Woolley & Wallis by Jamm Design Ltd

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

English & European Ceramics &Glass Tuesday 16th October 2018

Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 446955

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees

424506 424506 424571

CHINESE PAINTINGS Freya Yuan-Richards

424589

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

424509 424598

MARKETING Ilona Pichler

446960

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Megan Corbett

424500

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 446974

SALEROOM MANAGER David Jordan

JAPANESE ART Alex Aguilar Doméracki

424583

CASTLE GATE MANAGER Matt Hill

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

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Hollie Morrison

424503 424592 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE RECEPTION Madeleine White BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

Natalie Milsted FCCA Finance Director

424599

ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 16th October 2018 at 10.00am At our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 13th October Monday 15th October Tuesday 16th October

10.00am – 1.00pm 10.00am – 4.30pm 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 Castle Gate office on Monday 22nd October. If you are collecting items on or after this date please contact the department on 01722 424507. All accounts to be settled prior to collection. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT. TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 15th October. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 271 detail Back cover: Lot 533 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Monday 15th October. Please note there is a 3% +VAT surcharge for using this service.

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 16th October 2018 at 10.00am

1. Two Baccarat paperweights, c.1850, the larger a scramble weight and set with a jumble of canes and latticino twists, the smaller with concentric rings of canes in red, green, white and pale blue, 6.2cm dia and 5cm dia. (2) £150-250

2. Two French scramble paperweights, c.1850, the larger St Louis and set with a jumble of canes and latticino twists, the smaller Clichy and set with a variety of colourful canes including a C cane, 6.5cm dia and 4.7cm dia. (2) £120-180

Provenance: from a private collection in the West Country.

3. Four Continental glass paperweights, 19th century, the largest Bohemian, faceted and set with colourful canes as stylized flowers, another Bohemian spaced scramble weight with varied canes on a muslin ground, one Murano, faceted and flashed in turquoise around a central millefiori design, the last also Murano and set with concentric rings of millefiori canes, the smaller Bohemian weight cracked, 10.5cm dia. max. (4) £150-250

4. A Richardson paperweight ink well, 2nd half 19th century, formed as a pear and set with millefiori canes, a silver mount forming the cover, a large English paperweight set with concentric rings of canes, and an American high dome paperweight enclosing long multicoloured canes, 10cm dia max. (3) £150-200

Provenance: from a private collection in the West Country.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

5. A Clichy spaced paperweight, c.1850, set with two concentric five pointed stars of matching canes around a central pastry mould cane, 6.3cm dia. £150-250

6. A Clichy sulphide paperweight, c.1850, enclosing a profile portrait of Prince Albert facing sinister, 6.3cm dia. £150-200

7. A small Baccarat millefiori paperweight, c.1850, set with a multitude of £250-350 colourful canes, 6cm dia.

Provenance: from a private collection in the West Country.

9. A Clichy swirl paperweight, c.1850, set with alternate turquoise and white spiralling canes around a central pink and white pastry-mould cane, 6.5cm dia. £200-300

10. A Clichy spaced paperweight, c.1850, set with a flower-shaped garland around a central star cane and ring of pink and green canes, with five Clichy roses around, 6.1cm dia. £250-350

Provenance: from a private collection in the West Country.

11. A Baccarat spaced paperweight, c.1850, set with six rings of canes in red, blue, green and white around a central similar ring, 7cm dia. £150-250

12. A large Baccarat flower paperweight, c.1850, set with a primrose with striped blue and white petals around delicate stamen, edged with eleven leaves, 7.3cm. £300-500

Provenance: from a private collection in the West Country.

13. A Baccarat spaced paperweight, c.1850, set with a four-petalled flowerhead formed from rings of colourful canes enclosing further canes, 6.5cm dia. £150-250

Provenance: from a private collection in the West Country.

8. A large Clichy spaced paperweight, c.1850, set with thirty seven differing canes including a Clichy rose, set on a twisted latticino ground, 7.7cm dia. £300-500 Provenance: from a private collection in the West Country.

Provenance: from a private collection in the West Country.

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14. A Baccarat spaced millefiori paperweight, dated 1848, set with thirteen individual canes including silhouette canes of a stag, dog, goat and cockerel, signed B 1848, on a tumbled ground of latticino canes, 6.3cm dia. £500-800 Provenance: from a private collection in the West Country.

15. A St Louis fruit paperweight, c.1850, set with a pear, two apples and three cherries on leafy stems, on a latticino ground, 6cm dia. £300-400 Provenance: from a private collection in the West Country.

16. A large Clichy spaced paperweight, c.1850, set with a variety of colourful canes including two Clichy roses, 7.5cm dia. £400-600 Provenance: from a private collection in the West Country.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

17. Two miniature Clichy paperweights, c.1850, one set with a large Clichy rose within a ring of eight further floral canes, the other with concentric rings of multi-coloured canes, 4.3cm dia and 4.5cm dia. (2) £200-300

18. Two Bohemian glass paperweights, 2nd half 19th century, one cut with the Lion of St Mark on an amber ground, the other faceted and etched with a hunting dog before bushes on an amber ground, 7.8cm dia. max. (2) £200-300

Provenance: from a private collection in the West Country.

19. A St Louis miniature bouquet or nosegay paperweight c.1850, set with three multi-coloured floral canes against a five leaf spray, 5cm. £400-600

20. A Russian glass millefiori paperweight, 19th century, enclosing concentric circles of varied coloured canes, 7.5cm dia. £100-200

21. Two Bohemian glass scent bottles and stoppers, 2nd half 19th century, one flashed in a pale translucent blue and painted with small pink roses, the other with pink overlay on white, faceted and with gilt floral decoration, 12.8cm max. (4) £100-200

22. A Continental glass copy of the San Marco bowl, 19th century, possibly Italian, the ruby glass decorated in the Byzantine manner with panels of Classical figures within flowerhead borders, the interior with gilded inscriptions in imitation of kufic script, 11.8cm dia. £200-300 Cf. The Corning Museum of Glass, Accession No. 59.3.36 for a mounted example from the Venice and Murano Glass Company Ltd.

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23. A large pair of Bohemian glass lustre lamps for the Persian market, 20th century, the cranberry glass thistle shaped bowls painted with a portrait of Mozaffar al-Din Shah of Qajar, within gilt and floral bands, set into tall stands with domed supports suspending clear cut glass lustres, 58cm. (4) £800-1,200

24. Five Bohemian glass small vases or goblets, 19th century, two of flared form flashed in blue, one in green, and variously cut with geometric designs, one painted with a continuous band of flowers on an amber panel over a diamond cut border, the last with an octagonal thistle bowl raised on a conical faceted stem and square foot, 13.8cm max. (5) £200-300

25. A Bohemian glass goblet, 19th century, the fluted ruby glass bowl gilded with foliate scrolls, raised on a colour twist stem of opaque white canes around a deep blue core, above an octafoil foot, 20.8cm. £100-200

26. Three Bohemian glass vases, 19th century, one flashed in ruby and cut with a bear hunt scene, the largest flashed in amber and the flared faceted form cut with a stag and doe in woodland, the last of hexagonal form and decorated with six small panels cut with animals on a yellow ground, 26.5cm max. (3) £200-300

27. An octagonal wine bottle, 18th century, the flattened body rising to a tall tapering neck, signs of surface degradation commensurate to burial, chips to the neck rim, 27cm. £100-200

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

28. A pair of large glass mosque lamps, 19th/20th century, the bulbous forms applied with three suspension handles, with wide flared necks, 27.5cm. (2) £300-500

29. A glass punch bowl, c.1770, engraved with a continuous border of flowers and leaf sprays, raised on a low foot, with a later glass ladle, 20.5cm dia. £200-300

30. A Union decanter, c.1820, the tall pinched-waist form of a pale green metal, inscribed in gilt relief to each side with four lines of a verse featuring John Bull, Paddy, Taffy and Sawney, the shoulders with flowers, and a Dutch decanter engraved with windmills, ships and grapes between pinched trailed decoration, with an associated Rum stopper, 31cm max. (3) £200-300

31. A pair of glass table lustres, 19th century, each hung with eleven heavy lustres in two parts from everted rims with polished circles, some faults, 26cm. (2) £200-300

32. A Dutch engraved Royal armorial goblet, c.1740, the round funnel bowl engraved with the crowned coat of arms for William IV to one side, the reverse with the lion of the Dutch Republic, raised on a baluster stem comprising two blown knops between collars on a replacement wooden foot, and a Bohemian goblet with gilt decoration of a continuous stag hunt scene, raised on a partial faceted knopped stem with replacement wooden base, 23.2cm max. (2) £200-300

33. A façon de Venise glass tazza bowl, probably 17th century, the shallow form moulded with spiral gadroons to the underside within a trail of dark blue glass, rising to a folded rim, raised on a folded conical foot, 21.2cm dia. £400-600

Provenance: an English private collection, Hampshire.

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34. Two large wine glasses, c.1760, with drawn trumpet bowls rising from thick airtwist stems above conical feet, one folded, 18.3cm max. (2) £150-250

35. Two light baluster wine glasses, c.1730, with bell bowls raised on inverted baluster stems enclosing tears above folded conical feet, and a small wine or gin glass with bell bowl above a knopped plain stem, some rim chips to one baluster, 16cm max. (3) £250-350

36. Two small wine glasses, c.1760, with rounded funnel bowls, one with vertical moulded flutes, the other with a hammered bowl, both on a double series opaque twist stem, 15.5cm max. (2) £300-500

Provenance: Property of a gentleman.

37. A small wine glass, c.1765, the ogee bowl engraved with a continuous formal border, on a double series opaque twist stem, and a firing glass with ogee bowl above a thick double series opaque twist stem on a stepped foot, 14cm max. (2) £200-300

38. Three large wine glasses, 2nd half 18th century, one with an ogee bowl raised on a mixed twist stem, one with a narrow funnel bowl over an airtwist cable stem, the last with a generous funnel bowl over a short double series opaque twist stem, 18.4cm max. (3) £200-300

40. A pair of small wine glasses, c.1760, with rounded funnel bowls, raised on plain stems above folded conical feet, 14.8cm. (2) £100-200

41. Two glass beakers, c.1760-70, one of waisted form on a thick base, the other of flared bucket form above a thick conical foot, possibly intended to be a firing glass, 8.3cm max. (2) £100-200

39. A pair of wine glasses, c.1770, one English, one Dutch, the round funnel bowls later engraved with a crowned C, around the feet inscribed ‘Remember the Death’ and with a small skull, with double series opaque twist stems, 15cm. (2) £100-200 It is possible that these glasses were engraved to commemorate the passing of a family member, or that the death referred to is that of Christ and the act of remembrance one of communion.

42. A pair of Dutch wine glasses, c.1770, the bell bowls raised on knopped opaque twist stems, 17cm. (2) £150-250

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

43. An engraved ratafia glass, c.1765, the slender funnel bowl moulded with vertical flutes at the base, further up engraved with birds perched on flowering branches, raised on a double series opaque twist stem, 17.3cm. £300-500

44. A tall cordial glass, c.1770, with drawn trumpet bowl rising from a slender airtwist stem, 22cm. £200-300

47. Six wine glasses, c.1760-80, three with ogee bowls engraved with honeysuckle and other flowers, raised on faceted knopped stems, one with a pan-topped bowl above a knopped opaque twist stem, two with hammered bowls above double series opaque twist stems, some chipping, 15.5cm max. (6) £200-300

45. An unusual wine glass, c.1765, with a generous tulip bowl on a double series opaque twist stem above a conical foot, 16cm. £200-300

46. A cordial glass, c.1755, the small flared bucket bowl raised on a tall double series opaque twist stem above a domed foot, 17.5cm. £300-500

48. Six Irish glass engraved rummers, 19th century, probably Cork, the rounded cup bowls engraved with leaf swags issuing from tied ribbons, raised on short plain stems above basal knops and conical feet, 11.5cm. (6) £150-250

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49. A light baluster glass, c.1730, the flared bowl above a collar on a baluster stem enclosing a tear above a basal knop and folded conical foot, 15.7cm. £300-500

50. An ale glass, c.1760, the slender round funnel bowl engraved with hops and barley, over a mercury twist stem and conical foot, 20cm. £250-350

53. Four wine glasses, c.1750-70, one with a slender bell bowl, another a drawn trumpet bowl, both raised on plain stems above folded feet, another with a small round funnel bowl raised on a double series opaque twist stem, the last a flute cut with lappets above a low knopped stem, 17cm max. (4) £150-250 Provenance: Property of a gentleman.

51. A toastmaster’s goblet, c.1740-50, the tall funnel bowl raised on a double-knopped baluster stem above a domed folded foot, 23.5cm. £300-500

52. A flute wine glass, c.1760-70, the slender drawn trumpet bowl rising from a dense airtwist stem above a conical foot, 18.5cm. £200-300

54. Five Continental wine glasses, mid 18th century, three with drawn trumpet bowls variously engraved with a bird, flowers and a heart, on airtwist stems, a small glass engraved with flower garlands above a double series opaque twist stem, the last raised on a fivesided pedestal stem above a folded foot, 15.7cm max. (7) £100-200

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

55. A rare engraved heavy baluster glass, c.1710-20, the bell bowl decorated with a basket of fruit and flowers, with a drop knop above a cushion knop enclosing a tear, raised on a domed folded foot, 16.8cm. £1,500-2,000 Cf. Delomosnes, The Baluster Family, No.15A.

56. A wine glass of Jacobite type, c.1760, the drawn trumpet bowl engraved with a rose and rosebud spray and with a single oak leaf, raised on a thick airtwist stem above a conical foot, 16.5cm. £600-800

57. A baluster wine glass, c.1720, the bell bowl with a tear to the base, above an annulated knop and inverted baluster stem enclosing a tear, with basal knop above a folded conical foot, 15.7cm. £300-500

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58. Three wine glasses, c.1760-70, the largest with a drawn trumpet bowl on an airtwist stem, the others with rounded funnel bowls over short double series opaque twist stems, one with a domed foot, 16.7cm max. (3) £150-250

59. A pair of large wine glasses, c.1760, the drawn trumpet bowls rising from plain stems enclosing a single tear, raised on folded conical feet, 17.4cm. (2) £150-250

61. Two large wine glasses, c.1760-70, one with a thistle bowl enclosing a row of beaded tears to the base, on a plain stem, the other with a drawn trumpet bowl on a plain stem enclosing a long tear, 18.3cm max. (2) £150-250

62. Three wine glasses, c.1760-70, one with a rounded funnel bowl raised on a double knopped airtwist stem, the other with a drawn trumpet flute rising from a double series opaque twist stem, the last Continental and with a small rounded funnel bowl on a double series opaque twist stem, £100-200 18.6cm max. (3)

63. A pair of wine glasses, c.1760, with fine drawn trumpet bowls rising from opaque twist stems, 17.5cm. (2) £250-350

64. Three Continental wine glasses, 1st half 18th century, one with a funnel bowl raised on a baluster stem enclosing a tear above a domed folded foot, two with bell bowls over plain stems, one with a hollow knop, on folded feet, 15.7cm max. (3) £150-250

65. A pair of wine glasses, c.1760-70, with small round funnel bowls raised on mixed twist stems, an air and opaque cable spiral enclosed by a white opaque tape, 15.3cm. (2) £150-250

66. Three wine glasses, c.1750-60, two with drawn trumpet bowls rising from plain stems enclosing elongated tears, the last with an ogee bowl moulded with vertical flutes, on a plain stem, all above folded conical feet, 16.5cm max. (3) £100-200

60. Three small wine glasses, c.1760, two with plain ogee bowls, one with moulded vertical flutes to the base of an ogee bowl, all raised on double series opaque twist stems, some faults, 14cm max. (3) £200-300 Provenance: Property of a gentleman.

Provenance: Property of a gentleman.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

67. A light baluster cordial or small wine glass, c.1725, the round funnel bowl supported on an egg knop above a bladed knop enclosing a long tear running into a basal knop, raised on a folded conical foot, 13.2cm. £800-1,200

68. A wine glass of Jacobite type, c.1765, the bowl engraved with a continuous band of flowers including honeysuckle, raised on a sixsided faceted stem forming a Jacobite rose to the inside of the bowl, the conical foot engraved beneath with further flowers and leaves, 15cm. £300-500

69. A heavy baluster wine glass, c.1720, the wide bell bowl enclosing a small tear to the base, above an annulated knop with elongated tear, a basal knop above a domed folded foot, 18.1cm. £1,500-2,000

70. A rare canary yellow colour-twist wine glass, c.1765, the rounded funnel bowl raised on a mixed stem with a rich yellow gauze edged in white, enclosed by a white opaque spiral, replacement metal foot, 15.4cm. £500-800

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71. A mixed twist wine glass, c.1765, the rounded funnel bowl engraved with a sunflower spray, raised on a mixed twist stem with an opaque spiral enclosing an air cable, 14.5cm. £150-200

72. A large wine glass, c.1760, with a generous ogee bowl raised on a knopped opaque twist stem above a terraced foot, 17cm. £150-250 Provenance: the Alfred Saunders Collection.

75. Three wine glasses, c.1750-60, one with a small bucket bowl raised on a double knopped airtwist stem, another with a flared bucket bowl on an airtwist cable stem, the last with a pan-topped bowl on an airtwist cable stem, 16.5cm max. (3) £400-600

73. A light baluster wine glass, c.1710, with a bell bowl over a flattened knop, the inverted baluster plain stem over a basal knop and folded conical foot, 16cm. £300-400

74. A large deceptive glass, 19th century, the thistle bowl with a heavy base rising from a short knopped stem on a thick foot, 17cm. £100-200

76. An engraved goblet or rummer, dated 1807, the large funnel bowl engraved with two rutting stags, the reverse with the date 1807 between thistle branches, and two ale glasses, one cut with flutes, the other with a band of polished ovals above a faceted stem, a few small footrim chips, 18.8cm max. (3) £150-250

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

77. A mead or champagne glass, c.1725, with pan-topped moulded bowl above a collar and annulated knop, raised on a folded conical foot, 12.3cm. £600-1,000

79. A rare cup-topped wine glass, c.1720, rising from a narrow hollow base above an inverted baluster stem enclosing an elongated tear, over a folded conical foot, 13.3cm. £800-1,200

78. A wine glass, c.1730-40, the generous rounded funnel bowl enclosing a tear to the base, raised on a six-sided pedestal stem above a folded conical foot, 14.3cm. £300-400

80. A green wine glass, c.1760, with generous rounded bowl raised on a plain stem above a conical foot, 12.6cm. £100-150

81. A good engraved wine glass, c.1765, decorated with a flower spray and a single bee, raised on a six-sided faceted stem above a conical foot, 13.8cm. £200-300

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FINE 18TH CENTURY GLASS FROM A LONDON COLLECTOR

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

82. A double walled trencher salt or ice cup, c.1730-50, the globular form moulded with wide ribs, enclosing a shallow bowl, raised on a low foot, 5.6cm high. £100-150 The insulation properties of the double walled body has led to a suggestion that such small bowls were used for iced desserts.

84. A low glass tazza or salver, c.1730, the shallow tray with everted rim, moulded to the underside with gadrooning merging into honeycomb, raised on a folded pedestal foot with ribbed moulding, 11.7cm dia. £300-400 Provenance: The Henry Fox Sale, Bonhams, 8th December 2004, lot 75. Honeybourne Museum Collection. Paper label for same.

86. A heavy baluster glass tazza or salver, c.1710, the flat circular tray with a galleried rim, raised on a baluster stem beneath a triple annulated knop and above a domed folded foot, 12.5cm high. £500-600

83. An unusual small sweetmeat glass, c.1720, the bowl modelled as an upturned tricorn hat with a raspberry prunt applied to one edge, raised on a four-sided pedestal stem enclosing a long tear, with a bladed £100-200 basal collar above a domed and folded foot, 8cm high. Provenance: Sotheby’s, Royal House of Hanover Sale, 9th October 2005, lot 956 (part).

85. An early glass bowl, c.1720, the outer rim with trailed rings over a diamond moulded base over a low conical foot, 14cm dia. £1,000-1,500 Illustrated: C R S Sheppard and J P Smith, Glass from Restoration to Regency, p.32, no.31. Provenance: the Bert Amador Collection.

87. A small glass cream jug, c.1750-60, the slender baluster form moulded with vertical flutes above a low conical foot, applied with a plain scroll handle, 9.5cm. £150-250

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88. A heavy baluster goblet, c.1710, the generous straight-sided thistle bowl rising from a solid ball above a mushroom knop and short plain stem enclosing a long tear, above a folded conical foot, 19.6cm. £2,000-3,000 Provenance:Christie’s, 11th December 2000, lot 62.

89. A baluster cordial glass, c.1715, the short waisted bucket bowl rising from a thick base with single tear above a plain baluster stem with central knop and small basal knop above a conical folded foot, 16.8cm. £500-700 Provenance: Christie’s, Parkington Sale Part II, 9th April 1998, lot 5.

90. A rare and unusual heavy baluster goblet, c.1710, with a double ogee bowl on a baluster stem comprising an annulated knop above a plain stem with single tear and basal knop, above a domed and folded foot, 19cm. £2,000-3,000 Provenance: The A P Milstead Collection, Sotheby’s, 24th July 1951, lot 93. The Walter Smith Collection, Sotheby’s, 24th June 1968, lot 624. Cf. Delomosne’s, The Baluster Family, p.20, 8b, which describes this type of incurved thistle bowl as very rare.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

91. A fine champagne or mead glass, c.1760, the wide ogee bowl engraved with a continuous band of fruiting grapevine, raised on three collars above a double knopped airtwist stem over a domed foot, 18cm. £1,000-1,500 Provenance: Henry Brown Collection, Sotheby’s, 14th November 1947, lot 241. H N Hignett Collection, Sotheby’s, 17th October 1958, lot 37.

93. A glass candlestick, c.1750, with a pan-topped moulded nozzle above a multi-knopped airtwist stem over an annulated knop and honeycomb moulded domed foot, 20.5cm. £1,000-1,500 Exhibited: Glass Circle 50th Anniversary Exhibition ‘Strange and Rare’, 1987, no.212; and Glass Circle Diamond Jubilee Exhibition, 1997, no.164. Cf. G Bernard Hughes, English, Scottish and Irish Table Glass, pl.258 for a similar candlestick with ribbed foot.

92. A rare glass candlestick, c.1750, the ribbed cylindrical nozzle raised on a composite stem of a corkscrew airtwist between beaded knops above a moulded domed foot, 23.3cm. £1,500-2,000 Cf. Sotheby’s, 17th October 1989, lot 37 for a similar candlestick, probably from the same set.

94. A glass mug or tankard, dated 1775, the bell shaped body engraved with the initials ‘A I W’ above the date ‘1775’ flanked by flower sprays, the rim with four moulded rings, raised on a conical foot, 14.2cm. £250-350

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95. A large heavy ale glass, c.1770, the drawn trumpet bowl with everted rim, rising from a thick faceted stem enclosing a small tear, above a folded foot, 18cm. £150-250 Paper label for the Stephen Pohlman Collection, Ref.67.

96. A toasting glass, c.1765, with tall drawn trumpet bowl rising from a finely slender double series opaque twist stem above a conical foot, 19.4cm. £500-700

97. A fine glass goblet, c.1750, the generous rounded bowl moulded with wide ribs above an incised twist stem over a spiral moulded conical foot, 18.9cm. £600-800 Provenance: Edward V Phillips Antique Glass Collection, Halls of Shrewsbury, 6th November 2012, lot 101. Previously purchased from Sotheby’s, 16th February 1981, lot 60.

98. A rare Lynn ale glass, c.1770, the slender rounded funnel bowl moulded with three ribs, raised on an opaque twist stem above a conical foot, 19.7cm. £500-800

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99. A tall Beilby wine glass, c.1770, the generous drawn trumpet bowl enamelled in white with a spray of fruiting grapevine, a small fruit sprig to the reverse, raised on an opaque twist stem, traces of gilding to the rim, 17.9cm. £1,800-2,200 The addition of the fruiting branch is an unusual one, with most glasses of this type bearing a continuous grapevine border.

100. A Beilby goblet, c.1770, the generous bucket bowl well enamelled in white with a continuous band of fruiting grapevine, raised on a double series opaque twist stem above a conical foot, faint traces of gilding to the rim, 18.2cm. £2,500-3,000

101. A good wine glass, c.1760, the bell bowl finely engraved with a botanical flower spray, raised on a mixed twist stem of a single opaque strand around an airtwist corkscrew, 17.5cm. £500-700

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102. A heavy sweetmeat glass, c.1780, the deep bowl finely cut with a dentate rim, the fluted bowl base rising from a knopped faceted stem above a scalloped domed foot, 17cm. £200-300

103. A glass candlestick, c.1740, with tall cylindrical sconce rising to a folded rim, raised on a moulded and collared octagonal pedestal stem with a beaded basal knop and domed and terraced foot, a small repair to the foot, 24cm. £400-600

104. An unusual sweetmeat or champagne glass, c.1745, the pan-topped bowl moulded with honeycomb and rising from a narrow neck, raised on a Silesian stem above a domed and folded honeycomb moulded foot, 15.2cm. £600-800

Exhibited: Glass Circle Exhibition 1997, no.169. Provenance: Bonhams, 3rd June 2009, lot 44.

105. A rare wash-enamel wine glass, c.1765, the ogee bowl lightly enamelled in white with a spray of fruiting grapevine and a small bee, raised on a double series opaque twist stem, 14.6cm. £600-1,000 Cf. Bonhams, The A C Hubbard Collection of Important English and Dutch Glass, 30th November 2011, lot 158 for a similar glass with an airtwist stem.

106. A chinoiserie wine glass, c.1780, the ogee bowl engraved with a Chinese figure holding a parasol in a pagoda landscape, rising from a knopped faceted stem, 15.1cm. £200-300

107. An unusual double-ended wine glass, c.1730-50, one end with a bell bowl, the other with a rounded funnel bowl, each above two collars and separated by a short plain knopped stem, 16.6cm. £400-600 Cf. Sotheby’s, 6th November 1930, lot 81 for a similar glass from the Hamilton Clements Collection. It is possible that the difference in shape for each bowl suggests that they were intended for use with different types of beverage.

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109

110

111

108. A ‘Britannia’ wine glass, c.1765, the ogee bowl engraved to one side with an oval panel enclosing Britannia holding a spear and olive branch, the reverse with a single flower sprig, raised on a double series opaque twist stem, 14.3cm. £600-800 Cf. William Arnold Thorpe, A History of English and Irish Glass, pl.CXVI. Here Thorpe discusses the possibility that such glasses could have been produced for one or more of the Patriotic societies which flourished during and after the Seven Years War of 1756-63. 109. An ale glass, c.1760, unusually with a flared bucket bowl engraved with crossed double stems of barley to one side, the reverse with a spray of hops, raised on an airtwist stem knopped at each end, 16.8cm. £500-600 Illustrated: Dan Klein and Ward Lloyd, History of Glass, p.133. 110. A Giles-decorated wine glass, c.1770, the rounded funnel bowl moulded with twelve flutes and painted in the London atelier of James Giles with gilt flower sprays and scattered sprigs, raised on a double series opaque twist stem, 14.8cm. £300-500 111. An ale glass with rare engraving, c.1760, the slender ogee bowl engraved with two ears of barley amidst small flowers, the reverse with a bird in flight, raised on a double series airtwist stem, 19.4cm. £400-500 The flowers depicted on this glass appear to be corn cockle (Latin: Agrostemma), which were once a common sight in fields of corn and barley. Provenance: Grant Francis Collection, Sotheby’s, 19th February 1935, lot 137e. Lady Harrison Hughes Collection, Sotheby’s, 24th June 1963, lot 26 (part). Illustrated: Grant Francis, Old English Glasses, pl.XLIX, no.304. 112. A mead or honey glass, c.1770, with generous cup shaped bowl raised on a short double series opaque twist stem above a domed foot, 14.5cm. £200-300

112

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113. A very rare sealed wine glass, c.1760, the rounded funnel bowl applied to two sides with an indistinct armorial seal, raised on a double series opaque twist stem above a folded conical foot, 17.5cm. £1,000-1,500 Illustrated: Albert Hartshorne, Old English Glasses, p.278-9, and in L M Bickerton, 18th Century English Drinking Glasses, p.216, fig.644. Hartshorne suggests that the seals depict a shield incorporating the arms ‘a fesse between three garbs in an arabesque border’.

114. A rare colour twist firing glass, c.1770, the drawn trumpet bowl rising from a short stem enclosing a white opaque twist with single strands in blue and green enamel, above a thick foot, 11.2cm. £2,000-3,000 Provenance: The Ron and Mary Thomas Collection of English Glass, Bonhams, 4th June 2008, lot 190.

115. A Sir Laurence Whistler stipple-engraved goblet, 20th century, decorated with the mouth of a tunnel beside woodland, raised on a tall inverted baluster stem, 24.2cm. Together with a signed copy of Laurence Whistler, Pictures on Glass, this glass illustrated on p.27, pl.71. (2) £1,000-1,500 Provenance: Engraved for David Sheppard to a design by James Powell & Sons. Sold at Christie’s, 23rd May 1989, lot 106.

END OF COLLECTION

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116. A rare delftware bin label, c.1770-80, of coathanger form, inscribed in blue with ‘Burgundy’, 13.4cm. £500-700

117. A delftware bin label, c.1770-80, of coathanger form, inscribed ‘Madeira’ in manganese, 13.4cm. £300-500

118. Twenty two pearlware bin labels, 19th/early 20th century, of circular form, numbered in black consecutively from 1 to 17, 19 to 22 and 24, 8.3cm. (22) £150-250

119. Four creamware bin labels, 19th century, including Wedgwood, of coathanger form, titled ‘Port’, ‘Madeira’ and ‘Bucellas’, and a delftware bin label titled ‘Arrack’, 14.5cm max. (5) £300-500

120. Seven creamware bin labels, 19th century, including Wedgwood and Minton, of coathanger form, variously inscribed in black with ‘Port’, ‘Dinner Sherry’, ‘Elder’ and ‘Madeira’, two indistinct and one left blank, small faults, 14cm max. (7) £800-1,200 118

119

120

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121. Six Wedgwood creamware bin labels, 19th century, of coathanger form, painted in black with ‘Teneriffe’, ‘Claret’, ‘Madeira’, and ‘Port’, impressed marks, 14.5cm. (6) £300-500

122. Five pottery bin labels, 19th century, two Minton of traditional coathanger form, two of rounded form, and a large rectangular label impressed for Farrow & Jackson, all left blank, some with traces of old inscriptions, chips to two, 15.3cm max. (5) £200-300

123. Six creamware bin labels, 19th century, including Minton, of varying coathanger form, titled in black with ‘Port’, ‘Brandy’, ‘Sherry’, ‘Rum’ and ‘Madeira’, some faults, 14.5cm max. (6) £200-300

124. Seven creamware bin labels, 19th century, of coathanger form, three small and labelled ‘Champaigne’ [sic] and ‘Sauterne’, the others variously inscribed ‘Col. Murphy Sherry’, ‘Florence Malaga’ and ‘Elder’, one left blank, two marked Wedgwood, 14.3cm max. (7) £800-1,200

125. Eleven numbered bin labels, 19th/early 20th century, nine circular pottery in two sizes and numbered in black, two oval enamel and similarly numbered, 8.5cm max. (11) £200-300

126. A pair of brown stoneware boot flasks, c.1840, decorated in a rich treacle glaze, a line of moulded decoration running to one side of each to simulate fastenings, a chip to one, 13.6cm. (2) £100-150

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127. Two brown stoneware spirit barrels, 19th century, one sprigged with Royal Portraits, both with the Royal Coat of Arms, with a tap hole near the base and an opening to the top, minor damages, 28cm max. (2) £100-200

128. Two large brown stoneware jugs, 19th century, the larger unusually sprigged with the comic figure of Paul Pry, holding his umbrella and quizzing glass, and with George slaying the dragon above a hunting scene, the other with hunting scenes beneath a fine band of fruiting grapevine, damages, 32.5cm. (2) £150-250

129. A Mortlake (Kishere) brown stoneware glass-bottomed tankard, early 19th century, applied with a panel of Adam and Eve beside the Tree of Knowledge, between the impressed initials ‘JA’, above a stag hunt scene, and two hunting jugs, one attributed to Portobello, sprigged with scenes of topers, trees and windmills above running hounds, some chipping, 19cm max. (3) £150-250

130. Two large brown stoneware mugs and a jug, 19th century, one mug formed as a tyg with three handles modelled as greyhounds, sprigged with the Royal Coat of Arms, the other with a hunting scene and topers, the jug moulded with a scene of Sir William Sidney Smith defending the breach at Acre, damages, 21.5cm high max. (3) £150-200

131. A pair of Derbyshire brown stoneware ‘Reform’ flasks, 19th century, one of Daniel O’Connell holding a scroll entitled ‘Irish Reform Cordial’, the other with John Bull astride a barrel above the inscription ‘Success to Reform’, each impressed for Denby & Codnor Park, Bournes Pottery, together with a double-sided Bacchanlian face jug, and a comic face jug modelled with protruding tongue and looking to the left, some damages, 17.7cm max. (4) £250-350

132. Two Fulham brown stoneware toby jugs, 19th century, one of a snuff taker, standing and examining his snuff box, another seated and holding an empty cup, and a figural stoneware teapot and cover, modelled as a seated toby with his arms forming the handle and spout, 29cm max. (4) £150-250

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133. A Mortlake (Kishere) brown stoneware hunting jug, late 18th century, sprigged with a continuous scene of hounds at the kill, the horses at repose behind a fence, impressed ‘Kishere Mortlake’ to the base, some filled rim chips, 17cm high. £400-600

134. A Nottingham brown stoneware puzzle jug, c.1780, the neck pierced with stylized flowerhead designs beneath a hollow rim with three short spouts, the stoneware with a lustrous glaze, small restorations to the rim, 20cm high. £150-250

135. A Mortlake brown stoneware jug, late 18th/early 19th century, applied beneath the spout with an oval cartouche of horses being saddled up while held by jockeys wearing caps, a continuous hunt scene around the lower section, further sprigged with trees and topers, 18.5cm. £400-600 The oval panel is peculiar to the Mortlake factory.

136. Five brown stoneware spirit flasks, 19th century, one by Stephen Green and modelled as a tipstaff, two other Lambeth and of flattened form, one moulded with panels of a smoking toper and a female snuff taker, the last Doulton Lambeth and moulded with blank cartouches, 28.3cm max. (5) £200-300

137. Three Brampton Derbyshire brown stoneware toby jugs, c.1830-40, in three sizes, each seated and clutching a foaming jug of ale with a scale design, the largest with a stopper, 29.5cm max. (4) £250-350

138. Five brown stoneware jugs or flagons, 19th century, of varying plain form, one flagon impressed ‘W Hooper 1839’, two cylindrical jars applied with the Royal Coat of Arms beneath a blank cartouche, impressed mark for Hay & Sons, High Holborn to one, and a rare brown stoneware câchepot, sprigged with scenes of carousing putti between lion mask handles, some damages, 22cm max. (8) £150-250

139. Five brown stoneware flagons, 19th century and earlier, of varying ovoid form rising to short tapered necks with wide strap handles, some faults, 46cm max. (5) £250-350

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140. A large brown stoneware flagon, c.1700, of substantial ovoid form rising to a tapered neck with a short loop handle, 36.5cm. £100-150

141. A silver-mounted Mortlake stoneware hunting jug, c.1819, applied with a continuous hunting scene beneath sprigs of trees and topers, the hinged silver mount engraved with a boar’s head armorial crest and the initials ‘AR’ and ‘PJ’, hallmarks for John & Thomas Settle, Sheffield, 1819, 19cm. £500-600

142. A large Westerwald stoneware jug, 19th century, incised with a bridled horse flanked by foliate sprays and birds, decorated with a bright blue glaze over the grey body, 41cm. £100-200

143. Two Westerwald stoneware jugs, 18th/early 19th century, the larger applied to the rounded body with a repeated floral design, the neck with a stylized mask, the other incised with a continuous foliate scroll between geometric bands, fitted with a hinged pewter lid, and a Westerwald mug or tankard, applied with flowerheads in grey on a blue ground, some damages, 24.3cm max. (3) £100-200

144. A Barnstaple slipware vase, 19th century, the ovoid body decorated in cream slip on a buff ground with a bird in flight, the reverse with a flying insect amid flower sprays, the neck with a geometric design over the two handles, damages, 26.8cm. £400-600

145. An English earthenware jug, possibly 16th/17th century, the upper section decorated in a green glaze, with pinched spout and loop handle, some damages, 18.5cm. £100-200

146. A small North Devon pottery moneybox, 17th/18th century, the squat globular form partially decorated in a pale yellow glaze beneath a shaped knop finial, 7.3cm. £200-300

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147. A North Devon slipware small jug, dated 1808, the small globular body with sgrafitto decoration of a unicorn and a large bird, beneath the handle with a plaque inscribed ‘The Gift is small, Good wish is all, Elizabeth Harris 1808’, flanked by flowers, decorated in cream and treacle slip glazes, a few small chips, 13.3cm. £2,000-3,000

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148. A rare delftware teabowl and saucer, c.1750, finely potted and painted in yellow, blue and manganese with a stylized floral design within a lined border, minor damages, 11.7cm. (2) £150-250

149. A delftware flower brick, c.1760, of rectangular form, painted in blue with sprays of peony, chrysanthemum and other Oriental flowers, the top pierced with 24 small holes in an even arrangement, numbered 6 and 3 to the underside, a little chipping, 14.4cm across. £450-550

150. A small delftware polychrome flower brick, c.1730-50, of rectangular form, painted in red, green and blue enamels with stylized flower sprays, the top pierced with a rectangular opening flanked by rows of smaller holes, 11.4cm across. £300-500

151. A Delftware food warmer, dated 1787, possibly English, the sides painted in blue with low huts beside fences and trees, between mask handles, the interior inscribed ‘CAO 1787’, raised on three peg feet, damages, 18.5cm dia. £200-300

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152. A pair of Delft vases, 19th century, of flattened octagonal form, each painted in blue with a courting couple beneath a tall tree, reserved in a moulded panel picked out in polychrome enamels, red W marks, some restoration, 32cm. (2) £100-200

153. A tall Delft vase, c.1670, the baluster body painted with scenes of Chinese figures on horseback and at various pursuits in a mountain landscape, the tall neck painted with foliate scrolls and rising to an onion knop and stiff leaf border to the flared neck, 38cm. £400-600

154. Two Delft vases and covers, 18th/19th century, the larger of moulded baluster form and painted with a panel of a girl carrying a basket of flowers within foliate scrolls, the smaller of ovoid form and painted in red, green and blue with long-tailed birds amidst flowering plants, 44.5cm max. (4) £100-200

155. A large delftware punchbowl, c.175070, painted in blue to the interior with a single Chinese figure together with a bird on a leash, the exterior with figures fishing in rocky landscapes, some rim chipping, 30.7cm dia. £100-200

156. A Lambeth delftware posset pot, c.1720, the cylindrical form painted in blue with birds perched on pagodas beside large flowering branches, the short spout and loop handles with blue dash decoration, and a small delftware ointment pot glazed in white, some restoration to the ointment pot, 14cm £180-220 high max. (2)

157. A delftware punch bowl, c.1770, painted in blue to the interior with a large peony spray, the rim with a hatched diaper border, the exterior with a powdered manganese ground, some rim chipping, 23cm dia. £100-200

158. A Delft confiture or bottle holder, c.1720, formed of two octagonal wells, linked with a simple loop handle and raised on four bun feet, painted in red, blue and green with stylized flower sprays in the Japanese manner, blue DAW monogram mark for De Paauw (The Peacock), 17.3cm across. £150-250

159. A Delft tea canister, late 18th/19th century, the flattened hexagonal form moulded with comical figures, one side with a bewigged gentleman walking with a stick, the reverse with a lady with outlandish headdress, walking a small dog, blue VB monogram mark, the cover lacking, 11.6cm. £100-200

160. A pair of Delft chambersticks, 19th century, formed as winged mythical beasts with open mouths forming the sconces, their curved tails the handles, decorated in blue with scrolls and flowers, one marked ‘Je 48’, 15.5cm. (2) £100-150

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161. A Lambeth delftware posset pot and cover, c.1750, the squat cylindrical form painted in blue with rotund putti carrying hearts and flower sprays, on a dense stylized foliate ground, the loop handles with blue dash decoration, some restoration to the cover, 24.5cm across. (2) £300-500

162. A Delftware bough pot, c.1750, possibly English, of fluted D shape, painted in blue with a formal floral design above a ropetwist border, the scalloped top pierced with two rows of small holes around a central aperture, some restoration, 19cm across. £150-250

163. A Rouen faïence ewer, 18th century, of fluted helmet shape, painted in blue with shaped panels and flower sprays, and an Ansbach jug or enghalskrug of spiral-moulded form, painted with small blue flower sprigs, with a pewter mounted lid, some damages, 31cm max. (2) £100-200

164. A Talavera or Puente del Arzobispo maiolica jug, mid 18th century, painted with a bird beneath trees, and a Manises cuerda seca square tile, decorated with an armorial shield in blue, green and copper lustre, minor damages, 23cm max. (2) £100-200

165. A large Continental faïence vase, late 18th century, probably German, the ovoid form moulded to one side with a stag beside a figure playing a flageolet, the reverse with figures eating beside a statue, within moulded floral and scroll borders reserved on a yellow ground, the cover lacking, 31.5cm. £500-700

166. A Nevers faïence bird finial, dated 1751, modelled as a large pigeon with plumage picked out in blue, inscribed ‘1751’ to the base, the tail broken off and restuck, 24cm high. £100-200

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167. A rare signed Italian maiolica albarello, c.1700, the slender waisted form painted in blue with St Francis receiving the stigmata, the reverse inscribed ‘Pe GERE a DAMAL l CAo PVTo SA FECIT’, 25.3cm. £350-450

168. A Talavera maiolica albarello, c.1700, the tall waisted form painted in blue with a shield bearing a turreted castle beneath a plumed helmet crest, some chipping, 27cm. £200-300

171. Two Italian maiolica albarelli, 18th century, one Castelli of dumbbell form and inscribed ‘Lons Ros rom sol’ in manganese script between fruit swags and flowerheads in blue, the other Savona of waisted cylindrical form, painted in blue with a boy seated and holding a dish of fruit, 23.5cm max. (2) £250-350

169. A Talavera maiolica albarello, c.1675, the tall narrow form painted in blue with a crowned medallion decorated with a cross, flanked by bold foliate scrolls, some good restoration to the rim, 27cm. £300-400

172. An Italian maiolica berettino syrup or wet drug jar, dated 1747, possibly Marchigian, the large ovoid form titled ‘Ol: Rosat: Complet’ on a scroll cartouche reserved on a ground of blue leaf scrolls, with a short cylindrical spout and double scroll handle, 19.5cm. £300-500

170. A Delft drug jar, late 18th/19th century, of waisted albarello form, painted in blue with a cartouche inscribed ‘C:BORAGINIS’ beneath a basket of fruit flanked by peacocks, 20.7cm. £100-200

173. A rare London delftware syrup jar, c.1780, the small globular form inscribed ‘Ol; AMYG,D.’ in manganese within a simple panel, raised on a tall conical foot, 13.5cm. £700-900

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174. A Talavera maiolica albarello, c.1700, the squat waisted form painted in blue with a double-headed eagle, a heart-shaped cartouche to its chest inscribed ‘VN:MI NI’, numbered 19 to the reverse, a little chipping, 17.5cm. £250-350

175. A Spanish maiolica albarello, c.1790, Barcelona, the waisted form painted in polychrome enamels with a simple cartouche edged in stylized flower sprays, inscribed ‘U. Med. Conf.’, with silver-coloured metal mounts to the rim and foot, rim cracks, £100-200 21cm.

177. A Sicilian maiolica albarello, 17th century, Palermo, the waisted form painted with a profile portrait of a gentleman, reserved in a scrolled panel between continuous bands, the reverse in yellow and manganese on a green ground with trophies and a mask shield, some damages, 26cm. £400-600

176. A Savona or Turin maiolica albarello, c.1680, of dumbbell form, inscribed in manganese with ‘El jerae pierae’ within a blue foliate scroll cartouche, some damages, 19cm. £150-250

178. A Sicilian maiolica albarello, 17th/18th century, Palermo, painted with the heads and shoulders portrait of a bearded gentleman wearing a turban, the reverse with a mask and trophies in blue and manganese on a green ground, damages, 26.5cm. £400-600

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179. Two London delftware plates, c.1710-20, painted in a simple polychrome palette with small stylized flower sprigs, 22.8cm max. (2) £200-300

180. Two London delftware plates, c.1720-40, one painted in red, green and blue with stylized flower sprigs in panels on a red hatched ground, the other with a long-tailed bird perched on a flowering branch, the rim with pinecone sprays, 22.7cm max. (2) £150-250

181. A French faïence plate, 19th century, painted in polychrome enamels with a flower spray within a wide scroll border, and a small Delft plate painted with a bird perched on a flower spray reserved on a ground of blue stylized leaf sprigs, the rim moulded with shells and fronds, APK mark after Koeks, 30cm max. (2) £150-250

182. A Delft fluted saucer dish, c.1720, painted with a vase of flowers resting on a low table, the rim with a formal floral border, and a deep plate naively painted in pale blue and manganese with stylized flower sprigs, 22.7cm max. (2) £100-150

183. An unusual Dutch Delft plate, 2nd half 18th century, painted in blue to the centre with a cross-shaped inscription ‘AKGHA’ / ‘ASGWA’, reading four directions for Alles Hoort God, Alles Siet God, Alles Kent God, Alles Weet God, translating to God hears everything, God sees everything, everything knows God and God knows everything, within a stylized floral border and a yellow line rim, 23cm. £100-200

184. A Delft silver-shaped dish, c.1780, painted in blue with a small sailing boat on the water before low buildings, the rim with landscape vignettes alternating with panels of diaper ground, GvS mark for Geertruy Verstelle at Oude Moriaenshooft (The Old Moor’s Head), 28.3cm. £100-200

185. A Rouen faïence saucer dish, c.173040, well painted in polychrome enamels with Chinese figures in a garden setting, broken and riveted, 27.5cm. £100-200

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186. A near pair of delftware plates, 2nd half 18th century, painted in blue with bamboo and other plants before a zigzag fence, a further plate with Oriental flowers issuing from a stylized vase, and a Delft dish painted in the Kraak manner with a landscape scene within a panelled border, some rim chipping, 23cm max. (4) £150-250

187. Three London delftware plates, c.1720, variously painted in red, green and blue with panels of stylized flowers reserved on a hatched red ground, two with iron red numbers to the reverse, 22.5cm £250-350 max. (3)

188. Three Delft plates, 1st half 18th century, painted in polychrome enamels with flowering plants behind a zigzag fence, the rim with four flowering sprays, some rim and glaze chipping, 23.5cm. (3) £100-200

189. A pair of Dublin delftware octagonal plates, c.1760, painted with pagodas and an arched bridge in a Chinese landscape, the rims with three chrysanthemum sprays, and a further plate, probably Delamain’s World’s End Pottery, painted with Chinese flowers issuing from a low patterned censer, some damages, 23.5cm max. (3) £200-300

190. A Bristol delftware charger and a plate, c.1760, painted in blue with variations of figures fishing and in small boats before buildings and tall trees, minor damages, 30.3cm max. (2) £200-300

191. A pair of Delft plates, 18th century, painted in polychrome enamels with baskets of fruit and flowers, the rims with stylized flower sprays, and a third Delft plate painted with a spray of chrysanthemum in blue, green and manganese, some rim chipping, 23cm max. (3) £200-300

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192. A large Delft charger, c.1680, painted in the Kraak manner with two Chinese figures standing in a garden landscape, the rim with alternating panels of seated figures and stylized flowers, some rim chipping, 39.5cm. £400-600 Provenance: from a private collection in the West Country. 193. A Delft lobed dish, c.1680, painted in blue with a Chinese figure seated in a garden setting, with £100-200 similar figures to the rim, raised on a low foot, some glaze chipping, 35.5cm. 194. A delftware charger, c.1740, painted in red, green and blue with a large flowerhead amid a dense floral ground, the rim with formal panels and foliate sprigs, a 1.5cm rim chip, 29.7cm. £100-150 195. A delftware charger, c.1730, painted in polychrome enamels with a bird perched on flowering branches, the rim with alternating panels of stylized flowerheads and hatched diaper, some filled rim chips, 34.7cm. £300-400 196. A Delft lobed dish, c.1690, the well painted in blue with birds in flight above a building, reserved on a powdered manganese ground, 29.5cm. £300-500 Cf. The Victoria and Albert Museum, Accession No. C.134-1926 for a similar dish. 197. A Delft charger, early 18th century, the well with a raised roundel, painted in blue with an elaborate vase of flowers and feathers, echoed to panels around the rim, 31cm. £150-250 198. A Continental tin-glazed lobed dish, late 17th/early 18th century, painted in blue and yellow with a winged putto running with a long arrow or spear, the rim with a stylized foliate border, 35cm. £200-300 Provenance: from a private collection in the West Country. 199. A delftware charger, c.1740, painted in polychrome enamels with a large vase of flowers to the well, the rim with flower sprays and small sprigs, a little rim chipping, 35.3cm. £200-300 200. A Delft lobed dish, c.1700, of rounded octagonal form, painted to the well with Chinese figures seated and holding a parasol before pine trees, the wide rim with similar scenes alternating with trellis panels, 32.7cm. £100-200

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201. A large delftware charger, c.1760, painted in polychrome enamels with two longtailed birds, one perched on a flowering branch, the other pecking seed below, the rim with three repeated floral sprays, 36cm. £250-350

202. A large Delft dish, late 17th/early 18th century, of deep circular form, painted in the Kraak manner with a crane perched on top of flowers issuing from a Chinese censer, the wide rim with panels containing flowers and auspicious objects, some chipping, 34cm. £250-350.

203. A Liverpool delftware charger, c.1760, painted in polychrome enamels with peony and bamboo issuing from an ornamental fence, the rim with four flower sprays, 33.4cm. £300-400

204. A Bristol delftware charger, c.1760, painted in polychrome enamels with an insect flying beside flowering branches and an ornamental fence, the rim with flower panels on a hatched diaper ground, 33cm. £300-400

205. A small Wincanton delftware plate, c.1760, painted in blue with a lady carrying a large basket, standing beneath a sponged tree, some rim chipping, 20cm. £200-300

206. A Bristol delftware charger, c.1730-40, painted in red, green and blue with six shaped panels of simple flower sprigs around a central spray, reserved on a diaper ground, numeral 3 mark to the underside, 33.5cm. £250-350

207. A small lobed delftware dish, late 17th century, probably London, decorated with a stylized floral design echoed to the rim, 21.5cm. £100-150

208. An unusual Delft saucer dish, 18th century, of fluted octagonal form, painted in blue with peony and willow branches, the rim with three further flowering branches, 16.5cm. £150-250

209. A Bristol delftware shallow dish, c.1740, painted in blue with a Chinese lady in a garden being approached by a figure in a hat, standing before an ornamental fence and feathered foliage, the rim with panels of tied objects on a diaper ground, some filled rim chips, 35.5cm. £300-500

Provenance: from a private collection in the West Country.

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210. A Delft charger, late 17th century, painted in blue with a sea battle, perhaps depicting a scene from the Four Days Battle in the Second Anglo-Dutch War, some glaze chipping, 34.5cm. £500-800 The scene on this dish bears some resemblance to Abraham Storck’s painting of the battle, which depicts the Dutch ship Seven Provinces and the English ship Royal Prince.

211. A Brislington delftware Royal portrait charger, c.1690, painted with a head and shoulders portrait of a king, probably William III, wearing a crown and ermine-edged cloak, the rim with a wide border of stylized flowerheads and insects in blue, ochre and manganese, well restored, 34cm. £300-400

212. A Talavera of Puente del Arzobispo faïence dish, c.1675, from the Three Colour Family, painted in blue, ochre and manganese with a griffin rampant, the rim with large foliate sprays, 31cm dia. £600-800 Provenance: Anthony Ray, Spanish Pottery, no.330 for a similar dish.

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213. Four Delft ‘Merry Man’ plates, dated 1703, made for the English market, each painted in blue with a crowned cartouche flanked by griffins beneath the initials ‘GIE’, numbered 1, 2, 3 and 5, each with a single line inscription, 22.6cm. (4) £200-300 Plates of this type were made in Holland for a long period, and the first English set is dated 1682. The full inscription reads ‘What is a merry man / Let him do all he can / To entertain his guests / With wine and merry jests / But if his wife doth frown / All merriment goes down’.

214. A rare London delftware small plate, late 17th century, simply decorated in blue and black with stylized flowers, the rim with a formal half mon design, some rim chipping, 22.5cm. £150-250

215. A Lambeth delftware scallop-edged plate, c.1740-50, the well painted with a Chinese man carrying a long stick, looking back over his shoulder with a fence and rockwork before, within a powdered blue rim with four floral sprays left in the white, some rim chipping, 22.5cm. £150-250

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216. Two Liverpool delftware tiles, c.1757-61, printed in black by John Sadler, one with a Tithe Pig scene of a young couple offering an infant to a corpulent clergyman, signed ‘J Sadler Liverp.’, the other after Lancret’s Winter, a gentleman in a fur-lined hat tying the ice skate of a young lady seated on a tree stump, signed ‘J Sadler’, 12.8cm. (2) £100-200 The Tithe Pig print is from an engraving by J S Müller after Boitard. The other print is adapted from de Larmessin’s engraving after Lancret.

217. Two Liverpool delftware tiles, c.1757-61, printed by John Sadler, one with a couple standing by a boathouse in a storm, a Thames Waterman reclining at their feet, signed ‘Sadler’, the other with a young man offering a bird’s nest with three chicks to his seated companion, signed ‘J Sadler Liverp’, 12.8cm. (2) £120-180 Paper labels for Jonathan Horne. Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B4-1 and B3-2.

Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B6-1 and B3-12. The former with a paper label for the Harriet Carlton Goldweitz Collection.

218. Three Liverpool delftware tiles, c.1757-61, printed in black by John Sadler, one with a milkmaid waking her sleeping companion while a dog laps from an upended milk pail, signed ‘J Sadler Liverp’, another with a couple in Scottish dress dancing a reel, the last with figures in a boat on a river winding between Classical ruins, both signed ‘J Sadler Liverpool’, one tile slightly reduced, 12.8cm max. (3) £150-200

219. Three Liverpool delftware tiles, c.1757-61, printed in black by John Sadler, one with a man dancing to the bagpipes, after Watteau’s Le May engraved by Aveline, another of a couple playing shuttlecock and battledore while a girl and dog look on, both indistinctly signed ‘J Sadler’, the last of a suitor offering a gift to a lady seated beside her frowning father, 12.8cm. (3) £150-250

Paper labels for Jonathan Horne.

Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B6-3, B4-4 and B8-1.

Cf. Anthony Ray, Liverpool Printed Tiles, nos. B3-10, B4-9 and D4-4.

220. Four Liverpool delftware tiles, c.1757-61, printed in black by John Sadler, one with a lady pointing the way home to her drunken companion, another with a couple promenading in a garden beside a pineapple plant, another with a couple and dog seated beneath a tree, after Boucher’s Les Amours Pastorales, the last with a young shepherd family seated beneath a tree, the woman dandling a baby on her knee, £150-250 12.8cm. (4)

221. Four Liverpool delftware tiles, c.1757-61, printed by John Sadler, one in manganese with the Sailor’s Farewell, three in black with various scenes, one of anglers fishing beside a river, another of a lady churning butter in a field, each after John Bowles’ drawing book, the last of The Three Horseshoes, a young lady being accosted outside of a country pub, 12.8cm. (4) £150-250

Paper labels for Jonathan Horne.

Paper labels for Jonathan Horne. The latter with a paper label for the E N Stretton Collection.

Cf. Anthony Ray, Liverpool Printed Tiles, Nos. D5-13, D4-11, B3-4 and B3-3.

Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B6-20, B4-7, B6-14 and B6-11.

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222. Four Liverpool delftware tiles, c.1757-61, of theatrical and musical interest, printed by John Sadler, one in black with a lady playing the guitar and looking wistful while Cupid sits beside, signed ‘J Sadler Liverpool’, another depicting Miss Nancy Dawson dancing the hornpipe, another of a peasant figure dancing to the music of a fiddler outside a country inn, the last in sepia with a band of travelling musicians playing the barrel organ, hurdy-gurdy and triangle, 12.8cm. (4) £200-300

223. Nine delftware tiles, mid 18th century, three Biblical and painted in blue with Christ carrying the cross and with Judas hanging himself, another with a figure standing in a field, four with flower-shaped panels containing cows and peasant figures reserved on a sponged manganese ground, the last framed and painted with a polychrome bird, together with a modern copy of a Delft tile of a drinks vendor, 15cm max. (10) £100-200

224. Approximately 70 Spanish maiolica tiles, 18th/19th century, painted in green, blue, yellow and ochre with stylized carnation sprays amid foliate scrolls in the 16th century manner, together with a number of spacers and cut tiles. (A lot) £400-600

Cf. Anthony Ray, Liverpool Printed Tiles, Nos. B3-8, B4-3, B6-10 and D5-17.

225. Four Delft tiles, early 18th century, painted in manganese with a formal foliate design, and four Ravesteyn (Utrecht) tiles, c.1890, decorated in the manner of London delftware, painted with vases of flowers within octagonal panels on a sponged blue ground, 13.2cm max. (8) £150-250

226. A Delft six tile panel, c.1680, each tile painted in blue with a bird or animal, three with cockerels, one with a parrot, one with a dog and the last a cat, all with stylized floral motifs to the corners, mounted in a later wooden frame, 39.5cm overall. £300-500

227. A signed Liverpool delftware tile, c.1757-61, printed in black by John Sadler with lovers seated beneath a tree, the lady draping her companion in a garland of flowers, signed ‘Sadler Liverp.’, and another delftware tile painted in blue with birds flanking an urn full of flowers within an octagonal panel, 12.6cm max. (2) £80-120

228. Thirty nine Chinese porcelain tiles, mid 18th century, decorated after London delftware with monochrome vases of flowers, the corners with simple sprig designs, some wear, 12.5cm. (39) £800-1,200

Cf. Anthony Ray, Liverpool Printed Tiles, p.23, no.B3-6 for the former.

Cf. Jonathan Horne, English Tin-Glazed Tiles, p.63 pls.346 and 347 for the London originals and for a short discussion of the Chinese porcelain copies.

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229. A Wedgwood Majolica plaque or chimney tile, 1st half 19th century, moulded after part of Clodion’s Le Triomphe d’Amphritrite, with a putto flying above figures struggling through water, impressed mark, 26.5cm. £200-300

230. A large French faïence bottle holder, 19th century, of rectangular form, split into six equal compartments, the exterior painted in polychrome enamels with panels of figures, animals and trees, between moulded bands, raised on four scroll feet, one handle restored, 57cm across. £300-400

231. A Minton Majolica centrepiece in the French manner, date code for 1868, the quatrefoil dish glazed turquoise and blue, supported on the backs of two winged putti holding leaf garlands around a pair of doves, impressed marks beneath the base, some good restoration, 27.2cm across. £150-250

232. Three French faïence spill or match figures, 19th century, two formed as peasant travellers with an open basket strapped to their backs, the third as a trader holding a large rectangular box before him, raised on flat bases painted with flowers, 18.5cm max. (3) £100-150

Cf. Paul Atterbury and Maureen Batkin, The Dictionary of Minton, p.213.

233. A Minton Majolica ewer or ‘Tower’ jug, date code for 1870, moulded in high relief with four figures dancing around a stone wall, the neck and foot with continuous ivy branches, with a pewter mounted cover surmounted with a jester finial, impressed marks, a crack to the cover, 33cm. £150-250

234. A large Scottish Portobello Majolica bread box and cover, 19th century, the rectangular form moulded with sprays of oak branches, the edges with bamboo, glazed in running green and manganese, some chipping, 39cm. (2) £100-200

235. A George Jones Majolica jardinière, 2nd half 19th century, applied with small birds and damselflies perched and in flight among bulrushes above a band of water lilies, reserved on a turquoise ground, impressed GJ monogram, 30cm. £200-300 Cf. Robert Cluett, George Jones Ceramics 1861-1951, p.57 for a garden seat of the same design.

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236. Four Sunderland lustre rectangular plaques, 19th century, variously printed and coloured with maritime scenes, one with a four line stanza about trade and commerce, another with a ship at sail, indistinctly titled to the pennant, one titled ‘Brig’, the last ‘A Frigate in Full Sail’, all within moulded borders decorated with pink and copper lustre, 23.5cm. (4) £200-300

237. Five rectangular Sunderland lustre plaques, 19th century, variously decorated with maritime and trade subjects, one of a sailor holding a Union Jack, two of depictions of France and England in Union, one with the Mariner’s Compass, another with The Sailor’s Farewell, within moulded pink and copper lustre borders, one broken and riveted, 23cm max. (5) £150-250

238. Four Sunderland lustre rectangular plaques, 19th century, variously printed and coloured with shipping scenes, one titled ‘The Star of Tasmania’, another ‘Great Australia’, another showing a steamship titled ‘Victoria and Albert Yacht’, all within moulded borders decorated in pink and copper lustre, 24cm max. (4) £200-300

239. Four Sunderland lustre plaques, 19th century, of rectangular form, one printed with a scene of ‘The Mariner’s Compass’, two with ships at sea, one of which titled ‘The Gauntlet Clipper Ship’, the last, printed and coloured with ‘The Mariners Arms’, all within moulded pink and copper lustre borders, three with impressed marks for Dixon & Co, 22.3cm. (4) £150-250

The Star of Tasmania was an Aberdeen clipper belonging to the White Star Company. She was driven ashore and wrecked in New Zealand in 1868. The Great Australia was a Liverpool clipper launched in 1860. The Victoria and Albert Yacht was a twin-paddle steam launched in 1843 and scrapped in 1868.

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240. Five Sunderland lustre plaques, 19th century, four rectangular and variously printed, two with ships at sail, one with a coloured scene of the Sailor’s Return, the other with an eight line verse titled ‘The Sailor’s Tear’, the last circular and inscribed ‘Mate Sound the Pump, Morning, Noon and Night’, impressed Dixon & Co, all within pink and copper lustre borders, 24cm max. (5) £150-250

241. Five Sunderland lustre plaques, 19th century, variously printed with ships at sail, one inscribed beneath with a stanza about trade, one titled ‘Truelove from Hull’, another ‘Cudrun’, within differing moulded rims decorated in pink and copper lustre, 24.5cm max. (5) £200-300

242. Six Sunderland lustre plaques, 19th century, variously printed in blue, black and brown with ships at sail, two titled ‘Agamemnon’ and ‘Flying Cloud, Boston’, within moulded pink and copper lustre borders, 22cm. (5) £200-300

243. Seven pearlware mugs, 1st half 19th century, one a twohandled frog mug printed with the Farmers Arms, another printed with a fencing scene titled ‘Single Stick’ in a silver lustre border, the rest variously decorated in pink and copper lustre, four with bands of fritting, and two German porcelain bird whistle souvenir mugs, 9.8cm max. (9) £150-250

The Flying Cloud was a clipper ship that set the record for the fastest sailing passage between New York and San Francisco in 1854. Agamemnon was Lord Nelson’s favourite ship, which was built at Buckler’s Hard near Beaulieu in 1777 and wrecked in 1809.

The Truelove was built in Philadelphia but captured by the English during the American War of Independence. She was converted into a whaling ship by John Voase from Hull and outlived all other contemporary ships, only being broken up in the 1890s. The Gudrun was a Norwegian ship.

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244. Three Sunderland lustre rectangular plaques, 19th century, printed and coloured with ships, one titled ‘Duke of Wellington - 131 Guns’, one ‘Northumberland 74’, the last ‘La Bretagne - 140 Guns’, all within moulded borders decorated with pink and copper lustre, one impressed Dixon & Co, 24cm max. (3) £150-250 HMS Duke of Wellington was a naval ship launched in 1852 and was the flagship of Sir Charles Napier. HMS Northumberland was an earlier ship which transported Napoleon into exile in 1815. La Bretagne was a French warship which served during the Crimean War and was scrapped in 1880.

245. Three Sunderland lustre rectangular plaques, 19th century, printed in black, one with a steamship bearing the name Trident to the pennant flying from the mast, the other two with schooners at sail, one in a storm, all within moulded borders decorated in pink and copper lustre, 21.5cm. (3) £150-250 The Trident was a ship belonging to the General Steam Navigation Company that in the mid 19th century sailed regularly between London and Edinburgh.

246. Three Sunderland lustre rectangular plaques, 19th century, printed and coloured with views of steamships, one titled ‘The Savannah - The first steamship that crossed the Atlantic’, another ‘Retribution Steamer’, the last ‘The Great Eastern Steam-ship’, all within moulded borders decorated with pink and copper lustre, £150-250 24.3cm max. (3) The Great Eastern was designed by Isambard Kingdom Brunel and at the time of her launch in 1858 was the largest ship ever built. The Retribution finished her life accompanying the vessels laying submarine telegraph cable between Kurrachee and Aden in India. Despite her impressive claim to fame, the Savannah was short-lived, being wrecked in 1821 just three years after her maiden voyage.

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247. A creamware bowl, late 18th/early 19th century, printed in Liverpool, the well with a three-masted ship at sail, with additional colouring, the exterior in black with an eight line inscription between prints of Neptune and Venus flanking figures dancing to a fiddle, some restoration, 20cm dia. £100-200 The print of the dancers is similar to a Sadler & Green print seen on Liverpool delftware tiles of c.1760.

248. A pearlware Election punchbowl, c.1784, the exterior printed in underglaze blue with Chinese pagoda landscapes, the interior inscribed ‘Success to Wm Pitt & God Save the KING’, within a Fitzhugh border, some rim cracks, 27cm. £100-200 The general election of 1784 saw William Pitt re-elected with the strong support of George III, despite his young age. He continued in office until 1801, returning to the role in 1804.

249. A Wedgwood creamware cruet or condiment stand, late 18th/early 19th century, the circular stand with openwork sides, fitted with two casters for salt and pepper, and two small bottles, one inscribed ‘Oil’, impressed mark, some faults, one pot missing, 18cm high. (5) £100-200

250. A pottery money box, 19th century, modelled as a stylized pig in a pinkish cream glaze, a coin slot running parallel with its spine, a little glaze chipping, 16cm. £80-120

251. A pearlware commemorative jug, c.1820, moulded to each side with the head and shoulders portrait of Caroline of Brunswick beneath elaborate hand-coloured floral garlands, inscribed ‘Success to Queen Caroline’, 14.5cm high. £100-200

252. A pearlware circular box and cover, dated 1823, brightly enamelled with flowers to the cover and sides, inscribed ‘David Thomson, May 21st 1823’, some restoration to the cover, 13cm. (2) £100-150

Jugs in support of Queen Caroline were produced around the time of George IV’s succession to the throne when a Parliamentary Bill sought to dissolve their marriage of 25 years on the grounds of her adultery, as George did not want her as his Queen. She died the following year without being crowned.

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253. A large pearlware jug, c.1810, moulded in relief with the Parson, Clerk and Sexton, the three figures bringing their professions into disrepute, between formal bands of corn ears, 23cm. £100-150

254. A Leeds pearlware vase and cover, c.1790, the footed urn shape moulded with a band of reeding near the base, glazed further up in a pale blue and decorated with cold-painted gilt husk swags, the cover with a chequered band around the rim, minor £150-250 faults, some wear, 42cm. (2)

255. A Wedgwood Jasperware pot pourri vase, 20th century, applied in white on a brownish yellow ground with vignettes of Classical figures between flower swags issuing from rams masks, raised on a square base with black floral motifs, impressed marks, the covers lacking, 26.5cm. £100-150

256. A pair of pearlware quintals or tulipières, 19th century, the five solifleur vases of each painted with peony and other Oriental flower sprays in blue, above a shaped foot, damages, 19.5cm. (2) £80-120

257. Two Portuguese Palissy type dishes, late 19th/20th century, each with a snake encircling a mossy pocket partially concealing a lizard, one applied with further bugs and insects, impressed marks for Caldas da Rainha, a small amount of good restoration, 24cm max. (2) £200-300

258. A pearlware Fair Hebe jug, c.1790, one side titled ‘Fair Hebe’ on a notice nailed to the tree trunk, a young man offering a bird’s nest to his companion, the reverse with a further figure standing astride a bottle, washed in blue, green and manganese, and a pearlware spirit barrel, brightly enamelled with a band of flowers around monogrammed initials, 20.3cm max. (2) £150-250

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259. A John Meir pearlware blue and white transferware strainer, 19th century, printed with figures fishing while cattle wade through a stream, and a Spode soup plate printed with a pagoda landscape, impressed marks, 38.3cm max. (2) £100-200

260. Two Spode blue and white transferware meat platters or chargers, 19th century, printed in the Italian pattern with figures, sheep and cattle beside a river flowing among Classical ruins and other buildings, one moulded with draining channels, each impressed ‘20’, 51cm. (2) £150-200

261. Three pearlware blue and white small sauceboats, late 18th/early 19th century, two painted with Chinese pagoda landscapes, the third with a feathered blue band, a creamware butterboat and a matching Derby porcelain one, and a pearlware egg drainer with a printed pagoda scene, 16cm max. (6) £100-200

262. A pearlware part tea service, c.1800, comprising a teapot, a large jug and a tea canister and cover, the finely reeded forms painted with a blue trellis border, together with a further pearlware tea canister of ovoid shape, painted in famille rose enamels with flower sprays and a pink diaper border, some damages, 11.3cm max. (5) £150-250

263. A pair of French faïence bough pots and covers, 19th century, the square forms painted in the Strasbourg manner with one panel of songbirds perched on leafy branches, the others with bold floral arrangements, between stylized leaf scrolls rising from scroll feet, the covers pierced with five holes, monogram marks in the Hannong manner, original marks removed, 12.5cm high. (4) £100-150

264. Three Whieldon creamware plates, c.1760, variously decorated in manganese and grey glazes with splashes of green, blue and ochre, within shaped moulded rims, some damages, 24.7cm max. (3) £100-200

265. Four Digoin et Sarreguemines pearlware novelty plates, early 20th century, printed in black with humorous scenes of army and post army life, within purple borders of flowers, animals and masks, printed and impressed marks, 19.8cm. (4) £50-100

265

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266. A massive Spode blue and white transferware circular charger or meat dish, 19th century, printed in the Italian pattern with figures and cattle by a river before Classical ruins, moulded with a shallow well and draining channels, impressed mark, 52.7cm. £250-350

267. A large Copeland Art Union commemorative tazza or comport, dated 1863, designed by John Leighton and printed in sepia with three scenes of Prince Albert as ‘Promoter of the Arts’, ‘Chancellor of University’ and ‘President of Societies for Science’, around a profile portrait roundel of the Prince Consort, all reserved on a green ground with angel terms, shields and other motifs, printed mark to the underside, some rim chips, 41.5cm dia. £200-300

268. A massive creamware circular charger, late 18th/early 19th century, printed in black with a courting couple seated in a watery landscape with ruins behind, the feather-moulded rim printed with flower £100-150 sprays, 44.2cm.

Following Prince Albert’s strong support of the Art Union, his death prompted the Union committee to commission Copeland to manufacture a tazza which could also function as a card tray. Sixty were produced in 1862 and one hundred the following year.

269. A Wedgwood pearlware part dessert service, c.1800, painted in pattern 972 with continuous floral borders within brown line rims, impressed marks. Comprising: two oval dishes, two quatrefoil dishes, and ten plates. (14) £150-250

270. Five Ridgway blue and white transferware plates, c.1820, printed in the Blind Boy pattern, the unfortunate lad seated beside a lady and small dog, the rim with flower sprays, impressed mark to one, 25cm and 21cm. (5) £150-250

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271. A Naples (Giustiniani) creamware part service, 19th century, decorated in the Egyptian Revival manner with figures and animals at various pursuits, in black and red on a creamware ground. Comprising: a tall comport or centrepiece resting on the heads of three figures, a wine cooler, two small tureens and covers, eleven handled dishes and 30 plates. (48) £1,000-2,000

272. A Tophane pottery part tea service, late 19th century, Turkey, the polished ground incised with a design of overlapping leaves with a gilt bead centre and silvering around sunburst motifs. Comprising: a teapot and cover, a hot water jug, a footed beaker, five cups and four saucers. (13) £800-1,200

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273. A Cantagalli Moroccan-style vase, late 19th/early 20th century, decorated in the manner of Algerian faïence with bands of geometric designs in yellow, green, blue and manganese, painted cockerel mark, some rim faults, 29cm. £150-250

274. An Indian (Bombay) glazed earthenware vase, 19th century, the ovoid form decorated in the Iznik manner with continuous flower scrolls in blue and white enamel on a terracotta ground, some £150-250 damages, 40cm.

275. A Qajar pottery vase, c.1860, the ovoid form decorated in the Iznik manner with bold saz leaves and stylized flowers in shades of blue, green and manganese, a surface chip to one side, 30.5cm. £100-150

276. A Cantagalli Hispano-Moresque type jug, late 19th/early 20th century, decorated in copper lustre with a bird in an eye-shaped panel reserved on a ground of fruiting branches, a painted cockerel mark, some restoration, 21cm. £100-200

277. A Kubachi (North Iran) tile, probably 19th century, painted with a face within a sunburst in green, red, blue, yellow and black enamels, some chipping, 16cm. £300-500

278. A Cantagalli Islamic-style jug, late 19th/early 20th century, decorated in copper lustre on a rich blue ground with bands of stylized floral motifs and geometric designs, painted cockerel mark, a 2.5cm glaze chip, 17.5cm. £100-150

279. A large Moroccan-style faïence bowl and cover, 19th century, painted in the Algerian manner with geometric bands in yellow, blue, green and manganese, and a Talavera style jug painted with birds and animals beneath stylized floral sprigs, the bowl’s cover broken and restuck, 29cm max. (3) £150-250

280. A Cantagalli Hispano-Moresque type vase, late 19th/early 20th century, decorated in the Kashan manner with a moulded Arabic inscription picked out in blue, reserved on a copper lustre ground with white floral motifs, the neck applied with two flattened handles, painted cockerel mark, 26.5cm. £400-600

281. An Iznik-style covered jug, 19th century, boldly painted in a typical palette of blue, green, black and red with stylized flower sprays, the cover fitted with a hinged pewter mount, and a bottle vase in the manner of William de Morgan’s Iznik wares, painted with a continuous band of serpents amidst flowers on a bright turquoise ground, 25.5cm max. (2) £150-250

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282. A Continental Iznik-style vase, late 19th/20th century, painted in a bold palette of red, blue, green and black with stylized flower sprigs and shaped panels between black scroll borders, 24cm. £100-200

283. A large Canakkale (Turkey) pottery anthropomorphic ewer, 19th century, the rounded body applied with a bird perched atop flowering plants, the long flared neck rising to the head of a mythical creature, its open mouth forming the spout, decorated with splashes of cream and green slip on a honey-coloured ground, 51.5cm. £500-800

284. A large Canakkale (Turkey) ewer and cover, 19th century, the tall bottle form glazed a rich green and cold painted with stylized flower sprays around applied flowerhead roundels, the cover a poor fit, 46cm. (2) £300-500

285. A large Canakkale (Turkey) ewer and cover, 19th century, the tall bottle form applied with an oval panel of Arabic script between flower and leaf motifs, decorated in running green and manganese glazes, the handle broken and restuck, 49cm. (2) £500-700

286. A pair of Qajar large square tiles, 19th century, decorated in the Iznik manner with formal floral designs in green, blue, manganese and turquoise, one broken and repaired, 23cm. (2) £150-200

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287. A pair of Samson Iznik-style vases, late 19th century, the flattened globular forms painted in typical palette with sprays of stylized carnation and tulip, with spreading feet and knopped flared necks with a formal geometric design, drilled and mounted as lamps, 40.5cm. (2) £300-500

288. A Canakkale (Turkey) pottery vase, 19th century, of elaborate triangular form, the bowl rising to three shell terminals, applied around the base with openwork flower sprays and tendrils, decorated in green, cream, brown and umber glazes, some damages, 29.5cm. £100-200

289. Three Canakkale (Turkey) pottery ewers, 19th century, of bottle form with tall flared spouts, applied with flower roundels and with cold painted floral decoration, 39cm max. (3) £400-600

290. Three Canakkale (Turkey) pottery aquamaniles, 19th century, two modelled as camels, one as a large cat, all standing four square and applied with rosette flowers, decorated in splashes of green on various treacle and cream grounds, with open mouths and circular apertures to their backs, some damages, 26.5cm high max. (3) £600-800

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291. A Bovey Tracey creamware model of a sheep, c.1800, recumbent with head turned to the right, decorated with patches of brown and umber, a Bovey Tracey milk jug painted with stylized flower sprigs beneath a sparkle glaze, and a creamware figural vase, with a small opening resting on the shoulders of a putto, 16.8cm max. (3) £200-300

292. A rare Bovey Tracey creamware model of a lion, c.1770-90, recumbent and with head turned to the left, its features picked out in ochre and dark brown, raised on a shaped base with a formal scalloped edge, a chip to the left ear, 14.8cm across. £350-450

Cf. Brian Adams, A Potwork in Devonshire, p.56 for details of the sparkle glaze wares, produced using micaceous haematite, found on Dartmoor.

293. A pair of Staffordshire figures of cats, 19th century, recumbent with heads turned and tails flicked up over their haunches, their coats with patches of tabby markings, a little wear and glaze chipping, 13.8cm. (2) £100-200

294. A pearlware figure of a lion, early 19th century, recumbent on a rectangular base, its head turned to the left and tail flicked back over its body, 12.2cm across. £100-200

295. Two Staffordshire pearlware figures of dogs, early 19th century, one a pointer at work beneath flowering bocage, the other seated on its haunches with its right forepaw raised and head turned, some good restoration to one, 16.5cm max. (2) £250-350

296. A rare Brameld creamware model of a recumbent stag, c.1820, reclining on a grassy base, the head pierced with two square holes to receive metal antlers, and a small pearlware model of a deer, recumbent before leafy bocage, 18cm across max. (2) £200-300 Cf. Alwyn and Angela Cox, Rockingham, p.115 for another Brameld example.

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297. A Staffordshire pearlware cow creamer and cover, late 18th/early 19th century, standing four square on a shaped flat green base, her coat decorated with manganese patches over cream and brown striations, some good restoration, 18.4cm. (2) £450-650 Paper label for the Captain Kidd Collection, No.561.

298. A pearlware cow creamer and cover, c.1820, standing four square on a chamfered rectangular base, a milkmaid seated at one side and tail curled back to form a handle, sponged in Portobello type colours of black, crimson and green, the cover restored, 16.5cm across. (2) £100-200

299. A Pratt ware cow creamer and cover, early 19th century, standing four square on a flat shaped base with a milkmaid seated to her side, sponged in ochre and umber, some restoration to the cover, horns and ears, 17.6cm across. (2) £250-350

300. A Staffordshire pearlware cow creamer and cover, c.1800, standing four square on a chamfered rectangular base, her head slightly turned to the right, a recumbent calf between her feet, with ochre patches between sponged decoration in black and blue, her tail restuck, 18.3cm across. (2) £400-600

301. A pearlware cow creamer and cover, c.1820-30, the bovine standing four square on a flat shaped base, a milkmaid seated by her side, sponged in Portobello type colours of black and crimson, 17cm across. (2) £150-250

302. A small Pratt ware cow creamer and cover, c.1800, standing four square on a flat rectangular base, a recumbent calf between her feet, sponged in blue and ochre, some restoration, 15cm across. (2) £300-400

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303. A large Pratt ware bull baiting figure group, c.1800, the large beast tethered by a strong rope and being set upon by two small dogs, one of which he crushes under his left hoof, raised on a green rectangular base, some good restoration, 37cm across. £300-500

304. A Staffordshire pearlware cow creamer and cover, late 18th/early 19th century, standing four square on a shaped flat base, decorated in sponged patches of ochre and brown, a milkmaid seated on a low stool beside, 19.5cm across. (2) £400-600 Paper label for the Captain Kidd Collection, no.94.

305. An Obadiah Sherratt pearlware model of a cow, c.1820, being bitten on the left rear hoof by a green snake, raised on a moulded base picked out in polychrome enamels, standing before flowering bocage, some restoration, 20.8cm. £100-200

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306. Two pearlware Toby jugs, c.1800, of Ordinary type, each seated with a clay pipe and foaming jug of ale, wearing patterned waistcoats under pink coats, minor faults, 24cm. (2) £200-300

307. A Pratt ware Toby jug, c.1800, seated and resting a foaming jug of ale on his left knee, decorated in a typical palette of ochre, umber, blue and green, a crack to the base, 24.3cm. £150-250

308. A limited edition ‘Vic Shuler’ Toby jug, c.1988, modelled by Peggy Davies for Kevin Francis Ceramics and depicting the Toby jug specialist in traditional pose with a toby on one knee and a copy of his book on the other, numbered 346 of 1000, and a small Beswick model of a Midshipman Toby jug, playing the violin, 22cm max. (2) £100-200

309. A Delft Gin Woman Toby jug, 19th century, standing and holding a bottle in one hand and a glass in the other, and a 20th century West Country Toby jug of traditional form, 26cm max. (2) £100-200

310. A Staffordshire pearlware equestrian figure, c.1820, possibly depicting Lord Raglan, wearing military uniform and pointing with a telescope held in his right hand, his horse with two feet raised, some good £150-200 restoration, 26.5cm.

311. Two Staffordshire pearlware figures, c.1810, one of the Widow and Orphans, two children gathering faggots at her feet with a third clinging to her shoulder, another of the Poor Labourer, holding a pick and a shovel, both raised on titled bases, some good restoration, 27.5cm max. (2) £150-250

312. A Staffordshire pearlware figure of The Lost Sheep, c.1800, probably by Ralph Wood junior, a young shepherd carrying a lamb over his shoulders, raised on a square base, 20.8cm. £100-200

313. Two pearlware figures, early 19th century, one of Hope modelled as a young girl holding a large anchor atop a grassy mound, the other of a female fruit picker, supporting a covered basket on her head and standing before flowering bocage, some good restoration, 19.8cm max. (2) £150-250

314. A pearlware figure of Harlequin, early 19th century, modelled after Derby, wearing a typical chequered suit and a black mask beneath a yellow feathered hat, holding his slapstick in his left hand, 13.3cm. £150-250

Cf. Meredith Chilton, Harlequin Unmasked, p.279 for examples of the original Derby figure.

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315. An American Sailor Toby jug, c.1820, wearing a blue uniform with yellow buttons and seated on a sea chest, holding a foaming jug of ale titled ‘Success to our Wooden Walls’, some restoration, 25.5cm. £100-200

316. A large Wood & Caldwell Staffordshire pearlware model of the Virgin and Child, c.1800, after the late 17th century model by Lucas Faydherbe, the Madonna seated with the infant Jesus reaching up towards her face, raised on a square faux marble base, 34cm. £200-300 Old paper label for Wm H Plummer & Co Ltd, New York.

319. A pair of Staffordshire porcelain figures of Shakespeare and Milton, 1st half 19th century, each leaning on a plinth and holding a book or scroll, and a pair of Staffordshire pottery theatrical figures of Hamlet and Lady Macbeth, 21cm max. (4) £200-300

317. An Italian pealware figure group, 19th century, modelled as a couple standing beneath a leafy arbour, he holding a posy of flowers, and she with a small bag draped over her right arm, raised on a base applied with flowers and leaves, blue crowned N mark, some damages and repairs, 36cm. £100-200

318. A large Pratt ware candlestick figure, c.1810, modelled as the goddess Cybele, holding a long cornucopia supporting a candle sconce, a lion pacing around her feet, raised on a circular base, some good restoration to the cornucopia and the lion’s paw, 31.8cm. £150-250

320. A set of Staffordshire pearlware figures of the Four Seasons, c.1810, possibly Enoch Wood, modelled as children with various attributes for Spring, Summer, Autumn and Winter, raised on square bases, a little good restoration, 19cm. (4) £200-300

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THE RODNEY BEWES COLLECTION OF THEATRICAL & OTHER CERAMICS The following 18 lots are from the collection of TV and stage actor, Rodney Bewes, who, alongside his continued theatrical career, acted as the curator of the ceramics collection at his beloved Garrick Club. Fiercely protective of all of the club’s acquisitions, and with a wealth of knowledge that belied his modest projection of himself as a working-class Yorkshire lad without much education, his enthusiasm for theatrical pottery and porcelain figures was infectious and at the time of his death he was planning a book on the subject. His personal collection focused more on the characters of 19th century actor John Liston, along with other items that caught his keen aesthetic eye, and visitors to his house in Henley-on-Thames were often treated to a tour of his favourite pieces. Although best known for his TV role as Bob Ferris in The Likely Lads, Rodney retained a love of traditional theatre and starred in a number of West End shows, as well as touring a series of one-man shows. He was a regular at the Edinburgh Festival, his last visit being in 2016 with an autobiographical show, “Whatever Happened to the Likely Lad”. Whilst his ceramic collection was focused mostly in the 19th century, Rodney also had a love of modern design and a further 21 lots of furniture and works of art appear in our Design sale on 17th October.

321. Two pearlware theatrical figures, c.1820-30, one of John Liston in his role as Van Dunder, wearing a comic costume and holding a scroll, the other of Madame Vestris as the Broom Girl, wearing a yellow bodice over a patterned skirt, some good restoration, 16.7cm max. (2) £200-300

322. Two pearlware theatrical figures, c.1810-20, one of John Liston in his role as Lubin Log, the other of Madame Vestris as the Broom Girl, raised on rectangular bases, a little restoration, 15cm max. £200-300 (2)

323. Two pearlware theatrical figures of Madame Vestris, 1st half 19th century, in her role as the Broom Girl, modelled in typical pose holding short brooms in her left hand, a single broom in her right hand held down by her side, the smaller figure decorated in Portobello type colours, a small amount of restoration to one, 16cm max. (2) £150-250

324. Two English porcelain theatrical figures, 19th century, one Staffordshire porcelain of Maria Foote as Arinette in The Little Jockey, the other a late Derby figure of Madame Vestris as the Broom Girl, 17cm max. (2) £150-250

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325. A pearlware theatrical figure of John Liston, c.1810, in his role as Paul Pry, holding his umbrella in his right hand, wearing a yellow top hat and green coat over striped breeches, raised on a rectangular base, some restoration to the umbrella, 15cm. £150-250

326. A Staffordshire porcelain theatrical figure of Madame Vestris, 19th century, in her role as Paul in Paul and Virginia, modelled on one knee with hands placed together in supplication, dressed as a sailor, raised on a circular base, 15.5cm. £200-300

327. A Staffordshire porcelain theatrical figure of John Liston, 19th century, in his role as Van Dunder, wearing a black comic costume with red detailing, raised on a square base, and a late Derby figure of John Liston as Paul Pry, his umbrella tucked under his left arm, some faults, 14.5cm max. (2) £150-250

328. Two English porcelain theatrical figures, 1st half 19th century, one Chamberlain Worcester of Madame Vestris as the Broom Girl, script mark, the other Derby of John Liston in his role as Paul Pry, his umbrella tucked under his left arm, red crowned crossed batons S & H mark, 14.2cm max. (2) £200-300

329. Five English porcelain theatrical figures, 1st half 19th century, one of Madame Vestris as the Broom Girl, one of Maria Foote as Arinette, two perhaps depicting Jenny Lind, the last as an actress wearing a Turkish costume and holding a flower, 21.2cm max. (5) £200-300

330. A Derby theatrical figure of Richard III, early 19th century, modelled in dramatic pose with colourful costume, his plumed hat at his feet, incised No. 21, red crowned crossed batons mark, 28.5cm. £100-200 Originally depicting David Garrick in the role, the model was reissued with a new head when John Philip Kemble took over the role. This figure possibly depicts him or even Edmund Kean who took over the role c.1815-16.

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331. A Michael Sutty theatrical porcelain figure of Sir Donald Sinden, c.1973, the actor modelled in his role as Sir Harcourt Courtly in London Assurance, standing and holding a quizzing glass, printed marks, the quizzing glass partly lacking, 29.5cm. £100-200

332. A Wood and Calderwell pearlware bust of the Duke of Wellington, c.1815, modelled in Classical style with head turned slightly to the right, raised on a shaped black socle titled ‘Wellington’ to the front, 29.5cm. £300-500

333. A Sèvres-style biscuit porcelain figure of L’amour Captif de la Jeunesse, 19th century, after Simon-Louis Boizet, a young woman and Cupid garlanded in flowers beside a circular plinth, titled to the front of the base, incised interlaced LL mark, some damages, 32cm. £150-250

335. A small collection of English pearlware and creamware, c.1770 and later, including an octagonal Whieldon-type plate sponged in manganese, a Castleford Pottery pearlware dish with pierced arcaded rim, a miniature pearlware teapot and cover printed with a geometric design, a Castleford creamware sauce tureen and cover, and a child’s mug inscribed with a poem titled ‘Innocence’ beneath ‘The Delights of Home’, some faults, 26cm max. (7) £100-200

336. A Staffordshire theatrical figure, 19th century, possibly Edmund Kean as Richard III, a brown stoneware coffee pot and cover, a small stoneware box and cover modelled as a house, and a tôle coffee pot and cover, 31.5cm max. (7) £50-150

This figure, believed to be one of only five made, was gifted to Rodney by Sir Donald, a long time friend and a fellow member of the Garrick Club since 1960.

334. A black basalt figure of Lord Rodney, c.1785-90, modelled by Pierre Stephan, standing before a cannon and flags, a Jackfield jug faintly inscribed ‘Rodney’ within foliate scrolls, and a copy of the Garrick Club’s ‘Davenant’ terracotta bust of Shakespeare, the figure of Rodney extensively damaged and mounted on a wooden base, 35cm max. (4) £50-150

337. Two creamware teapots, late 18th/early 19th century, one of baluster form decorated with vertical brown stripes beneath a reticulated galleried rim, with a domed cover, the other cylindrical and painted with a colourful striped design, and a small glazed redware teapot and cover of Astbury type, sprigged with leaf scrolls, some damages, one cover lacking, 17.5cm max. (5) £150-250

338. Two dry-bodied Castleford stoneware teapots and covers, early 19th century, one square and sprigged with panels of putti and Classical figures reserved on a brown ground, the double walled cover reticulated and with a lion finial, the other teapot of oval shape and well painted with landscape scenes of buildings beside water, the neck moulded with formal leaf borders, 22.5cm max. (4) £150-200

END OF COLLECTION

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339. A Chamberlain Worcester figure of Madame Vestris, c.1825, modelled in her role as the Broom Girl, her arms outstretched, wearing a blue bodice over a pink patterned skirt, raised on a circular base, iron red factory mark, 13.5cm. £100-200

340. A Dudson Staffordshire figure of a Chinese lady, c.1840-50, wearing a bright costume and holding a fan, raised on a scrolled base, a chip to the top of her hat, 25cm. £100-200 Cf. Audrey Dudson & Alison Morgan, Dudson Staffordshire Figures c.1815-c.1865, p.46, fig.63.

341. A rare Bloor Derby figure of a Turk, c.1830, seated on a large tasselled cushion and wearing a traditional colourful costume, raised on a tall square base with mask terminals, red script crowned Bloor Derby mark, restored through the neck, 15cm. £300-400

342. A pair of Moore Bros. porcelain candelabra, late 19th century, modelled as five branches of flowering cactus, picked out in gilt and pale pink enamel, raised on reticulated gilded bases, printed Moore and globe marks, some damages, 46cm. (2) £100-200

343. A Minton Parian figure of Venus and Cupid, date code for 1860, the putto holding the goddess’s face as she kneels in a large shell supported by two mermaids, impressed date code, small losses, 24.5cm. £150-250 Cf. Richard Dennis, The Parian Phenomenon, p.72, fig.104.

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344. A rare Derby figure from a monkey orchestra, c.1815, of large size, seated on his haunches and wearing a wide neck ruff over a striped patterned coat, playing the violin, raised on a flat shaped base, some small damages and restoration, 12.5cm. £600-800

345. A Derby figure of a pug dog, late 18th century, seated on its haunches with head turned to the left, raised on a grassy rectangular base, 8.3cm high. £100-200

Cf. Peter Bradshaw, Derby Porcelain Figures, p 431, fig G59 for examples in this and the smaller size. While several factories made monkey bands following the popularity of that produced at Meissen, Derby was unusual in producing its own design.

346. A rare Derby figure of a horse, c.1800, standing four square on a textured rectangular base, his ears pricked and head slightly turned to the right, incised ‘No 62’ to the underside, some good restoration to the ears, 13cm high. £500-800

348. A pair of Derby figures of musicians, c.1800, seated on high-backed chairs, he playing the flute and she the lute with a small dog on her lap, stacks of books beneath each chair, blue anchor and D marks, incised No 11, minor damages, 15.5cm. (2) £80-120

347. An English porcelain figure of a dog, 1st half 19th century, recumbent on a shaped and stepped rectangular base, his coat decorated with brown patches, his forepaws crossed before him, £100-150 14.8cm across.

349. Six small Derby biscuit porcelain figures, c.1780-90, including a pair of figures of a boy with a gun and a girl with a basket, a seated figure of a boy with a basket of fruit, a girl standing with a basket of fruit, a figure of Cupid in Disguise, and a figure of a girl kneeling to tie her shoes, some damages and repairs, 12.5cm max. (6) £500-600

349A. A pair of Minton figures of the Racegoer and his Companion, 19th century, after Meissen, he standing and holding an eyeglass to his right eye, she reading her race card and with one hand tucked inside a feathered muff, blue crossed swords marks, some damages, 19.5cm. (2) £250-350

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350. A Derby part dessert service, c.1830, richly decorated in the Imari palette with flowering plants within a formal foliate panel border, iron red crowned crossed batons and D marks. Comprising: a large shaped dish, three oval dishes, and eleven plates. (15) £100-200

351. A Barr, Flight and Barr part tea service, early 19th century, richly decorated in the Imari palette with a stylized Oriental landscape, incised B and impressed crowned BFB marks. Comprising: a milk jug, a slop bowl, two cake plates, seven tea cups, six coffee cups and nine saucers. (26) £400-600

352. A Coalport part tea service, early 19th century, painted with sprays of flowers within gilt cartouches on a blue ground. Comprising: a milk jug, a slop bowl, a sucrier and cover, six cups and six saucers. (16) £150-250

353. A Spode stone china part dessert service, 1st half 19th century, comprising two rectangular dishes, two shell-shaped dishes, an oval dish, four shaped dishes and two plates, all printed and coloured in the famille rose palette with peony and other Oriental flowers, together with a Spode porcelain teapot and cover with four coffee cans decorated in pattern 878, 29.5cm max. (17) £100-200

354. Five Royal Worcester Vitreous ichthyological and ornithological plates, date codes for 1898, three painted with scenes of fish among aquatic plants, the edges moulded with blue foliate motifs, the other two with game birds within moulded claret borders, printed marks, 22.8cm. (5) £150-250

355. Four Royal Crown Derby ornithological plates, date codes for 1937, painted by Donald Birbeck with game birds including Capercaillie, Blackgame, Woodcock and Ptarmigan, signed, printed marks, 23.8cm. (4) £200-300

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356. A Grainger’s Worcester reticulated vase and cover, late 19th century, pierced with an elaborate foliate design, and a Grainger’s plate painted with a spray of flowers within a moulded rim picked out in cafe au lait and gilt, 22.8cm max. (3) £100-200

357. A Royal Crown Derby vase, date code for 1888, lavishly gilded with sprays of stylized chrysanthemum within shaped ivory panels reserved on a pale blue ground with further floral and foliate gilt motifs and borders, printed red mark, 23cm. £100-150

358. Two Samuel Alcock porcelain jugs, c.1840, sprigged in lilac with bold flower sprays on a white ground, one inscribed beneath the spout with ‘1823 Mr William Barrow’, the other applied with a shield inscribed ‘75’ beneath the base, 22.5cm max. (2) £150-200

359. A Derby coffee can, c.1815, painted with a view of a bridge in a winding valley reserved on a yellow ground, titled ‘Near Madely, Shropshire’, and a Chelsea-Derby saucer painted with flower sprigs within a ribbon border, gold anchor mark, 14.2cm max. (2) £120-180

360. A pair of Spode dessert plates, c.1810, the wells painted with urns spilling various fruit and flowers, within formal gilt borders on a blue and gilt caillouté ground, £100-200 23cm. (2)

361. Two Derby vases, c.1800-20, one painted with panels of tall trees in black monochrome on orange, reserved on a rich black and gilt ground, titled to the base ‘View in Leicestershire’ and ‘View in Eltham, Kent’, with an interesting internal pipe, perhaps to assist watering, the other vase of campana shape and painted with ruins beside a river, titled ‘View of Switzerland’ to the base, £100-200 restorations, 22.8cm max. (2)

362. A pair of Coalbrookdale spill vases, 1st half 19th century, the cylindrical forms painted with bands of pink roses beneath baskets of flowers suspended from blue borders, an oval basket painted in the Church Gresley pattern, and a pastille burner or salt raised on three dolphin tail supports, some damages, 20.7cm max. (4) £120-180

363. A Coalport sucrière and cover, c.1820, finely painted with small arrangements of polychrome flowers within gilt hatched panels, the inside rim with gilt flowers, gilt pattern number 830 to the base, 16.3cm across. (2) £150-250

364. A Royal Worcester ewer, date code Y, decorated in the Raby manner with dandelion and other flowers on a blush ivory ground, a gilt angular handle to one side, printed marks, 25.5cm. £100-200

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365. A Grainger’s Worcester pot pourri vase and cover, late 19th century, the sides finely reticulated with stylized floral panels picked out in gilt, printed mark, an old repair to the foot, 24cm. (2) £100-200

366. A Derby campana vase, c.1815, painted to one side with a lady reclining and petting a spaniel beneath trees, the other side with a couple on horseback, all within a continuous landscape scene, the gilded handles formed as snakes, red crowned crossed batons mark, good restoration to the £150-250 handles, 17cm.

367. A Derby topographical two-handled vase, c.1820, painted with a view of sheep before the ruins of Kirkstall Abbey near Leeds, beside the river Aire, reserved in a chamfered panel on a mazarine blue ground with formal gilt scrolls, titled to the base, iron red factory mark, one handle restored, 30cm. £150-250

Provenance: a private collection in Northamptonshire.

368. A large Derby ice pail and cover, c.1820, of Warwick vase shape, painted with scenes of pastoral figures and cattle before ruins and village landscapes, titled to the underside ‘In Wales’ and ‘In Cumberland’, the cover with similar scenes titled ‘In Wales’ and ‘In Spain’, raised on a square base with gilt motifs, with twisted vine handles, some good restoration, the liner lacking, 34.5cm across. (2) £300-500

369. An English porcelain rectangular plaque, c.1840, well painted with a vase of flowers including geranium, lily, rose, convolvulus and pansy, standing on a marble ledge, mounted in a later gilt wood frame, the plaque 29cm x 24cm. £300-400

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370. A Royal Crown Derby part dessert service, date code for 1927, painted with sprays of pink roses and other garden flowers within elaborate gilt rims reserved on a rich blue ground, printed marks. Comprising: two oval tazzae and six plates. (8) £200-300

371. A group of English porcelain teawares, 19th century, including a Samuel Alcock teacup and saucer with cake plate, a Spode plate with floral panels on a green ground, a Minton plate in pattern 869, a Charles Bourne trio, a Coalport trio and two cups and saucers, an Alcock cup and saucer and a Minton cup and saucer, and a Swansea plate with bird decoration, 21cm max. (20) £150-250 Provenance: the collection of Marie Polley.

372. An English porcelain part tea service, early 19th century, richly decorated with gilt foliate scrolls on a pale peach ground within blue borders, iron red pattern numbers 2/662. Comprising: two plates, six tea cups, six coffee cups and six saucers. (14) £100-200

373. A small group of English porcelains, 1st half 19th century, including a Coalport pot pourri vase and cover painted with panels of flowers, a Coalbrookdale bough pot with panels of birds, fruit and gardening implements, and a small pair of Minton vases, painted with panels of boats, signed ‘JED’, all within gilt borders on a bright £200-300 turquoise ground, some faults, 20cm max. (5)

374. Two Chamberlain Worcester trios and a cup and saucer, 1st half 19th century, one trio painted with loose flower sprays within a gilt dentil rim, the other decorated in the Imari palette with a bird perched amid flowering branches, the cup and saucer with flowers including poppy, hollyhock, auricula and tulip growing out from the saucer’s well and the cup’s footrim, one cup cracked, 13.8cm max. (8) £250-350

375. A group of English porcelain teawares, 2nd half 18th century, including a Worcester teapot and replacement cover painted in polychrome enamels with Chinese figures in a garden setting, a Chelsea plate painted with a butterfly beside fruit, a Worcester teacup in the Dalhousie pattern, a moulded Liverpool coffee cup, a teabowl and saucer painted with back to back roses, a famille rose saucer with a vase of flowers, and a Bow blue and white bowl painted with a small £150-250 pagoda on a jetty, some faults, 21.5cm max. (10)

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376. A Flight, Barr and Barr part dessert service, c.1820, decorated in the Imari manner with flower sprays in red, blue, pink and gilt, reserved on a white ground with moulded gilt rims, impressed crowned FBB marks. Comprising: two sauce tureens and covers, a low footed tazza, a square dish, an oval dish, four single-handled dishes and 16 plates. (27) £1,500-2,000

377. A Chamberlain Worcester part dessert service, c.1810, the wells finely painted with arrangements of fruit and flowers, the wide rims with panels of colourful birds, probably by George Davis, reserved on a pale blue ground, printed marks. Comprising: two kidney-shaped dishes, two handled dishes and eight plates. (12) £6,000-8,000

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378. A Chamberlain Worcester tea cup and saucer, c.1805, the cup finely painted with colourful feathers, the saucer with shells and seaweed fronds, all reserved within octagonal panels on an orange ground with gilt vermicelli decoration, painted script mark to the cup, 13.7cm. (2) £250-350

379. A good Chamberlain cup and saucer, c.1815-20, finely painted in the manner of Thomas Baxter with titled views of stately homes, the cup titled ‘Brancepeth’, the saucer ‘Oxton’, reserved within wide gilt bands on a lilac ground, script marks, the saucer inscribed ‘The Seat of The Rev’d J Swete, Devonshire’, the cup with ‘The Seat of M Russell Esq, Durham’, 14.3cm. (2) £300-500 Paper label for the Billie Pain Collection. Cf. Geoffrey Godden, Chamberlain-Worcester Porcelain, col.pl. XX. Matthew Russell (1765-1822) was MP for Saltash and widely known as the richest commoner in England. The Reverend John Swete (17521821) was the author of Picturesque Sketches of Devon and a noted historian and topographer.

380. A good Chamberlain Worcester trio, c.1805, of a tea cup, coffee cup and saucer, finely decorated with topographical scenes of the English countryside, reserved within octagonal panels on an orange ground with gilt vermicelli decoration, variously titled beneath ‘Saffern Bridge near Birmingham’, ‘View near Burton upon Trent’ and ‘On Epping Forest’, 13.8cm. (3) £500-700 Purchased from Albert Amor Ltd.

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381. A pair of Spode Krater vases, c.1820, the squat forms with high handles and raised on square bases, richly decorated in pattern 1166 with fine flower sprays reserved on a blue and gilt scale ground, iron red factory and pattern marks, the covers lacking, 27.5cm dia. (2) £3,000-5,000 Cf. Bonhams, The Contents of Trelissick House, 24th July 2013, lot 585 for a single vase and cover.

382. A large Chamberlain Worcester vase, c.1810-15, the flared form painted with a panel of colourful feathers reserved on a grey faux marble ground, raised on a circular foot with gilt scroll border, some regilding to the rim, 20cm. £700-900

383. A Nantgarw cabinet plate, c.1815-20, decorated in London with a spray of flowers contained in an elaborate shaped panel of gilt and puce scrollwork, the moulded rim with smaller panels of birds, flowers and fruit, faint impressed Nantgarw W mark, a 9cm hairline rim crack, 25.3cm. £500-800

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384. A Chamberlain Worcester trio, c.1805, of a tea cup, coffee cup and saucer, painted by George Davis with panels of exotic birds and colourful flying insects reserved on a blue ground with gilt scale decoration, and a Chamberlain cup and saucer with similar bird decoration within a bold yellow and pink stripe, a crack to the latter saucer, 14.5cm max. (5) £300-500

385. An English porcelain bough pot and cover, c.1800, painted perhaps in the atelier of Thomas Baxter with a central panel depicting Cephalus and Procis in sepia on a black ground, he pulling the arrow from his lover’s breast, bordered by pink roses and reserved on a yellow ground between moulded columns, cracked, some chipping to the cover, 21.4cm across. (2) £150-250

386. A pair of Swansea porcelain plates, c.1815-17, from the Marino Ballroom Service, decorated with colourful flowerheads in a naive style, impressed marks, 22.7cm. (2) £80-120

387. A Nantgarw dessert plate, c.1818-20, London-decorated with a spray of flowers including rose, auricula and convolvulus, the rim moulded with C scrolls and painted with small sprigs of pink rose, faint impressed Nantgarw CW mark, together with a Coalport jug and a slop bowl, both painted with flowers, the jug with an indistinct gilt inscription, some wear, 21.7cm max. (3) £300-500

Cf. The Marino Ballroom Service contained over 200 pieces and was ordered from the Swansea factory by Mr J H Vivian of Marino, Swansea. The pattern is reminiscent of Indian flowers on contemporary chintz wallpapers and textiles.

388. A Derby plate of ‘Trotter Service’ type, c.1815-25, painted by Moses Webster with a central spray of flowers including rose, auricula, convolvulus and forget-me-not, the rim with five panels containing single blooms and alternating with shaped green ground panels, red crowned crossed batons and D mark, 25.1cm. £100-200

Cf. Sotheby’s, Sir Leslie Joseph Collection, 15th May 1992, lot 502 for a similar Nantgarw plate.

389. A Derby square dessert dish from the Camden service, c.1795, painted by William Billingsley with a central roundel of a pink rose spray, reserved on a green ground within a continuous rose garland border, puce crowned crossed batons and D mark, 25cm. £150-250 Paper label for the Derbyshire Pottery and Porcelain Exhibition, Morley College, London, 1976.

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390. A Pinxton coffee can, c.1800, painted with a landscape panel of St Mary’s Church in Edwinstowe, Nottinghamshire, within a gilt border on a white ground with cornflower sprigs, titled ‘Edwinstowe’ in iron red to the base, 6cm high. £100-200

391. A Flight, Barr and Barr campana vase, c.1820, finely painted with colourful ‘fancy’ birds perched on leafy branches, and with bright moths, all reserved on a rich blue ground, the handles formed as mythical eagles, impressed and script marks, 13.2cm. £300-500

Legend has it that St Mary’s Church (which was rebuilt in stone in 1175) was where Robin Hood married Maid Marian.

392. Three Coalport plates, 1st half 19th century, variously decorated in the Imari palette with panels of flowers and bold flower sprays, one with pattern number 692 painted to the reverse, 24cm max. (3) £100-200

393. Three English porcelain plates, 1st half 19th century, painted with a central floral roundel, the rims with a formal cornflower design, 23.5cm max. (3) £80-120

394. Literature: Geoffrey Godden, Chamberlain-Worcester Porcelain; Henry Sandon, Worcester Porcelain; Jewitt’s Ceramic Art of Great Britain 1800-1900; Stanley W Fisher, English Blue and White Porcelain; and 20 other books and catalogues largely concerning English porcelain. (24) £100-200

395. Literature: Ray and Lee Grove, English Cameo Glass; Wolf Mankowitz, Wedgwood; Leonard Whiter, Spode; and ten other books on glass, pottery and porcelain. (13) £80-120

396. Literature: Lars Tharp, Hogarth’s China; Bernard M Watney, Liverpool Porcelain of the 18th Century; John and Margaret Cushion, A Collector’s History of British Porcelain; John Twitchett, Derby Porcelain; and 24 other books and catalogues mainly pertaining to English £200-300 ceramics. (28)

397. Literature: Michael Berthoud, A Compendium of British Cups, and A Cabinet of British Creamers; The Joseph M Handley Collection, 18th Century English TransferPrinted Porcelain and Enamels; Geoffrey Cope, William Duesbury II; and 35 other books and catalogues regarding English porcelain, including auction catalogues for the Watney Collection, and the Zorensky £200-300 Collection. (39)

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ENAMELS FROM THE WATNEY COLLECTION (PART ONE)

398. An English enamel patch box, c.1780, the circular form painted to the lid with figures standing beside a ship moored alongside Classical ruins, the base a rich blue, and a circular box lid or plaque set in a later brooch mount, printed and coloured with buildings beside water, 4.7cm max. (2) £120-180

399. Two Birmingham enamel snuff boxes, c.1760, one printed with the Haymakers to the cover, the interior cover with the portrait of a lady, the sides with scenes of putti representing the Arts, the other printed with a lady on a horse beside a piper and a figure with a dog, the sides with flower sprays, some damages, 6.7cm. (2) £120-180

400. Two Staffordshire enamel snuff boxes, 2nd half 18th century, one painted to the cover with Harlequin, Columbine and Pulcinello in a garden, the sides with panels of flowers reserved on a dark pink ground, inscribed ‘Secret en Amour’ to the interior, the other box printed and coloured with a couple warming their hands over a fire beside a river, the sides with flower sprays, some damages, 6.3cm max. (2) £150-250

401. A Bilston enamel patch box, c.1770, of rectangular form, painted with a moth perched on a pink rose above a caterpillar within a blue border, the sides with similar floral panels, together with three Bilston enamel box lids, one rectangular and mounted as a plaque, a small circular mounted to a gilt-metal pill box, the last circular and, loose, all painted with roses and other flowers with insects about, some damages, 8.2cm max. (4) £120-180 Exhibited: English Ceramic Circle, 1977, Nos. 239 (snuff box) and 243 (pill box).

402. Three English enamel oval plaques, c.1760-80, two decorated with the portraits of young society ladies in elaborate plumed hats, the last with a piper seated beside a stream, all set in metal mounts for drawer handles, some damages, the plaques 4.3cm. (3) £80-120

403. Two English enamel snuff boxes, c.1760, printed in black with scenes of courting couples to the lids, the interior of one with a further scene of a promenading couple beside musicians, the sides with a continuous stag hunt, damages, 7.8cm max. (2) £150-200

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404. Five English enamel rectangular plaques or box covers, 2nd half 18th century, variously decorated with scenes of rural lovers, landscapes and other figures, some damages, 8cm max. (5) £150-250

405. Two enamel patch boxes, c.1760-70, printed in purple and black, one with a later metal mount, and a snuff box with motherof-pearl base set with a cut down Worcester porcelain saucer printed with lovers, damages and restoration, (3) £100-200

406. Six enamel plaques or box lids, c.1760-80, two shaped and painted with goldfinches, the others rectangular and variously decorated with flowers, figures and ruins, some damages, 7.6cm (6) £200-250

408. A large enamel plaque or box cover, c.1760-70, painted with a fortune teller reading the tea leaves of ladies seated at a table in a formal garden setting, 10.5cm across. £100-150

409. Two circular snuff boxes, late 18th century, with metal bases and enamel lids, one painted with flowers, the other with figures and boats in a harbour, and a circular enamel box lid painted with a rose spray and other flowers, some damages, 6.3cm max. (3) £100-200

The first plaque with a paper label for the Cyril Cook Collection, no.229,

407. Three Bilston enamel snuff boxes, c.1760-80, painted with bold flower sprays and insects, the two smaller boxes with silver-coloured metal sides, some damages £150-250 (3) The two smaller boxes with paper exhibition labels for the English Ceramic Circle, 1977, no. 243.

410. A small group of English enamels, late 18th century, including a rectangular snuff box finely painted with floral bouquets, two small box bases painted with flowers and flying insects, a mother of pearl box with an enamel lid painted with a couple beneath a tree, a card tray with reticulated rim, together with four mother of pearl counters, some damages, 10.8cm max. (9) £120-180 The mother of pearl box with a paper exhibition label for English Ceramic Circle, 1977, No.259.

The smaller box with a paper exhibition label for the English Ceramic Circle, 1977, No. 243.

411. Two Bilston enamel snuff boxes, c.1770, the rectangular forms painted with sprays of flowers including rose, tulip, heartsease and convolvulus on a white ground, the flowers echoed to the interior, and a circular gilt metal box with an enamel lid painted with similar decoration, some damages, 6.7cm max. (3) £150-250

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412. A Battersea enamel rectangular snuff box, c.1755, engraved by Ravenet, the print in puce with Paris awarding the apple to Hibernia, the sides with landscape vignettes, the base with a single flower spray, damages, 8.3cm. £150-250

413. A large enamel shaped plaque or box cover, c.1760, with allegorical decoration of Father Time bargaining with two figures probably representing love and wealth, some damages, 13.7cm. £200-300

414. A Staffordshire enamel scent bottle case, c.1770, the sides moulded and applied with vertical stripes of green dots alternating with blue and gilt narrow bands on a white ground, the glass bottle and stopper present, 5.2cm. £100-200

415. A Staffordshire enamel etui case, c.1770, the cylindrical form moulded with scrolled panels printed in purple with small vignettes of figures in landscapes, containing a later bone-handled make-up £120-180 applicator, some wear, 12cm.

416. Five small enamel plaques or box lids, c.1760-70, one circular and printed in black with a couple fishing, one oval and printed with a portrait of a gentleman standing with outstretched hands, another with the heads and shoulder portrait of a woman wearing an elaborate hat, another with a maiden and Cupid amidst musical instruments, the smallest with a Classical figure leaning on a plinth, some faults, 4.7cm max. (5) £200-300

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417. Four English enamel circular plaques, c.1760-70, printed in black with landscape scenes of European villages, and a Battersea enamel oval box lid printed with a church and an arched bridge over a winding river, some damages, 7cm max. (5) £150-250

418. Two South Staffordshire enamel pounce pots, c.1770, of cruciform shape, one painted with flower sprays and small scattered sprigs, the other with panels of figures in rural landscapes and before Classical ruins, some cracking, 4.5cm high. (2) £250-350 The floral pot with a paper exhibition label for the English Ceramic Circle, 1977, no. 255.

END OF COLLECTION

OTHER PROPERTIES

419. A Staffordshire enamel patch box, c.1770, the oval cover painted with a spoiled anchor beneath the inscription ‘A Pledge of Esteem’, reserved on a pink ground, the interior with a mirror to the inside lid, 4.7cm. £150-250

420. An English enamel patch box, c.1770, the oval form with a raised panel painted with figures beneath a tall tree, inscribed ‘Keep this... for my sake...’, the sides moulded and enamelled a deep blue, the inside cover fitted with a mirror, 4.5cm. £150-250

421. A South Staffordshire egg-shaped bonbonniere or nutmeg grater, c.1770, the wide end faintly inscribed ‘Love the Giver’ within a white beaded border, on a rich blue ground, some good restoration, 5cm. £300-400

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422. A Bilston enamel snuff box, c.1770-80, the cover painted with a shepherd seated by a fountain and playing the pipes to his companion and flock, within a raised gilt scroll border on a white ground, the interior with a portrait of a maiden attending to her hair before a dressing table, the sides with vignettes of sheep, 7.4cm. £800-1,200

424. A Staffordshire enamel mustard pot and cover, c.1780, the baluster form painted with panels of shepherds tending their flock reserved on a deep blue ground with polychrome flower decoration and white diaper panels, the domed cover with an oval spoon aperture, 11cm. (2) £150-250

423. A Staffordshire enamel étui, c.1770, the flattened tapering form moulded with rococo cartouches painted with scenes of Classical figures including Fame blowing her trumpet, and with a figure representing the Arts, reserved within white scroll borders on a blue ground, the contents including a pair of scissors, a penknife, a snuff spoon and a pair of tweezers, some good restoration, 9.9cm. £1,000-1,500

425. A Staffordshire enamel tea canister and cover, c.1770-80, the rectangular form painted with panels of figures in rural landscapes, within raised gilt scroll cartouches reserved on a primrose yellow ground with white raised dots, 11.3cm. £250-350

426. A South Staffordshire enamel scent bottle case, c.1760-80, of flattened rectangular form, painted with panels of flowers within raised enamel scroll borders on a pink ground, the hinged cover enclosing a small glass bottle and stopper, some restoration to the top, 6.4cm. £300-400

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427. An English enamel patch box, c.176070, painted with a profile portrait of George III, within a raised gilt border on a pale blue ground, the circular sides with similar scrolls, the interior cover fitted with a mirror, some good restoration, 4.5cm. £350-450

428. Two Staffordshire enamel patch boxes, c.1770, one oval and inscribed ‘A Token of Regard’ in black within a leaf border, the sides a pale pink, the other rectangular and inscribed ‘A Pledge of Love’ on a large marble plinth, the waisted sides a pale blue, the interior covers with mirrors, 4.3cm max. (2) £200-300

429. An English enamel double snuff box, c.1770-80, the rectangular form with a moulded cover, painted with a seated shepherdess facing her standing companion, the cover opening to reveal two compartments, the sides painted with polychrome flower sprays on a white ground, £250-350 some good restoration, 5.8cm.

430. An English enamel snuff box, c.1775, the embossed cover decorated with a large bird with outstretched wings and head lowered, within a colourful scroll border, the sides with sprays of flowers, some good restoration, 7.6cm. £300-500

431. A Bilston enamel rectangular snuff box, c.1760-80, the cover painted with a couple seated on a grassy slope beside a figure driving a laden donkey, within a raised gilt scroll panel on a white ground, the sides finely painted with vignettes of fruit, one with a bird perched beside, some good restoration, 8cm. £400-600

432. An English enamel small plate, c.1770, painted with a musician playing the flute to a lady seated before Classical ruins beside farm animals, within a moulded rim picked out in gilt and white enamel, cracks, 18.4cm. £150-250

433. A Continental enamel inkstand, 19th century, the shaped pot fitted with a porcelain insert, mounted in the centre of a circular dish finely painted with flower garlands within beaded borders and blue foil decoration on a rich blue ground, raised on an ormolu foot, 19cm dia. £200-300

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434. A Sèvres-style vase, 19th century, one side painted with a panel of rural lovers reclining beneath a tree, the reverse with an arrangement of roses and other flowers, all reserved within gilt foliate borders on a turquoise ground, pseudo interlaced LL mark, losses to the jewelled enamel borders, 37cm. £100-200

435. A large Sèvres-style vase, 19th century, painted with a courting couple and their chaperone seated in woodland, flanked by elaborate gilt dragons on a matt blue ground, raised on a shaped base mounted with three bisque porcelain lions holding shields, some damages, 45cm. £600-800

438. A Paris porcelain small vase and a tazza, c.1840, by Boyer Sr de Feuillet, the gourd shape vase painted with trailing bands of flowers and gilt foliate sprays across narrow blue bands, the Vincennes shape tazza with a shield suspended from a blue ribbon, gilt script marks, 22.5cm max. (2) £150-200

436. A large Sèvres-style vase, 19th century, painted with a scene of ladies feeding birds in a garden and conversing with a young man holding a spade, reserved in a gilt scroll border on a rich turquoise ground, the reverse with a landscape panel, some restoration near the foot, 48cm. £500-700

437. A Vienna-style vase, late 19th century, the slender ovoid form painted with Classical maidens dancing around a sleeping figure, reserved on a gold ground between gilt and enamel bands on a dark blue ground, titled ‘Schmückend Grazien’, pseudo blue shield mark, 24.6cm. £300-500

439. A Sèvres tasse à glâce and a plate, c.1757 and 1783, the stand painted with small flower sprigs within a feathered blue border, the plate with panels of pink roses and heartsease on an oeil de perdrix ground, and a Sèvres-style plate painted en grisaille with a putto painting on a cloud, within a pink oeil de perdrix ground, blue interlaced LL marks, some chipping, 24cm max. (3) £150-250

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440. A Sèvres-style ormolu-mounted bowl, 19th century, painted to the exterior with a boy and girl seated beside a lamb reserved on a rich turquoise ground, the reverse and interior with colourful flowers, pseudo blue interlaced LL mark, raised on a garlanded ormolu base with beaded rim, 37cm across. £600-800

441. A large ormolu-mounted Sèvres-style jardinière, 19th century, painted in the manner of Boucher with a courting couple seated beside a young girl reading a love letter next to a white dove, the reverse with a large panel of flowers, all within gilt cartouches on a turquoise ground, mounted with lion mask and ring handles, pseudo blue interlaced LL mark, restored, 47cm across. £700-900

442. A large Sèvres-style jardinière, 19th century, painted with an interior scene of a mother with two young children and a cat in a kitchen, the reverse with a bird on a flower spray, reserved in gilt panels on a dark blue ground, interlaced LL mark, minor damages, 23.2cm high. £300-500

443. An ormolu-mounted Sèvres-style bowl or centrepiece, 19th century, of navette shape, painted with panels of colourful flowers reserved within gilt borders on a turquoise ground, raised on four scrolling gilt metal feet linked by flower swags, printed S48 mark, 45.5cm across. £500-700

444. A Vienna-style vase and cover, 19th century, painted with a portrait of a lady seated on a high-backed chair and leafing through sheet music, reserved in a raised gilt panel on a mazarine blue ground, the reverse with a continuous elaborate gilt design, blue shield mark, 30.2cm. (2) £800-1,200

445. A large Sèvres-style jardinière, 19th century, the U-shape form painted with a gallant entertaining two young ladies with a mandolin, the reverse with a bold spray of flowers, all reserved in gilt panels on a turquoise ground, interlaced blue LL mark enclosing an A, some wear, 20.3cm high. £300-400

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446. A Sèvres-style monteith with Fable decoration, 19th century, one side painted with a fox barking at a cockerel standing on a branch of a tree, the other with a dog looking at a dead duck tied to a tree branch, reserved within gilt borders on a pink ground, interlaced LL mark, and a wine cooler painted in the Sèvres manner with sprays of pink roses, the monteith cracked, 29cm max. (2) £150-250

447. A large pair of Sèvres-style jardinières, 19th century, one painted with a panel of haymakers, the other with three figures gathering roses in a formal garden, within jewelled and gilt borders on a turquoise ground, the reverse of each with a large panel of flowers, some losses to the jewelling, 20.7cm max. (2) £500-800

448. A pair of Sèvres coffee cans and saucers, c.1840, decorated with a continuous formal flowerhead border in gilt on a rich blue ground, printed marks, marked in green with various dates, 13cm. (4) £200-300

449. A pair of Sèvres-style small tureens and covers, 19th century, the oval forms painted with panels of exotic birds and flower sprays within gilt scroll borders on a turquoise ground, printed S.48 in green, 18.5cm across. (4) £200-300

450. A tall pair of ormolu-mounted Sèvres-style covered vases, 19th century, the slender forms painted with panels of courting couples, signed, within gilt borders on a green ground, red printed marks, the covers fixed, 40cm. (2) £300-500

451. A pair of small ormolu-mounted Sèvres-style vases, 19th century, painted with maidens teasing Cupid, the reverse with birds amidst flowers, within beaded panels on a turquoise ground, 21.7cm. (2) £400-600

452. A pair of Samson Chantilly-style vases and covers, late 19th century, the octagonal forms painted in the Kakiemon palette with panels of exotic birds over and amongst flowering Oriental plants, reserved on a dense ground of blue foliate scrolls, red hunting horn marks in imitation of Chantilly, 42cm. (4) £150-250

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453. A set of twelve Vienna-style cabinet plates, late 19th century, each painted with a different scene of maidens beset by putti, playing with a cat, in garden scenes and at various pursuits, reserved within gilt scroll borders on a mazarine blue ground, titled in black to the undersides, pseudo blue shield marks, 20.4cm. (12) £2,800-3,200

454. A massive pair of Sèvres-style ormolu-mounted vases, 19th century, boldly decorated with battle scenes reserved on a rich turquoise ground, the reverses with scenes of striped military tents in landscapes, all between bands of pink ribbon and roses, with ormolu lion mask handles, some restoration, 72cm. (4) £2,000-3,000

455. A Vienna-style part dessert service, 19th century, the wells painted with square panels of Classical figures and courting couples, signed ‘Paul’, reserved within gilded foliate scrolls and flower garlands on a mazarine blue ground, the rims pierced with a galleried band, each piece titled in black to the underside, blue shield marks. Comprising: two square dishes and six plates. (8) £2,500-3,000

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456. A Paris porcelain (Feuillet) part dessert service, c.1840, finely painted with botanical specimens of flowers and fruit, the rims with panels of further flowers within elaborate gilt borders on a green ground, one plate incised ‘Chantilly’, another signed in gilt for Feuillet. Comprising: a tazza and eight plates. (9) £1,000-1,200

457. A Paris porcelain (La Courtille) part dessert service, c.1815, boldly painted, perhaps in the London atelier of Thomas Baxter, with bold sprays of garden flowers on a white ground within wide gilt bands of palmette and other motifs, blue crossed arrows marks. Comprising: a square dish, two oval dishes, two saucer dishes and six plates. (11) £1,000-1,200

458. A Miles Mason porcelain part dessert service, c.1800, painted with bold flower arrangements on a white ground within formal gilt borders, impressed ‘M Mason’ marks. Comprising: two oval dishes, one square dish, one handled dish and six plates. (10) £400-600

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

459. A Vienna cabinet plate, dated 1798, later decorated with the Punishment of Cupid after Angelica Kauffman, the mischievous putto tied to a tree before three maidens, within an elaborate panelled border in raised gilt on lilac and green, blue shield mark, impressed ‘98’, 24.4cm. £600-800

460. A Vienna cabinet plate, dated 1798, probably later decorated with the calling of Cincinnatus from the plough, the Roman farmer being called to leadership by his peers, reserved within an elaborate border of gilt foliate scrolls and coloured enamel panels reserved on a magenta ground, titled in iron red to the underside, blue shield mark, 24cm. £500-700

461. A Dresden porcelain cabinet plate, early 20th century, painted after Gainsborough with a portrait of the Duchess of Devonshire, signed Schlossar, within a raised gilt rim of flowers and leaves reserved on a pale yellow ground, printed marks, inscribed ‘No 57507’, 25cm. £500-700

462. A Sèvres-style cabinet plate, late 19th century, painted with a battle scene after Horace Vernet’s painting of the Battle of Pont d’Arcole, Napoleon waving the flag to inspire his troops, within a raised gilt border on a deep mazarine blue ground, titled ‘Bataille d’Arcole 1796’, inscribed ‘M. Imp de Sevres’ in iron red, 23.6cm. £400-600

463. A set of four Vienna-style cabinet plates, late 19th century, variously painted with scenes of Classical maidens with Cupid, one of a bacchante playing the triangle, all within shaped mazarine blue borders with gilt and enamel designs, titled to the undersides, psuedo blue shield marks, 22.8cm. (4) £1,200-1,500

464. A pair of Vienna-style cabinet plates, late 19th century, one painted with The Three Fates after Paul Thumann, the other with Bacchus and Venus after Noel Nicholas Coypel, the rims with panels of gilt and enamelled foliate scrolls reserved on a lilac ground, pseudo blue shield marks, 24.5cm. (2) £1,000-1,500

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465. A Sèvres coffee can and saucer, c.1825, decorated with a continuous formal flowerhead border in gilt on a rich blue ground, printed marks, gilt FB monogram for François-Hubert Barbin, marked in green with ‘29 Av 24 E’, 13cm. (2) £100-200

466. A Vienna-style cabinet cup with cover and stand, late 19th century, the can painted with an oval panel of lovers by a waterfall, the saucer with figures and sheep beside a Classical fountain, within raised gilt scroll borders on a blue ground, pseudo blue shield marks, the cover’s finial broken and reglued, 13.1cm. (3) £500-700

467. A large Sèvres-style mug and stand, 2nd half 18th century, painted with sprays and garlands of pink roses between stylized flower sprigs, on bands of green with gilt line decoration, blue interlaced LL and D marks, 20.6cm. (2) £100-200

468. A Paris porcelain plate and a can and saucer, 19th century, the plate painted to the well with a two-handled vase surrounded by flowers on a marble shelf, the can and saucer decorated en grisaille with continuous scenes of sheep in landscapes on a yellow ground, a little wear, 24.3cm max. (3) £100-200

469. A Vienna-style cabinet cup with cover and stand, late 19th century, painted with a putto between two Classical maidens reserved within raised gilt borders of birds and leaf scrolls on a rich blue ground, the cup titled ‘Impune’, pseudo blue shield marks, 15.5cm. (3) £400-600

470. A Paris porcelain bowl with cover and stand, 19th century, painted in red and gilt with seated Chinese figures between stylized mythical creatures and formal scroll panels, blue A mark to the bowl, the finial a wooden replacement, 17.6cm. (3) £100-150

471. Literature: Documents Anciens de La Manufacture Nationale de Porcelaine de Sèvres, Louis XVI et Directoire, Egon Hessling and Georges LechevallierChevignard, 41cm. £50-100

472. Three Russian porcelain dishes from the Banqueting Service for the Grand Peterhof Palace, 19th/early 20th century, by the Imperial Porcelain Factory, St Petersburg, periods of Nicholas I and Nicholas II, decorated in the Sèvres manner with three moulded cabbage leaf or feuille de chou panels edged in blue and containing colourful flower sprays, comprising two shallow bowls and one plate, printed factory marks, 25.3cm max. (3) £400-600

473. Five French porcelain plates, 19th century, three painted with monochrome vignettes of putti within polychrome foliate scrolls, the wells with a gilt crowned monogram, one with flower sprays, the last with a continuous ribboned leaf garland border, the last with a red crowned A mark, 24.2cm max. (5) £150-200

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474. A Russian porcelain copy of a plate from the St George Order service, 20th century, after the original Gardner manufactory service of c.1780, decorated with the Star of the Order to the centre, the rim with the orange and black sash ribbon intertwined with laurel, a crowned blue monogram above the date 1912, crowned green monogram mark in the manner of the Imperial factory, 23.8cm. £250-350

475. A St Cloud beaker and trembleuse saucer, c.1750, the reeded body enclosed by a wide formal foliate border in underglaze £250-350 blue, 13cm. (2)

476. A Meissen cup and saucer, 19th century, the cup painted with a scene of haymakers beside sheep and a donkey, the saucer with cattle and goats beside a stream, reserved on a dark blue ground within elaborate gilt scroll and caillouté borders, blue crossed swords marks, 12.8cm. (2) £150-250

477. An Arras porcelain glass cooler (seau à verre), c.1775-90, the rounded form painted in underglaze blue with the Ronda pattern, painted AR and P mark, 12.4cm high. £150-250

478. A Chantilly soup plate and a St Cloud saucer, c.1740-50, the soup plate painted with a Chantilly sprig pattern, blue hunting horn mark, the trembleuse saucer with a reeded centre within a formal lambrequin design, 26cm max. (2) £100-200

479. A large and early Meissen charger, c.1731-38, painted in underglaze blue with the Zweibelmuster or Onion pattern, blue crossed swords mark and painter’s numeral 4, impressed Dreher’s mark to the footrim, 38.2cm. £250-350

481. A large Doccia teapot or punchpot and cover, late 18th/19th century, moulded with Classical gods including Jupiter, Zeus and Diana, at various pursuits in and around a river, the spout modelled as a mythical serpent, 30cm across. (2) £200-300

482. A Meissen plate and a slop bowl, mid 18th century, the plate painted in underglaze blue with the Zweibelmuster or Onion pattern, the bowl fluted and painted with sprays of deutscheBlumen, beneath an osier moulded border, blue crossed swords marks, 23.4cm max. (2) £200-300

Cf. Victoria and Albert Museum, Accession No. 3406-1853 for an identical example from the Bandinel Collection.

480. A Chamberlain Worcester miniature cabinet cup and saucer, c.1820, the cup painted with a farm worker plunging a hay fork into a pile of hay, reserved on a white ground with a wide gilt rim, iron red script mark, 9.4cm. (2) £100-200

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483. A rare Meissen hausmaler tea canister and cover, c.1730, the rectangular form decorated in silberChinesen with scenes of chinoiserie figures taking tea and at various pursuits, on a pale café au lait ground, blue crossed swords mark, the cover’s finial restored, 12.8cm. (2) £500-800

484. A Meissen hot water jug, c.1740, painted with a large bird perched on a flowering branch which extends to the reverse, the spout and handle formed as elaborate scrolled mythical serpents, blue £200-300 crossed swords mark, the cover lacking, 14cm high.

485. A Meissen tea cup and saucer, c.1760, the saucer painted with a farmhand with his stock beneath a tree, the cup with three figures drinking outside a tavern, within osier moulded borders painted with flower sprigs, blue crossed swords marks, 11.7cm. (2) £250-350

486. Two Meissen saucers, c.1730-40, one painted in polychrome enamels with a couple seated on a rocky outcrop, a musician reclining on the floor before them, the other in underglaze blue with a landscape panel within stylized flower sprays, the reverse with a lustrous brown glaze, blue crossed swords marks, some footrim £100-150 chipping to the latter, 13.6cm. (2)

487. A Meissen part tea service, c.1740, the reeded forms painted in puce and gilt with indianischeBlumen issuing from banded hedges, blue crossed swords and dot marks. Comprising: a tea canister and cover, two tea cups and two saucers. (6) £150-250

488. Two Continental porcelain cabinet plates, 19th century, both painted in the Meissen style, one with peacocks and a long-tailed pheasant, with floral panels to the blue rim, blue crossed swords mark, the other with a courting couple beneath trees, blue R mark, 24.5cm max. (2) £200-300

Provenance: Property of a gentleman.

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489. A Meissen ecuelle with cover and stand, c.1740, finely painted in the manner of J G Klinger with Holzschnitt Blumen of narcissus, convolvulus, heartsease and other flowers reserved within quatrefoil panels on a turquoise ground, within narrow gilt scrollwork borders, blue crossed swords mark to the stand, the ecuelle’s mark erased, one handle restored, 17.7cm. (3) £800-1,200

490. A Meissen part dinner service, mid 18th century, finely painted with sprays of deutscheBlumen within densely moulded forget-me-not flowers and gilt rims, blue crossed swords marks. Comprising: two rectangular dishes, five plates and nineteen soup plates. (26) £800-1,200

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491. A Meissen part tea service, c.1740, finely painted with scenes of traders and merchants in harbours and with figures in rural landscapes, blue crossed swords marks and gilt decorator’s marks. Comprising: a sucriere and cover, two teabowls and two saucers. (6) £1,000-1,500

492. A Meissen part tea service, mid 18th century, painted with pastoral scenes of peasant families at various pursuits in the countryside, blue crossed swords marks. Comprising: a teapot and cover, three cups and two saucers. (7) £250-350

493. A good Meissen saucer, c.1725, painted with a quatrefoil panel of figures on a track beside an obelisk and before low buildings, with an elaborate scrollwork cartouche with panels of Böttger lustre and a bold gilt scroll border, gilt 39 mark, 14.6cm. £300-500

494. An early Meissen sugar box and cover, c.1723-25, of flattened octagonal form, one side of the box painted with a Chinese lady petting a rabbit, the reverse with a man smoking a long pipe, reserved within scrollwork panels and indianischeBlumen sprays, the cover with similar scenes within a panelled floral border, blue KPM mark, the gilding worn, a few small chips, 11cm across. (2) £800-1,200

495. A German porcelain beaker vase, mid 18th century, the tall flared form painted with swags of fruit and flowers suspended between gilt mask handles within foliate scrolls, reserved on a white ground between gilt beaded bands, the base with a large circular drainage hole, a little chipping to the foot, 17.3cm. £350-450

496. A Meissen sugar caster, mid 18th century, the baluster body moulded with flower sprays and applied with fruiting grapevine, the tall domed cover with an elaborate reticulated design, blue crossed swords mark, some damages and repairs, 18.2cm. £400-600

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497. Six Continental porcelain handled knives and six forks, 19th century, the moulded handles painted with polychrome flower sprays within puce scroll borders, the silver knives and forks with hallmarks for Aaron Hadfield, Sheffield, 1825, some damages, 21.3cm max. (12) £100-200 Provenance: the Bill Brown collection.

498. Three white-glazed St Cloud pots or cups, c.1730-40, two of thistle shape, one straight sided and applied with twig handles, all with artichoke moulding of overlapping bracts, the covers lacking, £150-250 13cm max dia. (3)

499. A small collection of buttons, 18th/19th century, three pairs of circular porcelain buttons left in the white, a small pair painted with flower sprays, a deep blue enamel button, and three textured metal buttons, 3.7cm max. (12) £50-100

500. A small Bow vase, c.1758, after Mennecy, of diminutive campana shape, painted in the Chelsea manner with delicate flower sprays, scattered flying insects to the rim, and the interior with a large £150-250 beetle, 5.5cm high. Illustrated: Simon Spero Exhibition Catalogue 1997, no.6.

501. A St Cloud cane handle, c.1740, of ‘Tau’ shape, painted in the Kakiemon palette with a spray of flowers along the top, the sides with flower sprigs, each end with a bird or butterfly in iron red, 10cm across. £200-300

502. Three small St Cloud cane handles, c.1720-30, all rising to smooth bulbous knops, painted in underglaze blue with floral and foliate designs, the narrow ends with cell diaper borders, the largest fitted with a silver mount, 5cm max. (3) £200-300

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503. A St Cloud cane handle, c.1730, of flaring cylindrical form, swelling at the top, painted in the Kakiemon manner with a standing Chinaman holding a branch, the reverse with small huts and flowering plants, the top with a flower spray, some wear, 8.7cm. £300-400

504. A Chantilly cane handle, c.1735, the tapering curved form painted in Kakiemon enamels with a spray of flowering prunus and a single butterfly in flight, reserved on a white ground, 8cm. £250-350

506. Three St Cloud cane handles, c.1730, two lobed and rising to a bulbous knop, the last a smooth knop, painted in underglaze blue to the tops with floral or foliate sprigs, the sides with formal lambrequin designs and cell borders, 5.6cm max. (3) £300-500

505. A St Cloud cane handle, c.1730-40, the flared form painted in Kakiemon enamels with a Chinese figure holding a parasol to the top, the sides with a further figure carrying an object in a garden landscape, a bird in flight above, some wear, 5.4cm. £200-300

507. Two St Cloud cane handles, c.1730-40, the flared cylindrical forms swelling at the top, painted in the Kakiemon manner with Oriental plants and small flying insects, 5.5cm max. (2) £300-500

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508. A Copenhagen biscuit porcelain figure of a girl, 19th century, holding the edges of her dress and dancing beside a covered basket, and three Continental biscuit porcelain portrait plaques of the Prussian General Gerhard Johann David von Scharnhorst, of Duchess Louise of Mecklenburg-Strelitz, the last a profile portrait of a young boy, 27.3cm max. (4) £100-150

509. A pair of Meissen figural candelabra, 19th century, each modelled with a gentleman and his companion seated with a child standing on their lap and supporting a four branch candlestick entwined with flowers, the shaped bases painted with vignettes of birds, blue crossed swords marks, incised D177, some damages and repairs, 48cm. (2) £300-500

510. A pair of Thuringian porcelain candelabra, 19th century, in the Meissen style, each modelled as a seated maiden with a putto on her lap, the bases and branches applied with flowers, detailed in blue and gilt, the branches removable, 46cm. (2) £200-300

511. A Continental porcelain centrepiece emblematic of Music, 19th century, after Meissen, with four putti playing instruments on a rocky base around a campana vase raised on a square column, some damages, 31.5cm. £100-200

512. A Russian porcelain teapot and cover, 19th century, Gardner manufactory, modelled as a quail with open beak, a millet spray resting on its back and forming the handle and cover finial, red printed factory mark, 14.5cm across. (2) £200-300

513. A Russian porcelain figure of a dog, 19th century, Popov factory, seated on its haunches and panting with an open mouth, its coat splashed with brown patches, impressed mark, 19.5cm high. £400-600

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514. Four Russian biscuit porcelain figures, 19th/20th century, Gardner manufactory, one of a pastry seller with a tray of wares around his neck, another of a balalaika player, one of a female lemonade seller, carrying a glass and a jug, the last of an older peasant woman holding a small package in her right hand, red printed factory marks, 20.5cm max. (4) £1,500-2,000

515. A Russian biscuit porcelain figure of a peasant at his supper, 19th/20th century, Gardner manufactory, seated and raising a handled pan to his lips, a lidded barrel to his right side, and two biscuit porcelain still life groups, one of ladles beside a large patterned bowl, the other of a pair of fur-lined gloves beside an upturned top hat, red printed marks, 13.5cm max. (4) £600-800

516. A Russian biscuit porcelain figure of a peasant girl, 19th century, Gardner manufactory, cradling a swaddled baby, standing barefoot on a circular base, printed red mark, and a Gardner-style porcelain figure of a seated accordion player, raised on a square base, blue printed mark, some restoration, 24cm. (2) £300-500

517. A Nymphenburg figure group of musicians, modern, a female cellist seated before a low table with an open music score before her, before a gentleman playing the flute, raised on a scrolling base with gilt and puce highlights, impressed shield mark and crowned CT monogram, 20.5cm. £100-200

518. A large Herend model of a cockerel, modern, standing with his right foot forward, with a plumed tail of red, blue, black and gilt, the base decorated with blue and green scrolls, printed mark, 40.5cm. £200-300

519. A Meissen model of a cockatoo, 19th century, after the model by J J Kändler, perched on a tree stump with wings slightly outstretched and crest raised to reveal the coral plumage beneath, blue crossed swords mark, 23.2cm. £300-500

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520. A Frankenthal model of a hunting dog, c.1770, depicted chasing its quarry, with mouth agape and ears pulled back by the wind, raised on a low rectangular base, a faint rampant lion mark between its back paws, one corner of the base broken and well restored, 15cm long. £150-250

521. A German porcelain figure of a dog, 18th century, his forepaws and muzzle on a dead goose before him, his coat painted with sepia patches, some losses, 6.2cm. £200-300 Provenance: Joseph Sikes, Chauntry House, Newark (d.1798). By descent to Reverend Joseph Sikes (d.1857), to Mary Webster (married Robert Wallis Esq. in June 1862), then by descent through the Wallis family

522. A Frankenthal figure of a dancing boy, dated 1775, with arms raised and his left leg outstretched, wearing a yellow tunic over orange striped breeches, raised on a low scrolled base, blue crowned CT monogram mark, a clean repair to his left knee, 19.2cm. £150-250

523. Three small Meissen figures, 19th century, one of a young gardener holding a watering can, another of Cupid in Disguise as Harlequin, the other of a young vintner squeezing grapes over a shallow bowl, blue crossed swords marks, 10.5cm max. (3) £150-250

524. A pair of Thuringian porcelain figure groups of Autumn and Winter, 19th century, after Meissen, each of a boy and girl, respectively seated with a goat and fruiting grapevine, and on a sledge £100-200 with bundles of faggots, blue R marks, 15cm. (2)

525. A pair of Sitzendorf models of parrots, modern, with bright plumage, together with a Frankenthal figure of Winter raised on a tall base, and a Volkstedt figure of a Chinese body kneeling with a basket of flowers in his lap, blue printed marks, 28.2cm max. (4) £150-250

526. A Meissen pastoral figure group, 19th century, a gardener offering a small posy of flowers to his companion seated on a tree stump, a trug of vegetables at their feet, a rake and spade leaning against the tree behind them, blue crossed swords mark, incised 7534, 17.7cm. £200-300

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527. A Ludwigsburg figure of Artemesia mourning Mausolus, c.1770-75, modelled by Beyer, draped in a tied robe and standing beside a gilded urn bearing a Greek inscription, with tears coursing down her cheeks and holding a chalice in her right hand, blue interlaced CC mark, some good restoration to the base, 26cm high. £300-500 Mausolus was the king of Caria famed for the grand tomb he began to build but never completed. It is the origin of the word ‘mausoleum’. 528. A Frankenthal white-glazed figure of Hercules and the Erymanthian Boar, dated 1778, Hercules’s modesty preserved by a mere fig leaf, his right hand clutching the mane of the open mouthed boar, blue crowned CT monogram mark, some good restoration, 30.2cm. £400-600 529. A Meissen allegorical figure of Charity, mid 18th century, modelled probably by J F Eberlein as a Classical maiden carrying an infant, a further putto hiding beneath her robes, raised on a tall base moulded with arrangements of musical instruments and other objects, traces of a blue crossed swords mark, 29.5cm. £250-350 Provenance: from a private collection in Northamptonshire. 530. A rare Meissen figure of Old Father Time, mid 18th century, probably modelled by J J Kändler, holding a scythe in his right hand, the blade resting on the ground beside his left foot, a winged hourglass in his left hand, his wings outstretched, blue crossed swords mark to the reverse, the handle of his scythe broken, 14.7cm. £600-800 Cf. Sotheby’s, 5th July 2006, lot 54 for a similar example. 531. A large pair of Meissen sweetmeat figures, 19th century, each modelled with a figure reclining and holding the edges of a large basket, the interiors painted with flowers and insects, the exteriors applied with further flowers, cancelled blue crossed swords marks, 32.5cm across. (2) £300-500 Provenance: a private English collection. 532. No lot

531

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533. A pair of Frankenthal sweetmeat figures, c.1760-65, each modelled as a small boat with a figure seated at the helm and holding the tiller emerging from the mouth of an ornamental dolphin, indistinct mark to one, good restoration, 12.5cm across. (2) £500-800

534. A Frankenthal sweetmeat figure, c.1765, modelled as a Levantine wearing a turban with crescent embellishment, standing beside a deep scrolling basket and holding a small pot of Turkish delight in his left hand, blue crowned CT monogram mark, a small amount of good restoration, 19cm. £600-800

535. A Frankenthal sweetmeat figure of Winter, c.1760, modelled by Johann Friedrich Lück as a dandified gentleman in yellow waistcoat and a fur-lined suit, seated beside a deep scrolled basket and holding an ice skate in his extended right hand, blue crowned CT monogram mark, a tiny amount of restoration, 14cm. £600-800 Cf. The Victoria and Albert Museum, Museum No. C.44-1989, for a similar figure. These seasonal sweetmeats were from a table centrepiece, only three of which are recorded today.

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536 536. Two Meissen figures of woodcutters, mid 18th century, modelled by J J Kändler after engravings by Edmé Bouchardon, one kneeling on a stack of logs and sawing through a length of wood, the other splitting logs with an axe, faint blue crossed swords marks, some good restoration, 13.5cm. (2) £800-1,200 537. A small Meissen figure of a lady, mid 18th century, allegorical of Spring, wearing Classical dress and resting a basket of flowers on her right hip, a single bloom in her left hand, raised on a low square base applied with further flowers, blue crossed swords mark to the back of the base, some good restoration to her right arm, 12cm. £300-500 Provenance: from a private collection in Northamptonshire. 538. A Frankenthal figure of a gallant, c.1765, standing and holding a single lemon aloft in his right hand, raised on a low scrolled base picked out in gilt and puce enamel, blue crowned CT mark and initials AB for Adam Bergdoll, some good restoration, 14.8cm. £150-250 539. A Frankenthal white-glazed figure of a vinegar seller, c.1770, after Meissen’s Cris de Paris series, wheeling a barrel mounted on a short barrow with a funnel and mug hanging off the side, blue crowned CT monogram mark, some damages, 21cm. £300-500 540. A Meissen figure of a shepherdess, mid 18th century, modelled by J J Kändler and P Reinicke, a sheep recumbent at her feet, her apron full of colourful flowers, holding a single bloom in her right hand, raised on a low pad base, blue crossed swords mark to the reverse, some good restoration, 15.3cm. £350-450

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541. A Doccia figure of an Oriental, c.1770, standing in a dancing pose with left hand outstretched, wearing a long blue coat over a tied tunic and yellow sandals, raised on a low square base, damages and repairs, 15.5cm. £200-300

542. A Meissen figure of Paris, mid 18th century, seated on a rocky base and holding the Golden Apple in his right hand, draped in a loose cloak decorated in indianischeBlumen, blue crossed swords mark to the back of the base, minor restorations, 12cm. £500-800 Provenance: from a private collection in Northamptonshire.

543. A Meissen figure of Spring, c.1760, from a set of the Seasons, modelled by F E Meyer as a Classical maiden, resting a basket of flowers on her right hip and holding a small posy in her left hand, a chicken sitting on a nest beside her left foot, a small amount of good restoration, 14cm. £300-500

544. A Frankenthal figure group of the Abduction of a Sabine Woman, dated 1777, after Giambologna, the unfortunate victim being held aloft by a bearded Roman leaning on the back of another man holding a rock, blue crowned CT monogram above 77, some chips to the fingers of her left hand, 27cm. £500-800

Provenance: a private collection in Northamptonshire.

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545. A Meissen figure group of lovers, 2nd half 18th century, modelled by J J Kändler, of a gallant offering flowers to a shepherdess seated and playing the mandolin while a lamb reclines at her feet, the low pad base applied with leaves and flowers, tiny faults, 13.2cm. £500-800

546. A Meissen figure of the Map Seller, mid 18th century, from the Cris de Paris series, modelled by J J Kändler, holding an unfurled map of Italy in his right hand, a further scrolled map in his left, a chest and other bundles strapped to his back, blue crossed swords mark, some good restoration, some decoration later, 16.7cm. £800-1,200 Cf. Len and Yvonne Adams, Meissen Portrait Figures, p.108, pl.XXX, and p.93 for the original drawing by Edmé Bouchardon.

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547. A Meissen figure of Il Capitano from the Duke of Weissenfels series, mid 18th century, modelled by Peter Reinicke, from the Commedia dell’Arte, the Captain standing in flamboyant pose with one foot extended and his hands resting on his hips and back, wearing a flowered waistcoat over black breeches, blue crossed swords mark, small restorations, the decoration perhaps later, 14cm. £800-1,200

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548. A rare Chinese Batavian European-decorated teabowl and saucer, Kangxi 1662-1722, decorated in underglaze blue with flower sprays, the underside glazed brown, with later wheel-engraved decoration in Saxony or Bohemia, of small figures at various pursuits between leafy branches, 11.6cm. (2) £300-500 Cf. Helen Espir, European Decoration on Oriental Porcelain, p.59, pl.12 for a similar example.

550. A London-decorated Chinese teapot and cover, Qianlong 1736-95, possibly decorated by Thomas Hughes in black monochrome pencilling with figures standing before a church building in a landscape, the reverse with a couple in conversation before Classical ruins, 17.8cm across. (2) £700-1,000

549. A London-decorated Chinese porcelain teapot stand, Qianlong 1736-95, the fluted hexagonal form painted perhaps in the atelier of James Giles with exotic birds standing beside leafy branches, 13.3cm. £200-300 Illustrated: Stephen Hanscombe, The Early James Giles and his Contemporary London Decorators, no.98.

551. A large European-decorated Chinese teapot and cover, Qianlong 1736-95, painted in puce monochrome with a bridge before a small turreted building in a mountain landscape, the reverse with a figure fishing in a similar landscape, the cover with a peach finial, 23cm across. (2) £400-600

Cf. Stephen Hanscombe, The Early James Giles and his Contemporary London Decorators, pp 134-135, fig 151 for a similarly decorated tea canister and cover. Paper label for the Zorka Hodgson Collection.

552. A London-decorated Chinese blanc de Chine beaker, Kangxi 1662-1722, the flared octagonal form painted in the Kakiemon palette with stylized flower sprays in the Japanese manner, 7cm. £100-200

553. A European-decorated Chinese porcelain saucer, 18th century, originally decorated in underglaze blue with an island landscape, with English enamelling of a polychrome stag hunt scene within a bianco£150-250 sopra-bianco border, 11.6cm.

554. A European-decorated Chinese teapot and cover, Qianlong 1736-95, the globular body painted in the London atelier of James Giles with sprays of European flowers, and a similarly decorated Chinese porcelain jug and cover, 17.8cm max. (4) £250-350 Illustrated: Stephen Hanscombe, The Early James Giles and his Contemporary London Decorators, no 49.

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555. Six Chinese porcelain soup plates, Qianlong 1736-95, painted in underglaze blue with vases and tied scrolls, the cavetto with a hatched diaper border flanked by flowering branches, some damages, 22.5cm. (6) £300-400

556. Two Chinese porcelain plates and a saucer, 18th/early 19th century, one decorated in famille verte enamels with a version of the Two Quail pattern, the saucer similarly decorated with a different version, the other plate with later enamelled decoration to simulate the tobacco leaf design, 23cm max. (3) £250-350

557. A Chinese porcelain five vase garniture, Qianlong 1736-95, comprising three baluster vases with covers and two sleeve vases, decorated for the European market with gilt initials suspended in oval ribboned cartouches, 16cm. (8) £150-250

558. A pair of Flight, Barr and Barr small plates, c.1810, painted in the Kakiemon palette with a variation of the Two Quail pattern, an octagonal Chelsea soup plate with two quail beside millet stems and banded hedges, a late 19th century soup plate with similar printed and coloured decoration, and a Paris porcelain saucer painted with a continuous landscape, some damages, 25.4cm max. (5) £150-250

559. A group of Liverpool teawares, c.1762-75, including a Philip Christian trio of coffee cup, teabowl and saucer, a Richard Chaffers teabowl and saucer and a similar coffee can, all variously decorated in polychrome enamels with peony sprays, a Chaffers saucer and a similar coffee cup painted with rose-centre flower sprays, some faults, 13.8cm max. (8) £300-400

560. A Worcester teabowl and saucer with slop bowl, c.1768-75, painted with the Astley or Harvest Bug pattern, the insect beside sprays of Oriental flowers, and a Worcester dolphin ewer cream boat painted with flower sprays, 15.2cm max. (4) £250-350

561. An early Bow small mug or coffee can, c.1752, the straight-sided body painted in famille rose colours with a large peony spray before holey rockwork, and an unusual pickle dish, later decorated with concentric bands of hexagonal panels containing pink and blue flowerheads, the reverse washed in green, some faults, 8.5cm max. (2) £150-250

562. Two Worcester teapots and covers, c.1760-65, one of fluted barrel form and painted with fancy birds beneath husk swags, open crescent mark, the other of globular form and painted with Chinese figures in interior scenes, 20cm max. (4) £250-350

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563. A small group of English porcelains, c.1770-80, including a blue and white Richard Chaffers (Liverpool) teabowl with peony and bamboo beside a fence, a Worcester teabowl printed with fruit sprays, a Lowestoft saucer painted with a pagoda landscape, and a Bow polychrome creamer painted with flower sprays, 12cm max. (4) £100-200

564. Three Liverpool blue and white saucers, c.1760-75, one Richard Chaffers, of octagonal form and painted with the Jumping Boy pattern, one Pennington’s and printed with the Porter and Ferry Boat pattern, the last clobbered in red and gilt and painted with a bird perched on flowering branches, together with a Chaffers coffee cup in the same pattern, and a teabowl printed with a couple standing before cattle, some faults, 12.5cm max. (5) £120-180

565. A pair of Worcester blue and white sauceboats, c.1775, moulded and painted with the Strap Flute Floral Sauceboat pattern, with panels of flowers reserved beneath cell diaper borders, a single flower spray to the interiors, open crescent marks, and a Worcester slop bowl printed with the Birds in Branches pattern, hatched crescent mark, 17cm max. (3) £120-180

566. A Worcester blue and white teabowl and saucer, c.1775, printed with the Man in the Pavilion pattern, another Worcester teabowl printed with a European landscape, and a strap-moulded sauceboat, open and hatched crescent marks, 17.2cm max. (4) £120-180

567. A Philip Christian (Liverpool) blue and white teabowl and saucer, c.1770, painted with simple peony sprays, a Pennington’s coffee can or small mug printed in underglaze blue with the Two Quail pattern, and a Worcester coffee can painted with the Cannonball £150-200 pattern, open crescent mark, 12cm max. (4)

568. Two Worcester blue and white milk jugs, c.1765-75, one printed with the Birds in Branches pattern, the other with the Three Flowers pattern, and a Worcester slop bowl in the Fence pattern, hatched crescent marks, 17.5cm max. (3) £120-180

569. An English porcelain blue and white miniature part tea service, late 18th century, possibly Caughley/Coalport, printed with the Fence pattern. Comprising: a slop bowl, six teabowls and five £150-250 saucers (12)

570. Three Lowestoft blue and white coffee cans, c.1770-80, each painted with pagodas beside and behind a low ornamental wall in a Chinese island landscape, the interior rims with an unusual panelled foliate band, 6.5cm. (3) £150-250

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571. Three English porcelain blue and white butterboats, c.176070, one Lowestoft, of rare form with overlapping leaves to the exterior, painted with chrysanthemum sprays to the interior, one Worcester and painted with the Pickle Leaf Daisy pattern, the last Derby and painted with a rose spray, minor damages, 9.7cm max. (3) £300-500

572. Two Lowestoft blue and white butterboats, c.1775, the deep leaf shapes painted to the interiors, one with cannon ball type rocks before a pagoda, the other with a figure in a sampan before a strata island, and a Worcester butterboat of similar form painted with the Mansfield pattern, open crescent mark, 7.7cm max. (3) £100-200

573. Three English porcelain blue and white pickle leaf dishes, c.1770-80, of vine leaf shape, one Lowestoft and painted with grapevine within a berry border, one Caughley and painted with a central star motif within a serrated rim, the other Liverpool and painted with three flower sprigs, 10cm max. (3) £120-180

574. A Caughley blue and white wine taster, c.1780, of deep circular form with a leaf handle, a leaf-shaped butterboat and a pickle leaf dish, all printed with the Fisherman and Cormorant pattern, S+ mark to the pickle leaf, 9.2cm max. (3) £100-200

575. A Bow blue and white butterboat, c.1755, the deep bowl formed of overlapping leaves, painted to the interior with small flower sprigs, and a Derby pickle leaf, painted with fruiting vine and small flower sprays, 8.7cm max. (2) £100-200

576. A large Worcester blue and white pickle dish, c.1755, of deep leaf shape, painted with the Two Peony Rock Bird pattern, workman’s mark, and a Worcester hors d’oeuvres dish painted with the Willow Rock Bird pattern, open crescent mark, 12cm max. (2) £150-250

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577. A rare Plymouth blue and white hors d’oeuvres dish, c.1770, of tapering fan shape, painted to the exterior with three sprays of convolvulus below a double blue line rim, 12cm across. £300-500.

578. A rare Lowestoft blue and white egg drainer, c.1775, the circular form painted with a version of the Fitzhugh border, the well reticulated with a geometric arrangement of holes, 9cm. £300-500 Paper label for the Eileen Pull Collection.

579. A Worcester blue and white pickle dish, c.1758-60, of scallop shell form, painted with the Two Peony Rock Bird pattern, workman’s mark, 8.2cm. £100-200

580. A Worcester blue and white butterboat, c.1760, painted with the Butterboat Formal Rose pattern, the exterior with geranium leaf moulding, faint workman’s mark, 8.3cm across. £150-250

581. A Worcester blue and white butterboat and a pickle dish, c.1758-65, the butterboat moulded with geranium leaves and painted to the interior with the Butterboat Mansfield pattern, the pickle with the Pickle Leaf Vine pattern, workman’s mark to the butterboat, 9cm max. (2) £120-180

582. Three English porcelain butterboats, c.1755-70, one Bow and painted in underglaze blue with a flower spray to the well, raised on three peg feet, one Liverpool, possibly William Reid, and of deep leaf shape painted with a flower spray to the interior, the last of unusual leaf shape with a high handle, possibly Derby, left in the white, 9.7cm max. (3) £150-250

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583. A Worcester blue and white fingerbowl and stand, c.1758, painted with the Cormorant pattern, the eponymous bird perched atop a holey rock beside a small fisherman and flowering branches, workman’s mark to the stand, 14.5cm. (2) £200-300 Paper labels for Simon Spero’s Exhibition, 2012, No.33.

584. A rare Worcester blue and white mug, c.1758-60, painted in a previously unrecorded pattern of a figure fishing in a Chinese landscape with low huts and weeping willow, a large rock in the foreground with an unusual even hole in the centre, script W mark, 11.7cm. £300-500 This pattern is unrecorded in Branyan, French and Sandon but bears similarities in the unusual rock formation to the rare Transparent Rock pattern, seemingly only known on butterboats c.1758.

585. A Richard Chaffers (Liverpool) blue and white teabowl and saucer, c.1760, painted with the Triffid pattern, a figure in a boat beside a large lumpy rock and a small pagoda, 12.2cm. (2) £300-500

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586. A good Worcester blue and white teabowl and saucer, c.175558, finely painted with the Landslip pattern, a tall willow in the foreground of the sloping landscape, workmen’s marks, 12cm. (2) £300-400

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587. Two Bow blue and white kidney-shaped dishes, c.1760, painted with a shaped panel of a figure in a boat beside pagoda islands, the rim with landscapes in fan-shaped panels and small floral circular panels, all reserved on a powder blue ground, tied scrolls painted to the underside of the rim, script marks, small damages, 27.2cm and 26.1cm. (2) £250-350

588. A small pair of Bow blue and white plates, c.1760, painted with circular and fan-shaped panels of Chinese island landscapes and small flower sprigs, reserved on a powder blue ground, pseudo script £200-300 marks, 17.8cm. (2)

589. A small pair of Bow blue and white plates, c.1760, with scalloped rims, painted with circular and fan-shaped panels containing Chinese island landscapes, reserved on a powder blue ground, pseudo script marks, 19.2cm. (2) £200-300

590. Two Worcester plates, c.1770, both decorated with a figure in a boat in a Chinese landscape, the rim with fan-shaped panels of island scenes, one clobbered with red and green enamels and gilding, pseudo Chinese script marks, 23.3cm. (2) £250-350 Provenance: formerly in the Zorensky Collection, Nos. T.98 and Y.31.

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591. A Worcester blue and white teabowl and saucer, c.1755, of Warmstry fluted form, painted with the Prunus Root pattern, the flowering branches extending to the teabowl’s interior, workman’s marks, 12cm. (2) £250-350

592. A Worcester blue and white octagonal teabowl, c.1756, painted with the Romantic Rocks pattern, a traveller climbing a precipice beside crossed rocks, the interior rim with a lattice border, workman’s mark, two small rim chips, 6.5cm dia. £100-200

593. A Worcester blue and white teabowl and saucer, c.1765, painted with the Waiting Chinaman pattern, the figure standing before a fence, with his hands tucked into the ends of his sleeves, open crescent marks, 13cm. (2) £150-250

594. A Richard Chaffers (Liverpool) blue and white saucer, c.1760, painted with the Trifid pattern, a misshapen rock dwarfing a low hut in an island landscape, 11.8cm. £120-180

595. A Derby blue and white sauceboat, c.1770-80, moulded with rococo panels between fruit and flower sprays, a pickle dish painted in a bright blue with a flower spray, and a Pennington pickle leaf dish decorated with a spray of roses, some damages, £100-200 19.5cm max. (3)

596. A large Philip Christian (Liverpool) blue and white sauceboat, c.1765-72, elaborately moulded with foliate scrolls enclosing vignettes of Chinese figures fishing beneath willow and beside an ornamental fence, the interior painted with peony sprays, a small footrim chip, 20.3cm across. £100-200

597. A group of blue and white Worcester porcelains, c.1770-80, including a square shaped dish printed with the Pinecone pattern, a slop bowl, a hot water jug and a sucrier base printed in the Fence pattern, and a small bowl printed in the Three Flowers pattern, hatched crescent marks, some damages, 30.3cm max. (5) £150-250

598. A Lowestoft blue and white basket, c.1775-80, printed with the Pinecone pattern, the oval form with openwork sides applied to the exterior with small flowerheads, 23cm across. £150-250

599. A pair of Worcester blue and white ovoid vases, c.1770, painted with the Telephone Box pattern, with Chinese figures standing beneath formal foliate scroll borders, open crescent marks, a 6mm rim chip to one, 18.5cm. (2) £250-350

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600. Two large English porcelain blue and white sauceboats, c.1770, the larger Derby printed with Chinese fisherman in landscape vignettes reserved on a pineapple-moulded ground within cell diaper borders, the other Bow and painted with peony branches within floral moulded panels, minor faults, 24.5cm max. (2) £100-200

601. Two James Pennington (Liverpool) blue and white sauceboats, c.1770, the smaller strap-moulded and painted with pagoda landscapes, the other with simple floral designs within rococo panels, 18.8cm max. (2) £100-200

602. A small Worcester blue and white mug, c.1765, painted with the Cracked Ice Ground pattern, open crescent mark, and a larger Caughley mug printed with the Bell Toy pattern, some damages, 10.4cm max. (2) £100-150

603. Two English porcelain blue and white sauceboats, c.1770-80, one Pennington’s (Liverpool) and painted with Chinese landscape vignettes within moulded scroll panels, the other Caughley and printed with pagoda landscapes, restoration to the former, 17cm. (2) £100-150

604. A Lowestoft blue and white teapot and cover with slop bowl, c.1775, painted in the Immortelle pattern with loose flower sprays in wide panels, blue crossed swords marks after Meissen, 18.5cm max. (3) £400-600

605. A group of Worcester blue and white teawares, c.1760-80, variously printed and painted with patterns including Birds in Branches, the Fence pattern, Prunus Root, the Circled Landscape, the Bandstand and the Chrysanthemum pattern, including seven teabowls £200-300 and six saucers, some faults, 13.3cm max. (13)

This design is commonly seen on a tightly fluted ground, and these pieces are unusual in featuring it on a plain ground.

606. A Caughley blue and white teabowl and saucer, c.1790, printed with the Trench Mortar or Malay House pattern, a New Hall saucer and a Coalport saucer both printed with Chinese pagoda designs, a Wedgwood pearlware teabowl and saucer with a similar Chinese landscape, and a pearlware teabowl printed with a pine tree issuing cones, 13.7cm max. (7) £100-200

The larger with paper labels for the Watney Collection and the Nicholas Panes Collection.

607. Four Lowestoft blue and white saucers, c.1770, two painted with Chinese island landscapes, one with bamboo and peony issuing from a fence, the last printed with the Three Flowers pattern, and a Bow octagonal soup plate painted with peony and bamboo, some £150-250 faults, 22.5cm max. (5)

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608. A Caughley blue and white eyebath, c.1775, printed with excerpts from the Fisherman and Cormorant pattern, raised on a moulded baluster stem above a lightly fluted foot, 5.5cm. £400-600

609. A rare Champion’s Bristol blue and white teabowl, c.1775, printed with a spray of flowers including peony, prunus and carnation, the interior rim with a wide border of diaper panels and foliate scrolls, 7.7cm dia. £100-200 Cf. F S Mackenna, Champion’s Bristol Porcelain, figs. 6-8 for other shapes in the same pattern.

610. A Bow blue and white patty pan, c.1760, the small flared form painted with fan-panelled landscapes and small floral sprigs reserved on a powder blue ground, 10.5cm dia. £150-250

611. A Caughley blue and white eyebath, c.1775, printed with excerpts from the Fisherman and Cormorant pattern, raised on a spreading foot, a small chip to the foot, 6.2cm. £400-600

612. An unusually small Worcester blue and white coffee pot and cover, c.1760-70, painted in the Mansfield pattern, script W mark, minor faults, 13.2cm high. (2) £150-250

613. A Worcester blue and white mug, c.1765, painted with the Walk in the Garden pattern, a Chinese boy with a bird on the end of a stick, walking with a Chinese lady carrying a ruyi sceptre, open crescent mark, 12.8cm. £150-250

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Provenance: Knowles Boney Collection, no. 761. Sold at Sotheby’s 5th June 1967, lot 63.

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614. Two English porcelain miniature teabowls and three saucers, c.1770-90, one teabowl Lowestoft and painted with a pagoda landscape within a berry border, the other Worcester and printed with the Three Flowers pattern, two saucers Caughley painted with the Island pattern, the last Lowestoft and painted with a low hut between tall plants, and a later miniature teabowl printed with roses, some faults, 8.7cm max. (6) £100-200

615. Seven Worcester and Caughley blue and white coffee cups, c.1765-80, two painted with the Rock Strata Island pattern with a matching saucer, another with a saucer in the Bird in a Ring pattern, others in the Cannonball, Fisherman and Fence pattern, the last moulded between formal blue borders, 12cm max. (9) £200-300

616. A Worcester blue and white creamboat, c.1760, of hexagonal form, moulded with a geranium leaf beneath the spout, painted with the Bare Tree Pagoda pattern, open crescent mark, a small nick to the spout, 10.8cm across. £250-350

617. A Lowestoft teapot and cover, c.1765, painted with a panel of Chinese figures to one side, the reverse with a spray of flowers, reserved on a powder blue ground, with later iron red and gilt decoration, some damage to the cover, 16.5cm across. (2) £100-200

618. A Philip Christian (Liverpool) blue and white mug, c.1765-72, finely moulded with flowering branches around scrolled panels of Chinese fishermen beneath willow and beside pagodas, the rim with a double trellis border, 9.6cm. £150-250

619. A Lowestoft blue and white hot water jug and cover, c.1770, painted with the Mansfield pattern beneath an elaborate formal border, open crescent mark, 12.8cm. (2) £400-600

620. A Worcester blue and white jug, c.1758, well painted with the Walk in the Garden pattern, a long Eliza figure with a small boy holding a stick with a bird perched on one end, a gnarled prunus tree to the reverse, workman’s mark, a small nick to the end of the spout, 14.5cm. £300-500

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621. A Worcester blue and white part tea service, c.1755, comprising of a teapot and cover, four teabowls and four saucers, the Warmstry fluted forms painted with the Prunus Root pattern, workmen’s marks, minor faults, 18cm max. (10) £300-500

622. A rare Derby blue and white coffee pot and cover, c.1765, of tapered cylindrical form, painted with a version of the Cannonball pattern with distinct round rocks in a Chinese pagoda island landscape, the spout with a long flower spray, cracked, 20.2cm. (2) £150-250

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623. A Worcester blue and white coffee pot, c.1760-65, of finely reeded form, painted with a cell diaper border, a single flower spray to the spout, open crescent mark, 22.7cm. (2) £150-250

624. A rare Lowestoft blue and white tea canister, c.1775, the ovoid form printed with the Three Flowers pattern, the reverse with moths and small flower sprays, hatched crescent mark, 14.9cm high. £600-800 Cf. Geoffrey Godden, Lowestoft Porcelains, p.215 for a discussion of this rare shape. Also Bonhams, 2nd May 2018, lot 404 for a similar example in the Fence pattern.

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625. A Worcester printed teabowl and saucer, c.1765, printed in black with the L’Amour pattern after Robert Hancock, two lovers on a bench before a chaperone, signed R H Worcester in the print and with an anchor rebus for Richard Holdship, a Liverpool teabowl printed in the Milkmaids pattern, and a Worcester teacup with printed and coloured views of Classical ruins, 12cm max. (4) £150-250

626. A Richard Chaffers (Liverpool) teabowl and saucer, c.1760-62, printed in black with the Tea Drinkers, a couple seated at a table in a garden setting and being waited on by a young Turk, the reverse of the teabowl with a shepherd tending his flock, 11.7cm. (2) £150-250 Paper labels for the E & J Handley Collection.

Provenance: the property of Marie Polley.

627. A Worcester two-handled sauceboat, c.1755, the exterior printed in black with four vignettes of Men of War ships within moulded leaf panels, the interior with a river scene of swans and other aquatic birds, 19cm across. £250-350

628. A Philip Christian (Liverpool) teabowl and saucer, c.1765, printed in black with the Rock Garden, a couple seated before Classical ruins, the reverse of the teabowl with a small vignette of a hunter, 12cm max. (2) £200-300

629. A Worcester vase, c.1770, finely printed in black with a Milking Scene and Rural Lovers after Robert Hancock, linked by birds in flight, 17.5cm. £350-450

630. A rare Worcester saucer dish, c.1760, printed in black with an unusual variation on the Tea Party design, a couple seated on an elaborate canopied bench with a servant standing in the shade behind, £300-500 a small dog and a large cat in the foreground, 17cm. While the bulk of this print bears a marked resemblance to Tea Party No. 2, the inclusion of the scrolled bench with garlanded canopy does not appear to be recorded elsewhere.

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631. A Bow porcelain handled knife, c.1750-55, of pistol grip form, white-glazed and moulded with foliate scrolls, and a Royal Crown Derby knife gilded with a crown between beaded bands, 22.8cm max. (2) £80-120

632. A Chelsea-style goat and bee jug, 19th century, Derby or Coalport, the jug supported on the backs of two recumbent goats, the handle formed as an oak branch, incised triangle mark, small damages, £100-200 11.5cm high.

633. An early Chelsea porcelain fork handle, c.1752, the pistol grip haft moulded with tea plant sprays and left in the white, with a 20th century silver three-pronged fork hallmarked for London 1932, 18.5cm. £100-200

634. A Worcester shell-shaped dessert dish, c.1780, decorated in a pattern similar to the Earl of Dalhousie, with a shaped landscape panel within garlands of fruit between scattered moths, the rim with gilt diaper panels on a blue border, open crescent mark, 19.5cm. £400-600

635. A Worcester two-handled chocolate cup and saucer, c.1770, painted with arrangements of spotted fruit, amid scattered leaf sprigs and flying insects, reserved within a shaped apple green border edged in gilt scrolls, 14.7cm. (2) £300-400

636. A Worcester junket dish, c.1775, painted to the well with arrangements of spotted fruit within a shaped apple ground rim edged in gilt, 22.8cm. £150-250

637. A small Worcester mug, c.1770-75, the cylindrical form painted with shaped panels of polychrome flowers reserved on a blue scale ground, script W mark, 8.5cm. £100-200

638. A Worcester sucrier and cover, c.1780-85, of fluted form, finely painted perhaps by George Davis with colourful ‘fancy’ birds on and before leafy branches, the cover with a floral knop, open crescent mark, 12.3cm. (2) £600-800

639. A rare Longton Hall saucer or stand, c.1755, moulded with six petals, the well painted in the Trembly Rose manner with a delicate spray of flowers including pink rose and honeysuckle, a puce flower spray to the underside, and a Longton Hall strawberry plate, painted with flowers to the well within moulded fruit sprays and leaves, the latter broken and restuck, 23.2cm max. (2) £200-300

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640. A Worcester two-handled basket, c.1770, the oval form painted to the interior with colourful long-tailed birds standing amidst leafy plants, reserved on a blue scale ground, the openwork sides applied to the exterior with pink flowerheads, twig handles issuing from further applied flowers, square seal mark, 22cm across. £600-800

641. A Worcester basket, c.1770, the oval form painted to the well with exotic birds in flight above and perched before leafy branches, reserved within a formal gilt border on a blue scale ground, the openwork sides applied with pink flowerheads, square seal mark, some good restoration to one handle, 22.3cm across. £600-800

642. A pair of Worcester scallop edged plates, c.1765, painted with panels of flower garlands reserved within gilt scroll borders on a blue scale ground, square seal marks, 19.7cm. (2) £150-250

643. Two Worcester tea canisters and covers, c.1765-75, of ovoid form, one painted with panels of floral swags reserved on a blue scale ground, the other fluted and painted with polychrome flower sprays, 16.5cm. (4) £600-800

644. A Worcester circular basket, c.1760, finely painted to the interior well with a spray of flowers including pink rose, the rim with a continuous band of orange and puce flowers, the flared sides formed of interlocking circles and applied with orange flowerheads, 20.9cm dia. £500-700

645. A Worcester two-handled basket, c.1770, the oval shape painted to the interior with a panel of flowers reserved on a blue ground, the exterior walls applied with pink flowerheads along the openwork sides, twig handles issuing from further applied flowers, square seal mark, a small amount of restoration, 19cm across. £400-600

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646. A rare and large Worcester hexagonal vase and associated cover, c.1770, boldly decorated in the Rich Kakiemon manner with panels of long-tailed birds beside banded hedges and large flowering plants, reserved within gilt scroll borders on a blue scale ground, square seal mark, some restoration, the cover later, 30cm. (2) £1,200-1,500

647. A Worcester coffee pot and cover, c.1765, the baluster form painted with colourful flower sprays and single scattered leaves and sprigs, the spout and double stem handle with puce detailing, blue crossed swords and 9 mark, 22.8cm. (2) £200-300

648. A rare Bow spoon or ladle, c.1760, the bowl painted to both sides with bold, colourful flower sprays, echoed to the undulating fishtail handle, 17.5cm. £300-500

649. A Philip Christian (Liverpool) armorial milk jug, 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, 9.2cm. £250-350 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.

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Provenance: property of Marie Polley.

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650. A rare pair of Chelsea pot pourri vases and covers, c.1760, painted with heart-shaped panels of lovers after François Boucher, seated in garden settings, the reverses with panels of flowers, reserved on a blue ground with gilded moths and other flying insects, the sides applied with flowering branches beneath reticulated necks and covers, gold anchor marks, some damages and repairs, 22.5cm. (4) £3,000-5,000 Cf. Victoria & Albert Museum, Accession No. 828-1882 for a similar vase from the John Jones collection, and Mallet, J.V.G., Chelsea Gold Anchor Vases, I: The Forms, English Ceramic Circle Transactions, Vol.17, Part 1, 1999, p. 149. fig. 40.

651. Three Derby figure stands, c.1760, one unusually decorated with a landscape panel to one side, a bird and flying insects to the other three sides, the other two of differing form and brightly painted with exotic birds, the scrollwork picked out in gilt, green, puce and turquoise enamels, minor damages, 20cm across max. (3) £800-1,200

652. A large pair of Derby stands, c.1760, of shaped square form, each painted with panels of exotic birds alternating with moths and other flying insects, within foliate scrolls picked out in green and gilt, some faults, 20cm across. (2) £1,000-1,500 Provenance: from a private collection in Northamptonshire.

Provenance: from a private collection in Northamptonshire.

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653. A Worcester vase, c.1765, painted in the Rich Kakiemon manner with large panels of long-tailed birds above and beneath bold flowering plants, reserved within gilt scroll cartouches on a blue scale ground, square seal mark, 16.5cm. £450-550

654. A Longton Hall vase and cover, c.1758-60, of asymmetrical rococo form, painted with colourful butterflies within moulded panels applied with flowers, the cover made up of a variety of different blooms, dark red C marks, a little restoration, 19.5cm. (2) £250-350

655. A good Worcester sparrow beak jug and cover, c.1765, painted with panels of flower garlands and single sprigs, reserved in gilt scroll borders on a blue scale ground, open crescent mark, 13cm. (2) £450-550

656. A Chelsea octagonal teabowl and saucer, c.1750-52, painted in the Kakiemon palette with alternating panels of flowers, tied auspicious objects and gilt chrysanthemum mons on an iron red scroll £200-300 ground, the teabowl broken and restuck, 12.8cm. (2)

657. A rare pair of Bow vases, c.1760, of ovoid shaped, each raised on a shaped domed foot with a short flared neck, painted in polychrome enamels with bold flower sprays, flying insects and moths, brown line rims to the necks, one with an iron red 4 mark, minor faults, 22cm. (2) £350-450

658. An early Bow mug, c.1753-55, the bell-shaped body painted with a spray of pink peony and other flowers issuing from holey rockwork, the rim with stylized flower mons between bands of hatched diaper on a green ground, a 1.5cm rim crack, 9cm high. £350-550

Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, no.55 for a vase of similar shape with Kakiemon decoration.

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659. A Chelsea silver-shaped dish, c.1760, painted with large exotic birds perched on and beneath leafy and berried branches, the moulded rim picked out in green, puce and gilt, gold anchor mark, 25cm. £150-250

660. A Worcester teapot and cover, c.1756-60, the baluster-shaped body printed and hand-coloured with the Red Bull pattern, one side with two Chinese figures standing beside the cattle, the reverse with a further figure leaning on rockwork beside a pine tree, with a faceted spout and grooved handle, a chip to the cover’s finial, 16cm across. (2) £300-500

661. A Worcester coffee pot and cover, c.1765, painted in polychrome enamels with two Chinese ladies approaching a man working at a low table beneath a flowering tree, the cover’s finial restored, 21.5cm. (2) £150-250

662. A Lowestoft coffee pot and cover of exceptional size, c.1780, painted in polychrome enamels with a loose spray of stylized flowers beneath a continuous scrolling border in iron red, the domed cover with a floral finial, 31cm. (2) £300-500

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ENGLISH PORCELAIN FROM THE COLLECTION OF NIGEL MORGAN O.A.M. (PART I)

663. Three Bow circular baskets, c.1755, of varying size, each painted to the interior in famille rose colours with chrysanthemum and bamboo issuing from holey rockwork, the reticulated sides with scattered leaf sprigs, the rim with a continuous floral border, all with red painter’s numerals 47, 24.7cm max. (3) £600-800 Exhibited: A Treasury of Bow, Melbourne, Ballarat and Hamilton, Ceramics and Glass Circle of Australia, 2000-2001.

664. A Chelsea Kakiemon teabowl and saucer, c.1752-55, the bowl of cinquefoil form, the saucer with six lobes, both painted with a longtailed bird in flight above flowering prunus branches, the two associated, 11.5cm. (2) £500-800

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665. A Chelsea Hans Sloane oval dish, c.1755, painted with a bold botanical specimen beside a butterfly and other flying insects, with a shaped brown line rim, red anchor mark, 28.2cm. £700-900 Exhibited: Ceramics and Glass Circle of Australia, 7th August 2000 8th April 2001, The Gold Treasury, Melbourne, Ballarat and Hamilton Art Galleries. Illustrated: Flowers and Fables: A Survey of Chelsea Porcelain 1745-69, no. 109.

666. A Chelsea bough pot, c.1755, the fluted D section finely painted with a spray of flowers including honeysuckle and rose, a central moulded band with formal puce floral motifs, the top pierced with two bands of small holes around a central aperture, 18.3cm. £500-800 Illustrated: Flowers and Fables: A Survey of Chelsea Porcelain 1745-69, no. 120.

667. A Chelsea Hans Sloane plate, c.1755, painted with a large botanical leaf amidst butterflies and other flying insects, within a shaped brown line rim, red anchor mark, 21.7cm. £500-800 Illustrated: Flowers and Fables: A Survey of Chelsea Porcelain 1745-69, no. 110.

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668. Two Bow Fable candlesticks, c.1758, of the Fox and the Stork, the latter with its beak inside the neck of a bottle vase painted with famille rose flowers, beneath flowering bocage, raised on footed bases picked out with puce enamelling, some small damages and repairs, 22cm. (2) £600-1,000 Exhibited: Treasury of Bow, Melbourne, Ballarat and Hamilton, Ceramics and Glass Circle of Australia, 2000-2001.

669. A Bow white-glazed model of a lion, c.1750-52, seated on his haunches with his left forepaw resting on a low stump, his head turned over his left shoulder, on a low rectangular base, 10.2cm high. £800-1,200 Exhibited: Ceramics and Glass Circle of Australia, 7th August 2000 8th April 2001, The Gold Treasury, Melbourne, Ballarat and Hamilton Art Galleries. Illustrated: Patricia Begg and Barry Taylor, A Treasury of Bow, p.61, no. 177.

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670. A small Bow figure of a musician, c.1758, seated on a low rocky stump and playing the flute, wearing a red cap and flowered breeches, the low pad base applied with flowers, a little good restoration, 9cm. £300-500

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671. A Derby ‘capuchine pigeon’ tureen and cover, c.1760, naturalistically modelled with plumage picked out in purple enamel, seated on a nest of straw, corn ears and feathers inside a basket, a few small chips, 21.2cm. (2) £800-1,200 Cf. Dennis G Rice, Derby Porcelain: The Golden Years 1760-1770, p.152, pl.123 for a similar pair. Capuchine pigeons are an old fancy breed, easily recognised by their feathered hood.

672. A Bow birds in branches candlestick, c.1760-65, modelled with two finches or buntings perched amid flowering branches above a nest containing two chicks, a scrolled sconce issuing from a metal support between the branches, some chipping, 19.5cm. £300-400

673. Two Derby figures of blue tits, c.1770, each bird perched on a low stump applied with small flowers and leaves, their heads turned and plumage brightly enamelled, one tail restored, 7.8cm. (2) £200-300 Cf. Victoria and Albert Museum, Accession No. 414:230-1885 for a pair of blue tits bequeathed by Lady Charlotte Schreiber.

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674. A Bow figure of a musical shepherd, c.1760, leaning against a tall tree stump and playing a pipe, a satchel slung over one shoulder, his dog recumbent at his feet, 14.8cm. £300-500 Exhibited: Treasury of Bow, Melbourne, Ballarat and Hamilton, Ceramics and Glass Circle of Australia, 2000-2001.

675. A Bow figure of a male dancer, c.1760-65, standing and turning towards his extended right arm, his left foot pointed away from him, raised on a footed base with scrollwork picked out in puce, a small amount of good restoration, 18.7cm. £300-500 Exhibited: Treasury of Bow, Melbourne, Ballarat and Hamilton, Ceramics and Glass Circle of Australia, 2000-2001.

END OF COLLECTION

676. A set of four Derby figures of the French Seasons, c.1770, modelled as children emblematic of Winter, Spring, Summer and Autumn with various attributes depicting each season, each raised on a pierced, scrolled base picked out in puce and gilt, some damages and restorations, 24.5cm. (4) £400-600 Provenance: a private collection in Northamptonshire.

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677

678

679

680

677. A Derby figure group of ‘The Knot in the Cravat’, c.1775, of two lovers beneath a leafy tree, he crouched at the feet of his beloved while she straightens his cravat, raised on a rocky base, incised N255 to the base, a few small chips, 29.7cm. £300-500 678. A Derby candlestick figure, c.1765-70, of a boy seated before flowering bocage and supporting a candle sconce above his left arm, a small dog seated by his left foot, raised on a pierced, scrolled base with gilt and turquoise detailing, the sconce associated, 18cm. £100-200 679. A Derby candlestick figure of Mars, c.1760, standing with his right hand on one hip, his left holding the hilt of his sword, before a gnarled stem applied with flowers and stopped with a candle sconce, raised on a circular base applied with leaf scrolls, small damages, the sconce a replacement, 24.8cm. £200-300 680. A Chelsea figure of a shepherdess, c.1765, standing and holding the corner of her apron in her left hand, garlanded in flowers and with a recumbent lamb looking up at her, gold anchor mark, restored, 18cm. £300-500 681. A rare Bow miniature figure of a boy, c.1765, standing with his left hand outstretched, holding a flower in his right, raised on a scroll footed base picked out in green and gilt, 12.8cm. £300-500 682. A Derby figure group of a dancing couple, c.1800, after Meissen, a young gallant encircling his right arm around his companion’s shoulders and catching her right hand in his left, raised on a scrolled base applied with flowers, incised No17 to the base, blue crossed swords mark, some good restoration to his left arm, 17cm. £100-200 Provenance: from a private collection in Northamptonshire. 683. A Derby figure of Earth, c.1780, modelled by Pierre Stephan as a young gardener standing beside a potted plant resting on a plinth, a gourd and vine held in his left hand, raised on an octagonal base moulded with a key fret band, 18.3cm. £200-300 684. A large Derby figure of Athena, c.1760-65, resting one hand on her shield bearing the face of the Gorgon, an owl perched on a pile of books beside her, holding a trident in her right hand and standing on a scrolled base picked out in green and puce, some losses to the bocage, 33.5cm. £350-450

681

682

683

684

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685. A pair of Bow figures of sheep, c.1760, the ram standing with head turned to the right, the ewe grazing, both before flowering bocage on low scrolled bases, both with antique metal fitments to turn them into candlesticks, rising to leaf-moulded sconces and drip pans, small losses and replacements, 18.5cm. (2) £500-800

686. A pair of Derby figures of a stag and a doe, c.1760-65, both recumbent on low shaped bases applied with flowers and painted with insects, their heads turned to the side and coats decorated in patches of rust and manganese, some good restoration, 20cm high. (2) £400-600

687. A Chelsea-style allegorical figure group, late 18th/19th century, modelled as three putti huddled around a scroll, the central figure calling out and with arms outstretched, standing before flowering bocage, gold anchor mark, and a biscuit porcelain group of the same without the bocage, both raised on scrolled bases, some damages, 22.8cm max. (2) £150-250

688. A pair of Chelsea figures of a gallant and his companion, c.1760-65, seated, he with a basket of fruit and flowers resting on his lap, she with a spray of flowers resting on one arm, a small posy in her right hand, some damages and restoration, 14.7cm. (2) £600-800

Cf. Woolley and Wallis, 23rd February 2016, lot 200 for the same Chelsea group in white.

689. A pair of Derby biscuit porcelain figures of a boy and girl, late 18th/early 19th century, after Meissen, seated on high backed chairs in conversational poses, raised on pierced circular scroll bases, incised star marks for Isaac Farnsworth, small losses, 15.3cm. (2) £100-200

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690. A rare pair of Derby figures of the Singing Shepherds, c.176065, each standing in mirrored pose with one hand on their hip, the other outstretched and holding a small score, raised on flat bases applied with flowers and leaves, some good restoration, 20.5cm. (2) £400-600 Provenance: from a private collection in Northamptonshire.

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691. A Derby figure of a girl, c.1760, seated and wearing a floral diadem with further flowers in her hand and across her lap, raised on a low scrolled base with gilt detailing, some good restoration, 11cm. £150-250

692. A rare Vauxhall figure of a girl, c.1758-60, reclining on a tall scrolled base and supporting a basket of flowers with her right hand, a single flower held in her left, some restoration to her left arm, 12cm. £650-850

693. A Bow figure of a female musician, c.1760, playing the zither which rests on her lap, seated on a flowering branch with scrolls of sheet music at her feet, some restoration, 17.5cm. £500-800

694. A Plymouth figure of a putto, c.1768, seated on a rocky stump before flowering bocage and playing a lyre, some good restoration, 11.3cm. £300-400

695. A rare small Bow figure of a goat kid, c.1760, recumbent on a low green base, its head turned to the left, its coat with black patches, 6.2cm across. £400-600

696. A rare Derby model of a spaniel, c.1760, recumbent and facing forward on an oval base applied with flowers, its coat with patches of a reddish brown, 9.3cm across. £700-900 Cf. John Twitchett, Derby Porcelain: An Illustrated Guide, p.125, col.pl.69 for a similar example.

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697. A Bow figure of Vulcan, c.1760, emblematic of Fire from the Elements series, standing beside a flaming urn resting on a rocky outcrop, a phoenix emerging from further flames by his right foot, some restoration, 19cm. £350-450

698. A rare Bow figure of Jupiter, c.1752-54, by the Muses Modeller, standing beside a large eagle, wearing a long red robe and holding a gilt thunderbolt in his right hand, some restoration, 15cm. £1,500-1,800

699. A Bow figure of Air, c.1755, from the Elements series, modelled as a girl holding a billowing robe over her head, standing on cloud scrolls beside a large eagle, 22cm. £400-600

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700. A Derby dry-edge figure of a girl, c.1755, seated with her right foot raised and leaning over a large pink hat resting in her lap, a small posy of flowers held in her left hand, some restoration, 12.2cm. £1,000-1,500

701. A Bow figure of a salt box player, c.1755-58, seated on a rocky stump and resting his instrument on his left knee, wearing a plumed floppy hat, a little good restoration, 12.5cm. £800-1,200

702. A Plymouth figure of Winter, c.1770, modelled as a putto wearing a fur-lined cloak and standing over a flaming brazier, raised on a scrolled base with puce detailing, 14.3cm. £600-800

703. A Plymouth figure of Autumn, c.1770, modelled as a putto standing on a tall scrolled base and holding a bunch of grapes, wearing a grapevine diadem and with a basket of further fruits and £600-800 gourds at his side, a few small chips, 14.8cm.

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704

705

706

707

704. A Bow white-glazed figure of a nun, c.1755, standing and reading from a prayer book held in her left hand, her right clutched to her breast in a contemplative manner, raised on a low pad base, a restored chip to one sleeve, 16cm. £300-500 705. A Derby figure of a dancing shepherdess, c.1758-60, a small posy in her extended left hand, a garland of flowers draped over one shoulder, raised on a tall circular base painted with flowers and with scrolls picked out in green, puce and gilt, good restoration, 21.8cm. £400-600 Provenance: from a private collection in Northamptonshire. Paper label for the Cordwent Collection. 706. A Derby figure of Matrimony, c.1765, personified as a maiden holding a small bird cage which rests on her right hip, wearing a gathered green apron over a floral skirt, the low scrolling base applied with flowers and leaves, some restoration, 22cm. £350-450 707. A Derby figure of a gallant dressed as a shepherd, c.1765, standing beside a basket of fruit, a lamb tucked under his right arm, raised on a low scrolled base picked out in gilt and green enamel, some restoration, 19.7cm. £150-250 Provenance: a private collection in Northamptonshire. 708. A Derby figure of Apollo, c.1760, standing amidst trophies of the Arts including books, a palette and sheet music, resting his right hand on top of a lyre, raised on a scrolled base picked out in green and gilt, some restoration, 19cm. £350-450 709. A Derby figure of a shepherdess, c.1757, standing on a tall scrolled base, a lamb recumbent at her feet and a small posy of flowers held in her left hand, some restoration, 23cm. £200-300 710. A large Derby figure of Athena, c.1760-65, resting one hand on her shield bearing the face of the Gorgon, an owl perched on a pile of books beside her, holding a spear in her right hand and standing on a scrolled base picked out in gilt and puce, a small amount of good restoration, 29.5cm. £250-350 Provenance: a private collection in Northamptonshire. 711. A Chelsea figure of Mars, c.1760-65, dressed as a Roman centurion, standing with his hand on one hip, the other holding the hilt of his sword, raised on a low scrolled base applied with flowers, restored through the neck, 19.2cm. £300-400

708

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709

710

711

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712. A rare Plymouth figure of Minerva, c.1768-70, wearing a helmet and armoured breastplate, her right hand resting on the top of her shield bearing the head of the gorgon, a mythical beast recumbent at her feet, some damages and losses, 18.3cm. £700-1,000

713. A rare Derby figure of Britannia, c.1760, standing beside an oak leaf and acorn bocage, her right hand resting on a shield emblazoned with a lion and a wild boar, raised on a pierced scroll base, her spear lacking, 26.5cm. £500-800

714. A large Derby figure of Diana, c.1765, the hunting goddess pulling an arrow from a quiver slung on her back, her hound recumbent at her feet, raised on a rocky base applied with flowers and leaves, a few small losses, 27.8cm. £450-650

715. A Bow porcelain figure of a female New Dancer, c.1765, standing with hands outstretched in dancing pose, her skirts swaying, before colourful flowering bocage and raised on a tall scrolled base picked out in puce, turquoise and gilt, some losses to the bocage, 25cm. £200-300

Cf. Peter Bradshaw, Derby Porcelain Figures, p.329 for a slightly larger example in the Bowes Museum.

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716. A rare pair of Champion’s Bristol figures of a shepherd and his companion, c.1775, perhaps emblematic of Liberty and Matrimony, the former modelled as a young girl gathering flowers in her apron with a lamb by her side, Matrimony as her companion, holding a small bird in his left hand, each figure leaning on a tree stump behind, raised on low square bases painted with foliate scrolls, some good restoration to Liberty, 17.3cm. (2) £1,500-2,000 Cf. Catalogue of the Schreiber Collection, Volume I, no.733, now in the V&A, accession no. 414:735-1885.

717. A pair of Chelsea figures of a shepherd and shepherdess, c.1760-65, he leaning on a flowering stump with a hand on one hip, a satchel slung over one shoulder and dog by his feet, his companion placing a flower garland around the neck of a lamb that jumps up at her side, impressed R mark to the latter, the man with a replacement left hand, 15cm. (2) £400-600 Paper label for the A C J Wall Collection.

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718. A pair of Derby figures of the Ranelagh Dancers, c.1765, each standing in dancing pose with a small floral posy in one hand, the other resting on one hip, raised on scrolled bases picked out in gilt and turquoise, minor damages and restorations, 21.5cm max. (2) £300-500 Provenance: from a private collection in Northamptonshire.

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719. A Bow fountain figure group, c.1765, with two miniature figures either side of a spouting fountain set into a coloured grotto before tall flowering bocage, raised on a scroll footed base, some chipping, 22.5cm. £600-800

720. A Derby figure of a piping shepherd boy, c.1760, standing on a low pad base applied with flowers, his bagpipes tucked under his left arm, a green cloak draped on his right, a few small chips, 16cm. £300-500 Provenance: a private collection in Northamptonshire.

721. A Derby figure of a haymaker, c.1760, carrying a keg on a staff supported on his shoulder, standing beside flowering bocage and raised on a base picked out in turquoise and gilt, some good restoration to the staff, 18cm. £150-250

722. A Derby candlestick figure group, c.1765, a dog seated beneath a flowering arbour with two birds perched among the branches, beneath a candle sconce and leaf-moulded drip pan, a little good restoration, 21.8cm. £400-600

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723. A near pair of early Derby sweetmeat figures, c.1756-58, modelled as a gallant and his companion seated on rocky stumps applied with flowers and with a large shell resting in their laps, some restoration to the female figure, 16.5cm. (2) £1,500-1,800 The lady with a paper label for the C R Stephens Collection.

724. A matched pair of Derby sweetmeat figures, c.1760-65, modelled as a young man and his companion standing before flowering bocage and supporting the lid of a large rectangular casket to one side, raised on scrolled bases applied with flowers, some restoration and small chips, 20.5cm. (2) £500-800

725. A matched pair of Derby figures of the Dresden shepherds, c.1758-64, he of the Pale Family type, holding a basket of fruit and extending his right arm, she later and standing on a scrolled base £300-500 beside a sheep, some restoration, 26.2cm max. (2) Provenance: a private collection in Northamptonshire.

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726. A Chelsea candlestick figure, c.1765, a winged putto kneeling before flowering bocage and pulling back an arrow in a small bow, a quiver of further arrows at his knees, raised on a scroll footed base, gold anchor mark, some damages and repairs, 21cm. £200-300

727. A Bow white-glazed figure of a nun, c.1755, standing and reading from a prayer book held in her left hand, her right clutched to her breast in a contemplative manner, raised on a low pad base, a restored chip to the tip of her left foot, 16.8cm. £350-450

728. A large Derby figure of Neptune, c.1765, standing before a mythical dolphin spouting water from its mouth, an elaborately patterned robe being whipped by the wind, raised on a tall base of shells and seaweed, a small amount of restoration, his trident lacking, 24cm. £400-600

729

730

731

732

729. A Derby figure of a child dressed as Harlequin, c.1765, holding a slapstick in his left hand, his right hand on one hip, wearing a traditional chequered costume and standing before flowering bocage, a few small chips, 11cm. £300-400 Cf. Meredith Chilton, Harlequin Unmasked, p.115, pl.181.

730. A rare Bow miniature figure of a lady, c.1760, wearing a satchel slung over one shoulder and holding the edge of her skirt with her right hand, her head turned to the right, raised on a low pad base applied with leaves, 7cm. £400-600 See lot 719 for a Bow fountain group bearing the same figure.

731. A Bow figure of a musician, c.1760, seated on a tree stump and playing a fife and a drum slung over one shoulder, wearing a yellow coat over flowered breeches, small losses, 16.8cm. £400-600

732. A Bow figure of a female musician, c.1755-60, seated and playing the flute, wearing a flowered dress, raised on a pad base applied with flowers, chips to her flute and fingers, 13cm. £350-450

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733. A matched set of Bow figures of the Rustic Seasons, c.1765, each modelled seated on a tall footed base, Spring with an abundance of flowers, Summer with sheaves of corn, Autumn with grapevine and a wine glass and Winter huddled over a brazier, one with a red anchor and dagger mark, some small damages, 17cm. (4) £1,200-1,500

734. A pair of Derby figures of the Dresden Shepherds, c.1765, he holding a basket of fruit and holding out a single berry, his companion with a bouquet of flowers in her left hand, a lamb recumbent at her feet, raised on scrolled bases with gilt and polychrome enamel detailing, some restoration, 26.7cm. (2) £400-600

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735. A pair of Derby candlestick figures of vintners, c.1765, he standing beside a basket of grapes and other fruit, his companion with an apron full of flowers, each supporting a branch beneath a drip pan and pierced sconce, raised on low scroll bases picked out in green and gilt, some restoration, 26cm. (2) £250-350

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736. A Derby figure of a lady, c.1765, holding a posy of flowers in her left hand, wearing a layered skirt, standing on a low pad base applied with flowers, some restoration, 17cm. £200-300

737. A pair of Derby figures of the Dresden Shepherds, c.1760, he holding a basket of fruit and proffering a single apple in his right hand, his dog seated at his feet, his companion with an apron full of flowers, a lamb recumbent before her, both raised on scrolled bases, some good restoration, 21.5cm. (2) £400-600

738. A rare Bow figure group of parrots, c.1760, the two colourful birds perched in flowering branches above a nest of three chicks, a small dog and a lamb recumbent beneath the branches, raised on a footed scroll base picked out in puce enamel, a handle at the back, some good restoration, 26cm. £1,200-1,500

739. A small Bow figure of a lady dancing, c.1765, her hands outstretched and head turned to her right, raised on a footed base with puce detailing and standing by flowering branches, some losses, 14.6cm. £100-200

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740. A rare pair of Longton Hall ‘Snowman’ type figures of horses, c.1750-52, left in the white and reclining on low shaped bases applied with rosette flowers, each before a low taper holder, some damages, 18.5cm across. (2) £5,000-8,000 Horses of this type are also found in salt-glazed stoneware and creamware with Whieldon type glazes, being produced in Staffordshire around the same time. A similar Longton Hall pair from the Wallace Elliot collection (now in the V&A) are illustrated in W B Honey’s ‘Old English Porcelain, pl.55B. See also Diana Edwards and Rodney Hampson, White Salt-Glazed Stoneware of the British Isles, p.112, col.pl.83 for a salt-glazed example alongside a Longton Hall model.

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FINE PORCELAIN

Tuesday 19th February 2019 Entries are now being accepted for this sale

A Chelsea sunflower tureen with cover and stand, c.1755, naturalistically moulded, 22.5cm. From the collection of Nigel Morgan O.A.M. Estimate: £1,000 - £1,500

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

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DESIGN

Wednesday 17th October 2018

Ghostly Wood a fine and rare Wedgwood Fairyland Lustre charger designed by Daisy Makeig-Jones, pattern no.Z4968, printed and painted in colours on a blue lustre ground, highlighted in gilt, unsigned, 38.5cm. diam. Estimate: ÂŁ12,000 - ÂŁ18,000

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

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FINE SILVER & OBJECTS OF VERTU Tuesday 30th October 2018

A Victorian cast silver hound head stirrup cup, by Robert Hennell, London 1874. Estimate: £6,000 - £8,000

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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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. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

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

Pack & Send

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

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

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

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) 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. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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

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

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

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

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CASTLE RD A345

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

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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.

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

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

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Contact Amanda Lawrence 01722 424509

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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.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

Old Sarum Park

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.

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

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

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WOO L LE Y & WA L LI S

Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

English & European Ceramics & Glass

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 16th October 2018 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk

Auction Calendar ENGLISH & EUROPEAN CERAMICS & GLASS 16th October 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 3rd October 2018 9th January 2019 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk 20TH CENTURY DESIGN 17th October 2018 – Design 12th December 2018 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk JEWELLERY 31st October 2018 – The Jewellery Collection of Dr. Anne Shannon 1st November 2018 – Fine Jewellery Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk SILVER 30th October 2018 – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 13th & 14th November 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 21st November 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk PAINTINGS 4th December 2018 – 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 20th February 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk