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 24th February 2015

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

20TH CENTURY DESIGN Michael Jeffery Amanda Lawrence

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

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CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price (Consultant) — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 Amanda Lawrence — 329477 FURNITURE Mark Richards Jim Gale Anna Brown JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA PAINTINGS Victor Fauvelle Jo Butler

ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

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MARKETING Tamzin Corbett

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GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan

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

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Gemma Bush

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Members of The Society

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

FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA 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 24th February 2015 at 11.00am Viewing Times Saturday 21st February Monday 23rd February Tuesday 24th February

10.00am – 1.00pm 10.00am – 5.00pm 9.00am – 11.00am

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 2nd March. If you are collecting items on or after this date please contact the department on 01722 424507.

LIVE BIDDING Lot 213

Please register by 5pm Monday 23rd February. Please note there is a 3% surcharge for using this service.

Front cover: Lot 261 Back cover: Lot 122 Catalogue £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

1. A delftware teabowl, 18th century, painted in blue with flying insects around flowering peony sprays issuing from the rim, brown line rim, 7.2cm. ÂŁ100-200 Provenance: from a private collection in the Cotswolds.

2. A London delftware teapot stand, c.1720, painted in blue with a small figure fishing from rocks in a river landscape, with small buildings on a rocky island, within a stiff leaf border, raised on three shaped feet, a little rim chipping, 13cm. ÂŁ1,000-1,500 Cf. John C. Austin, British Delft at Williamsburg, p.115 for similar examples.

3. A good Bristol delftware octagonal tea canister, c.1760, the wider concave sides painted in blue with a standing chinoiserie figure carrying a scroll or vase, the narrower sides with rococo foliate scrolls, between flat diaper panels, 11cm. ÂŁ1,500-2,000 Cf. Anthony Ray, English Delftware Pottery in the Robert Hall Warren Collection, pls.52 and 53 for similar examples with figural decoration.

4. A Brislington delftware plate, c.1670-80, painted with a Chinese figure seated by a low table with bamboo beyond, a section of the rim broken out and restored, 21.8cm. £100-200

5. A large polychrome delftware charger, 18th century, painted with bamboo and peony issuing from holey rockwork, the rims with further sprays of Oriental flowers, some restored rim chips, 33.8cm. £150-250

6. A large English delftware charger, c.1730-40, painted in blue and red with a design of stylized peony sprays in and around a central flowerhead with eight petals, reserved on a hatched red ground, cracked, 36cm. £150-250

7. A good and early London delftware plate, c.1670-80, painted in yellow and manganese with a Chinese figure seated in a garden landscape, the scene repeated twice to the wide rim, 22cm. £800-1,200 Cf. Lipski and Archer, Dated English Delftware, nos. 138, 143 and 157 for related examples.

8. A delftware polychrome charger, 18th century, painted in a palette of blue, green, red and yellow with a long-tailed parrot perched on a branch above rockwork beside sprays of flowering peony, the rim with four floral sprays, 33cm. £150-250

9. A Delft figural dish, c.1700-20, painted in blue with the standing figure of Venus holding a large conch shell between tall sponged trees, within a wide stylized border, the reverse decorated in a buff glaze, 30.5cm. £150-250

10. A large Bristol delftware punch bowl, c.1760, decorated to the exterior in blue and manganese with pagodas on an island amidst pine, bamboo and willow, the interior with a manganese flower spray within bianco-soprabianco foliate scrolls, cracked, 26cm dia. £150-250 Provenance: from a private collection in Surrey.

11. A pair of delftware octagonal plates, mid 18th century, painted in blue with arrangements of Oriental flowers issuing from low censers, the rims with four vignettes of further flowers and auspicious objects, some wear to the glaze, 22.8cm. (2) £150-250

12. A pair of Liverpool delftware woodblock printed tiles, c.1756, printed in blue by John Sadler, one with a man walking a dog beside an English inn, the other with two figures among Italianate ruins with a Classical statue, each within an octagonal panel edged by foliate scrolls, the corners with floral mons motifs, 13cm. (2) £300-500 Cf. Anthony Ray, English Delftware Tiles, no. 618 for the former. See also Anthony Ray, Liverpool Printed Tiles, No. A5-6 for the latter.

13. A Portuguese faïence albarello, c.1640-50, the tall waisted body painted in blue with a narrow banner inscribed ‘V.DESOP.SVC’ reserved on a ground of overlapping palmettes, 19.5cm. £400-600

14. An English delftware bottle or guglet, mid 18th century, painted in blue with a continuous landscape scene of pagodas beneath pine, plaintain and other trees before mountains, a single figure fishing from a small boat in the foreground, the tall neck with formal stiff leaf designs, a little restoration to the neck, 24.2cm. £200-300

15. Two delftware deep pickle dishes, 2nd half 18th century, each of leaf shape, painted in blue to the interior with pagodas beside a curved bridge, the rims with a hatched diaper band, 13.2cm max. (2) £200-300

16. A pair of Delft shoes or clogs, one dated 1750, painted to the pointed toes each with a large yellow peony against blue and green foliage, with further floral motifs around the sides and beneath the toe, one inscribed ‘1750’ in blue beside the low heel, small chips to the toes, 13.5cm. (2) £500-700

17. A rare London delftware bulb pot, c.1680-90, of inverted pear shape, painted in blue with butterflies in flight above Oriental flowers, between blue scroll bands, with large ropetwist handles, the neck pierced with six small holes, 21cm across. £1,500-2,000

18. A Dutch Delft model of a wild boar, probably 19th century, seated on an oval base with a stylized floral border, a geometric floral arrangement painted on his back with blue dots around, mark after Jacobus Halder, 16cm high. £100-200

19. An early English delftware bowl, c.1670, possibly London, the exterior painted in blue with three Chinese figures in a continuous landscape, seated and standing amidst rocks and pine, the interior with two stylized figures, 20.7cm dia. £300-500

20. An English delftware food warmer base, c.1760-70, of cylindrical form with a shaped opening beneath a moulded mask, painted in blue with leafy bamboo issuing from larger leaves at the sides of the opening, the reverse with peony and further bamboo beside rockwork, numeral mark to the interior, some damages, 16cm. £200-300 Paper label relating the object to the Onians Collection. Provenance: from a private collection in Surrey.

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21. A large Porquier-Beau (Quimper) dish, c.1900, the square form with a shaped rim, painted with a large botanical specimen of fruiting blackberry, within a formal border of blue, yellow and ochre, the underside sponged in green and blue, PB monogram mark, 30cm. £200-300

22. A rare Rouen faïence two-handled dish, 1st half 18th century, boldly decorated in the famille verte palette with two Chinese children clambering up the branches of a large peony spray, with birds and moths in flight above, the octagonal form with two ropetwist handles, raised on three stilt feet, HV mark, 34.5cm. £250-350

23. A maiolica crespina, probably 18th century, moulded with petals and painted in the Deruta manner with a putto holding a staff in his left hand, a snake entwined around the top, his right hand pointing away, within a stylized border in blue, yellow and ochre, raised on a low circular foot, some chipping, 24.2cm. £100-200

24. A small Castelli maiolica plate, 18th century, painted with three figures playing cards beneath a tree, with cattle and mountains beyond, edged in ochre, 17.2cm. £200-300 24

25. Four post-medieval encaustic tiles, each decorated in inlaid pale slip with an antlered stag’s head within a hexagonal panel, a fivepointed star between the antlers, all within a square with a flowerhead in each corner, surface wear, 12.5cm. (4) £1,000-2,000 Provenance: from a private house in Dorchester.

26. Four post-medieval encaustic tiles, each decorated in inlaid pale slip with an antlered stag’s head within a hexagonal panel, a fivepointed star between the antlers, all within a square with a flowerhead in each corner, surface wear, 12.5cm. (4) £1,000-2,000 Provenance: from a private house in Dorchester.

27. Three tin-glazed earthenware eyebaths, probably 19th century, variously moulded with ribbed or fluted bowls raised on flared feet, two with additional fluting to the stems, some chipping, 5.1cm max. (3) £150-250

28. An unusual tin-glazed eyebath, perhaps 18th century, the moulded bowl raised on a baluster stem above a square foot, restored through the stem, 7cm. £600-800

29. A creamware eyebath, c.1790, the short stem raised on a thick circular turned base, 5cm high. £300-400

30. Two pearlware eyebaths, 19th century, perhaps Spode, raised on tall quatrefoil moulded stems, one restored, 7cm. (2) £150-250

31. An unusually large pearlware model of a pipe, early 19th century, the tall bowl lightly moulded and decorated in Portobello colours of blue, red and green, the long stem hollow, a well restored break to the stem, 21cm. £250-350

32. A Whieldon creamware miniature canister and cover, c.176070, of cylindrical form, splashed in manganese, a Whieldon coffee cup applied with small formal fruit and flower sprigs, and a saucer splashed with green over the mottled manganese, restoration to the cover, 12.7cm max. (4) £300-500 Paper labels for the Harry Root Collection.

33. A rare Wedgwood pearlware pastille burner, c.1805, the shallow round bowl painted in red and black with a continuous scrolling floral band, raised on three dolphin supports on a triangular base decorated in a pink lustre glaze, marked ‘Josiah Wedgwood Feb 2. 1805’ in black script, impressed WEDGWOOD, some damages, the cover lacking, 11cm high. £100-200 Cf. The Victoria and Albert Museum, Accession No. C.183&A-1931. Also, ‘An explanation for the Wedgwood “2nd February 1805” mark’ by David Pendergast in Ars Ceramica, no. 21, 2005, pp 6-11, which relates the mark to the death of the sculptor Thomas Banks.

34. An unusual pair of pearlware circular plaques, late 18th century, each moulded with a central lion mask, with stylized panels of stiff leaves around, highlighted in blue, the reverse of one inscribed for ‘Samuel Rich’, 10cm. (2) £300-500

35. An unusual slipware model of a flat iron, 18th century, decorated in a treacle glaze with cream dots, a small opening to the reverse, 12cm. £200-300

36. An English medieval slipware jug, c.13th/14th century, the round-bellied body decorated with pale yellow flowerheads within radiating stripes on a dark treacle ground, beneath a tall incised neck, raised on a splayed pinched foot, some chipping to the foot, 15cm. £500-700

37. An agateware chocolate pot and associated cover, c.1755, the traditional tapering form with striations of blue, brown and cream, the spout modelled as the head of a mythical creature, some faults, the cover made up, 20cm. (2) £250-350 Paper label referencing the Edward Sheldon Collection.

38. A documentary Yorkshire slipware puzzle jug, dated 1817, decorated in a rich treacle glaze with a three line verse in cream slip, inscribed with the name ‘W W Gargrave’, the neck pierced with a geometric design, some damages, 16cm. £100-200 Gargrave is a village in North Yorkshire, not far from Skipton. It is possible that the name on this jug relates to that place, but it is also a known surname in Yorkshire so may relate to a person.

