Woolley & Wallis

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

English & European Ceramics & Glass Tuesday 23rd May 2017

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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

ARMS & ARMOUR, MEDALS & COINS AND MILITARIA Ned Cowell Gemma Bush

341469 341469

ASIAN ART John Axford MRICS ASFAV Alex Aguilar Doméracki Freya Yuan Marta Olszewska

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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MARKETING Tamzin Corbett

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ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Hollie Grubb

424500

SALEROOM MANAGER David Jordan

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

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler

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

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 Will Hobbs Gemma Bush

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FRICS FRSA

COMPANY SECRETARY Natalie Milsted FCCA ASSOCIATE DIRECTORS Janice Clift Clare Durham Jonathan Edwards FGAA Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 23rd May 2017 at 10.30am VIEWING TIMES Saturday 20th May Monday 22nd May Tuesday 23rd May

10.00am – 1.00pm 10.00am – 5.00pm 9.00am – 10.30am

ENQUIRIES

Clare Durham 01722 424507 cd@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 Thursday 25th May. If you are collecting items on or after this date please contact the department to arrange in advance.

All accounts to be settled prior to collection.

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% (inc. VAT) TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 22nd May. LIVE BIDDING ILLUSTRATIONS Front cover: Lot 241 Back cover: Lot 387 part

www.the-saleroom.com Please register by 5pm on Monday 22nd May.

Catalogue £12.00 (£15.00 by post)

Please note there is a 3% +VAT surcharge

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1.

Five glass decanters, late 18th/19th century, one with a tall diamond cut neck, two of mallet shape and with three neck rings, one cut with deep ovals, the last a small moulded decanter, a toddy lifter, a cut glass scent bottle and stopper, and a Richardson’s Patent half gill measure, some faults, stoppers lacking, 22cm max. (8) £150-200

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Eleven jelly glasses, 18th century, of varying form, with spiral, ribbed and honeycomb moulding, one pan-topped, two of hexagonal form, two cut with vertical flutes, all raised on low circular feet, 13cm max. (11) £150-250 Provenance: the Watney Collection.

Provenance: the Watney Collection.

3.

Nine glass patty pans, late 18th century, of varying size, of flared sided form with a folded rim, and ten pressed glass dishes, including a small plate to commemorate Queen Victoria’s Golden Jubilee, a boat-shaped bowl, a pair of plates and five small plates with panelled foliate designs, 14cm max. (19) £100-150

4.

Three glass bowls, 18th century and later, one raised on a low circular foot, with everted rim, one cut with two interlocking bands, another of deep U-shape and cut with polished ovals and rectangular panels, a glass cooler cut with a band of vertical flutes, and a tumbler cut with ovals and raised on a starcut foot, 16.5cm max. (5) £100-200

Provenance: the Watney Collection.

Provenance: the Watney Collection.

5.

A Masonic firing glass, dated 1859, the flared form engraved ‘Presented to the Lodge of Industry No. 219 by Br. J Cotterell W M 1859’, a trick wine glass with thick walled bowl, and two plain glass rummers, 13cm max. (4) £100-200

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Three glass tazzae or syllabub stands, mid 18th century, the flat circular tops with a slight galleried rim, each raised on a moulded baluster stem above a folded conical foot, a chip to one rim, 24cm dia max. (3) £300-400

Provenance: the Watney Collection.

Provenance: the Watney Collection.

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Three glass candlesticks, 19th century, two with hollow baluster stems cut with stylized swags above circular feet, the last facet cut and raised on a heavy square base, 18cm max. (3) £80-120 Provenance: the Watney Collection.

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Five decanters and stoppers, 19th century and later, a pair possibly Irish and moulded with a large honeycomb design to the malletshaped bodies, one a double decanter of plain form, another cut with simple oval bands, the last of faceted form with three neck rings, 39cm max. (10) £150-250 Provenance: the Watney Collection.

9.

A glass mug, 18th century, of bell shape, with gadroon moulding around the base, raised on a circular foot, the rim moulded with narrow concentric bands, a grooved strap handle, and a glass jug applied with two triple bands, the jug cracked, 15cm. (2) £150-250 Provenance: the Watney Collection.

10. A glass serving bottle or decanter, c.1740, the squat body moulded with eight sides, rising to a straight neck with triple applied string rim, a deep kick-in base, 24.2cm. £150-250 Provenance: the Watney Collection.

11. Two glass serving bottles or decanters, c.1740, one of octagonal moulded form, the other cruciform, both with long tapering necks applied with string rims, the smaller decanter with a rim chip, 27cm max. (2) £200-300 Provenance: the Watney Collection.

12.

A half-size octagonal moulded serving bottle or decanter, c.1740, the long tapering neck applied with a string rim, 21.2cm. £200-300

Provenance: the Watney Collection.

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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13. Two wine glasses, mid 18th century, with bell bowls raised on plain stems above conical folded feet, and an ale glass or flute, raised on a short plain stem, 17cm max. (3) £150-200

14. A light baluster glass, c.1740, with bell bowl raised on a knopped baluster stem with a long tear above a folded conical foot, 15,7cm. £100-200 Provenance: the Watney Collection.

Provenance: the Watney Collection.

16. Two wine glasses, 2nd half 18th century, one with a small bell bowl, the other with a drawn trumpet bowl with honeycomb moulding, both raised on incised twist stems, 17cm max. (2) £150-250

15. Two large wine glasses, mid 18th century, with bell bowls, the smaller raised on a plain stem, the larger with a single air tear, each on a folded conical foot, 18cm max. (2) £100-200 Provenance: the Watney Collection.

17. A wine glass mid 18th century, with bell-shaped bowl raised on a baluster airtwist stem, the base of the bowl with a small row of tears, raised on a conical folded foot, 16.7cm. £150-250

18. Two wine glasses, c.1760-70, one with a rounded funnel bowl, the other with an ogee bowl, both raised on double series opaque twist stems above conical feet, 14.2cm max. (2) £150-250

20. A glass tumbler or beaker, 18th century, of squat waisted form with a slight kick-in base, 7.5cm. £100-200

21. A pair of German marriage beakers, 19th century, the flared bowls on heavy cut bases, gilded with rural scenes and inscribed to ‘Elizabeth Schinko’ and ‘Johann Schinko’ respectively, the first with a scene of women beneath a tree and before a large house, the latter with horses pulling a large haycart, 14cm. (2) £300-500

Provenance: the Watney Collection.

19. A pair of cut glass goblets, late 19th century, attributed to Baccarat, the rounded bowls cut with a band of polished ovals on a dense hobnail ground, the rims with a carved gilt band of foliage, raised on star cut square bases, 16cm. (2) £200-300

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Provenance: from a private collection in Sussex.

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22. A wine glass of Jacobite significance, c.1760, the drawn trumpet bowl engraved with a six-petalled rose and an oak leaf, inscribed ‘Fiat’, raised on an airtwist stem, 16.2cm. £600-800

23. A Bohemian glass tankard by Franz Paul Zach, c.1860, deeply engraved with a carousing figure holding a tankard aloft and clutching a jug to his chest, wearing a long feather in his hat, above the foot applied with a row of prunts, signed ‘Z’ in the engraving, the pewter cover with a child’s mask between scrolling mythical beasts, 21.7cm. £300-500

24. A wine glass of Jacobite significance, c.1760, the rounded funnel bowl engraved with a six-petalled rose, raised on a dense airtwist stem, a little chipping to the foot, 16cm. £150-250

25. A large Bohemian glass goblet and cover, 19th century, the tall form cut with a panel of deer at repose in a woodland, raised on a faceted knopped stem, the cover with an elaborate domed knop, 52.5cm. (2) £400-600 25

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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27 26. A part suite of glass, 19th century, including a heavy faceted decanter and stopper, starcut to the base, and seven drawn trumpet wine glasses with short knopped stems, all of a rich blue-green hue, 25.5cm max. (9) £150-250 27. A large Italian glass presentation goblet, 19th/20th century, the large drum form of a rich blue tone and decorated in tooled gilding with the Ides of March to one side, and Cornelia presenting her sons (The Gracchi) to the reverse, separated by panels of four putti holding lengths of cloth, 24.3cm high. £150-250 28. A rare diminutive ‘Transitional’ shaft and globe to onion wine bottle, c.1680-90, the small squat body of a green tone with string rim and kick-in base, a chip to the string, surface degradation, 14cm. £300-400

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29 29. A hexagonal opaque glass vase, 19th century, of a rich ivory colour, each panel finely carved with flowers and foliage, 14.5cm. £100-200 30. A Bohemian glass double-overlay bottle vase, 19th century, overlaid in pink and white, cut with a trefoil device and gilded with continuous foliate scrolls, and a greenflashed vase deeply cut with a geometric design, 25cm max. (2) £120-180 31. An English wine bottle, c.1720, of mallet shape with string rim and kick-in base, the surface commensurate with having been interred or underwater for a considerable period of time, 20cm. £250-350 30

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32. A rare part suite of glass probably associated to the Russian Royal Yacht, c.1880, comprising a bottle carafe and ten beakers enamelled with the monogrammed initials of Tsar Alexander II and Tsarina Marie Alexandrovna within laurel wreaths, with chainlink borders, the bottle with festoons of anchors linked by a chain swag, 18cm max. (11) £1,000-2,000 The Russian Royal Yacht, Livadia, was built in 1879-80 to replace a yacht of the same name which had sunk off the coast of Crimea in 1878. The yacht was abandoned following the murder of Alexander II in 1881.

33. A fine Bohemian glass vase by Franz Paul Zach, Munich mid 19th century, the tall cylindrical form overlaid in blue and finely cut with Hochschnitt decoration of deer or antelope cavorting amidst leaf and flower scrolls, raised on a shaped circular foot, signed F. ZACH, 30cm. £1,500-2,000

33 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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34. Twenty one various small glasses, 18th and 19th centuries, including eight jelly glasses, six custard or syllabub glasses, six small wines and a patch stand, some faults, 12cm max. (21) £100-200

35. A pair of decanters and stoppers, c.1800, the square forms moulded with a wide diamond panel above vertical bands, and an unusual moulded flask of flattened circular shape, with panels of diamond moulding beneath a band of leaves, 24.7cm max. (5) £150-250

36. A small glass vase of Wrockwardine/Nailsea type, early 19th century, the tapering form of a deep green colour with swirls and splashes of white, and a pair of Liege openwork glass basket stands or dishes, 22cm max. (3) £50-80

37. Twelve moulded glasses, most 18th century, for ale, jelly and wine, most with drawn trumpet bowls with spiral moulding, ribs or honeycomb designs, on conical and folded feet, 12.4cm max. (12) £150-250

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39 38. Four cut glass scent bottles and stoppers, late 19th/early 20th century, one of uranium glass and a bright greenish-yellow hue, one a deep amber colour, the other two clear glass, variously cut with elaborate designs, 14.6cm max. (8) £100-200 39. Nineteen various wine and ale glasses, 18th and 19th centuries, including a drawn trumpet wine glass on a plain stem and folded foot, another bell bowl on an airtwist stem, the ales variously moulded or cut, some faults, 18.5cm max. (19) £150-200 40. A Continental glass bottle and three tall beakers, the beakers of tall slender form with bands of trailed decoration, the bottle of a pale green tone, the squat globular body applied with vertical bands, a single ring to the tall neck, 29.2cm max. (4) £100-200

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41. A large coin rummer, c.1837, the flared bucket bowl engraved ‘W. Slote’ above the letters KHW, within sprays of rose, thistle and shamrock, the reverse with hops and barley, raised on a low hollow stem enclosing a fourpenny coin dated 1837, 22cm. £200-300

42. A pair of glass claret jugs and stoppers, 19th century, the ovoid bodies engraved with hunting scenes of hounds in pursuit of a hare and grouse, the feet, necks and stoppers trailed with narrow bands of cranberry glass, 31cm. (4) £500-700

43. A glass serving bottle or decanter, c.1740, of slight cruciform shape, the squat body rising to a tapered neck with string rim, a chip to the string, 21.2cm. £100-200

44. A Thomas Webb & Son Ivory Cameo glass vase, c.1880, the dimpled four-sided body rising to a hexagonal flared neck, engraved with anthemion designs and formal borders, 13cm. £150-200

45. A sulphide plaque of George IV, 19th century, modelled in profile portrait, looking to the left, depicted as a Roman emperor, 6cm. £100-150

46. A cut glass cup and cover for the Turkish market, 19th century, the generous form cut with an allover hobnail design, the domed cover mounted with a gilt metal fruit finial, 14.5cm high. (2) £300-500

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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47. A tall glass mug, dated 1788, the base moulded with a row of gadroons above a scalloped foot, the waisted body engraved with the initials HCR above the date 1788, with folded rim and moulded strap handle, 15.5cm. £200-300

48. A Lynn beaker, c.1765, the flared form moulded with concentric horizontal bands, 11cm. £200-300

49. A large cut glass footed bowl or comport, early 19th century, probably Irish, of navette shape, cut with diamond panels between stylized foliate motifs, raised on a thick plain stem above a lemon squeezer foot, a few small rim chips, 34cm across. £100-200 47

48 50. A large glass rummer, dated 1830, of campana shape, the flared bowl moulded with spiral gadroons above a low knopped stem, cut with polished lappets and engraved with the monogram ‘JB’ to one side, the reverse ‘1830’, 16.3cm. £150-250

51. Four glass toddy lifters, 19th century, with bulbous bodies rising to long slender necks with ring collars at various heights, a small hole to either end, 18cm max. (4) £100-150

52. A set of six Webb glass rummers, 20th century, the generous rounded bowls cut with polished petals, raised on low faceted stems above circular feet, etched marks, 14cm. (6) £80-120 49

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53. An amethyst glass decanter, 18th century, of bottle form with a long tapering neck issuing from a squat globular body, applied with six bands, with diamond point engraving of fruiting vine, peacocks and flowers, 18.2cm. ÂŁ800-1,200 Provenance: from a private collection in Sussex.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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54. A French paperweight, 19th century, set with a posy of millefiori flowers amidst dark green leaves atop thin amber stems, a narrow latticino and red border visible to the sides, some faults, 7.5cm. £300-500

55. A Continental trinket or bonbon stand, 19th century, formed as three opaque coloured glass eggs in a nest of gilt metal rope on a tripod stand, and a similar opaline glass dish of egg form, with a gilt metal and turquoise bead mount, 19.5cm max. (2) £200-300

56. A Thomas Webb & Sons (Stourbridge) cameo glass scent bottle or miniature vase, late 19th century, the globular body finely cut in white with a spray of nasturtium on a red ground, a single butterfly in flight to the reverse, 5.8cm high. £250-300

57. A Continental glass and enamel scent flask, 19th/early 20th century, the flattened form decorated with gilded flowers over coloured foil panels, painted with a panel of flowers reserved on a blue ground, with a small glass stopper beneath the gilt metal mounted cover, 7.8cm. £100-200

58. Four enamel wine labels, probably late 19th century Samson, three with polychrome flowers and inscribed in black for ‘Whiskey’ and ‘Rum’, the last with simple blue scrolls, inscribed for ‘Lisbon’, and two enamel gaming or pin trays, painted with playing cards and flowers within pierced rims, some damages, 10.5cm max. (6) £100-150

59. A Continental enamel snuff box, late18th/early 19th century, the rectangular form painted with flowers including rose and convolvulus, reserved on a white ground, gilt metal mounts, 6.3cm across. £150-250

60. Five Staffordshire enamel patch boxes, late 18th century, one inscribed ‘To the most Amiable’, one ‘Trifles shew Respect’, one ‘I Belong to You’, and one ‘May the King live to reward the subject who would die for him’, with varying coloured bases, one painted with a profile portrait of a woman wearing an elaborate hat, and the lid of a honeysuckle decorated enamel box set into a silver-coloured metal box, some damages, 4.5cm max. (6) £150-250

61. A Staffordshire enamel bonbonnière, c.1780, modelled as a goldfinch, the base inscribed ‘Love me and happy be’, and an enamel egg, decorated in manganese on white with a vermicelli type ground, some restoration, 4cm max. (2) £100-200

62. Three enamel gaming trays, c.1770, painted with playing cards and flowers within pierced rims, an oval enamel snuff box painted with flowers, and a French faïence sauceboat painted with rose sprays, minor faults, 19cm max. (5) £150-250

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63. A Continental enamel cylindrical jar with hinged cover, 18th or 19th century, the cylindrical body painted with flowers reserved on a rich blue ground, between pink scale bands, with an elaborate gilt metal mount, and an oval enamel snuff box painted with a courting couple and other figures, some restoration, 12.5cm max. (2) £250-350

64. An unusual ormolu-mounted enamel bowl for the Islamic market, 19th century, the triple ogee form painted with simple sprays of pink rose and forget-me-not amidst gilt sprigs and scale panels on a yellow ground, raised on a scrolling gilt metal foot, 27cm dia. £100-200

65. A Battersea enamel oval plaque, c.1761, printed in manganese with a profile portrait of King George III looking to the left, mounted in an ebonised wood frame, the plaque 8.5cm. £300-400

66. A Continental porcelain bonbonnière, late 18th century, modelled as the head of a short-snouted dog, the silver-mounted cover painted with a turkey, cock and hen to the exterior, the interior with a figure on horseback and another beside, the base gilded inside, 6.3cm high. £300-500

This print is copied from Jeremiah Meyer’s portrait of the King, which was copied in turn by several engravers. There are subtle differences with a Birmingham snuff box bearing the same portrait, and to that printed on Worcester porcelain and by Sadler at Liverpool.

67. A Mennecy snuff box lid, mid 18th century, modelled as a huntsman, reclining on a grassy base with his dog at his feet, his gun laid beside him, the mount and base lacking, 7cm. £300-500

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

68. A Meissen-style walking cane handle, 19th century, modelled with the face of a pug dog, the shaft painted with quatrefoil panels of figures in harbour settings, and a Meissen-style paperweight of long rectangular form, surmounted with a recumbent pug, faint blue crossed swords mark, minor damages, 19.2cm max. (2) £200-300

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69. A French faïence albarello, late 18th century, Paris or Rouen, the cylindrical form inscribed in manganese with ‘Ung. de Styrace’ between two green and yellow snakes entwined around bare branches, some restoration, 18cm. £180-220 Unguent de Styrace is recorded as being used as a form of poultice to help clean infected wounds.

70. A Montelupo maiolica albarello, c.1520, of waisted cylindrical form, boldly decorated with a design of Persian palmettes in blue with ochre and green highlights, the shoulder with a jagged interlocking band of blue ribbon, damages and restoration, 22cm. £800-1,200 Provenance: the W A Beare Collection.

71. A Venetian maiolica albarello, c.1520, the slender waisted form painted with small flowerheads amidst large leaf scrolls on a blue ground, some restoration to the rim, 19.5cm. £250-350 72. A North Italian maiolica berettino albarello, mid 18th century, the dumbell form inscribed in blue ‘REQUIES NICOL’ within wide leaf bands, some chips, 20cm. £200-300 Requies Nicolai (translating to Nicholas’s Repose) was an opiate devised by Nicholas Myrepsos, a Byzantine physician from the late 13th century.

73. A Venetian maiolica albarello, c.1560-80, the squat cylindrical form decorated with a wide band of yellow flowerheads picked out in blue and ochre, with green leaf scrolls reserved on a blue ground between concentric bands of colour and scrolling leaves, 15cm. £1,000-1,500 Provenance: the W A Beare Collection. Believed sold at Sotheby’s, 5th February 1974, lot 28.

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74. A Montelupo maiolica jug, 15th/16th century, the squat form painted in black and manganese with a swan or other long-necked bird, within stylized leaf scrolls, with a pinched spout and wide strap handle, some restoration, 15.5cm. £500-800

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75. A small Deruta maiolica albarello or pill jar, dated 1557, inscribed ‘ALOE’ in a cartouche above a small duck swimming, within a polychrome laurel leaf border, dated 1557 above the inscription, broken and restuck, 14cm. £300-500 76. A Deruta maiolica small albarello or pill jar, c.1700, the waisted body with a blank cartouche between bold floral swags in blue and manganese, bearing an armorial shield of a lion rampant within a scrolled border surmounted by a crown, some restoration to the foot and rim, 13cm. £220-300 77. A pair of Italian maiolica small albarelli or pill jars, mid 18th century, the waisted forms inscribed ‘PILL EUFORBIO’ and ‘ TROC ALCHECHE’, within blue foliate scrolls picked out in yellow and ochre, on a pale blue ground in the berettino manner, some chipping, 13.5cm. (2) £250-350

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Euphorbia is a herb used for treatment of asthma and bronchitis. The other jar contained cherry lozenges used, as today, for the treatment of sore throats.

78. A Sicilian maiolica albarello, mid 18th century, the squat, slightly waisted form painted with large sunflower heads reserved on a blue ground, a rim crack, 20.3cm. £200-300 79. An Italian maiolica small albarello or pill jar, painted with an ochre panel bearing a caduceus, flanked by two putti, the reverse inscribed ‘1719’ in blue, some chipping to the rim, 11cm. £100-200 80. Two faïence pilgrim flasks, 18th/19th century, French or Spanish, one of flattened circular form and painted with concentric circles in ochre, blue and manganese, the other with a spout to the rounded side, painted with a running stag, the flattened reverse with a large bird, small damages, 21.3cm max. (2) £100-200

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81. A pair of Faenza maiolica albarelli, mid 16th century, the large baluster forms painted with portraits of bearded men on a yellow ground, one inscribed ‘Vargel’ the other ‘Fabio’, each above a cartouche inscribed ‘Sy. De onphafu’ and ‘Dia. Fribuf’ respectively, reserved on elaborate foliate panel grounds, some restoration, 32cm. (2) £6,000-8,000 Cf. Victoria and Albert Museum, Accession No. CIRC.482-1924 for an example with similar decoration. Also, Rudolf Drey, Apothecary Jars, p.51, pl.19A and pl.19B for similar examples of albarello form.

82. An Italian maiolica syrup or wet drug jar, dated 1676, possibly Deruta, the ovoid body inscribed ‘Sy. di Lupoli’ on a rectangular banner above mythical beasts and stylized leaf scrolls in yellow, ochre, green and manganese on a blue ground, the spout moulded with a mask and encircled with a clay twist, dated 1676 beneath the double strap handle, a little good restoration, 29cm. £1,500-2,000 The label appears to refer to Syrup of Hops, which has a soporific and a sedative effect used to treat bouts of delirium and sleeplessness.

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83. A Savona maiolica syrup or wet drug jar, c.1700, the ovoid body with a straight spout and wide strap handle, inscribed in elaborate manganese script with ‘Del ros Sempl’, within blue gadrooned borders, a little chipping, 18.5cm high. £300-400 A simple preparation of rose water has anti-inflammatory properties and continues to be used today for a variety of skin conditions.

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84. An Italian maiolica berettino syrup or wet drug jar, mid 17th century, Rome or Venice, the globular body painted in blue with a blank cartouche within scrolling floral and foliate borders, with a short straight spout and strap handle, a long body crack, 20cm. £250-350 Paper label for John W A Preston-Jackson, MPS Chemist, St Mary Cray (Kent). Mr Preston-Jackson was elected to the Society of Chemist Opticians in 1906, and was in occasional correspondence with The Chemist and Druggist magazine until his death in 1948.

86. A Montelupo maiolica small armorial albarello or pill jar, early 16th century, the ovoid form applied with two wide strap handles, inscribed in blue with ‘Pill Cotie’ on a scroll cartouche beneath the coat of arms for Luigi di Antonio Aldobrandini of Florence, amidst scrolling leaves in blue and ochre, the base of each handle inscribed ‘Bo’, cracked, 13cm high. £1,000-1,500

85. An Italian maiolica albarello, mid 16th century, attributed to Pesaro, inscribed in blue with ‘Confet o cingul orum’ on a wide panel beneath a portrait medallion inscribed ‘RB’, on an ochre ground with white and blue scrollwork, some restoration to the rim and neck, 26.5cm. £4,000-6,000 Provenance: The Luigi Koelliker Collection, Sotheby’s, 3rd December 2008, lot 1.

Cf. Rudolf Drey, Apothecary Jars, pp.56-57, pl.22A for another jar from this well known series. Previously attributed to Faenza or Castel Durante, these jars inscribed RB (probably for a pharmacy) are now believed to have been made at Pesaro.

87. An Italian maiolica syrup or wet drug jar, c.1700, the ovoid body with straight spout and wide strap handle, painted in elaborate manganese script with ‘Oxy Colchic’, between blue gadrooned borders, good restoration to the end of the spout, 20cm high. £300-400 Colchicine (deriving from the crocus bulb) is still used today as a treatment for gout.

Provenance: the W A Beare Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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88. A Portuguese faïence albarello, late 17th century, of tall waisted form, painted in blue with a diagonal cartouche inscribed ‘S. ACETOS’, within a simple scroll design, some damages, 24cm. £400-600 In this instance the term ‘Acetos’ probably refers to Rumex Acetosa (Common Wood Sorrel) which has a variety of culinary and medicinal uses.

89. A French faïence albarello, late 18th century, Paris or Rouen, the large cylindrical form painted in green, yellow and black with two snakes entwining around narrow branches, flanking the inscription ‘Nitraec Potassae’, restored, 26.7cm. £350-450 Compound of potassium continues to have a variety of uses, not all medicinal, but helps to combat high blood pressure.

90. An Italian maiolica berettino albarello, dated 1592, of dumbell form, painted in blue with a scrolled cartouche inscribed ‘diapenidion’, within scrolling leaf tendrils on a pale blue ground, beneath the banner with the initials CG either side of a lion rampant above a single green leaf, restored to the base, 21.5cm. £400-600 Penidium was made by melting sugar over a low heat and drawing it out into strands. Now more commonly known as Barley Sugar, it was used as a form of cough sweet.

Cf. Victoria and Albert Museum, Accession No. 5402-1859, for a very similar example dated 1593 and notes attributing such jars to Rome.

91. A Savona maiolica albarello, 1st half 18th century, of dumbell form, inscribed in blue with ‘ Car do Santo’ between stylized floral borders, a short rim crack, 18.5cm. £250-350 The inscription probably refers to Carduus Sanctus or Blessed Thistle, used as a digestive stimulant or purifying tonic.

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92. A Sicilian maiolica apothecary bottle, c.1700, the globular body painted with a large flowerhead amidst scrolling leaves, picked out in green, yellow and white on a blue ground, the straight neck rising to a swollen rim, a little restoration to the rim, 22cm. £300-400

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93. A Deruta maiolica lustre vase, c.1530, the rounded body applied with two strap handles to the shoulder, painted with a wide panel of leaves and seedheads in gold and blue lustre, within narrow striped panels, the lower part of the body with a band of spiral gadroons, the circular foot with an ovolu border, some good restoration, 22.8cm. £800-1,200

94. A Deruta maiolica gold-lustre comport or footed bowl, early 16th century, the bowl straight-sided and painted to the interior in blue and gold lustre with St Francis of Assisi receiving the stigmata, kneeling before a cross and flanked by conical trees, the walls with an ovolu band, some restoration, 26.5cm dia. £800-1,200 Cf. Victoria and Albert Museum, Accession No. 508-1865 for a similar bowl with ovolu bands.

95. An Urbino maiolica istoriato dish, mid 16th century, painted with the musical contest between Apollo and Marsyas, the former to the left with a lyre, the latter in the centre with an aulos, the crowned figure between them possibly King Midas, to the right Marsyas receiving his comeuppance being tied to a tree by the furious god, titled ‘Apolle & Marsias’ in blue script to the underside, restored, 25.4cm. £3,500-4,500

96. An Italian maiolica small albarello or pill jar, late 16th century, probably Tuscan, the waisted form painted in blue with a band of geometric stylized leaves within concentric bands in blue and yellow, some glaze chipping, 12.5cm. £400-600

97. A Montelupo maiolica dish, c.1500, painted in a limited palette of blue, green, yellow and ochre with a chequered medallion to the well within concentric narrow bands, the rim with a wide jagged blue ribbon border within narrow foliate scrolls, broken and cleanly repaired, 36.5cm. £1,300-2,000

98. A large pair of Cantagalli maiolica vases, late 19th/early 20th century, of dumbell albarello form, painted in grey and ochre with putti, dolphins and other mythical creatures amidst scrolling foliage, reserved on a blue ground and highlighted with a rich lustre, the elaborate handles formed as scrolling snakes issuing from fantastical masks, mounted in metal bases, painted cockerel marks, 38.5cm. (2) £80-120

Provenance: Sir Henry D’Avigdor-Goldsmid, Bt. DSO, MC, TD, of Somerhill, Kent. By descent to Lady D’Avigdor-Goldsmid and Mr and Mrs James Teacher. Sold at Sotheby’s, 24th June 1981, lot 472, then at Christie’s, 22nd April 2008, lot 6.

Provenance: the W A Beare Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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99. A good Castelli maiolica circular plaque, c.1730, painted with a lady at her dressing table, two attendants behind her brushing her hair, another kneeling at her feet and holding up a mirror, within a yellow line border, 18.7cm. £1,400-1,800

100. A good oval Castelli maiolica plaque, 1st half 18th century, painted with figures on a riverbank before a sprawling building with several towers, flanked by two trees, yellow line rim, collector’s inscription to the reverse, 31.5cm. £800-1,200

101. A small Castelli maiolica plate, c.1730, painted in the workshop of Antonio Grue with a young woman standing beside a square pillar and resting her basket atop it, one hand on her hip as she converses with another lady seated on a grassy tussock, within a border of putti and face masks among flowers on a pale yellow ground, 17cm. £400-600

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102. A large Hispano-Moresque charger, 19th century, decorated in copper lustre and blue enamel with stylized foliate motifs, with a moulded border, the well with an armorial shield, and an Italian maiolica dish, brightly painted with Saint George on horseback, slaying the dragon, a small broken section to the former, 40cm max. (2) £200-300 103. A Hispano-Moresque charger, 19th/early 20th century, decorated in copper lustre with alternating panels of stylized flowers and a jagged design with moulded studs, separated by ropetwist bands in copper and blue lustre, 40.4cm. £80-120 104. A large French pearlware charger, 19th century, with an embossed roundel to the well, the whole decorated in the Imari palette with flowers and formal scrolls, the rim with panels of birds and kylins, impressed L & Cie mark, some wear, 41.5cm. £100-200

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105. A massive Cantagalli vase, late 19th/early 20th century, painted in the medieval manner with Adam and Eve either side of the Tree of Life, amidst scrolling foliage, the bottom half and reverse with animals and birds, marked ‘Italia’ to the base, 52cm. £800-1,200 106. Four faïence tile fragments, 16th century and later, one Chinese and moulded with a scaly dragon, decorated in a turquoise glaze, one Damascus and painted in Iznik colours with stylized flowers, one German and painted with scrolling acanthus leaves, the last of curved form and painted in the Islamic manner with lotus chevrons in shades of blue, 29cm max. (4) £150-200 107. A Damascus pottery framed tile panel fragment, c.16th century, decorated in the Iznik manner with stylized tulips in blue and turquoise, with stylized formal motifs in blue and manganese, held in a later wood frame, 41cm overall. £250-300 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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108. A Turkish pottery (Kutahya) decorative charger, 20th century, brightly painted with three turbaned equestrian figures amidst further standing figures and shaped trees, signed in black to the underside, a short rim crack, 30.7cm. £100-200

109. A large Iznik-style pottery twohandled vase, 19th/early 20th century, probably Kutahya, boldly decorated in a typical palette of blue, green and pillar box red with large flower sprays, the neck with formal foliate motifs, a restored section to the foot, 36cm. £200-300

110. An Islamic (Qajar) pottery beehive cover, late 19th/early 20th century, the circular form painted with two confronting stylized peacocks within a blue dash border, 21cm dia. £100-150

111. A large Continental pottery plaque, 19th century, painted in the Dutch manner with an interior scene of three figures and a cat, a young barefoot girl leaning on an old lady who appeals to a standing bearded gentleman, 31cm high. £100-200

112. Four Delft tiles, early 18th century, painted in blue with a central panel containing a rural figure fishing, with a falcon, or blowing a hunting horn, reserved on a powdered manganese ground with geometric stripes, some chipping, 13cm. (4) £80-120

113. Two Delft tiles from a panel, 18th century, probably depicting Charity, painted in manganese with a lady holding an infant in her right arm, two further children standing beside her, some restoration to the edges, 26cm overall. (2) £100-150

part

114. Three Liverpool delftware tiles, c.1760-70, printed in black by John Sadler, the first with a street scene of child actors begging and performing for street vendors and two ladies looking out of a window, one with a gentleman doffing his hat to two ladies, after a scene from the Ladies Amusement, the last with a couple beside a see-saw, the last broken and restuck, 12.8cm. (3) £200-300 Cf. Anthony Ray, English Delftware Tiles, nos.

647, 720 and 643.

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115. Eleven various English and Continental tin-glazed tiles, mostly 18th century, variously decorated in blue and manganese with baskets and vases of flowers, landscape scenes, and figures at various pursuits, two in wooden frames, a framed two tile panel of a bird and squirrel on fruiting grapevine, and a framed three tile panel of a gardener, a cooper and a hunter, some damages, 42.2cm max. (13) £200-300

116. Three Liverpool delftware tiles, c.1760-70, printed in black by John Sadler, one with a shepherd surprising a sleeping shepherdess, one with a gentleman helping a lady to fasten her ice-skate, with a partial signature, the last of a peasant offering a birdcage to a lady and child seated beneath a tree, the last broken and restuck, 13cm. (3) £100-200 The tile with the ice-skater derives from Lancret’s Winter. Cf. Anthony Ray, English Delftware Tiles, nos. 625, 635 and 732.

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117. A Delft wall plaque, mid 18th century, the shaped form with a raised moulded edge, the centre painted in the Oriental manner with long-tailed birds perched in flowering branches above a banded hedge, the rim with panels of flowers, auspicious objects and coin diaper, surmounted by a lion mask with suspension hole, 23.3cm high. £800-1,200

119. A Delft model of a fireplace, 19th century, forming a storage jar and cover, modelled as a recessed hearth enclosing logs on a pair of fire dogs, a pair of clogs being warmed before, painted in blue with a quartered armorial shield, a similar shield above the mantelpiece, the tall cover topped by a fleur de lys and lifting to reveal a small rectangular well inside, minor faults, 37cm.

(2) £150-200

118. A Delft four tile panel, early 17th century, possibly English, each tile painted in polychrome enamels with a single animal in a circular panel, including a stag, a rabbit, a dog and a monkey, reserved on a blue ground with white flowerhead corners, contained in a later wooden frame, some chipping, 35cm overall. £500-800

120. A Delft vase and associated cover, early 18th century, the ovoid form painted in blue with birds in flight above branches of peony, prunus and bamboo, the domed cover with a figure seated before rockwork, restored, 26cm. (2) £300-400

121. A delftware wall pocket, mid 18th century, probably Lambeth, of stepped conical form, painted with confronting birds in flight above a figure pointing across beneath them, damages, 20.2cm. £100-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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122. A delftware hors d’oeuvres dish, mid 18th century, from a larger set, the shaped form painted in blue with a single peony spray, damages, 12.2cm. £50-80

123. A delftware coffee cup, late 18th century, of unusually large size, the rim with a continuous band of a hatched design echoing the cross and saltire of the Union Jack, 6.7cm high. £100-200

124. A delftware pickle or sweetmeat dish, 18th century, possibly English, the triangular form painted in blue with a longtailed bird perched on leafy stems issuing from holey rockwork, the rim with formal foliate scrolls, 18.7cm. £100-200

125. A large Delft posset pot, early 18th century, the generous cylindrical body painted in blue with Chinese figures at various pursuits in garden settings, the rim with a continuous band of flowers and scrollwork, the cover lacking, some faults, 31.5cm across. £100-150

126. A Delft strawberry dish, 2nd half 18th century, the hexagonal lobed form painted in blue with panels of stylized peony and foliate scrolls, the reticulated well with a six-pointed star, raised on three feet, mark for De Porceleyne Klaeuw (Porcelain Claw) factory, a surface chip to the well, 23cm dia. £80-120

127. A faïence square tray, perhaps early 18th century Nevers, painted with three Chinese boys, one on a balcony, holding a flying insect on the end of a string, another below holding a parasol before an ornamental fence, the rim applied with a ropetwist band and two twist handles, raised on five pad feet, blue N mark, some restoration, 28.5cm across. £200-300

128. A large Delft dish, 18th century, painted in blue with a figure seated in the doorway of a low brick building, a church visible in the distance, the panelled diaper rim enclosing the date ‘1726’ and the name ‘Marie Anne Joseph Fresie’, some cracks, a filled rim chip, 31.7cm. £100-200

129. An octagonal delftware plate, c.1770, Liverpool or Dublin, painted in blue with La Pêche, a lady fishing, regarded by a figure beneath an archway, within stylized narrow panelled borders, a chip to the rim, 22.7cm. £200-300

130. A Delft plate, c.1700, painted with a Chinese gentleman and a young maiden in an interior beneath a large lamp, the rim with five floral panels on a hatched diaper ground, cipher mark to the underside, 22.4cm. £300-500

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

The design on this plate directly copies a Chinese Kangxi design which depicts a chapter from The Romance of the Western Chamber.

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131. A Frankfurt faïence vase, early 18th century, painted in blue in the Chinese manner with three figures beside a large elephant, the reverse with three further figures, the flared foot with a stylized leaf garland, blue circle mark to the base, the cover lacking, 27.5cm. £300-400

132. A Delft drug jar, 18th century, titled in blue with ‘C: Absinth:R:’ within an oval cartouche beneath a basket of flowers and two birds, above an angel mask and fruit swags, some chipping, 17cm. £200-300

133. A London delftware bowl, c.1705, brightly enamelled to the interior in shades of blue, green, yellow and red, with a bird perched on flowering branches within stylized borders, the exterior with a simple star and circle band, a section broken out and restored, 22.5cm dia. £300-500

134. An unusual Delft stepped plinth or stand, mid 18th century, the front painted in blue with a figure in a sampan above a rocky pagoda landscape, the sides with flower sprays, blue P mark for De Porseleine Schotel (The Porcelain Dish), some chipping, 16.3cm across. £500-800

Cf. The Metropolitan Museum, New York, Accession number 53.25a-c for a large bowl and cover with similar decoration, dated 1705.

135. A Bristol delftware ‘Farmhouse’ plate, c.1720-30, painted with a bold cockerel in yellow, blue and red, standing between sponged manganese trees, with a flock of birds in flight above, 22.8cm. £300-500 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

136. A rare English delftware King of Prussia plate, c.1757-60, painted in blue with a portrait of Frederick II of Prussia between the initials KP, extensively damaged and repaired, 22cm. £300-400 Cf. Leslie B Grigsby, The Longridge Collection, Vol. II, D56 for a similar King of Prussia plate.

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137. Three large delftware plates or chargers, 18th century, all painted in blue, one with a servant holding a parasol over a promenading couple beneath sponged trees, one with a Chinese figure beneath two long-tailed birds perched on a branch, the last with a low hut behind rockwork and flowering Oriental branches, some damages, 34.5cm max. (3) £250-350

138. Two large delftware plates, c.1760, one probably Bristol, painted in blue with differing designs of bamboo, peony and chrysanthemum, some glaze chipping, 31.3cm max. (2) £80-120

139. A Delft three vase garniture, 18th century, the lobed forms painted in blue with panels of Oriental flowers reserved on a diaper ground, one vase with a domed cover, two covers lacking, some faults, 34.5cm max. (4) £150-250

140. A pair of Lambeth delftware plates, mid 18th century, painted in polychrome enamels with parrots perched on rockwork, the rims with sprays of pinecone and flowers, 23cm. (2) £200-300

141. An English delftware lobed dish or cracknell, c.1690, probably Brislington, the convex well painted with a small building within a jagged foliate border, moulded with two bands of gadroons, the scalloped rim with further foliate motifs and a tassel design, small faults, 33cm. £100-200

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Provenance: the Iris Jones Collection.

142. A large French faïence plate or charger, 2nd half 18th century, painted in a limited palette of blue, green, yellow and manganese with two parrots around a flowering tree, the rim with three flower sprays, cracked and riveted, 31.7cm. £100-200

143. A Frankfurt faïence dish, early 18th century, painted in blue in the Kraak manner with two Chinese figures to the well, beneath a tall palm tree in an Oriental landscape, the rim with similar landscape panels alternating with narrow foliate bands, broken and repaired, 32.5cm. £100-200

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144. A London delftware food warmer base, c.1760-80, the cylindrical form with a shaped opening beneath a moulded mask, a further mask to the reverse, the sides with scrolled handles, painted with stylized foliate motifs, blue numeral 4 mark to the base, a faint rim crack, 18cm. £250-350

145. A Delft lobed dish, late 17th century, the octagonal well painted in yellow and manganese with two dancing Chinese figures, the shaped rim with alternating panels of further seated figures and stylized flower sprays, blue line rim, some rim chipping, 34cm. £300-500

146. A Delft octagonal vase, early 18th century, the faceted baluster form painted in blue with panels of figures in Chinese landscapes alternating with panels of stylized foliage, the foot with a stiff leaf band, the cover lacking, some rim chips, 21cm. £100-150

147. A Delft vase and cover, early 18th century, the baluster form painted with a bird perched on a flowering peony branch, within a narrow floral cartouche, and a larger Delft vase of flattened octagonal form, painted with a figure fishing before buildings, some restoration, the second vase lacking its cover, 26cm max. (3) £150-250

148. A large German faïence fluted dish, 1st half 18th century, possibly Hanau, painted with a bird perched on a low branch amidst other flowering stems, some damages and restoration, 36cm. £100-200

149. A pair of Delft vases, 2nd half 18th century, of flattened octagonal form, moulded with scrolled panels containing peony and willow, marks for The Claw (De Klauw) factory, the covers lacking, 27cm. (2) £100-150

150. Three large English delftware dishes or chargers, c.1720-30, variously decorated in polychrome enamels with stylized flower sprays, a small basket vignette and a landscape panel, damages and restoration, 36cm max. (3) £300-500

151. Two Delft dishes, c.1690 and later, one of lobed form and painted with a seated Chinaman in a garden setting, with similar panels to the rim, the other painted with a large vase of flowers and feathers, with panels containing urns of fruit to the rim, restoration to both, 39.5cm max. (2) £100-200

152. Three Delft plates, 18th century, the largest polychrome and painted with a peony spray beneath weeping willow, the smaller two in blue with floral arrangements, some faults and restoration, 31.7cm max. (3) £100-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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153. A Milan faïence plate, c.1760-80, painted with a large bird perched on the trunk of a flowering tree, another in flight beside, all beside a large vase of flowers, some glaze chipping to the rim, 23.2cm. £100-150

154. Four delftware plates, 18th century, the largest painted in blue with two swans before buildings, one with a Chinese figure standing before a fence, one in polychrome enamels with a hut behind tall rockwork, the smallest of Ann Gomm type with a hexagonal motif within stylized flowers, some damages, 27cm max. (4) £100-200

156. A French faïence large bowl and a barber’s bowl, 2nd half 18th century, the bowl probably Nevers and painted with a single figure in a boat beside a tent on an island, the barber’s bowl of oval form and decorated with simple flower sprays, some damages, 31cm max. (2) £150-200

155. A large Spanish faïence dish, late 18th century, painted in a limited palette with windswept trees, the rim with a stylized scroll border, and a Talavera triangular salt or condiment stand, the dish restored, 33.4cm max. (2) £150-200

157. Two large faïence dishes or chargers, 19th century, one painted in blue with a central flower spray within concentric bands of stylized flowerheads, the other painted with a wide continuous band of flowering branches in blue, green, yellow and red, the smaller with a filled chip to the centre, 41.3cm max. (2) £80-120 Provenance: the Iris Jones Collection.

158. A French faïence tureen and cover with associated stand, c.1770-80, of shaped form, painted with bold sprays of pink rose and other flowers, 34cm. (3) £200-300

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159. A Nove faïence monteith, 19th century, the moulded form with elaborate shaped rim, painted in polychrome enamels with bold sprays of Spring flowers, brown crowned Nove and BV mark, 21.7cm across. £100-150

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160. A German faïence tankard, late 18th century, the cylindrical form painted with a horse jumping a fence between manganese stylized trees, the rim and foot with a bright yellow band, with a hinged pewter lid engraved with the initials WKH, 21cm. £200-300

161. Four items of French faïence, 2nd half 18th century, including a Toulouse cylindrical teapot painted with a strutting bird to one side and a fishing Chinaman to the reverse, a twohandled sauceboat painted with flowers, a shaped Paul Hannong plate painted with a large peony spray, and a deep saucer with stylized flower sprays, some damages, the teapot’s cover lacking, 24.8cm max. (4) £150-200

162. A French faïence sugar caster, late 18th century, probably Rouen, the moulded form painted with sprays of blue flowers, applied with polychrome rose sprays, with a screw fit cover pierced with an arrangement of flowerhead holes, some chipping, 20.5cm. (2) £80-120

163. A Savona faïence plate and a sugar bowl, c.1770-80, each painted with panels of figures, birds in flight and buildings in landscapes, reserved within ochre borders on a manganese ground, some restoration, 23.5cm max. (2) £150-200

164. A Moustiers faïence ecuelle and cover, c.1760, of shallow rounded form with long shaped handles, painted in a muted palette with simple flower sprays, the cover surmounted with a shallow concave knop, the cover broken and restored, 27cm across. (2) £100-200

165. Two French faïence teapots, c.176070, one Niderviller or Strasbourg, the pear-shaped body boldly painted with flower sprays, the spout formed as a mythical beast with puce scroll highlights, the other probably Bayreuth with a narrow straight spout and heavy handle with scroll terminal, simply painted with flowers, the covers lacking, 19cm max. (2) £250-300

166. A French faïence jardinière, 19th century, in the Veuve Perrin manner, the shallow shaped form painted to one side with a girl leaning against a grassy knoll, the reverse with a boy fishing by a river, within polychrome flower sprays, the handles formed as apples, gilt VP mark, 45cm across. £150-250 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

167. A Savona faïence two-handled vase, early 18th century, painted in blue with an empty cartouche and raised on a circular foot, a Savona square salt painted with stylized flowers and raised on paw feet, and a trembleuse saucer with a blue swirl design, some damages, 13.5cm max. (3) £100-200

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168. A large tin-glazed sweetmeat stand, 2nd half 18th century, possibly Ludwigsburg, formed of three tiers of two shells beneath a central scalloped platform, supported on a gnarled branch issuing nuts and leaves, raised on a fluted quatrefoil base, a little glaze chipping, 26.5cm. £500-800

169. A Höchst faïence figure of a gentleman, c.1760, possibly from the Commedia dell’Arte, wearing a long green coat and a striped yellow sash over a blue waistcoat and puce breeches, a loose black cap on his head, standing with one foot forward on a low grassy base, 15cm. £400-600

170. A rare pair of Delft figures, early 18th century, of a seated lady and gentleman, she wearing a wide pink gown with lace ruff sleeves and an embroidered panel to the front, he resting one foot on a low stump and extending his right hand, each raised on a low circular base with a black design on green, minor damages, 12.3cm high. (2) £2,500-3,500

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171. A Ralph Wood figure of a shepherdess, c.1790, standing with her left hand raised to her chest, her right held to receive her staff, a recumbent sheep gazing up at her, raised on a low moulded base, picked out in green, blue and manganese, her staff lacking, a small chip to her hat, 22.5cm. £200-300

172. A pair of Staffordshire pearlware figures of the Cobbler and his wife, c.1820, both seated, she with a jug and cup, he working on a shoe while his toes peep through his own, each on a square black base, minor faults, 16cm. (2) £100-200

173. A Staffordshire pearlware group of the Vicar and Moses, c.1820, after Wood, the drunken pair holding onto each other and variously clutching a bottle, a goblet and a large lantern, raised on a rectangular yellow base with chamfered corners, a few small chips, 24cm. £100-150

174. A Staffordshire pearlware model of a pointer dog, early 19th century, standing on a grassy base applied with flowers and leaves, his tail erect and head slightly turned, some restoration, 14.7cm across. £100-200

175. A Staffordshire figural spill vase, 19th century, modelled as a deer standing before flowering bocage, its head turned to sinister, a hollow between the ears to receive the spills, one leg broken and restuck, restoration to one ear, 17.7cm. £100-200

176. A small Staffordshire figure of a cat, c.1830, seated on its haunches with head turned to the left, its coat picked out with splashes of black, yellow line to the oval base, the ears chipped, some wear, 8cm. £100-150

Old paper label for Drury & Drury, SW1.

177. A pair of Gallé-style faïence models of cats, late 19th century, each seated on its haunches, painted with sprays of red and blue flowers on a rich yellow glaze, set with glass eyes, black FF monogram to one, some damages to the ears, 21cm. (2) £200-300

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

178. A pair of Scottish pottery models of dogs, 19th century, Bo’ness Pottery (Borrowstounness) each modelled as a St Bernard, standing with heads turned and wearing gilded collars, set with glass eyes, one eye lacking, 32.5cm long. (2) £100-200

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179. Two creamware Toby jugs, c.1790, of Ralph Wood type, one decorated in a muted palette with a dove grey coat over primrose yellow breeches, the other with sponged blue patches to his coat and hat, each resting an empty jug on one knee, some restoration, 25.5cm max. (2) £300-500

180. Three Ralph Wood type Toby jugs, c.1790, one of Mould 51 type and raising a glass to his lips, wearing a bright green coat, the other two with foaming jugs of ale, one perhaps intended to be a Collier type with a dark face and hands, damage and repairs, 25cm max. (3) £300-500

181. Two Delft Toby jugs, 19th century, one of Squire type with a long pipe and seated on a shaped base, the other a Sailor and seated on a sea chest, red marks after Adriaenus Koeks, and a pearlware Sailor Toby jug wearing a blue coat over a red waistcoat and holding a patterned jug of ale, some faults, 30.5cm max. (3) £150-200

182. Two Toby jugs, c.1800, one of Ordinary type, wearing a lilac coat over yellow breeches and a green waistcoat, his long-stemmed pipe laying up his arm, the other decorated in Pratt colours with sponged blue coat and ochre hat, each holding a jug of ale, some damages and restoration, 25cm max. (2) £200-300

183. Five Toby jugs, 19th/early 20th century, three of traditional form with jugs of ale, one of a Gin Woman holding a glass and bottle, the last forming a jar with a bonnet cover, of a woman with one hand in her apron pocket, some faults, 29.5cm max. (6) £150-200

184. An Ordinary Toby jug, 19th century, typically modelled with a foaming jug of ale, decorated in Portobello colours with striped stockings beneath green breeches and a blue coat, his jug painted with a floral motif, the base and handle sponged in green and red, some repairs to the hat, 25.3cm. £100-200

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185. A creamware Toby jug of Wood type, c.1785-90, wearing a pale washed green coat over ochre breeches, the foam of his ale spilling down one side of the jug he holds, 25cm. £200-300 186. A small Pratt ware Toby jug, c.1800, wearing a blue coat over yellow breeches, a spotted jug of ale on one knee, raised on a tall sponged base, a small chip to his hat, 19cm. £300-400 187. A creamware Wood type ‘Long Face’ Toby jug, c.1780-90, seated and resting a foaming jug of ale on his left knee, glazed in shades of brown and manganese, his shoes tied with ribbons, restoration to his hat, 27cm. £400-600 188. Two pearlware Toby jugs, c.1790, each seated with a jug of ale on one knee and an upright barrel between their feet, wearing blue sponged coats over yellow waistcoats and black breeches, some restoration, 25cm max. (2) £250-350

189. A massive Devonmoor advertising Toby jug, c.1930, of usual form, seated and holding a tankard and a pipe, wearing a green coat over a claret waistcoat, with ruddy nose and cheeks, 60cm. £250-350

190. A massive Devonmoor advertising Toby jug, c.1930, of usual form, seated and holding a tankard and a pipe, wearing a blue coat over a yellow waistcoat and breeches, a rim crack to the back of the hat, 60cm. £250-350

Only a handful of these out-sized jugs are believed to have been made at Devonmoor, probably during the factory’s second period of manufacture after 1922.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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191. A large earthenware rectangular box and cover, 19th century, modelled as a house with applied leafy branches either side of the front door, decorated in Whieldon type colours of washed green and manganese, a chip to one corner of the roof, 20cm high. (2) £250-350

192. Two Staffordshire pearlware pastille burners, 19th century, modelled as square cottages with thatched roofs, and a pottery moneybox modelled as a town house, some damages, 13cm max. (4) £150-250

193. A Pratt ware comical stirrup cup, c.1800, the conical form modelled with a double face to two sides, frowning when the cup is empty and inverted, smiling when full, decorated in a typical palette of green, blue and ochre, 16cm. £250-350

194. An unusual pearlware teapot and cover, late 18th century, the fluted form painted in the manner of New Hall porcelain with naive rose-centred sprays, the rims with a pink diaper band, some repairs to the spout and cover, 20cm. (2) £100-200

195. A rare Lambeth stoneware eye ointment pedestal pot, 19th century, the low circular form impressed and painted in blue with ‘S Green 2 Union Place Lambeth’, raised on a low foot, and an earthenware example inscribed ‘Singleton’s Eye Ointment’, a little chipping to the latter, 5.2cm max. (2) £80-120

196. A salt-glazed stoneware mustard pot and cover, c.1760, the cylindrical form decorated in the Scratch Blue manner with a band of stylized oak leaves, 7cm. (2) £150-250

197. Two salt-glazed stoneware teapots, mid 18th century, one of quatrefoil pearshape moulded with shells and branches of oak, raised on three feet, the other of square form, decorated with a geometric design, the spout modelled as a serpent, and a Spode creamware plate painted in pattern 1640 with a band of leaves, some damages, one teapot lacking its cover, 19cm max. (4) £200-300

198. An English pearlware jug of ‘Torksey’ type, early 19th century, painted in the manner of William Billingsley with landscape decoration including a ruined castle by water, the rim with a continuous berried garland between gilt bands, star crack to the base, 16cm high. £100-200

199. A creamware teapot and cover, c.1770, the globular body inscribed ‘Bohea Tea’ to one side, the other with ‘When this you see, remember mee, Tho many miles We distant be’, and a salt-glazed stoneware teapot modelled as a three storey building, one side bearing the Royal coat of arms, with gilt detailing, some damages, the cover lacking to one, 19.5cm. (3) £150-250

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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200. A creamware coffee pot and cover and a tea canister, late 18th century, painted with bold rose sprays, the tea canister with a later metal cover, a creamware sucrier and cover with polychrome flower sprays, a Liverpool creamware bowl printed to the interior with a ship, the exterior with an eight line stanza and peasants dancing, and a creamware moulded sauceboat, some damages and restoration, 24.5cm max. (8) £150-250

201. Two Pratt ware jugs, c.1800, one painted with farming implements, the other with a Peafowl amidst sponged foliage, a small Herculaneum dry-bodied stoneware jug applied with a putto on the back of an eagle, a stoneware mug applied with Classical figures, and a salt-glazed stoneware sauceboat, moulded with scrolls over a hatched diaper ground, some damages and repairs, 17cm max. (5) £150-250

202. Five pottery teapots and covers, 18th/early 19th century, one of Jackfield type, with sprigged floral decoration, raised on three feet, a brown-glazed teapot with sprigged grapevine and a matched redware cover, a small red-glazed teapot and cover with cream sprigging in the Astbury manner, a blue monochrome stoneware teapot, and a miniature Pratt ware teapot with an associated cover, some damages, 15cm max. (10) £150-250

203. Five Jackfield jugs, 18th century, one with a cover and raised on three paw feet, the rest raised on circular bases, and a creamware jug and cover with a double strap handle and floral finial, some damages, 14.5cm max. (8) £200-300

204. Five creamware plates, late 18th/19th century, one oval Spode dish with a convolvulus leaf border, one Wedgwood and printed in blue with a botanical flower spray, one printed in black with a threemasted ship at sail, flying the American flag, one octagonal and painted with naive blue flowers, the last with a feathered rim and painted with a continuous ochre flower border, some faults, 27.5cm max. (5) £150-250

205. Four pearlware jugs with lustre decoration, early 19th century, two decorated in silver lustre with white floral designs, one pineapple moulded and decorated in dots of red and silver lustre, the last yellowglazed with a silver band, a pearlware quart mug with seaweed frond decoration, a small mug inscribed ‘Martha Pickels’, and a large Delft dish painted in blue with a parrot perched on a branch, some damages and restoration, 30.5cm max. (7) £100-200

206. A Pratt ware punch bowl, c.1800, the exterior inscribed ‘Come drink about My jovial Brother, When this Bowl’s out We’ll have another’, within a leaf cartouche joined by a continuous floral garland, the interior with willow above a low building, 26.2cm dia. £200-300

207. Two Pratt ware jugs, late 18th/early 19th century, one of lobed form and applied with flowerhead roundels and vertical sage leaves, picked out in green, ochre and blue, the other moulded with large leaves and with a mask spout, some restoration, 18.5cm max. (2) £150-250

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208. A large creamware mug, c.1795, the cylindrical form printed in black with a scene of two ropemakers pulling on a rope behind a shield bearing the Ropemaker’s Arms above a banner inscribed ‘Behold our Support’, two ships at sail visible behind, a rim crack, 15.2cm. £250-350 Paper labels for the Fleischer Collection, and for Jonathan Horne.

Cf. National Maritime Museum, Greenwich, No. AAA468 for a jug with the same print mirrored.

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210. A good pearlware jug, c.1800, printed

by Thomas Fletcher & Co. of Shelton in dark brown monochrome, one side with a young couple in a blacksmith’s forge, titled ‘Gretna Green or the Red Hot Marriage’, the reverse with a family seated on a settle, titled ‘Conjugal Felicity’, signed in the print ‘Thos.

Fletcher & Co Shelton’, below the spout printed with putti at play, 21.7cm. £150-250

209. A pearlware wall pocket, c.1790, emblematic of Winter, the cornucopia form moulded with a putto holding a brazier of flaming coals, a quiver of arrows by his side, the details picked out in blue, 24.5cm. £100-200 Cf. Victoria and Albert Museum, Accession No. 414:1166/A-1885 for an example from the Schreiber Collection.

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211. A Wedgwood creamware charger, c.1820, boldly painted in the Meissen style with colourful songbirds perched on a low branch, surrounded by scattered insects, impressed mark, 36.2cm. £100-200

212. A large Pratt ware jug, early 19th century, boldly decorated in a typical palette with a continuous stylized foliate band, a similar narrower band to the neck, 21cm high. £150-250

214. A Liverpool-printed creamware plate of shipping interest, c.1790, printed in black

by Sadler and Green with a two-masted ship at sale, with coloured enamel highlights, titled ‘Active’ beneath, the rim with size flower sprays, restored, 20.8cm. £100-150

215. A Staffordshire coffee pot and cover, c.1760, the pear-shaped body applied with flowering branches, and washed in a Whieldon type palette of green, brown and black, some restoration, 23cm. (2) £100-150

Provenance: the Godden Reference Collection.

Cf. David Drakard, Printed English Pottery, p.42 for details of Thomas Fletcher.

213. A Jackfield jug and cover, 2nd half 18th century, raised on three paw feet, coldpainted with a bird in flight beside flowers, the reverse with holey rockwork, 18.5cm. (2) £80-120

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While such ship prints are relatively common, it is unusual for the ship’s name to be added to the print.

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216. Two Llanelly pottery plates, early 20th century, boldly painted with a standing cockerel beside flowers within a sponged blue border, 25cm. (2) £300-500

217. A pair of creamware plates, c.1770, the shaped rims moulded with panels of hatched diaper between leaf scrolls, decorated in the Whieldon manner with a manganese wash, 23.7cm. (2) £150-200

Although this pattern is usually associated to Sarah Roberts (known as Auntie Sal) it is likely that it was also painted by other hands.

218. Three Wedgwood creamware plates, c.1790, each printed in black with a figure driving cattle across a bridge towards a church in the distance, within a leaf scroll border, the rim with oak leaf garlands, impressed marks, 24.7cm. (3) £200-300

219. A creamware quintal flower vase, c.1780, moulded with five apertures of overlapping leaves, painted to each side with flowers in purple monochrome, a cup and saucer painted with the monochrome portrait of a lady, and a Dutch-decorated creamware plate and saucer painted in polychrome enamels with Christ on the cross, some damages, 25.3cm max. (5) £100-200

220. A creamware basket and stand, 19th century, of oval form, the slatted basket linked with a brown band and garlanded with turquoise around the rim, and a creamware bowl with a wide pierced border of hearts and leaves, minor faults, 26cm max. (3) £100-200

221. Six Dawson & Co. pearlware nursery plates, c.1830, printed with ladies having their fortune told, or with a young Queen Victoria playing to Prince Albert, the rims moulded with grapevine or small motifs and hand coloured, impressed and printed marks, 17.7cm max. (6) £150-250

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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222. Six Delftfield (Glasgow) pearlware plates, c.1800, painted with a tall Chinese figure holding a parasol and standing before a twostoreyed pagoda, the feathered rims with six moulded leaves, incised D marks, 24.3cm. £150-250 Shards matching this pattern have been unearthed at the Delftfield site.

224. A Frankfurt faïence pewter-mounted jug or ewer, early 18th century, moulded with horizontal bands, painted in blue with Chinese figures in a landscape setting, and a Rörstrand pearlware punch bowl, early 19th century, printed in blue to the exterior and interior rim with a continuous scene of livestock before thatched cottages, the interior well with a large bunch of grapes, impressed mark, 34.6cm max. (2) £150-200

226. A Staffordshire redware teapot and cover, c.1780, the cylindrical body turned with a continuous geometric design, glazed to the interior and exterior, some faults, 17cm. (2) £150-250

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223. A Leeds creamware part service, early 19th century, painted with the monogrammed initials ‘CLA’ flanked by leaf fronds, the rims with a continuous vine border, impressed marks, some damages. Comprising: a massive circular dish, three oval dishes, two vegetable tureens, two oval bowls, a tureen cover, a sauceboat and a shell dish. (11) £150-250

225. Six pearlware plates, late 18th century, painted in blue with tall pagodas flanked by trees and an ornamental fence, four of the plates moulded with six leaves to the rim, some damages, 29.3cm. (6) £100-150 This design was used by several manufacturers including Indeo Pottery at Bovey Tracey.

227. Six redware and Yixing stoneware teapots and covers, 18th century and later, English, Chinese and Dutch, one engine turned and with a matched glazed cover, one cylindrical and sprigged with a bird holding a branch in its beak, the other four miniature, one enamelled with peony and one incised with Chinese calligraphy, with an ovoid tea canister, some faults, 18cm max. (13) £200-300

228. A Staffordshire redware teapot and cover of Elers type, 2nd half 18th century, the cylindrical body turned with a design of horizontal bands and vertical flutes, echoed to the cover and handle, impressed square seal mark, a little nibbling, 17.5cm. (2) £100-200

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229. Six Naples (Del Vecchio) pottery plates, c.1800-20, decorated in black relief on a terracotta ground with Classical figures in the Byzantine taste, within Greek key, palmette and other formal foliate borders, impressed ‘del Vecchio’ over ‘N’ marks, some damages, 24.2cm max. (6) £300-500 230. A large slipware jug, probably 18th century, the large ovoid body decorated in cream slip with a central tulip roundel beneath a protruding spout, the sides with large swirls, some flaking to the glaze, 30.5cm. £100-200 231. A large brown stoneware jug, the generous ovoid body rising to a straight neck and pinched spout with incised horizontal lines, a wide strap handle, 41cm. £200-300 232. A large North Devon pottery jug, 19th century, the upper half decorated in a treacle glaze with a chain band and small sprigs in cream slip, some damage to the neck, 34cm. £100-200

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233. An unusual brown stoneware jar and cover, 19th century, of pentagonal form, modelled as a castle tower with five turrets to the rim and a central turret to the cover, the rim pierced with further small holes, damages, 23cm. (2) £100-200 234. Three Westerwald stoneware jugs, 18th century, one with applied and incised decoration of vertical stripes in blue and manganese, one with an incised fleur de lys and a pewter cover, the smallest with an applied eagle amidst flowering branches, one cover lacking, 26.5cm max. (3) £150-250

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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235. A Westerwald mug, c.1690, the small globular body applied with an octagonal medallion containing a portrait of Queen Mary within the inscription ‘Maria. DG. Mag. Brit. France. et. Hib. Regina’, flanked by panels of scrolling stalks bearing flowers picked out in blue on a glazed manganese ground, a chip to the rim, 11.5cm. £1,000-2,000 Cf. Steinzeug, Kunstgewerbemuseum Cologne, 1986, fig. 578 for a similar medallion.

235 236. Two Westerwald stoneware tankards, 18th century, of cylindrical form, one incised with a rearing horse filled with blue glaze, the other painted with a stylized floral roundel containing the letter K and the date 1710, mounted with hinged pewter covers, 26.5cm max. (2) £200-300

237. A Rhenish stoneware armorial Bellarmine jug or Bartmannskrug, 17th century, the globular body applied with a shield within an oval cartouche, the neck with a bearded face, 22.5cm. £300-400

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238. A large Westerwald stoneware mug or tankard, late 18th century, the cylindrical form incised and glazed with a chequered band, applied with GR within a laurel leaf panel and between turned bands, pewter mount lacking, 18.5cm. £250-350

239. A German stoneware Bellarmine jug or Bartmannskrug, 17th/18th century, the bulbous body with a moulded roundel design beneath a bearded mask to the neck, a chip to the rim, 28cm. £400-600 238

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240. A large stoneware Bellarmine jug or Bartmannskrug, late 16th century, the bulbous body, with three relief-moulded medallions enclosing a heart-shaped panel with the initials NI beneath foliate scrolls, with smaller roundels and a bearded mask to the neck, dabbed with splashes of cobalt blue, some chipping, a small drill hole, 42cm. £2,000-3,000 Provenance: The Adler Collection, Sotheby’s, 24th February 2005, lot 110. Further labels seemingly relating to the Baer Collection.

241. A large stoneware armorial Bellarmine jug or Bartmannskrug, 17th century, decorated with three relief-moulded panels of an armorial shield flanked by cockerels and mythical animals beneath a spreading tree, the neck with a bearded mask, the panels splashed with cobalt blue, 40cm. £1,000-2,000

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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243 242. A pair of Portuguese maiolica trompe l’oeuil platters, early 20th century, in the Palissy manner, each modelled with fruits resting on a large leaf, impressed Jose A Cunha, Caldas Rainha, together with a tin-glazed artichoke tureen with cover and stand, naturalistically modelled in the manner of Anne Gordon, and glazed with purple edges to the leaves, some chipping, 42cm max. (5) £150-250 243. A George Jones Majolica sardine dish with cover and stand, c.1876, the oval form applied with seaweed fronds over basket moulding, the cover with a fish finial over sardines laid end to end, impressed mark and applied registration diamond, a small chip to the fish’s tail, 23.5cm. (3) £100-200

244. A Cantagalli maiolica plaque, late 19th/early 20th century, the circular form modelled in high relief with the winged face of a putti with a halo behind, reserved on a blue ground within a moulded wreath of fruit and leaves, 40cm. £200-300 244

245. A large Cantagalli maiolica plaque, late 19th/early 20th century, the rectangular form modelled in high relief with Mary and the infant Jesus, the baby reaching out to grasp a stem of lilies, picked out in white, yellow and green on a blue ground, damages and repairs, 43.5cm. £100-200

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246. A Cantagalli maiolica circular plaque, late 19th/early 20th century, modelled in high relief with the swaddled infant Christ on a blue ground, and a Cantagalli circular frame formed of a continuous leaf garland with various fruits, cockerel marks, 31.5cm max.

(2) £150-250

247. A large pair of English earthenware oil lamps, 19th century, each in four parts, formed as glazed stoneware vases and covers applied with Classical figures and acanthus leaves on a blue glazed ground, the glass shapes gilded with Chinese dragons, 82.5cm. (8) £200-300

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248. Four transferware Royal Navy Mess plates and three bowls, late 19th/early 20th century, printed for Mess numbers 6, 8, 11, 29, 33, 44 and 51, most with portraits of Queen Victoria, one plate and bowl with King Edward, flanked by scenes of sailors waving pennants, various marks, some damages, and repairs, 24cm. (7) £150-250

249. A Herculaneum transferware dish or stand and three dessert plates, early 19th century, printed with a view of the Fort Madura from the Indian Series, within reticulated rims, the plates with a band of basketweave moulding, impressed mark to the stand, 29cm max. (4) £100-200

250. Two blue and white transferware sauce tureens and covers, 19th century, one Don Pottery with a matching stand, printed with a landscape scene, the other Davenport with a matching sauce ladle, printed with a shepherd family, another sauce ladle decorated with a Chinese landscape, a Riley’s two-handled dish with an Eastern scene, and a five-piece sweetmeat set with landscape decoration, minor damages, 26cm max. (13) £200-300

251. Six blue and white transferware plates, 1st half 19th century, three Spode and printed with scenes from the Caramanian series, one Wedgwood and printed with Absalom’s Pillar, and a pair of soup plates printed with figures before an Eastern tomb, some faults, 25cm max.

(6) £100-200

252. Nine blue and white transferware plates, 1st half 19th century, three printed with Chinese pagoda landscapes within Fitzhugh type borders, two with figures in Eastern settings within floral borders, two with vignettes of Classical figures, one with figures and cattle before ruins, one Spode and printed with Chinese vases and auspicious objects, and a Wedgwood saucer printed with botanical flowers, some damages, 25cm max. (10) £150-250

253. A set of twelve Don Pottery transferware plates, c.1830, printed with figures at rest before a walled palace, the rims with two putti amidst large flowers and leaves, 23.5cm. (12) £150-250

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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254. A large blue and white transferware circular dish or stand, 1st half 19th century, depicting a tiger hunt, the unfortunate cat being set upon by a pack of hounds, while a figure on the back of an elephant fires his gun, within a scrolling Greek palmette border, some wear, 36.5cm. £100-150

255. A Rogers blue and white transferware supper set, c.1830, comprising a footed bowl and cover and four curved dishes and covers, printed with figures before Eastern buildings within wide floral bands, the covers surmounted with lion finials, set into an oval wooden tray, some damages, 55cm overall.

(11) £100-200

256. A large blue and white transferware soup tureen and cover, 19th century, by John and Richard Riley, the octagonal form printed with a view of Gracefield House in Queen’s County, Ireland, after the engraving

by Robert Wallis, within a floral and scroll border, printed mark, minor faults, 34cm. (2) £250-350

257. Four blue and white transferware meat dishes, 19th century, variously printed with Indian topographical scenes, one with the Mosque of Sultan Achmet, two attributed to Herculaneum and decorated with a view of the Mausoleum of Nawaub Assoph Khan at Rajemahel, and with a View in the Fort Madura, the last attributed to John and Richard Riley and printed with figures before buildings after Thomas and William Daniell’s ‘Oriental Scenery’ volumes, some damages, 52cm max. (4) £200-300

258. A blue and white transferware soup bowl, 19th century, printed with the arms of the City of London, a shield quartered by the cross of St George, containing the sword of St Paul, above a banner titled ‘Domine Dirige Nos’, the border with crowns and the flowers of the Union, 23.2cm. £100-150

259. Three Spode blue and white transferware dishes from the Indian Sporting Series, 1st half 19th century, one a circular tureen stand and printed with ‘Hunting a Buffalo’, a charger with ‘Driving a Bear out of Sugar Canes’, the last a meat dish with ‘Dooreahs Leading out the Dogs’, together with a Davenport meat dish of Chinese figures seated in a watery pagoda landscape, some faults, 47.8cm max. (4) £300-400

260. Seven blue and white transferware plates or soup plates, 19th century, one Spode and printed with a milkmaid, one with Kincardine Castle in Perthshire, a Wedgwood plate with a Classical harbour scene, one titled ‘Game Keeper’, two decorated with figures before Classical ruins, the last Rogers and printed with architectural columns, together with two shell-shaped bonbon dishes of travellers beside ruins, some faults, 25cm max. (9) £100-200

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261. A Wedgwood creamware part service, c.1810, printed in blue in the Waterlily pattern with bold botanical designs. Comprising: two chargers in differing sizes, a tureen and cover, two plates, a mug, an oval stand, and a sauce ladle. (9) £200-300 This design derives from prints in the Botanist’s Repository and the Botanical Magazine, from 1803-6. The design was probably inspired by the interests of Josiah Wedgwood’s eldest son John, who was a founder member of the Royal Horticultural Society.

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THE DOUG GODDEN COLLECTION The following 51 lots from the collection of the late Doug Godden display one of the most extensive collections of Mason’s China ever assembled. From the first wares produced by Miles Mason in the dying years of the 18th century to overcome the dearth of wares imported by the English East India Company, to the famous Mason’s Patent Ironstone China produced throughout the 19th century, the collection showcases the wide range of teawares, functional items, highly ornamental vases and collectable miniature wares that bely the factory’s reputation as solely a producer of Imari-patterned dinner services.

It was Charles James Mason who patented the term Ironstone in 1813, despite not being responsible for its initial creation. More robust than the Chinese porcelain which Miles Mason had imported for so many years, and less likely to chip or crack than the English pearlware alternative, the body quickly caught on as ideal for useful but decorative wares and in both form and design it tended to echo the wares imported from the Far East, with an emphasis on chinoiserie and rich Imari patterns. It also became an ideal substitute for large pearlware meat dishes and a broad range of transferware patterns were produced echoing the pagoda landscapes of Chinese porcelain but also the bucolic English landscapes and Italianate ruins so popular with this area of production. His wares are well represented over the forthcoming lots.

262. Six transferware plates or dishes, 1st half 19th century, pearlware and Mason’s Ironstone, most printed with scenes of ruins in landscapes, one a tureen stand with a view of Netley Abbey, a shaped dish printed with a view of Provost’s Lodge at Kings, and a sauce tureen and cover with matching oval bowl printed with a view of Furness Abbey in the Castle and Lake series, 25cm max. (9) £200-250

263. Three blue and white transferware dishes and a cover, 19th century, including a plate, a tureen stand and a meat dish, all printed with a maiden sleeping beside a river, being teased by two children while a further figure drives cattle over a bridge, a windmill and other buildings beyond, the rim with a continuous flower garland, 51cm max. (4) £100-150

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

264. Seven transferware plates with named views, 1st half 19th century, pearlware and stone china, including a tureen stand with a view of Lynmouth, a small plate with the King’s Cottage in Windsor Park, a view of St Paul’s Cathedral from the Thames, a view of Netley Abbey, another of the Lakes, one printed in green with a view of Cologne, another with a view of a house, some damages, 29.2cm max. (7) £100-150

265. A collection of blue and white printed wares, 19th century, including Wolfe Mason, Miles Mason, and Turner’s Patent, most decorated with versions of the Broseley Willow pattern, and a Turner’s octagonal dish printed with opium smokers. Comprising: a tureen and cover, a teapot and cover, three tureen stands, six plates and a teabowl and saucer. (15) £150-250

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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266. A rare Mason’s Semi China transferware plate, c.1825, printed with a young maiden seated beneath a tree and resting her head on one hand, a figure in a coach visible behind, titled Maria, with an Enoch Wood & Sons plate of a terrier flushing out a game bird, and a saucer printed with two spaniels, some faults, 21.5cm max. (3) £100-200

267. Four transferware plates, 1st half 19th century, one printed with the Signing of the Magna Carta, one with the Apotheois of Lord Nelson, one with a view of figures loading a boat, the last with a winemaking scene of figures carrying grapes to a man treading them in a tun, some faults, 25cm max. (4) £100-150

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

268. A collection of blue and white transferware, 19th century, including pearlware and stone china, most Mason’s Ironstone and variously decorated with blown roses, the Blank Bridge pattern, the Table and Vase pattern, the Opium Smoker, and the Blue Dragon.

Comprising: a tureen, a milk jug, two tureen stands, a moulded dessert dish, a pickle dish, and twelve plates in various sizes. (18) £150-200

269. Five blue and white printed Ironstone meat dishes, 19th century, one printed with the Fountain pattern, one with roses, one with peony and an Oriental fence, with later red enamelling, one with a view of Lake Windermere, the last with small flower sprigs within a moulded rim, and two large bowls decorated in polychrome enamels with vases and sprays of Oriental flowers, some damages, 41cm max. (7) £150-250

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

270. A collection of Mason’s Ironstone printed and clobbered wares, 19th century, including a sauce tureen with cover and stand decorated with the Long-Tailed Bird pattern, with gilt bat handles, an oval basket in the same pattern, a moulded dish in the Tyburn Turnpike pattern, a cup and saucer, and eleven plates variously decorated in patterns including the Crossed Fence, the Tyburn Turnpike, the LongTailed bird, the Indian Grasshopper, the Blue Pheasant, the Windmill, Linlithgow Palace, Bamboo, and one of King’s College, titled for ‘James Lawrence’ to the underside, some faults, 29cm max. (18) £150-250

271. A mixed lot of ceramics, most 19th century, including a Mason’s stone china jug with floral decoration, a large stone china vase with printed blue panelled decoration, a Parian ware fluted socle, a Dutch-decorated creamware plate, a small Turner’s stone china plate painted with a Chinese garden, a pearlware teabowl and saucer, a pearlware ointment pot, and a Continental souvenir tankard, some faults, 24cm max. (9) £80-120

Provenance: the Doug Godden Collection.

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Provenance: the Doug Godden Collection.

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272. Five Mason’s Ironstone dishes, 19th century, variously decorated with scenes of Chinese figures in garden settings, including a charger painted in blue with the Chinese Ladies pattern, and a matching plate with additional gilding, a shaped dish, plate and circular tureen cover decorated with the Moghul pattern, a plate and a large mug in the Chinese Scroll pattern, and another large mug in the Mandarin pattern, some faults, 36cm max. (8) £100-200

273. Twelve Ironstone plates, 19th century, all variously decorated in the Japanese manner, including a Turner & Co saucer dish with a rare square seal mark, a pair of Turner’s Patent small plates in pattern 8, and a matching larger plate, two small Mason’s Ironstone plates and two larger, a soup plate in the Fiddle Head pattern, a plate in the Dollar pattern, one in the Old School House pattern, and another in the Segmented Imari pattern, 24cm max. (13) £200-300

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

274. Three Mason’s Ironstone armorial plates, 1st half 19th century, made as replacements or additions to Chinese armorial services, including a pair of octagonal plates decorated with the arms of Crawfurd with Payne in pretence, and another of octagonal form and painted with the arms of the Sealey family, all with pink rose borders, and a large Mason’s Ironstone armorial dish painted with a crested shield within an oval cartouche printed in blue with baskets of flowers, 31.3cm max. (4) £80-120

275. A Mason’s Ironstone part dessert service, 19th century, decorated with a continuous band of orange and gilt flowers reserved on a burgundy border, impressed marks. Comprising: a sauce tureen with cover and stand, two shell-shaped dishes, and a Miles Mason dessert dish in pattern 128. (6) £150-250 Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

276. Fourteen Mason’s Ironstone dessert dishes, 19th century, including six small octagonal dishes printed and coloured with a bird beside vases of peony, two moulded dishes decorated in the Imari palette, and another with sprays of peony and prunus with two plates in the same pattern, three other Ironstone plates variously decorated with sprays of peony and chrysanthemum, and a Miles Mason porcelain saucer dish painted in pattern 738, some damages, 28.5cm max. (15) £250-350

277. Ten various ironstone plates and dishes, 19th century, a moulded dish in the Green Rose pattern, another in pattern 970, a shell-shaped dish decorated with birds on flowering branches, a small Spode plate with flowers, the others variously decorated with a bird, pattern 665, flowers, Classical urns, and a figure walking across a bridge within a yellow border, printed mark for New York export, some damages, 27.5cm max. (10) £100-200

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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278. A pair of C J Mason Ironstone pot pourri vases and covers, c.1820, finely painted with panels of English garden flowers reserved on a mazarin blue ground with a gilt scroll design, the shoulders applied with rams head handles, the domed covers pierced with a series of small holes, black printed coat of arms marks, some restoration, 35cm. (4) £500-800 Provenance: the Doug Godden Collection.

279. A large C J Mason Ironstone vase and cover, c.1830, the moulded form gilded with long-tailed pheasants amidst gilt and enamelled flowers and foliage, reserved on a mazarin blue ground, the handles formed as mythical beasts biting the rim, some good restoration to the rim, 48cm. (2) £200-300 Provenance: the Doug Godden Collection.

280. A C J Mason Ironstone pot pourri vase and cover, c.1825, finely painted with a goldfinch perched among flowers including tulip, rose, heartsease and poppy, the reverse with a similar panel of flowers, reserved on a blue ground with a gilt geometric design, the domed cover pierced with holes, some restoration, 30cm. (2) £100-150

281. A GM & CJ Mason Ironstone vase and cover, c.1820-30, moulded with vertical flutes and richly decorated with gilt peony sprays, moths and other flying insects all reserved on a mazarin blue ground, some restoration, 42.5cm. (2) £100-200 Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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282. A large C J Mason’s Ironstone jardinière or pot pourri vase and cover, c.1830-40, the squat lobed form gilded with flowers and foliate fronds on a rich mazarin blue ground, the domed cover pierced with an arrangement of holes, one handle broken and restuck, 35cm high. (2) £200-300 Provenance: the Doug Godden Collection.

283. A large Ashworth Mason’s Ironstone charger, early 20th century, richly decorated in pattern C.1760 with a pheasant among branches of flowering peony and wisteria, reserved on a rich yellow ground, printed and impressed marks, 42.7cm. £50-80

284. Two Mason’s two-handled vases, 19th century, mounted as lamps, one printed and coloured with a Chinese pagoda landscape to one side, the reverse with aquatic birds swimming beneath tall lotus plants, the other with moulded and applied decoration of birds, butterflies and flowers reserved on a mazarin blue ground with further gilded flower stems, some faults, 39cm overall. (2) £100-200

285. A large C J Mason Ironstone jardinière, c.1820-30, the shallow moulded form enamelled with long-tailed birds amidst gilt foliage, reserved on a mazarin blue ground, the reverse with butterflies and other insects, the handles modelled as foxes, a continuous gilt floral band to the interior rim, 42cm dia. £250-350

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

286. Four Mason’s Ironstone vases, 19th century, a small near pair enamelled with little butterflies amidst gilt foliage, with pink kylin handles, a tall vase enamelled with birds perched on flowering gilt prunus, and a two-handled vase gilded and enamelled with flowers, all reserved on a rich mazarin blue ground, some damages and restoration, 23.7cm max. (4) £100-200

287. A Mason’s Ironstone pot pourri vase with inner and outer covers, 19th century, of chamfered square form, raised on four paw feet issuing from lion masks, painted in the Imari palette with vases of flowers on low tables, a tall octagonal vase and cover painted with Imari flowers, and a censer-shaped jardinière decorated with peony and other flowers issuing from holey rockwork, 29.5cm max. (6) £100-200

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

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288. Three Mason’s Ironstone jugs, 19th century, two of octagonal form with kylin handles, the last of tapered faceted form, all variously enamelled and gilded with flower sprays on a deep mazarin blue ground, together with a similarly decorated spill vase, and a deep plate with scattered gilt flowers, impressed circular mark to the faceted jug, 23cm max. (5) £150-250

289. A rare C J Mason’s Ironstone miniature jug and basin, c.1820, and a miniature ewer, all painted with panels of polychrome flowers reserved on a blue ground with dense gilt scrolls, the bowl and ewer with printed coat of arms marks, 9.2cm max. (3) £100-200 Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

290. A pair of Mason’s Ironstone pot pourri vases and covers, 19th century, the flared cylindrical forms decorated with gilt flower sprays on a blue ground, the domed covers pierced with large holes, and two other Mason’s pot pourri vases richly gilded with peony sprays on a mazarin blue ground, some restoration, 23.5cm max. (8) £250-350

291. Six Mason’s Ironstone vases, 19th century, of varying form, five of them two-handled, one a flared spill, decorated in the Imari palette with flower branches before ornamental fences, and a crowned advertising sign for Mason’s Ironstone China, some damages and restoration, 16.5cm max. (7) £100-200

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

292. Seven Mason’s Ironstone vases, 19th century, including a pair of spill vases of cylindrical form, a faceted ovoid vase and a twohandled vase, all richly decorated with gilt peony sprays on a mazarin blue ground, a pair of baluster vases similarly gilded with large flying insects, and a two-handled vase with flower sprays and dragonflies, all on a rich blue ground, some damages, 21cm max. (7) £250-350

293. A C J Mason Ironstone ewer, c.1820, painted with a rare design of polychrome flowers on a gilt panel, reserved on a gilt scroll and mazarin blue ground, a cylindrical vase of canister shape with gilt bat handles, painted with panels of Oriental flowers, and a small vase of censer shape with similar decoration and gilt bat handles, impressed circular mark to one, 16cm max. (3) £200-300

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

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294. A pair of C J Mason Ironstone two-handled vases, c.1820, the ovoid bodies painted in the Oriental manner with flowering branches issuing from holey rockwork, and a miniature ewer with high handle, decorated in the Imari palette with oriental plants behind an ornamental fence, some restoration, 11cm max. (3) £200-300 Provenance: the Doug Godden Collection.

295. A small collection of miniature C J Mason Ironstone wares, c.1820-30, including a teapot and cover decorated with gilt flowers, an octagonal jug and a side-handled jug gilded and enamelled with flowers, a globular jug, a mug and a taperstick gilded with insects and flowers, all reserved on a rich mazarin blue ground, minor faults, 10.5cm max. (7) £150-250 Provenance: the Doug Godden Collection.

296. Nine items of Mason’s Ironstone, 19th century, all decorated in the Imari palette with flowers and the ‘Basket Japan’ pattern, including a miniature mug, a miniature beaker, an egg cup, a miniature basin, two oval basins or patty pans, a spill vase, a hexagonal pot, and a two-handled pot with blue scale decoration to the exterior, some faults, 16cm max. (9) £50-100 Provenance: the Doug Godden Collection.

298. Four Mason’s Ironstone vases, 19th century, one C J Mason of octagonal form with rosebud handles, painted in the famille verte palette with flowering branches, another with elaborate gilt scroll handles, painted and gilded with formal foliate scrolls, one of censer shape and enamelled with birds and flowers on a drab green ground, the last Ashworth’s and decorated with long-tailed birds on a bright yellow ground, and a Mason’s tea canister, enamelled and gilded with chrysanthemum on a mazarin blue ground, various marks, some faults, covers lacking, 21.3cm max. (5) £150-250

297. A C J Mason Ironstone letter rack, c.1825, and a miniature pot pourri pot and cover, enamelled with small flower sprigs on a mazarin blue ground, together with a pair of miniature vases and a miniature ewer and basin, enamelled with birds in flight amidst gilt foliage, some damages and restoration, 13.5cm max. (7) £200-300 Provenance: the Doug Godden Collection.

299. A Mason’s Ironstone jug and basin, 19th century, the jug of octagonal form, decorated with large gilt sprays of Oriental flowers, a large porter mug decorated in the same pattern, and a larger octagonal jug with small gilt flower sprays and scattered flying insects in gilt, all on a rich mazarin blue ground, 22.5cm max. (4) £200-300 Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

300. Fourteen porcelain and stone china coffee cans, early 19th century, including a Miles Mason can in pattern 169, others in patterns 800, 129, 855, and 92, another moulded with a grapevine band, two stone china cans decorated in the Imari palette, including a Turner & Co example with an unusual square seal mark, two with the Indian Grasshopper pattern, and a Wolfe Mason blue printed coffee cup, 7.5cm max. (15) £100-200 Provenance: the Doug Godden Collection.

301. Eight Mason’s Ironstone jugs, 19th century, of varying octagonal form with kylin handles, decorated in the Imari palette with vases of peony and other flowers, some with printed or impressed marks, some restoration, 19cm max. (8) £100-200 Provenance: the Doug Godden Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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302. A rare Miles Mason porcelain trio, c.1805, comprising a teacup, coffee can and saucer, finely painted in pattern 86 with oval panels of small figures in rural landscapes, within rich gilded borders with coral teardrops, together with a matching saucer dish, 19.2cm max. (4) £200-300

303. A rare Turner & Co stone china custard cup and cover, c.1800, printed in blue in the Chinese manner with two figures on a bridge in a pagoda landscape, 8.8cm high. (2) £100-150 Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

304. Three C J Mason Ironstone miniature vases, c.1825, two of bottle form painted with flowers and in the Imari palette, a hexagonal pot painted with the Red Cook, a Miles Mason porcelain câchepot painted with flowers, and a miniature Ironstone beaker, printed and coloured with a Chinese landscape, some faults, the hexagonal jar lacking its cover, 10cm max. (5) £100-150 Provenance: the Doug Godden Collection.

305. Three Miles Mason porcelain trios and five cups and saucers, c.1800-1805, variously decorated in deep blue and gilt with patterns 770, 227, 343, 345, and 371, three with unknown patterns, 14.2cm.

(19) £100-200

306. Ten Miles Mason porcelain cups and saucers, c.1805, variously decorated with stylized floral and leaf designs in polychrome enamels and gilt, including patterns 386, 423, 471, 598, 612, 665 and 709, one with a matching coffee can, some damages, 14cm. (21) £100-200

Provenance: the Doug Godden Collection.

Provenance: the Doug Godden Collection.

307. Three Miles Mason porcelain trios, c.1800-05, a teacup and saucer, a coffee can and saucer and another saucer, all variously decorated with stylized floral and foliate borders, two Charles Mason fluted cups and saucer with floral decoration, a Charles Mason moulded plate painted with a bold spray of flowers, and a pair of Mason’s Ironstone dessert plates with moulded rims, painted with tulip, rose and heartsease, 23.8cm max. (21) £150-250

308. Seven Miles Mason cups and saucers, c.1805, decorated in variations of the Imari palette in patterns 387, 667, 695, 828 and 850, one with a matching coffee can, a Charles Mason trio in pattern 1279 and a similar cup and saucer, and an ogee-moulded Ironstone trio with bold peony sprays, 14.7cm max. (23) £120-180

Provenance: the Doug Godden Collection.

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Provenance: the Doug Godden Collection.

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309

310

309. Two Miles Mason porcelain saucer dishes, c.1805, a coffee can and two saucers, all decorated in the Mandarin palette with variations of the Boy at the Door pattern, a creamware plate in the same pattern, a rare Ironstone coffee cup and saucer with osier-moulding, painted with flower panels on a yellow ground, and a rare coffee can and saucer with a similar saucer, decorated with chrysanthemum sprays within a basketweave border, 21.5cm max. (11) £150-250 Provenance: the Doug Godden Collection.

310. Three Miles Mason porcelain trios, c.1805, comprising a teacup, coffee can and saucer, decorated in patterns 422, 488 and 611 with bands of gilt and enamel flowers, a cup and saucer in pattern 478, and a Charles Mason trio with similar decoration, the 488, 611 and Charles Mason pieces with matching plates, some faults, 22.2cm max. (17) £100-200 Provenance: the Doug Godden Collection.

311. Six Miles Mason porcelain cups and saucers, c.1805, one in pattern 732 with a matching coffee can and cake plate, another in pattern 419 with a panel containing the Prince of Wales’ feathers, one with shells in pattern 743, another with gilded grapevine in pattern 605 and with a matching coffee can, one fluted with a gilt foliate border, another with an oak leaf band, and an Ironstone cup and saucer with polychrome flowers and gilt leaves on a blue border, some faults, 19.2cm max. (17) £100-200

311

Provenance: the Doug Godden Collection.

312. Six Miles Mason cups and saucers, c.1805, one with a coffee can to form a trio, richly decorated in pattern 528 with landscape panels on a gilt vermicelli ground, one in pattern 88 with a central landscape scene, three bat-printed and variously depicting the Four Seasons, an historical scene within a blue and gilt border, and a putto holding a brazier, the last a coffee can with an extensive landscape scene, with a matching saucer dish, an Ironstone shaped dessert dish with landscape decoration, and a similar octagonal small Ironstone jug, some damages, 24cm max.

(16) £150-250 312

Provenance: the Doug Godden Collection.

END OF COLLECTION Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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313. A Mason’s Ironstone part service, c.1830, printed and coloured in the Mandarin pattern with scroll panels of Chinese figures in a garden setting on a diaper ground.

Comprising: a shaped comport, a serving dish and three plates. (5) £100-150

314. A James Keeling comport, and two plates, c.1830, printed in black with views of Birs Nimroud from Buckingham’s ‘Travels in Mesopotamia’, reserved on a blue ground with floral sprays to the pierced rims, 29cm max. (3) £60-80 Cf. Victoria and Albert Museum, Accession No. 2487-1901 for an identical plate.

315. A Spode buttertub and cover, early 19th century, the circular form painted in pattern 343 with sepia flower sprays, a Spode square dessert dish with monochrome flower swags between gilt, black and red scrolls, and a pair of unusual shaped dishes with brown flowers within puce rims, 26cm max. (5) £150-250 The pair of dishes from the Godden Reference Collection.

316. A Wedgwood Jasperware oval portrait plaque of John Flaxman, late 18th/early 19th century, modelled as a selfportrait of himself aged 14, facing left in profile, impressed ‘FLAXMAN’ beneath, impressed mark to the underside, framed and glazed, the plaque 7cm. £80-120

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

(3) £350-450

318. A Wedgwood Jasperware jug, early 19th century, applied in white with a continuous band of Classical figures at various pursuits, between formal flowerhead borders on a dark blue ground, impressed marks, 18cm. £100-200

319. Three Paris porcelain rectangular plaques, 19th century, probably Londondecorated with colourful birds perched and in flight by low branches, reserved within gilt C scrolls on an apple green ground, framed, one corner broken off and cleanly restuck, each plaque 7.5cm x 10cm. (3) £100-200

320. A Milwyn Holloway porcelain plaque, modern, painted with an arrangement of fruit on a wooden table, a small fly alighted on a pear, a cut peach resting on the edge of a white linen tablecloth, signed, within a titled gilt wood frame, the plaque 20cm x 24.5cm. £100-200

321. An English porcelain rectangular plaque, mid 19th century, attributed to John Wager Brameld at Rockingham, painted with a scene from Cervantes’ novel, with Don Quixote and Sancho Panza on horseback between trees, in a gilt wood frame, broken and restuck, the plaque 33.5cm high. £100-200

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The same scene is used on Rockingham’s Don Quixote service, and similar scenes are depicted on the Rhinoceros Vase at Rotherham Museum.

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322. A Ridgway part dessert service, c.1815, painted in pattern 176 with figures at various pursuits in rural landscape settings, reserved within blue rims moulded with foliate bands and picked out in white and gilt, some damages and repairs. Comprising: a comport, two baskets with stands, two sauce tureens and covers, two single-handled dishes, two oval dishes, and eight plates. (21) £200-300

323. A Ridgway part dessert service, c.1830, printed and coloured in pattern 805 with botanical specimens including Periwinkle, Golden Flowered Henbane and Alpine Erinus, titled in black to the underside, the prints taken from William Curtis’s Botanical Magazine.

Comprising: two sauce tureens with covers, and four plates. (8) £100-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

324. Five Flight, Barr and Barr dessert plates, c.1820, and a shaped dessert dish, three plates and the dish painted with topographical views, one plate with an arrangement of sea shells, one with flower painting attributed to William Billingsley, all reserved on a ground of gilt seaweed tendrils, impressed and printed marks, 30cm max. (6) £300-500

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325. A pair of Spode cream jugs, c.1830, the octagonal forms painted in pattern 3420 with polychrome flowers and gilt leaf springs on a mazarin blue ground, and a Spode spill vase, painted with a continuous landscape in pattern 975, split by three satyr term columns, iron red pattern numbers, 12.2cm max. (3) £100-200

326. A garniture of three English porcelain pastille burners and covers, c.1815-25, the drum shapes painted with panels of flowers reserved on a mazarin blue ground, each raised on three paw feet, the rims moulded with leaves and beads, the covers pierced with holes, some restoration, 13cm high max. (6) £350-450

327. A pair of English porcelain small tureens or tubs, early 19th century, the oval forms with straight sides, painted with a continuous cornflower band and small scattered flowers, minor damages, 14.8cm. (2) £80-120

328. Two English porcelain cups and saucers, c.1810, one Barr, Flight and Barr and painted with a continuous foliate band in brown and gilt, and a coffee can with brown leaves and insects, the New Hall cup and saucer with gilt palmettes on a blue ground, and a Spode coffee can printed with a red floral band, some wear, 14cm max. (6) £100-150

329. A rare Staffordshire (Factory Z) teapot and cover, c.17951805, printed in red with a shepherdess tending a lamb, reserved on a ground of silver lustre vermicelli, the spout with white dots on a silver ground, and a Derby teapot with cover, stand and matching milk jug, boldly decorated in pattern 747 with stylized gilt palmettes on a burnt orange ground, some damages, 27cm max. (6) £150-250

330. A Barr, Flight & Barr teacup and saucer, c.1815, decorated with monochrome river scenes reserved on a grey faux marble ground, impressed marks, a Derby topographical can and saucer painted with titled views, and four other coffee cans with landscape decoration, one with a saucer, one can restored, 14cm. (9) £200-300

331. Two porcelain teabowls and saucers, c.1800, attributed to Factory Y, painted in the Imari palette with Swansea’s House on the Lake pattern after Thomas Pardoe, the borders with semi flowerhead mon between hatched diaper bands, 13.4cm. (4) £100-200

332. A pair of Davenport porcelain bough pots, c.1807-12, the tall D-shape forms painted with rural landscape scenes, impressed anchor marks, and a small Spode vase painted with figures before a bridge, the sides with bird masks holding ring handles, the bough pots lacking covers, one cracked, 13cm max. (3) £100-200

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Exhibited: English Ceramic Circle, 1977, No. 230 (the bough pots).

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333. An impressive Minton porcelain vase and cover, c.1830, the urn shape richly applied with a variety of flowers, painted to one side with a panel of figures on a bridge before a castle nestled in a valley, the reverse with a finely painted floral panel, the reticulated cover surmounted with a putto finial, cracked, 44.5cm. (2). £100-200 Provenance: from a private collection in London

334. An English porcelain clock case, early 19th century, probably Coalport, of elaborate rococo form, the sides pierced and applied with flowers, the circular enamel clock dial above a reticulated panel applied with pink flowerheads, all picked out in gilt on a rich puce ground, the reverse painted with flowers and butterflies, gold anchor mark after Chelsea, some damages, 31cm. £150-250

336. A large pair of English porcelain two-handled vases, c.1820, probably Derby, the ovoid bodies painted with baskets of fruit and flowers resting on a stone shelf, within gilt panels reserved on a deep blue ground, 37.5cm. (2) £200-300

335. A large English porcelain vase, early 19th century, probably Coalport, the decoration attributed to William Billingsley at Mansfield or Torksey, painted with a continuous landscape reserved on a rich yellow ground, a repair to the foot, 35cm. £300-400 Cf. N D Gent, The Patterns and Shapes of the Pinxton China Factory, p.42, fig. 44 for a Pinxton vase and cover with very similar decoration by Billingsley.

337. A Derby three vase garniture, c.1825, of shield shape with neoclassical scroll handles, each painted with a chamfered panel of fruit tumbling from a low basket on a marbled top, reserved on a blue ground with elaborate formal gilt scrolls, raised on square feet, red crowned crossed batons and D marks, some restoration, 29.5cm and 23cm. (3) £200-300

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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338. A pair of Barr, Flight and Barr vases, c.1810, the bucket-shaped bodies applied with ring handles, painted with a chamfered panel of small figures beside water in an extensive landscape with mountains beyond, reserved on a grey marbled ground, crowned script marks to each referring to the Royal patronage, a restored crack to one, 16cm. (2) £1,500-1,800

339. A Chamberlain’s Worcester plate and a soup plate from the Carnatic Service, dated 1820, painted with botanical specimens within blue moulded borders picked out in white and gilt, a small panel inscribed in Arabic with ‘Amir-al-Hind Nawab Azam Jah Bahadur 1236 Hÿri’, the date corresponding to 1820 AD, the plate painted with a specimen of Rigid-Leaved Gorteria, the soup plate with Borage Leaved Mullein, both plants copied from William Curtis’s designs for the Botanical Magazine, Vol 3, pl. 90 and Vol 7, pl.236 respectively, titled in red to the underside, printed marks, 25.6cm. (2) £300-500 This service was ordered by Azam Jah, His Highness the Nawab (sometimes Nabob) of the Carnatic in 1820 and delivered from Worcester in 1823. The service was sold at Bonhams on 11th May 1978, lot 115.

340. A Barr, Flight and Barr Worcester trio, c.1805-10, with a matching slop bowl and small plate, all decorated in black with bat printed panels of figures in bucolic landscapes, reserved in gilt panels on a grey faux marble ground, impressed marks, 17.5cm max. (5) £150-200

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341. A Flight, Barr and Barr cup and saucer, c.1825-30, painted with vignettes of rustic figures at various pursuits in rural landscapes, all reserved on a white ground with gilt seaweed tendrils, script marks, 15.3cm. (2) £100-200

342. A Flight, Barr and Barr vase c.1825-30, of drum shape, painted with a rustic lady in a rural landscape reserved on a gilt seaweed ground between two bands of white beading, raised on three gilt paw feet on a shaped base, impressed mark, a little good restoration to the foot, 9.2cm. £150-250

343. A Flight, Barr and Barr pin tray, c.1815, of shaped rectangular form with an overhead handle, painted with a goldfinch and a yellowhammer, and a small footed teabowl and saucer, the teabowl’s interior painted with a brown songbird, reserved on a gilt seaweed ground, script mark to the pin tray, 15.5cm max. (3) £300-400

344. A Flight, Barr and Barr taperstick, c.1815, painted with a view of Hulcote Church in Bedfordshire, reserved on a gilt seaweed ground, titled to the base, brown script mark, 6.5cm across. £150-250

345. A Flight, Barr and Barr pen tray, c.1825-30, of long rectangular form, painted with a young girl carrying a sheaf of corn on her head before a distant castle, reserved on a white ground with gilt seaweed tendrils, the sides with formal gilt designs, a few small chips, 25.5cm. £250-350

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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346. A New Hall teapot with cover and stand, late 18th century, of silver shape, painted in pattern 195 with sprays of stylized rose, the shoulders and cover with simple garlands, 23cm. (3) £80-120

347. A Derby plate from the Pepper Arden service, c.1790, attributed to William Billingsley, the well painted with a vignette of fruit within a scalloped gilt rim, puce mark, and a pair of Bloor Derby plates painted in the manner of Leonard Lead with bold floral arrangements, printed red marks, 25.7cm max. (3) £100-200

348. Five Minton saucers with three cups and three coffee cans, c.1820, decorated in pattern 539 with scenes of Chinese children at various pursuits beneath gilt-leaved trees, and a Warburton Patent cup and saucer with a printed gilt landscape on a blue ground, some faults, 13.6cm max. (13) £200-300

349. Two English porcelain plates, c.1810-20, one Flight, Barr & Barr and decorated with the crest of a lion within a belt inscribed ‘Vicimus’, within purple and gilt flower sprays, one richly decorated with panels of English flowers on a blue ground with gilt foliate scrolls, pattern number 699 to the underside, and a Worcester saucer painted with birds to the well within flower garlands, 27cm max. (3) £100-200

The pattern is based on Pillement’s Recueil de Plusieurs Jeux d’Enfants Chinois, engraved and published by P C Canot in London in 1759. Cf. Maria Gordon Smith, Pillement, p.41.

350. A Swansea porcelain plate, c.1815-17, painted in the manner of Henry Morris with sprays of flowers within a simple gilt line rim, and three English porcelain teacups and saucers, and one coffee cup, painted in the Swansea manner with a central dog rose spray and a continuous floral panelled border on a blue and purple dot ground, 20.3cm max. (8) £100-200

351. A Swansea cup and saucer, c.1815-20, white-glazed and fluted with a wide gilt rim, a Staffordshire porcelain cup and saucer decorated in pattern 535 with flowers within an apple green band, a William Machin teabowl and saucer painted with flower sprays, and a Derby sample plate, painted with red sprigs and titled ‘Patterns for Trays’, 19.8cm max. (7) £100-200

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The Derby plate is believed to have been painted by Miss E P Jones, who worked at Derby in the mid 1950s, designing services.

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352. A Swansea porcelain dessert plate, c.1815-17, the well painted with flowers, probably by William Pollard, including narcissus, rose, tulip and auricula, within a stylized gilt border highlighted with green enamel, the moulded C scroll border similarly embellished, iron red mark, a chip to the footrim, the gilding worn, 21cm. £100-150

353. A Nantgarw plate, c.1815-17, London-decorated with a large botanical spray of pink rose, a smaller lilac spray and a single small blue butterfly, the rim moulded with C scroll panels within a gilt dentil rim, impressed mark, 21.5cm. £400-600

354. A Nantgarw moulded plate, c.1815-18, London decorated with seven sprays of flowers in a china blue, within a gilt dentil rim, impressed ‘NANTGARW CW’ mark, 25.3cm. £150-250

355. A Swansea sucrier and cover, c.1815-18, painted in pattern 259 with stylized pink tulip heads on a café au lait ground, iron red factory mark and pattern number, one handle restored, 15.5cm across. (2) £200-300

356. A pair of Swansea plates, c.1815-17, painted probably by Henry Morris with colourful floral posies and single scattered sprigs, the rims with continuous berried tendrils in green and gilt, a little gilt wear, 22.8cm. (2) £200-300

357. A Swansea cabinet cup, c.1815-20, painted with a band of pink roses within scrolling gilt borders, a Swansea-style cup and saucer painted with panels of flowers reserved on a blue and gilt oeil de perdrix ground, and a candlestick painted with polychrome flower sprays within shaped gilded panels, some faults, 19cm max. (4) £200-300

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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358. An impressive Copeland vase, c.1860-70, possibly made for an exhibition, painted to one side with a courting couple seated before an urn on a pedestal in a woodland setting, the reverse with a passion flower plant growing up trellis, with sailing boats before an Oriental palace in the distance, reserved on a turquoise ground with gilt floral scrolls, the handles formed as winged terms holding flower swags, printed green mark, some restoration, 40cm. £600-800

359. A pair of Spode dessert dishes, c.1810-20, the shaped square forms brightly painted in pattern 3838 each with three floral arrangements amidst single scattered blooms, within a gilt dentil rim, iron red marks and pattern numbers, 23.7cm. (2) £100-200

360. A pair of Coalport soup plates, c.1820, richly decorated in the Church Gresley pattern, with small cornflower florets reserved in hexagonal red panels amidst smaller panels of pink rosebuds and stylized leaves, the wells with bold floral arrangements, 24.7cm. (2) £100-200

361. A pair of Derby dessert plates, c.1790, decorated in pattern 126, the painting attributed to William Longden, decorated with arrangements of fruit and grapevine to the wells, the rims with a border of leaves in autumnal shades, puce factory marks and pattern numbers, 23.4cm. (2) £150-250

362. A pair of stone china plates, early 19th century, painted with landscapes in puce monochrome, one with a promenading couple before a stately home, the rims with ribbed moulding, 21.3cm. (2) £100-200

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363. A Belleek decorative ewer and two baskets, late 19th century, the ewer applied with a profusion of flowers including rose, dianthus and aster, with a scroll handle and wide neck, black printed mar, one basket of trefoil form with three floral posies, the other circular and applied with a continuous band, applied marks, some chipping to the applications, 24cm max. (3) £150-250

364. Two Royal Worcester vases and a bowl, date codes for 1902, 1910 and 1938, one vase of Hadley Ware type with a tall narrow neck, the ovoid body painted with blackberry sprays, a small ovoid vase painted with roses, the bowl painted by Kitty Blake with sprays of fruiting blackberry to the inside and out, printed marks, 25.2cm max.

(3) £150-200

365. Two Belleek baskets, late 19th/early 20th century, one of large circular form, the smaller oval, each applied around the rim with various flowers including rose and shamrock, applied pad marks, 27cm max. (2) £250-350

366. An English porcelain coffee cup and saucer, late 19th century, painted in the Imari palette with a version of Swansea’s pattern 219, lacking the floral panels, with an unusual ring handle, a small rim chip to the saucer, 12.5cm. (2) £80-120

367. Four Royal Worcester small cups and saucers, date codes for 1913, painted by W H Austin, Ricketts, R Phillips and F J Bray with scenes of fruit on a woodland floor, the cups’ exteriors richly gilded, variously signed, printed marks and date codes, 9.7cm. (8) £150-250

368. Two English porcelain models of pug dogs, late 18th/early 19th century, one Derby, seated on a scroll base and wearing a studded collar, the other Chamberlain’s Worcester, seated on a claret-glazed base with head turned to sinister, script mark to the latter, damages and repairs, 6.4cm max.

(2) £200-300

369. Four Staffordshire porcelain pastille burners, 19th century, one modelled as a lighthouse, lifting off a flat circular base, one as a castle, the other two as cottages orné, all applied with flowers and frit foliage, some restoration, 19cm max. (5) £200-300

370. A pair of English porcelain bird groups, late 19th/20th century, each of a bird perched on a flowering blossom branch, one preening his wing, raised on circular bases, small damages, 20.5cm. (2) £100-150

371. Six Royal Worcester Chinese figures, 20th century, including a pair of kneeling figures modelled by Agnes Pinder-Davies, nos.

3397 and 3398, one of a dancer by the same modeller, and three of Chinese children modelled by Gwendoline Parnell, all decorated in a stylized palette of turquoise, red and black, black marks and various date codes, some damages, 21.5cm max. (6) £200-300

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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372. Three Royal Worcester figures of soldiers, mid 20th century, one of an Officer of the Dragoon Guards, one an Officer of the Coldstream Guards, the last an Officer of the Seaforth Highlanders, all from the 1812 campaign, black printed marks, 31.5cm max.

(3) £250-350

373. A pair of Royal Worcester figures of the Italian Musicians, date codes for 1920, he with a flageolet, she playing the lute, wearing costumes in deep blue edged in gilt, some restoration, printed marks, 31.5cm. (2) £100-200

374. Two Royal Worcester figures of soldiers, 1941 and later, one of an Officer of the Dragoon Guards, wearing a bicorn hat and leaning on his sword, the other an officer of the 29th Foot (Worcestershire Regiment), both raised on shaped black bases, printed marks, and an Italian porcelain figure of a soldier with a fur-lined jacket slung over his shoulders, raised on a tall square base, 30.5cm max. (3) £150-250

375. A rare near pair of Royal Worcester candlestick snuffers, c.1887, each modelled as a monkey carrying a lotus pod, a smaller pod rising above him to form the candle sconce, the detailing picked out in gilt, printed mark to one, 13.3cm. (2) £500-800

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376. Four Royal Worcester candle snuffers, late 19th century, including Mr and Mrs Caudle dressed in their night attire, The French Cook, modelled with one hand on her hip, and The Tyrolean Hat, with a double blue feather tucked into the ribbon hatband, printed marks, 8cm max. (4) £100-200

377. Three Royal Worcester candle snuffers, late 19th century and 1908, including Mr and Mrs Caudle, both ready for sleep, and The French Cook wearing a white apron over a pink dress, and a Grainger’s Worcester candle snuffer of The Tyrolean Hat, with two pink feathers issuing from a tied ribbon above the brim, 8cm max. (4) £100-200

378. Three Royal Worcester candle snuffers, late 19th century, one a blush porcelain example of Granny Snow, her hands thrown up before her, one of Mob Cap, the head of a young woman wearing a pink mob cap, believed modelled by James Hadley, the last of Feathered Hat, depicting a young girl in a large hat with a gilt feather, printed marks, 8.6cm max. (3) £200-300

379. A Royal Worcester candle snuffer, date code for 1903, of Monsieur Reynard, modelled as a fox dressed as a lawyer in black robes, holding a book tucked under one arm, printed mark, 10cm. £150-250

381. A Royal Worcester candle snuffer, date code for 1881, of The Young Girl, probably modelled by James Hadley, wearing a tall poke bonnet, printed marks, and a Grainger’s Worcester candle snuffer of the Monkey Head, the animal wearing a circus hat and ruffed collar, printed mark, 9cm max. (2) £150-250

382. Three Royal Worcester candle snuffers, date codes for 1882, 1895 and 1937, one of The Monk, attributed to William Boynton Kirk, frowning over an open prayer book, one of Budge from Helen’s Babies, wearing an oversized coat and top hat, the last of The Mandarin, a rotund Chinaman in a yellow robe, printed marks, 12cm max. (3) £100-200

380. A pair of Royal Worcester candle snuffers, 20th century, of The Motorists, the couple wearing motoring goggles and long overcoats, standing with hands in their pockets, from a limited edition of 500, and a Bronté porcelain special commission candle snuffer of Young Queen Victoria, from a limited edition of 100, 11.8cm max. (3) £100-200 Each with a certificate confirming the limited edition, and signed respectively by John Morris and Henry Sandon.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

383. A Royal Worcester candle snuffer, date code for 1919, of Confidence, depicting the singer Jenny Lind as a nightingale, dressed in a yellow gown and holding a sheet of music, printed mark, 10.5cm. £100-200 Jenny Lind first visited the Worcester porcelain factory in 1849, and settled close to Worcester following her retirement. This snuffer (along with its pair, Diffidence) is believed to have been made as a tribute in recognition of the charitable concerts held by Lind to raise money for the local hospital.

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A SMALL PRIVATE COLLECTION OF LITERARY & THEATRICAL FIGURES

384. A rare set of four Ridgway and Robey porcelain figures of the Nickleby family, dated 1839, modelled as Charles Dicken’s characters, Ralph and Mrs Nickleby, Nicholas Nickleby and Kate Nickleby, all standing on shaped bases, titled to the front beneath gilt moulded scrolls, each inscribed to the reverse with ‘Published June 15 1839 by Ridgway & Robey, Hanley, Staffordshire Potteries’, some faults, 22cm max. (4) £500-800 Provenance: from a private collection. Purchased from Andrew Dando in 2009.

385. Three Royal Doulton figures, 20th century, the earliest of William Sydney Penley in his role as ‘Babbs’ in Charley’s Aunt, wearing a white shawl over a black dress and raised on a titled octagonal base, one of Uriah Heap standing beside a stack of books, the last of Sairey Gamp, holding an umbrella and red spotted handkerchief, printed marks, 19.5cm max. (3) £100-200

386. A matched pair of Staffordshire porcelain figures from Charles Dickens, c.1835-40, of Mr Pickwick and Sam Weller from The Pickwick Papers, the former wearing a blue coat over a patterned waistcoat and purple breeches, the latter polishing boots, both raised on low shaped green bases with gilt scroll highlights, some restoration to the black arms and hat of Weller, 20cm. (2) £150-250

Provenance: from a private collection. The figure of W S Penley purchased from The Collector, Marylebone in 1995.

Provenance: from a private collection. Sam Weller purchased from John Howard at Olympia in 2005, Mr Pickwick purchased from Andrew Dando in 2010.

W S Penley’s starring role in Charley’s Aunt began at London’s Royalty Theatre in 1892, transferring to The Globe (now the Gielgud) the following year and achieving a record-breaking run of 1,466 performances. The first figure was made especially for the playwright, Brandon Thomas, but entered general production at Doulton in 1914.

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387. A pair of Enoch Wood pearlware theatrical figures, c.1830, of John Liston in two of his comic roles, one as Sam Swipes from Exchange No Robbery, the square base inscribed ‘No! am I a Gentleman? Upon your Soul tho’ Mother’, the other as Van Dunder from T’would Puzzle a Conjuror, dressed in comical Elizabethan costume and holding a scroll, the base inscribed ‘Read it indeed! that’s very easily said, read it!’, impressed numbers, some good restoration, 18.5cm max. (2) £250-350 Provenance: from a private collection. Sam Swipes purchased from John Hall, SW7 in 1977. Van Dunder from Andrew Dando in 2005.

388. A Rockingham porcelain theatrical figure, c.1826-30, of John Liston in his role as Lubin Log, carrying a green umbrella and white hatbox, his left hand outstretched to deposit a coin, well wrapped up against the cold, raised on a flat oval base with gilt edge, incised No 11, a small amount of good restoration, 17.5cm. £150-250 Provenance: from a private collection. Purchased from Bryan Bowden, Doncaster, in 1988.

Liston first played the character of Lubin Log in James Kenney’s Love, Law and Physic at the Covent Garden Theatre in 1812. This figure is copied directly from a contemporary engraving of Liston in the role.

389. A pair of Enoch Wood pearlware theatrical figures of John Liston, c.1830, in two of his most famous comic roles, one as Paul Pry, the other as Lubin Log, similarly dressed for each role in striped breeches beneath a burgundy jacket, wearing a yellow top hat and gloves, raised on rectangular bases, some restoration, 15.2cm. (2) £200-300 Provenance: from a private collection. Purchased from Andrew Dando, Bradford on Avon in 2005.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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390. Two English porcelain theatrical figures, c.1830, one Rockingham and depicting Maria Foote as Arinette from The Little Jockey, wearing a green coat over white breeches, her right arm raised, the other Chamberlain’s Worcester and depicting Madame Vestris in The Broom Girl, each raised on circular bases with gilt line edges, script mark to the Chamberlain’s figure, the brooms and whip lacking, 16cm max. (2) £100-200

391. A rare Staffordshire pearlware theatrical character jug, c.1825-30, possibly Rockingham, modelled as John Liston in his role as Paul Pry, wearing a yellow top hat impressed with his famous line ‘Hope I Don’t Intrude’, some good restoration to the hat, 13.8cm. £200-300 Provenance: from a private collection. Purchased from B & T Thorn, Budleigh Salterton, in 1981.

Provenance: from a private collection. Mme Vestris purchased from Stockspring Antiques in 2004.

392. A pair of Derby figures of street traders, c.1820, one of a lady selling trinkets from a box, the other of a gentleman demonstrating a carriage clock, with a further clock strapped to his back, and a Samuel Alcock figure of a fruit seller, standing beside a basket of berries and holding a set of scales, raised on a shaped base, some restoration to the lady, 12.3cm max. (3) £250-350 Provenance: from a private collection. Purchased from Andrew Dando, Bradford on Avon, in 2007.

394. A pair of Staffordshire porcelain figures of Turkish musicians, c.1835-40, probably Dudson, he wearing a turban and playing the violin, his companion with a feathered turban and dancing to his music, raised on square green bases with gilt edges, red number 46 to one, small restorations, 17.6cm max. (2) £100-200 Provenance: from a private collection. Purchased from Andrew Dando, Bradford on Avon, in 2006.

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393. Two English porcelain theatrical figures, c.1765 and c.1836, the earlier a Derby figure of a child dressed as Harlequin, wearing a chequered costume and standing before flowering bocage, the other a Lloyds of Shelton figure of Thomas Dartmouth ‘Daddy’ Rice in his guise of Jim Crow, minor damages, 12.3cm max. (2) £100-200 Provenance: from a private collection. The Harlequin purchased from Stockspring Antiques in 1987, the figure of Jim Crow from OliverSutton Antiques in 1985.

395. A pair of Staffordshire porcelain figures of street traders, c.1830-40, one of a female fish seller with a bowl of her wares resting on her head, the other of a man with his wares in a sack, calling his cries to his customers, a Staffordshire pottery figure of J H Hackett in his role as Falstaff, and another of a pair of musicians forming a spill vase group, 28.5cm. (4) £100-200 Provenance: from a private collection. The street traders purchased from Christie’s in 2004, Falstaff in 1991.

END OF COLLECTION

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396. A large Copeland Parian figure group, c.1874, ‘The Sleep of Sorrow, The Dream of Joy’, after the sculpture by Rafaelle Monti, the veiled naked figure of Joy rising above the sleeping figure of Sorrow with arms outstretched, impressed Copeland and Crystal Palace Art Union, 48.5cm high. £1,200-1,500 This figure is a direct copy of the marble sculpture made by Monti for the 1862 London Exhibition.

397. A Vienna-style clock figure, 19th/early 20th century, modelled with a Classical maiden seated above a small clock face, raised on an oval base on four gilt metal feet, blue shield mark, 22cm. £100-200

398. A Russian porcelain figure of a dog, 19th century, Popov factory, seated on its haunches and panting with an open mouth, its coat splashed with brown patches, impressed mark, 19.5cm high. £800-1,000 396

397 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

398

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399. A Vienna white-glazed figure of a washerwoman, c.1740, her washboard strapped to her back, and carrying a small basket of linen, impressed shield mark, some chipping and losses, 15.8cm. £80-120

400. A Continental porcelain figure of a print seller, 19th century, the rustic lady with a sheaf of prints suspended from a blue strap around her neck, raised on a circular base, impressed 6P mark, a little restoration to her right hand, 16cm. £150-200

401. A Meissen figure of fish seller, c.1745, modelled as a young girl, with two fish held in her apron, with more of her catch in a tub behind her, raised on a square base applied with flowers, blue crossed swords mark, some chipping, 11.5cm. £100-200 402. A Höchst figure of a boy, c.1770, holding a green cage in his left hand, his right holding a travelling sack on a stick over his right shoulder, a Ludwigsburg white-glazed figure of a woodcutter, modelled by Johann Jacob Louis, and a pair of Continental porcelain busts of Classical women, perhaps Italian, each raised on a low socle, some damages, 16.3cm max. (4) £100-200 Old paper collector’s label titled ‘Modele 4426’ to the Höchst figure.

402

403

403. A pair of Berlin sweetmeat figures, 19th century, modelled as a lady and her companion each holding grapevine and other fruits and flowers, standing before an oval basket painted with flowers and raised on a triangular scrolled base, blue sceptre marks, some damages, 22.2cm. (2) £100-200 404. 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) £150-200 405. A French biscuit porcelain sweetmeat figure, late 18th century, modelled as a monkey riding on the back of a large dog with empty panniers strapped to his back, the monkey eating fruit from an upturned hat, raised on an oval base applied with flowers, 12cm high. £100-150

404

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405

Cf. The Cleveland Museum, No.1953-269 for a similar glazed Mennecy figure.

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406. A Sèvres biscuit porcelain bust of Marie Antoinette, c.1780, modelled after Antoine-Denis Chaudet with her head turned slightly to the right, draped in a robe in the Classical manner, raised on a circular socle, incised interlaced LL mark and ‘Chaudet’, broken and restuck, 34cm. £100-200

407. A Sèvres bisque porcelain figure of Le Porteur d’Oiseaux, c.1780, a boy barefoot and holding a small bird in each hand, a basket of grapes and other fruit open beside him, incised ‘cn’ to the underside, minor damages, 21.5cm. £200-300

406

407

408

409

410

411

408. A Meissen group of swans, late 19th/early 20th century, modelled as a mute swan standing with wings partly stretched, a cygnet perched on its back, another peeping out from between its parent’s feet, raised on a low pad base, blue crossed swords mark, 12cm. £200-300

409. A Meissen sweetmeat figure, 2nd half 18th century, modelled as a scantily clad recumbent maiden holding the sides of a large basket and raised on a shaped, flat base, blue crossed swords mark, some faults, 18.5cm. £150-250

410. A large Berlin figure group of Mars and History, late 18th/early 19th century, modelled by W C Meyer, Mars seated on a square block draped with a lion skin, holding his shield behind him, History standing above him holding a book and feather quill, Mars with his right arm around her hips, left in the white, raised on a circular base, blue sceptre mark, 47cm. £500-800

411. A Meissen three-branch candelabra, 19th century, the scrolled stem painted with birds and applied with flowers, between the three branches a figure seated and holding an apple, blue crossed swords mark, 35cm. £200-300

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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412. A pair of Paris porcelain flasks and stoppers, 19th century, of octagonal form, painted with panels of chinoiserie figures alternating with panels of birds perched beneath fringed hangings reserved on a green ground, the shoulders with gilt and puce decoration, turned upwards to emulate a pagoda roof, the stoppers formed as chinoiserie figures, small damages, 21.5cm. (4) £100-200

413. A large Sèvres-style two-handled jardinière, 19th century, well painted with a continuous garland of flowers reserved on a dark blue ground, raised on a low circular foot, overglaze mark of ‘Sevres y’, two rim cracks, 18cm. £200-300

414. A pair of Sèvres vases, c.1920, simply decorated with continuous bands of wisteria with white enamelled flowers and gilt foliage, all on a deep mazarin blue ground, printed marks, signed beneath for R Sivault and R Jeandot, a short rim crack to one, 20.8cm. (2) £200-300

415. A Fürstenberg vase or pastille burner, late 18th century, the rounded urn raised on the tails of three dolphins on a shaped triangular base, the shoulder applied with berried garlands supported by small masks, blue F mark, the cover lacking, 14.5cm. £100-200

416. A pair of Samson Chantilly-style vases, late 19th century, the flattened moulded forms painted in the Kakiemon palette, with two scenes of long-tailed birds on and above flowering prunus branches, one side with a squirrel scampering around the base, red horn marks, both drilled, 27.8cm. (2) £100-200

417. A Doccia coffee pot and cover, c.1770, painted with sprays of European flowers including rose and tulip, the spout moulded as a mythical beast, picked out with puce scrollwork, some damages, 21.5cm. (2) £150-200

418. A pair of Meissen-style candlesticks, late 19th century, of faceted form, applied with crowned armorial shields and painted with sprays of Kakiemon flowers, pseudo blue crossed swords and star marks, 24cm.

(2) £80-120

419. A Paris porcelain tureen with cover and stand, late 18th/early 19th century, of circular form, painted with leafy swags suspended from tied red ribbons, with small gilt foliate motifs, one handle restored, 23cm. (3) £150-200

420. A pair of Berlin pot pourri vases and covers, 19th century, the ovoid forms painted with birds perched on low branches between moulded leaf sprays, the shoulders pierced with a band of shaped holes above bearded mask handles, the covers surmounted with a putto holding a bird, blue sceptre marks, some damages and repairs, 34cm. (4) £200-300

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421. Six Jacob Petit botanical plates, mid 19th century, each boldly painted with a floral specimen on a white ground, the moulded rims picked out in gilt, underglaze blue marks, 23.5cm. (6) £150-250

422. A Russian porcelain Soviet era part tea service, c.1930, decorated with small white and black flowers on a bright orange red ground within shaped black borders, printed Moscow marks. Comprising: a teapot and cover, a milk jug, a sucrier and cover, five plates, five saucers and five cups.

(20) £600-800 Some pieces with original paper retail labels.

423. A Vienna dessert plate, late 18th century, painted with a spray of colourful European flowers, the scallop-edged rim with osier moulding and a continuous gilt foliate design, blue shield mark, 22cm. £100-200

424. A Tournai blue and white plate, c.1780, painted with the Ronda pattern of prunus and peony issuing from low rockwork, the rim with four sprays of Oriental flowers, blue crossed swords and + mark, 24cm. £100-150

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

425. A Niderviller plate, late 18th century, painted with two figures in a rural landscape with rustic buildings, with three scattered flying insects, gilt line rim, blue N. mark, 24.3cm. £100-200 Cf. Victoria and Albert Museum, Accession No. c.9-1922 for a plate from the same service.

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426. A Meissen câchepot, c.1760, the waisted body lightly fluted and finely painted with bold sprays of deutscheBlumen, the scroll handles picked out in green and gilt, blue crossed swords mark, 12.5cm. £300-500 Provenance: the Luise Hofmann Collection.

427. A pair of Meissen vases or urns, mid 18th century, the fluted sides moulded with flowers, painted with flower sprays in puce and green camaieu, with shell handles, blue crossed sword and dot marks, 24cm. (2) £800-1,200

428. A rare Capodimonte soup tureen and cover, c.1755, possibly modelled by Giuseppe Gricci, the deep U-shape form lightly moulded with vertical panels and a band of horizontal ribs, applied with enamelled fruiting grapevine, gilt highlights, some damages and restoration, 33cm. (2) £300-400 Cf. Christie’s, 29th November 2011, lot 69 for a wine cooler with remarkably similar decoration and moulding.

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429. A Sèvres ecuelle with cover and stand, 2nd half 19th century, painted with interlocking garlands of flowers enclosing gilt diaper panels within stylized foliate motifs, cancelled marks, 22.8cm. (3) £200-300

430. A Paris porcelain teapot and cover, late 18th/early 19th century, painted in purple monochrome with fables after Jean de La Fontaine, one side with the Monkey and the Cat, the other with the Town Rat and the Country Rat, the cover painted with running dogs, a little chipping, 23.5cm across. (2) £150-200

431. A Du Paquier teabowl and saucer, c.1725-30, painted in sepia monochrome, the saucer with a gibbet beside buildings in a harbour, the underside with three flower sprays, the teabowl with two figures conversing in a continuous landscape, within a gilt line rim, damages, 12.6cm. (2) £100-200

432. Two Meissen butter curlers or spoons, mid 18th century, the curved bowls with a serrated surface, one painted to the reverse with small sprigs of deutscheBlumen within a puce border garlanded with leaves and further flowers, the other with sprays of indianischeBlumen, the scrolled edge highlighted in gilt, the latter restored through the stem 15.3cm max. (2) £400-600

433. A Frankenthal oval tureen with cover and stand, c.1765, with osier moulded borders, finely painted with large sprays of European flowers, the cover surmounted with a lemon finial, blue crowned CT mark, 24.7cm. (3) £400-600

434. A Meissen tureen and cover for the Turkish market, c.17801800, the flattened circular form painted with spiral panels of flowers alternating with bold orange stripes, surmounted with a lemon finial, with further bold sprays of flowers to the interior, blue crossed swords and star mark for the Marcolini period, 20.8cm dia. (2) £100-150

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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435. A Sèvres ormolu-mounted dish, date code for 1766, painted with a young girl leaning against a low wall between rose bushes, within a bleu celeste border, interlaced LL mark and painter’s mark for Bulidon, and an ormolu-mounted inkstand set with a quatrefoil plaque painted with a putto, and two inkwells painted with birds, 32cm max. (2) £200-300

436. A pair of Sèvres-style cylindrical vases, 19th century, decorated with garlands of flowers and a wide pink band behind pierced ormolu mounts, pseudo blue interlaced LL marks, and a Meissen style ormolumounted bowl and cover, painted with panels of courting couples and other figures within gilt scroll cartouches, amidst scattered flowers, the cover broken and restored, 20.5cm max. (4) £80-120

437. A French porcelain ormolu-mounted toilet pot and cover, 18th century, painted in the Sèvres manner with a sheep wearing a blue ribbon, recumbent beside a basket and a pink hat, the reverse with birds in flight, sitting into an ormolu base with term feet, the cover surmounted with a monkey finial, disguised interlaced LL mark, 16.5cm. (3) £200-300

438. A Sèvres style ormolu-mounted jardinière, 19th century, painted to one side with two putti garlanded with flowers, the reverse with a large panel of flowers, reserved on a turquoise ground, mounted to the rim and foot with elaborate gilt metal scrollwork, and a quatrefoil stand with similar decoration, mounted on an ormolu base, 41.5cm max. (2) £200-300

439. A Sèvres style câchepot, 19th century, mounted as a lamp, painted to one side with two children squabbling over fruit, the reverse with a panel of flowers, all reserved on a turquoise ground, with gilt metal mounts turning it into a lamp, and a Paris porcelain tripod stand with floral panels, 45.5cm max. (2) £200-300

440. A pair of Naples porcelain portrait plaques, 19th century, in the Doccia manner, decorated in high relief with profile portraits of Louis XVI and Marie-Antoinette, within embossed borders of floral panels, and a Doccia style plate with a moulded scene of Classical figures in a landscape, crowned N marks in blue, 35.7cm max. (3) £100-200

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441

442

443

444

441. A Vienna-style vase with cover and stand, 19th century, painted with Cupid spying on two maidens with quivers of arrows, reserved on a rich ground of coloured panels with formal gilt designs, the shoulders with swan head handles, raised on a square base, blue pseudo shield mark, the cover broken and repaired, 30.5cm. (3) £80-120 442. A Vienna jug and cover, 2nd half 18th century, modelled in the Neoclassical manner as a figure wearing a plumed helmet, holding the scrolled ends of the tall handle formed of two snakes, restoration to the cover, 21.5cm. (2) £500-800 443. A Paris porcelain two-handled vase, 19th century, of campana form, painted to one side with a gentleman in a bicorn hat, holding the hand of a rustic girl in a white apron, the reverse with a landscape, reserved on a green ground, some gilt wear, 28.5cm. £80-120 444. A Continental porcelain pot pourri vase and cover, 19th century, painted with a continuous scene of a stag hunt, with two figures on horseback holding falcons while dogs run on ahead, the shoulder and cover pierced with a flowerhead design picked out in pink, turquoise and gilt, raised on an ormolu tripod base, some restoration, 35.5cm. (2) £80-120

445. A Paris porcelain (Nast) ecuelle with cover and stand, late 18th century, painted with panels containing vases of flowers resting on a table top, within stylized gilt formal borders, printed NAST to the stand, 19cm. (3) £300-400 Cf. Régine de Plinval de Guillebon, Porcelaine et Faïence de, Paris du XVIIIe au XIXe siècles, p. 172, Fig.161 for a jug with similar decoration.

446. A Paris (La Courtille) porcelain covered jug, late 18th/early 19th century, decorated with small gilt sprigs beneath a continuous band of blue and red flowers, blue crossed arrows mark, and a Nast breakfast cup and saucer, the generous form with a wide blue band within a delicate gilt grapevine border, printed mark, some faults, 16.5cm max. (4) £100-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

447. A Wegely teapot and associated cover, c.1755-57, painted in underglaze blue with a version of the Strawflower pattern, blue W mark, the cover fitted with a gilt metal finial and overhead handle, and a Meissen plate, moulded in the Gotzkowsky manner and painted with floral specimens, 24.2cm max. (3) £150-250 Cf. The Victoria and Albert Museum, Accession No. 137 to A.1872 for an identical example of the Wegely teapot.

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448. A Meissen coffee can, c.1780-1800, painted with a single botanical flower specimen in an oval gilt panel reserved on a dark blue ground, with an angular scroll handle, blue crossed swords and star mark for the Marcolini period, 7cm high. £100-150

449. A pair of Continental porcelain cutlery handles, late 18th century, possibly Vienna, of pistol grip shape, finely painted in polychrome enamels with sprays of flowers including rose, narciussus and tulip, among scattered moths and other insects, with a gilt-coloured metal knife blade and threepronged fork with 19th century French marks, 21cm max. (2) £100-200

450. A Continental porcelain coffee can, late 18th century, painted with a sepia portrait of George III within a gilt octagonal panel on a blue ground with gilded striations, blue X mark to the footrim, 6.2cm high. £100-200

451. A Meissen cup and saucer, c.1760, the saucer painted with two European figures seated either side of an upturned barrel, the cup with a couple holding wicker baskets, a church visible in the distance beneath tall trees, blue crossed swords mark, 13.5cm. (2) £100-200

452. A Samson porcelain tea canister, late 19th century, the rectangular form painted in the Chinese famille verte manner with confronting cockerels amidst flowering branches, 8.2cm high. £50-80

453. A pair of Saint Cloud porcelain knife handles, c.1740-50, painted in underglaze blue with a formal tassel border, later enamelled in red and gilt with sympathetic additions, 25cm overall. (2) £100-150

454. Four Chinese custard cups and covers, 18th century, painted with colourful sprays of European flowers, the covers with gilded fruit finials, minor damages, 8.5cm high. (8) £150-250

455. A Doccia two-handled ecuelle, c.175060, brightly enamelled with flower sprays including pink rose and blue convolvulus, the scroll handles with gilt highlights, the cover lacking, 16.5cm. £100-200

456. A Meissen teapot and associated cover, c.1745, the baluster form fluted and moulded with a band of basketweave to the rim, finely painted with deutscheBlumen and scattered insects, the spout formed as a mythical beast, blue crossed swords mark, the cover seemingly from another piece in the same service, 19cm. (2) £100-200

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457. Two Sèvres miniature coffee cans and saucers, 2nd half 18th century, one painted with blue flower sprigs on a white ground, the other with exotic birds in flight within gilt foliate borders on a bleu celeste ground, and a miniature Sèvres cup and saucer painted with landscape panels, blue interlaced LL marks, some damages, 10.5cm max. (6) £300-500

458. A Ludwigsburg basket, c.1780, the circular form pierced to the sides and painted to the interior well with a spray of pink roses and tulips, the exterior with tiny scattered flower sprigs, impressed IP3, 20.6cm dia. £100-200

459. A pair of Chinese porcelain custard cups and covers, 2nd half 18th century, the rounded bodies painted for the European market with small sprays of fruit and flowers beneath a continuous stylized floral border in green and pink, 9cm high. (4) £200-300

460. A Meissen pot pourri vase and cover, 19th century, the ovoid form applied to two sides with a mask of Medusa, the handles formed as entwined snakes, the pierced cover with acanthus leaves, raised on a square foot, cancelled crossed swords mark, a little chipping, 29.5cm. (2) £250-350

461. A Royal Copenhagen plate from the Flora Danica service, 20th century, painted with a botanical specimen of Hypochaeris maculata L. (commonly known as Spotted Cat’s Ear), titled in Latin to the reverse, within a jagged gilt and pink border, printed mark and three wave mark, 25.7cm. £100-200

462. A Rauenstein (Thuringia) coffee pot and cover, late 18th century, boldly enamelled with two crossed cornucopia containing rose, tulip and other flowers on a tightly ribbed ground, puce Rn mark to the underside, the handle broken and riveted, 28.5cm. (2) £100-150

463. A Vienna rectangular tray and a footed bowl, c.1770-90, the tray painted with monogrammed initials and a continuous leafy border, with a reticulated swagged rim, the comport pierced with a scale design, with a green leaf border and green highlights, blue shield marks, and a Meissen plate painted with moths and insects around a cut pear and blue convolvulus, blue crossed swords mark, small damages, 33.5cm max. (3) £200-300

464. Four Paris porcelain plates, 19th century, each well decorated with gilt monogrammed initials within an oval cartouche suspended from a tied blue ribbon, the shaped rim with a gilt and blue band and gilt dentil rim, some wear, 22.3cm. (4) £100-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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465. A Paris porcelain custard cup set, 19th century, a shaped oval tray set with nine custard cups or pots à jus and covers, simply decorated with blue and gilt bands, the covers with fruit finials, one cover broken and restuck, 39cm. £250-350

466. Two Saint Cloud trembleuse saucers, c.1725-30, moulded with flutes and painted in blue, one with formal floral motifs, the other with small floral panels on a hatched diaper ground, and a Mennecy coffee cup and saucer, c.1770, painted with sprays of polychrome flowers, incised DV mark to the latter, some faults, 14cm max. (4) £250-350

467. Two pairs of Meissen plates, 19th century, painted probably outside the factory with scenes of colourful birds perched on low branches with butterflies and other scattered insects around, cancelled blue crossed swords marks, 24.7cm max. (4) £150-250

468. A Paris porcelain dish and a plate, 19th century, the dish or stand of chamfered square form, painted with rural figures around a central gilt foliate roundel, the plate painted with a basket of European flowers resting on a marble shelf, a little stacking wear, 28.5cm max.

(2) £100-200

469. Two Vienna small boxes and covers, c.1760-70, the rococo scrolled forms highlighted with feathered puce decoration and painted with scattered European flowers, impressed shield and P marks, and a Chantilly-style quatrefoil bowl, decorated in the Kakiemon palette with prunus and other sprays of Oriental flowers around scattered insects, red hunting horn mark, some damages to the boxes, 17.5cm max. (5) £100-200

470. Four Paris porcelain coffee cans and saucers, early 19th century, two Nast and painted with a continuous cornflower band, another painted with cornflower sprigs, the last with a band of green and gilt ovals with a gilded garland, some damages, 12.7cm. (8) £100-200

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471. A pair of Chinese rosewater sprinklers, 18th century, painted in the famille verte palette with tied auspicious objects and censers, a Chinese Imari plate painted with birds in flowering branches, and a coffee cup painted with pink peony sprays, some faults, the sprinklers reduced, 22.8cm max. (4) £150-250

472. A pair of Chinese porcelain plates after Meissen, mid 18th century, each painted with a shaped panel containing a figure on horseback riding away from a building, and two other figures armed with swords and javelins, within laub und bandelwerk type borders, the rims with a formal foliate design in red, blue and gilt, 22.7cm. (2) £200-300

473. A Chinese porcelain Dutch-decorated bowl, 1st half 18th century, later painted in Holland with the ‘Cherry Picker’ pattern, a man in a windswept coat and black breeches standing on a ladder and picking fruit from heavy laden branches, two Chinese coffee cups and a teapot stand, later enamelled with the Stag Hunt pattern, a Dutch-decorated Chinese coffee can with sepia figures in the Du Paquier manner, and another later enamelled with peony over the original underglaze blue decoration, 14.7cm max. (6) £150-250 Provenance: the bowl from the Helen Espir Collection, no. 344. The other pieces from the reference collection of Geoffrey Godden.

The Cherry Picker, or Apple Picker, pattern is discussed in European Decoration on Oriental Porcelain, pp.165-166. Traditionally thought to be merely an erotic allusion to stolen fruit, credence has also been given to a theory that the fruit in the tree is actually oranges, and the young couple William and Anne enjoying the early years of their marriage.

