318. A pair of Bow figures of Spring and Summer, c.1755-58, from the Seated Rustic Seasons series, personified as two ladies seated with flowers and corn stooks, wearing wide-brimmed hats, minor damages, 12cm. (2) ÂŁ500-800 Cf. Peter Bradshaw, Bow Porcelain Figures, p.128, no. 105 for the same figures left in the white.

319. A matched pair of large Derby mythological figures, c.1765, one of Europa and the Bull, she seated on the back of Zeus in bovine form and garlanding him with flowers, the other of Leda and the Swan, she embracing the same god in different form, each raised on rococo scrolled bases, some damages and restoration, 29cm. (2) ÂŁ400-600

A PRIVATE COLLECTION OF BLUE & WHITE WORCESTER Collectors of blue and white porcelain tend to have a more methodical approach than many of those in other areas, and this collection is a perfect example of that. Accompanying paperwork revealed a tick-list of printed patterns which would have accompanied the collector on his trips to various fairs, as he sought the next pattern on the list. Using Branyan, French and Sandon’s book as a reference, all of the ‘Common’ patterns have been ticked off (some more than once), many of the ‘Uncommon’, and with small inroads made into the ‘Rare’ and even ‘Very Rare’ designations. The result is a collection that provides both aesthetic pleasure and academic interest.

320. A Worcester blue and white trio, c.1775, printed with the Mother and Child and Man Fishing pattern, the three figures reserved within circular panels, within wide rococo diaper borders with floral sprigs, hatched crescent and printed W marks, 12cm. (3) £100-200 Purchased from Bert Huckett Antiques, 9th March 1991 (cup), and Richard Earle, 19th March 1992 (teabowl and saucer).

322. Two Worcester blue and white creamboats, c.1770, one of hexagonal form, moulded with a geranium leaf beneath the spout and printed with the Creamboat Sprays, hatched crescent mark, the other of low Chelsea ewer form and printed with the Pagoda Village pattern, disguised numeral mark, 11cm max. (2) £200-300 The Chelsea ewer purchased from Jupiter Antiques, 21st September 1991. The hexagonal creamboat from David Turner, 19th April 1997.

321. A Worcester blue and white trio, c.1785, printed with the Circled Landscape pattern, figures in a covered boat before an arched bridge, disguised numerals mark, 12.5cm. (3) £100-200 Purchased from Jupiter Antiques, 10th October 1998 (the coffee cup) and W. Ferguson, 21st September 2003 (teabowl and saucer). The latter with paper labels for the Thistle Collection.

323. Two Worcester blue and white milk jugs, c.1775, one sparrowbeak, the other helmet shaped, both printed with the Three Flowers pattern, the former with an associated cover printed with an Oriental landscape, hatched crescent marks, 14cm max. (3) £80-120 Purchased from Anne Scarlett, 18th August 1995 (former), and Ascott Antiques, 11th April 1993 (latter).

324. A Worcester blue and white rococo-moulded bough pot, c.1770, printed with the Garden Rose Group, the top pierced with a large shaped hole within three rows of smaller circular openings, hatched crescent mark, 22cm across. £250-350

325. A Worcester blue and white teapot and cover, c.1775, printed with the Birds in Branches pattern, a different print to each side, hatched crescent mark, some restoration to the finial, 18cm across. (2) £150-250

Purchased from Jupiter Antiques, 15th November 2000.

Purchased from Law Fine Art, 3rd February 2004.

326. A large Worcester blue and white reticulated basket, c.1775, printed to the interior with the Pinecone pattern, the exterior applied with flowerheads, the ropetwist handles issuing from further flowers and leaves, hatched crescent mark, good restoration to one handle, 25cm. £150-250

327. A Worcester blue and white teapot and cover with stand, c.1775, of unusual bullet shape, printed with the Fisherman pattern, the shaped spout with a peony spray, hatched crescent mark, a chip to the cover’s flange, 20cm max. (3) £200-300

Purchased from Ravenswood Antiques, 13th March 1993.

The teapot with a paper label for the Godden Reference Collection. Purchased from Jupiter Antiques, 5th May 1991.

328. A Worcester blue and white patty pan, c.1760, printed with the Early Flowering Plants pattern, with crisp sprays of peony, chrysanthemum and other Oriental flowers, crescent mark, 12cm dia. £100-200 Purchased from David Turner on 15th August 1997.

330. A Worcester blue and white sugar bowl and cover, c.1775, and a mustard pot and cover, both printed with the Fence pattern, the covers with floral finials, hatched crescent marks, 12.5cm max. (4) £150-250 The mustard pot with a label for the C W Barton Collection, purchased from Dreweatt Neate, 12th July 2000. The sucrier purchased from Crofton Antiques, 4th February 1995.

332. A small number of Worcester blue and white items for the table, c.1765-80, including a moulded butter or potted meat tub printed with the Mixed-Flower Panel Sprays, an asparagus server printed with the Fisherman and Cormorant pattern, a spoon tray printed with the Argument pattern, a small plate printed with the Pinecone pattern, hatched crescent and disguised numeral marks, 17.2cm max. (4) £150-250 Purchased at different times from Moxhams, Ravenswood and Jupiter Antiques between 1991 and 2,000.

329. Two Worcester blue and white small mugs, c.1760, printed with the Man in the Pavilion and the Three Ladies patterns, hatched crescent mark to the latter, the first cracked, 6.2cm. (2) £100-200 Purchased from Law Fine Art, 26th September 2000 (former), and David Turner, 11th October 1997 (latter).

331. A rare Worcester blue and white creamer, c.1780, printed with the Fruit Sprigs pattern, the interior with a cell diaper border, hatched crescent mark, and a Worcester pickle leaf dish printed with the Pickle Leaf Fruit pattern, disguised numeral mark, the creamer cracked, 11cm max. (2) £150-250 The creamer purchased from Gus Barin, 17th February 1996, the pickle dish from David Turner, 11th July 1998.

333. A Worcester blue and white two-handled chocolate cup and stand, c.1770-80, of ogee shape, printed with the Fence pattern, a coffee cup and saucer printed with the Bandstand pattern and a fluted teabowl printed with the Worcester Temple pattern, hatched crescent and disguised numerals, 14.6cm max. (5) £150-250 The chocolate cup purchased from Thrift Cottage Antiques, 14th October 1995.

334. A rare Worcester blue and white leaf-shaped butterboat, c.1757-60, printed with the Early Creamboat Sprays, two songbirds perched in flowering branches, the underside moulded with three trefoil leaf feet, hatched crescent mark, 7.5cm. £300-500

335. A rare Worcester blue and white creamboat, c.1780, printed with the Obelisk Fisherman pattern, a European gentleman fishing with a rod from the riverbank before a tall obelisk, the reverse with a ruined temple, hatched crescent mark, 10.5cm. £400-600

Purchased from David Turner, 8th January 2000.

Purchased from N D Gent, 6th March 1999.

Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, II.C.1 for a discussion of this pattern, which is rare used in conjunction with the butterboat shape.

336. A small Worcester blue and white cylindrical mug, c.1770, printed with La Pêche and Promenade, with Chinese figures at various pursuits in garden scenes, hatched crescent mark, 9cm. £100-200

337. A Worcester blue and white spittoon, c.1770, printed with the Spittoon Sprays pattern, of characteristic shape with a wide rim continuing the floral design, some restoration to the rim, 19.5cm high. £100-200

Purchased from Helen Peterson, 18th July 1991.

Purchased at Wimborne Fair, 28th August 1995.

338. An unusual Worcester blue and white tea canister and cover, c.1780, of rare plain tapering form, printed with the Argument pattern, two figures visible in heated debate through a window, in a pagoda landscape with a figure on a bridge to the other side, disguised numerals mark, 13cm. (2) £200-300

339. A Worcester blue and white tea canister and cover, c.1775, the ovoid shape printed with the Fruit and Wreath pattern, the two panels between smaller floral sprigs, the flattened cover with further flowers and a scrolled border, 13cm. (2) £300-500

Purchased from Jupiter Antiques, 26th February 1993.

Paper label for the Thistle Collection. Purchased at Shepton Mallet Fair, 23rd March 2003.