39. A rare Whieldon creamware plaque, 2nd half 18th century, decorated in high relief with Christ on the cross between the two murderers, a grieving crowd gathered at his feet, splashed in manganese, black and green, pierced with two suspension holes, 16.5cm. £900-1,200

40. A dry-bodied stoneware stirrup cup, 19th century, modelled as the head of a dog in buff coloured clay, 10.5cm. £200-300

41. A good pearlware stirrup cup, late 18th century, modelled as the head of a hare or rabbit, its fur detailed in black on russet brown, its ears curled up around the flared mouth, the interior rim with a stylized puce border, wide strap handle, 14.5cm across. £600-800

42. An English redware teapot and cover, 18th century, the globular stoneware body applied with a bird perched atop flowering branches, the cover surmounted with a lion dog finial, the spout with a loose silver metal cap on a chain, minor damages, 21cm. (2) £400-600

43. A pearlware jug, early 19th century, inscribed ‘Another Jug and Wat than Another’, the reverse painted with a large pink tulip and other polychrome flowers, the rim with a continuous band above a narrow basket-weave border, 15cm. £100-200

44. A large Staffordshire model of a cottage orné, c.1810-20, modelled with tall elaborate chimneys and dormer windows in the Tudor style, the tracery highlighted in gilt, some restoration to the chimney, 23cm high. £250-350

45. A pearlware yellow-ground bowl, c.1810, painted with a bold design of continuous red flowers and large green leaves reserved on a bright canary yellow ground, brown line rim, some restoration, 22.5cm. £150-250

46. A large Pratt ware moulded jug, c.1800, moulded with seated topers, smoking and drinking by leafy trees, reserved on an ochre ground, between bands of corn ears, 22.5cm. £150-250

47. A good pearlware blue and white jug, late 18th century, perhaps Liverpool, boldly painted with a two-storeyed building beside an elaborate fence beneath willow, 19cm. £100-200

48. A pearlware jug of impressive size, dated 1821, painted with large scenes of a hunt running across open fields and of a milkmaid crossing a farmyard, the neck with a pale green glaze, beneath the spout inscribed ‘JA 1821’ in gilt, 31cm high. £300-500

49. A large commemorative Yorkshire pearlware loving cup, dated 1829, the statuesque piece advertising the wares of Eshaldwell Brewery with a four line verse between floral sprays, the reverse painted with a large barrel between a head of barley and a length of hops, damages, 35cm across. £150-250 Henry Bentley founded the Oulton Brewery in Woodlesford, Leeds in 1828, changing the name to Eshaldwell Brewery the following year. This lasted until 1880 when the company went through various changes to become Bentley Yorkshire Breweries Ltd, eventually being acquired by Whitbread & Co Ltd in 1968 and ceasing to brew in October 1972.

50. A rare and large Wedgwood & Co (Ferrybridge) pearlware vase and cover commemorating the Treaty of Amiens, c.1802, the rounded sides printed in sepia with roundels depicting three figures representing Britain, France and Peace, within hand-coloured floral garlands, the flattened lid with an acorn finial, some damages to the cover, 38cm. (2) £300-500 The Treaty of Amiens was siged on 25th March 1802 and temporarily ended the war between Britain and France. The Peace of Amiens lasted until May 1803 when hostilities were resumed, but represents the only period of peace in the years 1793-1815.

51. A large pearlware yellow ground jug, 19th century, painted to two sides with rural landscapes in puce monochrome, reserved on a rich yellow gtround, the neck painted with a checked design in red, green and yellow, some restoration, 25cm. £450-600

52. A pearlware figural candlestick, early 19th century, formed as a winged putto carrying a flaming torch, the sconce issuing from the top of her head, raised on a square base, impressed S mark, some restoration, 23.5cm. £150-250

53. A Staffordshire figure of a cat, 19th century, seated on its haunches with head turned to dexter, its coat decorated with patches in black and ochre, raised on an oval base with gilt line, a little good restoration, 20.2cm. £400-500

54. A rare Staffordshire figure of a knife grinder, 19th century, after a painting by David Teniers, standing at his wheel and wearing a plumed hat, 27cm high. £100-200 Cf. Woolley and Wallis, A private collection of Victorian Staffordshire Figures, 20th September 2006, lot 134.

55. A pearlware moulded rectangular plaque, c.1800, moulded with the Gretna Green scene of a young couple being married by a blacksmith who rests a Bible on his anvil, a horse being shod behind, within a yellow border, a corner broken off and restored, 23.4cm. £200-300

56. A Yorkshire Pratt ware cow group, c.1810, the large bovine standing four square on an oval base with a dog recumbent by her side, the farmer wearing a top hat and with one hand in his pocket, the edges of the base decorated in mottled patches of blue, black and ochre, some restoration, 14cm high. £300-500

57. A Wedgwood & Co (Ferrybridge) Pratt ware comport, c.1800, of navette shape, the interior printed with two Classical figures in the Greek manner, the exterior and interior border with a continuous garland of yellow, blue and ochre flowers, impressed Wedgwood & Co mark, 28.5cm. £150-250

58. A Yorkshire Pratt ware model of a ram, c.1810, recumbent with head turned to dexter, his fleece finely detailed, raised on a grassy stump picked out in Pratt colours, good restoration to his horns, 15cm across. £250-350

59. A pearlware part tea service, late 18th/early 19th century, with bands of turned fluting, decorated with washed stripes of green. Comprising: a milk jug, a sugar bowl and cover, and a bowl and cover in the Chinese manner with a reticulated rim. (5) ÂŁ150-250

60. A pair of Minton Majolica oyster plates, date codes for 1870, each modelled with nine shell-shaped indentations around a central well, enamelled in turquoise with small shell motifs in contrasting colours, impressed marks, 25.5cm. (2) ÂŁ200-300

61. An unusual pair of insulated pearlware sauceboats, early 19th century, moulded with a feathered rim enamelled in green, each handle with a square aperture at the top, minor chips, 21cm. (2) ÂŁ150-250 The aperture on the handle accesses a hollow base beneath the bowl into which hot water can be poured to help keep the contents of the sauceboat warm.

62. An impressive pair of Minton Majolica stick stands, date codes for 1875, modelled as a heron and a stork, with a fish and a wriggling elver trapped in their respective beaks, each standing on one leg before wide openings formed by tall bulrushes and reeds, impressed marks, shape numbers 1916 and 1917, small losses, 100cm high. (2) ÂŁ5,000-8,000 Cf. Marilyn G. Karmason with Joan B. Stacke, Majolica, p.55 for a similar pair. Provenance: the property of a nobleman.

63. A large salt-glazed stoneware sauceboat, c.1755-60, moulded with scrolling panels of basketweave, and diaper hatching, brightly enamelled with sprays of Oriental flowers in the famille rose palette, 21cm. £250-350 Paper label for Garry Atkins.

64. A Staffordshire salt-glazed teapot and cover, c.1760, the globular form brightly enamelled with large pink chrysanthemum blooms issuing from turquoise rockwork and further Oriental blooms, the spout and handle formed as gnarled branches, a little restoration, 18.5cm across. (2) £150-250

65. A salt-glazed stoneware creamboat, c.1750, moulded with cattle to one side, the reverse with sheep grazing, the details picked out in green, red and pink enamels, a crack to the base of the handle, 11.7cm. £200-300

66. A salt-glazed stoneware cream jug, c.1760, the finely potted form brightly enamelled with a large peony spray beside a striped zig-zag fence, the flared neck with an interior border in green and pink, 7.3cm. £250-350

Paper label for Jonathan Horne.

Provenance: from a private collection in Surrey.

67. A creamware model of a plum, late 18th century, the small fruit resting on a leaf on a low green base, decorated in the Whieldon palette with washed green and manganese, some restoration, 9.5cm across. £200-300

68. A Whieldon creamware model of a pug dog, c.1755-65, seated with head turned to sinister, with short curled tail, and wearing a studded collar, the body splashed with manganese and faint traces of green, the low base with blue, some restoration to the base, 8cm high. £200-300 Paper label for the Carter Collection. Cf. Pat Halfpenny, English Earthenware Figures 1740-1840, p.47 for a near identical example, which is noted as matching exactly the moulding of a fragment found on the site of Thomas Whieldon’s factory at Fenton Vivian.

69. A rare pearlware bonbonnière or snuff box, c.1800, modelled as the head of a pug dog, decorated in Portobello type colours with a pink muzzle, his fur striated in cream and black, the interior inscribed ‘Rose’, with a pewter hinged lid and mount, 7cm. £1,000-1,500

70. A good Bilston enamel scent bottle, c.1760, emblematic of the Arts and Wisdom, one side painted with Mercury seated before a stone pillar and scribing onto paper, the reverse with Minerva seated beside a stone urn, her shield by her side, wearing a plumed helmet, within panels of raised gilt and white enamel jewelling, fitted with a gilt metal shell-shaped stopper, 9cm. £300-500 Provenance: purchased from Lawrence Gould Antiques, 17th November 2002.

71. A Chamberlain’s Worcester spill vase, c.1805-10, finely painted with a panel of colourful feathers reserved on a salmon pink ground with a formal gilt foliate design, script mark to the base, some restoration, 11.2cm. £300-400

72. An English porcelain commemorative beaker, probably early 19th century, the flared form gilded with ‘Nelson 2nd August Baltic’ around a fouled anchor, the reverse with ‘The Glorious 1st August’ and ‘14th February’, all beneath a wide green and gilt oak and acorn border, a section broken out and restuck, 10cm. £100-200 The ‘Baltic’ Service was produced in creamware by David Wilson of Hanley, after the French porcelain originals made for Nelson himself. These rare bone china copies may have been bought by Nelson’s captains or admirers.

73. A pair of Spode vases, c.1820, with raised decoration of floral and fruit sprigs, brightly coloured, between white beaded bands, iron red factory marks and pattern number 2910, a chip to one rim, 11.2cm. (2) ÂŁ150-250

74. A good pair of Spode pearlware plates, early 19th century, brightly painted in the manner of Worcester porcelain with large floral sprays and single scattered blooms, iron red marks, 20cm. (2) ÂŁ100-200

75. An H & R Daniel comport or centrepiece, c.1823-25, painted by William Pollard with a central arrangement of English flowers including convolvulus, foxglove and poppy, the shaped rim with long sprays of forget-me-not, dog rose and strawberry, similarly decorated to the underside and foot, 35.5cm across. ÂŁ200-300

76. A New Hall tea service, c.1820, decorated in pattern 888 with Warburtons Patent gilt decoration of landscape scenes and figures within wide foliate gilt and cobalt blue borders. Comprising: a teapot with cover and stand, a sugar bowl and cover, milk jug, slop bowl, two plates, twelve saucers, twelve tea cups and eight coffee cans. (41) ÂŁ200-300

77. A large Swansea-style porcelain vase, 19th century, the inverted pear-shaped body boldly painted with flowers including rose, convolvulus and narcissus, with further pink roses in the Billingsley manner around the neck and square foot, the handles issuing from lion masks and including the heads of helmeted centurions, 28.5cm. ÂŁ250-350

78. A Pinxton buttertub stand, c.1800, painted probably by William Billingsley with a small building beneath tall trees in a rural landscape scene, 15.3cm. ÂŁ200-300

79. A Spode botanical dessert service, c.1820-25, the wells finely painted in pattern 4373 with mixed specimens of native flowers reserved within café au lait borders with moulded detailing in gilt and white, printed marks. Comprising: an oval comport, four large oval dishes, two small oval dishes, three handles dishes and seven plates. (17) £1,000-1,500

80. A good Royal Worcester dessert service, date codes for 1897, the wells painted with arrangements of fruit, flowers and nuts within panels of colourful birds, butterflies and other insects, reserved on a pink ground with gilt grapevine, the rims with panels of diamond piercing, printed factory marks and retailer’s mark for Phillips of Mount Street. Comprising: two tazzae, two oval dishes, two square dishes and ten plates. (16) £3,000-5,000

81. A pair of Swansea plates, c.1815, London-decorated with sprays of flowers including tulip, rose, convolvulus and auricula, within wide gilt foliate borders with purple flower highlights, 20.5cm. (2) £250-350

82. A pair of Bloor Derby ornithological dessert dishes, c.1820, the shell shapes painted with exotic birds in branches, attributed to Richard Dodson, within wide foliate gilt borders, iron red marks, 24.5cm. (2) £300-500

83. A Coalport part dessert service, c.1815, decorated in London in the Marquis of Anglesey pattern, with colourful English flowers boldly painted on a gold ground, a single stem to the wells within a chainlink border. Comprising: three lozenge-shaped dishes and two shell-shaped dishes. (5) £150-250

84. Two Paris porcelain plates decorated after Swansea and Nantgarw porcelain, c.1820, one attributed to James Plant at the Sims workshop and painted in sepia with cattle and sheep at a watering hole, the other attributed to Thomas Martin Randall and decorated with a couple walking beside a river, within a wide geometric gilt border, 24cm max. (2) £200-300

Similar decoration is found on Swansea and Nantgarw wares, with the pattern also being known on teawares produced by Davenport and Spode.

Cf. A similar scene to the second plate is found on a Derby plate bearing the monogram TMR and illustrated in Billingsley, Randall and Rose, Welsh Ceramics in Context, Part I, fig 11.11, p 201.

ENGLISH 18TH CENTURY PORCELAINS

85. A pair of Worcester dessert plates, c.1770, each painted with three large panels of flower garlands within smaller cartouches of single sprigs, reserved on a blue scale ground, script W marks, 21.2cm. (2) £250-350

86. 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. £600-800 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. Provenance: from the collection of Anthony Tuke.

87. 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) £400-600 Provenance: from the collection of Anthony Tuke.

88. A good Worcester soup tureen and cover, c.1772-75, the quatrefoil form painted with sprays of polychrome flowers, single sprigs and leaves, the handles and finial formed as stalks issuing oak leaves and acorns, 29.5cm. (2) ÂŁ1,000-1,500

89. 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) ÂŁ800-1,200 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 Anthony Tuke.

90. A Chelsea plate, c.1765, decorated in bright enamels with two birds in a central roundel within wide flower arrangements and scattered sprigs of heartsease and fuchsia, gold anchor mark, 23.3cm. £250-350

91. A rare Chelsea circular leaf dish, c.1760, moulded with six large leaves with puce veining around a small well painted with cherries, an onion and a peapod, brown anchor mark, 19.8cm. £300-500 Provenance: from a private collection in Surrey.

92. A Chelsea soup plate, c.1755, of Warren Hastings type, the moulded rim painted with three vignettes of traders in exotic harbours, the well with a flower spray and scattered single blooms, red anchor mark, a restored crack, 24cm. £300-500

93. 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 osier-moulded rim, 20.5cm. £200-300

Cf. F S Mackenna, Chelsea Porcelain, The Red Anchor Wares, pl.27, no. 54 for an oval dish from the author’s own collection with similar decoration.

94. A good Worcester scallop-edged plate, c.1770, probably painted by Fidelle Duvivier with a brightly-coloured bird beneath a leafy tree, another in flight above, within a gilt dentil rim, 18.7cm. £150-250 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.

95. 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. £200-300

96. A rare Worcester dessert dish, c.1765-75, of lozenge shape, the well painted with a scene of a ship firing a salute as she enters a foreign harbour, the wide rim with floral sprays and moths within a cobalt blue and gilt rim, restored, 30cm. £100-200

97. A Chelsea leaf dish, c.1754-56, modelled as a large cos lettuce leaf with puce veining and green enamelled edges, painted with a spray of rose and tulip with other single blooms, red anchor mark, some faults, 27cm. £100-200 An old paper label to the reverse, hand-written with ‘Early red anchor, bought about 1905. This cost me 50 shillings’. Provenance: from a private collection in Surrey.

98. 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. £250-350

99. 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. £150-250

Provenance: from the collection of Anthony Tuke.

100. A pair of Chelsea silver-shaped dishes, c.1756, finely painted with floral posies in a muted palette, with single sprigs including bluebell, heartsease and fuchsia, brown line rims, red anchor marks, 24.5cm. (2) ÂŁ500-800 Old paper label noting that they cost the collector thirty five shillings. Provenance: from a private collection in Surrey.

101. A rare Longton Hall saucer or stand, c.1755, of hexafoil shape, moulded with six petals, the well painted in the Trembly Rose manner with a delicate spray of flowers including pink rose and honeysuckle, the rim with a border of flowerhead half mon and hatched panels in the famille rose palette, a puce flower spray to the underside, some wear, 11.2cm. ÂŁ450-650

102. A rare Derby basket or sweetmeat stand, c.1760-70, the oval form applied with small yellow flowerheads beneath a line of blue, the rim pierced with a diamond design, raised on a low scrolled base applied with flowers and leaves, a little good restoration to the base, 9.5cm dia. ÂŁ400-600

103. A good and rare Worcester partridge tureen and cover, c.1756, naturalistically modelled seated on a basket nest embellished with corn ears and colourful leaves, the plumage finely detailed in brown and russet, the head appealingly turned, 18cm across. (2) ÂŁ1,800-2,200 Partridge tureens of this type were made in two sizes at Worcester, this being the larger and less common, with the applied leaf modelling running around the bottom edge of the cover rather than near the top of the base. Cf. Simon Spero and John Sandon, Worcester Porcelain 1751-1790, The Zorensky Collection, p.106 for an identical tureen pictured with the more usual smaller examples.

104. A good Chelsea scallop-edged plate, c.1752, painted in purple monochrome by Jefferyes Hammet Oâ&#x20AC;&#x2122;Neale with three figures in Classical costume in discussion beside ruined columns and arches, the border with small floral sprigs and a ladybird, red anchor mark, 18.3cm. ÂŁ1,100-1,500

105. A Worcester coffee cup and saucer, c.1765, painted with a panelled Japan pattern with wide bands of Kakiemon flowers between narrow stripes of flower mons on a dark blue ground, square seal marks, 12.8cm. (2) £100-150

106. An unusual Worcester coffee cup, c.1770, with atelier decoration of a simple flower spray and scattered sprigs in a muted palette, turquoise line rim, 6.5cm. £100-150

107. A Worcester two-handled chocolate cup and saucer, c.1775, the ogee forms decorated in a London atelier in the manner of James Giles with shaped panels of fruit and flowers reserved on a pale turquoise ground, within gilt dentil rims, 14.5cm. (2) £300-400

108. 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) £400-600

Paper label for the Jacobs Collection.

Paper label for Albert Amor Ltd. Provenance: from the collection of Anthony Tuke.

Cf. Gerald Coke, In Search of James Giles, col. pl. VII for a cup and saucer with similar decoration from the Giles workshop.

109. A Chelsea-Derby two-handled chocolate cup and stand, c.1775, the cup of flared form with entwined twist handles, with deep trembleuse saucer, richly decorated with a gilt design of overlapping feathers beneath garlands of blue flowers and suspended berried swags, gold anchor mark, the cover lacking, 16.3cm. (2) £250-350

110. A good Worcester printed coffee cup, c.1760, decorated with Les Garçons Chinois pattern, one side with two Chinese figures clambering on rococo scrollwork, the reverse with a figure similarly seated with a hoop on a line, carefully hand-coloured, 5.8cm. £350-450

111. A Worcester bowl, c.1758-65, decorated outside of the factory with a large colourful butterfly and small ladybird, the reverse with a floral arrangement, the interior with a pink rose spray, 17.8cm. £150-250

112. A pair of Chelsea dessert dishes, c.1760, the lobed oval forms painted with fruits including pears, cherries and gooseberries, with colourful butterflies around, brown line rims, brown anchor marks, a rim chip to one, 25cm. (2) £300-500

113. A pair of small Worcester scallopedged 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. £250-350 Provenance: from the collection of Anthony Tuke.

114. A large Bow punch bowl, c.1754, decorated in the famille rose palette with large pink peony blooms and blue chrysanthemum before pale pink rockwork, the interior with a border of hatched green diaper and semi flowerhead panels, 20.2cm dia. £300-500

115. 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.

116. A tall Plymouth cylindrical mug, c.1770, painted with small floral arrangements and single scattered sprigs in polychrome enamels, the grooved handle with a puce foliate motif, a little restoration to the top of the handle, 13.5cm. £300-400

Provenance: from the collection of Anthony Tuke.

117. A Worcester small bowl, c.1760, finely printed in black with three ornithological vignettes, including a kingfisher, a dove and a sparrow each perched on a leafy branch, the interior with a single bird in flight, broken and cleanly repaired, 10.5cm dia. £150-250

118. A rare and interesting Derbyshire porcelain teapot, c.176070, perhaps Wirksworth, finely painted with puce lotus-shaped panels in the manner of the Queen’s pattern, containing green monochrome flower sprays, the cover lacking, 17.2cm across. £100-150

Provenance: Phillips, The Norman Stretton Collection, 21st February 2001, lot 65.

Paper label for the Geoffrey Godden Reference Collection, noting its acquisition from Mercury Antiques.

Cf. Gaye Blake Roberts, Wirksworth - The Elusive Factory in The Journal of the Derby Porcelain International Society, No. 6 (2009), fig. 5 for a similarly decorated teabowl and saucer.

119. A large Bow sauceboat, c.1750-55, of silver shape, raised on three paw feet issuing from lion masks, painted in the famille rose palette with large peony sprays before holey rockwork, some damages, 23cm. ÂŁ150-250

120. A pair of Longton Hall rococo-moulded vases, c.1758, the exuberant asymmetric forms picked out with purple detailing, painted with small arrangements of rose and other flowers, the covers lacking, some good restoration, 11.5cm. (2) ÂŁ200-300

121. A Chelsea sauceboat, c.1755, the lightly lobed form painted with sprays of flowers including rose, poppy and forget-me-not, brown line rim, faint star crack to the base, 20cm. ÂŁ300-500

122. A rare Bow moulded sauceboat, c.1750, the silver shape moulded with garlands of flowers and decorated with gilt peony sprays, raised on a circular foot moulded with further flowers, the handle formed as a scaly dragon with ears pricked and mouth agape to reveal his tongue and fangs, his narrow wings gripping the rim of the sauceboat, a chip to the end of his tail, a little restoration to the rim, 20cm across. £1,000-1,500 Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, p.41 for a plain example, which references a gilded example illustrated in Frank Hurlbutt, Bow Porcelain, pl.5. In her article for the Smithsonian Museum catalogue of 2008, Sarah D Coffin illustrated an identical sauceboat alongside a silver sauceboat with dragon handle dated 1742 and designed by Charles Freidrich Kändler who, it has been suggested, could be the brother of the Meissen modeller, Johann Joachim Kändler.

123. A large and rare Worcester blue and white sauceboat, c.1755, painted with the Fisherman on a Towering Rock pattern, the angler with rod furled and heading inland on his tall promontory, the reverse with a figure in a small boat before another crossing a bridge, raised on a tall foot, workman’s mark beneath the handle, 23.2cm. £300-500 Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, fig.205.

124. A large Worcester blue and white sauceboat, c.1765-68, painted with the Man with a Bomb pattern, a solitary Chinese figure holding his charge, the reverse with a fisherman, within moulded panels, crescent mark, 20cm. £400-600 Paper labels for the Zorensky Collection (Y.330) and the Nicholas Panes Collection. Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, fig.220.

125. A Worcester blue and white sauceboat, c.1755, painted with the Moored Boat pattern, a figure fishing beneath willow, the reverse with a further figure beside a small pagoda, within moulded floral cartouches, workman’s mark, a small rim chip, 18.4cm. £200-300 Paper label for the Nicholas Panes Collection. Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, fig. 214. Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, p. 116, I.B.22A.

126. A very rare Samuel Gilbody (Liverpool) sauceboat, c.1758-60, the unusually rounded body decorated in underglaze blue with a two-storeyed pagoda beside a small bridge linking rocky islands, with later gilt decoration of scrolled borders, and inscribed ‘E + N Norwich 1766’, 18cm. £1,000-1,500 Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, figs.303 and 304, also in Maurice Hillis, Liverpool Porcelain 17561804, fig.7.58. Exhibited: English Ceramics Circle Exhibition, 2006, no.120. Paper labels for the Watney Collection and the Nicholas Panes Collection.

127. A Flight Worcester sauce tureen and cover with stand and ladle, c.1790, richly decorated in the Royal Lily pattern with stylized floral panels in blue, the fluted ladle shaped for pouring, crescent marks to the tureen and stand, a small chip to the stand, 17.5cm. (4) £400-600 Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, fig. 27. Pictured without the stand.

128. An early Lowestoft blue and white bell-shaped mug, c.1765-68, painted with a three-storeyed pagoda among tall trees and large pierced rocks, beneath a berry border to the rim, the inside rim with a scrolling border, painterâ&#x20AC;&#x2122;s numeral 3 to the inside footrim, perhaps for Richard Phillips, a 4.5cm rim crack, 12.2cm. ÂŁ1,000-1,500 Paper labels for the Susi and Ian Sutherland Collection, the Godden Reference Collection and the Nicholas Panes Collection.

129. A Lowestoft blue and white teabowl and saucer, c.1765-70, painted with a low bridge linking small islands with huts and tall trees, within a hatched diaper border, workman’s mark to the teabowl, a faint crack, 12.2cm. (2) £100-200

130. A rare Isleworth blue and white saucer, c.1770-80, printed with the Fence pattern, two birds in flight above flowering peony issuing from behind a zig-zag fence, possible painter’s mark to the underside, some faults, 12.2cm. £300-500

131. A Lowestoft blue and white teabowl, c.1775, painted with an unusual large rose spray with a small flying insect above, the interior with a formal floral border, 7.5cm dia. £150-250

132. A Worcester blue and white egg cup, c.1758-60, painted with narrow floral sprays beneath a wide shaped diaper border, the circular foot with further floral sprays, workman’s mark, 3cm rim crack, 6.8cm. £250-350

133. A matched Worcester blue and white trio, c.1760-70, comprising a teabowl, coffee cup and saucer painted with the Cannonball pattern, open crescent marks to the cup and saucer, script W to the teabowl, 12.2cm. (3) £100-200

134. A rare Vauxhall blue and white sauceboat, c.1760, of strap-fluted form, the crabstock handle enwtined with a snake, the exterior painted with a stylized floral design on a rich blue ground, some good restoration, 19cm. £200-300 Cf. Winnipeg Art Gallery, Accession No. 2000236, for a similar example acquired from the collection of Dr Bernard Watney.

135. A large Lowestoft blue and white punchbowl, c.1770, painted with the Mansfield pattern in a heavy cobalt blue, open crescent mark, 21.3cm. £150-250

136. A Lowestoft blue and white basket, c.1775-80, after Worcester, printed with the Pinecone pattern beneath a scrolling border and a band of stylized flowerheads, the ropetwist handles issuing from applied flowers and leaves, the reticulated sides applied with further flowerheads, 23cm across. £200-300

137. A good West Pans blue and white teapot, c.1764-77, the globular body incised with a wide band of fine ribbing, the shoulder painted with a scrolling leaf band echoed to the top of the cover, 21cm. (2) £1,500-2,000

138. A Bow blue and white bowl, c.1770, painted with a small dwelling in an Oriental landscape with weeping willow and flocks of birds in flight, the inner rim with a band of flowerhead mons and hatched diaper panels, painter’s numeral 7, a short crack, 15cm dia. £150-250

139. A Worcester blue and white leaf dish, c.1758-60, modelled as a cabbage leaf painted with the Leaf Dish Floral Sprays, the stem curving to form the handle, workman’s mark, 21.5cm. £150-250

140. An English porcelain blue and white ovoid vase, c.1765-75, probably Derby, printed with the Natural Sprays pattern after Worcester, with large loose blooms of sunflower, rose and chrysanthemum, the cover lacking, 20cm. £250-350 Provenance: Phillips, The Watney Collection Part I, 22nd September 1999, lot 376.

141. 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) £200-300 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.

142. A good and large Caughley blue and white mug, c.1770-75, finely printed with the rare Natural Sprays pattern of loose sunflowers, chrysanthemum heads and roses with large moths between, printed C mark, 14cm high. £500-700 Cf. The Caughley Society, Caughley Blue and White Patterns, no.C28.

Paper label for W T Deacon, St Louis.

143. A Richard Chaffers (Liverpool) hexagonal flared blue and white beaker and saucer, c.1760, painted with the Jumping Boy pattern of a young Chinese boy in a garden beside a maiden seated beneath a tree, four character script marks, 11.8cm. (2) £300-500

144. A Longton Hall blue and white mug, c.1755, the barrelshaped body painted with small dwellings on rocky promontories beneath a tall tree, well restored crack, 9.8cm. £300-500

Paper label for the Lloyd Collection, No.141.

145. A Caughley blue and white eyebath, c.1775, printed with excerpts from the Fisherman and Cormorant pattern, the rim with a cell diaper and spearhead border, 5cm. £800-1,200

146. A rare Lowestoft blue and white eyebath, c.1765, moulded to the bowl and foot with small floral and scroll panels, simply painted with an Oriental flower spray to each side, the interior with a crowsfoot rim, a little staining, 5.3cm. £1,500-2,000 Cf. Bonhams, The Billie Pain Collection, 26th November 2003, lot 231 for a similar example.

147. An English porcelain blue and white eyebath, c.1775-80, probably Worcester or Caughley, painted with simple flower sprigs to the boat-shaped bowl and plain flared stem, the foot broken and restuck, 4.5cm. £300-400

148. A Caughley blue and white eyebath, c.1775, printed with excerpts from the Fisherman and Cormorant pattern, raised on a moulded baluster stem above a lightly fluted foot, some restoration, 5.2cm. £600-800

A PRIVATE COLLECTION OF ENGLISH BLUE & WHITE PORCELAIN

149. A Worcester blue and white pickle leaf dish, c.1756, painted with the Two Peony Rock Bird pattern, and a Bow pickle leaf dish painted with a large spray of fruiting grapevine within a shaped serrated edge, the undersides moulded with veins, 11cm max. (2) £200-300

150. Two Worcester blue and white butterboats, c.1760-70, one moulded with geranium leaves and painted to the interior with the Butterboat Mansfield pattern, the other of a deep leaf shape, painted with the Butterboat Floral pattern, 8.6cm max. (2) £200-300 Provenance: from a private collection in the Cotswolds.

Provenance: from a private collection in the Cotswolds.

151. A Bow blue and white teabowl and saucer, c.1760, painted with willow and peony issuing from large leaves, the interior rim with a hatched diaper band, 13cm. (2) £100-150 Provenance: from a private collection in the Cotswolds.

152. A Worcester blue and white spoon and a knife handle, c.1760-70, the spoon of Chinese shape and decorated with the Maltese Cross Flower pattern, script W mark, the knife handle of pistol-grip shape and painted with the Knife Handle Formal Daisy pattern, the 19th century blade impressed ‘Lund 57 Cornhill’, the end of the spoon handle lacking, 25cm max. (2) £100-200 Provenance: from a private collection in the Cotswolds.

153. A Liverpool porcelain blue and white teabowl and saucer, c.1770-80, with a band of fine fluting within a formal foliate border, workman's marks, and a Worcester feather-moulded milk jug, painted with sprays of Oriental flowers, the interior rim with a continuous border, 12cm. (3) £100-150

154. A miniature Caughley blue and white teabowl and saucer, c.1770, and a slightly larger U-shaped bowl, painted with the Island pattern, the bowl broken and restuck, 8.2cm. (3) £100-200 Provenance: from a private collection in the Cotswolds.

Provenance: from a private collection in the Cotswolds.

155. A Seth Pennington (Liverpool) blue and white pickle dish, c.1780-90, modelled as a deep scallop shell, printed with a thorny rose spray and blown tulips within a blue dash rim, raised on three short feet, some restoration to the feet, 11.2cm. £100-200

156. A Worcester blue and white shell salt or sweetmeat dish, c.1765-70, printed with the Primula pattern, a large spray of the eponymous plant to the interior, hatched crescent mark, a short crack, 13cm. £100-150

Provenance: from a private collection in the Cotswolds.

157. Two small Lowestoft bowls, c.1775, one printed with a version of the Three Flowers pattern after Worcester, open crescent mark, the other painted with peony issuing from rockwork, 10.8cm max. (2) £100-200 Provenance: from a private collection in the Cotswolds.

158. A Bow blue and white sauceboat, c.1752-55, the flat-bottomed form painted in a bright blue with the Desirable Residence pattern of small pagodas amidst tall trees and flowering shrubs, the interior with a tied scroll motif, a few small rim chips, 18cm. £200-300 Provenance: from a private collection in the Cotswolds.

159. A Bow blue and white sauceboat, c.1765, painted with rose sprays within moulded floral panels, the interior rim with a formal and hatched diaper band, 20cm across. £100-200 Provenance: from a private collection in the Cotswolds.

160. A large Derby blue and white sauceboat, c.1765-70, printed with fishermen in small Chinese landscape scenes within moulded cartouches, the interior with sprays of chrysanthemum and other Oriental flowers, 21cm. £150-250 Cf. Geoffrey Godden, English Blue and White Porcelain, p.213 for a similar example. Provenance: from a private collection in the Cotswolds.

161. A small Bow elongated octagonal dish, c.1760, the central rectangular panel painted with a figure in a boat, the rim with fanshaped landscape panels and small floral roundels, reserved on a powder blue ground, pseudo script mark, a short crack, 8.2cm. £100-200 Provenance: from a private collection in the Cotswolds.

162. Two Bow octagonal blue and white plates, c.1755-60, both decorated with arrangements of bamboo, peony and millet, one with peony and other flower sprays to the border, the other with stylized floral panels reserved on a hatched diaper ground, star mark to the latter, 22.5cm max. (2) £200-300 Provenance: from a private collection in the Cotswolds.

163. A Bow blue and white plate, c.1750, painted with the Broken Scroll pattern, the unfurled manuscript depicting flowering peony issuing from holey rockwork, and a Dublin delftware plate decorated with the same design, the latter cracked, 22.5cm. (2) £150-250 Cf. Peter Francis, Irish Delftware, pl.12 and pp.105-106 for a discussion on the influence of Bow porcelain on Dublin delftware. Provenance: from a private collection in the Cotswolds.

164. A Worcester blue and white feather-moulded teapot and cover, c.1760, painted with the Feather-Moulded Floral pattern, and a plate in the same pattern, workman’s marks, 20cm max. (3) £200-300 Provenance: from a private collection in the Cotswolds.

165. A large Bow blue and white basket, c.1770, the flared pierced sides painted with blue flowerheads to the exterior and with short sprigs to the interior, the interior base with large chrysanthemum and peony sprays, 22.3cm. £250-350

166. A Worcester blue and white sauceboat, c.1765, painted with the Man with a Bomb pattern, the eponymous figure within a strapmoulded cartouche, the reverse painted with a fisherman, open crescent mark, 17.5cm across. £250-350

Provenance: from a private collection in the Cotswolds.

167. Two Lowestoft blue and white bowls, c.1770, one painted with a version of the Cannonball pattern with pagoda-like buildings beside an elaborate fence with characteristic round rocks, the other with bamboo and flowering peony beside a hatched fence, a little nibbling to the rim, 12.4cm max. (2) £250-350 Provenance: from a private collection in the Cotswolds.

168. Two Bow blue and white sauceboats, c.1760, the larger painted with rose sprays within moulded panels, the smaller fluted and painted with the Desirable Residence pattern, minor faults, 20cm max. (2) £200-300 Provenance: from a private collection in the Cotswolds.

169. A large Bow blue and white octagonal dish, c.1752-55, painted with a figure in a sampan beside a bridge linking pagodas and small islands issuing chrysanthemum, prunus and pine, the rim with Oriental flower sprays within a narrow hatched diaper band, some damages, 33cm. £150-250 Provenance: from a private collection in the Cotswolds.

170. A Worcester blue and white spittoon, c.1770, printed with the Three Flowers pattern of loose floral arrangements between moths in flight, hatched crescent mark, 11cm high. £200-300 Provenance: from a private collection in the Cotswolds.

171. A Bow blue and white sweetmeat or pickle stand, c.1755, formed as three deep scallop shells raised on moulded rockwork applied with shells and seaweed, painted to the interiors with stylized cloud scrolls, the rims with ruyi heads, some damages, 22cm across. £250-350 Provenance: from a private collection in the Cotswolds.

A PRIVATE COLLECTION OF LIVERPOOL BLUE & WHITE PORCELAIN

172. A Liverpool blue and white slop bowl, c.1760, painted with a figure fishing from a small promontory beside a flowering bush and a building with a domed roof, 15.7cm. £200-300 Provenance: from a private collection in Surrey.

173. A rare Philip Christian (Liverpool) blue and white punch bowl, c.1770-75, printed with a rare version of the Rural Lovers within an octagonal panel, repeated to the interior, the other side with a scene of a figure before Classical ruins, between floral swags, 20.7cm. £200-300 Of the three version of the Rural Lovers print seen at Liverpool, this is the most rare and also follows most closely the Vivares engraving. See lot 181 for examples of the other two versions. Provenance: from a private collection in Surrey.

174. A Liverpool blue and white slop bowl, c.1780-90, Philip Christian or Seth Pennington, printed with the Mother and Child and Man Fishing pattern after Worcester, and a Worcester slop bowl printed with the Fence pattern, hatched crescent mark to the latter, minor damages, 16.2cm max. (2) £100-200 Provenance: from a private collection in Surrey.

175. A John or Jane Pennington (Liverpool) blue and white dish, c.1780, the elongated octagonal form printed with the Stag at Bay pattern, two Chinese figures approaching a stag while a further figure watches from a pagoda behind, within a border of tied scrolls and peony motifs, 26cm. £200-300 Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, fig.10.156. Provenance: from a private collection in Surrey.

176. A Philip Christian (Liverpool) blue and white punch bowl, c.1768, the exterior finely fluted beneath a narrow foliate moulded border and a blue painted formal band, the interior with a floral spray within a hatched diaper border, 19.8cm. £200-300

177. A small, James Pennington (Liverpool) blue and white scallop-edged plate, c.1765-70, unusually painted with a central vase of flowers resting on a shelf with suspended foliate swags, the rim with three floral sprays, a few small rim chips, 16.1cm. £120-180

Provenance: from a private collection in Surrey.

Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, fig.4.12 for an identical example. Provenance: from a private collection in Surrey.

178. A rare John Pennington (Liverpool) blue and white mug, c.1779, printed with an elaborate scrolling cartouche, the top corners with birds perched atop, the bottom left corner with a ship mast behind boxes, the right with ducks swimming before a tower, the centre left blank, cracks, 12.6cm. £150-250

179. A Philip Christian (Liverpool) blue and white sauceboat, c.1765-70, painted with peony, rockwork and willow beside a short fence within strap moulding, the interior with stylized floral sprays, 15.5cm. £200-300 Provenance: from a private collection in Surrey.

Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, fig.13.19 for a jug dated 1779 with the same cartouche. Provenance: from a private collection in Surrey.

180. A Liverpool blue and white hot water jug and cover, c.176575, decorated with naive floral sprays beneath a crowsfoot border, a tiny chip to the spout, 15cm. (2) £100-150 Provenance: from a private collection in Surrey.

181. A John and Jane Pennington (Liverpool) blue and white teapot stand, c.1780, and a Seth Pennington beaker, each printed with the Rural Lovers scene, and a coffee cup printed with a similar scene of a courting couple beside a flock of recumbent sheep, 14.8cm max. (3) £200-300 The Rural Lovers print derives from an engraving by François Vivares after a Gainsborough painting, but was adapted with several differences by each factory, as evidenced here. See lot 173 for the rarer version adopted by Philip Christian.

Provenance: from a private collection in Surrey.

182. A small and rare Richard Chaffers (Liverpool) blue and white teapot and cover, c.1756-60, the globular body painted to each side with two figures in a Chinese landscape, with finely turned rim, the cover restored, 14.5cm across. (2) £200-300 Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, p.187 for a discussion of these rare and early bullet-shaped teapots which were made in different sizes. Provenance: from a private collection in Surrey.

183. A Liverpool blue and white pickle dish, c.1758-60, probably William Reid, moulded as a pointed leaf with a smaller overlapping leaf and flower sprig with moth, the edge and small leaf with blue detailing, 12.2cm. £100-200 Cf. Bonhams, The Billie Pain Collection, 26th November 2003, lot 255. Provenance: from a private collection in Surrey.

184. A rare and interesting blue and white Liverpool teabowl and saucer, c.1755-58, probably Samuel Gilbody, painted with a tall flowering peony branch issuing from holey rockwork, 12.6cm. (2) £150-250 Paper label for the Leonard B Knouff Collection. A similar teabowl and saucer was illustrated in Bernard Watney’s Liverpool Porcelain, fig.175 and attributed to Philip Christian, however Gilbody is also known to have used this pattern. Provenance: from a private collection in Surrey.

185. A Bow white-glazed figure of Winter, c.1755, from the Rustic Seasons series, modelled as an old man huddled over a flaming brazier and wearing a hooded coat, some restoration, 12.3cm. £200-300 Provenance: from a private collection in the Cotswolds.

186. A rare Bow candlestick figure of a dancer, c.1760, his right arm raised and head turned to the left, standing on a scrolled base applied with flowers, a circular pierced sconce and drip pan supported on the top of his yellow hat, some damages and restoration, 32.3cm. £150-250

187. A Bow figure emblematic of Air, c.1760, modelled as a maiden holding her billowing cloak aloft and standing before a rocky base, a large eagle perched by her feet, some restoration, 21.2cm. £200-300

188. A Bow figure emblematic of Liberty, c.1755-60, modelled as a man standing and supporting a bird aloft, a sheep recumbent at his feet, raised on a tall scrolled base, damages and restoration, the bird lacking, 24.5cm. £100-200

189. A Chelsea figure of a grape seller, c.1765, seated on a stump applied with flowers, a basket of grapes in his lap, proffering a single bunch with his right hand, raised on a low scrolled base, some restoration to his hands and hat, 14.5cm. ÂŁ300-500 Provenance: from a private collection in Surrey.

190. A Bow figure of Autumn, c.1760-65, modelled as a vintner seated on an upturned basket of grapes, holding a goblet in his left hand, his apron draped over his left leg beneath which rests a bottle, raised on a tall scrolled base in gilt and turquoise, red anchor and dagger mark, his right hand lacking, 17.2cm. ÂŁ100-200

191. A Bow white-glazed model of birds in branches, c.1752-54, two finches perched on gnarled, leafy branches, a dog barking at the base of the tree, some restoration, 15.5cm. ÂŁ200-300 Cf. Peter Bradshaw, Bow Porcelain Figures, pl.67. Provenance: from a private collection in the Cotswolds.

192. A large and rare Bow white-glazed model of a lion, c.1750-52, with head turned and resting his right forepaw on a tree stump, the tip of his tail curled over his right rear leg, his face finely modelled with an anthropomorphic frown, a small chip to one toe, 23cm long. £4,000-6,000 Cf. Peter Bradshaw, Bow Porcelain Figures, pl.55 for a similar example which featured in the Brian Haughton Gallery’s exhibition, Nature’s Triumph; Botanical Themes on Porcelain, item 1.

193. A Derby figure of Winter, c.1765, modelled as a putto wearing an ermine-lined pink robe and warming his hands over a flaming brazier, minor damages, 14.2cm. £200-300

194. A Bow figure of Winter, c.1755-60, modelled as a gentleman huddled over a flaming brazier, wearing a hooded yellow coat and a glum expression, damages and restoration, 12.6cm. £250-350

195. A small and rare Chelsea white-glazed model of a bird, c.1749-51, perched on a tree stump applied with a flower and leaves, its beak slightly agape and wings folded, applied raised anchor mark, broken at the top of the trunk and cleanly restuck, 9cm. ÂŁ1,400-1,800

196. A small Bow white-glazed model of a lioness, c.1752-54, seated on her haunches with head turned to sinister, her left forepaw resting on a tall stump, the tail curled over her back, minor faults, 10cm. ÂŁ1,000-1,500

197. A Meissen white-glazed model of a horse, mid 18th century, wearing a yoke and reins, with ears pricked and head slightly turned, standing on a low oval base applied with flowers and leaves, blue crossed swords mark, some restoration, 20cm across. £250-350

198. An English porcelain model of a Bolognese hound, 19th century, after Meissen, seated and scratching beneath its chin with its right back paw, the fur finely detailed and picked out with splashes of brown, 21.5cm high. £500-700

199. A good pair of Meissen models of cockatoos, 20th century, each perched on a tall stump with heads slightly turned and feathers spread, their plumage highlighted in orange, blue crossed swords marks, 26cm. (2) £600-1,000

200. A pair of Meissen models of golden orioles, modern, the large yellow birds each perched on a tall leafy stump with heads turned, one with beak agape, blue crossed swords marks, some restoration, 26cm. (2) £400-600

201. A pair of Meissen models of sparrow hawks, 19th century, each gripping the top of a gnarled stump with its claws, with heads dramatically turned, blue crossed swords marks, a little good restoration, 14.5cm. (2) ÂŁ1,000-2,000

202. A pair of Meissen models of Greater Spotted Woodpeckers, 19th century, their plumage naturalistically painted in the characteristic black, white and red, each perched on a low stump base with head slightly turned, blue crossed swords marks, incised 2407 and 2408, some restoration, 18.5cm high. (2) ÂŁ600-1,000

203. A Meissen figure group of Harlequin and a lady, c.1900, after Kändler, the maiden seated beneath a tree in which perches a colourful bird, a basket of flowers in her lap, Harlequin behind her with his slapstick tucked into his belt, blue crossed swords mark, incised 732, some losses and restoration to the flowers and leaves, 19cm. £400-600

204. A Meissen figure of Harlequin, 20th century, raising his right hand in greeting, his left holding his yellow hat, typically attired in bright garb and with his slapstick tucked into his belt, blue crossed swords mark, 23cm. £300-500

205. A Meissen figure of Harlequin with a jug, 20th century, his right knee raised in a dance, holding a jug aloft in his left hand, his right clutching his hat, the jug inscribed ‘ZM 1738’ above the crossed swords, blue crossed swords mark, some damages, 23.5cm. £250-350 Kändler’s original, slightly different, model of a Harlequin with a jug was also inscribed ‘ZM 1738’. The initials referring to Zanni Müller, a variation of Giovanni, by which name Harlequins of the Italian Comedy were known. The date refers to the year that model was first introduced at Meissen. 203

204

205

206. Three Meissen Monkey Band figures, 20th century, of a bassoon player, a guitarist and a clarinet player, all dressed in elaborate costumes and raised on low scrolling bases, with a Meissen music stand, blue crossed swords marks, 14.5cm. (4) ÂŁ300-500

207. A pair of Meissen figures of chinoiserie musicians, 20th century, each seated, he beside a drum, she holding cymbals with a tabor beneath her right foot, blue crossed swords marks, 13cm. (2) ÂŁ300-500

208. A combined Meissen part monkey band, 19th century, the nine musicians playing their respective instruments, raised on scrolled bases, blue crossed swords marks, some restoration. Comprising: a French horn player, a guitarist, two drummers, three flautists, a singer and a conductor. (9) ÂŁ1,000-2,000

209. A Meissen figure of a beggar musician, c.1740, modelled by KĂ¤ndler, seated and playing the hurdy-gurdy, wearing a tattered red coat over brown breeches, a bag slung on his back, his mouth open in song, faint blue crossed swords mark, mounted on an ormolu scrollwork base, some restoration, the figure 13.2cm. (2) ÂŁ1,500-2,000

210. A Copenhagen porcelain group of a milkmaid and cow, c.1780, the heifer standing four square with head turned to dexter while the dairymaid crouches at her side, raised on a low base painted to simulate grass, the horns restored, 17.5cm across. £400-600

211. A Meissen figure of a gallant, mid 18th century, seated and teaching a pug dog to beg, his tricorn hat resting on one knee, blue crossed swords mark, 12cm. £800-1,200

212. A Meissen figure of the Merchant’s Wife, 19th century, after the model by Kändler, seated at a small table and writing in a ledger, with a second one open in her lap, a pounce pot in her left hand, a basket of bottles to one side and tied parcels at her feet, blue crossed swords mark, incised 2654, a little restoration, 14.5cm. £400-600 Kändler’s original model was based on the etching L’économe by Jacques-Philippe Le Bas, after the painting of the same name by Jean Siméon Chardin.

213. A pair of Meissen figures of a boy and girl having a snowball fight, early 20th century, modelled by Alfred König, the boy with arm stretched to launch his missle at his companion, who hides her face, blue crossed swords mark, incised AK monogram, a little restoration, 12.6cm. (2) £500-800

214. A pair of Meissen figures of the Racegoer and his companion, 19th century, he dressed in a green suit, holding his spyglass to his right eye, his left holding the top of his cane, his companion holding a letter and with her other hand tucked into a bright feathered muff, blue crossed swords marks, incised D65 and D66, some restoration, 20.5cm. (2) £600-800

215. A pair of Meissen figures of a boatman and his lass from the Cris de Paris series, c.1745, modelled by Kändler and Reinicke, he with a short oar slung over one shoulder and one hand on his hip, his companion holding the corners of her apron and dancing, her apron and his waistcoat decorated with indianische Blumen, blue crossed swords marks, some restoration, 18.2cm. (2) £1,000-1,500

216. A pair of Meissen chinoiserie figures, 20th century, emblematic of Astronomy, he standing beside a celestial globe, she with a long telescope raised to her right eye, blue crossed swords marks, 13.2cm. (2) ÂŁ150-250

217. A small pair of Russian porcelain figures of street vendors, Gardner factory, early 19th century, he with a black bag on his back, a pair of shoes tied around his waist, she carrying a basket of berries, a long plait extending down her back, blue G marks and impressed factory marks, some flaking to the blue enamel, 12cm. (2) ÂŁ800-1,200

218. A Russian porcelain figure of a peasant, Gardner factory, 19th century, kneeling beside a low rocky stump forming a low spill or pen holder, a small sack slung on his back, his coat glazed in a matt blue, raised on a low rectangular base, impressed marks, a little good restoration, 12.5cm. ÂŁ150-250

219. A matched pair of Meissen figures of Arab stallions and their grooms, 19th and 20th centuries, after the models by J J KĂ¤ndler, one of a blackamoor attendant holding the reins of his rearing horse, wearing a long yellow robe and striped sash, the other a Turk also struggling to control his wayward charge, each raised on a low base, blue crossed swords marks, one cancelled, some restoration, 23cm. (2) ÂŁ800-1,200

220. A set of four Meissen candelabra emblematic of the Seasons, 19th century, each modelled with a boy and girl seated beneath a tall scrolling stem, with various attributes of Spring, Summer, Autumn and Winter, the stem supporting four branches around a central sconce, entwined with flower and fruit garlands, blue crossed swords marks, incised 786, some restoration, 43cm. (8) ÂŁ1,500-2,000

221. Two rare Meissen figures from the Four Monarchies series, modelled by J J Kändler, one of Julius Caesar emblematic of Rome, standing beside a horned mythical beast, one hand on his hip, wearing a flowing blue robe with pink lining, the other emblematic of Persia with a winged lion by his side, blue crossed swords marks, some damages and restoration, 21.5cm. (2) £800-1,200 Cf. E. Pauls-Eisenbeiss, German Porcelain of the 18th century Volume I, p.157 for a discussion of this series. The Four Monarchies is a reference from the biblical Book of Daniel to the temporal Four Kingdoms as they appeared in King Nebuchadnezzar's dreams, represented by Babylon, Persia, Greece and Rome.

222. A Meissen figure group of The Betrothal, 19th century, modelled by Acier, the gentleman seated on a marble plinth and looking up to his beloved who pulls petals off a flowerhead, raised on an oval base, blue crossed swords mark, incised E71, some restoration, 23.5cm. £400-600

223. Four Meissen white-glazed figures of infant gardeners, late 18th/early 19th century, one girl with flowers in her apron and a further bundle upon her head, another carrying a basket of vegetables, a boy digging with a small spade, and another holding a floral wreath, blue crossed swords and star marks to three, some small restorations, 12.5cm. (4) £500-800

224. A set of four Meissen miniature busts emblematic of the Seasons, mid 18th century, Spring and Summer modelled as Classical maidens wearing diadems of flowers and corn ears respectively, Autumn and Winter as bearded male terms wearing a grapevine wreath and a fur-lined cloak, raised on chamfered square socles, and two Meissen square stands or pedestals, blue crossed swords marks, the stands incised ‘KHC’ for the Dresden Court Pantry, some restoration, 8.2cm. (6) £600-1,000

225. A miniature pair of Meissen figures of eagles, 19th century, each modelled with wings outstretched and head turned, perched on a low stump, mounted on square gilt metal bases, 10.2cm high overall. (2) £200-300

226. A Niderviller porcelain figure of a female gardener, c.1760, standing before a curved balustrade on which rests a potted plant, her apron full of colourful blooms, raised on a low scrolled base with puce detailing, NB monogram mark to the base, minor damages, 11.5cm. £300-500

227. A Meissen figure of a Levantine lady, mid 18th century, modelled by Peter Reinicke, holding one corner of her hem in her left hand and lifting her veil away from her face with her right, her tunic painted with indianische Blumen and tied with a yellow sash, some restoration, 16cm. £500-800

Cf. Christie’s, Paris, 500 Ans: Arts Décoratif Européen, 4th May 2011, lot 122 for an identical figure with her companion.

228. A small Meissen figure of a soldier, mid 18th century, modelled by Kändler and Reinicke, supporting the end of a long rifle with his right hand, his left reaching for the hilt of his sword, heavily moustachioed and wearing a uniform of red and white, his tall gilt helmet inscribed with the AR monogram of the Elector, blue crossed swords mark, some restoration, 12.3cm. £500-800

229. A Naples porcelain figure of a fruit seller, c.1790, standing with a large basket of fruit balanced on her head and with one hand on her hip, raised on a low pad base, 14.6cm. £600-800

230. A Furstenberg figure of a dancing girl, c.1770, holding a corner of her apron in each hand and twisting it away from her body, wearing a striped skirt and a yellow bonnet with a large black peak, blue F mark, 14.8cm. £500-800

231. A near pair of Meissen figures of a shepherd and his companion, mid 18th century, each reclining on a low stump with legs outstretched, he holding the handle of a jug from which a plant issues, she the handle of a basket of flowers, a dog and sheep recumbent at their feet respectively, blue crossed swords marks, she incised Z099, minor faults, 13.5cm high. (2) ÂŁ1,000-1,500

232. An unusual Continental porcelain bonbonnière, 19th century, modelled as the head of a tiger with teeth bared, his fur striped in black and gold against white, the hinged lid mounted in gilt metal and painted with a spray of polychrome flowers, 6.2cm. £300-500

233. A small Furstenberg portrait plaque of Pittacus, c.1775, the centre oval applied with a finely modelled biscuit profile portrait of the sage, titled in gilt on the glazed border, the top applied with laurel swags, gilt F mark, incised F. Pittacus No. 2, 8cm. £250-350 Pittacus of Mytilene was one of the Seven Sages of Greece, governing his city for ten years and introducing laws in poetry, including, “A crime committed by a person when drunk should receive double the punishment which it would merit if the offender were sober”.

234. A rare pair of Doccia oval double portrait plaques, mid 18th century, each applied with two profile busts of Ancient Greeks, one with the poets Epimenides and Hesiod, the other with the astronomers Archimedes and Aristillus, reserved on a blue ground within a raised beaded border, incised to the reverse, 7.2cm. (2) £1,000-1,500 Cf. The Victoria and Albert Museum, Accession No. C128-1924 for a larger polychrome plaque featuring similar portrait cameos. Cameo portraits of this type are first referenced at Doccia in 1747 with a payment to the sculptor Antonio Francesco Selvi for providing cameo models in wax, and then again in 1749 when Anton Filippo Maria Weber supplied 57 wax cameos for use on snuff boxes, etc. Oval plaques similar to these are mentioned in the inventory of porcelain at Doccia following Carlo Ginori's death in 1757.

235. Four Russian porcelain plates, 19th century, one Popoff Factory painted with polychrome flower sprays reserved on a peach ground, one St Petersburg with a radiating floral design on a black ground, the other two Moscow, one with a moulded dark blue border, the other with a central floral arrangement within a shaped bright blue rim, 22.8cm max. (4) £800-1,200

236. Three rare Doccia plates, c.1765, decorated in the Chinese manner with a central design of Oriental flowers issuing from vases and censers above holey rockwork, the rim with further flower sprays on a blue ground of cloud scrolls, one small chip, 23.3cm. (3) £1,000-1,500

237. A Tournai plate, c.1765-70, probably painted by Henri-Joseph Duvivier in puce with a figure on horseback and another walking beneath tall trees, a village and Classical ruins in the background, within a spiral-moulded rim, gilt crossed swords and star mark, broken and riveted, 22.5cm. £100-200

238. A Russian porcelain ornithological plate, 19th century, painted with a small bird perched on a bunch of grapes with a spray of rosehips behind, reserved on a pale orange ground with grisaille flower scrolls, 22.8cm. £400-600

Cf. Bonhams, 9th December 2009, lot 51 for an identical pair.

239. A pair of Cozzi teabowls and saucers, c.1760-70, painted in underglaze blue and overglaze red with Oriental flower sprays within a hatched diaper border, the interior of the teabowls with an iron red floral sprig, incised numbers to the teabowls, minor faults, 11.3cm. (4) ÂŁ150-250

240. An early Doccia sucrier and cover, c.1750, the quatrefoil form brightly enamelled with sprays of Oriental flowers in the famille verte palette, within a border of half mons and jagged iron red scrolls, a little chipping to the floral finial, 10.5cm. (2) ÂŁ350-500

241. A pair of Meissen teabowls and saucers, c.1740, each applied with three sprigs of flowering prunus, probably hausmaler enamelled a little later in purpurmalerei with small vignettes of courting couples in pastoral settings, gilt line rims, blue crossed swords and dot marks, 12.3cm. (4) ÂŁ600-1,000

242. A Meissen Hausmaler teapot and cover, c.1730, the bullet-shaped body painted in underglaze blue with the Fels und Vogel pattern of birds in flight above flowering branches, embellished with gilding and enamels in the workshop of F J Ferner, with a seated shepherdess and recumbent lamb to one side, the reverse with a parrot perched on a flowering stem, the octagonal faceted spout and wishbone handle gilded, blue crossed swords mark, 16.5cm across. (2) ÂŁ700-1,000 Cf. the Victoria and Albert Museum, Accession No. C.155&A-1928 for a similarly decorated cup and saucer from the Ferner workshop.

243. A German porcelain rectangular snuff box, c.1770, perhaps Furstenberg, the cover painted with a couple beneath a parasol, promenading before garden statuary, the sides and base with further scenes of couples in pastoral settings, the interior of the lid with four figures trapping birds in a tent-shaped net, mounted in silver gilt, 8.3cm across. ÂŁ1,500-1,800

244. A Meissen rectangular tea canister and cover, mid 18th century, one side painted with a courting couple, the gentleman helping the lady to her feet, one narrow side with a girl seated beside an obelisk, the other with a figure in a pierrot costume, the arched shoulders with sprays of heartsease and forget-me-not, blue crossed swords mark, the base and inside cover with gilt B marks, some restoration to the cover, 12.5cm. (2) ÂŁ400-600

245. A Meissen sucrier and cover, c.1780, painted with scenes of a stag hunt reserved within oval gilt cartouches, blue crossed swords and star mark, 10.6cm across. (2) £400-600

246. A German porcelain rectangular snuff box, c.1770, perhaps Furstenberg, the lid with moulded and enamelled decoration of a couple courting beneath satyr term statues on tall plinths, with Cupid and a shepherdess beside, within foliate scrolls in puce and green, the rounded sides and base with simple flower sprays within similar scrolls, fitted with a hinged gilt metal mount, some restoration to the base, 7.5cm. £1,200-1,500

247. A Furstenberg teapot and cover, c.1760-70, one side finely painted with figures on a winding road beside a tumbledown thatched farm building, the reverse with further figures beneath tall trees beside further rural buildings, the moulded spout and handle with gilt detailing, blue F mark, impressed B 20, minor faults, 17cm across. (2) £800-1,200

248. A Höchst cream jug, c.1770, painted to two sides with scenes of figures in interiors after David Teniers, within gilt ribboned cartouches, raised on three short feet, blue wheel mark, incised HI repairer’s mark, 9.5cm. £300-500 Paper label for the Darmstaedter Collection.

249. A Dutch-decorated Meissen hot water jug, c.1720, the later decoration boldly painted in the famille rose palette with two Chinese figures in a boat on a lotus-strewn lake with large peony and bamboo stems above, issuing from a low island with colourful rockwork, 12cm. £500-800

250. A Meissen cylindrical tobacco jar and cover, mid 18th century, finely painted in the manner of J G Klinger with botanical studies, or holzschnittblumen, of tulip and other flowers, the cover surmounted with a flowering stalk handle, faint trace of a blue crossed swords mark, 15.2cm. (2) £900-1,200

Paper collector’s label with the monogram WAE.

251. A Meissen octagonal teapot stand, c.1725, finely painted with merchants trading their goods beneath fringed palm trees, within a quatrefoil cartouche of puce, red and gilt laub-und-Bandelwerk, the underside of the rim painted with small sprigs of indianische Blumen in the Kakiemon palette, blue crossed swords mark, gilt B painter’s mark, 14.6cm. £1,000-1,500

252. A pair of Vienna coffee cups and saucers, c.1780, painted with small sprigs of polychrome flowers reserved within wavy gilt designs on a blue ground, blue shield marks, 13.5cm. (4) £200-300

253. A Meissen moulded plate, c.1740, the well moulded in shallow relief with sprays of flowers and leaves, the shaped rim painted with four panels of figures in pastoral scenes within tied leafy sprays, blue crossed swords mark, 24cm. £600-800

254. A Meissen plate, mid 18th century, moulded in the Gotzkowsky manner with a continuous floral band and four floral panels to the shaped rim, painted with further flower sprays, blue crossed swords mark, 24.8cm. £100-200

255. A Sèvres cabinet plate, c.1780, later decorated with a butterfly alighted on a basket of flowers tied with blue ribbon, reserved within a blue border containing four small panels of birds, the birds titled to the reverse, 23.5cm. £300-500

256. A Meissen Hausmaler two-handled chocolate cup and stand, c.1730, painted in underglaze blue with the Fels und Vogel pattern of a bird in flight above flowering branches, over-decorated, perhaps in Augsburg, with a rich gilt ground, blue crossed swords marks, 12.8cm. (2) £300-500 Provenance: Christie’s, 30th November 1981, lot 176.

258. A Chinese porcelain teabowl and saucer, Qianlong 1736-95, painted in the famille rose palette with peony sprays, the teabowl’s café au lait exterior with gilt European decoration of chinoiserie figures in the Meissen manner, the reverse with a bird on a branch, the teabowl broken and restuck, 13.5cm. (2) £100-200

257. A Meissen yellow ground tea cup and saucer, c.1735, the well of the saucer painted with a scene of traders on the banks of a river, the cup with a shaped panel of three figures in a small boat, with a further three standing on the riverbank behind, reserved on a yellow ground with sprays of indianische Blumen in the Kakiemon palette, blue crossed swords marks, the saucer with a Dreher’s mark of two small stars, 13cm. (2) £600-1,000

259. A Meissen Hausmaler teabowl and saucer, c.1725, decorated in Augsburg with gilt chinoiserie scenes, the saucer with figures seated and standing either side of tall trees above a strapwork design, the teabowl with figures playing instruments or dancing beneath birds in flight, lustre initials to the undersides, some gilt wear, 13.7cm. (2) £500-800

260. A Meissen teabowl and saucer, c.1728, probably decorated by Christian Friedrich Herold with industrious harbour scenes within strapwork borders filled with Böttger lustre, the teabowl’s interior with a spray of indianische Blumen, blue crossed swords mark, gilt 73 to both, 12.6cm. (2) £3,000-5,000

261. A fine Meissen octagonal plate from the Christie-Miller service, c.1740, the well finely painted with a scene of figures standing at the quayside before an Italian palace, a ship being loaded behind, the cavetto with four shaped panels of figures in landscapes in purpurmalerei reserved on a gilt diaper band, the wide rim with similar scenes in polychrome enamels reserved in quatrefoil panels on a wide scrolling foliate gilt and black border, blue crossed swords mark, 24cm. £15,000-20,000 The scenes depicted on this service are derived from etchings by Melchior Küsel after Johann Wilhelm Baur. The figures on this plate bear close relation to those from The View of the Palace at Muran of the Count Widman of Ständig (bottom left), while the statues on top of the quayside buildings are more akin to those in another print of Venetian palaces (bottom right); both prints dating from 1681. Although it is still not known for whom this service was originally made, there has been some suggestion that it was a gift from Augustus III to the French Court, based on the quality of the decoration executed by the factory's leading painters including Christian Friedrich Herold and Georg Heintze, and lent weight by the marriage of the Dauphin to Augustus's daughter in 1747. The service appears to have entered the Christie-Miller family in 1840 when Samuel Christy, an English businessman and politician, is said to have purchased some 72 pieces from a member of the Orleans family. Samuel adopted the name Christie-Miller in 1862 following his inheritance of Britwell Library in Buckinghamshire from his distant relative, William Henry Miller. On Samuel's death in 1889 the service passed to Wakefield Christie-Miller, whose descendants lived for many years at Clarendon Park near Salisbury. The service remained in the family until 1970 when it was sold at Sotheby's in London. Until that time a plate from the same service, which remains in the collection of the Victoria and Albert Museum, accession no. 1976-1855, and was previously in the Bernal Collection, had been the only other documented plate of this type.

View of the Palace at Muran of the Count Widman of Ständig

Palaces on the new front at Venice

262. A Meissen eyebath, late 18th century, painted around the bowl’s exterior with simple flower sprays, further single sprigs to the flared stem, blue crossed swords and star mark, 4.5cm. £700-1,000

263. A 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, a little restoration, 4cm. £200-300 Cf. Erich Köllmann and Margarete Jarchow, Berliner Porzellan, Vol. II, p. 629, fig. 640 for a similar example.

264. A German white-glazed porcelain eyebath, c.1900, the wide boat-shaped bowl raised on a fluted stem flaring down to a circular foot, 4.5cm. £100-200

265. A fine Paris porcelain eyebath, 19th century, decorated with gilt palmettes suspended from the rim of the bowl, the interior richly gilded, 5cm. £1,000-1,500

266. A rare Mennecy eyebath, c.1750-60, delicately painted in polychrome enamels with floral sprays to the bowl and flared stem, puce line rim, 5cm. £1,000-1,500

267. A Sèvres eyebath, c.1770 or earlier, painted with polychrome flower sprays between blue line and gilt dentil rims, 4.2cm. £1,000-1,500

268. A St Cloud eyebath, c.1740, painted in blue with lambrequin borders to the rim and foot, a narrow band to the top of the flared stem, 4.6cm. £1,500-2,000

SÈVRES & OTHER FRENCH PORCELAINS

269. A Sèvres ornithological cup and saucer, c.1767, painted with a single colourful bird perched on the ground before leafy branches, reserved on a bleu celeste ground with gilt dots, interlaced LL mark, painter’s mark for Chappuis, 13.6cm. (2) £300-500

270. A Vincennes bleu lapis coffee cup (gobelet ‘calabre’) and saucer, c.1753, finely decorated with raised and tooled gilt flower sprays within panels formed by further leaf and flower sprigs, reserved on a bleu lapis ground with shaped diaper borders, the underside of the saucer with leaf swags in gilt, interlaced LL mark to the cup, some of the gilding added later, 13.5cm. (2) £4,000-6,000

271. A rare Chantilly bottle cooler (seau a bouteille), c.1735-40, painted in the Kakiemon palette with a squirrel scampering over fruiting grapevine growing amidst a banded hedge, the reverse with peony and chrysanthemum sprays among a bamboo support, the handles formed as small chilong dragons, red hunting horn mark, drilled to the base, 13.5cm high. £2,000-3,000 Paper label for Les Armes du Chevalier, Paris.

272. A pair of Sèvres bottle coolers (seaux a bouteille), date codes for 1766, painted with floral garlands suspended from tied pink ribbons with a blue stripe, beneath an undulating band of oeil de perdrix in gilt and blue, blue interlaced LL and n marks, painter’s mark of a leafy sprig, 12.3cm. (2) £600-1,000

273. A Sèvres coffee can and saucer, date code for 1776, later decorated with scenes of gardening implements within floral gilt cartouches reserved on a pink ground, interlaced LL mark, some chipping to the foot of the can, 14.3cm. (2) £100-200

274. A rare Chantilly cup and saucer, c.1760, decorated with a blue and gilt trellis pattern within gilt dentil rims, blue hunting horn and R marks, 13cm. (2) £200-300

Provenance: from a private collection.

275. A Vincennes or early Sèvres coffee cup, c.1755, painted with a spray of roses and other flowers within an elaborate gilt cartouche on a bleu celeste ground, 7.2cm. £100-200

276. A Sèvres mustard or preserve pot, c.1778, the narrow barrelshaped form painted with flower sprays between simple blue and gilt bands, and a similarly decorated Sèvres-style saucer, some damages, 12.5cm. (2) £100-200 Provenance: from a private collection.

277. A Sèvres cup and saucer, c.1770, painted with flower garlands laced between turquoise ribbon and berried laurel swags on a ground of oeil de perdrix, painter’s mark for J F Micaud, interlaced LL mark and date code, 13.5cm. (2) £600-1,000

278. A small Sèvres coffee can and saucer, date code for 1785, painted with garlands of flowers behind zig-zag bands of gilt leaves within blue bands, the rims with a border of oeil de perdrix, interlaced LL mark, painter’s mark, 12.6cm. (2) £200-300 Provenance: from a private collection.

279. A Sèvres cabinet can and stand, date code for 1786, 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 ii mark, leaf painter’s mark, 14.8cm. (2) £200-300 Provenance: from a private collection.

280. A Sèvres coffee cup and saucer, c.1770, the cup painted with figures by a river winding past a windmill, the saucer with figures fishing beside a weir, within a border of red and gilt dashes, the rim with a band of gilt leaves on a turquoise ground, interlaced LL marks, the decoration possibly later, 13.3cm. (2) £150-250 Provenance: from a private collection.

281. An early Sèvres flared cup (gobelet la Reine) c.1755, painted in puce monochrome with Cupid carrying a basket of hearts amidst clouds, and a later flared beaker painted with simple polychrome flower sprays, interlaced LL marks, some faults, the decoration probably later, 8.8cm. (2) £200-300 Provenance: from a private collection.

282. A Sèvres coffee cup and saucer, the porcelain 18th century, probably laterdecorated with an elaborate floral garland reserved on a dense ground of gilt dots, around a berried laurel band, some peppering, 13.7cm. (2) £150-250 Provenance: from a private collection.

283. A Sèvres teapot and cover, c.1765-75, finely painted by Mme Pierre with an urn and a basket containing fruit and flowers, reserved on a rich blue ground, the spout entwined with floral garlands, interlaced LL mark, painter’s mark and gilder’s mark for Chauveaux ainé, the cover perhaps associated, 18cm. (2) £1,000-1,500

284. A small Sèvres tripod jug, c.1765, painted with a panel containing two exotic birds beneath berried branches, raised on three twig feet, interlaced LL marks, 8cm. £300-500 Old paper collection labels.

285. A Sèvres milk jug, c.1768, the decoration perhaps of a later date, painted with a brightly coloured game bird beneath leafy branches, reserved on a rich yellow ground with berried laurel swags, interlaced LL mark, painter’s mark for Francois Aloncle, 11cm. £300-500 Provenance: from a private collection.

286. An unusual Sèvres sucrier and cover, date code for 1777, decorated to two sides with a harp between gilt laurel swags and beneath a ring of pink roses, the cover surmounted with a fruit finial, interlaced LL mark, and painter’s mark, 8cm dia. (2) £300-400 The unusual decoration may relate to an Irish family, and the sucrier was perhaps part of a commissioned tea or coffee service. However, no record has been found of the other pieces as yet.

287. A small Sèvres teapot and cover, c.1770, painted with small figures in rural landscapes within gilt panels linked by stylized scrolling borders, interlaced LL mark and painter’s mark for Vieillard, restoration to the cover and spout, 14.3cm. (2) £300-400 Provenance: from a private collection.

288. An extremely rare and interesting Vincennes flared cup (gobelet la Reine) and saucer, c.1751, with unusual gilt decoration of Turkish figures, to the cup one on horseback following a dog and another on foot with a long spear, to the saucer two having a swordfight while a dog looks on, reserved on a bleu lapis ground with gilt veining, interlaced LL marks, the cup cracked, 15cm. (2) ÂŁ1,500-2,000 The figural decoration shown here appears to be otherwise unrecorded on Vincennes of this date, with similar bleu lapis wares being more typically decorated with birds or flowers. Provenance: from a private collection.

END OF SALE 95

The Nick Rocke Collection of British Art Pottery Wednesday 25th February 2015

A selection of Ruskin high-fired pottery included in the sale.

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

Paintings Wednesday 11th March 2015

This sale includes several private collections of watercolours and a large collection of etchings by Herbert Dicksee.

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk Jo Butler Tel: +44 (0)1722 424592 jobutler@woolleyandwallis.co.uk

Archibald Thorburn (1860-1935) Studies of a mouse (detail) Signed with initials and dated Sept. 14. 1912 Watercolour and bodycolour over pencil 27 x 35cm Provenance: With a letter from Constance Thorburn to Sylvia Peacock thanking her for her letter of sympathy on the artist's death. Estimate: ÂŁ3,000 - ÂŁ4,000

Furniture & Works of Art Wednesday 25th March 2015

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

A 17th century stumpwork embroidery, in a later carved frame. Estimate: ÂŁ1,500 - ÂŁ2,000

English & European Ceramics & Glass Tuesday 21st April 2015 Closing date for entries, Friday 6th March

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

A political firing glass, c.1763, engraved ‘Wilkes & Liberty No. 45’ relating to issue 45 of John Wilke’s publication The North Briton in which his attack on King George III’s speech endorsing the Paris Peace Treaty led to his arrest for libel. Estimate: £1,500 - £2,000

Jewellery Thursday 30th April 2015 Entries are now being accepted for this sale

A 1950s diamond necklace. Estimate: ÂŁ20,000 â&#x20AC;&#x201C; 30,000

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

Asian Art Wednesday 20th & Thursday 21st May 2015 Entries are now being accepted for this sale

ENQUIRIES John Axford Tel: +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk

A collection of Chinese kingfisher feather hair ornaments, Qing dynasty, decorated with insects, flowers, bats, shou characters and other designs, 17.7cm max. Provenance: a private collection, London. Estimate: ÂŁ1,500-2,500

Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

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LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. 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 COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

ST WE

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WOOLLEY & WALLIS

LN SALT

WINCH ESTER ST

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Salisbury Salerooms e

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A36 Ch

WILTON & WARMINSTER

Sarum Business Park

Westover Garage

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ND WY

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Old Sarum Park

A36(T) CH URC HIL L

WILTO NR DA

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A3 60

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

A36 C HUR CH ILL WA YN OR TH D

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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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( 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 Porcelain & Pottery

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 24th February 2015 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 2015 TRIBAL ART & ANTIQUITIES 10th February Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 11th February 17th July Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 24th February– Fine Porcelain & Pottery 21st April – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 25th February – The Nick Rocke Collection of British Art Pottery 15th April – Clarice Cliff, Art Deco & 20th Century Design 17th June – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 11th March 3rd June – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk ARMS & ARMOUR 25th March Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 25th March 1st July Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 29th April – Fine Silver & Objects of Vertu 15th July Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 30th April 16th July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 20th & 21st May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk