Woolley & Wallis Auctioneers by Jamm Design Ltd

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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 Wednesday 18th October 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

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

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

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MARKETING Lyndsey Harvey Tamzin Corbett

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ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Alex Aguilar Doméracki Freya Yuan-Richards Marta Olszewska

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ACCOUNTS Janice Clift (Office Manager)

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Hollie Grubb

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SALEROOM MANAGER David Jordan

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

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

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director COMPANY SECRETARY Natalie Milsted FCCA ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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

FRICS FRSA

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ENGLISH & EUROPEAN CERAMICS & GLASS Wednesday 18th October 2017 at 10.00am VIEWING TIMES Saturday 14th October Monday 16th October Tuesday 17th October Wednesday 18th October

10.00am – 1.00pm 10.00am – 4.00pm 10.00am – 4.00pm 8.30am – 10.00am

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 Monday 23rd October. 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 Tuesday 17th October. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 1708 Back cover: Lot 1056 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 17th October. Please note there is a 3% +VAT surcharge for using this service.

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1001. Six wine glasses, c.1760-70, three with rounded funnel bowls engraved with flowers and raised on corkscrew airtwist stems, two with plain bowls above airtwist stems, one with a bell bowl above a mixed twist stem, some footrim chips, 15.8cm max. (6) £300-400

1002. Three wine glasses and an ale glass, c.1770, with varying bowls engraved with flowers, the ale with hops and barley, all raised on faceted stems, 17.2cm max. (4) £200-300

Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1003. Five wine glasses, c.1770-80, three cut with a band of polished ovals and raised on faceted stems, one engraved with a bird and a flower spray, one with a formal swag border, both on plain stems, 15.7cm max. (5) £200-300

1004. A set of six cordial glasses, c.1780, with small funnel bowls on short plain stems, 11.5cm. (6) £150-200

1005. Five wine and ale glasses, c.1770-80, variously engraved with flowers, alternating bucrania and paterae, hops, barley and polished oval swags, all raised on faceted stems, 17cm max. (5) £300-500

1006. Five wine glasses, 18th century, English and Continental, two cut with polished ovals and raised on faceted stems, one engraved with a bird and a flower spray on a plain stem, one with a bell bowl on a colour twist stem, the last with a shallow bowl on a multiple knopped stem, 17cm max. (5) £300-500

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

1007. A green wine glass, c.1760-70, with rounded funnel bowl raised on a plain stem, and a drawn trumpet wine glass raised on an airtwist stem above a folded conical foot, 16.7cm max. (2) £200-300

1008. Two wine glasses and a cordial, c.1760-70, with small funnel bowls, raised on double series opaque twist stems above conical feet, 16.2cm max. (3) £250-350

1009. A wine glass and an ale glass, c.1770, engraved with continuous hunting scenes, raised on faceted stems, 17cm. (2) £150-250

1010. Two wine glasses, c.1760-70, with bell bowls, one enclosing a row of tears above a double knopped opaque twist stem, the other with a triple-knopped double series opaque twist stem, 17cm max. (2) £300-500

1011. Two wine glasses, c.1780, one decorated in the atelier of James Giles with gilt grapevine above a double series opaque twist stem, the other with ogee bowl and engraved with a chinoiserie landscape above a knopped faceted stem, 15.3cm max. (2) £300-400

1012. Two wine glasses, mid 18th century, one with a generous pan-topped bowl engraved with a continuous band of hops and barley, on an airtwist stem with swollen knop, the other with a bell bowl on a doubleknopped airtwist stem, 18.5cm max. (2) £200-300

The Giles glass with a paper label for the Rose Collection, no.1438.

1013. Two wine glasses, c.1770, with bell bowls, one raised on a double series opaque twist stem, the other with a multiple knopped stem enclosing a double series opaque twist, 16.5cm max. (2) £250-350

1014. Three wine glasses, c.1760-70, with moulded funnel bowls, one engraved with a formal border and raised on a plain stem above a folded foot, the other two raised on double series opaque twist stems, 16cm max. (3) £250-350

1015. Two large wine glasses, c.1760-70, with drawn trumpet bowls, one raised on a plain stem enclosing a long tear, the other with a double knopped stem above a folded conical foot, 17.7cm max. (2) £150-250 Provenance: Count Redmond Toler ClaytonBrowne Clayton (1863-1937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

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1016. A wine glass, c.1760, the bell bowl unusually engraved with two large palm trees bearing coconuts, raised on a short plain stem, 16cm. £100-200 1017. A light baluster wine glass, c.1740, with a trumpet bowl raised on a ball knop, teared acorn and inverted baluster stem above a folded foot, 17.2cm. £150-250 1018. A wine glass, c.1760, the rounded bowl with hammered moulding around the base, raised on a double series airtwist stem, 16cm. £100-200 1019. A large light baluster glass, mid 18th century, the bell bowl engraved with a formal floral border to the rim, with a graduated ring knop at the base of the bowl, 16.7cm. £400-600 1020. A large and rare cider glass, c.1755-60, the generous bucket bowl engraved with a fruiting apple branch, raised on a mercury twist stem, 17cm. £800-1,200 Exhibited at The Glass Circle Diamond Jubilee exhibition, 1997, no. 70. 1021. A large goblet, c.1760, the rounded funnel bowl engraved with three sprays of grapevine and flowers, raised on a dense airtwist stem above a conical foot, 21.5cm. £100-200 Provenance: Count Redmond Toler Clayton-Browne Clayton (1863-1937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy. 1022. A Lynn wine glass, c.1760, the funnel bowl moulded with horizontal ribs and raised on a double £100-200 series opaque twist stem, 13.3cm. 1023. A façon de Venise glass, c.1700, the wide flared bowl raised on a hollow knopped baluster stem above a conical folded foot, 15cm. £200-300 1024. A Beilby wine glass, c.1765, the bell bowl enamelled with a continuous floral garland, raised on a double series opaque twist stem, 16.8cm. £600-800 Cf. J. Rush, A Beilby Odyssey, p.60, pl.18 for a glass with the same design. Provenance: Sotheby’s, 5th June 2007, lot 183.

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Each lot is subject to a Buyerâ&#x20AC;&#x2122;s Premium of 26.4% inclusive of VAT @ 20%

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1025. Two sweetmeat glasses, c.1770-80, one with a facet cut bowl and scalloped rim, raised on a pedestal stem, the other with a plain bowl above a baluster knopped stem, 16cm. (2) £250-350

1026. A light baluster wine glass, c.1740, with bell bowl and folded conical foot, a plain wine with a funnel bowl on a knopped stem, and another wine engraved with a flower stem above a double series opaque twist £250-350 stem, 15.4cm max. (3)

1027. Two small wine glasses, c.1770, with rounded funnel bowls engraved with chinoiserie scenes of figures between low pagodas, raised on faceted stems, 14.6cm max. (2) £150-250

1028. Three wine glasses, c.1760-80, with rounded funnel bowls, one with vertical fluted moulding around the base of the bowl and raised on an incised twist stem, one on a double series airtwist stem, the last on a double series opaque twist, 15.5cm max. (3) £200-300

1029. A large baluster glass or goblet, mid 18th century, with trumpet bowl raised on a baluster stem with basal knop enclosing a small tear above a domed folded foot, and a smaller baluster wine glass with a tear to the base of the bowl and a long tear to the stem, 20.5cm max. (2) £300-500

1030. Two wine glasses and an ale, c.1750-70, one with a bell bowl engraved with a grapevine band above an airwtist stem, one of rounded funnel form and engraved with a flower spray above a double series airtwist stem, the ale engraved with hops and barley above a double series opaque twist stem, £250-350 18.7cm max. (3)

1031. Two wine glasses, c.1760-70, with bell bowls, one engraved with a flower spray and raised on a double knopped airtwist stem, the other with a single baluster knop on an airtwist stem, 17.5cm max. (2) £150-250

1032. Two glasses and a small rummer, late 18th/19th century, one wine with a rounded funnel bowl and engraved with a rose spray and a bird, a drawn trumpet flute engraved with an archer aiming at a stag and with the initials ‘CBH’, the rummer engraved with a vignette of a saw and other carpenters’ tools, and with a monogram, 15cm max. (3) £250-350

1033. A large wine glass and a goblet, mid 18th century, the wine with a drawn trumpet bowl with everted rim on a plain stem enclosing a single tear above a folded foot, the goblet with a rounded funnel bowl raised on a pedestal stem above a folded £200-300 foot, 19cm max. (2)

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

1034. A Lynn fingerbowl, c.1760, the wide form moulded with horizontal ribs and raised on a circular hollow foot, 12.5cm dia. £100-200

1035. An Irish cut glass centrepiece and three salts, early 19th century, of navette shape, cut to the shaped rim with a band of star motifs, raised on a spiral-moulded foot above a lemon squeezer base, the three salts similarly cut, 32cm max. (4) £150-250

1036. A pair of cut glass sweetmeat jars and covers, 19th century, with dense diamond cutting to the rounded bowls and covers, raised on circular star cut feet, a few small chips, 19cm. (4) £200-300

1037. A large rummer, 19th century, engraved with two panels of flowers and the initials ‘ESJB’ beneath a Greek key border, and a Masonic firing glass, the flared bowl engraved with a set square and compasses and other emblems, 19cm max. (2) £150-200

1038. A matched pair of commemorative glass rummers, c.1821, one engraved with a figure on horseback and with GR around a crown and above the coronation date July 19 1821, the other with ‘Queen Caroline 1820’ and a crown between laurel sprays, 12.5cm. (2) £300-500

1039. Two rummers, 19th century, one with a rounded bowl engraved with a panel containing ships and inscribed ‘Capture of Gibraltar by the British Fleet 1704’, the other with a flared bucket bowl engraved with a ship beneath a titled view of Sunderland Bridge, the reverse with a blank cartouche, 14.3cm max. (2) £300-500

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1040. An equestrian glass rummer, dated 1842, engraved with a jockey on horseback above the faint inscription ‘Ordes Beeswing 1842’, the reverse with the initials JL beneath a basket of flowers, 14cm. £200-300

1041. A large glass rummer, 19th century, the rounded bowl engraved with a bridled horse, titled to the reverse ‘Cardinal Beaufort 1805’, raised on a knopped stem, 25.5cm. £200-300

Beeswing was a racehorse belonging to the MP William Orde. She closed her career by winning the Doncaster Cup for the fourth time in September 1842. Many of today’s top race horses can trace their pedigree back to Beeswing.

Cardinal Beaufort was a racehorse foaled in 1802 at Lord Egremont’s estate, Petworth House. He was trained by Frank Neale at Newmarket and won the Epsom Derby in 1805, ridden by Dennis Fitzpatrick.

1043. A pair of cut glass decanters and stoppers, c.1820-25, each engraved with a jockey on horseback to one side, both titled ‘Jack Spigot’, and with the initials ‘IB’ in an oval panel, 20.5cm. (4) £300-500 Jack Spigot was a racehorse, owned by Thomas Orde-Powlett and trained by Isaac Blades at Middleham. It is probable that these decanters belonged to Blades.

1042. A large equestrian glass rummer, 19th century, engraved with a Hackney horse above the inscription ‘Shales’, the reverse with the monogrammed initials ‘JMC’ between sprays of barley and hops, 17.8cm. £200-400 Shales was a famous Hackney stallion, foaled in East Anglia in 1755 and one of the breed of Norfolk Trotters, famed as sturdy carriage horses.

1044. Two glass rummers, 19th century, with flared bucket bowls, one engraved with two horses running a race, one with a view of a ship beneath Sunderland Bridge, inscribed ‘Caroline’, the reverse titled ‘J C Stone’ in an oval panel, 14cm. (2) £350-500

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

1045. A large glass rummer, 19th century, the flared bucket bowl engraved with three figures on a mail coach being drawn by four horses, and with the initials GB in an oval panel between thistle and rose, 16.3cm. £200-300

1046. Two armorial glass rummers, 19th century, one engraved with the coat of arms for the Worshipful Company of Butchers, the reverse with the initials ‘GN’, the other with a coat of arms believed to be for the Riggs family, reserved on a band of diamond cutting, 14cm max. (2) £250-350

1047. A large Masonic coin rummer, 19th century, the bucket-shaped bowl engraved with the crest and shield of the Mason’s Company of London, a horse, and the monogrammed initials ‘JN’ between a rose and thistle spray, the knopped stem enclosing a coin dated 1787, 21.5cm. £300-400

1048. Two wine glasses, c.1760-70, one with a bell bowl raised on a double series opaque twist stem enclosing a grey thread, the other with a funnel bowl engraved with a flower spray and raised on an airtwist stem with vermicular collar, 16.5cm max. (2) £150-250

1049. Three Masonic glasses, 2nd half 18th century, one a wine with a moulded funnel bowl engraved with a set square and compasses around the letter G, raised on a double series opaque twist stem, a firing glass and a small tumbler engraved with various Masonic attributes, 15cm max. (3) £200-300

1050. Two cordial glasses, c.1760, one with a small bucket bowl raised on a pedestal stem with applied rings above the foot, the other with a moulded rounded funnel bowl above a double series airtwist stem, 17.6cm max. (2) £600-800

1051. A toasting glass, c.1760-70, with a drawn trumpet bowl raised on a slender plain stem above a conical foot, and a flute raised on a dense airtwist stem, 21.5cm max. (2) £200-300

1052. A light baluster wine glass and two others, c.1730-50, with bell and drawn trumpet bowls raised on plain stems enclosing teardrops, two on folded feet, 15.5cm max. (3) £300-400

1053. Two light baluster glasses, c.1740, with bell bowls, one raised on a hollow baluster stem above a domed folded foot, the other on a plain stem with baluster and basal knops above a conical folded foot, 16cm max. (2) £300-500

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1054. A good engraved cordial glass, c.1730-40, the small drawn trumpet bowl fully engraved with fruiting vines and inscribed around the rim with ‘Trade and Navigation’, the plain stem with a long enclosed tear, a low knop above the domed folded foot, 17cm. £800-1,200

1055. A small wine glass, c.1770, possibly of privateering interest, engraved with a ship at sail, titled ‘Of The Prince of Wales, Captain Sands’, raised on a faceted stem and cut foot, 15cm. £1,000-1,500

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

1056. An Admiral Byng wine glass, c.1763, the round funnel bowl engraved with the admiral hanging from a gibbet flanked by the initials A B, the reverse inscribed JUSTICE, raised on a swollen airtwist stem, 15.3cm. £1,000-1,500 Admiral John Byng was a Royal Naval officer and an MP from 1751 until his death in 1757. During the Seven Years War, Byng was sent to relieve a besieged garrison at Minorca. With his ships in a poor state of repair, Byng opted to return to Gibraltar to see to his ships and await further promised resources. On his return to Britain he was courtmartialled for failing to “do his utmost” to prevent the loss of Minorca. He was executed by firing squad on 14th March 1757 - the engraving on the glass being symbolic rather than accurate - despite appeals to King George II for clemency. Byng was seen by many as a scapegoat for the Admiralty’s inefficiency and the execution in this way of such a high-ranking officer divided the country. His descendants today continue to campaign for a posthumous pardon.

1057. A Williamite wine glass, mid 18th century, the bell bowl engraved with an equestrian portrait of King William beneath a banner inscribed ‘The Glorious Memory of King William the III’, raised on a plain stem above a folded foot, 16.8cm. £800-1,200

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1058. A tall glass flute, 1st half 19th century, the slender drawn bowl engraved with a portrait of the Prussian Field Marshal Gebhard Leberecht von Blücher between the initials GB, 26.2cm. £200-300

1059. A tall ale glass, mid 18th century, the drawn trumpet flute engraved with crossed barley stems, raised on an airtwist stem with baluster knop above a domed foot, 23.5cm. £150-250

Blücher rose to fame after leading his army against Napoleon I at the battle of the Nations at Leipzig in 1813, and then at the battle of Waterloo in 1815.

1062. Three large wine glasses, c.1750-60, one with a bell bowl raised on a composite stem with a plain knop above an airtwist, one with a bucket bowl on an airtwist stem, the last with a funnel bowl on an incised twist stem above a domed foot, 18.5cm max. (3) £250-350

1060. A ratafia glass, c.1760, the slender drawn trumpet bowl moulded with vertical flutes, raised on a double series opaque twist stem, 17.4cm. £200-300

1061. A cider glass, c.1760, with slender funnel bowl engraved with a fruiting apple tree, raised on a plain stem above a folded conical foot, 17.3cm. £150-250 Provenance: Bonhams, 2nd June 2004, lot 11. Exhibited: The Glass Circle 60th Anniversary Exhibition, 1997, no. 62.

1063. Three wine glasses, mid 18th century, with bell bowls, one raised on a composite stem with a row of tears in a basal knop below an airtwist stem, above a domed foot, one raised on a plain stem above a folded foot, the last on a mixed twist stem with an opaque thread enclosing an airtwist spiral, 17.4cm max. (3) £200-300

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

1064. A commemorative wine glass for the Loyal Belfast Volunteers, c.1770, the rounded funnel bowl engraved with crossed flags, inscribed ‘Liberty’ and ‘Free Trade’, the reverse with ‘Loyal and Determined’, raised on a double series opaque twist stem, 14.5cm. £400-600

1065. A political wine glass, c.1770, the round funnel bowl engraved ‘Liberty & Wilkes’, the reverse with a bird flying free from an open cage, raised on a double series opaque twist stem, 15cm. £1,000-1,500 In issue 45 of his publication, The North Briton, John Wilkes’ attack on George III’s 1763 speech endorsing the Paris Peace Treaty earned him a warrant for his arrest for libel. With strong public support, Wilkes was cleared by the Lord Chief Justice.

1066. A commemorative wine glass, dated 1776, the tapered funnel bowl engraved ‘LIBERTY 1776’, relating to the American Declaration of Independence on July 4th of that year, above a plain stem and conical foot, 17cm. £400-600

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1067. A Williamite cordial glass, c.1770, the small funnel bowl engraved with a profile portrait of William III, beneath the inscription ‘The Ever Glorious Memory’, raised on a faceted stem above a conical foot, 17.5cm. £500-800

1068. A Jacobite wine glass, mid 18th century, the bell bowl engraved with a rose and rosebud spray and with a sixpointed star, on a dense airtwist stem above a conical foot, 16.5cm. £400-600

1071. Three ale glasses, c.1760-70, two with long funnel bowls raised on opaque twist stems, the other engraved with hops and barley and raised on a double-knopped airtwist stem, 20cm max. (3) £200-300

1069. A good cordial glass, c.1765, the small funnel bowl engraved with a bird and a flower spray, raised on a double series opaque twist stem above a conical foot, 15.8cm. £100-200

1072. A commemorative wine glass, c.1760, of Williamite type, engraved at a later date with an equestrian portrait beneath a banner proclaiming ‘The Glorious Memory of William III’, the drawn trumpet bowl raised on a plain stem, 15.7cm. £200-300

1070. A glass wine or ale flute, late 18th century, engraved around the rim with a crown and the inscription ‘King & Constitution’, raised on a faceted stem, 16.5cm. £100-200

1073. Three wine and ale glasses, c.1770, with drawn trumpet bowls, one raised on a plain stem with a single tear, one on a dense airtwist, the other on a double series opaque twist stem, 19cm. (3) £200-300

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

1074. 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) £100-200

1075. A Continental glass candlestick, 19th century, the stem with multiple knops in clear and blue glass, raised on a conical foot, and an oil or lacemaker’s lamp, with folded foot, 20.7cm max. (2) £100-200

1076. Two deceptive glasses, c.1760, the thick flared bowls raised on short stems, a moulded ale glass, a lacemaker’s lamp and an early glass bowl of greenish hue with a folded rim, 22.3cm max. (5) £250-350

1077. Two Bohemian glass beakers, 18th century, one engraved with a stag within a star shaped panel, raised on a circular foot, the other of flared form and engraved with oval and chevron panels containing formal floral arrangements, 14.5cm max. (2) £250-350

Provenance: Count Redmond Toler Clayton-Browne Clayton (1863-1937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1078. Two French engraved beakers, c.1830, one with an everted rim and engraved with a dog between flowering plants, the other of waisted form and engraved with birds perched on two hearts, the rim with winged masks and floral garlands, 10.5cm max. (2) £100-200

1079. A Continental boxed nest of four graduated glass beakers, 18th century, the glasses vertically fluted and of slightly flared form, with gilded rims, the card box sewn together and decorated in a band of foliate scrolls and putti, the top with a portrait of a corpulent man in a neck ruff, inscribed to the base ‘Verres provenant l’Abbaye d’Echternach’, 11.8cm overall. (4) £150-250 The Abbey of Echternach is a Benedictine monastery in Luxembourg. This set is believed to have been a gift from a priest at the Abbey.

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1080. Six Bohemian glass colour twist goblets, 18th century, the flared bowls variously engraved with birds and flowers amidst formal foliate scrolls, some cut with polished ovals and panels, raised on varied knopped baluster stems enclosing a red twist, above folded feet, and a Bohemian glass decanter and stopper, cut with polished flowers, the stopper enclosing a red twist, 33.5cm max. (8) £300-500 Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1081. An assembled part suite of Bohemian glass, late 18th/19th century, the fluted forms with gilt rims, comprising two goblets, a mug and six cordial or liqueur glasses engraved with an armorial shield, two small decanters gilded with a crowned shield of the Bohemian lion, three beakers engraved with an armorial shield of an armadillo, a wine glass gilded with an armorial including the motto ‘Nosce te ipsum’, and two small wine and four liqueur glass engraved with the crowned initials GBB, 6.5cm max. (21) £250-350 Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1082. A Continental glass armorial decanter, early 19th century, the flattened rectangular form engraved with a double-headed Prussian eagle above a lion drawing a chariot, a pair of small bottles with fluted sides, engraved with an armorial shield, a goblet engraved with panels containing low buildings, and a similarly decorated mug, 20.4cm max. (5) £250-350 Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

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

1083. A large Bohemian glass beaker, 18th century, the flared bucket form engraved with a stylized floral design with polished ovals, 16.8cm. £100-200 Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1084. A good Bohemian glass beaker, 19th century, well engraved with a continuous battle scene of figures on horseback, with Western European figures firing pistols and drawing swords on Moorish equestrians holding curved swords, between bands of polished ovals, £800-1,200 12.7cm. Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1085. Three Bohemian glass beakers, 18th century, one with wide vertical flutes and engraved with stylized floral stems and bands of polished ovals, two with fomal floral designs, one foot with a band of ovals, the other with pinched moulding, 14cm max. (3) £250-350

1086. Five Bohemian glass beakers, 18th/19th century, of flared bucket form, variously engraved with stylized and formal floral and foliate designs, embellished with polished ovals, three with a band of cut ovals around the foot, 12.3cm max. (5) £300-500

Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

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1087. Two pairs of Bohemian wine glasses, 18th century, the larger with vertical flutes and engraved with a formal border, with a similar larger glass, the smaller pair engraved with a panel containing a fox with three crowns, all raised on moulded pedestal stems above folded feet, 19cm max. (5) £150-250 Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1089. A four compartment decanter, c.1900, the ovoid body divided into four sections, rising to a slender neck with applied rings, with small shaped glass corked stoppers, 30cm. (5) £200-300

1088. Two Bohemian glass goblets, 18th century, with flared funnel bowls raised on pedestal stems above folded feet, one with a domed cover engraved with a formal design beneath a knop enclosing a red thread, and a smaller glass engraved with formal borders to the rim and foot, raised on a low stem enclosing an aventurine thread, 27.5cm max. (4) £200-300 Provenance: Count Redmond Toler Clayton-Browne Clayton (18631937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1090. A façon de Venise glass goblet, 17th century Netherlands, the generous funnel bowl with vertical fluting, raised on a gadrooned cushion knop above a tall conical folded foot, 20cm. £500-800

1091. A façon de Venise jar and cover, 18th century, the thistle-shaped body applied with scroll handles and raised on a squat hollow knop above conical folded foot, the cover a poor fit, 28.5cm. (2) £250-350

Provenance: Sotheby’s, 4th November 1958, lot 66, from the collection of the late Maurice Mitman.

Provenance: Count Redmond Toler Clayton-Browne Clayton (1863-1937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

1092. A façon de Venise goblet, c.1700, the wide flared trumpet bowl raised on a short spiral moulded stem beneath a double ring collar, on a conical foot, 18.2cm. £250-350

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1093. A massive façon de venise goblet or chalice, 17th or 18th century, with generous rounded funnel bowl raised on a spiral moulded baluster stem above a folded conical foot, 28cm. £500-800 Provenance: Count Redmond Toler Clayton-Browne Clayton (1863-1937) of the Villa La Punta, Cervara, Santa Margherita, Liguria, Italy.

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1094. A façon de Venise beaker, probably 18th century, of pinched quatrefoil form, enclosing a network of latticino canes, 9cm high. £300-500

1095. A cut glass scent bottle and stopper and a paperweight, 19th century, the scent of squat form and cut with panels of diamond banding, the weight formed as a book with a cross engraved to one side, two small scent flasks dated 1820 and 1821, and applied with the initials AJT and LCB, and a St Louis octagonal ruler enclosing red and white twist canes, 23.7cm. (6) £100-200

1096. A Thomas Webb & Sons (Stourbridge) cameo glass bowl, c.1887, finely cut in white with a large spray of flowering blossom against a yellow ground, silver mount to the rim, hallmarks for London 1887, maker’s mark for Cornelius Saunders and Francis Shepherd, 7cm high. £300-500

1097. A Whitefriars paperweight, dated 1848, enclosing concentric circles of star canes in red, pink, white and blue, and including a date cane for 1848, 8cm dia. £150-250

1098. A glass jug of Nailsea or Wrockwardine type, early 19th century, the squat body with a slight lean, of a dark green tone with white striations, 13.5cm. £150-200

1099. A large Bohemian glass paperweight, 19th century, enclosing concentric circles of star canes in red, white, £250-350 blue and turquoise, 8.5cm dia.