340. A rare Worcester cylindrical blue and white mug, c.1775-85, printed with Man Holding a Gun and Man Shooting a Gun, each hunter in a rural landscape and accompanied by a hound, fluted strap handle, hatched crescent mark, 10.5cm. £300-500 Purchased from David Turner, 27th March 1998. These shooting prints appear to be confined to cylindrical mugs of varying size, but the more common Man Shooting Gun print is usually seen alongside a print of a man aiming a gun, while the second print on this example is far less common.

341. A rare Worcester small bell-shaped blue and white mug, c.1760, printed with the Delicate Rose pattern, a central naturalistic rose within a spray of further flowers with butterflies in flight above, 8cm. £400-600 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 343 for an identical mug. This example purchased from Jupiter Antiques on 6th November 1999.

342. A Worcester blue and white slop bowl, c.1775, printed with the European Landscape Group, each side with small figures and animals before village landscapes, hatched crescent mark, 14.5cm dia. £100-200 Purchased from Mike Smith, 8th January 1993.

343. A Worcester blue and white sauce tureen, cover and stand, c.1770, printed with the Pinecone pattern, the tureen with shellshaped handles, the cover with a budded finial, hatched crescent marks, 24.5cm. (3) £300-500

344. A Worcester blue and white chestnut basket, cover and stand, c.1775, printed with the Pinecone pattern to the stand and the basket’s interior, the cover pierced with a flowerhead design, hatched crescent mark, 27cm across. (3) £300-500

Purchased from Roderick Jellicoe, 16th April 1994.

Purchased from David Turner, 7th March 1998.

345. A Worcester blue and white pierced oval dish, c.1765, printed with the Natural Sprays group, with sparse floral sprays on the moulded border of arches over honeycomb panels, hatched crescent mark, 30cm. £150-250

346. A small Worcester blue and white basket, c.1775, printed with the Gillyflower pattern, a central spray with scattered sprigs and a butterfly around, the pierced sides applied with flowerheads, hatched crescent mark, a little restoration, 20cm across. £100-200

Old paper label for Albert Amor Ltd. Purchased from Jupiter Antiques, 19th July 2001.

Purchased from J P Creese, 11th November 2001.

347. A Worcester blue and white saucer dish, c.1780, printed with the Bat pattern, the eponymous creature in flight above a vase of flowers and a small fruiting branch issuing from a tripod stand, disguised numerals mark, 20cm. £100-200

348. A Worcester blue and white circular buttertub and cover with stand, c.1775, printed with the Three Flowers pattern within a cell diaper border, and an oval buttertub and cover in the same pattern but with an associated stand in the Fence pattern, hatched crescent marks, 19cm max. (6) £200-300

Purchased from Mary Wise Antiques, 26th February 1994.

The circular tub purchased from David Turner, 25th November 1994.

349. A small Worcester blue and white cabbage leaf jug, c.1780, typically moulded with stylized overlapping leaves, printed with the Parrot Pecking Fruit pattern, further fruiting branches to each side, the rim with a wide band of cell diaper, hatched crescent mark, 14cm. £150-250

350. A large Worcester blue and white cabbage leaf jug, c.1765, printed with the Heavy Naturalistic Floral Sprays pattern, with three large botanical sprays to the main body, the neck with smaller sprays of convolvulus and grapevine, the spout moulded with a mask, 23cm. £300-400

Purchased from A de Saye Hutton, 16th March 1991.

Purchased from N D Gent, 6th March 1999.

351. A Worcester blue and white coffee pot and cover, c.1780, printed with the Fence pattern, two birds in flight beneath flowering peony issuing from behind a zigzag fence, hatched crescent mark, 23.5cm. (2) £100-200 Purchased from Jupiter Antiques, 26th September 1998.

Cf. Geoffrey Godden, Caughley and Worcester Porcelains 1775-1800, pl.260.

352. A Worcester blue and white vase, c.1770, of gu-beaker shape, printed with the Garden Rose Group, the reverse with two solitary butterflies, crescent mark, 15cm. £150-250 Purchased from David Turner, 16th March 1996.

353. A Worcester blue and white mask jug, c.1765, printed with the Natural Sprays group, with moths and flying insects around large loose sprays of flowers, the spout moulded with a bearded face, hatched crescent mark, 18cm. £100-200 Purchased from David Turner, 27th September 1997.

354. A Worcester blue and white strawberry dish and stand, c.1775, printed with the Pinecone pattern, the dish pierced with a radiating design of small holes, hatched crescent marks, 23cm across. (2) £150-250

355. A large Worcester blue and white cylindrical mug, c.1765, printed with the Plantation pattern, a pagoda beneath pine, the reverse with bamboo and peony beside an ornate fence, hatched crescent mark, 15cm. £100-200

Purchased from Riva Antiques Ltd, 25th March 2000.

Purchased from Arts & Antiques, 20th August 1999.

356. A large Worcester bell-shaped blue and white mug, c.1765, printed with the Plantation pattern, with a pagoda and ornate fence amidst peony and bamboo, hatched crescent mark, 12cm. £100-200

357. A Worcester blue and white scallop shell dish or salt, c.1780, printed with the Marrow pattern, with fruits, vegetables and mushrooms arranged beneath a fruiting gooseberry bush, hatched crescent mark, a short crack, 12.5cm across. £80-120

Purchased from Jupiter Antiques on 3rd August 1995.

Purchased from N D Gent, 21st September 1991.

OTHER PROPERTIES

358. A good Worcester blue and white teabowl and saucer, c.1756, the strap-moulded bodies with rococo panels decorated in the Fisherman and Willow pattern with Chinese anglers beneath willow branches, the border with feathery foliate sprays, painter’s marks, 12cm. (2) £500-800

359. A Caughley blue and white eyebath, c.1770, painted with small floral sprigs to the bowl and foot, beneath a crowsfoot border, raised on a baluster stem, a short rim crack, 5.2cm. £600-1,000

Purchased from Charnwood Antiques in April 1990.

360. A large Lowestoft blue and white punchbowl, c.1775, printed with a carnation and tulip, and a rose and chrysanthemum, the interior rim with a shaped diaper border, 21cm dia. £600-1,000

361. A good Christian’s Liverpool blue and white bowl, c.1765, well painted with two fishermen at the end of a fence, a third figure the other side of a rock promontory from which sprouts willow, 20cm dia. £200-300

362. A New Hall blue and white part tea service, c.1790-95, printed with the rare Doves pattern, two birds in flight around flowering branches and windblown willow. Comprising: a teapot and cover, a sucrier and cover and a milk jug. £200-300 Cf. Geoffrey A Godden, English Blue and White Porcelain, pl.479 for a cup and bowl in the same pattern.

363. A large Worcester blue and white cabbage leaf jug, c.1765, printed with the Natural Sprays pattern, with bold arrangements of rose, chrysanthemum and other European flowers, butterflies in flight between, a short rim crack, 29cm. £150-200

364. A Worcester blue and white tapered cylindrical mug, c.1758-60, painted with the Prunus Root pattern, the flowering sprays of cherry blossom creeping over the rim to the mug’s interior, 11.3cm. £300-500 Purchased from Charnwood Antiques in March 1986.

365. A large Worcester blue and white Dutch jug, c.1758, painted with the Cabbage Leaf Floral pattern, with long tendrils of flowering peony and chrysanthemum clusters, with long-tailed birds in flight above, the rim moulded with stylized leaves, 27cm. £400-600 Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, p.212 for an identical example.

366. A Worcester blue and white punch pot and cover, c.1768, sometimes known as Dr Johnson’s Teapot, printed with the Thorny Rose pattern, the naturalistic flowers loosely arranged beneath a continuing garland suspended from ribbon ties, the cover with similar tied sprays, a small chip to the spout, 29.5cm. (2) £400-600 The name ‘Dr Johnson’s Teapot’ derives from an identical pot in the collection at Pembroke College, Oxford, which belonged to Dr Samuel Johnson and is referenced by Boswell as holding two quarts.

367. A rare Derby blue and white soup plate, c.1780, painted with a central chrysanthemum head with sprays of lotus and other Oriental flowers around, brown line rim, 21.5cm. £150-200 Paper label for the Sutherland Collection. Cf. Phillips, The Watney Collection Part I, 22nd September 1999, lot 387.

368. A Worcester blue and white two-handled sauceboat, c.1760, painted with the Two-Handled Sauceboat Landscape, the interior with a figure in a boat in a pagoda landscape, the exterior moulded with four small panels containing floral and landscape vignettes, workman’s mark, 16.3cm. £200-300

369. A large and rare Worcester blue and white sauceboat, c.1754, crisply moulded with strapwork panels entwined with ivy and flowering tendrils, a bird in flight either side of the spout, painted with a pagoda landscape similar to the Cannonball pattern, the reverse with bamboo and rockwork before a fence, workman’s mark, 23.5cm. £200-400

370. A good Worcester blue and white junket dish, c.1762, crisply moulded with three panels of basketwork interlaced with foliate scrolls, printed with three floral sprays around a central flowerhead, the shaped rim with a cell diaper border, crescent mark, 23cm. £200-300

371. A rare Worcester blue and white shaped dessert dish, c.1785, painted in the French manner with the Caughley Floral Sprays pattern similar to Chantilly sprigs, open crescent mark, 30cm. £100-200 Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, p 241 for a cup in the same pattern. A complete dessert service of this rare pattern was sold at Sotheby’s, New York in 1980.

WORCESTER PORCELAINS FROM THE COLLECTION OF SIR ANTHONY WILLIAM TUKE 1897-1975

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372. A Worcester octagonal soup plate, c.1780, after a Chinese famille verte original, painted with a bird perched upon a fencepost beneath a pine tree entwined with flowering wisteria, a jardinière upon a table beside and a further bird in flight above, the rim with phoenix in flight between peony sprays reserved on a green ground, the underside of the rim with further peony sprays, a rim section broken out and restuck, 25.5cm. £150-250 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 76. Provenance: from the collection of Sir Anthony Tuke. 373. A large Worcester dessert dish, c.1780, of lobed circular form, the well painted with the Joshua Reynolds pattern of a long-tailed bird perched on turquoise rockwork, the rim with a simple gilt foliate design on a wet blue ground, square seal mark, 24.6cm. £400-600 Provenance: from the collection of Sir Anthony Tuke. 374. A good Worcester scallop-edged plate, c.1770, probably painted by Fidelle Duvivier with two brightly-coloured birds beneath a fronded tree, within a gilt dentil rim, the gilding perhaps carried out by the Giles atelier, 21cm. £300-400 This manner of bird painting has long been attributed to the Mons Soqui painter, but recent comparisons have been made to the painting of Fidelle Duvivier which may prompt a reattribution. Exhibited: Albert Amor Ltd, 1973 Exhibition. Provenance: from the collection of Sir Anthony Tuke. 375. A rare Worcester dessert plate, c.1772, finely painted in a version of the Imari palette with a central chrysanthemum spray within panels of further flowers and differing diaper designs, blue anchor mark, 24.5cm. £400-600 The presence of the anchor mark suggests that this pattern was copied from Chelsea, who themselves would have copied the 17th century original from Arita. Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, lot 152 for an identical example. Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co., 29th June 1959. 376. A Worcester saucer dish, c.1765, brightly enamelled with sprays of European flowers and single scattered blooms, brown line rim, 18cm. £200-300 Provenance: from the collection of Sir Anthony Tuke. 377. A Worcester heart-shaped dessert dish, c.1770, richly decorated in the Kakiemon palette with the Phoenix pattern, two of the long-tailed mythical birds in flight or perched on corn stooks and amidst flowering chrysanthemum, within elaborate gilt and red chain and hatched borders, 26cm. £400-600 Provenance: from the collection of Sir Anthony Tuke. 378. A small Worcester scallop-edged plate, c.1775-80, painted with two dishevelled fancy birds perched on a grassy mound, a further bird perched in a tree and another in flight above, within an osiermoulded rim, 20.5cm. £300-400 Provenance: from the collection of Sir Anthony Tuke. 379. A Worcester octagonal plate, c.1790, after a Chinese famille verte original, painted with a bird perched upon a fencepost beneath a pine tree entwined with flowering wisteria, a jardinière upon a table beside and a further bird in flight above, the rim with phoenix in flight between peony sprays reserved on a green ground, the underside of the rim with further peony sprays, minor faults, 20.5cm. £250-350 The differences in the quality of decoration between this and lot 372 suggest a later date of manufacture. Provenance: from the collection of Sir Anthony Tuke. 380. A rare Worcester plate, c.1770-75, the lobed rim pierced in the manner of Leeds creamware with twelve small panels of hearts, diamonds and crescents, the well painted with a spray of poppy seed heads and small flowers in shades of green, within a chainlink band, 22.7cm. £300-500 Cf. H Rissik-Marshall, Coloured Worcester Porcelain of the First Period, pl.22, no. 414 for an identical plate. Rissik Marshall claims in his footnote that only seven plates of this pattern are known. Provenance: from the collection of Sir Anthony Tuke.

381. A good Worcester fluted coffee pot and cover, c.1765-70, of wide Warmstry fluted form, painted with a bold polychrome flower spray, the handle and spout with iron red scrolling motifs, 25cm. (2) £600-800

382. A Worcester ovoid vase, c.1765-75, painted in the Kakiemon palette with the Two Quail pattern, one red bird and one blue strolling beneath tall flowering branches, the shoulder with a red and gilt chainlink border, the neck with further flower sprays, good restoration to the neck, 17.5cm. £300-400

383. A Worcester coffee pot and cover, c.1770, each side painted with Chinese figures, one seated at a table and dressing her hair, the other standing beside and holding a long black rod, one side with a third figure, the other with rockwork, 20cm. (2) £400-600

Provenance: from the collection of Sir Anthony Tuke.

384. A Worcester coffee pot and cover, c.1765-70, of Red Line Bordered type, the shaped panels painted with flowers in the Kakiemon palette, reserved on a blue scale ground, open crescent mark, a short rim crack, 20cm. (2) £250-350

385. A Worcester ovoid vase, c.1768-70, richly decorated in the Kakiemon palette with the Jabberwocky pattern, the shoulder with shaped turquoise panels, the neck with a continuous gilt chain band with Kakiemon flowers, 21cm. £500-800

386. An unfinished Worcester coffee pot and cover, c.1765-70, reserved with large fan panels amidst smaller circular panels on a blue ground, the panels left blank, 21.5cm. (2) £300-400

The lack of gilding on this piece suggests that it was part of a large group of blue ground wares sold c.1770 to an independent decorator. See footnote to lot 386.

Provenance: from the collection of Sir Anthony Tuke.

It is believed that an independent decorator purchased a large number of undecorated blue ground wares from the factory c.1770, some of which have come onto the market with simpler decoration than that offered by the factory. It is possible that this was among that purchase and never finished, or that the slight colour difference between the cover and pot meant it was discarded as a second. Either way it is remarkable that it has survived in this unusually plain state. Paper label for W T Deacon, St Louis.

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Provenance: from the collection of Sir Anthony Tuke.

387. A combined Worcester part tea service, c.1775, enamelled with panels of flowers and corn stooks in the Kakiemon palette within gilt panels reserved on a blue scale ground, open crescent or square seal marks. Comprising: a sucrier and cover, a milk jug and a coffee cup and saucer. (5) £600-800 Provenance: from the collection of Sir Anthony Tuke.

388. Two Worcester plates, c.1770, one decorated outside the factory in the Imari palette as a direct copy of a Japanese original, with a tripod censer of flowers within a wide border of prunus, lotus and other Oriental flowers, the other with a version of the Jabberwocky pattern, the mythical beast encircling a small flowering stem, the shaped border enamelled in turquoise and edged in purple, 22.3cm max. (2) £400-600 Old paper labels to both. The Imari plate formerly in the Hughes Collection. Provenance: from the collection of Sir Anthony Tuke.

389. A Worcester coffee cup and saucer, c.1760-65, painted with the Chinese Musicians pattern, a butterfly in flight above figures with various instruments, reserved in a green hatched border with red flowerheads, and a Warmstry fluted teabowl and saucer painted with a Scarlet Japan pattern of panels of Oriental flowers in the Kakiemon palette between orange and gilt bands, 13cm. (4) £400-600 Provenance: from the collection of Sir Anthony Tuke.

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390. A Worcester porcelain part tea service, c.1768, printed in purple with scenes of Classical ruins including The Two Bridges, Ruin by the Cliff, Temple Ruin, The Draw Well, and a statue before the Temple of Peace. Comprising: a teapot and cover, a sucrier and cover, and a coffee cup and saucer. (6) £1,200-1,500 Cf. The Joseph M. Handley Collection, p.157 for the 1753 engraving by J.S.Muller, after Pannini, which provides the source for the print on the saucer (Ruins of the Temple of Peace). Examples which use a different section of this engraving are known, but this print appears to be very rare. Provenance: from the collection of Sir Anthony Tuke.

391. A Worcester small soup or dessert plate, c.1755-58, the deep well printed in brown with La Cascade, a courting couple walking beside a fountain with musicians beyond, signed in the print ‘R Hancock fecit’, 15cm. £200-300

392. A Worcester two-handled sauceboat, c.1755, the exterior moulded with four leafy panels each containing a warship at full sail, the interior printed in black with swans and ducks swimming before a heron standing at the water’s edge, 19cm. £800-1,200

Cf. Simon Spero, The Joseph M Handley Collection, p.52 for a teapot in the same print. The engraving for this pattern was derived from a Watteau painting in the Wallace Collection.

Cf. Bonhams, The Zorensky Collection Part III, 22nd February 2006, lot 247 for an identical example.

Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co., 6th November 1952.

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Provenance: from the collection of Sir Anthony Tuke.

393. A pair of small Worcester scallop-edged plates, c.1770, printed in black with a figure fishing before a ruined archway and stone obelisk, a church with a spire visible in the distance, the rims with finely printed floral arrangements, 17.8cm. £400-600 Provenance: from the collection of Sir Anthony Tuke.

394. A rare Worcester basket, c.1770, the well of the interior painted with the Pavilion pattern, the interior pierced sides with Imari floral panels alternating with pink sinuous dragons and further foliate sprays, the exterior applied with pink flowerheads, 19.5cm across. £800-1,200 Exhibited: The International Ceramics Fair and Seminar 1999 Loan Exhibition, no. 77. Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 144 for an identical example.

395. A Worcester teapot and cover, c.1770-80, the globular body painted with Chinese figures in garden and interior scenes, the handle and spout with scrolling foliate motifs in black, iron red and gilt, the cover with a floral finial, a little nibbling to the spout, 18cm. (2) £300-400 Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co., 25th March 1971.

Provenance: from the collection of Sir Anthony Tuke.

396. A Worcester sucrier and cover, c.1775, richly decorated in the Kempthorne pattern with sprays of Oriental flowers and foliage, the cover’s border continuing to the interior rim, square seal mark, and a cream jug painted in the Imari palette with the Gold Queens pattern, minor faults, 13cm max. (3) £300-400 Provenance: from the collection of Sir Anthony Tuke.

397. A rare Worcester slop bowl, c.1756-60, decorated in strong enamels with a bird perched in the branches of a flowering prunus tree, with small bamboo plants either side, and a bird in flight to the reverse, 14.8cm dia. £300-400 Provenance: from the collection of Sir Anthony Tuke.

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398. A Worcester Warmstry-fluted trio, c.1775, decorated in a rich version of the Queen’s pattern with four large panels of Kakiemon flowers and corn stooks within narrow bands of flower mon on a gilt and cobalt blue ground, square seal marks, 13.6cm. (3) £300-400

399. A Worcester Warmstry-fluted trio, c.1770, comprising a teabowl, coffee cup and saucer, painted with fan-shaped panels of fancy birds reserved on a ground of alternating blue and gilt foliate panels, square seal marks, 11.5cm. (3) £200-300

Provenance: from the collection of Sir Anthony Tuke.

Armorial collection label bearing the crest for the Fitzgerald family. Provenance: from the collection of Sir Anthony Tuke.

400. A rare Worcester teabowl and saucer, c.1765, painted in overglaze enamels with pink peony issuing from grey holey rockwork, within a turquoise hatched border, 12cm. (2) £600-800

401. A Worcester coffee cup and saucer, c.1775, glazed in turquoise within simple gilt rims, the entwined handle issuing from small leaves, blue crossed swords and 9 mark, 13cm. (2) £150-250

Paper label for Albert Amor Ltd.

Provenance: from the collection of Sir Anthony Tuke.

402. A Worcester fluted trio, c.1775, the teacup, coffee cup and saucer decorated with swags of berried foliage suspended from gilt loops beneath a cobalt blue rim, script W mark, minor faults, 13.3cm. (3) £150-250 Provenance: from the collection of Sir Anthony Tuke.

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403. A Worcester trio, c.1765, painted in polychrome enamels with large sprays of European flowers within a famille verte border of green hatched panels with red and pink petals, 12cm. (3) £200-300 Paper label for Stoner & Evans Ltd. Provenance: from the collection of Sir Anthony Tuke.

404. A Worcester baluster vase and cover, c.1758-60, finely painted with large sprays of European flowers including rose and tulip, amid smaller scattered sprigs and single blooms, the domed cover similarly decorated and with a floral knop, small chips to the cover, 21cm. (2) £600-1,000

405. A Worcester teapot and cover, c.1758, the bullet-shape body finely painted with butterflies around large sprays of European flowers and scattered single stems, with faceted spout and handle, the flattened cover with a floral knop, minor faults, 18cm. (2) £250-450

Provenance: from the collection of Sir Anthony Tuke; formerly in the Hughes Collection.

Provenance: from the collection of Sir Anthony Tuke.

406. A Worcester circular pierced basket, c.1765, the sides formed of interlocking circles, applied to the exterior with green flowerheads, the interior rim with small floral sprays, a larger arrangement to the inside well, a small restored section to the rim, 17cm. £200-300

407. A good Worcester two-handled sauceboat, c.1760, finely painted in bright polychrome enamels with a spray of rose and other flowers to the interior, a smaller sprig of honeysuckle to one spout, the exterior moulded with four small panels containing further flowers, a few scattered sprigs to the rim and spouts, 18.5cm. £500-800 Paper label for Hyam & Co.

Provenance: from the collection of Sir Anthony Tuke.

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408. A Worcester lobed dessert dish, c.1780, the well painted with a fancy bird perched on a grassy mound with a further bird perched in leafy branches behind, the fluted sides with gilt floral swags suspended from a bright blue border, script W mark, 26.7cm. £300-400

409. A Worcester fluted ‘Fable’ dessert dish, c.1775, painted after Jefferyes Hammet O’Neale with a fox, hyena and recumbent wolf or bear before leafy trees, the fox gazing straight out and cowering away from the hyena whose tongue protrudes, the shaped rim with basketwork moulding, 27cm. £300-500

Provenance: from the collection of Sir Anthony Tuke.

This type of animal decoration was previously attributed Fidelle Duvivier, but is now thought to be by a more amateur hand. The service mixes animal decoration with fables. Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co., 21st May 1970.

410. A large Worcester kidney-shaped dish, c.1775, decorated in the Giles atelier with a central floral spray, further small sprigs, a gooseberry spray and a tendril of pea pods issuing from a rim of shaped pink scale panels, 28cm. £800-1,200

411. A Worcester fluted dessert dish, c.1785, decorated in the Royal Marriage pattern with a bow and arrow hidden amongst floral arrangements, the rich blue border with a gilt interlocking design, open crescent mark, 27cm. £250-350

Provenance: previously in the Hughes Collection.

The pattern derives from a Sèvres original. A service of this pattern, with an additional urn inscribed ‘Kew’ incorporated into the design, was made for the royal family’s use at Kew House, circa 1780-82.

Provenance: from the collection of Sir Anthony Tuke.

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412. A Worcester tapering cylindrical mug, c.1768, printed and hand-coloured with a milking scene and Rural Lovers, the strap handle with puce detailing, 12cm. £400-600 Paper label for the Wallace Elliott Collection Provenance: from the collection of Sir Anthony Tuke.

413. A Worcester large bell-shaped mug, c.1757, finely painted with a large spray of flowers including rose and chrysanthemum, with further single flower and leaf sprays, a ladybird and two large colourful butterflies, the strap handle with an iron red sprig, a 3mm restored rim chip, 12.2cm. £600-1,000 Provenance: from the collection of Sir Anthony Tuke.

415. A rare Worcester trio, c.1765, the teabowl, coffee cup and saucer decorated with the Spinning Maiden pattern, with two opposite panels of a Chinese lady seated beside a spindle, within Meissen-style strapwork borders, the rim with a gilt spearhead design, 12cm. (3) £600-800 Provenance: from the collection of Sir Anthony Tuke.

414. A Worcester tall mug, c.1770, of tapered cylindrical form, brightly enamelled with a Chinese family, four figures watching a child standing atop a garden seat, the reverse with another child and two figures playing with a flywhisk, the interior with an iron red and black cell border, 12.5cm. £400-600 Provenance: from the collection of Sir Anthony Tuke.

416. An early Worcester trio, c.1756-58, comprising a teabowl, coffee cup and saucer, painted with the Stag Hunt pattern within floral moulded panels, the rim with a scrolling puce border, the coffee cup’s handle elaborately moulded, 11.7cm. (3) £600-1,000 Exhibited: Albert Amor, Worcester Porcelain: The First Decade, 1981. Provenance: from the collection of Sir Anthony Tuke.

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417. A good Worcester fluted milk jug, c.1780, painted with an urn beneath the spout, and with two small arrangements of fruit, two colourful flying insects around the handle, the rim with an elaborate gilt and cobalt blue border, 12cm. £100-200

418. A rare Worcester teabowl and saucer, c.1760-70, enamelled in a dark famille rose palette with chrysanthemum and peony sprays within an orange-red band of half flowerheads and gilt geometric design, 12.7cm. (2) £300-400

Exhibited: Albert Amor Ltd., Bicentenary Loan Exhibition, No. 78.

Provenance: from the collection of Sir Anthony Tuke.

419. A Worcester teacup and saucer, c.1775, painted with a small central peacock perched on a leafy branch, within three berried garlands suspended from gilt loops, the rim with three tied pink ribbons and small shaped pink panels, 13cm. (2) £300-400 Cf. H Rissik Marshall, Coloured Worcester Porcelain, pl. 17, no. 308 for a similar example. Provenance: from the collection of Sir Anthony Tuke.

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420. A Worcester fluted sucrier and cover, c.1780-85, painted with pink mignonette garlands between shaped green diaper panels, the cover with a floral finial, 11.5cm. (2) £400-600 Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co., 24th April 1961.

421. A Worcester trio, c.1770, the teacup, coffee cup and saucer decorated with sprays of dry blue flowers over a spiralling ground of gilt foliate stripes, crossed swords and 9 marks, 13cm. (3) £200-300 Cf. Christie’s, The Rous Lench Collection, 30th May 1990, lot 540 for a saucer in the same pattern. Provenance: from the collection of Sir Anthony Tuke.

422. A Worcester teabowl and saucer, c.1755-60, pencilled in purple with two Chinese figures standing before a thatched hut beneath a tree, beside a tall vase, the rim with a border of flowers, scale panels and scroll motifs, a few small rim chips, 11.7cm. (2) £300-400 Provenance: from the collection of Sir Anthony Tuke.

423. A Worcester fluted trio, c.1778-82, decorated after the Lord Stormont service, the teabowl, coffee cup and saucer painted with swags of turquoise fabric suspended from tied knots, gilt dentil rims, 13.5cm. (3) £500-800 The Lord Stormont service of this decoration was believed to be the only one of its type, however, the known pieces from that service are not fluted. Provenance: from the collection of Sir Anthony Tuke.

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424. A Worcester strap-moulded sauceboat, c.1753-54, each side painted with a strutting bird within a moulded panel, the interior with bold flowering branches and large leaves, 19cm across. £250-350 Cf. Bonhams, The Crane Collection of 18th Century English Porcelain, 31st March 2010, lot 42 for a similar example. Provenance: from the collection of Sir Anthony Tuke.

425. A large Bow bell-shaped mug, c.1755-58, brightly enamelled with pink peony and other trailing flowers issuing from blue rockwork, the interior rim with a continuous floral band, 14.7cm high. £300-500 Provenance: from the collection of Sir Anthony Tuke.

426. A Worcester partridge tureen and cover, c.1756, naturalistically modelled seated on a basket with a border of colourful curled twigs applied with feathers and shells, its wings folded and head slightly turned to the right, the plumage finely picked out in shades of brown, grey, orange and black, extensively broken and restored, 18cm across. (2) £250-400 Exhibited: Albert Amor Bicentenary Loan Exhibition, Dr Wall 1708-1776, 1976, No. 71. Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co. via Christie’s, 24th November 1949, as a pair with lot 427.

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427. A Worcester partridge tureen and cover, c.1756, naturalistically modelled seated on a basket with a border of twigs and green leaves, its wings folded and head slightly turned to the left, the plumage finely picked out in shades of brown, grey, orange and black, minor faults, 18cm across. (2) ÂŁ1,000-2,000 Exhibited: Dreweatt Neate, Dyson Perrins Exhibition 1995, no.27. Paper label for the same. Provenance: from the collection of Sir Anthony Tuke. Purchased from Tilley & Co. via Christieâ&#x20AC;&#x2122;s, 24th November 1949, as a pair with lot 426.

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OTHER PROPERTIES

428. A good Worcester tea cup and saucer, c.1775, the reeded body decorated perhaps in the Giles atelier with pink floral swags between C scroll gilding around a green basketwork band, 13.1cm. (2) £400-600 Paper labels for the Dykes Collection, Rous Lench Collection, Norman Collection and for Albert Amor Ltd. Exhibited: Worcester Bicentenary Exhibition, 1951.

429. A Liverpool porcelain saucer, c.1760, probably William Reid, painted with a pair of fancy birds, perched on the ground with two other birds in flight above, 12.1cm. £300-500 Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, p.41, no.3.49 for a mug in the same pattern.

430. A Worcester teacup and saucer, c.1775, painted in purple camaieu with small sprigs of fruit, within gilt dentil rims, 13cm. (2) £200-300

431. A Worcester tea cup and saucer, c.1770, decorated in the Giles atelier with floral sprays including narcissus, rose and forget-me-not, the border of sprawling leafy tendrils entwining a brown line, within a gilt dentil rim, blue crossed swords and 9 mark, 13cm. (2) £500-800

432. A rare Worcester saucer, c.1765, decorated in the Giles atelier with unusual flowering chrysanthemum branches in green camaieu with black and gilt highlights, gilt rim, blue crossed swords and 9 mark, 13.5cm. £400-600

433. A Worcester teabowl and saucer, c.1760, decorated in the Chinese manner with the Hibiscus pattern of boldly enamelled flowers above a tied scroll, 12.2cm. (2) £200-300 Cf. Bonhams, The Barbara Leake Collection, 12th March 2008, lot 173 for a similar example and matching coffee cup.

434. A matched Worcester coffee cup and saucer, c.1765 and 1758-60, painted in polychrome enamels with Chinese Musicians, a large moth in flight above three figures seated around a central piper, within a pale green hatched border with orange flowerheads, 11.6cm. (2) £150-250 The cup with a paper label for Albert Amor Ltd.

435. A Worcester armorial saucer, c.1758, printed in black with an elaborate scrolling and floral cartouche, the central shield painted with the arms of Wilson impaling Langton, 11.7cm. £200-300 Cf. H Rissik-Marshall, Coloured Worcester Porcelain of the First Period, pl. 35, no. 754. A small number of these services were made by the factory using printed blanks and decorating the arms to order, possibly at external ateliers such as that of James Giles. However, the British Museum has a teapot stand from the same service and notes that the arms are incorrectly painted.