474. Two Chinese porcelain bowls, 18th/19th century, one decorated in underglaze blue with crabs beside lotus, four character Kangxi mark but later, the other in pink on a pink ground with floral roundels and sprays, Qianlong seal mark but later, some faults, 20cm max. (2) £100-200

475. A Mennecy white-glazed chocolate cup with cover and stand, c.1750, applied with sprigs of flowering prunus, incised DV mark to the cup, the cover with a silver mount, two Chinese porcelain libation cups applied with prunus and magnolia, and a cinquefoil teapot applied with prunus, some damages and replacements, 15.8cm max. (7) £150-250

476. A Chinese porcelain teapot and a tea canister, 18th century, both probably decorated in Europe, with fine arrangements of flowers amidst scattered butterflies and other insects, each with an associated Chinese porcelain cover, some damages and repairs, 18.5cm max. (4) £80-120

477. A study collection of porcelain teabowls and saucers, most 18th century, including a Chinese blue and white teabowl from the Ca Mau cargo, a Chinese teabowl and two saucers, later enamelled to imitate the Queen Charlotte pattern, two moulded Chinese saucers in the Kakiemon palette, a Worcester Warmstry-fluted teabowl in the Kakiemon palette, a Meissen saucer painted with flowers, two Doccia saucers with moulded decoration, a similar coffee cup, a Chinese cup and saucer with floral decoration, a teabowl painted with European figures, and an English saucer, perhaps Baddeley-Littler, painted with Chinese figures, some damages, 13.5cm max. (16) £150-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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478. A Chinese porcelain dish, Kangxi 1662-1722, the well painted in the famille verte palette with a Chinese lady holding a fan and standing before an ornamental fence, the lobed rim with panels of flowers, vases and foliate scrolls, 22.6cm. £1,000-1,500

479. A small Chelsea plate or dish, c.1755, of ten-sided form, painted in the Kakiemon palette with a peacock perched on a pine branch, another in flight above a branch of flowering prunus, within a continuous floral rim in red and gilt, 18cm. £300-400

This design was copied almost exactly by the Bow porcelain factory.

480. A Chelsea dessert dish, c.1758-60, of kidney shape, painted with three large colourful birds perched on branches and rockwork, brown line rim, brown anchor mark, a short rim crack, 28cm. £100-200

481. An early Derby partridge tureen and cover, c.1750-55, left in the white, the bird modelled with its head turned to the right, the base applied with a band of sieved clay to form the nest, some good restoration to the base, 12cm across. (2) £500-800 Cf. H Gilbert Bradley, Derby Porcelain, pl.41 for a similar example on a leaf stand.

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482. A Worcester coffee cup and two saucers, c.1770, decorated with the Gold Queen’s pattern, blue crossed swords and 9 marks, and a Chinese porcelain export coffee cup in the original design, some gilt wear, 13.2cm. (4) £100-200

483. Three English porcelain jugs, 2nd half 18th century, one Chelsea-Derby and painted with spirals of gilt and pink beading entwined with leaves, one Worcester and painted with gilt and blue flower sprays, the last probably Liverpool and printed in underglaze blue with the Fisherman pattern, and a Worcester plate painted in the Kakiemon palette with long— tailed birds amidst flowering branches, some damages, 19.6cm max. (4) £100-200

484. Two Worcester dessert plates and a coffee cup and saucer, late 18th/early 19th century, richly decorated in the Queen Charlotte pattern with spiralling stripes of stylized flowers in an Imari palette, incised B mark for Barr to the plates, the cup and saucer with square seal marks, 19.4cm max.

(4) £100-200

485. Three Worcester plates, late 18th century, one decorated with a Fan pattern in the Japanese manner, another with panels of European flowers reserved on a blue scale ground, the last painted in an extended Imari palette with the Pavilion pattern, and a hexagonal spoon tray with panels of Kakiemon flowers on a blue scale ground, blue square seal marks and pseudo script marks, 19.5cm max. (4) £200-300

486. A Worcester teapot and cover, c.1780, brightly enamelled with scattered sprigs of flowers within delicate iron red borders, a pair of John Pennington (Liverpool) teabowls painted with simple floral arrangements, and a finely potted Worcester saucer with a large spray of European flowers, small chips to the saucer, 19.8cm max. (5) £150-250

487. A Barr Worcester shell dish or stand, c.1800, the fluted form decorated with the Queen Charlotte pattern, a Worcester saucer dish painted with panels of Kakiemon flowers reserved on a blue scale ground, a similarly decorated teabowl, and a fluted saucer with a Japan pattern of wide Kakiemon panels and narrow bands, various marks, 21cm max. (4) £100-200

488. A Worcester dessert dish and a creamboat, c.1765-75, the kidney-shaped dish painted with polychrome sprays of European flowers within a brown line rim, the creamboat of dolphin ewer shape and left in the white with a gilt dentil rim, 28.6cm max.

(2) £200-300

489. A Worcester trio and matching plate, c.1775, comprising a teabowl, coffee cup and saucer, of Warmstry fluted form, painted with sprays of flowers in polychrome enamels, blue square seal marks, 18.5cm max. (4) £100-200

490. A large Derby serving dish, c.17951800, the shaped form painted with the Ronda pattern, after Tournai, with gilt highlights, and a Derby sucrier and cover, painted with sprays of polychrome flowers, puce crowned crossed batons and D marks, 39.3cm max. (3) £150-250

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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491. Three Liverpool porcelain coffee cups, c.1770-80, one of cylindrical can form and painted with a spray of flowers, a similarly decorated polychrome cup with a large spray of rose and honeysuckle, the last blue and white and painted in the Cannonball Pattern, together with a matching teabowl, 6.5cm max. (4) £100-200

492. Two English porcelain creamboats, c.1775, one Worcester, one Liverpool, of Low Chelsea Ewer shape, the former painted with flower sprays, the latter with a basket of flowers, and a coffee cup with an unusual large spiky pink flower spray, crowsfoot border to the inside rim, 11.5cm max. (3) £100-200

493. Two Worcester slop bowls, c.1770, one fluted and painted in dry blue with flower sprays, the other with a matching teabowl, painted in shaded monochrome green with scattered sprigs, 15.3cm max. (3) £150-200

494. An early Bow coffee cup and a small mug, c.1752-55, both decorated in famille rose enamels with large peony sprays issuing from holey rockwork, a small rim chip, 6cm. (2) £200-300

495. A pair of English porcelain teabowls and saucers, c.1800, painted in a stylized fashion with sprays of pink roses and other flowers, within narrow shaped pink scale borders, restoration to one saucer, 13.3cm. (4) £100-200

496. A pair of Chelsea-Derby custard cups and covers, c.1770, painted with panels of flower garlands within elaborate gilt cartouches on a deep blue ground, the covers with floral finials, minor damages, 9.3cm. (4) £200-300

497. A Derby basket, c.1760, of deep circular form, moulded and applied with small blue flowerheads, the interior painted with a flower spray, and a small Bow creamboat of low-footed fluted form, brightly painted with flowers, 13.2cm max. (2) £150-250

498. Two English porcelain teabowls and saucers, c.1770-75, one Worcester and painted with small sprigs of Kakiemon type flowers, the other Chelsea-Derby, ogee-moulded and painted with green monochrome flower garlands, 12.6cm max. (4) £150-250

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The Chelsea-Derby saucer with a paper label for the Alixe W. McCart Collection.

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499. A rare Caughley saucer dish, c.1790, with scallop-edged rim, with fine gilt decoration of husks and chains suspended from a fringed and enamelled crescent border, 17.8cm. £100-150

500. Two Worcester sucriers and covers, c.1770, one printed and hand coloured with Classical ruins, and a girl drawing from a well in a garden landscape, the other fluted and painted with scattered flower sprays, damages to the printed example, 13cm max. (4) £150-200

501. A Chelsea-Derby mug, c.1770-80, the globular body rising to a tall, straight reeded neck, painted with polychrome flower sprays and formal gilt motifs on a blue band, blue crowned D mark, 10cm high. £60-80

502. A Chelsea stand or dish, c.1755, with a scalloped edge and well, sparsely decorated with a small flower arrangement and smaller scattered single blooms, brown line rim, a little wear, 24cm. £100-200

503. A Derby teapot and cover, c.1760, the body unusually fluted and painted in the Cotton Stem manner with polychrome flower sprays, and a Chelsea-Derby vase, painted with fancy birds in gilt panels reserved on a green ground, with rococo scroll handles, damages and replacements, 22cm max. (3) £150-200

504. A Worcester teapot, c.1765, brightly painted in the Meissen manner with large sprays of European flowers including pink rose, the rim bordered with pink and red petals alternating with green diaper bands, the spout and handle with puce motifs, the cover lacking, 18cm. £100-200

505. Four English porcelain cutlery handles, c.1760, probably Chelsea, painted with sprays of flowers and single scattered blooms, with a steel knife blade and three four-pronged forks, damages, 23.5cm max overall. (4) £100-150

506. A Worcester hexagonal teapot stand, c.1780, brightly enamelled with a stylized sunburst design in turquoise and blue around a gilt flowerhead and leafy swags, gilt dentil rim, 14.7cm. £120-180

507. A Worcester cup and saucer, c.1775, painted with small formal flower arrangements between puce flower sprigs, within a narrow border of gilt chain and foliate sprays on a rich blue ground, open crescent marks, 13.5cm. (2) £100-150

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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508. A Worcester lozenge-shaped dessert dish, c.1770-75, painted with two large panels of European flowers with smaller panels containing single sprigs, reserved on a blue scale ground, square seal mark, 26.2cm. £200-300

509. A Worcester slop bowl, c.1770, painted with panels of fancy birds perched on the ground between berried branches, and with further small panels of insects, reserved in gilt cartouches on a blue scale ground, square seal mark, 16.7cm dia. £300-400

510. A good Worcester buttertub with cover and stand, c.1762-65, the two-handled circular form painted with panels of polychrome flowers within gilt C scroll borders, reserved on a blue ground within a gilt dentil rim, square seal marks, 15.3cm. (3) £1,200-1,500

511. A Worcester lozenge-shaped dessert dish, c.1770-75, painted with two large panels of European flowers with smaller panels containing single sprigs, reserved on a blue scale ground, square seal mark, 26cm. £200-300

512. A pair of Worcester dessert dishes, c.1762-65, of double leaf shape, painted with fan-shaped panels of flowers reserved on a blue ground with gilt flower sprays, a little restoration to one, 26cm. (2) £500-800

513. Two Chamberlain’s Worcester plates, c.1790, one painted in sepia monochrome with monastic ruins on a hillside, titled in gilt with ‘Baccarah Church on the Rhine’, the other painted by George Davis with a peacock and other fancy birds, within spiral moulded rims decorated with gilt husks and oval designs on blue borders, gilt factory marks, the latter restored, 21.7cm. (2) £100-200

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514. A Derby small vase, c.1758, the ovoid form painted with a panel of birds to one side, the reverse with a figure before a small building, within gilt foliate borders on a blue ground, a short rim crack, 15cm. £200-300 515. A Chelsea two-handled vase and cover, c.1756-58, each side painted with two birds perched on the ground before berried branches, the neck pierced with circles and flowerheads, echoed to the cover, the shoulders with elaborate scroll handles, brown anchor mark, some damages, 22cm. (2) £500-700 516. A Derby frill vase, c.1765, finely painted with moths and other flying insects between applied trailing flowers, the shoulders pierced with shaped panels, the neck with a reticulated band, some damages and restoration, 23cm. £100-200 517. A small Worcester coffee pot and cover, c.1760, painted with polychrome sprays of flowers and smaller scattered sprigs, with puce scroll borders, the finial lacking, 18cm high. (2) £250-350

518. A pair of Derby flower vases, c.1765-68, the rococo scroll forms painted with butterflies and other insects amidst turquoise and gilt scrolls, surmounted with arrangements of small white and yellow flowers, some damages, 20cm. (2) £100-150 Paper labels for Klaber & Klaber, 1992 Exhibition.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

519. A large pair of Derby vases, c.1760-65, of two-handled rococo scroll form, painted with panels of colourful birds perched on and before bare branches, applied with flowers and with tied pink ribbons, the circular feet with simple yellow flowerheads, minor faults, 24.5cm.

(2) £750-1,000

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520. A Chelsea ‘Hans Sloane’ plate, c.1756, painted with a large botanical specimen of a fruiting branch, with scattered insects around, brown line rim, brown anchor mark, a restored crack, 21cm. £300-500

521. A Longton Hall saucer dish, c.1756-58, decorated in the Castle Painter style with a turreted tower beside water with a sailing boat beside, brown line rim, a small chip to the footrim, 20cm. £1,000-1,500 While John Hayfield is often the name put forward as the identity of the Castle Painter, the style is actually known to have been executed by several hands.

Paper labels for the F R Briggs Collection, and for the Tryhorn Collection.

522. A Chelsea ecuelle with cover and stand, c.1755, finely painted with butterflies, moths, insects and a caterpillar, the trembleuse well of the stand with a moth alighted on a spray of flowers, the cover surmounted with a floral finial, red anchor mark, some damages and staining, 19cm. (3) £250-350

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523. A rare Chelsea teacup and saucer, c.1755, of spiral-fluted form, moulded with a band of leaves picked out in green, puce and pale yellow enamels, painted with sprays of English flowers, the cup with a scroll moulded handle, red anchor marks, some restoration, 12.5cm.

(2) £300-500

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524. A Chelsea strawberry leaf sauceboat, c.1755, the twig handle entwined with small fruits and flowers, painted to the exterior and interior with scattered blooms, the feet formed from the strawberry stem, brown line rim, faint red anchor mark, 17.5cm. £200-300

525. A good Worcester strap-moulded sauceboat, c.1755, finely painted in polychrome enamels with panels of flowers, with further flowers echoed to the sides and interior, the foot and handle with puce motifs, 19.5cm. £450-650

526. A Derby inkstand, c.1760, the flat shaped form painted with small flower sprays, the scroll edging highlighted in green, puce and gilt, the raised pen tray with a long cover with a strawberry finial, in front set with a candlestick, pounce pot and inkwell, 22cm across. (4) £900-1,100

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527. A large Worcester mug, c.1768-70, the cylindrical form finely painted with panels of flowers within gilt scroll cartouches reserved on a blue scale ground, square seal mark, 15cm. £800-1,200

528. A Plymouth mug, c.1770, of slender bell shape, painted by ‘Mons Soquoi’ with colourful birds perched on the ground beneath a tall tree, and in flight above flowers, red tin mark, a short restored crack, 14cm. £400-600 Cf. Victoria and Albert Museum, Accession No. 3093-1901 for an identical mug.

These wares are attributed to the French painter, Michael Souquet, who joined Cookworthy’s factory in 1769.

527 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

528

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529. A pair of Samson Chelsea-style dishes, late 19th century, of silver shape, brightly painted with sprays of flowers within a brown and gilt line rim, red anchor marks, 25cm. (2) £100-200

530. A pair of Chelsea scallop-edged plates, c.1756, the wells painted with sprays of English flowers and single scattered sprigs, the rims with panels of colourful birds alternating with osier panels, red anchor mark to one, 21.6cm. (2) £200-300

531. Three Chelsea dishes, c.1756-65, one of lettuce leaf shape and edged in green with a pink stem, red anchor mark, one of oval form, moulded with five panels of flowers with further scattered blooms, the last painted with a lone bird within a shaped peacock feather rim, gold anchor marks, damages and repairs, 34cm max. (3) £250-350

532. Two Worcester dessert plates, c.1770, one painted with exotic birds, the other with flower spirals, within shaped green ground rims, a similarly decorated tall mug with panels of colourful birds, and a milk jug decorated with an allover green glaze, minor faults, the mug probably later enamelled, 21cm max. (4) £250-350 Provenance: the collection of Anthony Tuke.

533. A pair of Chelsea plates, c.1756-58, brightly painted with scattered European flowers within a shaped brown line rim, brown anchor marks, 21.5cm. (2) £300-500

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534. A Chelsea plate and a soup plate, c.1755-58, the plate of Warren Hastings type, the well painted with flowers, the rims with three moulded panels painted with landscapes, red anchor mark, the soup plate of Gotzkowsky type, moulded after Meissen with a central garland of flowers and four moulded panels alternating with painted sprays of flowers, the plate restored, 24cm. (2) £200-300

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535. A pair of Derby rococo scroll vases, c.1760-65, the elaborate scroll forms finely painted with sprays of flowers, the rims applied with further blooms, some chips to the applied flowers, 12.2cm. (2) £150-200

536. A pair of Worcester yellow-ground baskets, c.1770, the interiors boldly painted with polychrome flower sprays, with further blooms to the pierced sides the exterior applied with pink flowerheads reserved on a yellow ground, the twig handles issuing from applied flowers, some restoration to the handles, 17.5cm. £350-500

537. A Chelsea plate, c.1755, moulded in the Gotzkowsky manner with a band of flowers and four floral panels, painted with butterflies and moths, red anchor mark, and a Bristol plate painted with a flower garland suspended from a gilt dentil rim, gold X mark, a star crack to the latter, 24cm max. (2) £150-250

538. Two Chelsea plates, c.1758-60, painted with bold sprays of flowers and smaller scattered sprigs, brown line rims, brown anchor marks, 22.2cm max. (2) £150-250

539. Three Chelsea plates, c.1756, finely painted with arrangements of European flowers and scattered single blooms, brown line rims, red anchor marks, 21.4cm. (3) £200-300

540. A Chelsea octagonal dish, c.1755-56, of elongated form, painted with sprays of European flowers, and with scattered moths and insects in small panels within a moulded flowerhead rim, 32.3cm. £250-350

Two with paper labels for the Frank Arnold collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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541. A Chelsea shallow bowl, c.1756, moulded in the Gotzkowsky manner with a continuous garland of flowers around the well, the rim with four panels, painted with small floral sprays and single scattered sprigs, with flying insects around, 24.3cm. £200-300

542. A Longton Hall leaf dish, c.1755, painted with three floral arrangements amid single scattered blooms, with a green twist handle and brown line rim, a small restored rim chip, 22.2cm. £250-350

543. A Worcester teabowl and saucer, c.1765-70, painted with fanshaped and circular panels of polychrome flowers reserved on a blue ground, with further gilt flower sprays, small red crescent marks, 11.8cm. (2) £100-200

544. A Derby basket, c.1760-65, of circular form with pierced sides, painted to the interior with a spray of flowers, the exterior applied with yellow flowerheads to the intersections, the turquoise ropetwist handles issuing from applied flowers, 17.5cm. £300-400

Provenance: from the collection of Anthony Tuke. Paper label inscribed ‘Mentioned in “The Connoisseur”, October 1927.

545. A Worcester dessert basket, c.1760-65, the flared sides formed from interlocking circles, the interior well painted with a spray of rose and chrysanthemum, the interior rim with puce scrolls, the exterior applied with white flowerheads, 19.5cm dia. £250-350

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546. A rare William Reid (Liverpool) shell salt, c.1756-61, the deep shell dish painted to the interior in red and gilt with flowering branches within a formal diaper border, raised on a pierced base applied with further small shells, 11.5cm across. £2,000-2,500 Provenance: the Watney Collection.

Illustrated: Alan Smith, Some Finds at Liverpool, ECC Transactions, Vol. 7, Pt II, pl. 116a. And Bernard Watney, Liverpool Porcelain, col. pl. 19C. Exhibited: Northern Ceramic Society, Made in Liverpool, 1993, No. 61.

547. A Plymouth shell salt, c.1768-70, left in the white, the large shell supported on a base of further smaller shells and coral, some good restoration, 13cm across. £600-800 Cf. F Severne Mackenna, Cookworthy’s Plymouth and Bristol Porcelain, pl. 35, fig. 57 for an enamelled pair of the same form.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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548. Two Derby figures, c.1780, one of John Milton, leaning against a pillar moulded with figures from Paradise Lost and holding a scroll of the same, the other figure of the Virgin Mary seated on a turquoise chair and holding the Infant Jesus on her knee, raised on a stepped base, some damages and restoration, 27.3cm max. (2) £100-200

549. Three Derby figures, c.1758-1820, one of a fruit picker, carrying a basket of fruit, standing on a scrolled base, his dog seated by his side, the others of musicians, playing the flute and the flageolet, some damages, 22cm max. (3) £400-600

550. A pair of Chelsea figures of harvesters, c.1765, he carrying a keg on a stick slung over one shoulder, she with a sheaf of corn and a flagon suspended on a strap, each raised on low scrolled bases and standing before flowering bocage, gold anchor marks, damages, 19.5cm. (2) £200-300

551. A Derby figure of Neptune, c.1760-65, standing before a colourful dolphin, and holding a trident in his left hand, his right clutching his flowered robe about him, raised on a tall base encrusted with shells and seaweed, some restoration, 25cm. £100-200

552. A Bow candlestick figure, c.1760, of a girl with flowers in her apron, her left arm around a flowering branch which supports a scrolled sconce, and a small Bow figure of a child dressed as Columbine from the Commedia dell’Arte, holding a single flower and a slapstick, raised on a tall scrolled base applied with flowers, some restoration, 24.5cm max. (2) £250-350

553. A Derby figure group of Four Cupids, c.1780-90, standing around an oak tree, with two dogs at their feet, holding arrows and other objects, raised on a tall rocky base, incised ‘No. 257 txt’ and with a triangle, together with a figure of Cupid leaning on his bow, a quiver of arrows on his back, raised on a tall square base, incised ‘No 38’, some restoration, 24cm max. (2) £500-700 The group of Cupids is more commonly seen in biscuit porcelain.

554. Five Derby figures, late 18th/early 19th century, two of putti holding baskets of flowers, one of Cupid in Disguise as a money lender, holding a coin and a small bag, one of a female gardener, the last of a lady holding a basket of flowers and wearing a feathered hat, some damages and restoration, 25.5cm max. (5) £100-200

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555. Five Derby biscuit porcelain figure groups, c.1780-90, including a pair of figures of putti seated beneath trees, one with a dog and the other a bird, incised No.213, another pair of putti, one climbing a tree for a bird’s nest, the other reaching into a basket for fruit, incised No.48, the last emblematic of Music, with a maiden playing the flute above a putto with a violin, incised No.277, some damages, losses and restoration, 24.5cm max. (5) £200-300

556. Two Bow figures of girls, c.1755-65, one holding a basket of flowers and holding the edge of her apron which spills over with further blooms, the other holding a small posy, with a wooden implement in her other hand, red anchor and dagger mark to the latter, some restoration, 16.5cm max. (2) £500-700

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557. Five Bow figures, c.1760-65, a matched pair of candlestick figures of Summer and Autumn, modelled as a lady with a sheaf of corn and a gentleman with grapes, standing beneath a sconce applied with flowers, a figure of Columbine holding a slapstick, one of a huntsman with a dog, the last of a lady in a yellow dress, damages, losses and restoration, 25.5cm max. (5) £400-600

558. Four Bow miniature figures, c.1765-70, two of putti within flowering arbours, one holding a floral wreath, the other seated on a box, raised on shaped quatrefoil bases, another figure of a lady holding a basket of flowers, the last of a Classical maiden raised on a tall marbled base, some damages and restoration, 13cm max. (4) £500-800

559. A pair of Derby candlestick figures of gardeners, c.1765, the gentleman holding a basket of apples, the lady a basket of flowers which spills into her folded apron, each before flowering bocage which supports a sconce and drip pan, small damages, 31cm. (2) £500-800

560. A pair of Derby candlestick figures of Mars and Venus, c.176570, Mars with a cockerel by his side, Venus chastising a putto, each standing before elaborate flowered bocage and beside a pierced scrolling sconce highlighted in puce, turquoise and gilt, tiny chips to the bocage, 20cm. (2) £500-800

561. Two Derby figures, c.1770, of young men wearing an unbuttoned jacket and waistcoat over pale yellow breeches, one holding a barrel under one arm, the other a sheep, both standing before flowering bocage and raised on scrolled bases, some damages, 28.5cm max. (2) £250-350

562. A pair of Derby candlestick figures of a shepherd and his companion, c.1765-68, both standing before flowering bocage, he playing the flageolet and with a dog at his feet, she with an apron full of flowers and fruit, a lamb recumbent at her side, raised on scrolled bases, some small restorations, the sconces replacements, 28.5cm. (2) £500-800

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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563

564 563. Two Bow religious figures, c.1755-60, of a white-glazed abbess, standing and casting her eyes down at the prayer book she holds, her right hand raised to her chest, the other of a seated monk, reading from the gospel of St Luke, a rosary discarded at his feet, some damages and restoration, 17cm max. (2) £400-600

564. An early Bow white-glazed figure of Hope, c.1750-53, from a set of the Virtues, standing and leaning on a square fluted column, draped in a long robe which covers her head, raised on a flat square base, some restoration to her left hand, her anchor lacking, 21cm. £500-800 This model has been attributed to the ‘Muses’ modeller, and was made as a companion for Justice or Faith.

565. A rare Derby confessional figure group, c.1765, modelled with a nun kneeling at the feet of an abbot, possibly depicting St Jerome, and receiving a benediction, a Bible and rosary by her side, raised on a low rocky base, restoration to his right hand, 12.2cm high. £400-600 565

566. A Bow white-glazed figure of an abbess, c.1755, standing with eyes downcast to a book which tumbles from her hands, her right hand clasped to her chest, wearing a flowing habit, a few small chips to her fingers, 16.5cm. £450-650

567. A rare pair of Longton Hall figures of a nun and her novice, c.1755, each seated and reading from a large book, the nun’s titled ‘Of Absolution’, the novice’s ‘Of Purgatory’, their black habits lined in pale pink, a little good restoration, 12.5cm. (2) £850-1,000

Provenance: the Frank Wheeldon Collection.

Cf. Bernard Watney, Longton Hall Porcelain, fig. 57A.

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568. A Derby figure of a seated gentleman, c.1756-58, wearing a flowered jacket and green breeches, seated on a low rectangular base moulded with leaves, chips to his fingers, 12.5cm. £300-400

569. A Derby figure of a lady, c.1756, seated with her hat on her lap, wearing a flowered skirt and pink bodice with green ribbons, holding flowers in her left hand, raised on a rectangular base with scrolling leaf decoration, a chip to the end of her left forefinger, 13.2cm. £700-900

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570. A Longton Hall figure of a girl, c.175357, emblematic of Summer, seated with a garland of flowers in her lap, a further floral circlet on her head, raised on a flat scrolled base with puce highlights, some good restoration, 12cm. £450-650 Cf. Bernard Watney, Longton Hall, pl.34B for a similar figure from the collection of Mr and Mrs Sigmund Katz.

571. A Bow figure of a salt box player, c.1758, seated and resting his instrument on his left knee, wearing a plumed hat and a ruffed collar, the pad base applied with flowers, restoration to the feather in his hat and to his fingers, 12cm. £900-1,200

572. A Bow figure of a piper, c.1756-58, holding his bagpipes under his left arm, wearing a flowered jacket over yellow breeches, a ‘dismal hound’ seated at his feet, some damages, 14cm. £500-700

573. A Bow figure of Summer, c.1760-65, modelled as a lady in a wide-brimmed hat, seated on sheaves of corn and holding out corn ears in her right hand, raised on a tall scrolled base picked out in turquoise and gilt, red anchor and dagger mark, some good restoration to her right arm, 16.3cm. £200-300 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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574 574. A matched set of Derby figures of the French Seasons, c.1775-80, modelled as children emblematic of Spring, Summer, Autumn and Winter, with various attributes, raised on scrolled bases picked out in turquoise and gilt, some faults, 21.5cm max. (4) £400-600 575. A Longton Hall figure of Ceres, c.1755, emblematic of Summer, standing with a putto, holding a sheaf of corn and a sickle, wearing a corn ear diadem and scantily clad in a purple-edged robe, raised on a scrolled base with puce and green highlights, some good restoration, 16.3cm. £600-800 576. A Bow figure of Flora, c.1755-58, standing beside a tall urn of flowers with flowering branches entwining around the base, Flora draped in a yellow robe with flowered lining, some good restoration, 24cm. £500-800 577. A Bow candlestick figure, c.1760-65, emblematic of Summer, modelled as Ceres seated on a stump and supporting a putto on her lap, who in turn holds a scroll supporting a sconce, the wide base applied with flowers, some faults, the sconce a replacement, 31.3cm. £200-300 578. A large Bow figure of Flora, c.1765, draped in a bright patterned robe, standing beside a tall vase of flowers and wearing a floral diadem, raised on a tall scroll base picked out in puce, turquoise and gilt, red anchor and dagger mark, some damages, 27cm. £450-650

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579. A Bow white-glazed figure of a lady, c.1752-54, emblematic of Matrimony, holding a bird cage on one hip, standing beside a wall fountain applied with a mask, a sheep recumbent at her feet, raised on a scroll base, some restoration, 24cm. £600-800

580. A Derby candlestick figure, c.1765, modelled as a lady leaning against flowering bocage, holding a birdcage in her left hand, a sheep recumbent at her feet, wearing a feathered hat and fingerless gloves, some damages and restoration, 31cm. £250-350

581. A Bow figure of Jupiter, c.1755-58, emblematic of Fire, standing beside a rocky stump, a phoenix rising from flames beside him, some faults, 19.5cm. £450-650

582. A Bow figure of Fame, c.1758, blowing a long trumpet, with wings outstretched and her right arm reaching out to balance herself, wearing a laurel wreath diadem and raised on a cloud scroll base, impressed ladder mark, some good restoration, 17.5cm. £500-800

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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583. A pair of Derby figural candlesticks, c.1765, each of Cupid kneeling before flowering bocage, one holding a heart and pointing towards it, the other priming his bow with an arrow to fire towards it, a little restoration, 24.5cm. (2) £300-500

584. Two Derby figures, c.1765-70, one of Spring from the Classical Seasons, modelled as a maiden holding flowers up to her face from a basket resting on the head of a putto, the other of a musical shepherd, playing the flageolet and a tabor suspended from his wrist with a turquoise ribbon, some damages, 25.5cm max. (2) £500-700

585. Two Derby figures of Spring and Autumn, c.1758-60, from the Rustic Seasons series, Spring personified as a dandy holding a basket of flowers and proffering a single bloom, Autumn as a maiden with a basket of grapes, holding a single bunch in her left hand, some restoration, 12cm max. (2) £500-700

586. Two Derby candlestick figures, c.1760-70, one of a floral shepherdess with an apron full of flowers, raised on a scroll base highlighted with pink and gilt, the other of a gentleman standing beside a basket of fruit and holding flowers in his extended left hand, each figure supporting a sconce entwined with flowering stems, some damages and restoration, 25cm max. (2) £250-350

587. A pair of Chelsea candlestick figures of a musical shepherd and his companion, c.1765, he standing and playing the flageolet before a flowering magnolia, his companion with an apron full of flowers before a bocage of flowering apple blossom, he with a dog by his feet, she with a lamb, each raised on a scrolled base, gold anchor mark, some restoration, 26.5cm. (2) £400-600

588. A pair of Bow figures of the New Dancers, c.1758-62, modelled as a boy and girl posed on tall pierced bases with puce, turquoise and gilt highlights, before low flowering bocage, red dagger and anchor marks, small losses, 18.5cm. (2) £700-1,000

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589. A Derby figure of a Turkish dancer, c.1756-58, wearing a puce coat over a wide patterned skirt, her arms in expansive pose, raised on a rectangular base with leaf scrolls, and a Derby candlestick figure of a putto, draped in fruiting grapevine and holding a cup of wine in his left hand, his right supporting the candle sconce above his head, the flared base painted with flowers, small damages and restorations, 22.5cm. (2) £500-800

590. A Bow candlestick figure group, c.1760-65, emblematic of Spring, modelled as Flora with her arms around a sculptural scroll, a putto seated beside with a basket of flowers on his head, the scrollwork picked out in puce, turquoise and gilt, the sconce lacking, 21.5cm. £150-250

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591. A Derby figure of Justice, c.1800, her eyes shut, her left hand poised to hold a set of scales, wearing a turquoise flowered robe, raised on a tall scrolled base picked out in gilt and turquoise, her right arm restored, 31.5cm. £200-300

592. A Derby candlestick group of finches, c.1760-65, modelled as two colourful birds perched among flowering branches, raised on a low scroll base with puce and turquoise highlights, a handle to the back of the figure, some restoration, 24.3cm. £150-250

593. A Longton Hall candlestick figure of a putto, c.1755, seated and draped in a purple robe, leaning against a gnarled branch applied with flowers, supporting a sconce, raised on a footed base, some good restoration, 21.5cm. £450-650

594. Two Bow figures of Ceres and Mercury, c.1765-70, Mercury holding a caduceus and bottle, standing before a trunk resting on bales, a quill and envelope by his feet, the figure of Ceres emblematic of Earth from the Elements series, holding a cornucopia and standing before a recumbent lion, both raised on tall scrolled bases, some restoration to Mercury, 23.5cm max. (2) £500-800 Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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595. A large Bow figure of Ceres, c.1760-65, emblematic of Earth from the Four Elements, standing before a recumbent lion, holding a cornucopia of fruit and flowers, with a single fruit in her extended left hand, raised on a tall scrolled base picked out in puce, blue and gilt, some restoration to the base, 28cm. £450-650

596. A miniature Chelsea figure of a mother and child, c.1753-55, the rustic lady wearing a green headscarf and burgundy cloak which secures her sleeping infant to her back, holding a basket of various goods over one arm and a shopping list in her right hand, red device mark, 10.2cm. £450-650

597. A rare Bow figure of Pedrolino or Pierrot, c.1755, from the Commedia dell’Arte, wearing a yellow costume edged in black pencilled scrolls, his arms outstretched, standing before flowering bocage, 15cm. £1,200-1,500 The figure was first modelled by Reinicke at Meissen, using an engraving by Francois Joullain in Louis Riccobini’s ‘Histoire du Theatre Italien’, published in 1731, and was faithfully copied by Bow.

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598. A rare Bow theatrical figure of Il Capitano, c.1755, from the Commedia dell’Arte series, standing with one hand deep in the pocket of his turquoise waistcoat, his other outstretched, raised on a pad base applied with flowers, a little good restoration, 18.5cm. £1,000-1,500 Cf. A Passion For Porcelain, Brian Haughton Gallery catalogue, p.37 for the same figure holding a scroll in his outstretched hand.

599. A Chelsea candlestick figure group, c.1760, modelled in the Fable manner with a fox and a hen, the fox looking back over his shoulder while the hen struggles beneath his paws, all raised on a scroll base before flowering bocage, a rococo moulded sconce above, gold anchor mark, one ear restored, a little chipping, 22cm. £500-700

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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600. A rare and good New Hall blue and white pickle dish, c.1785, of leaf form, printed with the Gazebo pattern, with an elaborate pagoda on jutting rocks in a Chinese landscape, the rim with a cell border within a serrated edge, 10.1cm £850-1,000

601. A Worcester blue and white pickle leaf dish, c.1755-58, the deep leaf form painted with the Two Peony Rock Bird pattern, a small moulded sprig near the stem, workman’s mark, 11.7cm. £100-200

602. A Derby blue and white butterboat, c.1770, of deep leaf shape, printed with a figure punting a boat across an island landscape, 7.5cm across. £250-350

604. A rare Caughley blue and white artichoke cup, c.1785-93, painted with the Artichoke Bracts pattern of overlapping scales (or bracts), S mark, the cover lacking, a small reglued rim chip, 6cm high. £400-600

605. A Worcester blue and white butterboat, c.1760, the deep form moulded with geranium leaves to the exterior, the interior painted in the Butterboat Mansfield pattern, 9cm across. £150-250

Cf. Geoffrey Godden, New Hall Porcelains, pl.248, p.287.

603. A Worcester blue and white pickle dish, c.1758-60, the simple leaf shape painted with the Rose and Floral Sprays pattern, workman’s mark, 9.8cm. £450-600

Cups of this type were made at Saint Cloud and at Bow, with the bracts moulded rather than just painted.

606. A rare Bow blue and white saucer, c.1760, painted with a bird alighting on a flowering branch above rockwork, within a scalloped border, a little nibbling to the rim, 11.2cm. £200-300

607. A Worcester blue and white pickle dish, c.1758, the scallop shell form painted with the Two Peony Rock Bird pattern, a small bird perched on holey rockwork beneath flowering branches and a flying insect, workman’s mark, 9.2cm. £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1998.

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This shape was made in four different sizes, this being the smallest of the series.

608. A Longton Hall blue and white coffee cup, c.1758, painted with a two-storey pagoda beneath weeping willow in an island landscape, workman’s marks, 6.4cm. £400-600

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609. A Derby blue and white basket, c.1770, painted to the interior with loose sprays of flowers, the scalloped rim with a narrow continuous garland, the exterior with blue edged flowerheads, an extended firing crack, 16.cm across. £100-150

610. An unusual Barr Flight & Barr Worcester ice pail and cover, early 19th century, the urn shape painted with dark blue flowers and leaves, formed with pan masks as handles, impressed BFB mark to the cover, the pedestal with an incised B, the finial broken and restuck, the liner lacking, 28cm. (2). £150-250

611. A Bow small octagonal plate and a flared cup, c.1758-62, decorated with fanshaped panels of Oriental landscapes with cannonball rocks, and small roundels with stylized flowers, reserved on a powdered blue ground, pseudo Chinese script marks, a restored rim section to the plate, 18cm max.

(2) £100-200

612. A rare Worcester cylindrical blue and white mug, c.1775-85, printed with Man Holding a Gun and Man Shooting a Gun, each hunter in a rural landscape and accompanied by a hound, fluted strap handle, hatched crescent mark, a restored rim chip and a small restored chip to the handle, 12cm. £150-250

613. Two Worcester plates, late 18th century, a milk jug and a small bowl, all decorated in the Royal Lily pattern, 24.7cm max. (4) £150-200

614. A Worcester blue and white vase, c.1770, of ovoid form, painted with the Telephone Box pattern of Chinese figures in a garden, open crescent mark, a rim crack, 23.5cm. £100-200

615. Two English porcelain blue and white teabowls and a saucer, c.1770-80, including a Richard Chaffers (Liverpool) teabowl with peony and bamboo beside a fence, a Worcester teabowl printed with fruit sprays, and a Lowestoft saucer painted with a pagoda landscape, 12cm max. (3) £100-150

616. Four Caughley asparagus servers, late 18th century, painted in overglaze blue with a version of the Gillyflower pattern, 7.4cm. (4) £100-200

617. A Caughley blue and white cabbage leaf jug, c.1790, printed with the Fisherman and Cormorant pattern, Sx mark, and a Worcester teabowl and matched saucer printed with the Mother and Child pattern of Chinese figures beside vases of flowers, hatched crescent marks, 18.6cm max. (3) £100-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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618. Three English porcelain blue and white teabowls and saucers, c.1780, one Caughley and printed with the Temple pattern, another with the Birds in Branches pattern, the last Worcester and printed with the European Landscape Group, later gilding to the Temple example, 13.5cm max. (6) £250-350

619. A pair of Bow blue and white cups and saucers, c.1760, with wide bands of reeding enclosed by cell diaper and stiff leaf borders, the saucers with a slight trembleuse and a single peony spray, workman’s marks, minor faults, 12.7cm. (4) £150-250

620. A Worcester blue and white teabowl and saucer, c.1770-80, painted with the Narcissus pattern, a Warmstry fluted Worcester saucer painted with dry blue flower sprigs, a Caughley flared cup with flower sprigs, and a Caughley coffee cup printed with a Chinese pagoda landscape, 12.4cm max. (5) £200-300

621. Two English porcelain blue and white coffee cups, 2nd half 18th century, one Worcester and painted in blue with the Cannonball pattern, the other Richard Chaffers (Liverpool) and painted with a bird perched on a flowering peony branch, and a Worcester saucer painted with the Prunus Root pattern, open crescent marks to the Worcester, 12cm max. (3) £100-200

622. A Caughley blue and white mug, c.1780, printed with the Parrot Pecking Fruit pattern, two Caughley coffee cups painted with the Fisherman and Cormorant pattern, and a small bowl printed with the Temple pattern, various marks, 11cm max. (4) £100-200

623. A large Worcester blue and white punchbowl, c.1770-75, painted with the Rock Strata Island pattern, with a small pagoda perched on a layered island with pine and other trees, open crescent mark, 21cm dia. £100-200

624. Two large Worcester blue and white sauceboats, c.1775, of generous proportion, painted with the Strap Flute Sauceboat Floral pattern, reserved in moulded panels, the rims and spouts with a cell diaper border, open crescent marks, some small faults, 20cm max. (2) £150-250

625. A Worcester blue and white teabowl and saucer, c.1765-70, painted with the Mansfield pattern, and a slop bowl in the same design, open crescent marks, a small filled rim chip to the bowl and teabowl, 15.7cm max. (3) £100-200

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626. A group of Worcester and Caughley blue and white porcelains, c.1775-90, variously decorated with the Immortelle pattern, the Fruit and Wreath pattern, the Island pattern, and other designs. Comprising: a cabbage leaf jug, a tea canister and cover, a milk jug, three teabowls, a coffee cup and a saucer. (9) £150-250

627. A small collection of English blue and white porcelains, 2nd half 18th century, a Worcester tea canister and matching milk jug printed with the Birds in Branches pattern, a larger jug printed with the Three Flowers pattern, a Worcester bowl painted with the Mansfield pattern, two knife handles painted with the Rose and Floral Sprays pattern, a Lowestoft teabowl painted with a pagoda and bridge landscape, and an Imari jug with a bridge between islands, possibly Vauxhall, damages and restoration, 27.5cm max. (8) £200-300

628. A group of Worcester and Caughley blue and white teawares, c.1775-90, printed in the Three Flowers and the Fence patterns.

Comprising: a coffee pot and cover, a teapot and cover, a milk jug, ten teabowls, one coffee cup and five saucers. (21) £200-300

629. Four Flight Worcester supper dishes, c.1790, of curved form, painted with the Royal Lily pattern, a large cup, a small plate and a Barr Worcester cup and saucer decorated in the same pattern, 30.5cm max. (8) £150-250

630. A Worcester blue and white saucer dish, c.1780, printed with the Argument pattern, disguised numeral mark, a slop bowl and a teabowl printed with the Fisherman and Cormorant pattern and with gilded bands to the rims, and a sugar bowl printed with the Fence pattern, hatched crescent marks, 18.5cm max. (4) £100-150

631. A small collection of Worcester and Caughley blue and white porcelains, 2nd half 18th century, including a small Worcester bowl painted with the Landslip pattern, a Caughley miniature teabowl printed in the Fence pattern, a Worcester teabowl and saucer printed with fruit sprays, another printed with the Fruit and Wreath pattern, a pickle dish and a pair of Caughley asparagus servers in the Fisherman and Cormorant pattern, some damages, 12.5cm max. (9) £150-250

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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632. A Bow blue and white sweetmeat stand or pickle dish, c.1765-70, formed as three joined scallop shells, a circular dish rising from a central pillar, all painted with a pagoda landscape scene within a cell diaper border, the stem applied with small shells and coral, raised on three peg feet, 13cm high. £400-600

633. A good pair of Worcester blue and white wall pockets, c.1755-58, of spiral-moulded cornucopia form, painted with the Cornucopia Floral pattern of flowering prunus branches, the rims moulded with a continuous flower garland, workmen’s marks, 22.5cm. (2) £1,200-1,500

Paper label for the Stirling-Lee Collection, Albert Amor Ltd, 1994.

634. A rare Worcester blue and white fingerbowl and stand, c.1756, painted with the Cormorant pattern, the eponymous bird perched on holey rockwork beside a fisherman and a tall flowering peony branch, workman’s marks, 15.3cm. (2) £400-600

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635. A Derby blue and white sauce tureen and cover, c.1765, the quatre-lobed form painted with birds in flight around Chinese buildings, the cover surmounted with a peach finial and applied leaves, some restoration, 15cm. (2) £200-300

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636. A rare Worcester blue and white chamberstick, c.1770, painted with the Chamber Candlestick Florals pattern, the circular drip pan with a scroll moulded and pierced border, the handle moulded with a mask where it meets the dish, two small rim chips, 15cm dia. £600-800

637. An early blue and white pickle dish, c.1749-51, probably Lund’s Bristol or Broad Street, Worcester, of simple leaf form, painted with bamboo behind an ornamental fence, a leaf motif to the top of the stalk, moulded with leaf veins to the underside, 10.3cm. £300-500

638. A rare Worcester blue and white cream jug, c.1755-56, of strap-moulded form, the scrollwork panels painted with the Indian Fisherman pattern, a single figure fishing beneath willow trees, the rim with floral sprays, workman’s mark, minor damages, 9.8cm. £600-800

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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639. A James Pennington (Liverpool) blue and white teabowl and saucer, c.1763-65, of fluted form and moulded with small formal floral motifs reserving the flutes, painted with a continuous floral band, a single flower spray to the centre, a small rim chip, 12cm. (2) £100-200

640. An Isleworth blue and white teabowl and saucer, c.1770, printed with the Plantation pattern after Worcester, within a hatched diaper border, 11.6cm. (2) £800-1,200

641. A Bow blue and white coffee cup and saucer, c.1760, painted with peony and weeping willow issuing from rockwork within a hatched diaper border, some faults, 12.1cm. (2) £200-300

642. A Philip Christian (Liverpool) blue and white teabowl and saucer, c.1770, painted with a small bird perched on a branch of flowering peony, within a hatched diaper border, 12.7cm. (2) £100-150

643. A Worcester blue and white small teabowl and saucer, c.1765-70, painted with the Eloping Bride pattern, the fated couple on horseback being chased by four other figures, pseudo Chinese marks, 10.5cm. (2) £600-800

644. A Worcester miniature blue and white teabowl and saucer, c.1760, painted with the Prunus Root pattern, open crescent marks, 7.3cm. (2) £350-450

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645. A Worcester blue and white coffee pot and cover, c.1760, of finely reeded form, painted with border number 48, open crescent mark, a chip to the end of the spout, 24.7cm. (2) £250-350

646. An English porcelain blue and white teapot and matched cover, c.1770, probably Isleworth, printed with a version of the Fence pattern after Worcester, the cover Lowestoft in the same pattern, hatched crescent mark, minor faults, 17.5cm. (2) £350-450

647. A Worcester blue and white cabbage leaf jug, c.1765-75, printed with flower sprays, with elaborate scroll handle, the spout moulded with a mask, hatched crescent mark, 23.5cm. £80-120

Cf. Bonhams, The Geoffrey Godden Collection of Blue and White Porcelain, 30th June 2010, lot 107 for an identical teapot.

648. A Worcester blue and white leaf dish, c.1765-70, moulded with a double vine leaf, decorated with a spray of rose and tulip with further scattered blooms, open crescent mark, 19.5cm. £200-300

649. A Worcester blue and white sauceboat, c.1760, of Gadroon Boat form, painted with the One-Porter Landscape pattern, a single figure carrying a bundle on a stick across a Chinese landscape, within scroll borders, open crescent mark, 14cm. £400-600

650. A large Worcester blue and white sauceboat, c.1765, decorated with the Strap Flute Sauceboat Floral pattern, with arrangements of flowers within moulded panels, the rim with a cell diaper border, open crescent mark and incised cross mark, 19.5cm. £100-150

651. A Worcester blue and white strap-moulded sauceboat, c.1760, painted with the Fisherman and Billboard Island pattern, the interior with a spray of peony, workman’s mark, some restoration to the spout, 18cm. £150-200

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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THE JOHN PINNICK COLLECTION John Pinnick, a lifelong enthusiast for early English porcelain, built up his collection over five decades. His major love was the porcelain of his home city of Worcester where he was a volunteer guide at the Dyson Perrins Worcester Porcelain Museum for 25 years. There was a family connection; his wife Judith’s great uncles were Reginald and Harold Austin who were admired as artists at the factory in the early 20th Century. However, he took an interest in porcelain in general and this was reflected both within his collection, with examples from many English factories, and with his membership of The Caughley Society and the Northern Ceramics Society.

John was respected for both the depth of knowledge and his willingness to share it with other collectors; he would often give talks or write articles on the subject. In retirement, he bought and sold porcelain from all over the UK and often had a stall at the Malvern Antique Fair or the NEC. For John, the revenues were secondary to meeting fellow collectors, exchanging knowledge and debating the relative merits of a particular piece. He might be as excited by a virtually worthless but historically important fragment of blue and white as he was by his more valuable pieces.

His interest in the history and development of English porcelain was very much connected with his knowledge and love of The Orient. Born in Penang, he lived in Malaysia and Singapore for a large part of his working life. He visited China on several occasions where he was able to see first hand the inspiration behind some of the Blue and White patterns such as The Cormorant and Fisherman pattern produced by some English factories. On his return from China, he produced a number of articles on the chinoiserie theme illustrating them with his own photographs.

John’s other hobbies were athletics, wine and in his later years, gardening and cooking. He graduated in Geography from Oxford University and his career was in managing supermarkets. He was a family man; married to Judith (1939-2001) with four children: Lindsay, Kathryn, David and Sue. His children are hoping his porcelain finds new homes with other collectors.

John Pinnick (1935-2016)

David Pinnick, 2017

652. Four Caughley or Worcester trios and two cups and saucers, late 18th century, two trios decorated with versions of the Gold Queen’s pattern, one spiral-moulded and gilded with the monogram ‘GJH’ within flower sprigs, one fluted with gilt and blue husk garlands, a coffee cup and saucer with similar gilt decoration, and a coffee cup and saucer with cornflower sprigs, 13.5cm max. (16) £100-200

653. A combined Flight Worcester tea service, c.1785-90, the spiralmoulded forms decorated in blue and gilt with small flower sprigs and a narrow formal border, blue crescent marks, some faults. Comprising: a teapot with cover and stand, a sucrier and cover, two milk jugs (one Barr), a slop bowl, two cake plates, four teacups, two teabowls, 13 coffee cups and 13 saucers. (43) £300-500

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

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654. Seventeen Caughley and Worcester coffee cups, c.1780-90, most of fluted form and variously decorated in gilt and mazarin blue with formal floral designs, two with the Gold Queen’s pattern, one Caughley example with an armorial crest, one broken and restuck, 6.5cm. (17) £200-300 Provenance: the John Pinnick Collection.

655. An interesting comparison group of English and Chinese ceramics, most 18th century, including a Chinese plate and two small Worcester plates decorated with the Pinecone pattern, a Chinese plate and a cup and saucer with later European polychrome decoration, two Chinese teabowls, one decorated with the Royal Lily pattern, two Worcester cups and a modern Worcester thimble in the same pattern, a Caughley printed cup and a pearlware cup and stone china plate in the same design, and two Chinese copies of Worcester fluted polychrome coffee cups, some faults, 23.5cm max. (16) £100-200 Provenance: the John Pinnick Collection.

656. Twenty Caughley blue and white coffee cups, c.1780-90, of varying form, printed with patterns including The Temple, Banana Tree, Fruit Sprigs, ZigZag Fence, Three Flowers, Mother and Child, Fisherman, and Birds in Branches, various marks, some with later gilding, 6.5cm max. (20) £200-300 Two with a paper labels for the Edmundson Collection, one exhibited at the Caughley Bicentenary Exhibition at Ironbridge in 1999.

Provenance: the John Pinnick Collection.

658. Two Worcester blue and white small or toy-sized blue and white teabowls and saucers, c.1770-80, printed with the Fence pattern, a Worcester teabowl and saucer in the Immortelles pattern, a Caughley teabowl in the Fence pattern, with two Worcester Fence pattern saucers, and a Caughley teabowl printed with fruit sprays, 10.5cm max. (8) £100-200 Provenance: the John Pinnick Collection.

657. A comparison group of blue and white porcelains, 18th century, including a Caughley sauceboat, a Chinese porcelain bowl cover, a Caughley saucer, a Chinese saucer, and a Worcester saucer and two teabowls, two Caughley teapot stands, a pearlware teapot stand, a Caughley bowl, two pearlware teabowls, a Worcester spoon tray and a Caughley spoontray, a Caughley coffee cup and a Liverpool coffee cup, all decorated with versions of the Fisherman and Cormorant pattern, various marks, some damages, 18cm max. (17) £100-200 Provenance: the John Pinnick Collection.

659. A comparison lot of blue and white ceramics, most 18th century, including a Worcester teabowl and saucer, and a coffee can, a Chinese coffee cup, a Liverpool coffee can, a Bow coffee cup and a Royal Worcester thimble, decorated with versions of the Cannon Ball pattern, and two Worcester slop bowls printed with the Plantation and the Man in the Pavilion patterns, various marks, some faults, 15.3cm max. (9) £150-200 Provenance: the John Pinnick Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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660. A comparison lot of teawares, 18th century, including a Chantilly saucer, a large Caughley saucer, a miniature Worcester coffee cup and saucer and a miniature pearlware coffee cup and saucer, all decorated in blue with variations of the Chantilly sprig pattern, various marks, the Worcester cup cracked, 14.8cm max. (6) £80-100

661. An interesting comparison group of blue and white porcelains, 2nd half 18th century, including a Chantilly bowl, a Worcester saucer, a Caughley teabowl and a Christian’s Liverpool coffee cup, all decorated with variations of the Gilliflower pattern, various marks, some faults, 12.5cm max. (4) £150-250

Provenance: the John Pinnick collection.

Provenance: the John Pinnick Collection.

662. A comparison lot of blue and white teawares, 2nd half 18th century, including a Chinese coffee cup, a Worcester teabowl, coffee cup and saucer, and a Caughley cup and saucer painted with versions of the Rock Strata Island pattern, a Chinese teabowl and saucer and a Lowestoft saucer painted with the Dragon pattern, and a Worcester teabowl printed with the Plantation pattern, some restoration, 13.6cm max. (10) £100-200

663. A group of Worcester and Caughley blue and white teawares, c.1770-80, including three Worcester teabowls and five saucers printed with the Fence pattern, three Worcester teabowls and saucers, a Caughley saucer and a Lowestoft saucer all printed with the Three Flowers pattern, a Worcester teabowl and saucer and a coffee cup printed with the Mother and Child pattern, most with hatched crescent and additional letter marks, 15cm max. (19) £150-250

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

664. A Worcester blue and white coffee cup and saucer, c.1770, painted with the Bird in a Ring pattern, open crescent mark, a Worcester teabowl painted with the Bamboo Root pattern, and a Chaffers (Liverpool) coffee cup painted with a Chinese landscape with cannonball rocks, some damages, 12cm max. (4) £100-200

665. A toy-sized Worcester blue and white teapot and cover, c.1756-60, the diminutive form painted with the Mansfield pattern, a slightly larger teapot and a bell-shaped cup with an elaborate handle both decorated with the Mansfield pattern, workman’s marks, the larger teapot lacking its cover, 15cm max. (4) £200-300

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

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666. A Worcester blue and white trio and a teabowl and saucer, c.1765-75, the trio painted with the Waiting Chinaman pattern, a single figure standing before a flowering tree and low fence, open crescent marks, the teabowl and saucer with the Floral Queen’s pattern, script W within a rectangle mark, small rim chips, 12.5cm max. (5) £200-300 Provenance: the John Pinnick Collection.

668. A Worcester blue and white small plate, c.1775-80, with scalloped edge, painted with the Fan-Panelled Landscape pattern, pseudo script mark, and a small Chinese porcelain bowl painted with two fan-shaped panels containing flowers, reserved on a powder blue ground, the bowl restored, 16.2cm max. (2) £100-200

667. A group of Worcester blue and white teawares, c.1755-60, all strap-fluted and painted with the Fisherman and Willow Pavilion pattern, workman’s marks, some damages. Comprising: a teapot, a milk jug, two coffee cups, two teabowls and a saucer. (7) £250-350 Provenance: the John Pinnick Collection. One teabowl with a paper label for the Henry Sandon Collection.

669. An interesting trio of English porcelain blue and white milk jugs, c.1770-80, Worcester, Caughley and Liverpool, each printed with the factory’s own version of the Fisherman and Cormorant pattern, with cell diaper borders, 9.5cm max. (3) £100-200 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

670. A Worcester blue and white low-footed sauceboat, c.1756-58, painted with an apparent variation of the Sinking Boat Fisherman pattern, each side with a figure crossing a bridge between islands within moulded panels, the interior with an unusual floral design, workman’s mark, and a Chinese porcelain copy of a Worcester sauceboat, painted with a figure in a boat, presumably copying the Boatman pattern, pseudo workman’s mark, the former with a 4.5cm rim crack, 18.3cm max. (2) £100-200 Provenance: the John Pinnick Collection.

671. A Worcester blue and white rice spoon, c.1770-75, of deep Chinese shape, painted with the Maltese Cross Flower pattern, crescent mark, together with two Chinese rice spoons with similar formal floral designs showing the inspiration, 13.5cm max. (3) £150-200 Provenance: the John Pinnick Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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672. A Worcester trio, c.1755-58, the teabowl, coffee cup and saucer pencilled in black with the Boy on a Buffalo pattern, the eponymous pair standing beneath a gnarled pine tree, with boats in the water beside, some damages, 12.2cm. (3) £400-600 Provenance: the John Pinnick Collection.

674. Two English porcelain coffee cups, c.1760-75, one Worcester, printed and coloured with the Red Bull pattern, a continuous design of three Chinese figures with two cattle, the other Derby and printed in blue with a version of the same design, derived from a Chinese prototype, part of the handle broken and restuck to the Worcester cup, 6.3cm. (2) £100-200

673. A Worcester bell-shaped mug, c.1757, printed in black with the King of Prussia, titled and dated 1757, the reverse with pennants and military trophies, signed in the print RH Worcester for Robert Hancock and with an anchor rebus for Richard Holdship, some rim chips, 8.5cm. £100-200 Provenance: the John Pinnick Collection.

675. A Worcester moulded teapot and cover, c.1760, the barrel shape embossed with a Chinese landscape including a man fishing beneath a flowering prunus tree, with willow on the opposite bank, the reverse with large prunus sprays, between horizontal foliate scroll bands, with gilt dentil rims, a few small chips, 18cm. (2) £150-250 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

676. A Worcester teapot and cover, c.1758-60, printed in black with a cockerel, hen and chicks to one side, the reverse with a duck and other birds in flight above fancy birds perched on the ground, the cover with three landscape vignettes around the floral finial, 16cm. (2) £300-500 Provenance: the John Pinnick Collection.

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677. A Worcester bell-shaped coffee cup, c.1760-65, printed in black with Les Garçons Chinois, the reverse with The Solitary Fisherman, wishbone handle, 6.2cm. £100-200 Provenance: the John Pinnick Collection.

Cf. Phillips, The Watney Collection Part III, lot 950 for an identical example.

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678. A matched pair of Worcester blue and white wall pockets, c.1757-60, of spiral-moulded cornucopia form, the smaller with a narrow band of moulded flowers and leaves, the larger with a formal ovolu border, both painted with the Cornucopia Prunus pattern, workman’s marks, 24.5cm max. (2) £800-1,200 Provenance: the John Pinnick Collection.

679. A rare pair of Worcester blue and white wall pockets, c.1760, painted with the Cornucopia Daisy pattern, with two prominent daisy flowers amidst a loose spray, with a further smaller spray beneath, one broken and restuck, 28cm. (2) £500-800 Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, No. I.E.19 for a discussion of this pattern.

Provenance: the John Pinnick Collection.

680. A Worcester blue and white water bottle or guglet and basin, c.1760-65, each painted with the Willow Bridge Fisherman pattern, a figure traversing an arched bridge with two further figures fishing from a sampan beneath, the reverse with a figure and a bird beside a small pagoda beneath pine, the pattern combined to the well of the bowl, open crescent mark and script W mark, the bowl broken and repaired, 27.8cm. (2) £800-1,200

681. A Worcester blue and white mug, c.1755-57, of cylindrical form with a flared foot, painted with the Prunus fence pattern, a small floral sprig to the wide strap handle, workman’s mark beneath the handle, a clean body crack, 12.3cm. £200-300 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection. The guglet with a paper label for the Zorka Hodgson Collection.

The term ‘guglet’ is believed to derive from the sound made by liquid pouring out of the wide neck of such shaped bottles, though in fact the flared neck of this bottle is less common at Worcester than the narrow truncated opening on similar bottles.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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682. A small Worcester blue and white two-handled sauceboat, c.1760-65, well painted with the Two-Handled Sauceboat Landscape Pattern, the moulded exterior with small panels of further figures, birds and bamboo, a crack to the base of one handle, 16.5cm. £100-200 Provenance: the John Pinnick Collection.

683. A Worcester blue and white two-handled sauceboat, c.1760, of medium size, painted with the Two-Handled Sauceboat Landscape and moulded to the exterior with oak leaf garlands containing four small panels, workman’s mark, small rim faults, 19cm across. £200-300 Provenance: the John Pinnick Collection.

684. A large Worcester blue and white two-handled sauceboat, c.1760, painted with the Two-Handled Sauceboat Landscape pattern, the exterior moulded with oak leaf garlands containing four small landscape panels, workman’s mark, 20.8cm across. £250-350 Provenance: the John Pinnick Collection. Paper label for the McWilliams Collection, no. 439.

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685. A Worcester blue and white fluted sauceboat, c.1755-60, painted with the Fringed Tree pattern, a figure fishing beside a bridge spanning small islands, workman’s mark, a small rim chip, 17.8cm across. £100-200 Provenance: the John Pinnick Collection.

686. A large and rare Worcester blue and white sauceboat, c.1755, the high-footed form painted with the Fisherman on a Towering Rock pattern, the interior with a further figure fishing from a less precarious position, workman’s mark, a small restored section, 23cm across. £150-250 Provenance: the John Pinnick Collection.

687. A rare Worcester blue and white sauceboat, c.1765, of plain shape, painted with the One Porter Landscape pattern, the lip and foot with moulded gadrooning, open crescent mark, a little restoration to the spout, 16cm. £300-500

688. A Worcester blue and white sauceboat, c.1757, painted with the Moored Boat pattern, within moulded panels with husk borders, the interior with a peony spray, workman’s mark, a crack to the base, 18.5cm. £150-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection. Paper label for the Zorensky Collection, No. Y677.

689. A rare Worcester blue and white sauceboat, c.1760, of lowfooted fluted form, painted with the Rearing Rock Island pattern, each side with a solitary figure beside tall rock formations in an Oriental landscape, 18.2cm. £300-500

690. A Worcester blue and white sauceboat, c.1755-58, painted with the Triangular Platform pattern, depicting a figure on a bridge beside the eponymous jetty, the reverse with a fisherman in a boat, the interior with bold sprays of Oriental flowers, workman’s mark, a rim crack, 19cm across. £150-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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691. Two Worcester blue and white sauceboats, c.1775-80, of low-footed fluted form, one painted with the Full Moon pattern, the other with the Doughnut Tree pattern, the exteriors with formal Oriental borders, some restoration, 20.5cm max. (2) £200-300 Provenance: the John Pinnick Collection.

692. A large Worcester blue and white mug, c.1755-60, the generous cylindrical form with a slightly flared foot, painted with the Walk in the Garden pattern, a long Eliza figure accompanied by a boy with a bird on a stick, workman’s mark, some good restoration, 14cm. £100-150

693. Two Worcester blue and white mugs, c.1765-75, both of cylindrical form, one painted with the Gardener pattern, the other with the Cracked Ice Ground pattern, open crescent marks, damages and repairs, 12.2cm. (2) £250-350 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

694. A Tournai blue and white plate and a soup plate, c.1780, each painted with the Ronda pattern of prunus and peony issuing from low rockwork, the spiral moulded rims with four sprays of Oriental flowers, blue crossed swords and + marks, 24cm. (2) £100-200

695. A Worcester blue and white knife and fork, c.1760-65, the pistol grip handles painted with the Knife Handle Formal Floral pattern, and a larger Worcester fork, the handle painted with the Knife Handle Formal Daisy pattern, 22cm max. (3) £250-350

696. A Worcester blue and white cabbage leaf jug, c.1755-60, painted with the Cabbage Leaf Floral pattern of sprawling flowering branches over the moulded surface, the spout with a bearded mask, workman’s mark, a chip to the spout, 20cm. £100-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

697. A Worcester blue and white punch pot and cover, c.1768, sometimes known as Dr Johnson’s Teapot, printed with the Thorny Rose pattern, the naturalistic flowers loosely arranged beneath a continuous garland suspended from ribbon ties, the cover with similar tied sprays, a little chipping to the spout,, 30cm. (2) £200-300

698. Two Worcester blue and white dessert dishes, c.1770-80, one a plate painted with the Hundred Antiques pattern, the other of square form and painted with the K’ang Hsi Lotus pattern, each copying an original Chinese pattern from the Kangxi dynasty, 25cm max. (2) £100-200

699. A Plymouth blue and white teapot, c.1768-70, painted with a large peony spray to each side, the spout and grooved handle with stylized scroll designs, the shoulder with a hatched diaper band, tin mark to the base, the cover lacking, some faults, 16.5cm across. £200-300

The name ‘Dr Johnson’s Teapot’ derives from an identical pot in the collection at Pembroke College, Oxford, which belonged to Dr Samuel Johnson and is referenced by Boswell as holding two quarts.

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

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700. A Worcester blue and white three vase garniture, c.1770, comprising one large and two smaller vases of gu beaker form, each painted with the Telephone Box pattern, open crescent marks, some restoration, 21cm max. (3) £500-800 Provenance: the John Pinnick Collection.

701. A Worcester blue and white sauce tureen and cover, c.1780, painted with the Rubber Tree Plant pattern, four character mark, and a Worcester punch bowl printed with the Fisherman and Cormorant pattern, disguised numeral mark, raised on a later Chinese hardwood stand, the cover broken and restuck, 21cm max. (4) £100-200 Provenance: the John Pinnick Collection.

702. Four English porcelain blue and white teabowls, c.1760-70, Worcester, Caughley and Lowestoft, all printed with the Three Flowers pattern, and a Worcester saucer in the same pattern, 13cm max. (5) £100-200 Provenance: the John Pinnick Collection.

703. Two Worcester blue and white strap-fluted sauceboats, c.1760, painted with the Little Fisherman pattern, each with panels containing a solitary figure fishing from a boat beside an island, the interiors with large peony sprays, workmen’s marks, 19cm max. (2) £200-300

704. Two Worcester blue and white sauceboats, c.1755-65, one high-footed and moulded with panels painted with the Boatman pattern, workman’s mark, the other of small strap fluted form and painted with the Little Fisherman pattern, open crescent mark, 17cm max. (2) £300-500

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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705. A miniature matched Caughley tea and coffee service, c.1780, printed with the Fisherman and Cormorant pattern. Comprising: a coffee pot and cover, a teapot and cover, a milk jug, six coffee cups, seven varying teabowls, six saucers in differing sizes, and a miniature milk jug printed with the ZigZag Fence pattern. (25) £300-500 Provenance: the John Pinnick Collection.

706. A miniature Worcester blue and white trio, c.1765, and a teabowl and saucer, all painted with the Prunus Root pattern, workman’s and crescent marks, 7.4cm max. (5) £200-300 Provenance: the John Pinnick Collection.

707. Two Worcester miniature blue and white trios, c.1765, each comprising a teabowl, coffee cup and saucer, painted with the Prunus Root pattern, open crescent and workmen’s marks, and a Worcester Prunus Root teabowl with later polychrome enamelling, some damages, 8.3cm max. (7) £100-200 Provenance: the John Pinnick Collection.

708. A miniature Worcester blue and white part tea service, c.1770-80, painted with the Rose pattern, some faults, the teapot’s cover lacking. Comprising: a teapot, a teabowl, a U-shaped cup and two coffee cups. (5) £150-250 Provenance: the John Pinnick Collection.

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709. A miniature pearlware teapot and cover, late 18th century, and a cylindrical tea canister, painted with a version of the Gilliflower pattern, and two miniature transferware dishes, printed in blue with the Parasol pattern after Cornelius Pronk, some damages, 10.6cm max. (5) £100-200 Provenance: the John Pinnick Collection.

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710. A miniature Worcester blue and white teabowl and saucer, c.1755-60, painted with the Rock Warbler pattern, the long-tailed bird perched on holey rockwork before an ornamental fence and flowering branches, the teabowl broken and restuck, the saucer chipped, 8.5cm. (2) £100-200

711. A toy or miniature Worcester blue and white teapot and cover, c.1765, the globular body painted with the Prunus Root pattern, open crescent mark, a chip to the cover, 12.5cm across. (2) £400-600

712. A miniature Lowestoft blue and white coffee cup and saucer, c.1765, painted with an allover design of fruiting grapevine, a few small chips, 8.2cm. (2) £100-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

713. A miniature Worcester blue and white jug, c.1765, probably for the Dutch market, the pear-shaped body painted with the Prunus Root pattern, the flowering branches extending over the jug’s rim, open crescent mark, the handle restored, 5.5cm high. £200-300

714. A Worcester miniature blue and white trio, c.1755, comprising a teabowl, coffee cup and saucer, painted with the Rock Warbler pattern, the long-tailed bird perched on holey rockwork beside flowering branches, workman’s marks, the cup broken and restuck, 8cm. (3) £150-250

715. A Worcester blue and white miniature or toy teapot and cover, c.1770, painted with the Peony pattern, with flowering branches encircling the body on two sides, crescent mark, damages, 13.5cm.

(2) £100-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Paper label for the Sutherland Collection.

716. A miniature Worcester blue and white trio, c.1765, comprising a teabowl, coffee cup and saucer, painted with the Prunus Root pattern, workman’s marks, 8.3cm. (3) £200-300

717. A miniature or toy Worcester blue and white teapot and cover, c.1770, the globular body printed with the Three Flowers pattern, a chip to the spout, 14.5cm. (2) £100-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

718. A Worcester blue and white teapot and a trio, c.1755-60, the teapot of diminutive globular form, the trio comprising a coffee cup, teabowl and saucer, all painted with the Rock Warbler pattern, the long-tailed bird perched on rocks beside an ornamental fence, workman’s marks, the teapot broken and repaired, 15cm max. (5) £200-250 Provenance: the John Pinnick Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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719. A Worcester blue and white octagonal teabowl and saucer, c.1755, painted with the Romantic Rocks pattern, a figure carrying a bundle on the end of a stick and walking to the end of a rocky promontory, a further figure in a sampan beneath, workman’s marks, some rim chips, 12.4cm. (2) £600-800

720. A rare Worcester blue and white teabowl and saucer, c.1758, painted in the Scroll Border pattern, with low huts on an island beneath weeping willow, the border with two large foliate scrolls, workman’s marks, a small chip to the saucer, 12cm. (2) £800-1,200 Provenance: the John Pinnick Collection.

Provenance: the Ian and Susi Sutherland Collection. The John Pinnick Collection.

721. A Worcester blue and white small teabowl and saucer, c.1765-70, painted with the Eloping Bride pattern, the fated couple on horseback being chased by four other figures, pseudo Chinese marks, 10.5cm. (2) £600-800

722. A Worcester blue and white teabowl and saucer, c.1754-56, the finely potted form painted with the Cormorant pattern, a large bird perched on rockwork above a solitary fisherman, workman’s marks, small rim faults, 12.8cm. (2) £250-350

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

723. A Worcester blue and white teabowl and saucer, c.1760-70, painted with the Candle Fence pattern, an ornamental fence behind a fringed tree and flowering branches, open crescent marks, 12cm. (2) £150-250 Provenance: the John Pinnick Collection.

724. A rare Worcester blue and white teabowl and saucer, c.175760, printed with the Two Swan Precipice pattern, two swans swimming in the forefront of a waterside landscape, a small cluster of buildings suspended on a rocky precipice above them, 11.7cm. (2) £800-1,200 Provenance: the John Pinnick Collection.

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725. A Worcester blue and white trio, c.1755-60, comprising a coffee cup, teabowl and saucer, painted with the Prunus Fence pattern, workman’s marks, some rim faults, 11.7cm. (3) £100-200 Provenance: the John Pinnick Collection.

726. A Worcester blue and white matched trio, c.1755-60, comprising a coffee cup with wishbone handle, a teabowl and saucer, all painted with the Gazebo pattern, a small hut protruding from crossed rocks, differing workman’s marks, some restoration, 11.8cm. (3) £100-200 Provenance: the John Pinnick Collection.

727. A Worcester blue and white matched trio, c.1755-60, comprising a bell-shaped coffee cup with wishbone handle, a teabowl and a saucer, all painted with the Landslip pattern, a small pagoda perched precariously on a steep slope down towards a willow tree and flowering branches, workman’s marks to the cup and teabowl, open crescent to the saucer, a short crack to the teabowl, 12cm. (3) £150-250

728. A Worcester blue and white trio, c.1755-60, comprising a coffee cup, teabowl and saucer, painted with the Prunus Root pattern, workman’s marks, 12cm. (3) £100-200 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

729. A Worcester blue and white trio, c.1760-65, comprising a teabowl, coffee cup and saucer, painted with the Dragon pattern, each piece with a large scaly dragon chasing a flaming pearl of wisdom amidst small cloud scrolls, open crescent marks, 11.7cm. (3) £750-1,000 Provenance: the John Pinnick Collection. The cup with a paper label for the Chas. Crane Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

730. A Worcester blue and white coffee cup and saucer and a milk jug, c.1755-60, the bell-shaped coffee cup with a wishbone handle, painted with the Warbler pattern, the bird perched among reeds beside flowering peony branches issuing from rockwork, workman’s marks, some damages to the cup and saucer, 12.3cm max. (3) £200-300 Provenance: the John Pinnick Collection.

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731. A Worcester blue and white mustard spoon, c.1770, with rounded bowl and elaborate scroll handle, the bowl with a simple flower spray in a formal border, two small chips to the edge of the bowl, 9.8cm. £200-300

732. A good Worcester blue and white mustard spoon, c.1770, the circular bowl printed with a single rose within a blue line rim, the elaborate moulded handle with blue highlights, 9.7cm. £200-300 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

733. A rare Worcester blue and white potted meat tub, c.1760, printed with the Floral Gift pattern, the interior with a Chinese figure carrying a potted plant beneath a large peony spray, the moulded exterior with panels of the Early Peony Print, hatched crescent mark, 12.8cm. £300-500

734. A Worcester blue and white patty pan, c.1757-60, the circular form with deep flared sides, painted with the Bare Tree and Speared Bird pattern, a single figure holding a bird on a stick before a low building, the rim with a formal design, workman’s mark, a short rim crack, 11cm dia. £150-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection. Paper label for the Sutherland Collection.

735. A Lowestoft blue and white tea canister, c.1770, of rectangular form, printed in blue with the Three Flowers pattern, with single sprigs to the shoulders, hatched crescent mark, 9.5cm high. £200-300

736. A Vauxhall blue and white milk jug, c.1758-60, painted with low buildings in an island landscape beneath flowering trees, mountains visible beyond, the interior rim with a hatched diaper border, the handle a metal replacement, some faults, 8cm high. £100-200 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

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737. A rare Worcester blue and white hors d’oeuvres set, c.1758-60, comprising six petal-shaped dishes around a central star shaped dish, the outer dishes each painted in blue with the Willow Rock Bird pattern, the central dish with the Hors d’Oeuvres Centre pattern of flowering plants, and a single side dish in the same design, workmen’s marks, small damages. (8) £1,000-1,500 Provenance: the John Pinnick Collection.

738. A rare Worcester blue and white dry mustard pot, c.1756, the pear-shaped form painted with the Cranes Among Reeds pattern, two birds standing among tall aquatic plants with a third in flight above, the reverse with a flower spray, workman’s mark, cover lacking, 8cm. £150-200 Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, no. I.C.17 which illustrates an example with a cover, at the time believed to be unique.

Provenance: the H.E. Marshall, Vincent Townrow, Billie Pain and John Pinnick collections.

739. An early Worcester blue and white pickle dish, c.1751-52, of simple ivy leaf shape, painted with a Long Eliza figure pointing to her left, between tall flowering branches, a few small rim chips, 10.2cm. £1,000-1,500 Provenance: the John Pinnick Collection.

This design is seen on Lund’s Bristol and some very early Worcester porcelain, deriving from a design used at Limehouse. The Lund’s examples tend to be slightly narrower than the Worcester.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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740. Three early Worcester blue and white coffee cups, c.1753-55, the smallest of eight-lobed form moulded with vertical ribbing, the plain rim painted with a continuous scrolling floral band, the others feather-moulded with differing handles, each painted with a continuous floral border to the rim, workmen’s marks, restored rim chip to one, 6.5cm max. (3) £200-300

741. Two Worcester blue and white teabowls and a coffee cup, c.1754-56, all of fluted form, one teabowl painted with the Prunus Branch Bird pattern, two birds in flight between flowering branches, the other teabowl with a simple floral border to the interior rim, the coffee cup with a heavy moulded handle, painted with a large flowering branch, workman’s marks, small damages, 5.6cm max. (3) £100-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

742. Two Worcester blue and white large mugs, c.1770-80, one of cylindrical form and printed with the second version of the Parrot Pecking Fruit pattern, hatched crescent mark, the other of generous bell shape and printed with the Plantation pattern, the former cracked, 14.8cm max. (2) £200-300

743. A Worcester blue and white creamboat, c.1755-58, of Warmstry fluted form, painted with the Prunus Root pattern, and a similar coffee cup, workman’s marks, 10.5cm max. (2) £100-200 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

744. A Worcester blue and white patty pan, c.1758-65, printed with the Early Flowering Plants pattern, hatched crescent mark, 12.5cm dia. £100-200 Provenance: the John Pinnick Collection.

745. A Worcester blue and white sauceboat, c.1755, of low footed form, painted with the Sinking Boat Fisherman pattern, within moulded panels, the interior with a further figure fishing from a boat, workman’s mark beneath the handle, a restored crack, 15.5cm. £150-250 Provenance: the John Pinnick Collection.

746. A rare Worcester blue and white sauceboat, c.1765, of low-footed fluted form, painted with the Mission Church pattern, the prominent building featuring on each side amidst a Chinese island landscape, echoed to the interior, open crescent mark, 17.8cm. £100-200

747. A Worcester blue and white creamboat, c.1770, painted with the Two-Porter Landscape pattern, the strap-moulded form painted to one side with two figures carrying objects through an Oriental landscape, the reverse with flowers issuing from rockwork, crescent mark, 12.2cm. £100-200

Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection.

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748. A rare Worcester blue and white octagonal dish, c.1754-55, the elongated form painted with the Two-Level Fence and Rock pattern, with twisted flowering branches issuing from holey rockwork and a zig-zag fence, the underside with simple leaf sprigs, workman’s mark, broken and restuck, 31.8cm. £300-500 Provenance: the John Pinnick Collection.

Cf. Branyan, French and Sandon, Blue and White Worcester Porcelain 1751-1790, No. I.D.27.

749. A Worcester blue and white creamboat, c.1754-58, moulded with floral panels and painted with the Captive Bird pattern, one panel containing a bird at the end of a leash held by a solitary figure, the reverse with a figure on a bridge beside a pagoda, workman’s mark, some damage, 11.5cm across. £100-200 Provenance: the John Pinnick Collection.

748 750. A Worcester blue and white creamboat, c.1757-60, of hexagonal form, moulded with a geranium leaf to the spout, printed with the Early Creamboat Sprays pattern, hatched crescent mark, 10.5cm across. £250-350 Provenance: the John Pinnick Collection.

751. A rare Worcester blue and white saucer dish, c.1765-70, painted with the Candle Fence Pavilion pattern, a twostoreyed building beneath a tall willow tree and beside an ornamental fence, open crescent mark, 18.3cm. £200-300

749

750

751

752

Provenance: the John Pinnick Collection.

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

752. A Lowestoft blue and white milk jug, c.1765-70, painted with huts on an island beneath trees and rockwork, the interior rim with a hatched diaper border, a chip to the footrim and a little nibbling to the spout, 8.5cm. £100-200 Provenance: the John Pinnick Collection.

Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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753. A Worcester blue and white pickle dish, c.1754-56, of simply ivy leaf form, painted with the Two-Peony Rock Bird pattern, the bird perched centrally on holey rockwork below flowering branches, workman’s mark, 10cm. £100-200 Provenance: the John Pinnick Collection.

754. A Worcester blue and white pickle dish, c.1755-60, of small scallop shell shape, painted with the Two Peony Rock Bird pattern, the bird perched on holey rockwork beside flowering branches, workman’s mark, 7.8cm. £100-200 Provenance: the John Pinnick Collection.

753

754

755. A Worcester blue and white pickle dish, c.1756-60, of scallop shell form, painted with the Two Peony Rock Bird pattern, the edge with small stylized foliate scrolls, workman’s mark, a small ground rim chip, 11cm. £150-250 Provenance: the John Pinnick Collection.

756. A large Worcester blue and white sauceboat, c.1765, painted with the Man with a Bomb pattern, a solitary Chinese figure holding his charge and looking back over one shoulder, the reverse with a fisherman beneath bamboo, on an osier moulded ground, open crescent mark, 19.3cm. £200-300 Provenance: the John Pinnick Collection.

755

756

757. A Worcester Scratch Cross small mug or coffee can, c.1753-54, of cylindrical form with a slightly spreading foot, painted with the Zig-Zag Fence pattern, with a grooved loop handle, scratch cross mark and faint workman’s mark, a little restoration to the rim, 6cm high. £200-300

758. A rare Worcester blue and white leafshaped butterboat, c.1757-60, printed with the Early Creamboat Sprays, two songbirds perched in flowering branches, the underside moulded with three trefoil leaf feet, hatched crescent mark, 8.2cm. £200-300

Provenance: the John Pinnick Collection.

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Provenance: the John Pinnick Collection.

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

END OF SALE

759. A rare Worcester blue and white milk jug, c.1754-56, painted with the Weeping Willow pattern, a flowering creeper entwined around the tall trunk of a willow tree, the jug’s inside rim with a flying insect and a small floral sprig, workman’s mark, 8.6cm. £100-200 Provenance: the John Pinnick Collection.

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ENGLISH & EUROPEAN CERAMICS & GLASS Wednesday 18th October 2017 Entries are currently being accepted for this sale

A good and rare political creamware mug, 2nd half 18th century, the barrel shape painted in red and black with a portrait of John Wilkes, 12.5cm.

Sold for £12,650

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

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ASIAN ART

Tuesday 16th May 2017

A large and imposing pair of Chinese famille verte Buddhist lion dogs, Kangxi 1662-1722.

Estimate: £6,000 - £10,000

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

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MODERN BRITISH & 20TH CENTURY ART Wednesday 7th June 2017

Geoffrey Dashwood (b.1947) Puffins, 1993 Signed and numbered 3/12 Bronze, 28cm high Estimate: £2,000 - £3,000 One of 10 lots by this artist ENQUIRIES Victor Fauvelle | Tel: +44 (0)1722 424503 | vf@woolleyandwallis.co.uk Jo Butler | Tel: +44 (0)1722 424592 | jb@woolleyandwallis.co.uk

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ARTS AND CRAFTS

Wednesday 21st June 2017

A repoussé copper charger by John Pearson, dated 1898.

Estimate: £800 - £1,200

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

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A PRIVATE COLLECTION OF BURMANTOFTS FAIENCE POTTERY Thursday 22nd June 2017

A fine Anglo Persian charger by Leonard King depicting Poseidon.

Estimate: £2,000 - £3,000

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

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 5th July 2017

A rare 18th century American map powder horn.

Estimate: £800 - £1,200

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

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ARMS & ARMOUR, MEDALS & COINS Wednesday 22nd November

Entries are currently being accepted for this sale

A Glorious 1st of June Naval General Service Medal to Landsman Michael Kinsale, H.M.S. Valiant.

Sold for £4,550

ENQUIRIES Ned Cowell | Tel: +44 (0)1722 341469 | nc@woolleyandwallis.co.uk

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays.

VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 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.

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% + VAT 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.

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

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

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT on the first £500,000 of the hammer price and 14.4% inclusive of VAT thereafter.

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported.

The following methods of payment may be made:

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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 Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT

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

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.

Debit cards: Delta, Switch, Connect

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.

Where practical, payment can be made and purchases collected during the auction.

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

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.

Royalties for Droit de Suite are as follows:

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) 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.

4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 12,500 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof.

For further information, please contact Ned Cowell.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The buyer shall pay the hammer price together with a premium thereon of 26.4% inclusive of VAT on the first £500,000 and 14.4% thereafter inclusive of 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.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

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

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

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

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

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

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

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

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

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

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate.

To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. .

Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls.

Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

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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.

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

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

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

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

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

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

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

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

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

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

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

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

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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 Amanda Lawrence 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.

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

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

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Registered in England No. 2998482

Salisbury Salerooms

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

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

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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.

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WOO L LE Y & WA L LI S

Absentee Bid Form English & European Ceramics & Glass

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 23rd May 2017 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.wo o lleyan d wallis.co .u k

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Auction Calendar ASIAN ART 16th May 2017 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 23rd May 2017 Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk PAINTINGS 7th June 2017 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk 20TH CENTURY DESIGN 21st June 2017 – Arts & Crafts 22nd June 2017 – A Private Collection of Burmantofts Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 5th July 2017 Mark Richards +44 (0) 1722 411854 • mr@woolleyandwallis.co.uk SILVER 18th & 19th July 2017 – Silver & Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 20th July 2017 – Jewellery & Watches Jonathan Edwards +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th September 2017 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 22nd November 2017 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk

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