1100. A slender glass jug of Nailsea or Wrockwardine type, early 19th century, the narrow tapering form of a green tone with white striations, applied with an angular handle, 18cm. £150-200

1101. Three small Clichy and other French glass paperweights, c.1860, one with seven spaced canes including a Clichy rose, one with a flowerhead motif of clustered canes, the last with a cluster flowerhead within a border of multicoloured canes, some scratching, 5cm max. (3) £300-500

1102. Four glass paperweights, 19th/20th century, two with concentric circles of multicoloured canes, the exteriors with double overlay in white and blue, cut through with wide circles, one with similar canes in tones of pink and blue within a candy twist border, cut with four polished circles, the last a miniature weight with star cane florets on a marbled £250-350 ground, 8.4cm dia. max. (4)

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1103. A Baccarat paperweight, dated 1848, enclosing silhouette canes and other colourful canes on a scramble ground of latticino swirls, including a B and date cane for 1848, a surface chip, 7.5cm dia. £150-250

1104. A small French glass scramble paperweight, c.1860, enclosing a jumble of candy and latticino canes in different colours, 5cm dia. £200-300

1105. A French glass paperweight, c.1860, enclosing a garlanded design of two overlapping strings of canes, around a small ring and star cane, 7cm. £200-300

1106

1107

1108

1109

1106. A near pair of cased glass bottle vases, 19th/20th century, of Persian shape, a clear amber and purple glass cased in an opaque pale lilac glass, with knopped necks, 33cm. (2) £100-200

1107. A pair of green glass decanters and stoppers, c.1800, of mallet form, gilded with chained labels titled ‘Rum’ and ‘Brandy’, the flattened stoppers gilded with an R and a B within a chain border, 23.8cm. (4) £300-400

1108. A pair of green glass spirit decanters and stoppers, late 18th/early 19th century, the square forms with chamfered corners, richly decorated in gilt with alternating panels of flowerhead diaper and fruiting grapevine, one titled ‘Maraschino’ the other ‘Curaço’, the globular stoppers faceted, a little wear, 23cm. (4) £400-600

1109. A pair of amethyst glass decanters and stoppers, c.1800, of club shape with flattened oval stoppers, the glass a rich purple hue, 23.4cm. (4) £100-200

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1110. A French opaline glass basket, 1st half 19th century, probably decorated by Jean-Baptiste Desvignes, the interior with four circular panels enclosing birds and animals, linked by a floral garland, the exterior with a formal band of flowers in heart-shaped scrolls, with fine ormolu mounts to the rim and foot, 14.7cm dia. £200-300

1111. James Tassie (Scottish, 1735-1799), a pair of profile portraits of Archibald Grahame of Drumquhassle and his wife, Jane, cast in white glass relief on a grey ground, impressed to the shoulder with ‘Arch. Grahame 1795’ and ‘Jane Grahame 1795’, signed, mounted in glazed wooden frames, 14.5cm overall. (2) £500-800

1112. James Tassie (Scottish, 1735-1799), A small portrait plaque of Alexander Waugh, facing left and mounted in a black wood frame, inscribed ‘A Waugh MA 1791’, 7cm overall. £150-250

1113. Three Palais Royal French opaline glass egg-shaped trinket boxes, 19th century, one pale blue and resting on a gilt wire nest, another pale green and resting on a gilt metal frame above a circular mirror on three leaf scroll feet, the last painted with polychrome flowers on a white ground and suspended within a gilt wire cage, 18cm max. (3) £200-300

The Reverend Alexander Waugh (1754-1827) was Minister of the Secession Church and a noted missionary. Tassie executed two portraits during his lifetime, one of which was distributed as a cameo throughout branches of his family.

1114. Ten Russian glass Easter eggs, 19th/20th century, one possibly manufactured at the Imperial Glassworks in St Petersburg, and cut and gilded with a crowned cypher and the letters XB on a dark blue ground, a smaller turquoise egg with similar gilded decoration, three overlaid and cut with varying floral designs, one clear glass and cut with a Russian palace, two enamelled with flowers, one applied with felt flowers, the last clear and gilded with key fret, hinged at the centre to form a box, 13.5cm max. (10) £300-500 Provenance: from the collection of Dr Venetia Newall.

Provenance: from the collection of Dr Venetia Newall.

1115. A Bohemian suite of glass for the Ottoman market, 19th century, a decanter and stopper with six goblets, the green glass body cut with wide diamond bands and enamelled with small stylized flower motifs amidst bold orange scrolls, 40cm max. (8) £200-300

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1116. A large Kutahya (Turkey) pottery model of an egg, 20th century, painted with masks within stylized blue wings, amidst Iznik style flower sprays, decorated in bright enamels, inscribed to the base, pierced with a large suspension hole, some glaze chipping, 17.5cm high. £250-350 Provenance: from the collection of Dr Venetia Newall.

1119. A Canakkale (Turkey) pottery model of a stylized horse, 19th century, the animal wearing a bridle and standing four square, pierced with holes to the ears, neck, back and legs, decorated all over in a black glaze, damages, 32.5cm. £300-500

1117. Five Kutahya (Turkey) pottery eggshaped hanging ornaments, 20th century, variously decorated in yellow, blue and turquoise enamels with stylized floral designs and other geometric motifs on a cream ground, 6.5cm max. (5) £200-300

1118. A Kutahya (Turkey) pottery ovoid hanging ornament, 18th century, painted in blue, turquoise, aubergine and black with seraphim and cross motifs, all reserved on a white ground, the body pierced at each end, for suspension, cracked, 8cm. £300-500

Provenance: from the collection of Dr Venetia Newall.

1120. A Kutahya (Turkey) Iznik-style jug, 19th/20th century, brightly decorated with flowerheads and saz leaves in a typical palette of red, green, blue and aubergine on a turquoise ground, a crack to the spout, 26.5cm. £300-500

1121. A Canakkale (Turkey) ewer, c.1900, the slender ovoid form applied with three snakes arranged around small flowerheads, the tall spout with an incised circular motif, decorated with small splashes of green and manganese of a rich cream ground, minor faults, 32cm. £100-200

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1122. A large Canakkale (Turkey) pottery vase or flask, 19th century, formed as a fish, applied with swags issuing from floral roundels to the sides, the back with two handles and a narrow opening, decorated in splashes of green and brown glaze, small damages, 49cm across. £300-500

1124. Two North African pottery dishes for the Ottoman market, 1st half 20th century, one decorated in yellow, green, white and manganese with an elaborate stylized flowerhead on a black ground, a short inscription to the centre, the other with an armorial shield flanked by crescent and star flags beneath an inscription, impressed marks, one inscribed to the base ‘Souvenir de l’Exposition Coloniale £200-300 Internationale de Paris 1931’, 30cm. (2)

1126. A Damascus pottery tile, c.1570-90, painted in the Iznik manner with stylized flowers and seedheads in blue, green, turquoise and manganese, damages, 26cm. £200-300 Cf. Arthur Millner, Damascus Tiles, fig.6.41.

1123. A Canakkale (Turkey) pottery model of a lion, c.1900, standing four square with mouth agape, its tail curled over its back to form a handle, a large flowerhead applied to its chest, decorated in striations of green and yellow, 19cm high. £200-300

1125. Two Qajar pottery tiles, late 19th century, painted with a stylized arrangement of pink roses within turquoise and manganese scrolls enclosing a bright yellow border, some faults, 18.7cm. (2) £100-200

1127. A cuerda seca square tile, 16th century, probably Safavid, decorated with a central panel banded in turquoise and containing a blue motif reserved on a yellow ground, within a band of stylized white flowers and leaves on a deep blue ground, some chipping, 11.3cm. £300-400

1128. A pair of Spanish Arista ceiling tiles, 1st half 16th century, of rectangular form, decorated with fleur de lys and stylized floral motifs in green, blue, manganese and ochre on a cream ground, and eight fragments of medieval floor tiles, incised and impressed with various designs, 30cm max. (10) £100-200

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1129. A medieval encaustic tile, 13th century, decorated in cream slip on a terracotta ground with a lion passant in a circular panel, with a fleur de lys to each corner, 13.5cm. £100-200 Cf. Elizabeth Eames, Catalogue of Medieval Lead-Glazed Earthenware Tiles in the British Museum, Pattern 1781.

1130. A medieval lead-glazed floor tile from Croyland Abbey, late 14th century, Bawsey Tilery (Norfolk), decorated in low relief with a chequered shield beneath the letter R, probably the arms of the Rokele family, decorated in a slip glaze, mounted in a modern wood frame, the tile 10cm. £150-250 Cf. Victoria and Albert Museum, Accession No. 1109-1892 for an identical tile formerly in the Edkins Collection.

1131. Eight creamware bin labels, 1st half 19th century, most Wedgwood, of coathanger form, ariously titled in black with ‘Sherry’, ‘Pale Sherry’, ‘Claret’, ‘Gin, ‘Champagne’, ‘Lisbon’, ‘Port’, ‘Rum’, some with impressed marks for Wedgwood or Farrow & Jackson, 14.5cm max. (8) £150-250

1133. Two London delftware tiles, c.1740, one painted in manganese, the other in blue and manganese, with boats and buildings by the water, within circular panels, and a late 17th century delftware tile decorated in a blue and white chequered design, 12.8cm. (3) £100-150

1132. Eight creamware bin labels, 1st half 19th century, including Minton, of coathanger form, variously titled in black with ‘Hock’, ‘12 Madeira’, ‘Port’, ‘Sherry’, ‘Malaga’, ‘Brandy’, ‘Ale’ and ‘Gin’, some with impressed marks including for Charles Farrow, 14.5cm max.(8) £150-250

1134. Two creamware bin labels, late 18th/early 19th century, both of traditional coathanger form, one Wedgwood and painted in black with ‘MADEIRA’, the upper section unglazed, the other Spode and titled ‘SHERRY’, impressed marks to both, a small chip to one corner, 14.2cm max. (2) £100-200

1135. Three delftware tiles, c.1760, two painted in polychrome enamels with longtailed birds strutting beside trees, one a Bristol tile painted in blue with a landscape scene within a bianco-sopra-bianco border, 13.2cm. (3) £250-350

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1136. Two Liverpool delftware tiles, c.1775-80, printed in black and painted in green with vases within leaf husk borders, one with a flowerhead to each corner, 12.7cm. (2) £150-250 Provenance: the right hand tile previously in the Blanchett Collection.

1137. Two London delftware tiles, c.1720-30, painted in blue with red and green highlights, one with Ceres holding a cornucopia and a stem of flowers, the other with a vase of flowers, reserved in octagonal panels on a sponged blue ground, with floral corners, some glaze chipping, 13cm. (2) £150-250

1138. A pair of delftware tiles, c.1730-50, probably Bristol, painted in blue each with an elaborate censer of flowers within a lobed panel, the corners with winged angel motifs, 12.7cm. (2) £100-150

1139. Two Liverpool delftware tiles, c.1775-80, printed in black and enamelled in green, one with the muse Terpsichore standing before a tall pillar, the other with four maidens in an oval panel tied with ribbon, 12.7cm. (2) £150-250

1140. Six delftware tiles, 1st half 18th century, three Biblical and painted in blue with Christ carrying the cross and with Judas hanging himself, one tile with a figure standing in a field, reserved in a circular panel, one in manganese with two stags, the last with a figure on a jetty beside boats, within an octagonal panel with manganese corners, some damages, 12.5cm max. (6) £200-300

1141. Six Delft tiles, early 17th century, two painted with a vase of flowers with dark blue motifs to the corners, two with a single flowering plant with fleur de lys motifs, one with a stylized tulip and fleur de lys corners, the last with a lion in a canted square panel, some damages, 13cm. (6) £200-300

1142. A pair of Bristol delftware tiles, c.1720-40, painted in blue with central baskets of flowers, reserved on a sponged ground with angel corners, and two Liverpool delftware tiles, one Biblical and painted in blue with Christ leaning on the cross, the other in manganese with a figure fishing in a harbour before further boats and a low hut, 13cm. (4) £120-180

1143. Three Liverpool delftware tiles, c.1775, printed with scenes from Aesop’s Fables, one in reddish brown with The Bear and Two Travellers, two in black with The Hunted Beaver, and The Fox and the Stork, within narrow foliate scroll borders, 12.6cm. (3) £250-350

Cf. Anthony Ray, Liverpool Printed Tiles, Nos. D8-42, D8-4 and D8-22.

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1144. A Caltagirone (Sicily) albarello, late 17th/early 18th century, the waisted form decorated with a single flower stem issuing from a larger flowerhead, reserved on a blue ground with green and yellow leaf scrolls, some glaze chipping, 24.5cm. £300-500

1145. A Spanish faïence albarello and cover, dated 1773, probably Talavera, painted in blue with a monastic emblem of two putti supporting a crown above a cartouche inscribed with the Christogram IHS, above a further cartouche with the inscription ‘C. Ammon’, the cover with a flattened blue finial, the underside of the jar inscribed ‘JHC 1773’, some glaze chipping, 30.5cm. (2) £400-600

1146. A Caltagirone (Sicily) maiolica albarello, late 17th/early 18th century, the waisted form painted in a muted palette with white flowerheads reserved on a blue ground with stylized leaf scrolls, some chipping, 25cm. £300-500

1147. 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. £200-300 In this instance the term ‘Acetos’ probably refers to Rumex Acetosa (Common Wood Sorrel) which has a variety of culinary and medicinal uses.

Paper label for the B E Elliott Apothecary Collection, No. A353.

1148. Three Talavera albarelli, c.1760, the waisted forms each painted in blue with a variation of a crowned shield bearing the arms of the Order of Carmelites, some damages, 24.5cm max. (3) £600-800

1149. Three Italian maiolica albarelli, c.1700, the slender waisted forms painted in blue and black with St Francis receiving the Stigmata, standing with palms upwards beside a skull resting on a Bible, one inscribed ‘GUMMA D ROCCA’ above the foot, some damages, 26cm. (3) £500-700

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1150. A Continental faïence drug jar, early 18th century, Belgium or Northern France, painted in blue with a shaped cartouche inscribed ‘MITHRIDAT.DAM’, each side with a large stylized carnation beside a bird with outstretched wings, broken and well restored, 19.3cm. £200-300 This preparation was used as an antidote to poisons and was named after the man who devised it, Mithridates, King of Pontus (131-64 BC).

1153. A large Naples maiolica albarello, c.1660, the generous slightly waisted body painted in blue with a large panel of Italianate buildings, between narrow blue bands, a few small footrim chips, 20.5cm. £200-300

1156. A Savona maiolica syrup or wet drug jar, early 18th century, painted in blue with a blank cartouche between flower sprays, with a straight flared spout and wide rim, beacon light mark for the Levantino family of Albissola, 18.3cm. £150-250

1151. A miniature Sicilian maiolica albarello, late 17th century, the waisted form painted with a tree in a panel reserved on a ground of leaf scrolls and flowerheads, and a Savona maiolica square bottle, painted in blue with flowers over earlier decoration of castles on hilltops, beacon light mark for the Levantino family of Albissola, some chipping, 18cm max. (2) £200-300

1154. An Italian maiolica portrait bombola, 19th century or earlier, painted with a face in profile, wearing an elaborate scaled hat, reserved on a ground of flowerheads and leaf scrolls in yellow and ochre on blue, some damages and surface £300-400 pitting, 21.5cm.

1157. Two Talavera albarelli, c.1760, each waisted form painted in blue with an armorial device derived from the Hapsburg coat of arms, a crowned double-headed eagle centring a blank shield, some faults, 24.5cm max. (2) £250-350

1152. 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. £200-300 A simple preparation of rosewater has antiinflammatory properties and continues to be used today for a variety of skin conditions.

1155. 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. £150-250 The inscription probably refers to Carduus Sanctus or Blessed Thistle, used as a digestive stimulant or purifying tonic.

1158. 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. £200-300 Colchicine (deriving from the crocus bulb) is still used today as a treatment for gout.

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1159. An Italian maiolica wet drug or syrup jar, 18th century, painted in blue with scrolling grapevine picked out in manganese and yellow, around a scroll inscribed PLANTAGINIS, a small chip to the foot, 21.5cm. £300-400 Plantain has a variety of medicinal uses, including as an expectorant and diuretic when taken internally, or for fistulae and ulcers as an external lotion.

1160. A Venetian maiolica apothecary jar, c.1550, the globular body painted in blue with a scroll bearing the inscription ‘olua flo mal’, within bands of bright fruiting lemon branches, extensively broken and restuck, 26cm high. £200-300

1159

1160

1161

1162

Cf. Rudolf E A Drey, Apothecary Jars, p.63, pl.24A for a similar example.

1161. A Deruta or Marchigiana berettino maiolica syrup or wet drug jar, 1st half 17th century, the ovoid body painted in blue with a cartouche inscribed ‘S D ENDIVIA’ amidst stylized oak leaves reserved on a pale blue ground, with a double scroll handle and short, straight spout, some restoration, 21cm. £400-600 Provenance: formerly in the collection of H E Brocksom.

1162. A Caltagirone syrup or wet drug jar, c.1700, beneath the wide strap handle painted with a circular panel enclosing a fruit tree, a large white flowerhead beneath the curved spout, reserved on a ground of large stylized scrolling leaves, 21cm. £300-500

1163. A large Naples maiolica albarello, dated 1714, the tall waisted form painted with European buildings in a village landscape, the reverse inscribed ‘1714’ between simple blue ribbon motifs, the rim chipped, 31.5cm. £150-250

1164. A Sicilian maiolica vase or jar, 18th century, painted with large flowerheads and foliate scrolls in green, yellow and manganese reserved on a blue ground, 22cm. £100-200 1163

1164

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1165. A Sicilian maiolica albarello, 18th century, the wide cylindrical body painted with six-petalled flowerheads amidst scrolling leaves picked out in yellow and green on a blue ground, the rim and foot with yellow bands, a few small chips, 18.7cm. £100-200

1166. A Continental faïence drug jar, 1st half 18th century, Belgium or Northern France, the cylindrical body painted in blue with the inscription ‘U. RESUMPTIU’ within a crowned cartouche flanked by term figures holding flowers, some glaze chipping to the rim, 18.5cm. £400-600 Cf. Rudolf E A Drey, Apothecary Jars, p.121, pl.62B for a similar jar. The ingredients of this restorative ointment include oil of violets, oil of sweet almonds and fenugreek seeds. It was used in the treatment of asthma and pleurisy.

1168. A Delft drug jar, c.1680, painted in blue with a cartouche containing the inscription ‘C. ACATIE’, surmounted with a basket of fruit flanked by two birds, a restored rim crack, 19.3cm. £300-500

1169. An Italian (Caltagirone) syrup or wet drug jar, c.1700, the small globular body rising to a slender neck and issuing a long spout, painted in blue, green, yellow and ochre with stylized leaf scrolls, 22.3cm. £400-600

1167. 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. £200-300 Compound of potassium continues to have a variety of uses, not all medicinal, but helps to combat high blood pressure.

1170. 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. £150-250

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1171. A Delft three vase garniture, 18th century, comprising a baluster vase and two flared sleeve vases, painted in blue with two Chinese figures in a garden setting between large flower sprays, a stiff leaf border around the bases, the baluster vase lacking a cover, some damages, 26.8cm. (3) £100-200

1172. 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. £100-150

1173. A pair of Ginori maiolica vases and covers, late 19th/20th century, painted in the Renaissance style with panels of Classical figures between masks, mythical beasts and foliate scrolls, and a Cantagalli small tureen and cover with similar decoration, the cover with a putto and serpent finial, small damages, 31cm max. (6) £200-300

1174. Two Delft vases, 18th century, one a small ovoid vase and cover painted in blue with an allover design of stylized flowers and leaves, marked for The Claw factory, the other fluted with tall knopped neck and flared rim, painted with panels of flowers, small damages, 30cm max. (3) £100-200

1175. A large pair of Delft vases and covers, probably 18th century, the fluted ovoid forms painted in red, blue and green with birds in flight and perched on branches above pagodas and amidst flowering plants, the covers surmounted with cat or lion dog finials, marks for the Three Bells (Drei Klokken) factory, damages, 44cm. (4) £150-250

1176. Three Delft strawberry dishes and stands, 18th century, two painted with peony sprays within formal foliate borders, the other with panels containing a stag with head turned, each dish pierced with a geometric design and raised on three feet, the latter marked for the Hatchet factory, some faults, 26.4cm max. (6) £150-250

1177. Four Antonibon faïence plates, c.1775, painted with arrangements of fruit and vegetables including lemon, pear, apple and onion, within shaped moulded rims painted with flowers, blue star £100-200 marks, 23.3cm. (4)

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1178. Two Delft small teabowls, 18th century, one painted with a Chinese figure crossing a bridge, with a small leaf motif to the interior, the other with panels of stylized flowers, and a miniature beaker vase painted with a flower spray, damages, 6.1cm max. (3) £50-100

1179. A Delft condiment or trinket pot, 18th century, of elongated octagonal form, divided into one large and two small sections, painted to the exterior with a flower sprays in green, red and yellow, the foot with a jagged border in red and blue, footrim chips, the cover lacking, 11.8cm across. £100-200

1180. A Delft model of a cow, possibly 18th century, after Adrianus Kocks, standing four square on a chamfered rectangular base, a band of flowers encircling its body, APK monogram mark in blue, the horns restored, 14cm across. £200-300

1181. A pair of Swedish faïence sauceboats, 2nd half 18th century, the double-ended forms moulded with a band of fleur de lys around the footrims, with two simple scroll handles, a reglued chip to one end, 19.2cm. (2) £150-250

1182. A tin-glazed model of a cat, 18th or 19th century, modelled as a pouring vessel with its mouth forming the spout, an opening between the ears, decorated with roundels of yellow and ochre with blue dots, the ears restored, 16cm across. £100-200

1183. A delftware plate, c.1720-30, of Farmyard type, painted in blue with a strutting peacock between flowering plants, and another delftware plate painted with a willow tree issuing from holey rockwork, the rim with flying insects and peony sprays, a little glaze chipping, 23.2cm max. (2) £200-300

1184. Two small delftware plates, c.1720 and 1750, one boldly painted with flowers issuing from holey rockwork within a continuous floral border, the other with willow and peony within stylized bands, and a faïence covered jug and stand, the jug inscribed ‘FBR 1688’, the stand and cover with the letter R, blue A marks to the underside, minor damages, 20.1cm max. (5) £150-250

1185. Two London delftware plates, c.1700-20, the smaller Vauxhall and painted in blue with floral panels reserved on a hatched ground within a stylized leaf border, the other painted with flowering plants within a gadroon moulded rim, damages to the smaller plate, 22.1cm max. (2) £100-200

1186. Three Delft plates, 1st half 18th century, painted in blue, the largest with flowering plants and formal foliate motifs, one Dutch and painted with a bird in flight and two beside millet sprays, a small lobed dish, possibly Brislington, painted with a castle within a border of foliate motifs, some restoration, 26cm max. (3) £120-180

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

1187. A small London delftware plate, c.1710, probably Vauxhall, simply decorated with radiating dots in red and green, edged in blue, within narrow red bands and a blue scroll border, a small restuck rim section, 22cm. £200-300

1188. A Delft lobed dish, c.1680-90, painted in blue with a seated Chinese figure to the well, within a stylized floral motif border, the scalloped rim with the same scene echoed twice and two standing figures in a similar rocky landscape, raised on £150-250 a low foot, 34.5cm.

1189. A large delftware plate, c.1740, possibly Wincanton, painted with a bird perched on a leafy branch above a zigzag fence, the rim with shaped panels echoing the central design, some restoration, 26.8cm. £100-150

1190. A London delftware charger, c.1770, painted in blue, manganese, green and yellow with a two storey pagoda beneath willow, the cavetto with floral panels and hatched diaper bands, echoed to the rim, 31.2cm. £250-350

1191. A Delft lobed dish, c.1680-90, painted in yellow and manganese with a Chinese figure seated in a landscape, echoed to the rim with further standing figures, blue numeral mark to the underside, £250-350 34.2cm.

1192. A large Bristol delftware plate or charger, c.1735, painted in blue with flowering branches before bamboo, the rim with four sprays of peony, the underside with a cross and dash border, 33.3cm. £100-200

1193. A delftware deep dish, 1st quarter 18th century, probably London, the well painted in blue with a central flowerhead and petal-shaped panels containing further flower sprays, the steep rim with a band of moulded gadroons, raised on a low foot, some restoration to the rim, 23.3cm. £200-300

1194. A large Bristol delftware bowl, c.1730, possibly Limekiln Lane, painted to the interior with Oriental flower sprays in red, blue and green, a stylized foliate band to the cavetto, the pinched piecrust rim with a simple design in blue and red, painted 7 mark, a section broken and restuck, 26.5cm dia. £200-300

1195. A Delft barber’s bowl, 18th century, of unusually small size, painted to the well with a long-tailed bird perched on top of a footed bowl filled with fruit, the wide rim with stylized leaf scrolls and flowerheads, some damages, 22cm dia. £100-200

Cf. The Victoria and Albert Museum, Accession Nos. CIRC.944-1924 and C.1901912 for two similar examples.

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1196. Two Delft lobed dishes, late 17th/early 18th century, with double pleat moulding, both painted in blue with Chinese figures beside buildings and beneath trees, a rim crack to one, 35cm max. (2) £300-400

1197. Two delftware plates, 18th century, one probably Bristol and painted in the Kakiemon palette with a flowering plant to the well, the rim with flying insects around further flowers, blue numeral mark, the other London and painted with stylized flower sprays in black, blue, yellow and green, with a formal border, 23.3cm max. (2) £200-300

1198. Two large delftware chargers, 18th century, one painted in blue with a Chinese boy seated beneath weeping willow, the other with tall trees issuing from an ornamental fence, an early delftware plate painted with a bold stylized floral design, and a shallow bowl with a large leaf within narrow floral swags, some damages, 34.7cm max. (4) £150-250

1199. A pair of delftware plates, early 18th century, probably London, each painted in polychrome enamels with a vase and a censer of flowers within a floral panelled border, and two thickly potted Delft plates painted with stylized flowers and leaves, 23cm max. (4) £200-300

1200. A Delft lobed dish, c.1680-90, painted to the well with a single seated Chinese figure, the cavetto with a simple blue dash design, the rim with four further figures, standing and seated, raised on a low foot, 30cm. £150-250

1201. A delftware punchbowl, mid 18th century, painted in blue with the Dragon pattern, a large scaly beast chasing a flaming pearl in the centre of the bowl, the exterior painted with his body and tail amidst cloud scrolls, two short rim cracks, 27.4cm dia. £150-250

1202. A large Hispano-Moresque deep dish, 19th century, decorated in copper lustre and blue with bands of concentric circles containing flowerheads, the underside with bands of copper lustre, 46.7cm dia. £100-200

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

1203. A small Frankfurt faïence vase, late 17th century, painted in blue and manganese with four Chinese figures around a tiger or leopard in a landscape, between stiff leaf bands, the cover lacking, some rim faults, £100-200 16cm.

1204. A Delft tankard, c.1710-20, the tall cylindrical body painted in red, green and blue with stylized flowerheads and small stars, the handle with blue dashes, the cover lacking, 15.5cm. £100-120

1205. A French faïence chocolate pot, late 18th century, the lobed form painted in blue with baskets of flowers between narrow diaper panels and formal foliate motifs, the spout formed as the head of a mythical beast, the hinged cover with a circular aperture to receive a later wooden swizzler, blue R mark to the base, the pot 19.2cm. (2) £150-250

1206. A large Italian maiolica moulded platter, the well moulded with Ceres attended by two putti, Vulcan behind her, forging a tool with a hammer, Neptune in a stream before her and leaning on an upturned urn issuing water, the rim moulded with winged putti amidst formal foliate scrolls, one side moulded with a courting couple, signed ‘MP’ to the rim, the reverse inscribed ‘OCZ’, 54cm. £400-600

1207. A Continental faïence flask or bottle vase, c.1770, the rounded body painted in blue and ochre to two sides with a circular panel containing birds in flight over buildings with tall roofs, the neck and shoulder with bands of stylized stiff leaves, applied with two handles on two sides, 29.5cm. £300-500

1208. An Italian maiolica oval plaque, 19th century, painted with a brown and white spaniel about to root out a rabbit from its hiding place among a patch of tall grass, edged in yellow, 15.5cm. £150-250

1208A. A Porquier-Beau Quimper hexagonal teacup and saucer, late 19th century, painted in an autumnal palette with blossoming branches on a pale grey ground within yellow line rims, blue PB monogram marks, 14.5cm. (2) £100-200

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1209. A Castelli maiolica rectangular plaque, 1st half 18th century, painted with a shepherd walking beside a donkey which carries two lambs in a pannier on its back, a dog running alongside, all before a Classical arch with sails visible beyond, 26.7cm across. £400-600

1210. A small Castelli maiolica plate, early 18th century, painted with four men at repose beneath a tree, drinking, talking and reclining, with buildings and mountains visible in the distance, the rim with two putti and two masks between scrolls and foliage, 17.5cm. £300-500 Cf., Jeanne Giacomotti, Catalogue des Majoliques des Musées Nationaux, 1974, nos. 1398, 1399 and 1401, p. 477 for similar plates.

1211. A Castelli maiolica rectangular plaque, 1st half 18th century, painted with a female traveller holding a long staff and with a flask suspended from her waist, walking beneath trees alongside a river, with buildings and mountains visible beyond, 27.3cm. £400-600

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

1212. Fifteen Naples (Giustiniani) small plates, 19th century, painted in the Egyptian revival manner with figures and Egyptian gods holding attributes, in black and red on a cream ground, within stylized leaf borders and scalloped rims, and a small circular stand with a similar leaf band, impressed marks, 21.7cm. (16) £600-800

1213. A Naples (Giustiniani) comport or tazza, 19th century, painted in the Egyptian revival manner with three figures in profile wearing elaborate costume, in black and red on a cream ground, the rim and foot with stylized leaf borders, raised on a square base, £200-300 impressed mark, 29.5cm dia.

1214. A pair of Naples (Giustiniani) coolers, 19th century, the U-shaped forms painted in the Egyptian revival manner with figures in profile and birds between stylized leaf scrolls and geometric borders on a cream ground, the interiors with a continuous horizontal palmette band in black and orange, incised G marks, 18cm high. (2) £400-600

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1215. A Wedgwood red stoneware teapot and cover and sucrier and cover, late 18th/early 19th century, a creamware teapot and cover moulded with basketweave around the base and with fruits to the shoulder, splashed in Whieldon type colours, and a Continental creamware chocolate pot and cover, painted with two Chinese figures on a seesaw, possibly after Pillement, the chocolate pot’s cover restored, minor faults, 21.5cm max. (8) £200-300

1216. A pearlware rectangular moneybox, 2nd half 19th century, the top printed in black with boys playing Blind Man’s Buff, the long sides with a view of a church, the shorter with tea clippers titled ‘Scawfell Liverpool’ and ‘Warrior Stockton’, raised on four paw feet, the top pierced with two differently sized apertures, 12.5cm across. £100-150

1217. A creamware Anti-Gallican saucer, mid 18th century, printed in dark red with the arms of the Anti-Gallican Society, a central cartouche of St George piercing the French flag above a banner inscribed ‘For Our Country’, and a Swansea pearlware jug relating to the Napoleonic Wars, printed in black with Britannia holding plaques of George III and Bonaparte, with putti holding banners titled ‘May Peace be Restored’ and ‘Britons Rejoice’, the jug cracked, 16.2cm max. (2) £300-500

1218. A commemorative pearlware mourning cup and saucer, c.1818, printed in black with a portrait of Princess Charlotte before weeping willows, the saucer inscribed in the print ‘HRH Princess Charlotte Died Nov 6 1817 at 21’, within narrow pink lustre bands, 13.8cm. (2) £100-150

1219. Two pearlware jugs, early 19th century, one printed in blue with a boy riding a buffalo in a Chinese pagoda landscape, the other painted to one side with a simple gilliflower spray, the reverse with with an unusual design of swags over dots, 18.3cm max. (2) £150-250

1220. A Sunderland lustre novelty ‘Marriage Gift’ chamber pot, 19th century, the exterior printed with verses including ‘This Pot it is a present sent, Some mirth to make is only meant’, the interior applied with a frog clambering up the inside wall, the handles and rim with bands of pink lustre, 8.5cm dia. £100-200

1221. Seven pearlware and creamware tea canisters, early 19th century, all of cylindrical form and variously decorated, two painted in blue with flowers, two with a Chinese landscape, one with later red enamelling, two printed with pagoda landscapes, one with green stripes, the last with a blue hatched band on a brown ground, the covers lacking, chipping, 11cm max. (8) £200-300

1222. A Wedgwood creamware jelly mould, late 18th/early 19th century, moulded with wide lobes to simulate a melon, impressed mark, 14.4cm. £100-150

1223. Four pearlware pineapple-moulded jugs, 1st half 19th century, painted in red and silver lustre with stylized flower sprays and formal borders, one impressed ‘Harley’, some damages, 13.5cm max. (4) £150-250

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

1224. A creamware ship subject plate, early 19th century, printed and coloured with a three masted clipper, titled ‘Ship America Salem’, and a salt-glazed stoneware octagonal plate, printed in black with a fox attacking a hen, the rim moulded with diaper panels, some rim faults, 25cm max. (2) £200-300

1225. A pair of creamware plates, c.1780, probably Leeds or Neale & Co., printed in black with Minerva seated before three putti encircling a globe, within an oval panel inscribed ‘Let Wisdom Unite Us’, flanked by dead game and other birds, the border moulded with three swags, some nibbling to the rims, 25.4cm. (2) £150-250

The America is described in 1922’s Old Tim Ships of Salem as, “the largest, the fastest, the most fortunate and the most famous of all the privateers which at any time sailed out of Salem Harbour”. During the 1812-15 war she captured 27 vessels, valued at over a million dollars.

The print on these plates is after an engraving by Thomas Rothwell.

1226. A pair of Leeds Pottery creamware plates, early 19th century, each painted in blue with a tall Chinese man standing before an ornamental fence and holding a parasol, the shaped rims pierced with four panels and moulded with foliate motifs, impressed marks, 24cm. (2) £100-150

1227. A pair of Staffordshire salt-glazed dishes, c.1760, of eightlobed form, heavily moulded with foliate scrolls and panels of diaper and basketweave, the rims with reticulated motifs, painted in polychrome enamels with flower sprays and single sprigs, 21.7cm. (2) £150-250

1228. A Wedgwood creamware sauce tureen and two plates, early 19th century, painted in sepia with continuous bands of grapevine, the tureen with a built-in stand, impressed marks to the £100-200 plates, 24cm max. (4)

1229. A pearlware part tea and coffee service, 19th century, printed in black with figures in an Eastern landscape scene, beneath wide floral borders with ochre line rims, some damages. Comprising: a coffee pot and cover, a teapot and cover, a sucrier and cover, a milk £100-200 jug, seven teacups and nine saucers. (23)

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1230. A commemorative Bristol Pottery pearlware jug, c.1814, inscribed ‘Peace of Europe Signed at Paris May 30, 1814’, on a tablet between two Classical figures representing Peace and Plenty, the spout painted with the initials ‘EB’ beneath a printed and coloured band of flowers, a short rim crack, 15.2cm high. £300-500

1231. A large documentary pearlware jug, dated 1839, painted to one side with a figure on a barge, the barge inscribed ‘J Yates Colton 18 tons’ and ‘Victoria’, beneath the spout inscribed for ‘Joseph Tomlinson Little Haywood 1839’, the reverse with a spray of flowers, the handle restored, 26cm high. £200-300 The 1841 census lists Joseph Tomlinson as a publican in the village of Little Haywood, while p.621 of William White’s History, Gazeteer and Directory of Staffordshire of 1834 mentions John Yates of Colton, “an extensive maltster and corn merchant”. Possibly the latter commissioned this jug as a gift for the former. 1232. A Pratt ware ‘Gretna Green’ oval plaque, early 19th century, moulded with a scene of a couple being married by a blacksmith in his forge, their clothing picked out in blue, ochre and umber, within a moulded yellow border, 23cm. £100-150 1233. A Continental faïence portrait plaque, 18th century, moulded in high relief with a head and shoulders portrait in profile, probably depicting Jesus Christ, within a narrow yellow and blue border, the upper section pierced with two suspension holes, 21.2cm. £300-400

1232

1233

1234. A Pratt ware oval plaque, early 19th century, moulded in high relief with a figure of a young Atlas supporting the globe on his shoulders painted in yellow, blue, green and brown enamels, the yellow border with black detailing, a few small rim chips, 21.5cm. £100-150

1234

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1235. A good Whieldon type creamware plate, c.1760, moulded in shallow relief with a large leaf spray reserved on a ground of leaf veins, the scalloped rim with six foliate scrolls enclosing diaper panels, decorated with splashes of blue, black, green and manganese, 22.3cm. £250-350

1236. A salt-glazed brown stoneware string box and cover, 19th century, of oval form, moulded with gothic arches and crosses, the cover with a single hole and fleur de lys finial, 12.5cm across. (2) £100-150

1238. Ten creamware plates, late 18th/19th century, six Wedgwood and painted with a stylized border of barley, one botanical and painted with a specimen of Purple Auricula, two soup plates with feathermoulded rims, the last a nursery plate with moulded border, printed with a scene from Dr Syntax, some damages, 24.5cm max. (10) £150-250

1240. A large stoneware Bellarmine jug or Bartmannskrug, 17th/18th century, the bulbous body moulded with a roundel enclosing various symbols beneath a bearded mask to the neck, a short grooved strap handle to the reverse, 43cm. £300-500

1237. A German salt-glazed stoneware mug, 16th century, the thistle-shaped body applied with trailing oak branches, and an early Dutch pottery candlestick, with a flared foot and wide drip pan, glazed in green, minor faults, 12.6cm max. (2) £150-250

1239. A brown stoneware jug and a jar, 19th century, the jug sprigged in high relief with various scenes of topers above a continuous stag hunt, the jar of baluster form and impressed ‘John Hill, Cannon Fixture Dealer, 3 to 7 New Cut’, and a small salt-glazed stoneware bottle with a mottled glaze, some rim chips to the jug, 20cm max. (3) £250-350

1241. A Rhenish stoneware flagon or jug, 17th/18th century, the ovoid body decorated in a tigerware glaze, with small rounded handle, some faults, 25.5cm. £100-200

1242. A large stoneware bellarmine jug or Bartmannskrug, 18th century, the neck moulded with a bearded face, the bulbous body with three incised stars or sunbursts, 42cm. £150-250

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1243. A West Country slipware posset pot, late 17th/early 18th century, with sgraffito decoration of stylized leaf stems and zig-zag stripes, decorated in cream slip, applied with four small handles, some glaze chipping, 15cm across. ÂŁ400-600

1244. A large medieval earthenware jug, c.13th/14th century, the bulbous body rising to a wide tapering neck with everted rim, the rim and shoulder with traces of a pale greenish glaze, the rounded handle with a thumb terminal, 45cm. ÂŁ500-700 By repute, disinterred in Lincolnshire.

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

1245. A blue and white transferware soup tureen and stand, 1st half 19th century, from the Ottoman Empire series, printed with a view of the Mosque in Lachavia, a comport and two dishes in the same pattern with the Port of Latachia and Piccolo Bent, the tureen’s cover lacking, 41cm max. (5) £100-200

1246. A Don Pottery blue and white transferware soup tureen with cover and stand, 19th century, and six matching meat dishes or chargers in various sizes, all printed with views from the Named Italian Views series, including Cascade at Isola, View of Corigliano, Residence of Solimene and The Church of Resina, 54cm max. (9) £300-400

1248. Three Spode blue and white transferware meat dishes or chargers from the Caramanian Series, 19th century, one printed with a view of the Castle of Boudron, one with the Principal Entrance of the Harbour of Cacamo, the largest with the Triumphal Arch of Tripoli in Barbary, moulded with draining channels, printed Spode marks, one chipped, 52cm max. (3) £100-200

1247. A blue and white transferware tureen and cover and seven dishes, 1st half 19th century, probably Don Pottery including the Named Italian Views series, variously printed with figures and buildings in landscapes within wide floral bands, including ‘Near Taormina’ and ‘Obelisk of Catania’, 25cm max. (9) £150-250

1249. Twelve blue and white transferware dishes, 1st half 19th century, of different sizes, including Spode from the Caramanian series, Rogers, Don Pottery from the Ottoman Empire series, a square tureen base, and a Copeland Spode sauce tureen with cover and stand, all printed with figures in Eastern landscapes, some faults, 27.7cm max. (14) £150-250 part

1250. A large Turner blue and white transferware charger, 19th century, of elongated rectangular form, printed with a Chinese stag hunt, watched from an elaborate pagoda by a further figure, the rim with scale panels and floral sprays, impressed mark, 40.7cm. £80-120

1251. Four blue and white transferware meat platters, 1st half 19th century, two Don Pottery from the Ottoman Empire series, another Copeland Spode, and an oval strainer, all decorated with scenes of figures in Eastern landscapes within floral borders, some faults, 48cm max. (5) £150-250

1252. A collection of prints, 19th century and later, relating to the prints used on blue and white transferware pottery, including scenes from the Italian Scenery series, the Ottoman series and several others, eight framed and glazed, the rest loose leaf in a folder. (A lot) £80-120

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1253. A black basalt sucrier with cover and stand, early 19th century, the flared sides sprigged with scenes of putti and other figures above a band of dense vertical fluting, the saucer and cover with a continuous floral medallion band, the cover surmounted with a sibyl finial, 14.8cm across. (3) £120-180

1254. A miniature Dutch red stoneware teapot and cover, 1st half 18th century, the globular body well enamelled with a leaf bug and other £100-150 insects beneath colourful flowerheads, 10cm across. (2)

1255. A Wedgwood pottery chamberstick, 19th century, applied with spiralling fern leaves and star motifs in blue on a cream ground, impressed mark, a small rim chip, 10.5cm across. £100-150

1256. A Wedgwood black basalt violeteer or small pot pourri basket and cover, c.1800, the side decorated with a Classical god stopping a winged figure in a horse-drawn carriage, and with another figure washing the feet of a maiden, the cover pierced with an arrangement of circular holes, impressed mark, 11.2cm dia. (2) £150-250

1257. A large pair of Wedgwood Jasperware oval plaques, 19th/early 20th century, one applied with a Classical maiden leaning on a tall pillar beside a vase, the other with a Classical warrior maiden holding a spear, in white reserved on a blue ground, impressed marks, 21cm. (2) £100-200

1258. A Jackfield coffee pot and a milk jug, c.1760-70, the pearshaped coffee pot moulded with flowering tendrils, raised on three paw feet, the milk jug similarly footed and with a shaped rim, the coffee pot’s cover lacking, small damages, 18.5cm max. (2) £100-150

1259. A Wedgwood Antico Rosso part tea service, 19th century, moulded with formal foliate motifs around Bacchus mask panels, impressed marks. Comprising: a teapot and cover, a sucrier and cover and a slop bowl. (5) £100-200

1260. A small mixed group of ceramics, including a small creamware teapot and cover, an early Chinese box base in a celadon glaze, a Chinese teabowl or wine cup moulded with leaf bands, a large English porcelain teabowl painted with simple shells, and a modern Royal Worcester milk jug printed with a bird perched on fruit, some faults, 14.5cm max. (6) £80-120

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

1261. A rare near pair of Wedgwood tricolour Jasperware ormolu-mounted Zodiac vases and covers, 2nd half 19th century, each vase applied to two sides with an oval plaque containing a Classical figure applied in white on a lilac ground, within floral swags and stiff leaves, the shoulders applied with the twelve signs of the zodiac, in white on a sage green ground, with ormolu mounts to the feet and rims, and with foliate scroll handles, the top covers lacking, 33cm. (4) £500-800

1262. A Staffordshire red stoneware coffee pot and cover, c.1770-80, of Elers type, the generous ovoid body turned with fine horizontal bands, the spout moulded with a mask, impressed square seal mark to the base, small chips, a silver tip to the spout, 24cm. (2) £100-200

1263. A Staffordshire glazed redware jug and cover, c.1745, sprigged with the Lion and the Unicorn of the Royal Coat of Arms either side of a crown, decorated in cream slip on a rich treacle ground, a chain linking the cover and handle, some chipping to the cover, 14cm. (2) £100-150

1264. A Herculaneum Jasper dipped stoneware câchepot and stand, early 19th century, applied with a continuous scene of Classical figures at various pursuits beneath a narrow band of oak leaves, the stand applied with scallop shells, all on a rich brown ground, impressed factory marks, 15.5cm high. (2) £150-250

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1265. A large Jérôme Massier Majolica model of a wishing well, late 19th/early 20th century, unusually modelled with four musical frogs playing the mandolin and singing as they perch on parts of the well, a further frog seated on the ground, a small bucket suspended from the frame above the well itself, painted JMF Vallauris mark to the underside, minor damages, 71.5cm high. £400-600 Wells of this type are more commonly seen with songbirds in place of the frogs and are made in several sizes, this being unusually large.

1266. A rare pair of Majolica candlesticks, 2nd half 19th century, possibly George Jones, each modelled as a putto seated on a rocky base beside a large shell, supporting a turquoise amphora with a sconce and removable drip pan, impressed ‘8’ to the bases, a little good restoration, 28cm. (4) £300-500

1267. A George Jones Majolica part fruit service, c.1870-80, moulded with a border of pineapples on a leafy ground, the comport with a pineapple forming the stem, applied marks. Comprising: a comport or cake stand, two handled dishes, and eight plates. (11) £400-600

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1268. A George Jones Majolica novelty teapot and cover, c.1875, modelled as a cockerel in defensive pose, his beak agape and wings down, his tail feathers curved to form the handle, the interior glazed turquoise, a tiny amount of good restoration, 28cm. (2) £1,000-1,500 Cf. Marilyn G. Karmason, Majolica, p.93.

1269. A George Jones Majolica butter tub with cover and stand, c.1870-80, the oval form moulded with bands of stiff leaves on a pink ground, edged in yellow, the stand with a continuous band of oak, the cover’s finial formed as a recumbent cow, 19.3cm. (3) £200-300

1270. A George Jones & Son Majolica teapot and cover, c.1875, modelled with a monkey clinging to the side of a flattened circular teapot applied with sprays of blossom on a blue ground, the interior glazed turquoise, moulded registration diamond, some good restoration to the spout, 24cm across. (2) £400-600

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1271. A George Jones Majolica bread tray, c.1870-80, the oval form with raised sides moulded with ears of corn and flowering currant branches, the handles formed as tied pink ribbon bows, 33.5cm. £200-250

1272. A Copeland Majolica jug, c.1877, moulded with stylized panels of waterlily in the Aesthetic manner, a Majolica hexagonal teapot applied with bold yellow flowers, with a crabstock spout and handle, and a pineapple moulded cup and saucer, 20.5cm max. (5) £150-250

1273. A pair of Royal Worcester Majolica wall pockets, c.1878, each modelled as a squat basket with tall back, glazed in turquoise and applied with trailing ivy, a brown bird perched on the side of each, impressed mark and registration diamond, 24cm. (2) £150-250

1274. Six Continental Majolica menu holders, late 19th/20th century, probably Delphin Massier, each modelled as a large flowerhead, three pansies and three peonies, some restoration, £150-250 7.5cm. (6)

1275. A George Jones Majolica jardinière, c.1880, the rounded form moulded with sprays of blossom issuing from behind large chestnut leaves on a turquoise ground, raised on curved branch supports, the interior glazed pink, applied GJ monogram and Stoke-on-Trent mark, minor faults, 23cm. £150-250

1276. A George Jones Majolica cheese dome and stand, c.1875, of cylindrical form and moulded with overlapping bands of stiff leaves picked out in shades of green, the finial formed as a recumbent cow, the ropemoulded rims picked out in yellow against the bright turquoise ground, impressed GJ monogram, some good restoration to the cow, 27cm high.(2) £400-600

Cf. Nicholas Dawes, Majolica, p.113, fig.197, for the illustrated design of this piece.

1277. A Joseph Holdcroft Majolica figural jug or ewer, 2nd half 19th century, modelled as a lawyer or judge, wearing a long brown coat, one hand resting on his stomach, the other holding a scroll behind his back, 27cm. £200-300

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1278. Two pearlware Toby jugs, 1st half 19th century, one Copeland with a prominent wart on his face, wearing a blue coat, the other Davenport with a cup stopper, decorated in Portobello colours with a sponged base and handle, impressed marks to both, the cover broken and restuck, 24.5cm max. (3) £250-350

1279. Three Toby jugs, late 18th and 19th century, one a Pratt ware example, seated with a jug of ale and decorated with blue arrows and sponged ochre stripes, a snuff taker with a chevron waistcoat, and a Gin Woman on a moulded base, holding a bottle and glass, damages and restoration, 23.5cm max. (3) £200-300

1280. Two pearlware Toby jugs, c.1810-20, decorated in Portobello type colours, each resting a foaming jug of ale on their knee, one handle broken off and restored, 24.5cm. (2) £200-300

1281. A Staffordshire pearlware Toby jug, c.1780, seated with an upright barrel between his feet, a foaming jug of ale on his left knee and his clay pipe resting by his right side, wearing a sponged blue coat over an ochre waistcoat and black breeches, 25cm. £300-500

1282. An unusual Squire Toby jug, c.181020, seated on a shaped base and wearing a bright turquoise jacket over a blue waistcoat, holding a small jug of ale and a longstemmed pipe, a little chipping, his pipe a replacement, 29.5cm. £600-800

1283. A Rockingham pottery figural spirit flask, dated 1830, modelled as a man in a top hat, seated astride a barrel and holding a jug and glass, impressed ‘J Smith The Mormon Prophet’, decorated in a running treacle glaze, 22.5cm. £100-200 Joseph Smith (1805-44) was the founder of the Mormon movement and author of the Book of Mormon. The movement is famously teetotal and flasks of this type were produced to mock the non-drinkers.

1284. A salt-glazed stoneware Toby jug, 1st half 19th century, of the Snuff Taker, standing on a base moulded with grapevine, holding a circular snuff box in his right hand and taking a pinch with his left, with a hinged pewter cover, a crack to the handle, 26cm. £150-250

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1285. A Pratt ware Martha Gunn Toby jug, c.1800, seated and holding a gin bottle and glass, her dress picked out in typical palette with small flower sprigs, her cheeks rouged in ochre, some good restoration to the hat, 26cm. ÂŁ700-900

1286. A rare Mexborough (Yorkshire) or Crown mark Toby jug, early 19th century, holding a miniature Toby jug on his knee and a cup in his right hand, with a dog reclining between his feet, the base and inside of his hat sponged in blue, ochre, black and crimson, the handle moulded with a caryatid, impressed crown mark, some good restoration, 26cm. ÂŁ1,000-1,500

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1287. A pearlware Toby jug, c.1800, seated with an upright barrel between his feet, a clay pipe to his side and a foaming jug of ale on his knee, wearing a blue coat over ochre breeches, around the base moulded with a band of flowerheads, good restoration to his hat, 25cm. £300-400

1288. A pearlware Toby jug and cover, c.1800-10, of Ordinary type, an empty jug resting on one knee, his long-stemmed clay pipe beside him, decorated in blue, £300-500 restored, 25.2cm. (2)

1287

1288

1289. A creamware Toby jug, c.1790, seated with a large foaming jug of ale, his coat and breeches decorated in Whieldon type running glazes, some good restoration to the hat, 24cm. £400-600

1290. A large pearlware figure of Shakespeare, c.1800, after Peter Scheemakers’ version of William Kent’s memorial, standing and resting his right elbow on a pile of books atop a plinth, his left hand pointing towards an unfurled scroll, wearing a green cloak over a red tunic and yellow breeches, raised on a tall rectangular faux marble base, small damages, 38.5cm. £200-300

1291. A large Portuguese faïence model of a boar, early 20th century, Caldas da Rainha, standing on a rocky stump washed in green, yellow and manganese, his head turned to the right and teeth bared, impressed mark, the tail lacking, 26cm high. £150-200

1289 1290

1292. A creamware figure of a woman, late 18th century, seated with her hands held out before her, wearing a scarf covering her hair, the whole decorated with splashes of green, manganese and yellow, 18cm. £100-200 Old paper label for the Carter Collection, No. 440 and another dated 1889.

1291

1292

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1293. A Nove faïence model of a lion, 19th century, seated on its haunches and baring its teeth, painted with colourful sprays of flowers, blue star mark, some restoration to the tail, 28cm across. £100-200

1296

1294. A Staffordshire pearlware figure group, early 19th century, modelled as a couple seated beneath a tree, she reading from a book, he playing a tabor, raised on a rocky stump above a square base titled ‘Rural’, small damages and restoration, 19.5cm. £100-200

1297

1296. A pair of Staffordshire figures of a huntsman and a lady archer, c.1830-40, he carrying a gun and with his dog at his side, she standing before a target and holding a bow and arrow, both standing before flowering bocage, and a similar pearlware figure of a girl holding a basket of flowers, all raised on rocky bases with scroll motifs picked out in blue, some damages, 14.3cm max. (3) £100-150

1298. Five Staffordshire theatrical figures, 19th century, including a pair of porcelain figures of Luigi Lablache as Prince Charming and Mrs Edwards as Cinderella, a pottery flatback figure of David Garrick as Richard III, a flatback group of Sairey Gamp and Betsy Prig drinking tea at a table, the last a standing figure of Sothern as Lord Dundreary, some faults, 21.8cm max. (5) £200-300

1299. Two Staffordshire flatback figures, 19th century, one depicting the murder of Thomas Smith by William Collier, the other of a lion seated on its haunches with a lamb recumbent at its side, 34cm max. (2) £100-200

1295. A Staffordshire figure group of the Alphington Ponies, c.1845, the two sisters modelled standing with arms linked, wearing their characteristic checked jackets and holding green parasols, the base titled in gilt ‘A Present from Torquay’, 12cm. £100-200 The Misses Durnford moved from Alphington to Torquay with their mother and became locally notorious for promenading around the town identically dressed in outlandish costume and heavily made up. Cf. Sabine Baring-Gould, Devon Characters and Strange Events, for a lengthy description of the sisters and their curious habits.

1297. Two pearlware figures of animals, early 19th century, one of a fox, wearing a collar and seated with its head turned to sinister, raised on a rectangular base, the other of a long-haired dog, sniffing a flower on a grassy base before flowering bocage, the dog’s tail broken and restuck, 14.6cm max. (2) £250-350 Cf. Myrna Schkolne, People, Passions, Pastimes and Pleasures, p.220 for a similar model of a fox.

1300. Literature: Four volumes relating to Staffordshire pottery, A & N Harding ‘Victorian Staffordshire Figures’, P D GordonPugh ‘Staffordshire Portrait Figures’, and two volumes of ‘The Earle Collection of Early Staffordshire Pottery’ by Cyril Earle. (4) £20-30

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1301. Two pearlware figures, early 19th century, one Walton of a female archer, holding a bow and a feather and standing before a rope target and flowering bocage, the other of a shepherdess and a lamb, decorated in Pratt ware colours, raised on a square base with a band of moulded stiff leaves, some restoration to both, 27cm max. (2) £150-250

1302. A Ralph Wood figure of a shepherdess, early 19th century, standing on a rocky outcrop with her right hand extended to receive a staff, holding a small bag in her left, the square base misleadingly titled ‘Hay Maker’, decorated in pale pastel enamels, 16.5cm. £300-500

1303. A Ralph Wood figure group of Liberty and Matrimony, late 18th century, modelled with a couple seated beneath a bird in a tree, the gentleman resting a bird cage on one knee, a further bird and grazing lamb either side of a stream below them, decorated in pale pastel enamel colours, £250-350 29.5cm.

1304. A French terracotta model of a running satyr, c.1770, after Claude Michel known as Clodion (1738-1814), the youngster clutching an owl to his chest, wearing a crown of leaves, raised on a circular base, 27cm. £600-800

1305. A pair of Minton Parian figures of Corinda and Dorothea, mid 19th century, modelled by John Bell, seated on rocky outcrops with heads slightly bowed and turned, Clorinda with an incised mark, Dorothea with applied pad marks, 34.5cm. (2) £250-350

1306. A large Robinson and Leadbetter Parian bust of Queen Victoria, c.1897, modelled by R J Morris to commemorate Victoria’s Diamond Jubilee, her mourning dress and lace veil finely detailed, wearing a cameo of Prince Albert on her left breast, the whole raised on a circular socle, titled to the reverse and impressed ‘R&L’, 53cm. £250-350

Cf. Cleveland Museum, Accession No. 1944.129 for the same figure with his companion from the Elisabeth Severance Prentiss Collection.

Dorothea and Clorinda are characters from Cervantes’ Don Quixote and these models were shown by Minton at the 1851 Great Exhibition.

Cf. Richard Dennis, The Parian Phenomenon, p.229, fig.745.

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1307. A rare Staffordshire porcelain figure of Man Friday, mid 19th century, carrying a young goat under his right arm, a quiver of arrows slung over his shoulder, his bow resting on the scrolled base on which he stands, some good restoration, 15.5cm. £100-200

1308. Three Derby models of animals, late 18th century, two of pug dogs, seated on their haunches with heads turned, one decorated in coloured enamels and with an incised star mark for the repairer Isaac Farnsworth, the last of a fox, seated and with head turned to sinister, wearing a gilded collar, minor faults, 8cm max. (3) £600-800

1309. A Bloor Derby model of a peacock, c.1830, its plumage picked out in gilt with the eyes in blue and green, raised on an elaborate scrolled stump applied with colourful flowers, iron red crowned D mark, some chipping, 15.5cm high. £100-150

1310. Seven small English porcelain figures of dogs, most 1st half 19th century, three of poodles, one of a seated pug, one of a setter, recumbent on a rectangular base, and two Royal Worcester figures of Cavalier spaniels on tasselled cushions, together with a Staffordshire porcelain model of a bird beside a bunch of grapes, minor faults, 10.7cm max. (8) £250-350

1311. A pair of Dudson porcelain Fable spill vases, 19th century, depicting Aesop’s Fable of the Fox and the Stork, one with the fox lapping from a bowl while the stork looks on hungrily, the second with the stork drinking from a tall vase and watched warily by the fox, both beneath hollow tree trunks and raised on rectangular scrolled bases, a small amount of good restoration, 17.5cm. (2) £200-300

1312. Four Royal Worcester candle snuffers, late 19th and early 20th century, including Mr Caudle, the Young Girl, a nun and a kneeling Japanese girl, and three other English porcelain snuffers including a pair of children and a cat in a pointed night cap, 9cm max. (7) £200-300

1313. 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) £350-450

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1314. A massive pair of Continental porcelain figures of a goatherd and his companion, late 19th/20th century, after A CarrierBelleuse, each standing with one foot resting on an amphora or urn, he holding a young goat in his left arm, his companion breast-feeding her infant, with socle bases, some faults, 71cm max. (4) £600-800

1316. A Royal Worcester cased coffee set, date codes for 1932, decorated with a band of stylized flowers in raised enamelling above a powder blue ground, printed marks. Comprising: six coffee cups, six saucers and six silver gilt spoons with hallmarks for Hukin & Heath, enclosed in a lined and fitted case for Finnigans Ltd. £100-200

1315. A massive Royal Worcester figure of a Grecian water carrier, date code for 1880, modelled by James Hadley, a two-handled urn resting on the top of her head, a further slender vase in her right hand, dressed in a flowing turquoise robe and raised on a circular base, impressed factory mark and R date code, some restoration, 86.5cm. £400-600

1317. A Royal Worcester cased coffee set, date codes for 1925, painted by James Stinton each with a pair of pheasants, signed, printed marks. Comprising: six coffee cups, six saucers and six silver gilt spoons hallmarked for Hukin & Heath, enclosed in a lined and fitted case for Hamilton & Co. Ltd. £250-350

1318. A cased Royal Worcester coffee set, date code for 1938, printed and handcoloured with vases of roses amid foliate scrolls, the cups with angular handles. Comprising: six coffee cups, six saucers and six silver spoons, enclosed in a lined case for £100-200 Walker & Hall of Sheffield.

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1319. A large pair of Royal Worcester cylindrical vases, date codes for 1924, of shape 6/161, painted by James Stinton, each with a pair of pheasants before silver birch in a wooded landscape, raised on reticulated feet in the manner of Chinese hardwood stands, printed marks, some good restoration to the feet, 26.5cm. (2) £500-800

1320. A Royal Worcester vase, date code for 1902, of shape 2151, painted by Harry Davis with a view of Stratford Church, reserved in an elaborate gilt cartouche reserved on a pink ground, signed, printed marks, 28.3cm. £400-600

1321. A pair of Royal Worcester small vases, date codes for 1903, painted by James Stinton each with a hen pheasant in flight above her partner standing in a wooded landscape, signed, the sides applied with scroll handles, printed marks, 14.7cm. (2) £150-250

1322. A pair of Grainger & Co (Worcester) small vases, c.1901, of tapered form, painted by James Stinton each with a hen pheasant in flight above her partner standing in a wooded landscape, signed, the necks moulded with a fleur de lys border, printed marks, 13.5cm. (2) £100-200

1323. Two Royal Worcester small bowls and a plate, date codes for 1913, 1926 and 1932, all painted by James Stinton with scenes of pheasants and grouse in moorland landscapes, signed, printed marks, a chip to one bowl, 11.7cm max. (3) £100-200

1324. Two Royal Worcester small vases, date codes for 1911 and 1918, the first of cylindrical form (shape G689), the other of globular form with a moulded border to the neck (F126), both painted by Harry Stinton with scenes of Highland cattle in moorland landscapes, signed, printed marks, 12.8cm max. (2) £250-350

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1325. Three Royal Worcester small vases, date codes for 1910, 1914 and 1930, of varying shape, all painted by James Stinton with pheasants in moorland and wooded landscapes on a blush porcelain ground, signed, printed marks, 11.6cm max. (3) £150-250

1326. Five Royal Worcester ornithological milk jugs, date codes for 1911, 1928, 1930 and 1932, painted by Powell and Norwood with British birds including Bluetit, wren, goldfinch and a kingfisher, the tapering jugs moulded with horizontal bands, and a similar flared bowl, all signed, printed marks, minor faults, 8cm max. (6) £250-350

1327. Three Royal Worcester coffee cups and saucers, date codes for 1922, 1925 and 1926, one painted by W H Austin with a peacock on a pine branch, one by Harry Stinton with Highland cattle, the last by R Austin with kingfishers, signed, all gilded to the interior of the cups, printed marks, one saucer cracked, 10cm. (6) £250-350

1328. Two Royal Worcester miniature ornithological jugs and a mug, 20th century, one jug painted by James Stinton with a cock pheasant, the other with a kingfisher, the mug painted with a goldfinch perched on a gorse bush, and a Caverswall miniature cup and saucer painted by W R Tipton with a thrush and a pied wagtail, printed marks and date codes including 1913 and 1917, 6cm max. (5) £100-200

1329. A Royal Worcester tazza and three plates, date codes for 1910, 1912, 1917 and 1932, variously painted with birds including a goldfinch, chaffinch, merlin and kingfisher, two signed ‘E Barker’, one ‘W Powell’, printed marks, 28.3cm max. (4) £250-350

1330. Four Royal Worcester plates, date codes for 1913, 1928 and 1932, painted by James Stinton, a pair of plates with mallard ducks and other aquatic birds at the water’s edge, one with a pair of pheasants in a woodland landscape, another with two grouse in flight above moorland, all signed, printed marks, some faults, 27.5cm max. (4) £200-300

1331. A small pair of Royal Worcester vases, date codes for 1919, the sack forms painted by James Stinton each with a pair of pheasants in a wooded landscape, signed, printed marks, 8.3cm. (2) £100-200

1332. A Royal Worcester teacup and saucer and a small mug, 1911 and 1926, the cup and saucer painted by James Stinton with a cock pheasant in a landscape on a white ground, the other painted by Powell with a robin perched on ivy, signed, printed marks, 14.1cm max. (3) £100-200

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1333. An English porcelain square plaque, 19th/early 20th century, painted with a view of Highland cattle, signed ‘F Hancock’, mounted in a glazed gilt wood frame, the plaque 14cm. £120-150

1334. A small Derby rectangular plaque, c.1830, painted with a floral arrangement including rose, convolvulus and poppy, reserved in a scrolling gilt cartouche on an apple green ground in the Sèvres style, crowned interlaced LL mark, in a gilt wood frame, some crazing, the £100-200 plaque 10cm x 12cm.

1335. An English porcelain circular plaque, 20th century, painted with a dog leaning against an armchair with a glove on the floor beside him, signed ‘F Micklewright’, in a glazed gilt wood frame, the plaque 11.5cm. £100-200

Provenance: the Cordwent Collection.

1336. An English porcelain circular plaque or box lid, 1st half 19th century, finely painted with the moon shining above a waterfall cascading down from Classical ruins, within a continuous gilded leaf border, the edge glazed a deep green, mounted on velvet in a wooden frame, the plaque 8.5cm. £100-200

1337 1336

1337. 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. £250-350 (3) 1338. Two English porcelain plaques, 19th century, one perhaps Derby, painted with a bullfinch perched above a nest of eggs beneath a bold arrangement of flowers, signed to the reverse ‘J.B. March 24th 1825’, the other painted with a bullfinch perched on a stem of fruiting grapevine above other fruits including raspberries and peaches on a marble ledge, some restoration to the former, 39cm overall max. (2) £200-300 Provenance: the Cordwent Collection. 1339. An English porcelain rectangular plaque, 19th century, finely painted with a vase of flowers including nasturtium, chrysanthemum, hollyhock and passion flower, resting on a white stone ledge beside a large bunch of grapes and a pineapple, within a gilt wood and velvet frame, the plaque 26cm x 19cm. £150-250

1338

1339

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1340. A pair of Bloor Derby sauce tureens and covers, c.1830, painted with shaped panels of colourful English flowers reserved on a mazarin blue ground with formal gilt foliate sprays, each raised on four paw feet issuing from lion masks, the handles issuing from similar, printed red factory marks, 17.5cm across. (4) £80-120

1341. A pair of Chamberlain’s Worcester sauce tureens and covers, 1st half 19th century, decorated in pattern 1713 with flowers in the Kakiemon palette reserved within shaped turquoise borders, each tureen raised on four paw feet, printed marks inside the covers, 19.5cm. (4) £200-300

1342. A Doe and Rogers (Worcester) vase and cover, c.1830, painted with a view of Eastnor Castle reserved on a blue ground, the domed cover pierced with small holes, and a Paris porcelain inkwell painted with floral panels on a similar blue ground, some faults, 11.7cm max. (3) £100-200

1343. A pair of Spode violeteers and covers, c.1810, the shallow oval forms painted in pattern 2812 with pink roses amidst gilt tendrils, the slightly domed covers pierced with an arrangement of small holes beneath the ropetwist handles, iron red marks and pattern numbers, a base crack to one, 10.5cm across. (4) £200-300

1344. 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) £150-250

1345. A Spode cup and saucer, c.1820-30, richly decorated in pattern 967 with an Oriental landscape in the Imari palette, and a Swansea cup and saucer painted with sepia flower sprays, 14cm max. (4) £150-250

1346. Two English porcelain spill vases, early 19th century, and a bucket-shaped jardiniere with an overhead handle, all painted with continuous landscape scenes between gilt bands, the Spode spill with bands of white beading, 16cm max. (3) £150-250

1347. A pair of Minton cabinet plates, c.1870, moulded and brightly enamelled with a large butterfly resting with open wings on a large flower and leaves, one an Anthocaris or Orange Tip, the other a Lycaena dispar or Large Copper, impressed marks, 24cm. (2) £100-200

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1348. A Coalport ornithological part dessert service, c.1815, probably decorated in London with various scenes of garden, game and aquatic birds reserved within wide gilt foliate borders on a rich blue ground. Comprising: an ice pail with liner and cover, two square dishes, a shellshaped dish, and eleven plates. (17) £500-800

1349. An English porcelain part tea service, c.181020, richly decorated with a continuous band of pink roses in the Billingsley manner, between gilt foliate borders on a salmon ground. Comprising: a sucrier and cover, a milk jug, a slop bowl, eleven teacups, ten coffee cans and twelve saucers. (37) £400-600

1350. A Coalport part tea service, c.1820-30, painted with birds’ nests containing eggs, before colourful arrangements of flowers, within formal gilt borders reserved on a pink ground. Comprising: two plates, a slop bowl, nine teacups, six coffee cups and twelve saucers. (30) £300-500

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

1351. An extensive Flight, Barr and Barr armorial dinner service, c.1810-20, decorated with the crest of a panther with a coronet around his neck and a maltese cross, within wide shaped rims with a grapevine border on a salmon ground. Comprising: two circular stands, four vegetable tureens and covers, one square bowl, two servings dishes of 57cm, one serving dish of 51cm, two serving dishes of 41cm, three serving dishes of 35.5cm, seven oval dishes of 31cm, two oval dishes of 25.5cm, 26 soup plates, 34 plates of 26.5cm, and 20 plates of 22cm. (108) £3,500-4,000 The crest is for the family of Pulteney, the former head of which had been the Earl of Bath before the male line died out in 1764. It is believed that the service was ordered by John Pulteney of Northerwood House near Lymington, Hampshire.

1352. A pair of English porcelain ice pails with covers and liners, c.1820, probably Coalport, of Warwick vase shape, painted with small panels of flowers in the manner of Joseph Birbeck, reserved within gilt foliate cartouches on a lilac blue ground, the covers surmounted with pinecone finials, the shoulder applied with a fruiting grapevine border, together with a similarly decorated shaped dish, a little restoration, 36cm max. (7) £600-800

1353. A Coalport part dessert service, c.1840, the wells brightly painted with sprays of fruit and flowers, the lobed rims moulded with foliate scrolls and highlighted in gilt on a cafe au lait ground with a cobalt border, gilt 4/781 marks. Comprising: a high tazza, three pairs of shaped dishes, and eighteen plates. (25) £200-300

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1354. Three New Hall teapots and covers, late 18th century, two of silver shape and painted with simple floral patterns in numbers 195 and 442, the other in the Mandarin palette with pattern 425 of the Boy in the Window, painted pattern numbers, minor faults, 23.5cm. (6) £150-250

1355. A small group of tea and coffee wares, c.1800, mostly Derby, variously decorated with gilt formal and foliate designs on pink and salmon borders, including a sucrier and cover, a milk jug, a trio, a teabowl and saucer, seven cups and a saucer. (16) £80-120

1356. A Barr Worcester part tea service, c.1800, painted with a band of ivy in brown monochrome with gilt tendrils, incised B marks. Comprising: a teapot and cover, a sucrier and a milk jug. (4) £100-150

1357. 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) £80-120

1358. Three English porcelain vases, 19th century, one Royal Crown Derby and with a date code for 1900, of campana shape and painted with small floral arrangements within elaborate blue and gilt scrolls, another painted with a castle before a wooded lake, the handles formed as scrolling leaves, the last of flared pierced form and applied with flowers, 20.8cm max. (3) £100-200

1359. A small collection of Derby porcelains, c.1815-25, two bottle vases, three campana pot pourri vases, one with a cover, two inkwells on dolphin supports, and two salts, all decorated with feathered scrolls and gilt foliate motifs on a white ground, some damages, 11.3cm. (11) £250-350

1360. A group of English porcelain teawares, early 19th century, variously decorated in a palette of orange, gilt and black, including a trio with matching cream jug and later small saucer, a fluted coffee can and straight saucer printed with roses, two teacups and saucers, a coffee can and saucer with silver lustre borders, a spiral fluted coffee can, and a Bloor Derby cup and saucer, some damages, 14.3cm max. (16) £150-250

1361. A group of Derby teawares, c.1800, variously decorated in cornflower sprig patterns, with formal borders, some with small scattered sprays. Comprising: a sucrier and cover, a milk jug, two cups and saucers, two saucers, two teabowls, four teacups and five coffee cups. (20) £100-200

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1362. A Coalport câchepot and stand, c.1810, painted in brown monochrome with a band of Classical figures and motifs between gilt Greek key borders, a Derby plate painted by William Billingsley with a central flower spray, and a Coalport pen tray painted with formal foliate and flower borders, raised on four ball feet, some damages to the stand, 22cm. (4) £150-250

1363. Five English porcelain teapots and covers, early 19th century, including Derby and Chamberlain’s Worcester, variously decorated with floral and foliate patterns in the Imari palette, orange and gilt, and sepia monochrome, the Chamberlain’s Worcester example with a matching stand, restoration, 27cm max. (11) £150-250

1364. A good Chamberlain’s Worcester cabinet plate, mid 19th century, painted with a central floral arrangement within a wide raised gilt band, the rim with three panels on a deep blue ground, impressed mark, an English porcelain plate with panels of fruit and flowers within elaborate gilt scrolls, painted pattern number 642, and another painted with a bird perched on an oak branch, 25.5cm max. (3) £100-200

1365. Four English porcelain teapots and covers, 1st half 19th century, including Spode and Worcester, three decorated in the Imari palette with formal floral designs, one with blue and gilt flower sprigs between narrow borders in the same colours, damages, 26.5cm. (8) £100-200

1366. Two Derby trios, c.1800, three teabowls and saucers and two coffee cups and saucers, variously decorated in gilt, the trios and one teabowl and saucer with blue borders, puce crowned crossed batons marks and pattern numbers, 16cm max. (16) £150-200

1367. A Derby dessert dish, c.1790, painted with a small spray of flowers within three concentric bands of gilt and blue, a Worcester coffee cup and matched saucer with gilt and blue flower sprays, and a Derby creamboat of Chelsea ewer shape, painted with flowers, the creamer cracked, 24.6cm max. (4) £120-180

1368. Six Derby coffee cups and saucers, c.1800, two teabowls and saucers and a trio, variously decorated with foliate gilt borders, cornflower sprigs, a band of bluebells, and narrow blue borders, and a cake plate with a gilt foliate border, puce crowned crossed batons marks and pattern numbers, 18.5cm max. (20) £150-200

1369. Five English porcelain teapots and covers, 1st half 19th century, including New Hall and Derby, one decorated in the Mandarin palette with the Boy in the Window pattern, the others variously decorated with flowers, including the Imari palette, and a similarly decorated milk jug, some damages, 24.5cm. (11) £120-180

1370. Six Derby cups and saucers, c.1800, and a teabowl and saucer, variously decorated with bands of colour, geometric and formal designs, and two Derby saucers with blue and gilt borders, puce crowned crossed batons marks, some faults, 14.5cm. (16) £120-180

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1371. A Rockingham bottle vase and stopper, c.1830, applied with flowers and decorated with small gilt sprays on a white ground, the stopper formed of further flowers, puce griffin mark, small damages, £100-150 16cm. (2)

1372. Two English porcelain spill vases, 1st half 19th century, one Rockingham, of squat flared form and painted with a panel of fruit reserved on a claret ground, the other Grainger’s Worcester, of square form and painted with a landscape panel of Rhaeadr Ddu near Snowdonia, between columns, raised on four paw feet, factory marks, 15.8cm max. (2) £100-200

1373. A Coalport câchepot and stand, c.1815-20, of slender flared form, painted with four panels of birds on leafy branches, between moulded columns surmounted with lion masks, the stand raised on paw feet, the base broken and cleanly restuck, 19cm. (2) £100-200

1374. A rare Coalport centrepiece, c.1802, of circular two-handled form, painted by William Billingsley with a central floral panel including tulip, nasturtium, poppy and convolvulus, the rim decorated in the Worcester manner with shaped panels of flowers reserved on a blue scale ground, 32cm. £150-250

1375. A Flight, Barr and Barr Worcester botanical plate, c.1820-30, painted with a specimen of auricula within a shaped pale green border, a Coalport plate painted with a colourful foliate border, a Davenport cup painted with fritillary flowers on a gold ground, and a further cup painted with a comport of fruit in gilt and grey, some damages, 22.5cm max. (4) £80-120

1376. A London-decorated footed stand or dish, c.1815-25, possibly Welsh, painted with a spray of pink roses and scattered single blooms within a shaped rim, the oval form raised on four scroll feet, 28.6cm. £100-150

Cf. W D John, Billingsley, col. pl. 8 for a dish from the same service.

1377. An English porcelain saucer dish, c.1800, probably Pinxton, painted with a chamfered rectangular panel of a low building overlooking a boat at sail beneath a tall tree in the foreground, the rim with a green swag border with gilt leaf motifs, painted pattern number 109, 21cm. £300-500 1378. A large Staffordshire porcelain porter mug, c.1825-30, finely painted with a continuous scene of a stagecoach drawn by four horses, the coach titled ‘Independent Taliho’, behind a figure driving a further four bridled horses, inscribed in gilt with the name Henry Truslove, some faults and wear, 12.5cm high. £400-600

1378 1377

Dunchurch near Rugby was an important staging post both for stagecoaches and the mail coach. The Independent Tally-Ho was one of the London to Birmingham coaches which would have passed through regularly. There were several coaching inns at Dunchurch, including The Bell, which was recorded under the management of Henry Truslove in the 1828 Pigot & Co. directory. A copy of Henry Truslove’s last Will and Testament from 1829 is included with this lot.

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1379. A rare Coalport commemorative beaker, c.1800, the flared bucket form painted with military motifs, including a sword and tabor leaning against a drum and an unfurled flag, inscribed in gilt for ‘Wenlock Loyal Volunteers’, 8.5cm high £400-600 The Wenlock Loyal Volunteers were formed in 1799 and had Thomas Turner, proprietor of the Caughley factory, as a captain. Only a handful of commemorative pieces are recorded, and most are in museum collections, including a Coalport punchbowl made for Lord Forester, their Commander in Chief.

1380. A good Herculanuem porcelain campana vase, c.1815, finely painted with flowers spilling out onto a marble plinth, reserved on a café au lait ground, the handles issuing from small mask heads, printed mark, 14cm. £150-250

1381. A Flight, Barr and Barr Worcester vase, c.1825, of squat campana shape with large twisted twig handles, the body painted with a panel of roses and other flowers reserved on a blue ground with gilt foliate motifs, painted script mark, and an unusual English porcelain vase, probably Derby, finely decorated in tooled gilt with two lovers embracing, titled ‘Susan’s Interview with William’, the reverse with a full length portrait of Susan, raised on a cylindrical stand above paw feet, 28cm max. (2) £300-400

1382. A Chamberlain Worcester basket, c.1840, the large circular dish painted with a central view of a boat race on the river in Worcester, other figures in boats watching on, the rim moulded and gilded with overlapping leaves, with an overhead handle, iron red script mark and titled ‘Worcester’ to the underside, 25.5cm across. £250-350

1383. A Herculaneum porcelain garniture of three vases, c.1815, of campana form, painted with detailed rural landscapes attributed to Samuel Williams, reserved on a cobalt blue ground with formal gilt foliate scrolls, red pattern number 127 over 5, 15.6cm max. (3) £300-500

1384. A pair of Spode small vases, c.1810, decorated in pattern 1626 each with a finely painted panel of flowers within a border of pink roses on a black ground, with an edge of white beading to the necks and feet, painted pattern numbers, and a Derby campana vase, finely painted with garden flowers tumbling over a marble bench, reserved in a chamfered square panel on a deep blue ground, 20cm max. (3) £300-500

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1385. A Chelsea scent flask, 18th century, the flattened form painted with European flowers, raised on a shaped foot, and a Staffordshire porcelain bonbonnière base, modelled as the head of a pug dog, some faults, 6.9cm max. (2) £300-400

1386. Two miniature biscuit porcelain models of baskets, early 19th century, one inscribed ‘Cocker Derby’ for George Cocker, a small Jasperware plaque modelled with the profile portrait of a woman, and a glass medallion decorated to the reverse with the portrait of a Chinaman, 6cm max. (4) £150-250 The Jasperware plaque with paper collection labels for the Rose-Ellis Collection and for E Montagu.

1387. Two egg-shaped scent bottles, late 18th/early 19th century, one enamel and decorated with a continuous scene of Europa and the Bull, with a chased silver mount and interior glass stopper, the other porcelain and painted with a speckled design in black and brown on a salmon ground, with a silver-coloured metal screw cap, 7.5cm max. (2) £250-350 Provenance: from the collection of Dr Venetia Newall.

1388. Two English enamel gaming counter baskets, 2nd half 18th century, the oval forms painted with playing cards to the interior, the sides reticulated, a small ivory gaming counter box of circular form, enclosing several horn counters inlaid with mother of pearl, and a Staffordshire enamel egg-shaped pendant painted with landscape panels on a white ground, some damages, 8.2cm max. (4) £300-400

1389. Two Staffordshire enamel patch boxes, c.1760-80, of oval form, the lids painted in black with inscriptions, one ‘May trade increase And bless our Isle, And Commerce make This Land to smile’, the other ‘Have Communion with few, Be familiar with one, Deal justly with all And speak evil of none’, on green and pink bases respectively, with mirrors inside the lids, some good restoration, 4.3cm. (2) £400-600

1390. Four English enamel egg-shaped bonbonnières, c.1770 and later, the largest speckled in grey and red on a rich yellow ground, one with manganese striations, the other two variously painted with flowers, metal mounts, some restoration, 7.5cm max. (4) £200-300

1391. An English enamel scent bottle case, c.1780, the cylindrical form with a screw cap, painted with leaf tendrils and pink ribbons on a green ground, enclosing a small glass scent bottle and stopper, and a Sheffield plate pill box with an enamel lid, painted with a flower spray, the scent flask’s lid restored, 5cm max. (2) £300-400

1392. A Continental enamel heart-shaped snuff box, probably 19th century, painted with two riders on horseback jumping a fence, one tumbling from his mount, reserved within a white enamel scroll border on a green ground, 7.5cm. £200-300

1393. A small English enamel snuff box, c.1770, the rectangular form painted with figures in a boat and on the bank beside a long building, within a gilt scroll border on a pale yellow ground, the interior fitted with a hinged metal lid revealing the inscription ‘Sans Desirs, point des Plaisirs’, some £300-400 cracking, 4.2cm.

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1394. An English enamel snuff box or bonbonnière, c,1760-70, of circular form, the lid moulded with a recumbent spaniel, curled up on a pink base, the sides painted with flowers, some good restoration, 5cm dia. £300-500

1395. A French enamel snuff box, c.1740, decorated in raised gilt as a carriage, the hinged cover with an elaborate foliate design, the silver mounts with a Paris discharge mark for 1738-44, 6cm. £300-500

1396. An English enamel rectangular snuff box, c.1760-70, the lid painted with two swans swimming before reeds, the sides with flower sprays on a white ground, some cracking to the interior, 5.2cm. £200-300

1397. A Continental enamel rectangular snuff box, probably 19th century, painted with scenes of Turkish and Levantine gentleman courting ladies in crinoline dresses, gilt metal mounts, minor damages, 8.7cm. £250-350

1398. A Battersea enamel snuff box, c.1760-70, the circular form painted with the head and shoulders portrait of a lady wearing a yellow dress, her hair tied with a ribbon, the sides painted with flower sprays, 6.7cm dia. £200-300

1399. A Staffordshire enamel small snuff box, c.1770, the rectangular form painted with travellers on a road between houses, the sides with panels of flowers reserved on a pale blue ground with raised white enamelling, the interior fitted with a hinged metal lid, 5cm. £200-300

1400. A German porcelain rectangular snuff box, c.1770, perhaps Nymphenburg, moulded with panels containing landscape scenes of a German Schloss and other buildings beside water, the interior lid with dogs attacking game animals, with chased silver mounts, 7.4cm. £400-600

1401. An English enamel snuff box, c.1770, the shaped form painted to the lid with ships sailing into a harbour, two figures standing opposite a harbour light, the sides a pale pink, 5.5cm. £200-300

1402. A good French enamel double snuff box, c.1745, perhaps by Antoine Leschandel, richly decorated with a web-like design in raised gilt and green enamels, the silver mounts with a Paris discharge mark for 174450, 8cm. £500-800

Provenance: Christie’s, 18th April 1985, lot 201.

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1403. A large collection of Halcyon Days enamel Easter eggs, 20th and 21st centuries, including dated Year Eggs from 1973-2011 (excepting 1995, 1998, 1999, 2000, 2004, 2007 and 2008), and other Halcyon Days eggs depicting Alice in Wonderland, Humpty Dumpty, Punch and Judy, flowers, birds and animals, some in the manner of 18th century Bilston enamels, and a number of similar egg bonbonnières in different sizes by other manufacturers. (89) £500-800

1404. A Franklin Mint House of Fabergé Spring basket with nine eggs, 20th century, the basket moulded with lily of the valley sprays, the eggs variously moulded and brightly coloured, together with twelve other House of Fabergé eggs, similarly decorated with £300-400 enamelled, gilt and jewelled flowers, 11.5cm max. (22) Provenance: from the collection of Dr Venetia Newall.

Provenance: from the collection of Dr Venetia Newall.

1405. An English enamel egg-shaped bonbonnière, c.1770-80, painted with panels of flowers including rose and heartsease, reserved within raised gilt scrolls on a pink ground with white enamel diaper panels, gilt metal mounts, some good restoration to one end, 5.5cm. £200-300

1406. Three English enamel nutmeg graters, 2nd half 18th century, all egg-shaped, variously inscribed to the wider end with ‘A Friend’s Gift’, ‘Remember Her who gives This Trifle’, and ‘Ease my Pain And Love again’, reserved on blue or pale yellow grounds, the smaller with an unusual fritted surface, the two larger with fitted graters to the interior, some faults, 4.7cm max. (3) £400-600

1407. A large English enamel egg-shaped bonbonnière, c.1770, painted with panels of fruit and flowers within gilt scrolls on a pink ground with raised white enamel diaper panels, with a hinged metal mount, some cracks, 7.5cm. £200-300 Provenance: from the collection of Dr Venetia Newall.

Provenance: from the collection of Dr Venetia Newall.

1408. An English enamel rectangular snuff box, late 18th century, probably London, finely painted with a large bee clambering over a thorny rose branch amidst other flowers, the sides with further flowers, the base with a single flying insect, with gilt metal mounts, 7.2cm. £250-350

1409. Two Bilston enamel bird bonbonnières, c.1760-70, modelled as finches, one a goldfinch, one a chaffinch, the hinged lids painted with flower sprays, some good restoration, 4cm. (2) £400-600

1410. An enamel snuff box, c.1770, moulded with a recumbent black and white spaniel on a circular purple cushion, the sides of the base with raised floral decoration on a diaper ground, gilt metal mounts, some good restoration, 6.2cm. £600-800

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1411. A good Battersea enamel oval portrait plaque, c.1760, of the Countess of Coventry, Maria Gunning, wearing a yellow patterned dress, her chin resting on one hand, mounted in a metal frame, copied from JeanEtienne Liotard’s 1749 painting of her in Turkish costume, 10.5cm overall. £1,500-2,000 Maria Gunning as a celebrated beauty of the 18th century, so much so that she was once mobbed in Hyde Park. Against her husband’s advice, she wore heavy make up despite her young age, which contributed to her death at the age of 27 from lead and mercury poisoning.

1412. A pair of South Staffordshire enamel candlesticks, c.1770, the knopped stems painted with panels of flowers above shaped feet with figures at various pursuits in garden settings, reserved on a white ground, each fitted with a removable drip pan, some damages, 32cm. (4) £500-800 Provenance: from the collection of Dr Venetia Newall.

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1414

1413

1413. A Birmingham or South Staffordshire enamel bonbonnière, c.1760-70, naturalistically modelled as the head of a wild boar, the fur finely detailed, with protruding tusks, the hinged lid painted with the portrait of of a lady in a slipping yellow dress, some restoration, 7.6cm. £600-800 Provenance: from the collection of Dr Venetia Newall. Cf. Susan Benjamin, English Enamel Boxes, p 26 for a similar example.

1415

1414. A rare Bilston enamel travelling inkwell, c.1770, the cylindrical form fitted with a small inkwell to one end, the other with a penholder, painted with small panels containing goats and sheep, within blue scrolls on a pale yellow ground, gilt metal mounts, some good restoration, 14.5cm. £300-500

1415. An English enamel writing or sewing box, c.1770, probably South Staffordshire, of rectangular form, the lid painted with figures beneath a tall gnarled tree and beside a moored boat , the sides with figures in smaller landscape and harbour scenes, within raised white enamel scrolls and diaper ground, the interior divided into four compartments with a gilt metal fitting, some restoration, 15.5cm. £400-600 Provenance: from the collection of Dr Venetia Newall.

1416

1416. A German porcelain double-ended snuff box, 2nd half 18th century, perhaps Meissen, the exterior moulded with rococo scrolls around purpurmalerei flowers, the interior covers similarly painted with the portrait of a young lady wearing a flower necklace, and an old man holding an infant who tugs at his beard, gold mounted, some good restoration, 9.5cm. £600-800

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1417. Two English enamel snuff boxes, c.1770, one rectangular and painted with figures seated and playing backgammon, within a scrolled panel on a blue ground, the other oval and printed in black with a shepherd playing the bagpipes to his reclining companion, both restored, 6.3cm. (2) £200-300

1420. An English enamel scent bottle holder, c.1780, painted to one side with a panel containing a sheep, the other with a goat, reserved on a striped ground, the upper section with panels of hearts pierced by arrows, containing a glass scent bottle and stopper, some good restoration, 6cm. £150-250

1418. A small Bilston enamel shallow rectangular patch box, c.1780, painted with a shepherdess seated among her flock within raised enamel borders, the interior fitted with a mirror and inscribed ‘Gage de mon amour’, with gilt metal mounts, some cracking, 5.1cm. £200-300

1421. A pair of English porcelain seals, c.1765-75, probably Derby, one modelled as the head of a Turk, wearing a turban and bearing a long moustache, the other of a lady wearing a plumed headdress and beaded necklace, each supported on a tapering fluted pillar, flared at the base and inscribed ‘Vive La Bouteille’ in red, a restuck chip to one, 6.1cm. (2) £250-350

1419. Four porcelain toy seals, 18th/19th century, modelled as a pair of billing doves, a figure of a Classical maiden, a Derby shepherd with his dog, and a Derby seated female figure with a dog, the last two with metal mounts and hardstone uncut seals, and a hardstone intaglio engraved with a figure, minor faults, 3cm max. (5) £150-250

1422. A Mennecy etui, mid 18th century, the cylindrical form painted with posies of flowers including rose and heartsease, each end with a stylized flowerhead, with gilt metal mount and a tortoiseshell flange, 11.4cm. £300-500

1423. A Meissen scent bottle, mid 18th century, modelled as Harlequin leaning up against a rococo moulded stump with one hand on his slapstick, faint blue crossed swords mark to the base, some damages, 8cm. £600-1,000

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1424. Nine small Herend porcelain models of birds and animals, 20th century, including three of owls, two of ducks, a cockerel, an elephant, a rabbit and a fish, and a similar pair of Portuguese models of ducks, all brightly decorated with blocks of colour and hatched designs, printed marks, 14.5cm max. (11) £200-300

1425. A large Herend porcelain model of two ducks, 20th century, brightly enamelled with colourful plumage and gilded beaks, nestled together, with one standing and resting its beak on its companion’s head, printed mark, 38cm long. £100-200

1426. A Meissen model of a bird at her nest, c.1760, a finch with yellow and grey plumage perched on the edge of her nest and feeding two squawking chicks, a single egg lying unhatched beside them, small blue crossed swords mark, 8cm high. £500-800

1427. A Meissen figure of a fox, c.1760, holding a chicken by the throat and standing on its wings, blue crossed swords mark, a little £200-300 good restoration, 10cm across.

1428. A large Meissen model of a parrot, 20th century, perched on a stump and eating a nut which it holds in its left foot, the stump applied with a snail, caterpillar and large beetle, blue crossed swords mark, and a Continental spill vase figure of a parrot, decorated with bright plumage, some damages, 29.5cm max. (2) £300-400

1429. A large Dresden porcelain model of a monkey, late 19th/20th century, seated on a low stump applied with flowers and leaves, holding an apple in his right hand and wearing a sad expression, blue factory mark, 39.5cm high. £200-300

1430. Two Meissen models of birds, 20th century, one a green woodpecker, perched on a stump with a caterpillar crawling up beside him, the other a golden oriole, with beak slightly agape and black wings stretched, blue crossed swords marks, the oriole’s mark cancelled, some good £500-1,000 restoration, 26cm max. (2) Provenance: purchased at Christie’s in January 1996. Formerly in the collection of the late Sir Charles Clone.

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1431. A Furstenberg white-glazed figure group, probably 19th century, emblematic of Liberty and Matrimony, modelled with a boy and girl seated on a rocky outcrop and holding a nest with two chicks, the girl leaning her left elbow on a square cage, a small dog at her feet, and a later Furstenberg figure of a man dressing beside a low table, his clothes folded on the chair beside him, blue F marks, the £200-300 earlier figure restored, 18cm max. (2)

1432. A Thuringian (Scheibe) porcelain figure of Napoleon, 19th/20th century, on horseback and wearing a long grey coat over his uniform, a short telescope held in his left hand, a broken cannon and cart wheel between his horse’s legs, 31cm across. £200-300

1433. A Meissen figure of Winter, c.1760, modelled as a boy wearing a fur-lined cloak and holding a pan of hot coals on one knee, raised on a square socle, a Ludwigsburg figure of a poultry girl, holding a chicken under her right arm and carrying a basket of eggs, and a miniature Continental porcelain figure of Minerva, resting on her shield, various marks, 12.3cm max. (3) £250-350

1434. A pair of Meissen figures of the Racegoer and his companion, 19th century, he dressed in a green suit, holding his spyglass to his right eye, his left holding the top of his cane, his companion holding a letter and with her other hand tucked into a feathered muff, blue crossed swords marks, incised D65 and D66, his £300-500 cane lacking, 20.5cm. (2)

1435. A pair of Meissen figural salts, 19th century, emblematic of Summer and Winter, probably after models by J J Kändler, one of a lady holding a sickle and ears of corn, the other of a gentleman wearing ice skates and warming his hands over a small fire, each figure perched on the side of a rococo scrolled basket, blue crossed swords marks, small losses, 15.3cm. (2) £200-300

1436. A pair of Damm Pottery Höchst-style figures of a huntsman and his companion, 1st half 19th century, each with a dog, standing beside a tree stump, he holding the muzzle of his gun, she with a dead game bird at her feet, and a porcelain Höchst-style figure of a girl with a goat, blue wheel marks, some damages and restoration, 20.7cm max. (3) £200-300

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1437. A miniature Meissen figure of a street vendor, mid 18th century, probably from the Cris de Paris series, a wooden staff tied around his waist, carrying a tray with a white cloth, wearing a green cloth hat, blue crossed swords mark, the end of his staff lacking, 9.3cm. £500-800

1438. A miniature Meissen figure of a lady and her dog, late 18th century, seated before a tree and holding a large key in her right hand, her dog jumping across her lap to grab it, raised on a scrolled base picked out in gilt, blue crossed swords mark, impressed 281, some restoration, 7.5cm. £250-350

1439. A Buen Retiro miniature bust, late 18th century, of an old man with a long beard, raised on a circular socle and raised on an associated Meissen chamfered square base moulded with leaf scrolls, and a Nymphenburg figure of a putto from the Ovidian Gods series, modelled by Franz Anton Bustelli, recumbent on a rocky stump and draped in a loose robe, some damages, 13cm. (2) £250-350

1440. A Meissen figure of Harlequin, 20th century, after J F Eberlein’s model from 1743, seated and holding a bird aloft in his right hand, an open birdcage resting on the rock beside him, an expectant tabby cat waiting at his feet, blue crossed swords mark, 14cm. £250-350

1441. A Meissen candlestick figure, late 18th/early 19th century, modelled as a lady wearing a pink dress, holding a large vase on her lap and seated before a three branch candelabra entwined with £300-400 flowering tendrils, some faults, 29cm.

1442. A Meissen figure group of lovers, mid 18th century, a gallant wearing a tricorn hat and green coat, embracing a girl carrying a basket of grapes, a dog seated before them, raised on a flat scrolled base applied with flowers and leaves, blue crossed swords mark, £1,000-2,000 impressed 39, a little good restoration, 14.2cm.

Provenance: Christie’s, 31st May 2012, lot 652.

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1443. A Meissen figure of a girl, mid 18th century, dressed as a Levantine with a coat edged in fur over a split skirt, raised on a low scrolled base, a few small chips, 13.2cm. £300-500

1444. A Meissen monkey band figure, mid 18th century, modelled by Peter Reinicke, playing a fife and a tall drum slung over one arm, wearing a yellow tunic and a plumed tricorn hat, blue crossed swords mark to the reverse, a small amount of good restoration, £500-800 14.8cm.

1446. A Meissen allegorical figure group of The Broken Eggs, late 18th/early 19th century, modelled by Acier and Schönheit, a lady kneeling beside a basket of broken eggs and reaching up to the shoulder of her friend who turns away, a putto hiding in her skirts and another holding up an egg, blue crossed swords and star mark for the Marcolini period, incised F65, and a Meissen-style figure group of Winter, a boy seated on a sled and holding an axe, while his companion warms her hands, small damages, 24cm max. (2) £300-500

1445. A small Meissen figure of Winter, c.1745, modelled as an old man with a long beard, wearing a fur-lined robe and reaching out one hand to a flaming brazier beside him, his right arm broken and restuck, 11cm. £200-300

1447. An Italian white-glazed spill vase figure group, 2nd half 18th century, probably Doccia, of two putti reclining on a rocky base with shallow bowls before them, a hollow tree trunk forming the spill behind, a little restoration, 23.5cm. £200-300

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1448

1449

1450

1451

1448. A Meissen figure of a gallant, mid 18th century, wearing a pink coat with yellow ribbons over a flowered waistcoat and green breeches, holding his tricorn hat in his left hand, raised on a low scrolled base applied with flowers and leaves, blue crossed swords mark, some good restoration to his hat and hand, 13.5cm. £200-300 1449. A Ludwigsburg figure of a print seller, c.1765-70, holding a sheaf of loose pictures painted in puce monochrome with a figure in a landscape, standing barefoot on a low base, wearing a winged hat, some restoration, 14.5cm. £200-300 Two old paper collection labels bearing monograms. 1450. A Meissen-style figure of a Levantine lady, 18th/19th century, after the model by Kändler and Reinicke, standing and wearing a tall headdress, holding a small posy of flowers in her left hand, raised on a low pad base applied with flowers, some restoration to her left arm, 14cm. £300-500 This figure, which was widely copied at Chelsea (see lot 1706) and Bow, was derived from plates in the Comte de Ferriol and Le Hay’s ‘Receuil de cent estampes représentant différentes nations du Levant’, published in Paris in 1714 with a smaller German edition published by Christoph Weigel at Nüremberg in 1719 and 1721. This figure was based on pl. 43 of Vol. II of the German edition or pl. 91 of the first edition of 1714. 1451. A Meissen figure of a shepherdess, c.1750, modelled by J. J. Kändler and P. Reinicke, a sheep recumbent at her feet, her apron full of colourful flowers, holding a single bloom to her nose with her right hand, raised on a low pad base, faint blue crossed swords mark to the underside, £800-1,200 some good restoration to her fingers, 16.5cm .

1452. A large Frankenthal figure of Venus, dated 1775, probably modelled by Adam Bauer, recumbent on a large mythical dolphin beside a vase resting atop a square plinth, blue crowned CT monogram, some restoration to the vase, 24.5cm across. £300-500

1453. A Furstenberg figure group of Europe and America, late 18th century, modelled by Anton Carl Luplau, modelled as two putti, one standing over an alligator and wearing a feathered headdress, the other with a helmet and sceptre, raised on a scrolled base, incised f mark, some good restoration to Europe’s right arm, 18cm. £300-500

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1454. A Frankenthal figure of a flower seller, c.1760, holding the edges of her apron filled with flowers, raised on a low scrolled base, blue lion and monogram mark, some good restoration, 13.8cm. £250-350

1455. A Continental porcelain figure of a cook, 19th century, wearing a white hat and apron, standing beside a low stove containing a prepared game bird in a roasting dish, a further joint of meat resting on top, impressed P mark, a further mark erased, minor faults, 21cm. £150-250

1456. A Meissen figure of a shepherdess, mid 18th century, modelled by J.J. Kändler, seated on a rocky stump with a sheep recumbent beside her, her right knee raised and hand extended, the scroll base picked out in gilt, blue crossed swords mark to the back of the figure, some restoration, 16.3cm. £600-1,000

1457. A Meissen figure of a female Greek Musician, mid 18th century, modelled by Johann Friedrich Eberlein, standing on a square base and playing the triangle, wearing a striped scarf and flowered dress, blue crossed swords mark, some damages, 19.6cm. £600-800

1458. A Meissen figure of Columbine, mid 18th century, seated and playing the hurdygurdy, the instrument resting in her lap, wearing a peaked hat with large feather, blue crossed swords mark, a little good restoration, 13.3cm. £400-600

1459. A German porcelain figure of a Malabar musician, 19th century, after Meissen, standing and playing a stringed instrument, wearing a conical hat and a furlined robe, raised on a low scrolled base, some restoration, 19cm. £200-300

Cf. Yvonne Adams, Meissen Portrait Figures, p.170, for the male counterpart, based on an engraving after a drawing by Watteau.

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1460. 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) £350-450

1461. A Meissen figure of a vegetable seller, c.1830, holding a turnip in her left hand and carrying a basket of other harvested vegetables over her right arm, wearing a headscarf and a pink shawlette over a green bodice, standing on a rocky base, blue crossed swords mark, incised E11, £200-300 16.5cm.

1464. A Höchst white-glazed figure of a woodcutter, c.1775, modelled by Johann Peter Melchior, standing and leaning on the stump of a tree, holding the shaft of his axe in his right hand, blue wheel mark, incised SE, some good restoration, 16.5cm. £300-500

1462. A Sèvres-style bisque porcelain bust of Louise Brongniart, late 19th/20th century, after Jean Antoine Houdon, her head turned to dexter, her hair tied up with a wide ribbon, raised on a fluted circular socle on a square base, inscribed ‘Houdon’ and with a pseudo interlaced LL mark, impressed to the socle ‘Fab. £300-500 Francaise’, 43cm.

1465. A French porcelain figural jug, 19th century, in the manner of a Meissen pagoda figure, modelled as a Chinaman sitting crosslegged, wearing a flowery robe and frowning, his long ponytail forming the handle behind him, 13cm. £150-250

1463. A Continental porcelain white-glazed figure of the Italian Farmer, 18th century, after Meissen, standing and holding a cockerel in his right arm, wearing a hat and stepping off his low pad base with his right foot, some restoration, 16cm. £150-250

1466. A Doccia quatrefoil sucrier, c.1750, white-glazed and moulded in relief with scenes of Classical figures and putti, and an Italian white-glazed figure of a girl, holding the end of her apron across her right hand, standing barefoot on a small pad base, small damages, the sucrier’s cover lacking, 11.3cm max. (2) £350-450

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1467. Five Russian porcelain and pottery Easter eggs, 19th/20th century, two decorated with Christ offering the sign of Peace and inscribed ‘XB’ to the reverse as the Paschal greeting, one with Christ ascending to Heaven before a kneeling angel, one with Mary holding the infant Jesus, the last with St George slaying the dragon, 10cm max. (5) £500-800

1468. Six Russian porcelain eggs, 19th/20th century, of varying sizes and religious subject matter, variously decorated with panels containing Christ and other saints or cardinals, reserved within gilt borders on coloured grounds, the largest inscribed ‘XB’ to the reverse, two with gilt stars, 9.5cm max. (6) £800-1,200 Provenance: from the collection of Dr Venetia Newall.

Provenance: from the collection of Dr Venetia Newall.

1469. Five Russian porcelain Easter eggs, 19th/20th century, variously decorated with stylized and geometric floral designs on pastel coloured grounds including yellow, pink and blue, two with ribbon suspensions, two with restoration, 9.5cm max. (5) £500-800 Provenance: from the collection of Dr Venetia Newall.

1470. Five Russian porcelain Easter eggs, 19th/20th century, variously decorated with flowers, two reserved on a claret ground, two of the eggs inscribed with the Paschal greeting in Russian, two with their original silk ribbon suspensions, the porcelain 9.5cm max. (5) £300-400 Provenance: from the collection of Dr Venetia Newall.

1471. Seven Russian porcelain Easter eggs, 20th century, two moulded with panels painted with flowers over a lattice ground, the smaller also moulded with two red crosses, one painted with a view of the St Petersburg Stock Exchange reserved on a gold ground, another within landscape views within flower garlands, two eggs painted in blue with Russian temples and dated 1990 and 1991, the last and smallest with flowers and an XB monogram meaning ‘Christ is Risen’, 10.5cm max. (7) £300-400 Provenance: from the collection of Dr Venetia Newall.

1472. A large pair of porcelain models of eggs, 19th/20th century, possibly Russian, painted in blue with a crowned monogram above a censer, flanked by two guards, each holding a pike or bayonet, reserved on a white crackle-glaze ground, each egg mounted on an ormolu stand of fruit and flowers, 19cm. (2) £100-200

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1473. A Russian porcelain First World War presentation egg, 1914-17, Imperial Porcelain Factory, St Petersburg, decorated with the gilt monogram of Empress Alexandra Fedorovna beneath the Imperial crown, the reverse with a small red cross, with a black suspension ribbon, and a wartime gilt metal pendant bearing the same monogram beneath a red enamel cross, the egg 6.5cm. (2) £400-600

1474. A large Russian porcelain presentation egg, 19th/20th century, painted with a version of the Russian coat of arms, featuring the double-headed eagle with three small escutcheons either side of the central shield, reserved on a white ground, 10.3cm. £150-250 Provenance: from the collection of Dr Venetia Newall.

Provenance: from the collection of Dr Venetia Newall. Eggs of this type were given by the Tsarina and her daughters to wounded soldiers during the war. The Romanovs were patrons of the Red Cross and allowed part of the Winter Palace to become a military hospital. Alexandra herself served as a nurse.

1475. Three Russian porcelain Easter eggs, 19th/20th century, variously decorated with elaborate bands of stylized flowers and leaves with gilt borders, reserved on bold monochrome grounds of red, green and orange, the orange one decorated with a gilt Orthodox cross, the others with the gilt letters XB to represent the Paschal greeting, 11.5cm max. (3) £400-600 Provenance: from the collection of Dr Venetia Newall.

1476. A Russian porcelain caviar jar and cover, 20th century, modelled as a banded barrel, the cover formed with a half lemon finial resting on a bed of black fish roe, blue factory mark, 11.6cm high. (2) £150-250

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1477. A large Dagoty and Honoré (Paris) porcelain vase, c.1816-20, the campana form painted in sepia monochrome with three figures seated at a low table, drinking and smoking within a gilt rectangular panel, the reverse with four putti, reserved on a blush ivory ground with formal gilt designs, above a key fret band and a border of stiff leaves, raised on a faux marble socle, red printed ‘F L Dagoty, E Honoré a Paris’ mark, some damages, 38cm. £300-500 Dagoty and Edouard Honoré were in partnership for the four years between 1816 and 1820, before Honoré continued manufacturing alone.

1478. 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. £250-350 Provenance: the Luise Hofmann Collection.

1479. A Sèvres jug and basin, c.1760-70, painted in puce monochrome with flowers garlanded around two horizontal rails within a gilt dentil rim, the jug fitted with a gilt metal hinged mount and thumbpiece, crowned interlaced LL marks, some enamel wear to the basin, 26cm. (2) £800-1,200

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1480. A Berlin cabinet cup, 19th century, painted with a view of the New Palace at Potsdam, titled in black beneath, reserved on a white ground with gilt foliate motifs, raised on paw feet, blue sceptre mark, and a Paris porcelain mug, well painted with a long-haired putto holding a flaming torch and seated on the back of an eagle in flight above clouds, small faults,13.2cm max. (2) £150-250

1481. A Meissen botanical cup and saucer, late 18th century, the flared cup painted with a bright tulip, the saucer with a spray of auricula, reserved on a rich blue ground with a gilt stylized foliate border, blue crossed swords and star marks, some faults, 13.2cm. (2) £100-200

1482. A Meissen coffee can, late 18th/early 19th century, painted to two sides with a shaped panel containing a tulip and forgetme-nots, reserved on a yellow ground, blue crossed swords and star mark for the Marcolini period, 6.5cm high. £100-150

1483. A small Sèvres pot and cover, c.1764, painted in puce monochrome with sprays of rose and other flowers within a gilt dentil rim, the cover with a floral finial, blue interlaced LL marks and L date code, 7.2cm high. £200-300

1484. A Meissen ornithological cup and saucer, 19th century, painted with brightly coloured birds perched on leafy branches within a gilt ovolu border, blue crossed swords and star mark, 13.5cm. (2) £100-200

1485. A Berlin cabinet cup, 19th century, painted with a panel of two women in Classical dress, one resting a hand on the head of a dog, in a tooled gilt border, raised on three paw feet, incised numeral to the base, a small section of the handle lacking, 12cm. £100-200

1486. A small Sèvres sucrier, mid 18th century, painted with small sprays of flowers in polychrome enamels on a white ground beneath a gilt dentil rim, partial blue interlaced LL mark, the cover lacking, 6cm high. £50-80

1487. A Mennecy sauce tureen and cover, c.1760, of quatrefoil form, painted in a delicate palette with large sprays of European flowers, the cover with an interlocking scroll handle and with a spoon aperture at one end, incised DV mark, cracked, 14cm across. (2) £150-250

1488. A Meissen teapot and cover, mid 18th century, well painted with scenes of birds, one side with a cockerel standing above two hens, the reverse with a peacock and guinea fowl in a similar setting, the shoulder with a continuous floral garland, echoed to the cover, blue crossed swords mark, the spout lacking, 10.5cm high. (2) £80-120

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1489. A Continental porcelain buttertub and cover, 19th century, with integral stand, the cylindrical form painted with panels of polychrome flowers reserved on a diaper ground of small stylized blue flowerheads, the decoration echoed to the interior, the cover surmounted with a rosebud finial, 19cm dia. (2) £150-200

1490. 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) £100-200

1491. A pair of Ludwigsburg-style porcelain jardinières, late 19th century, well painted with cut fruits, nuts, and sprays of hips and currants, with scattered insects, caterpillars and spiders, crowned CC monogram marks, and a large Samson plate painted with flower sprays in the Meissen manner, a rim crack to the plate, 35.3cm max. (3) £150-250

1492. Two large Meissen serving dishes or chargers, 19th century, painted in underglaze blue with large sprays of deutscheBlumen and further scattered flowers, moths and beetles within a shaped rim, blue crossed swords marks, 57cm and 51.5cm. (2) £300-500

1493. An unusual Meissen square vase and cover, 19th century, in the manner of a Chinese censer, the square form moulded with fretwork and finely painted in the famille rose palette, the cover reticulated in the same design and surmounted with a lion dog finial with a brocade ball, blue crossed swords and star mark, impressed number, 23.2cm. (2) £300-500

1494. A Sèvres cabinet plate, c.1868, finely painted with a gallant approaching a young lady seated on a stone ledge before cast iron gates, with further figures promenading in the background, signed ‘Landry Jeune’, reserved within a dark blue border with raised gilt design, printed S68 mark to the underside, 23cm. £300-400

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1495. A Meissen ornithological part dessert service, 19th century, each piece painted with a single bird perched on low leafy branches, the rims with small flower sprigs and scattered butterflies and insects, within gilt dentil rims, cancelled blue crossed swords mark. Comprising: two circular deep dishes, two small oval dishes and eleven plates. (15) £500-800

1496. A Sèvres bottle vase, c.1870, of Persian shape with a long knopped neck, decorated with formal gilt borders on a pale celadon ground, printed and incised marks, 32cm. £500-700

1497. A pair of Sèvres vases, c.1868, after the Service Ordinaire de Fontainebleau, with bands decorated with stags, foxes and birds of prey amidst scrolling foliage, reserved with panels containing LP monograms and small grisaille motifs, printed factory marks, one neck extensively broken and repaired, 34cm. (2) £100-200

1498. A Continental porcelain vase, 19th century, mounted as a lamp, painted in sepia monochrome on a black ground with doves in flight above Classical figures, with mythical masks amidst foliate scrolls, with ormolu mounts and raised on a square marble base, the sides drilled beneath the £100-200 ormolu handles, 48cm overall.

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1499. Two Meissen teabowls, c.1740, painted with scenes of peasants at various pursuits, carrying baskets and sticks, drinking and smoking beside a tub of hot coals, the interiors with single flower sprays and formal gilt borders, blue crossed swords marks and gilt numerals, the gilding worn, 7.8cm dia. (2) £150-200

1500. Two Sèvres miniature cups and saucers, 2nd half 18th century, one painted with panels of flowers reserved on a pink ground, the other left in the white with a simple gilt dentil rim, blue interlaced LL marks, 8.2cm max. (4) £250-350

1501. A Bow coffee cup, c.1755, applied with sprigs of flowering prunus and painted with small flower sprays in Kakiemon enamels, with a Chinese blanc de Chine flared beaker and a miniature bottle vase, applied with similar sprays of prunus blossom, some damages, 7cm max. (3) £250-350

1502. A pair of Meissen-style custard cups and covers, late 19th century, the squat bodies painted with sprays of flowers including rose and heartsease, the covers with flowerbud finials, blue AR £100-200 monogram marks, 8.5cm. (4)

1503. A Meissen white-glazed jug, c.1740, applied with large branches of flowering prunus, the twig handle issuing from further applied leaves, blue crossed swords and dot mark, and a Berlin basket, the pierced flared sides applied with single flowerheads, blue sceptre mark, 18cm max. (2) £150-250

1504. A Continental enamel saucer, dated 1790, painted with a shepherdess being presented with a bird in a cage by her suitor, inscribed to the back ‘NI Le Jo Lieb 1790’, a Buen Retiro porcelain saucer painted with a sailor smoking a pipe and crabbing from rocks, and a Vienna saucer decorated with formal motifs in gilt and sepia on a pale yellow ground, some damages, 14cm max. (3) £250-350

1505. A Doccia cup and saucer, c.1770-80, painted in puce monochrome with buildings beneath trees in a European landscape, the rim with gilt C scroll designs on a deep blue ground, and a small Continental porcelain plaque painted with a figure on horseback, framed and glazed, the plaque probably cut from a saucer, 14.5cm max. (3) £350-450

1506. Three Continental porcelain cups or cans and saucers, 19th century, one Meissen and painted with birds including a cockatoo, turkeys and chickens on a gilt scale ground, cancelled blue crossed swords mark, a Sèvres-style can and saucer painted in the Hop Trellis pattern, and a Paris coffee can and saucer painted with Classical figures in red monochrome, reserved on an aubergine ground, 15.1cm £150-250 max. (6)

Cf. Leonardo Ginori Lisci, La Porcellana di Doccia, pl.LIII, for a plate with similar landscape decoration.

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1507. Three Continental porcelain plates, 19th/20th century, two Sèvres after the Service Ordinaire de Fontainebleau, with bands decorated with stags, foxes and birds of prey amidst scrolling foliage, reserved with panels containing LP monograms and small grisaille motifs, one Royal Copenhagen Flora Danica, painted with a floral specimen and titled ‘Fumana vulgaris Spach’, damages, 24.2cm max. (3) £60-100

1508. A pair of Meissen dishes, 19th century, moulded with a geometric arrangement of fruiting grapevine, the leaves richly gilded, blue crossed swords marks, 26cm. (2) £100-200

1509. Two French porcelain plates, 18th/19th century, one Chantilly and painted with blue flower sprigs within a moulded border, one Paris and painted with a figure wheeling a barrow by a tumbledown shack, a Chinese armorial saucer dish, and a Vienna porcelain shaped salt, damages, 25cm max. (4) £80-120

1510. A rare Delft saucer, 18th century, the fluted form painted in red, blue and green with peony blooms, reserved on a black ground, red monogram for Adrian Kocks, an Amstel porcelain teabowl and another Continental saucer, painted with figures in landscapes, some damages to the porcelain, 14cm max. (4) £150-250

1511. Three Sèvres plates, c.1867, after the Service Ordinaire de Fontainebleau, the borders decorated with stags, foxes and birds of prey amidst scrolling foliage, reserved with panels containing LP monograms and small grisaille motifs, printed factory marks, 24.2cm. (3) £150-250

1512. A set of six Continental porcelain sweetmeat dishes, late 18th century, possibly Italian, the shaped forms with fluted sides, decorated with gilt flower sprays, each with a scroll handle, 12cm. (6) £250-350

1513. Nine Continental porcelain saucers, 18th century, three Nove and variously painted with flowers and a Chinese figure with a parasol, two Cozzi and painted with a building and a blue border, a Capodimonte saucer decorated with fruit, a Tournai saucer with a peacock, and a Sèvres saucer and a La Courtille saucer painted with flower garlands, damages, 13.3cm max. (9) £100-200

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1514. A pair of Meissen saucer dishes, 19th century, well painted with sprays of deutscheBlumen, within osier moulded rims, blue crossed swords mark, a plate moulded in the Gotzkowsky manner and painted with panels of fruit flowers, birds and a cow, and a Continental porcelain plate painted with floral sprays within a moulded rim, a chip to one dish, 24.7cm max. (4) £100-200

1515. Two Continental porcelain sucriers and covers, 2nd half 18th century, one Meissen and painted with flower sprays, the other Zurich and painted with flowering branches and banded hedges, a Popov cup and saucer painted with flowers and a Sèvres cinquefoil cup and saucer, various marks, some faults, 13.5cm max. (8) £300-400

1516. A pair of Paris porcelain cabinet plates, c.1820, decorated by J. Rihouet with colourful exotic birds perched on low branches, the rims with two panels of further bright birds reserved on a dark blue ground, gilt marks, 20cm. (2) £300-500

1517. A pair of Frankenthal vases, dated 1772, of campana shape, painted in puce monochrome to one side with figures drinking and playing games on a barrel, the other with landscape panels, reserved within moulded C scroll motifs picked out in gilt and polychrome enamels, blue crowned CT monogram marks, some damages, 11.4cm. (2) £200-300

1518. A pair of large Sèvres serving dishes, c.1760, the shaped oval forms left in the white with elaborate gilt rims reserving varying diaper panels within foliate scrolls and a dentil border, blue interlaced LL mark to one, some wear, 35cm. (2) £300-500

1519. Five Meissen white-glazed saucers and a bowl, c.1730-40, applied with sprigs of flowering prunus, blue crossed swords marks, 17.8cm max. (6) £300-500

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1520. A Saint Cloud white-glazed teabowl and saucer, c.1730-40, each applied with three sprigs of prunus blossom, 12.2cm. (2) £200-300 Collectors’ numbers to the underside of both pieces, including the initials EBM.

1522. A Saint Cloud white-glazed coffee cup and trembleuse saucer, c.1730-40, moulded in the artichoke manner with bands of overlapping petals, the cup with a finely moulded angular handle, 12.5cm. (2) £500-800

1521. A large Saint Cloud coffee cup and trembleuse saucer, c.1730, painted in blue with a lambrequin border outside of moulded fluting, a narrow blue border to the saucer’s gallery, marked SCT 1 to the underside, some faults to the cup, 13.7cm. (2) £300-500

1523. A Saint Cloud white-glazed teabowl and saucer, c.1730-40, each applied with three sprigs of flowering prunus, 12.4cm. (2) £200-300

Paper label for Filoli, Dec. Arts ‘95, no.260.

1524. A Saint Cloud coffee cup and trembleuse saucer, c.1730, partially moulded with a band of narrow reeding, the rims with a lambrequin border in blue, a narrow herringbone band to the saucer’s gallery and cup’s footrim, 12.7cm. (2) £300-500

1525. A Saint Cloud toilet pot and cover, c.1730, the small cylindrical form applied with sprigs of flowering prunus, echoed to the £200-300 cover around the flattened knop, 6.2cm high. (2)

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1526. A Chantilly porcelain sugar ladle, mid 18th century, the deep circular bowl pierced with seven flowerheads around a central motif, the handle with a shell terminal highlighted in blue, two filled chips to the bowl, 21cm. £450-600

1527. A pair of French porcelain cutlery handles, mid 18th century, of flattened oval form, painted in the Oriental style with leaf sprays before chrysanthemum and other flowers, with a Paris steel knife blade and three-pronged fork, one handle damaged, £100-150 23.7cm max. (2)

1528. A French porcelain sugar ladle, c.1750-70, the wide circular bowl pierced with rows of small holes around a central star motif, the handle moulded with a shell terminal, a short crack to the bowl, 21cm. £450-600

1529. A Paris coffee can and saucer, late 19th century, painted in black monochrome with a continuous landscape on a rich green ground, within a gilt scroll border, gilt marks inside the footrim, 13.8cm. (2) £150-200

1530. A Meissen sucrier or bowl and associated cover, c.1735-45, the base painted with scrollwork panels containing figures beneath trees, regarding a view of mountains beyond, the cover similarly painted within a formal gilt border, blue crossed swords mark, 11.3cm. (2) £200-300

1531. A Berlin cabinet cup and saucer, 1st half 19th century, the unusually shallow form painted to the interior with a sepia portrait of a young girl in Regency dress, possibly Princess Marie-Louise of Schleswig-Holstein, within a wide border of ivy, with violets at the bottom, the saucer with a wide ivy garland, blue sceptre marks, 15.9cm. (2) £200-300

1532. A large Doccia oval dish, c.1775, painted in polychrome enamels with the Tulipano pattern, the shaped rim with four flower sprays, 36.5cm. £100-200

1533. A small Doccia blue and white dish, c.1760, the quatrefoil form painted with a flowering peony plant issuing from an arched fence, the rim with four sprays of chrysanthemum flowers, a small rim chip, 24cm. £100-200

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1534. A Meissen Hausmaler teapot and cover, c.1720-25, the reeded globular form painted in underglaze blue with panels of Oriental flowers, gilded in Augsburg, with birds perched in leafy branches, blue crossed swords mark, some wear, 16cm. (2) £800-1,200

1535. A Meissen teabowl and saucer, c.1735-40, painted in Kakiemon colours with a bird in flight above flowering plants, on a pale yellow ground, blue crossed swords mark, a small rim chip and crack to the teabowl, 12cm. (2) £300-500

1536. A rare Meissen beaker with trembleuse saucer, c.1730, painted in the Kakiemon palette with small birds in flight among Oriental flower sprays, the rim with a narrow floral band in iron red and gilt, the saucer with a tall pierced gallery with a shaped moulded design, blue crossed swords marks, a small filled chip to the beaker’s rim, 12.5cm. (2) £700-900

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1537. A Chantilly dish, c.1755-60, painted in polychrome enamels with back to back roses, convolvulus and auricula sprays, a single black fly to the cavetto, with an osier moulded rim, blue hunting horn and B mark, 19.2cm. £200-300

1538. A Chelsea plate, c.1752-54, after Meissen, painted in the Kakiemon palette with a large butterfly in flight above flowering plants of peony and chrysanthemum, the shaped rim with further floral sprigs and other flying insects, red anchor mark, 24.2cm. £500-800

1540. A Meissen coffee cup and saucer, .1740, painted in the Kakiemon manner with bold sprays of Oriental flowering branches, and a Meissen plate painted in the Schmetterling pattern of a single butterfly on a leafy branch, with further flower sprays to the rim, blue crossed swords marks, some restoration to the cup, 21.8cm. (3) £400-600

1539. A Meissen plate, late 18th century, decorated in the Kakiemon palette with the Gelber Löwe pattern, a tiger curling around bamboo stems next to flowering prunus spikes, brown line rim, blue crossed swords and star mark for the Marcolini period, some wear, 23.8cm. £400-600

1541. A Meissen sucrier and cover, late 18th/early 19th century, painted in the Kakiemon palette with Oriental flower sprigs, blue crossed swords and star mark for the Marcolini period, and a Chantilly trembleuse saucer, painted with flowering plants in Kakiemon colours, red hunting horn mark, 11.8cm max. (3) £250-350 The saucer with a paper label for the Tryhorn Collection.

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THE T WO QUAIL PATTERN

1542. A Chantilly hexagonal beaker or teabowl, c.173040, the fluted form painted in Kakiemon enamels with two quail and confronting cranes between flowering plants, brown line rim, red hunting horn mark, 6cm high. ÂŁ250-350 Cf. Victoria and Albert Museum, Accession No. C.1310-1919.

1543. A Chantilly lobed saucer, c.1730-35, painted in the Kakiemon palette with a version of the Two Quail pattern, the two birds between millet and flower sprays, and with two confronting cranes, red hunting horn mark, 12.5cm. ÂŁ200-300

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1544. A Longton Hall leaf dish, c.1755-60, the overlapping leaves painted in the Kakiemon palette with the Two Quail pattern, edged in brown, the handle lacking, 22.5cm. £500-800

1545. A rare Worcester coffee cup, c.1758, the squat bell-shaped body painted in a variation of the Kakiemon palette with a rare version of the Two Quail pattern, the two birds painted brown with turquoise wing tips, beneath bold flower sprays with a further bird perched on a spray of bamboo, a scrolled wishbone handle, 6.2cm high. £100-200 Cf. Chris Girton, The Two Quail Pattern, p.35, fig.24 for the Chelsea version, also The Zorensky Collection, Part III, lot 61, for another similar Worcester example.

1546. A Worcester teabowl and saucer and a Vauxhall saucer, c.1770, the Worcester decorated in underglaze blue in the Two Quail pattern with later red and gilt highlights, the Vauxhall saucer in the Imari palette with a bird perched on holey rockworks, some faults, 12.3cm max. (3) £100-200

1547. A rare Worcester blue and white slop bowl, c.1775, painted with the Two Quail pattern, the two birds strutting between fronded grasses, open crescent mark, 16.4cm dia. £400-600

1548. A Bow octagonal plate and two Chinese plates, 18th century, the Bow plate painted in Kakiemon enamels with the Two Quail pattern, the two Chinese plates with variations of the same pattern in famille verte enamels, the Bow plate broken and restuck, 24cm max. (3) £150-250

1549. A Meissen cup and saucer, c.1735-40, painted in the Kakiemon palette with the Two Quail pattern, a Chinese porcelain teabowl and saucer in the same pattern, and a later Meissen-style quatrefoil saucer similarly decorated with a puce ground to the underside, some damages and repairs, 12.5cm max. (5) £250-350

Provenance: Bonhams, The Zorka Hodgson Collection, 10th September 2008, lot 128.

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1550. Two Bow coffee cups and a Pennington’s (Liverpool) teabowl, c.1760-90, one cup painted in underglaze blue with a version of the Two Quail pattern, the birds strutting beneath large millet sprays, the other painted in the Imari palette with two further birds, the teabowl printed with a different version of the Two Quail pattern, together with two Chinese saucers with quail beneath bamboo and chrysanthemum sprays, 12.1cm max. (5) £200-300

1551. Two Worcester coffee cups and a teabowl, c.1765-75, of Warmstry fluted type, painted in the Kakiemon palette with the Two Quail pattern, and a Derby creamboat with similar decoration and a shaped turquoise border to the interior rim, square seal mark to the teabowl, the creamer cracked and chipped, 11.5cm max. (4) £150-250

Provenance: the underglaze blue Bow cup with paper labels for the Watney Collection, and for the Girton Two Quail Collection, 2004 Loan Exhibition, no. 42.

1552. A comparison group of Chinese and English porcelains, 18th century, variously decorated with the Two Quail pattern, including a small Chinese teabowl and saucer, a lobed Chinese teabowl and another saucer, a Worcester coffee cup, two Chaffers coffee cups and a small Worcester bowl, with pencilled birds beneath polychrome flower sprays, and a small £150-250 flared Japanese beaker, some damages, 12cm max. (9) The beaker with a paper label for the Girton Two Quail Collection, 2004 Loan Exhibition, No. 100.

1553. An interesting comparison group of wares in the Two Quail pattern, most 18th century, including a large Worcester teapot with Warmstry fluting, two Spode saucers, an early 19th century cup, saucer and matching milk jug, a Bloor Derby tea cup, two Chinese saucers, a Chinese European-decorated coffee cup and a small modern Chantilly vase, most decorated in the Kakiemon palette, one of the Chinese saucers moulded within a cell diaper border, some damages, 21cm max. (11) £100-200 The Chinese cup with paper labels for the Watney Collection and the Girton Two Quail Collection, 2004 Loan Exhibition, no. 948.

1554. Two Chinese porcelain teapot stands and a spoon tray, 18th century, of hexagonal form, one stand painted in famille verte colours with two birds on a branch, the other in the famille rose palette with two quail beneath flowering peony, the spoon tray with three figures seated beside water, together with a Chinese saucer with a further variation of the Two Quail pattern, minor faults, 13.3cm max. (4) £100-200

1555. A small group of teawares in the Kakiemon and famille verte palettes, 18th century, including a Worcester coffee cup and teabowl in the Parrot in a Ring pattern, a Worcester mug and a Chinese scallop-edged teabowl in a Scarlet Japan pattern, a Worcester saucer with long-tailed birds perched above banded hedges, and a Chinese saucer with birds in flowering prunus branches, some damages, 13cm max. (6) £80-120

1556. A small group of Chinese porcelain teawares, 18th century, including a teabowl and saucer painted with panels of peony spray, four coffee cups variously painted with landscapes and flower panels, one with an interesting scene of an apparent naval battle beside European traders in a harbour, a milk jug with later European floral decoration, and a large English teabowl painted in orange and gilt with Chinese figures in a garden, some faults, 12.1cm max. (8) £100-200

1557. A small comparison group of teawares, 18th and 19th centuries, including a Meissen cup painted with a Kakiemon design of flowering branches, a Chinese saucer with a Johanneum number ‘N=93’, a Chinese teabowl painted with panels of harbour scenes, a Worcester coffee cup painted with a Chinese landscape, two English Imari coffee cans, and a large saucer painted with an exotic bird on a leafy branch, some damages, 13.8cm max. (7) £100-200

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1558. Two Chinese blanc de Chine English-decorated beakers, c.1700, the octagonal flared forms originally decorated with incised bands of stiff leaves, later enamelled in the Japanese manner with tigers and dragons amidst Oriental plants in the Kakiemon palette, 6.5cm. (2) £400-600

1559. A Chinese porcelain Dutch-decorated teabowl and saucer, c.1720-25, originally decorated with horizontal bands of cash diaper around anhua decoration, later enamelled in Holland in the Kakiemon palette with parrots perched on branches of red rosebuds, 13.7cm. (2) £100-200

Cf. Helen Espir, European Decoration on Oriental Porcelain, p.210, pl.7 for beakers with Kakiemon floral decoration in the British Museum.

Cf. Helen Espir, European Decoration on Oriental Porcelain, p.67, pl.24 for a teapot with similar decoration.

1560. A Chinese porcelain Dutch-decorated bowl, Qianlong 173695, later-enamelled in Holland with a repeated scene of European musicians, a gentleman playing the cello, a lady a small harp, while a second seated lady conducts from a central position, the bowl’s interior with a central scene of swans swimming before a village, the inside walls with three landscape scenes, 14.5cm dia. £400-600

1561. A Chinese porcelain London-decorated teapot and cover, c.1755-65, painted in the Giles manner with a butterfly and furry caterpillar around colourful sprays of European flowers, a short crack to the base, 20cm across. (2) £150-250

Cf. Helen Espir, European Decoration on Oriental Porcelain, p.166, pl.15 for a similar bowl.The decoration on this bowl is perhaps derived from Philip Mercier’s painting The Music Party, which depicts the three children of George II (including Anne, Princess of Orange).

1562. A London-decorated Chinese porcelain plate, 18th century, decorated with bold sprays of European flowers within a gilt spearhead border, 23cm. £100-150

Illustrated: Stephen Hanscombe, The Early James Giles and his Contemporary London Decorators, p.77, no.67. Paper label for the Hanscombe Collection.

1563. A miniature Chinese porcelain teapot and cover, 18th century, painted in puce monochrome in the Meissen manner with quatrefoil panels of European figures in landscape and harbour settings, the cover with three rose sprays, pale blue crossed swords mark, 12cm across. (2) £100-200

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1564. A rare Chinese Batavian European-decorated teabowl and saucer, Kangxi 1662-1722, the underside glazed brown with later wheel-engraved decoration in Saxony or Bohemia, of birds perched on a continuous flowering branch, two Chinese London-decorated teabowls and a saucer painted with flowers and insects, a saucer painted with plants in the Kakiemon palette, and a Meissen saucer painted by James Giles with fancy birds, applied with grapevine to the underside, some damages, 13.5cm max. (7) £300-500

1565. Three English-decorated Chinese porcelain teapots and covers, 18th century, originally decorated in bianco-sopra-bianco with flowering plants, later enamelled, probably in London, with butterflies and polychrome sprays of rose, heartsease and other flowers, some damages, one spout a replacement, 19.5cm max. (6) £150-200

Cf. Helen Espir, European Decoration on Oriental Porcelain, p.59, pl.12 for a similar example of the Batavian ware. The technique of cutting and polishing the new Böttger stoneware, produced at Meissen c.1710, made such techniques desirable on other media and was used on Chinese porcelains such as these to great effect.

1566. Two Chinese teapots and covers and a bowl with an associated cover, 18th century, one teapot painted with in the famille verte palette with figures in a mountainous landscape, the other in famille rose enamels with a cockerel beneath peony, the bowl with Chinese figures in a garden setting, all reserved on floral bianco-soprabianco grounds, and a Chinese porcelain plate later decorated in Europe with a butterfly and caterpillar amidst flower sprays, some damages and losses, 21cm max. (7) £100-200

1567. Five Chinese coffee cups, 18th century, variously painted in London, Europe and China with sprays of rose and other flowers, with butterflies and other scattered insects, a European-decorated teabowl painted by the same hand as one of the cups, and a further teabowl painted for the European market, some damages, 6.7cm max. (7) £150-200

1568. A small collection of European-decorated Chinese porcelain, 18th century, including four cups, a teabowl, a beaker and three saucers, most originally decorated in underglaze blue with later enamelling in red and gilt, one saucer Dutch-decorated with baskets of flowers, two London-decorated with butterflies and flowers, one cup with flowers in green camaieu, some damages, 12cm max. (9) £100-200

1569. A London-decorated Chinese porcelain composite part tea service, 18th century, the porcelain originally decorated with biancosopra-bianco flower sprays, then finely painted in Europe with butterflies and European flowers. Comprising: a teapot and cover with stand, a milk jug, two coffee cups and a teabowl. (7) £200-300

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1570. Two Chinese tea canisters and covers, 18th century, one ovoid and decorated in London with flower sprays in black and green, the other of flattened rectangular form and painted in underglaze blue with flowers within ruyi scroll panels, a chip to one cover, 14cm max. (4) £150-250

1571. A London-decorated Chinese porcelain teapot and cover, 18th century, painted with fancy birds beside leafy shrubs, the cover with flowers on a large leaf, 19.5cm. (2) £150-250

1572. A Worcester square dessert dish, c.1770, painted in the London atelier of James Giles with loose flower sprays in a bright polychrome palette, brown line rim, minor faults, 22.5cm. £400-600

1573. A Worcester plate, c.1770, painted in the London atelier of James Giles, in green camaieu with sprays of fruit and flowers, a small mushroom to the rim, a little gilt wear, 22.7cm. £150-250

1574. A Worcester slop bowl, c.1770, painted in the London atelier of James Giles with sprays of fruit and flower beneath a shaped pink scale border, with a peapod sprig, the interior with a floral arrangement, blue crossed swords and 9 mark, some enamel wear, 16.4cm dia. £300-400

1575. Two Worcester cups, c.1758-60, one painted with an armorial crest and shield relating to Viscount Howe of Langar, Nottinghamshire, within purple monochrome flower sprays, blue crossed swords and 9 mark, the other of bell shape with a wishbone handle, finely painted with polychrome flower sprays, rim cracks, 6cm £300-500 max. (2)

Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 235 for a cup and saucer in the same pattern. Paper label for Stockspring Antiques, James Giles Exhibition, 2005, no. 40.

As well as the coronet of Viscount Howe, the teacup is painted with the shield of the Scrope family; the Howe family having married into the illegitimate branch of the Scrope family when John Grobham Howe (d.1679) married Annabella, the illegitimate daughter of Emanuel Scrope, 1st Earl of Sunderland.

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1576. A Lowestoft part tea and coffee service, c.1780-90, painted with naive pink roses and other flowers within iron red stylized foliate rims. Comprising: a teapot and cover, a coffee pot and cover, a hot water jug and cover, a sucrier and cover, a slop bowl, a tea canister with later metal cover, three coffee cups, four teabowls and seven saucers. (25) £1,000-1,500

1577. A Chelsea-Derby two-handled vase, c.1765, painted with six alternating panels of fancy birds in polychrome enamels, and of gilt butterflies and floral trellis on a blue ground, with elaborate scroll handles, some good restoration, 25.5cm. £500-700

1578. A Bow white-glazed vase, c.1752, of ogee-moulded form, applied with three large prunus sprays, raised on a circular foot, incised line mark, the cover lacking, 14.8cm. £500-800

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1579. A rare Worcester three vase garniture, c.1768-72, formed of an ovoid vase and cover and two gu beaker vases, all brightly decorated in the Kakiemon palette with the Jabberwocky pattern of long-tailed ho-ho birds perched on flowering chrysanthemum branches between banded hedges, the necks with scrolling panels reserving turquoise enamel, diaper bands and foliate sprays, one gu beaker restored, 26.5cm max. (4) £1,000-1,500

1580. A Worcester Blind Earl plate, c.1770, moulded and painted with a rosebud and leaves, painted inbetween with small sprays of flowers and scattered leaves, the scalloped rim with a gilt C scroll motif, 19.2cm. £150-250

1581. A Worcester cup and saucer, c.1765, painted with shaped panels containing exotic birds on branches, and with smaller panels of butterflies and other insects, reserved on a yellow scale ground, blue crossed swords and 9 marks, 13.1cm. (2) £200-300

Paper label for D M & P Manheim.

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1582. Three English porcelain coffee cups and a sparrowbeak milk jug, c.1765-75, one cup Bristol and painted with flower garlands suspended from a brown line rim, the others Liverpool and painted with sprays of European flowers, the milk jug by Richard Chaffers and painted with a peony spray, some damages, 9.5cm. (4) £100-200

1583. Seven English porcelain coffee cups, c.1755-65, two Bristol and painted with sprays of flowers in polychrome enamels, two Bow with floral decoration in the famille rose and Imari palettes, two Worcester, one with dry blue painting on Warmstry fluting, the last Lowestoft and painted with an Imari landscape, some faults, 7cm max. (7) £300-500

1584. Two English porcelain teapots and two coffee cups, c.1760-70, including a Derby teapot and cover and an octagonal Derby coffee cup with a wishbone handle, painted with Chinese figures seated at or standing beside a table, and with two confronting cockerels beneath a plant stand, a further coffee cup and a Chinese coffee cup painted in similar designs, and a Lowestoft teapot painted with two figures in a garden setting, some losses, damages and restoration, 19cm max. (6) £100-200

1585. Two Chelsea-Derby cups and saucers, c.1780, painted with leaf garlands entwining around gilt bands, a spiral-moulded teabowl with a polychrome flower border, and a Chelsea-Derby fluted sucrier with green camaieu flower sprays, gilt and puce anchor and D marks, some faults, the sucrier’s cover lacking, 14.3cm max. (6) £100-200

Provenance: the octagonal cup with a paper label for the Watney Collection.

1586. Eight Chelsea porcelain cutlery handles, c.1752, whiteglazed and variously applied with prunus and other flowering and foliate scrolls, one fitted with a knife blade, a similar knife with a Bow handle, and a steel knife blade and fork tines, some damages, 28.2cm max overall. (11) £200-300

1587. Two Worcester teapots and covers, c.1780, one painted with Chinese figures, including the Boy in the Window, the other with £150-250 polychrome flower sprays, 19cm. (4)

1588. A Chelsea-Derby two-handled cup, c.1770, decorated with a large spray of gilded flowers and small scattered insects on a deep blue ground, and a Worcester coffee cup decorated in the Kakiemon palette with vertical stripes of flower sprigs in panels, 6.5cm max. (2) £150-250

1589. A Bow white-glazed two-handled cup, c.1755, and a coffee can or small mug, applied with sprigs of flowering prunus, the cup with moulded handles, 7cm max. (2) £250-350

The Chelsea-Derby with a paper label for the F S MacKenna Collection, no. 393.

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Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, pl.40 for an identical two-handled cup.

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1590. Four Caughley spoon trays, late 18th century, two printed in underglaze blue with the Fisherman and Cormorant pattern and the Fenced Garden pattern, the others with flower sprigs in gilt and blue, a Worcester spoon tray printed with The Bandstand pattern, and a small Chinese porcelain spoon tray painted with polychrome flowers, various marks, 16.3cm max. (6) £250-350

1591. A Chelsea fork, c.1752, white-glazed and moulded with sprays of flowering prunus, a larger silver-mounted Chelsea cutlery handle moulded with tea plant sprays above a shell terminal, and a Worcester dessert knife moulded with scrolls and small flowers, 18.8cm overall. (3) £250-350

1592. A good Caughley teabowl and saucer, late 18th century, finely decorated with formal gilt borders in concentric circles, the rim with a deep blue border, 12.7cm. (2) £150-250

Provenance: The McWilliams Collection, Bonhams, 17th October 1991, lot 220 for the Worcester knife.

1593. A pair of Chelsea dessert dishes, c.1760, painted in polychrome enamels with butterflies and beetles around fruit sprays, the moulded rims picked out in puce and green enamels, brown anchor marks, 26.3cm. (2) £250-350 Paper labels for D M & P Manheim.

1594. A Longton Hall sauceboat, c.1755, moulded with scrolls and diaper panels, painted with famille rose flowers, and two early Worcester creamboats, one hexagonal and moulded and painted with prunus sprays and insects, the other of fluted form and moulded with panels containing a Chinese figure fishing from a small island, damages, the handles lacking or replaced, 21cm max. (3) £150-250 The Longton Hall sauceboat exhibited in 2006 at the English Ceramic Circle Exhibition.

1595. A rare Bow white-glazed pomade or toilet pot and cover, c.1752, of ogee shape, applied with three sprigs of flowering prunus, a Bow mug and coffee cup with similar applied decoration, 7.5cm max. (4) £300-500

1596. An early Bow sauceboat and a small mug, c.1752-54, both painted in famille rose colours with sprays of flowering peony issuing from holey rockwork, the inside rim of the sauceboat with small floral panels reserved on a hatched diaper band, some damages, 14cm max. (2) £200-300

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1597. A Chelsea cup and saucer, c.1756, the cup of a generous proportion and well painted with sprays of flowers including rose, convolvulus and chrysanthemum, brown line rims, red anchor marks, small rim faults, 12.6cm. (2) £100-200

1598. A rare Derby wine taster, c.1765-70, the circular form painted to the interior with a single pink rose, the foliate handle edged in turquoise, the bowl with a thin brown line rim, 8cm across. £250-350 Derby wine tasters decorated in polyychrome enamels are extremely uncommon.

1599. A Bow white-glazed sucrier and cover, c.1752, of ogee form, applied with four sprigs of flowering prunus and single flowerheads, the cover with an acorn knop, some good restoration to the cover, 13.2cm high. (2) £250-350

1600. A Philip Christian (Liverpool) armorial tea canister and cover, c.1768, painted in polychrome enamels with the arms of Brougham impaling Lamplugh, the shield cartouche edged with puce rococo scrollwork, the reverse with the crest of an arm holding a fish, the crest echoed to the cover, 11cm. (2) £400-600 An extensive tea and coffee service is believed to have been made for Peter Brougham, possibly on the occasion of a proposed marriage to his second cousin, Elizabeth Falconer, prior to her death in May 1769. Cf. Colin Handley’s paper to the ECC, Trans. vol. 18, part 3, pp. 543551. The teapot from the set is shown as fig. 1. The matching coffee pot was exhibited by Simon Spero, Liverpool Porcelain exhibition (2006), fig. 26.

1601. A large Chelsea serving dish, c.1752, the rim painted in the Kakiemon manner with four iron red three-clawed dragons chasing tied auspicious objects, the well with small scattered flowerheads, brown line rim, broken and riveted, 44cm. £150-250

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1602. A pair of Bow octagonal plates, c.1753-55, left in the white and applied around the rims with sprigs of flowering prunus, 23.1cm. (2) £600-800

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1603. A Chelsea ecuelle or tureen base, c.1756, the decoration attributed to Jefferyes Hamett O’Neale, painted to the exterior with scenes of exotic birds amidst trees and foliage, the interior with bold floral sprays and single scattered blooms, the twig handles applied with flowers and leaves, red anchor mark, broken and restuck, 26.5cm dia. £150-250

1604. A rare Bow duck tureen base, c.1755-58, naturalistically modelled as a mallard duck with head turned to dexter, the plumage finely painted, 11.6cm across. £500-800 Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, no 264 for a similar tureen with cover. The form derives from George Edwards, Natural History of Uncommon Birds (1743-47), Vol III, pl 157.

Cf. Flowers and Fables: A Survey of Chelsea Porcelain, p. 62, pl.136 for a similar tureen and cover, and Stephen Hanscombe, Jefferyes Hamett O’Neale, pp.82-83 for a gold anchor tureen stand with similar decoration.

1605. A Bow white-glazed footed sauceboat, c.1754, of silver shape, applied with sprays of flowering prunus, raised on three paw feet, the handle with a foliate thumbpiece, small chips to the feet, 18cm across. £600-800

1606. A rare Longton Hall sauceboat, c.1755, the generous shellmoulded shape inspired from silver examples, painted in a bold polychrome palette with a long-tailed bird perched on holey rockwork beside flowering branches, the reverse and interior with bright peony sprays, damages, 21.7cm. £800-1,200 Cf. Nicholas Panes, British Porcelain Sauceboats of the 18th Century, figs 241-243 for a discussion of this rare group of moulded sauceboats.

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1607. A Worcester leaf dish, c.1760, printed in black with three songbirds perched on and around a low branch, the rim edged in green, and a fingerbowl stand printed with birds in flight above swans swimming on a lake, 21.4cm max. (2) £150-250 Provenance: the leaf dish previously in the Paul Howell Collection, Glen Ellen, California, May 1986, and the Joseph Handley Collection. The fingerbowl stand previously in the Norman Stretton Collection, Phillips, 21st February 2001.

1608. A Worcester saucer dish, c.1768, printed in black with figures standing beside Classical ruins in Palmyra, Syria, 18.7cm. £100-200 The print derived from Robert Wood, The Ruins of Palmyra otherwise Tedmor in the Desert, 1753, pl.XXXI. Provenance: the Joseph Handley Collection.

1609. A Bow octagonal soup plate, c.176065, printed in purple with the Stag Hunt, the rim with three landscape vignettes, and a Bow teabowl printed with the Tea Party No. 1 and the Wheeling Chair, some damages, 23.3cm dia. (2) £200-300 The soup plate illustrated in Gordon & Sue Guy-Jones, Bow Porcelain - On-Glaze Prints and their Sources, pl.54A. Provenance: John Ainsley Collection, Sotheby’s 7th March 1961, lot 122. Sir William Mullens Collection, Sotheby’s, 22nd February 1977, Lot 129, Joseph Handley Collection, item 8.2.

1610. A Worcester saucer dish, c.1775, printed in black with a figure standing amidst Classical ruins, a coffee cup printed in purple with two figures beneath ruined columns, and a teabowl printed in Smoky Primitive style with a shepherd and shepherdess, a Chinese figure, and with birds in flight, some faults, 18.2cm max. (3) £100-150

1611. Three Worcester plates, c.1770-75, of varying size, printed in black with scenes of figures before ruined archways and other Classical architecture, the shaped or scalloped rims with flower £250-350 sprays, some wear and damages, 22.7cm max. (3)

1612. A Worcester trio, c.1760, a coffee cup, teabowl and saucer printed in black with ornithological scenes, the cup and teabowl with a single bird perched on a branch between birds in flight, the saucer with a family of ducks swimming beneath a kingfisher on a branch, 12cm. (3) £150-250

1613. A Worcester coffee cup and saucer, c.1758, the cup printed in black with a bird perched on a leafy branch with upright tail, and two others in flight, the saucer with two doves standing beneath trees, small chips to the cup, 12cm. (2) £100-200

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Literature: Connoisseur, Vol. CL1, No.609, November 1962, Rare Porcelain Decorated By Robert Hancock, Geoffrey W Capell, pl.10a for the cup, pl.7 for the saucer.

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1614. A Worcester small mug, c.1765, the cylindrical form slightly tapering and printed in black with The Tythe Pig, a couple presenting their baby to a cleric, 8.6cm. £100-200

1616. A Richard Chaffers (Liverpool) mug, c.1760, printed in black with the arms of the Ancient and Honourable Society of Bucks, signed ‘Sadler Liverpool’, between smaller prints of Justice and Fame, a chip to the inside rim, 11.8cm. £300-500

Paper label for the Liverpool Exhibition at Phillips,l 1997, No. B1. The engraving derives from a print by Müller after Boitard and also appears on Liverpool and Longton Hall porcelains, as well as Liverpool delftware tiles and Wedgwood creamware. The same subject is depicted in both Staffordshire earthenware figures and Derby porcelain figures.

1615. A Worcester vase, c.1770, of gu beaker shape, printed in black with The Milkmaids, carrying buckets of milk on their heads, the reverse with floral swags, some restoration, 15.3cm. £150-250

1617. A Worcester teabowl and saucer, c.1760, printed in black with the King of Prussia (version 3), titled to the banner beneath the portrait, the saucer signed RH Worcester in the print for Robert Hancock, and with an anchor rebus for Richard Holdship, the teabowl with an additional print of trophies, 12.2cm. (2) £250-350

The print is after an engraving by H Copeland, dated 1748 and is attributed to Jeremiah Evans. The same print can be found on Worcester porcelain and also on Longton Hall.

1618. A Worcester slop bowl, c.1760, printed in black with three figures, one holding a banner titled ‘Marine Society’ one side of Britannia who points towards women with families beneath a banner inscribed ‘For the Service of our Country’, a naval battle scene to the reverse, the interior with a portrait of George II, a chip to the inside of the rim, 16.5cm. £150-250 The source for this print is an engraving by Thomas Major after a drawing by Samuel Wale from Motives for the Establishment of the Marine Society, London 1757. The society, the world’s first maritime charity, had been set up the previous year to supply seafarers to support the navy at the start of the Seven Year’s War.

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1619. A very rare Worcester three-handled vase, c.1775-78, printed in black with the Draw Well pattern, a figure hauling on a rope to draw a bucket up from a well, and two scenes of Classical ruins, amidst flower garlands and single sprays, the neck issuing three handles with applied flowers where they meet the shoulder, raised on a circular foot, a little restoration to the handles, 18.5cm. £400-600 Provenance: Cyril Cook Collection. Sir William Mullens Collection, Sotheby’s, 22nd February 1977, lot 141. Joseph Handley Collection, no. 5.4.

1620. A rare Bow slop bowl, c.1760, printed in purple with Le Negligé ou Toilette du Matin to two sides with The Toys split into two prints between, the interior with a bird perched on a branch, a rim crack, 15.5cm dia. £200-250 Illustrated: Gordon and Sue Guy-Jones, Bow Porcelain - On-Glaze Prints and Their Sources, pls. 38B, 57B and 57C. The print of the lady adjusting the child’s headdress copies an engraving by Jacques Philippe le Bas, after a painting by Jean Baptiste Chardin.

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1621. A Worcester footed sauceboat, c.1754, printed in black with a pheasant and a squirrel within elaborate frames with flowers around, also within moulded panels, the interior with Les Amusements Champêtres, designed by Boitard from a Watteau painting, a small restored rim section, 19cm across. £200-300 Provenance: Grant-Davidson Collection, Sotheby’s, 23rd September 1999, lot 840. Cf. Cyril Cook, The Life and Works of Robert Hancock, items 4 and 103.

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1622. Two Derby wine tasters, c.1770-90, of circular form, one with a gilt dentil rim and a small foliate sprig, the other decorated in underglaze blue with a central flowerhead within a cell diaper border, and an eggshaped strainer spoon with flower sprigs in overglaze blue, 10cm max. (3) £200-300

1623. A Caughley tea canister and cover, c.1785-90, of fluted ovoid form, gilded with small flower sprigs and an overlapping oval border, and a Worcester blue and white tea canister printed with the Fruit Sprays pattern, hatched crescent mark, the cover cracked, 12.2cm max. (4) £200-300

1624. Two Caughley blue and white wine tasters, c.1780-90, and a Caughley pickle leaf dish, all printed with the Fisherman and Cormorant pattern, faint S mark to the pickle dish, 9cm max. (3) £100-200

1625. A Caughley blue and white combined part tea service, c.1790, printed with various patterns of pagoda landscapes, with later gilt borders. Comprising: a teapot with cover and stand, a tea canister and cover, and a teabowl and saucer. (7) £150-250

1626. 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, and two Tournai blue and white dishes, c.1780, each painted with the Ronda pattern of prunus and peony issuing from low rockwork, blue crossed swords and + marks, 24cm max. (4) £100-200

1627. A Caughley plate and a teabowl and saucer, c.1780, the plate painted with flower sprigs in the Chantilly manner, the teabowl and saucer printed with a pagoda landscape, together with a Chinese twohandled cup and saucer painted with a similar design, 22.7cm max. (5) £100-150

Provenance: the John Pinnick Collection.

1628. Two Liverpool coffee cups, c.1760-70, one enamelled with two white egrets behind and above a large lotus spray, the other in underglaze blue with a long-tailed bird perched on a flowering branch. and a Worcester blue and white teabowl, moulded with a band of chrysanthemum to the exterior, some faults, 7.5cm max. (3) £100-150

1629. A small collection of English porcelain teawares, 2nd half 18th century, including a Vauxhall blue and white teabowl painted with a tree, a Bow teabowl applied with prunus, a Liverpool small mug with flowers, a saucer with a Chinese figure in a garden, a Derby polychrome milk jug, a Japanese teabowl painted in blue with a pattern copied by Bow, and a tea canister cover painted with flowers and butterflies, damages, 12.4cm max. (7) £150-250

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1630. Two Worcester blue and white pickle leaf dishes, c.1755-60, one painted with the Rose and Floral Spray pattern, the other with the Two Peony Rock Bird pattern, a workman’s mark to each, 10cm max. (2) £300-400

1631. A William Reid (Liverpool) blue and white pickle leaf dish, c.1758-60, moulded as a pointed leaf with a smaller overlapping leaf and flower sprig, the edge and small leaf with blue detailing, a little good restoration, 11.5cm. £150-250

1632. Two Liverpool blue and white pickle dishes, c.1765-75, one Philip Christian, of leaf shape and painted with three small flower sprays, the other Pennington’s, of deep scallop shell shape and printed with a large rose spray within a blue dash rim, raised on three peg feet, 11.7cm max. (2) £300-400 The Pennington shell with a paper label for the Watney Collection.

1633. A William Reid (Liverpool) blue and white coffee cup, c.1755, moulded with a diaper design enclosing panels painted with small flower sprigs, the rim with a shaped formal pattern, 6.3cm. £100-200

1634. 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. £150-200 Provenance: the John Pinnick Collection.

1636. A miniature Worcester blue and white saucer, c.1755-60, painted with the Rock Warbler pattern, a long-tailed bird perched on rockwork above a zig-zag fence, workman’s mark, 8.1cm. £100-150

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1637. A Derby blue and white ‘dolphin ewer’ creamboat, c.1770, the shell moulded sides picked out in blue, beneath the spout with two dolphins with entwined tails, 9.7cm across. £100-200

1635. A Worcester blue and white coffee cup, c.1758, painted in the Gazebo pattern with a small pagoda peeping between jagged, forked rocks, a figure standing on rocks beside a further small building, watching a further figure in a boat, workman’s mark, 6.4cm high. £100-150

1638. A Lowestoft blue and white bowl, c.1780, the small fluted form painted with floral sprays and a single flying insect, rim cracks, 10.6cm dia. £100-200 Provenance. Phillips, The Watney Collection, Part III, 1st November 2000, lot 1007.

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1639. A Lowestoft blue and white teapot and cover, c.1780, painted with a branch of flowering peony beside holey rockwork and above a zig-zag fence, a chip to the underside of the cover, a crack beneath the spout, 21cm across. (2) £300-400 Paper label for B M Thorn & Son, Budleigh Salterton.

1640. A rare Worcester blue and white hors d’oeuvres set, c.175860, 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) £700-900 Provenance: the John Pinnick Collection.

1641. A rare Worcester blue and white teabowl and saucer, c.1757-60, 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) £500-800 Provenance: the John Pinnick Collection.

1642. A rare Longton Hall blue and white dish, c.1756, the oval form with fluted sides, painted with a Chinese boy running towards a figure standing and holding a flower, a bird in flight above them, the fluted rim with sprays of flowering prunus, some rim nibbling, 21.8cm. £300-400 Cf. Bernard Watney, Longton Hall, pl.71C for a different dish in the same pattern.

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1643. Four English porcelain blue and white teabowls, c.1760-70, Worcester, Caughley and Lowestoft, all printed with the Three Flowers pattern, a Worcester saucer in the same pattern, and a Worcester teabowl and saucer painted with the Candle Fence pattern, open crescent marks to the latter, 13cm max. (7) £150-250

1644. Three Worcester blue and white teabowls and saucers, c.1780, variously printed with the Three Flowers, Fence and Fruit Sprays patterns, a teacup in the Three Flowers pattern, and a coffee cup in the Bat pattern, hatched crescent and disguised numerals marks, 12.5cm max. (8) £100-200

Provenance: the John Pinnick Collection.

1645. Four Worcester blue and white mugs, c.1765-80, three of cylindrical form, one painted with the Gardener pattern, one with the Cracked Ice Ground pattern, one printed with the second version of the Parrot Pecking Fruit pattern, the last of generous bell-shape and printed with the Plantation pattern, crescent marks, some damages and repairs, 14.8cm max. (4) £300-400

1646. Three Worcester blue and white sauceboats, c.1755-65, one painted with the Triangular Platform pattern, one with the Man with a Bomb pattern, the last with the Moored Boat pattern, workman’s marks to two, minor faults, 19.3cm across max. (3) £300-500 Provenance: the John Pinnick Collection. The Moored Boat example with a paper label for the Zorensky Collection, No. Y677.

Provenance: the John Pinnick Collection.

1647. A Worcester blue and white teapot and cover, c.1780, and a matching sucrier and cover, both printed with the Fence pattern, the covers surmounted with floral knops, hatched crescent marks, one £150-250 finial broken and cleanly restuck, 16.5cm max. (4)

1648. Two Worcester blue and white dessert dishes, c.1770-80, one of lobed oval form and printed with a spray of convolvulus and rosebud within a basketweave border, script W mark, the other moulded with latticework and vine leaves and painted in dry blue with small floral sprays, a rim chip to the latter, 30cm max. (2) £100-200

1649. 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) £100-150

1650. Two Worcester blue and white milk jugs and a slop bowl, c.1770-80, one jug and the bowl printed with the Fence pattern, the other jug painted with the Mansfield pattern, and a smaller Caughley bowl printed with the Fence pattern, small damages, 21cm max. (4) £100-200

Provenance: the John Pinnick Collection.

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1651. A Worcester blue and white cabbage leaf jug, c.1765-70, printed with three large naturalistic flower sprays of rose and peony, the handle with a formal scroll design, printed T mark, a small chip to the spout, 23.3cm. £100-200

1652. 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) £120-180 Provenance: the John Pinnick Collection.

1654. 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. £200-300

1653. A large Worcester blue and white two-handled sauceboat, c.1755, painted in the Two-Handled Sauceboat Landscape pattern with panels of birds, flowers and figures in landscapes, the handles with monkey head terminals, workman’s mark, a few small rim chips, 22cm across. £200-300

1655. A rare Caughley blue and white sauceboat, c.1770-80, the moulded body painted with the Strap Flute Sauceboat Floral pattern, the interior with a single flower spray, the rim with a cell diaper border, £250-300 blue C mark, 17.5cm.

Provenance: the John Pinnick Collection.

1656. 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) £300-400

1657. A large Worcester blue and white leaf dish, c.1765, moulded with two overlapping leaves and naturalistically painted with sprays of rose and narcissus, blue P and workman’s mark, 35cm. £200-300

Provenance: the John Pinnick Collection.

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1658. 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) £400-600 Provenance: the John Pinnick Collection.

1659. 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) £500-800

1660. A Worcester blue and white coffee cup and saucer, c.1758, decorated with the Feather Mould Floral pattern, workman’s marks, and a further moulded coffee cup decorated with the Fisherman and Willow pattern, 11.5cm max. (3) £150-200

Provenance: the John Pinnick Collection. The cup with a paper label for the Chas. Crane Collection.

1661. 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. £200-300

1662. 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. £200-300 Provenance: the John Pinnick Collection.

Provenance: the John Pinnick Collection. Cf. Branyan, French and Sandon, Blue and White Worcester Porcelain 1751-1790, No. I.D.27.

1663. Literature: D Drakard and P Holdway ‘Spode Printed Ware’, Henry Sandon ‘Flight and Barr Worcester Porcelain 1783-1840’, Heather Toomer ‘Lace: A Guide to Identification’, and six other reference works by Geoffrey Godden, Alan Smith and Peter Hyland on Davenport, Minton, Ridgway, Davenport and Herculaneum. (9) £40-60

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1664. Two Worcester blue and white teabowls and saucers, c.1770, printed with the Three Flowers pattern, a Mansfield pattern saucer and a fluted fruit pattern saucer, a Worcester coffee cup in the Fruit and Wreath pattern, and an asparagus server in the Fisherman and Cormorant pattern, 12.3cm max. (7) £100-200

1665. Literature: Porcelain for Palaces: The Fashion for Japan in Europe, Alfred Ziffer ‘Nymphenburger Porzellan: Bäuml Collection’, Bernard M Watney ‘Liverpool Porcelain’, and many other works relating to pottery and porcelain, including Worcester, Bow and other more general guides. (A lot) £100-200

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1666. An early Bow blue and white small bowl or teabowl, c.1752-54, the flared sides painted with a boat between two small islands bearing low pagodas, painted Q mark to the base, 9.6cm dia. £150-250

1667. A Caughley miniature blue and white coffee pot, c.1780, printed with the Fisherman and Cormorant pattern, the cover lacking, 6.5cm high. £100-150

1668. A rare Bow blue and white cream jug, c.1753, the squat rounded body painted with a large peony spray, and with a willow tree before an ornamental fence, the handle applied to one side and decorated with a simple foliate motif, the spout restored, 5cm high. £100-150

1669. A William Reid (Liverpool) blue and white teapot, c.175660, the rounded cylindrical form painted with a low building and trees in a landscape scene, a 6 mark to the underside, the cover lacking, the spout chipped, 17.5cm. £300-400

Cf. Bernard Watney, English Blue and White Porcelain of the 18th Century, pl.5B for a jug of the same shape in the Victoria and Albert Museum.

1670. A Bow blue and white footed sauceboat, c.1750-52, painted with large peony sprays issuing from rockwork, the interior rim with a scroll border, raised on three paw feet issuing from lion masks, moulded with a shell motif where the handle joins the body, 21.2cm. £200-300

Provenance: The Watney Collection Part I, Phillips, 22 September 1999, lot 260, where it was attributed to Richard Chaffers. Illustrated: Maurice Hillis, Liverpool Porcelain, p.48, fig.3.73A. A coffee can of the same pattern, also marked with a ‘6’ is shown at p.41, fig.3.48

1671. A Lowestoft blue and white teabowl, c.1770-80, printed with the Good Cross Chapel pattern, the eponymous church building reserved in a shaped panel to two sides, the interior rim with a £200-300 hatched diaper border, 7.5cm dia.

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1672. A rare Worcester blue and white ‘Wigornia’ creamboat, c.1752-54, the hexagonal form moulded to the exterior with a palm tree and sampan before pagodas to one side, the reverse with a bird in flight between further pagodas and a zigzag fence, the interior painted with simple prunus sprays and a formal motif, painter’s mark to the interior base, some rim faults, 11cm across. £400-600 Cf. Transactions of the English Ceramic Circle, Vol. 13, No. 3, Dr Paul Riley, A Review of ‘Wigornia’ Cream Jugs, in which Dr Riley explores and classifies nine differing mouldings of this series of jugs. The moulding here is classified as ‘B’.

1673. A rare Bow blue and white dish, c.1755-58, of rectangular form with chamfered corners, painted with a figure on a sampan between islands with twostoreyed pagodas, rocks and pine trees, the rim with four flower sprays within a hatched diaper border, 27.4cm. £400-600

1674. A Worcester blue and white mustard pot, c.1760-70, the baluster form painted with the Prunus Root pattern, blue crescent mark, the cover lacking, 7.2cm. £150-250

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1675. An early near pair of Derby sweetmeat figures, c.1753-55, attributed to Andrew Planché, modelled as a gallant and his companion, each seated on a rocky base applied with flowers, resting a large scallop shell in their laps, the shells’ interiors painted with further flowers, the bases with dry-edge characteristics, some good £1,800-2,200 restoration, 16cm. (2)

1676. A pair of Derby figures of vintners, c.1758, each seated with a large basket of grapes resting in their laps, raised on low scrolled bases picked out in green and gilt and applied with flowers and leaves, a few small chips, the back of the gentleman’s hat restored, 13cm. (2) £800-1,200

Cf. John Twitchett, Derby Porcelain, p.41, pl.2 for the male figure.

1677. A near pair of Derby figures of the Dresden Shepherds, 1760, he standing and holding a basket of fruit and a small floral posy, a dog seated by his right foot, his companion with a further posy in her left hand, a lamb recumbent at her feet, raised on scrolled bases picked out in green, puce and gilt, some small damages and restoration, 27.5cm. (2) £700-900

1678. A pair of Derby candlestick figures, c.1760-65, emblematic of Spring and Autumn, each modelled as a putto seated on a low stump and wearing a diadem of flowers or grapevine, with further flowers or grapes on the low scrolled bases, each supporting a candle sconce with a drip pan formed of overlapping leaves, some restoration, 15cm. (2) £200-300

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1679. A Bow figure of a nun, c.1755, standing with her right hand outstretched, holding an open Bible or prayer book in her left, wearing a green wimple, the pad base applied with flowers and leaves, red anchor and dagger mark, small losses to the leaves, her right hand broken £400-600 and restuck, 15cm.

1680. A Bow figure of a dancing man, c.1765, after Meissen, his arms outstretched and head turned to the right, his left foot stepping forward off the four-footed scrolled base, wearing a pale yellow suit with blue detailing, 18.7cm. £600-800

1683. A near pair of Bow figures of Summer and Autumn, c.175560, from the Seated Rustic Seasons series, Summer depicted as a lady seated on a corn stook and wearing a wide-brimmed hat trimmed with further ears of corn, Autumn as a gentleman seated on a basket of grapes, raised on pad bases, some losses, 13.5cm. (2) £200-300

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1681. A Bow figure of Venus, c.1765, standing before flowering bocage with her right arm outstretched, a small posy in her left hand and a pair of billing doves at her feet, raised on a scrolled four-footed base, red anchor and dagger mark, some good restoration, 28.2cm. £550-750

1682. An unusual Derby figure of the Abyssinian Archer, c.1765, wearing a long flowered robe and holding a clutch of short arrows in his right hand, a quiver and bow slung behind his back, raised on a low scrolled base applied with flowers and leaves, minor losses and restoration, 28.2cm. £500-800

Cf. Victoria and Albert Museum, Accession No. 414:9-1885 for a similar example from the collection of Lady Charlotte Schreiber.

This figure and its companion are usually depicted with the black skin more commonly associated with Abyssinia.

1684. A pair of Derby figures of Spring and Summer, c.1756, each seated above a flat scrolled base with green and gilt detailing, Spring wearing a floral coronet and holding a posy in her left hand, Summer with a corn diadem and holding a small sheaf, with further ears of corn beneath his feet, a chip to the front of one base, 11cm. (2) £800-1,200

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1685. A set of four Derby figures from the French Seasons series, c.1810, modelled as children emblematic of Spring, Summer, Autumn and Winter, with various attributes, raised on circular bases with a gilt band, each incised No. 123 to the base, minor damages, 18cm. (4) £800-1,200

1686. Two Derby figures of Africa and America, c.1820, from the Four Quarters of the Globe series, modelled as children with various attributes relating to each continent, Africa wearing an elephant head cap and resting his left knee on the head of a lion, America wearing a feathered headdress and standing with his right foot on the back of an alligator, raised on titled scrolled bases, incised No. 200, America with a blue crossed swords mark, some damages, 21.5cm. (2) £500-700 The models for this series originate from a series of adult Continents modelled by Kändler at Meissen, and adapted into children by Meyer. These were copied by Chelsea from which the Derby figures probably derive.

1687. A Derby biscuit porcelain figure group, c.1830-40, possibly modelled by John Whitaker with two stags beside a gnarled tree trunk, one standing and one recumbent, both wearing collars, the rocky base applied with flowers and leaves, small losses, 17cm high. £100-200

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1688. A pair of Derby figures of Shakespeare and Milton, c.178090, after Peter Scheemakers, each leaning against a pile of books atop a pillar, Shakespeare with a scroll inscribed in gilt with verses from The Tempest, Milton with a quotation from Paradise Lost, raised on chamfered rectangular bases, incised No. 305 and No. 297, some faults, 29cm. (2) £400-600

1689. Two Derby figures of a shepherd and shepherdess, c.176065, the Dresden Shepherd standing beside a seated dog and holding a basket of fruit, the dancing shepherdess holding a garland of flowers, both dressed in flowered clothes and raised on low scrolled bases, some damages, 23.5cm max. (2) £100-200

1690. A pair of Derby figures of dancers, c.1820, he wearing a pink coat over a patterned waistcoat and green striped breeches, his hat leaning up against a tree stump, his companion holding back her overskirt in both hands to reveal the elaborately patterned skirt beneath, each raised on a scrolled base with gilt detailing, blue crossed swords marks, incised No. 317, some restoration, 18.5cm. (2) £300-400

1691. Two large Derby figures of Minerva and Britannia, c.176570, each standing and resting her left hand on top of a shield, Minerva’s bearing the face of the Gorgon and leaning on a stack of books behind an owl, Britannia’s with the cross of St George and resting on the back of a lion, some damages and repairs, 37.5cm max. (2) £450-650

1692. Three Derby figures, c.1765-80, one of a gardener standing beside a pillar entwined with flowers, a basket of grapes resting on a stump to his left, another of a putto holding a basket of flowers, the last of a boy seated and holding a bird, his gun and dog beside him, some chipping, 24cm max. (3) £200-300

1693. A near pair of Derby candlestick figures of the Ranelagh Dancers, c.1820, each standing with one hand on their hip, the other holding onto a branch entwined with flowering stems supporting a candle sconce, raised on scrolled bases, blue crossed swords marks, some faults, 25cm. (2) £450-600

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1694. A pair of Derby figures of the Sailor and his lass, c.1800, he wearing a tricorn hat and customary wide-legged trousers, holding a length of rope in his right hand, she beckoning him hither with her bare right hand, holding her glove in her other hand, each raised on scrolled and gilded bases, incised No. 316, some good restoration, 21cm. (2) £400-600

1695. A Bow figure of a putto, c.1760, seated on a rocky stump and resting a vase of flowers on his right knee, and a Derby figure of a huntsman, holding the barrel of his gun and with a dog by his side, a little restoration to the latter, 15.5cm max. (2) £150-250

These models are believed to depict the actors Henry Woodward and Nancy Dawson, possibly as Black-eyed Susan and Sweet William from John Gay’s ballad featuring a sailor’s farewell to his beloved.

1697. A Bow white-glazed figure of a female hunter, c.1752, seated and leaning on a water fountain, her gun held in her left hand, a small dog jumping up beside her, raised on a square base, small damages, 13cm. £400-600 Cf. Peter Bradshaw, Bow Porcelain Figures, p.74, pl.39 for the biscuit version of this figure.

1700. A pair of Derby candlestick figures, c.1765-70, modelled as a boy and girl seated before flowering bocage and holding a small posy in one hand, supporting a candle sconce in the other, raised on pierced rococo bases highlighted in turquoise and gilt, minor restorations, 16.6cm. (2) £150-250

1696. A pair of Derby figures of a shepherd and his companion, c.1810, he standing beside and leaning on a tree stump, playing the flute to his beloved, a sheep recumbent at his feet, she raising her left hand to her lips, both raised on reticulated scroll circular bases, incised No. 369, crowned crossed batons and D marks in red and light brown, 26cm. (2) £400-600 The shepherd derives from a 16th century Florentine bronze sculpture of a nude youth, which in turn followed a Roman marble inspired by a 4th century Hellenistic bronze.

1698. A pair of Derby figures of dancers, c.1790, the gentleman holding his hat in his left hand and standing before flowering branches, his companion with the edges of her yellow overskirt in each hand, revealing an elaborately flowered skirt beneath, raised on low scrolled bases picked out in turquoise and gilt, incised No. 317 to each, some good restoration, 20.5cm. (2) £500-700

1699. A Derby figure of Andromache weeping over the ashes of Hector, c.177570, after the painting by Angelica Kauffman, the widow leaning on a funerary urn with her head leant wearily on one hand, raised on a chamfered rectangular base moulded with a key fret band, incised No 100 to the base, 23cm. £350-450

1701. Two Derby figures of Classical gods, c.1775-85, one of Neptune standing beside a large dolphin atop a tall scrolled base encrusted with colourful shells and seaweed, the other of Venus and Cupid beside a waterfall, the latter incised 66, the former incised 299, some restoration, 21cm max. (2) £350-450

1702. A pair of Bow small models of sheep, c.1760-65, recumbent before flowering bocage, with rust patches colouring their fleece, some chipping to the bocage, one ear lacking, 8cm. (2) £100-200

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1703. A Derby figure of Music, c.1790-1800, modelled as a Classical maiden playing a flute, with a putto reclining on a rocky base beside her, a tabor resting on a plinth behind, incised No. 217 and with a crowned crossed batons mark, some restoration, 22.5cm. £100-200

1704. A large Derby figure of Diana, c.1765, reaching for an arrow from a quiver slung on her back, wearing a flowing pink cloak over a flowered dress, her hound recumbent at her side, raised on a scrolled base picked out in green and gilt, a few small chips to the flowers, 31cm. £500-700

1705. 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. £100-200

1706. A Chelsea figure of a Levantine lady, c.1755, modelled by Joseph Willems after Meissen, lifting her headdress away from her face with her right hand, her left holding the edge of her coat, wearing yellow harem pants and a red sash, red anchor mark, some good restoration, 15.5cm. £1,000-1,500 Cf. John C Austin, Chelsea Porcelain at Williamsburg, p.130 for a similar example, and lot 1450 for the Meissen original

1708. A rare Derby figure group of children playing Hazard, c.1780, a boy and a girl either side of a fortune wheel on top of a pillar, a dog seated beside the boy, a basket of fruit covered with a cloth behind the girl, raised on a low base applied with flowers and leaves, incised ‘95’ to the base, damages, 15cm. £200-300 1707. A Bow figure group of Summer and Autumn, c.1765-70, modelled as a young girl and boy standing before tall flowering bocage, she holding a sheaf of corn, he with a basket of grapes, raised on a scrolled four-footed base, some restoration, 24.5cm. £500-800

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This group is copied from a 1736 painting by François Boucher, entitled Country Fair. A similar version was produced at Sèvres, modelled by Falconet. Peter Bradshaw in Derby Figures illustrates a group on p.247 which includes a second boy standing behind the pillar, however, this figure does not appear to have survived the firing process in this instance.

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

1709. A rare pair of Chelsea candlestick figure groups of rabbits, c.1775, each modelled with one recumbent rabbit and another beside it, stretching up into elaborate flowering bocage, with scrolled sconces and drip pans above, the C-scroll bases picked out in pink and gilt, gold anchor mark to one, 24.5cm. (2) £600-800

1710. Two Bow candlestick groups of goldfinches, c.1760, each modelled with two birds perched on branches entwined with flowering tendrils, a small dog barking up at them from the base of the tree, each stem surmounted with a candle sconce and drip pan, a branch at the front of each group forming a handle, some good restoration, 23.5cm. (2) £800-1,200

1711. A Chelsea-Derby candlestick figure group, c.1770, modelled in the Fable manner with a fox standing over a dead bird before flowering bocage, raised on a scrolling base picked out in puce and gilt, a handle with flowerhead thumbpiece to the reverse, small losses, 24.8cm. £450-600

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1712. A Bow sweetmeat figure, c.1755, of a lady in Turkish dress seated and holding a large scallop shell painted with flowers, the low scrolled base applied with shells and coral and picked out in puce, impressed To repairer’s mark, some good restoration to her left foot, 17.3cm. £700-900

1713. A Chelsea chinoiserie flower holder figure, c.1762, modelled as a Chinaman wearing Eastern dress and seated beside a large white vase, the top of which is pierced with an arrangement of holes, raised on a scrolling rococo base picked out in gilt, gold anchor mark to the reverse, some good restoration, 20cm. £600-800 Cf. Frank Stoner, Chelsea, Bow and Derby Porcelain Figures, pl.33.

1714. A Derby sweetmeat figure, c.1765, modelled as a black man kneeling on one knee and supporting a large shell on the other, raised on a scrolled base with gilt and turquoise highlights, 21.5cm. £600-800

1715. 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 £500-800 bocage, some good restoration, 15cm. 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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1716. A Bow figure of Smell, c.1760, from the Senses series, modelled as a young girl seated atop a four-footed base with an apron full of flowers, leaning on her right elbow and bending her head to sniff the blooms she holds, some small losses to the flowers and leaves, 17.5cm. £450-650

1717. A Bow figure of Touch, c.1760, from the Senses series, modelled as a lady seated on a low stump and reaching out to stroke her dog as it climbs onto her lap, raised on a scrolled four-footed base picked out in turquoise and gilt, a few small chips, 15.5cm. £600-800

1718. A rare Chelsea Red Anchor figure of Autumn, c.1755, from the Rustic Seasons, modelled as a vintner, slovenly dressed with his shirt untucked and open and one stocking unrolled, carrying a length of fruiting grapevine over one shoulder, raised on a low pad base, some good restoration, 13.5cm. £1,200-1,500

1719. A Bow figure of Spring, c.1755, modelled as a girl seated and wearing a yellow hat, leaning on a basket of flowers, with blooms tumbling from her lap into further baskets beside her, wearing a pink bodice and a white apron over a flowered skirt, small damages, 11.5cm. £700-900

The figures in this series were copied from Meissen, and are also known at Longton Hall. Cf. Rosalie Wise Sharp, China to Light Up a House, p.62.

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1720. A Chlesea Gold Anchor figure of one of the Nine Muses, c.1760-65, probably Euterpe, holding a pipe in her right hand and wearing a berried laurel wreath, the base applied with flowers, together with an associated muse stand for Clio, inscribed to the front and with butterflies painted around the sides, gold anchor and impressed R marks, the figure numbered 8, some restoration, 40.5cm overall. (2) ÂŁ700-900

1721. A Chelsea Gold Anchor figure of one of the Nine Muses, c.1760-65, probably Thalia, holding a scroll in her left hand, her right arm in dramatic pose across her body, wearing a gold beaded headdress, with an associated stand for Erato, titled to the front and well painted with butterflies, gold anchor and impressed R marks, the figure numbered 1, some restoration, 40cm overall. (2) ÂŁ500-800

1722. A large Bow figure of Air, c.1762, from the Elements series, modelled as a girl holding a robe above her head and standing on clouds beside a large eagle atop of a tall scrolled and reticulated base, 29.5cm. ÂŁ600-800

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1723. A set of Bow figures of the Adolescent Seasons, c.1765, each modelled as a youth standing between flowering branches and holding attributes, Spring with a nest containing two birds, Summer with a sickle and a corn sheaf, Autumn with grapes and a goblet, Winter with a flaming brazier and a fur muff, raised on reticulated scroll bases, some restorations, 17.5cm. (4) £1,000-2,000

1724. A Derby figure of the Farmer’s Wife, c.1757, standing and holding a small posy of flowers, wearing a yellow hat with red ribbon, her skirt patterned with flowers, raised on a rectangular scrolled base picked out in puce, green and yellow, a few small chips to the flowers, 15cm. £450-650

1725. An early Derby figure of a seated girl, c.1755-59, holding a small posy of flowers in her left hand and with a widebrimmed green hat resting in her lap, her right foot raised and hand outstretched, the low scrolled base picked out in puce, a few small chips, 14cm. £1,200-1,500

1726. A Derby figure of a musical shepherdess, c.1760, seated on a low stump beside a flowering branch, playing the mandolin, a sheep standing beside her, raised on a low scroll-moulded base picked out in green and gilt, 19.7cm. £200-300

See lot 1456 for the Meissen figure this copies.

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1727. A Bow white-glazed figure of Autumn, c.1754, modelled as a man seated on an upturned basket of grapes, holding a bunch of grapes in his right hand and squeezing them into a bowl in his left, a bottle lying on its side between his feet, his left lower arm broken off and restuck, 13.5cm. £250-350

1728. A pair of Bow figures of a monk and a nun, c.1755, both seated, the monk reading from a Bible or prayerbook, the nun holding a long black cross, with two further books by her left foot, the low pad bases applied with flowers, 11.5cm. (2) £800-1,200

1729. A Bow white-glazed figure of Winter, c.1754, modelled as a man in a hooded cloak, huddled over a flaming brazier and warming his hands, 12.4cm. £300-400

1730. A Derby figure of a sheep, c.176065, standing on a grassy base, bending his head to eat the grass, with horns curled back over his ears, 7.5cm high. £200-300

1731. A Bow figure of Harlequin, c.1758, seated on a rocky stump and playing the bagpipes, wearing a yellow tunic over striped breeches, with a pink conical hat and large neck ruff, some good restoration to the £600-800 extremities, 12cm.

1732. A Bow figure of a piper, c.1756-58, holding his bagpipes under his left arm, wearing a flowered jacket over pink breeches, a ‘dismal hound’ seated at his feet, a small amount of restoration, 14cm. £400-600

1734. A Bow model of finches, c.1755-60, the two brightly painted birds perched in branches above a small dog wearing a pink ribbon collar, the branches entwined with flowering tendrils, some good restoration to the finches, 15.5cm. £350-450

1735. A Chelsea Gold Anchor figure of a musician, c.1762, with a narrow drum slung over his left arm, which also holds the flageolet he plays, wearing a plumed green hat and a yellow jacket over pink breeches, a small amount of good restoration, 15.5cm. £700-900

Paper label for the Grant-Davidson Collection, no.P140.

1733. A Derby figure group of a dancing couple, c.1770, after the Meissen figure by J J Kändler, modelled with hands entwined, her left arm about his waist and his right hand on her hair, raised on a circular scrollmoulded base with turquoise and gilt detailing, incised No. 17 and with the initials JW, some good restoration, 18cm. £450-650

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1736

1737

1738

1739

1736. A Bow white-glazed figure of Matrimony, c.1752-55, standing on a tall scrolled base beside a wall fountain, holding a bird cage resting on her right hip, a sheep recumbent at her feet, some good restoration to her hat and arms, 23cm. £700-900 1737. A large Derby figure of John Wilkes, c.1765-70, standing and resting one hand on a square plinth, atop of which rests a scroll inscribed ‘Bill of Rights’, draped in a long pink cloak, a putto to his right, holding a phrygian cap on the end of a stick and supporting a book titled ‘Lock [sic] on Gov’t’, raised on a scrolled base, the putto’s right foot lacking, 31.5cm. £500-800 John Wilkes (1725-1797) was an English politician and radical journalist whose criticism of the King in his magazine The North Briton earned him a warrant for his arrest for libel in 1763. Citing parliamentary privilege he was cleared of the charge and went on to become Lord Mayor of London in 1774. 1738. A rare Derby figure of Jupiter, c.1760-65, seated in a two-wheeled chariot beside a large standing eagle, holding a thunderbolt in his left hand, the chariot resting on cloud scrolls picked out in pale blue and yellow, 24.5cm. £1,000-1,500 Paper label for the R Parker Collection. 1739. A Bow candlestick figure of a peacock, c.1760, the colourful long-tailed bird perched amidst bold flowering bocage beneath a scrolled sconce and drip pan with cobalt blue and gilt detailing, red anchor and dagger mark, and a blue cross and dot mark, a small amount of good restoration, 27cm. £550-750

1740. A Rockingham biscuit porcelain figure of a boy, 1st half 19th century, playing the flageolet and leaning against a tree stump, his dog by his feet with right forepaw lifted in supplication, the base applied with flowers and leaves, a few small chips, 20cm. £300-400

1741. An unusual Derby figure of a putto, c.1760, emblematic of Summer, standing on a rocky base and struggling to hold a large sheaf of corn, with further ears of corn at his feet, the stump painted with a large flying insect, £200-300 some chips to the corn, 11.3cm. This model is part of the figure of Summer from the Four Classical Seasons series, where it usually shares a base with a figure of Ceres.

1742. A Bow figure of a young girl, c.1758, holding a small posy of flowers in her right hand, with further flowers in her apron, the corner of which is held in her left hand, a sheep recumbent at her feet, raised on a low pad base with puce detailing, broken through the waist and well restored, 15cm. £300-500

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1743. A Bow white-glazed figure of a travelling pedlar, c.1754, standing with a large bag on his back, leaning on a tall stick, raised on a low square base, the stick broken off and repaired, 16.5cm. £500-800 Provenance: Armin Brand Allen Collection, Sotheby’s, 11th October 1995, lot 344.

1745. A Bow figure of Neptune, c.1752-55, astride a colourful dolphin, his robe billowing about his naked form, raised on a low pad base applied with shells, coral and seaweed, impressed ‘To’ repairer’s mark, some restoration to both hands, his trident lacking, 15.5cm. £600-800

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1744. A Chelsea Gold Anchor figure of the Nightwatchman’s Companion, c.1760, wearing a black cloak and holding a lantern in her left hand, a basket of fruit over her right arm, raised on a low base with gilt detailing, gold anchor mark, some good restoration, 15cm. £1,200-1,500 Cf. Metropolitan Museum, Accession No. 64.101.491, for the same figure from the Irwin Untermyer Collection. This figure derives from a similar Meissen example from the Cris de Paris series.

1746. A Plymouth figure of Autumn, c.1768, modelled as a putto standing on a tall scrolled base and squeezing a bunch of grapes into a goblet in his right hand, a basket of fruit resting on the base behind him, draped in a bright yellow robe, 15cm. £300-500

END OF SALE

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FINE PORCELAIN & POTTERY Tuesday 20th February 2018 Entries are now being accepted for this sale

A rare English creamware jelly mould, c.1790. Estimate: Â£800 - 1,200 From a private collection.

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

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FINE SILVER & VERTU

Tuesday 24th & Wednesday 25th October 2017

By Murrle Bennett and Co, a pair of Art Nouveau 9 carat gold and abalone shell hat pins. From the extensive Tom Lawson Collection of hat pins included in the sale.

ENQUIRIES Rupert Slingsby | Tel: +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | Tel: +44 (0)1722 424594 | lc@woolleyandwallis.co.uk

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FINE JEWELLERY

Thursday 26th October 2017

Previously owned by Norman Loudon, owner of Shepperton Studios, which merged to form part of the Pinewood Studios Group: A diamond clip brooch by Bulgari. Estimate: £12,000 - £15,000 An impressive diamond cluster ring by Bulgari, the central diamond weighing 8.15cts, with certification from GIA. Estimate: £60,000 - £100,000 Accompanied by the original memorandum from Bulgari

ENQUIRIES Charlotte Glyde | Tel: +44 (0)1722 424586 | cg@woolleyandwallis.co.uk

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ASIAN ART

Tuesday 14th & Wednesday 15th November 2017

A pair of Chinese Imperial enamel jardinières with gardens, 18th century, 29cm. Estimate £20,000 - £30,000

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

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THE STUDIO POTTERY COLLECTION OF PROFESSOR LUKE HERRMANN Wednesday 13th December 2017

Dame Lucie Rie DBE A porcelain bowl with bronzed rim, glazed apple green. Estimate £20,000 - £30,000 A porcelain bowl with sgraffito decoration. Estimate £20,000 - £30,000

ENQUIRIES Michael Jeffery Tel: +44 (0) 1722 424505 mj@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

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.

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.

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.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

The colours printed in the catalogue are not necessarily true.

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.

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

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Pack & Send

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TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM ASIAN ART SALES The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. ALL OTHER SALES The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. 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. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. Asian Art sales: The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The 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 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE Asian Art sales: The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or ††. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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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

LONDON, ANDOVER & WINCHESTER

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DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

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

Wednesday 18th October 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

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www.woolleyandwallis.co.uk

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Auction Calendar FURNITURE, WORKS OF ART & CLOCKS 4th October 2017 10th January 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk 20TH CENTURY DESIGN 17th October 2017 – Design 13th December 2017 – The Studio Pottery Collection of Professor Luke Herrmann 14th December 2017 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 18th October 2017 – English & European Ceramics & Glass 20th February 2018 – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk SILVER 24th & 25th October 2017 – Fine Silver & Vertu 23rd & 24th January 2018 – Silver & Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 26th October 2017 – Fine Jewellery 25th January 2018 – Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk ASIAN ART 14th & 15th November 2017 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Jeremy Morgan +44 (0) 7812 601098 • jm@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 22nd November 2017 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk PAINTINGS 29th November 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 TRIBAL ART & ANTIQUITIES 21st February 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk

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