436. A Worcester teabowl and saucer, c.1770, brightly enamelled in pink, green, red and turquoise enamels with a spray of hibiscus within other Oriental flower sprays, within an iron red crowsfoot border, 12cm. (2) £100-200

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428

429

430

431

432

433

434

435

436

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437. A pair of Worcester dessert plates, c.1770, each painted with three large floral garland panels with smaller panels containing single sprigs between, around a central panel of heartsease, reserved on a blue scale ground, open crescent marks, 22cm. (2) £300-500

438. A pair of Chelsea-Derby shaped plates, c.1770, painted in green camaieu with a central rose spray within further garlanded flowers, suspended from a puce and turquoise line rim, puce anchor marks, 21.5cm. (2) £250-350

439. A pair of Chamberlain’s Worcester dessert plates, c.1790, painted by George Davis with a central peacock perched on a rocky stump with further fancy birds behind, the moulded rims with floral and fruit garlands within blue and gilt borders, 22.5cm. (2) £400-600 Cf. Geoffrey Godden, Chamberlain Worcester Porcelain, p.72 for a shaped dish from the same service.

440. A Worcester baluster vase and cover, c.1770, painted with shaped panels of colourful fancy birds, reserved on a later green ground, 22cm. (2) £100-200

441. A Worcester Scratch Cross coffee pot, c.1753-55, painted with Chinese figures in interior scenes, one side with a child and a small dog watched by a figure seated by a tea table, the reverse with two figures beneath a bird in a suspended cage, incised X, the cover lacking, cracked, 13.5cm. £150-250

443. A Worcester tall mug, c.1780, painted with three large floral arrangements with smaller scattered sprigs, between gilt foliate tendrils issuing from a rococo scrolled border of hatched turquoise design, 12.5cm. £300-500

442. A Worcester ovoid vase, c.1765, painted in Mandarin style with Chinese figures in interior scenes, within wide red and gilt borders, 17cm. £300-400 Cf. Simon Spero and John Sandon, Worcester Porcelain - The Zorensky Collection, fig. 142 for a garniture. This pattern is more common in blue and white when it is known as ‘The Telephone Box’.

444. A pair of Chelsea flattened hexagonal vases, c.1765, painted with colourful birds perched in tall berried branches, the narrow sides with rococo scroll handles, gold anchor marks, some restoration, 20.5cm. (2) £300-500

Paper label for Andrew Dando of Bath. Cf. Bonhams, The Sir Jeremy Lever Collection, 23rd January 2008, lot 201 for a near identical example..

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445. A Worcester teabowl and saucer, c.1768-75, of Warmstry fluted shape, richly decorated with the Jabberwocky pattern, and a Warmstry Fluted coffee cup and saucer decorated with a panelled Japan pattern in the Imari palette, square seal marks to the latter, 13.5cm max. (4) £200-300

446. A Worcester circular butter tub and cover, c.1775-85, simply decorated with shaped gilt panels in the Queens pattern, together with a teapot stand, coffee cup and saucer in the same pattern, 14.5cm max. (5) £200-300

447. A Worcester sauce tureen with cover and ladle, c.1775, painted with sprays of Compagnie des Indes type flowers reserved within gilt foliate panels on a wet blue ground, open crescent mark, the ladle broken and repaired, 20cm overall. (3) £300-400

448. A good Worcester Warmstry-fluted teapot and cover with stand, c.1770, richly decorated with a version of the Queen’s pattern with panels of prunus and chrysanthemum in the Kakiemon palette between Imari panels of mon and gilt foliage on a blue ground, square seal marks, 19cm. (3) £500-800 Paper labels for Brian Haughton Antiques.

449. A pair of Worcester fluted cups and saucers, c.1780, painted in the Imari palette with sprays of pomegranate and finger citron alternating with panels of flowering peony, 13.5cm. (2) £200-300

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450. A Worcester teapot and cover, c.1770, painted with panels of chrysanthemum and other Oriental flowers in the Kakiemon palette, reserved on a blue scale ground, open crescent mark, and a pair of Worcester teabowls of Warmstry fluted shape, similarly decorated with Kakiemon floral panels, square seal marks, 17.5cm max. (4) £400-600

451. A rare Chelsea Derby inkstand, c.1775, painted with flowers around three circular apertures, one set with a small candlestick painted with further flowers, the pen tray with a narrow cover surmounted with a fruit knop, the inkpots lacking, 21cm. (3) £150-250

452. A rare Worcester bowl, c.1770, the fluted form decorated in a Hop Trellis pattern with vertical bands of berried foliage within cobalt blue borders, 16.3cm dia. £200-300

453. A Worcester trio, c.1770-75, comprising a tea cup, coffee cup and saucer, all richly decorated in the Japanese manner with the Old Mosaic pattern, with eight different panels around a central prunus spray, broken with flower mons, pseudo Chinese script mark, a crack to the tea cup’s handle, 12.8cm. (3) £150-250

454. A good Worcester trio, c.1755-58, the teabowl, coffee cup and saucer pencilled in black with the Boy on a Buffalo pattern, the eponymous pair beneath a pine tree with a bird in flight above boats before them, workman’s marks, 12.4cm. (3) £600-1,000 The saucer with a paper label for Roderick Jellicoe.

The pattern, which derives from an Arita pattern of the early 18th century, is named in the catalogue of the factory’s auction of 1769 as ‘Old Rich Mosaic Japan Pattern’.

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455. A good Worcester moulded sauceboat, c.1752-53, each side moulded with floral rococo panels surmounted by a long-tailed bird with outstretched wings, painted in the famille verte palette with strutting birds beside holey rockwork and Oriental plants, the interior with a peony spray and a green hatched border with floral panels, 16.8cm. ÂŁ800-1,200 Provenance: purchased from Charnwood Antiques in May 1996.

456. A rare and early Worcester strapmoulded sauceboat, c.1753-55, painted in vibrant famille verte enamels with watery pagoda landscape scenes, the interior with bold flower sprays, 17cm across. ÂŁ300-500

457. An early Worcester strap-moulded sauceboat, c.1753-55, each side moulded with a rococo panel, containing a Long Eliza figure in a polychrome landscape, the interior rim with flowers and auspicious objects, 19.7cm. ÂŁ300-500 Paper label for Klaber & Klaber.

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459

458. A Worcester leaf-moulded sauceboat, c.1756, modelled as folded lettuce leaves, painted with butterflies and flower stems, the curled stalk handle issuing from leaves and flowers, workman’s mark, a section of the rim broken out and restuck, 18.8cm. £150-250

459. A Worcester cos leaf moulded sauceboat, c.1757-60, the furled leaves picked out in green and puce, decorated with scattered leaves and butterflies, iron red character mark, some glaze wear to the handle, 18.5cm. £250-350 460

460. A pair of Derby leaf-moulded sauceboats, c.1760, formed from folded cos leaves, painted with polychrome flower sprays, the rims edged in green, the curled handles issuing from applied leaves, one handle restored, 18cm. (2) £250-350

461. A pair of Derby leaf-moulded sauceboats, c.1760, formed of folded cos leaves with curled stalk handles, painted in the Cotton Stem manner with polychrome flower sprays, the rims edged in green, some damages, 17.2cm. (2) £250-350

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462. A pair of Worcester Blind Earl dishes, c.1772, boldly painted in the Giles atelier with bright flying insects and bugs around the moulded spray of rosebud, gilt rims, 19cm. (2) £500-800 Paper labels for Roderick Jellicoe.

463. A Worcester ‘Blind Earl’ sweetmeat dish, c.1760, finely painted with a large floral arrangement and single scattered sprigs, the handle formed as a rosebud spray, a small rim chip, 16.5cm. £200-300

464. A good Worcester Blind Earl dish, c.1758-60, from the Winterfold House Service, typically moulded with a rosebud spray and finely painted with further European flowers and single stems of heartsease, 16cm. £400-600 Provenance: purchased from Bonhams, 12th September 2007, lot 175, with the following accompanying note: - “The family history of the vendor suggests that this service was originally purchased for Winterfold House, Chaddesley Corbett, Worcestershire. In 1765, Ann Taylor married William Wheeler and the couple lived together at Winterfold House, the set presumably having been acquired by the previous generation. Their daughter, Ann, married Rev Thomas Harward, curate of Rushock, Worcestershire, in 1813. The couple also lived at Winterfold and the service has passed by descent to the present vendor.”

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465. A Bow moulded plate, c.1770, moulded with grapevine and painted with a cut apple, and sprays of other fruit including cherries, plum and greengage, gilt rim, red anchor and dagger mark, the gilding largely worn, 21cm. £500-800 Cf. The Victoria and Albert Museum, No.414:67-1885 for a similar example donated by Lady Charlotte Schreiber.

467. A good Worcester bell-shaped mug, c.1760, printed in black with a rare version of The Harvesters by Robert Hancock, three farmworkers holding pitchforks and a rake, chatting beneath a spreading tree, the reverse printed with the Signal Tower, 8.2cm. £1,000-1,500

466. A Worcester dessert plate, c.1775, decorated perhaps in the Giles atelier, in green camaieu with a large floral arrangement and smaller scattered sprigs, within a shaped gilt rim, 22.5cm. £100-200 The decoration on this dish is similar to that of the Horner of Mells service, which usually includes sprigs of fruit and vegetables.

468. A Worcester bell-shaped mug, c.1765-70, painted with a floral spray including rose, foxglove and fuchsia, the reverse with smaller sprigs, with a grooved strap handle, 12cm. £200-300

Cf. Cyril Cook, Life and Work of Robert Hancock, item 49, for an example of the Harvesters print.

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469. An English porcelain white-glazed teabowl, c.1752, probably Chelsea, applied with three crisp sprays of flowering prunus, 8cm dia. £300-400

470. A Worcester creamer, c.1768-75, of low Chelsea ewer shape, painted with the Astley or Harvest Bug pattern, the interior with an iron red border, 10.2cm. £150-250 Paper label for Albert Amor Ltd.

471. A small Derby circular basket, c.1760-65, the interior painted with a fine spray of flowers, with further small sprigs to the pierced sides, applied to the exterior with yellow flowerheads, the blue twist handles issuing from further applied flowers, some restoration to one handle, 11.3cm. £400-600

472. A Worcester hexagonal white-glazed creamboat, c.1760-65, moulded with simple rococo panels, with a geranium leaf spout and double scroll handle, 10.5cm. £150-250

473. An unusual Worcester small bowl, c.1780, decorated with six semi-circular shaped panels with puce diaper or gilt scale decoration, above polychrome flower sprays, 9.2cm. £150-250

474. A Chelsea spiral-moulded coffee cup, c.1756, each panel with a moulded leaf picked out in green and puce, above that painted with sprays of flowers, brown line rim, red anchor mark, 7cm. £200-300

Cf. H Rissik Marshall, Coloured Worcester Porcelain of the First Period, pl.51, no. 138 for a larger bowl in the same pattern.

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475. A rare Worcester dry mustard pot, c.1753-55, printed and hand-coloured with the Red Bull pattern, the eponymous bovine standing beside a black counterpart with three Chinese figures about, 7.1cm. £1,000-2,000 Provenance: purchased from Charnwood Antiques in February 1992. Previously in the Rous Lench collection, no. 89. A very rare example complete with cover was sold at Bonhams as part of the Frank Wheeldon Collection on 23rd January 2008, lot 63.

477. A Worcester fluted tea canister, c.1775-80, the reeded body painted with polychrome flower garlands between trellis panels, the shoulder with a chain band reserved on a turquoise ground, the cover lacking, 14cm. £250-350 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 378 for a matching trio.

476. A rare Worcester small bowl, c.1756-58, finely moulded with small rococo panels on a strap-fluted body, the panels painted in puce monochrome with European landscapes, the smaller panels with polychrome flower sprays amidst purple scrollwork, the bowl’s interior with further flower sprays issuing from a scrollwork border, 12cm dia. £800-1,200 Cf. Bonhams, The David Butti Collection, 10th May 2006, lot 40 for a coffee cup and saucer from the same service.

478. An unusual Worcester tea canister and cover and matching sucrier and cover, c.1775, of French reeded shape, decorated with gilt scrolls, shell motifs and other borders between turquoise enamel bands, the covers with floral finials, 17cm max. (4) £600-800 Cf. Bonhams, The Zorensky Collection Part I, 16th March 2004, lot 118 for an identical tea canister.

479. A rare Bow sparrowbeak cream jug, c.1755-58, painted with a floral spray including rose, the reverse with three small sprigs, brown line rim, a small rim chip, 8cm. £100-200 Together with a description from Tilley & Co. dated March 29th 1950.

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480. A Worcester yellow-ground moulded dish, c.1765, the well painted with sprays of flowers, the border moulded with arches painted with further flowers, the internal panels with a honeycomb ground, the handles as large vine leaves, 30cm. £600-1,000 Cf. Christie’s, Ceramics from the Rous Lench Collection, 30th May 1990, lot 250.

481. A Worcester oval dessert basket, c.1780, decorated at the Giles atelier with a stone urn garlanded with flowers within a gilt palmette border on a cobalt blue ground, the sides formed of interlocking circles, open crescent mark, one handle restored, 24cm. £600-800

480

482. A Worcester lozenge-shaped dessert dish, c.1775, the well painted with an oval panel of flowers including primrose and rose, reserved on a gilt dot ground within puce garlands, the shaped blue border with gilt oeil de perdrix, script W mark, 27cm. £200-300

483. A Worcester shaped oval dessert dish, c.1775, painted with two large panels of European flowers with smaller panels containing single sprigs, reserved on a blue scale ground, open crescent mark, 23.7cm. £200-300 481

482

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484. A good and rare pair of Chelsea plates, c.1755, of Warren Hastings shape, moulded with three foliate scrolled panels to the rim, each painted with birds in flight and perched on scrollwork, the wells painted with arrangements of European flowers, brown line rims, red anchor marks, 24cm. (2) £700-1,000 Cf. F S Mackenna, Chelsea Porcelain, The Red Anchor Wares, pl. 22, no. 45 for a similar plate. The use of just birds in the reserved panels is more unusual than the Fable decoration of the Warren Hastings service or the landscape panels seen in lot 497.

485. A pair of Worcester blue scale plates, c.1775, painted with three large shaped panels of floral garlands within smaller panels with single sprigs, around a central primrose spray, reserved on a blue scale ground, square seal marks, a small filled rim chip, 19.5cm. (2) £200-300

486. A pair of Chelsea scallop-edged plates, c.1755, the wells painted with polychrome floral arrangements and single scattered blooms, the wells with alternating panels of colourful birds perched amidst grass and leaves, red anchor marks, a few small rim chips, 21.5cm. (2) £300-500 Cf. Woolley and Wallis, The Raymond Dennis Collection, 25th February 2014, lot 31 for an identical pair of plates.

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487. A rare pair of Bow porcelain fork handles, c.1755-60, enamelled with fruiting grapevine on a rich yellow ground, the terminals with a small butterfly, the steel forks 19th century, 21.5cm overall. (2) £400-600

488. A rare pair of Bow porcelain fork handles, c.1755-60, enamelled with fruiting grapevine on a rich yellow ground, the terminals with a small butterfly, the steel forks 19th century, 21.5cm overall. (2) £400-600

489. A Worcester coffee cup, c.1755, painted with the Stag Hunt pattern, one side with a hound in pursuit of the stag, the reverse with two figures conversing beside a low pagoda, iron red workman’s mark to the base, 5.8cm. £100-200

490. A Derby leaf-moulded creamboat, c.1760, formed from furled cos leaves in the manner of the larger sauceboats, painted with a predominantly purple spray of flowers, the reverse with a sprig of heartsease, the rim edged in green enamel, a few small rim chips, 10.8cm. £150-250

Provenance: purchased from Charnwood Antiques in April 1986.

491. A Derby fluted teabowl and saucer, c.1756-60, painted in the Cotton Stem manner with with flowers sprays and single blooms including heartsease, brown line rim, 13.8cm. (2) £150-250

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492. A Worcester feather-moulded cream jug, c.1758, painted with a large spray of pink rose and other scattered floral sprigs, the interior with an underglaze blue border, with scroll-moulded handle, disguised numeral mark, a small restored rim chip, 9cm. £150-250

493. A good Chelsea soup plate, c.1754-56, the shaped rim moulded with hatched and foliate panels, painted with three vignettes of colourful birds, the well with sprays of flowers, brown line rim, red anchor mark, 23.2cm. £300-500 Provenance: purchased from Charnwood Antiques in March 1990.

494. A rare and early Worcester teapot from the Scratch Cross period, c.1753-54, of moulded globular melon shape, the shoulder moulded with a wide panel of a dense flowerhead design, painted with garlands of flowers suspended from tied red ribbons, the cover lacking, 19.5cm. £500-800 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 42 for a slightly later teabowl with the same moulded floral border.

495. A rare Worcester double leaf moulded dish, c.1765-70, painted with a long-tailed fancy bird standing before leafy branches, the rim with scattered colourful moths, the leaf veins picked out in puce enamel, spurious red anchor and stilt marks to emulate Chelsea, 26.5cm. £300-500 Paper labels for the Cheetham and Rous Lench collections. Purchased from Charnwood Antiques in February 1991.

496. A Chelsea circular silver-shape dish, c.1754, finely painted with a floral arrangement including tulip and rose, with further single sprigs, a large moth and a small purple caterpillar, brown line rim, red anchor mark, a riveted crack to the well, 22.5cm. £300-500

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497. A good and large pair of Chelsea oval dishes, c.1755, of Warren Hastings shape, the rims moulded with four foliate scrolled panels painted with European landscape scenes, edged in puce, the wells painted with floral arrangements, single stems and a small caterpillar, red anchor marks, 38.5cm. (2) £1,000-1,500 Cf. F S Mackenna, Chelsea Porcelain, The Red Anchor Wares, pl.27, no. 54 for a similar dish from the author’s own collection.

498. A Chelsea silver-shaped dish, c.1752, finely painted with a large spray of rose and a further floral spray including tulip and rose, the moulded edges with single stems, black line rim, raised anchor and red anchor marks, 24.5cm. £300-500

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499. A rare Chelsea basket, c.1755, the shallow oval form with pierced everted sides enamelled with a puce design to the interior, the exterior applied with blue flowerheads, the inside well painted with a dragonfly above a floral spray with further scattered sprigs, a crack around the base, 24.5cm. £400-600

500. A fine and large Chelsea mug, c.1755, the bell-shaped body well painted with a large spray of garden flowers with further finely detailed sprigs to the reverse, brown line rim, the handle with a small spray of forget-me-not, red anchor mark, 14cm. ÂŁ500-800 Provenance: purchased from Charnwood Antiques in April 1985.

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The Helen Espir Collection Wednesday 12th November 2014

ENQUIRIES John Axford MRICS ASFAV Tel: +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk Sophie Lister Tel: +44 (0)1722 424591 sophielister@woolleyandwallis.co.uk

A selection of European decorated Oriental ceramics taken from the collection of Helen Espir. Estimates ranging from ÂŁ600-5,000

English and European Ceramics and Glass Tuesday 25th November 2014 Closing date for entries 10th October

ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk

A selection of sealed English wine bottles included in the sale, many from a private collection, and previously unrecorded.

Asian Art Wednesday 12th and Thursday 13th November 2014 Entries are now being accepted for this sale

A pair of Chinese aubergine-glazed anhua-decorated bowls, six character Kangxi marks and of the period 1662-1722, 12cm. Provenance: acquired in Paris in the late 1990s. Estimate: ÂŁ8,000 - ÂŁ12,000

ENQUIRIES John Axford MRICS ASFAV Tel: +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk Sophie Lister Tel: +44 (0)1722 424591 sophielister@woolleyandwallis.co.uk

British Art Pottery Wednesday 3rd December 2014 Closing date for entries 10th October

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk

A fine Lucie Rie sgraffito bowl, decorated to the interior and rims with manganese. Provenance: Purchased directly from Lucie Rie by the vendor. Estimate: ÂŁ5,000 - ÂŁ8,000

Furniture & Works of Art Tuesday 7th October 2014

ENQUIRIES Mark Richards Tel: +44 (0)1722 411854 markrichards@woolleyandwallis.co.uk

A rare 18th century colonial carved coconut bugbear flask by Henry Hill, dated 1756. Estimate: ÂŁ2,000 - ÂŁ3,000

Silver Tuesday 21st and Wednesday 22nd October 2014 Closing date for entries 5th September

ENQUIRIES Rupert Slingsby Tel: +44 (0)1722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers Tel: +44 (0)1722 424530 lucychalmers@woolleyandwallis.co.uk

A set of of four George II Irish silver Rococo candlesticks, by Thomas Williamson, Dublin circa 1740. Estimate: £10,000 - £15,000

Jewellery Thursday 23rd October 2014 Closing date for entries 29th August

ENQUIRIES Jonathan Edwards FGAA Tel: +44 (0)1722 424504 jonathanedwards@woolleyandwallis.co.uk Marielle Whiting FGA Tel: +44 (0)1722 424595 mariellewhiting@woolleyandwallis.co.uk

A natural pearl and diamond necklace. Estimate: ÂŁ80,000 - ÂŁ120,000

Paintings 20th Century and Contemporary Wednesday 10th December 2014 Entries are now being accepted for this sale

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk

Gerald Edward Moira (1867-1959) Rhubarb harvest Signed and dated 1932 Oil on board, 92 x 122cm Exhibited: Walker Gallery, 59th Liverpool Autumn Exhibition, 1933 Estimate: ÂŁ6,000-8,000

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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. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

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 €15,000. 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 TSB, 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 for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. 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. VAT Lots marked with an asterisk (*) 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 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 €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. 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 €12,500 Lots marked with a ‡ symbol are potentially subject to the levy. 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

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

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

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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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 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 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 double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

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. 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).

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. 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. 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.

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).

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.

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 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 four 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 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. 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 take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed 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.

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 €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. 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 €12,500

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

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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

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

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

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

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

LW AY W ES T IL

D SR SE VI DE

CENTRAL CAR PARK

N SCOTS L SALISBURY S OUT H

MARLBOROUGH & SWINDON

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WOOLLEY & WALLIS

LN SALT

WINCH ESTER ST

N EW

LL R O AD

Salisbury Salerooms e

ark eP hiv

id &R

A36 Ch

WILTON & WARMINSTER

Sarum Business Park

Westover Garage

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ND WY

MR HA

Old Sarum Park

A36(T) CH URC HIL L

WILTO NR DA

U ) CH

EET STR TLE CAS

A3 60

Woolley & Wallis 2 Danebury Court Old Sarum Park SP4 6EB

A36 C HUR CH ILL WA YN OR TH D

urchill W ay

D OA

Old Sarum Kia Motors

R EY

WOOLLEY & WALLIS

Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

AMESBURY & MARLBOROUGH

E LS

HL AS

CASTLE RD A345

LONDON, ANDOVER & WINCHESTER

r Po

A345 Castle Rd

L C ANA

SALISBURY A36

AMESBURY NEW STR EET

Old Sarum

T ST ANN S

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

SOUTHAMPTON CATHEDRAL

UT SO

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE TO SALT LANE TOSTREET CASTLE STREET & WALLIS WOOLLEY FROM DIRECTIONS PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

D A30

94 NEW H

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A33 8

ROLLES

WOOLLEY & WALLIS Salt Lane

Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

EET

ENDLESS STR

Registered in England No. 2998482

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU

R LANE

A338 BOURNMOUTH & RINGWOOD

REET

TONE ST

Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

ARN HAM

A354 DORCHESTER WEYMOUTH & BLANDFORD

SALT LANE

LANE

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STR

SALT

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( T)

WIN

A36

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A36(T) SO UTHA MPT ON R

BED

HAR NH AM

W OOLLEY & W ALLIS S ALEROOMS

Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

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

Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.

WOO L LE Y & WA L LI S Absentee Bid Form Fine Pottery & Porcelain

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 9th September 2014 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. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. 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

www.woolleyandwallis.co.uk

AUCTION CALENDAR ENGLISH & EUROPEAN CERAMICS & GLASS 9th September – Fine Porcelain & Pottery 25th November – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 10th September – 20th Century Design 3rd December – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 24th September – Oils, Watercolours, Prints & Miniatures 10th December – Part 1: Fine Old Masters & 19th Century Part 2: 20th Century & Contemporary Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 7th October Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 16th October – The Christopher Foley, F.S.A., Collection of English Medals of the 15th-17th centuries. 21st & 22nd October Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 23rd October Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 29th October Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk ASIAN ART 12th & 13th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES February 2015 Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk