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 30th April 2019

Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424505 446955

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 446974

JAPANESE ART Alex Aguilar Sarah Lopez-Ferreiro

424583 424591

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

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

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

424509 424598

MARKETING Sally Trench Megan Corbett

446959 446960

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike

424500

SALEROOM MANAGER David Jordan

424500

CASTLE GATE MANAGER Matt Hill CASTLE GATE RECEPTION Sally Litherland 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

PAINTINGS Victor Fauvelle Madeleine White

446961 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424599

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 30th April 2019 at 11.00am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 27th April Monday 29th April Tuesday 30th April

10.00am – 1.00pm 10.00am – 4.30pm 9.00am – 11.00am

ENQUIRIES

Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

LIVE BIDDING PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE.

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Monday 29th April. 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 29th April. COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Castle Gate office on Tuesday 7th May. ILLUSTRATIONS Front cover: Lot 99 Back cover: Lot 7 Catalogue £12.00 (£15.00 by post)

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. Payment is still made at Castle Street. Our Castle Gate address details and map are at the back of this catalogue.

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 30th April 2019 at 11.00am

1. A St Louis miniature bouquet or nosegay paperweight, c.1850, set with three multi-coloured floral canes against a five leaf spray, 5cm. £300-400

2. Nine glass eyebaths, 19th century, of clear, green and blue glass, variously formed with generous bowls on plain stems above conical or stepped feet, one cut with a faceted design, and a small pearlware eyebath, 7.7cm max. (10) £250-350

3. A glass portrait plaque, 19th century, after Bernard Perrot, moulded as the head and shoulders of a Roman gentleman in profile, 15cm. £250-300

4. A glass tea canister, 19th century, the flattened form moulded with a diamond pattern, fitted with a silver-coloured metal mount and cylindrical cover, 11.5cm. (2) £80-120

5. A small Sunderland rummer, 1st half 19th century, the flared bucket bowl engraved to one side with a ship beneath the Sunderland Bridge, the reverse with the initials ‘MA’ within a sunburst panel flanked by sprays of rose and thistle, raised on a short knopped stem, 12cm. £100-150

6. A firing glass, c.1760, with a rounded funnel bowl raised on a short opaque twist stem above a thick stepped foot, 9.4cm. £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

7. A Thomas Webb (Stourbridge) three-layer cameo glass scent bottle, c.1887, the flattened globular form overlaid in red and white and carved with a spray of dog rose on a yellow ground, fitted with a silver screw-fitted cap, hallmarks for Sampson Mordan & Co, London 1887, 10.2cm. £300-500

8. A ‘Friendly Hunt’ firing glass, c.1750, the drawn trumpet bowl engraved around the rim with ‘The Friendly Hunt’ and a foliate sprig, raised on a short plain stem above a thick foot, 9.5cm. £1,200-1,500 Cf. Bonhams, The Ron & Mary Thomas Collection of English Glass, 4th June 2008, lot 39 for an identical example. The Friendly Hunt was a meet associated to a Jacobite Society in Worcestershire. Founded in 1747, the Association met annually in rotation in the neighbouring towns of Droitwich, Bromsgrove, Dudley, Kidderminster and Stourbridge.

9. A small deceptive glass, mid 18th century, the thick-walled rounded funnel bowl engraved with the word ‘Snip’, raised on a plain stem above a thick foot, 10.8cm. £600-800

10. An early ale glass, c.1710, the flared form with spiral moulding beneath the inscription ‘God Save Queen Anne’, raised on a low stem enclosing a small tear above a conical foot, 12cm. £1,200-1,500

11. A cordial glass, c.1760, the bucket bowl engraved with a flower spray and with a small bird in flight, raised on a double series airtwist stem with a multiple twist around a central core, 17cm. £600-800

The meaning of the word ‘Snip’ is unclear, but it possibly relates to an early drinking version of the card game ‘Snip-Snap-Snorem’.

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12. An ale glass, c.1760, the tall funnel bowl engraved with a continuous band of stylized sunflowers, raised on a double series opaque twist stem on a conical foot, 18cm. £150-250

13. A Jacobite wine glass, c.1760, the small rounded funnel bowl engraved with a large rose spray, raised on a dense airtwist stem above a conical foot, 16cm. £600-800

14. A baluster wine glass, c.1730, the bell shaped bowl raised on a baluster stem with triple basal knop enclosing a small tear above a conical foot, 15.5cm. £300-500

15. An unusual engraved wine glass, mid 18th century, the ogee bowl engraved with a growing vine branch issuing from the ground, raised on a double series opaque twist stem on a conical foot, 14.6cm. £60-80

16. Four large wine glasses of Jacobite type, c.1760, the drawn trumpet bowls later engraved with a spray of rose, an oakleaf and the word ‘Fiat’, raised on airtwist stems, 18.2cm. (4) £400-600

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

17. Three wine glasses, c.1760, two with rounded funnel bowls, one with a bell bowl, all raised on multi series opaque twist stems above conical feet, 16cm max. (3) £300-500

18. Two large wine glasses, c.1770, with drawn trumpet bowls, one on a plain stem, the other on a dense airtwist stem, 18.1cm max. (2) £100-200

20 19. Two small commemorative wine glasses, late 18th/early 19th century, one with an ogee bowl engraved ‘Ld Wellington for Ever’ above a sword, the other with a rounded funnel bowl inscribed ‘England has done her Duty’, each with a small bird holding an olive branch, 10cm max. (2) £150-200 20. A cut glass bowl and cover, dated 1816, the rounded bowl inscribed ‘A Token of Respect of Ye London East Circuit Singers, Presented by the Singers to the Rev’d Mr Jon Gaulter Friend’, cut with a crown to one side, and a skull above crossed bones to the other, also engraved with two pages of sheet music, the rim with a continuous band of rose, thistle and shamrock, the domed cover cut with a hobnail design, 27cm. (2) £250-350 The Reverend John Gaulter was a minister on the early Methodist circuit and a contemporary of John Wesley. 21. Six wine flutes, c.1760, the drawn trumpet bowls rising from double series opaque twist stems above conical feet, 17.6cm. (6) £1,500-2,000 21

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22. A large wine glass, c.1760, with generous bell bowl raised on a double-knopped airtwist stem above a conical foot, 17.5cm. £200-300 23. An ale glass, c.1760, the tall ogee bowl engraved with a double stem of barley and a spray of hops, raised on a multi series opaque twist stem on a conical foot, 18.5cm. £150-250 24. A small wine glass, c.1760, the rounded funnel bowl raised on an unusual triple series opaque twist stem with a lattice twist enclosing a spiral around a central core, 14.2cm. £150-250 25. A botanical wine glass, c.1760, the rounded funnel bowl well engraved with a single floral specimen and a butterfly, raised on a plain stem with central knop over a conical foot, a small nick to the footrim, 15.5cm. £100-200

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

26. 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. £200-300 27. A composite stem wine glass, c.1760, the drawn trumpet bowl rising from a dense airtwist stem above a short plain section with a knop enclosing a double row of tears, 16.6cm. £300-500 28. A ratafia glass, c.1760, the slender drawn trumpet bowl engraved with a continuous band of stylized flowers, raised on a double series opaque twist stem above a conical foot, 19cm. £400-600 29. A balustroid wine glass, c.1730-40, the bell bowl raised on a plain knopped stem above a folded foot, 15.3cm. £150-250

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30. A Dutch-engraved Orangist goblet, mid 18th century, the drawn trumpet bowl diamond point engraved with a large fruiting orange tree and a Dutch inscription, raised on a thick airtwist stem above a conical foot, 19.2cm. £1,500-2,000

31. A large wine glass, c.1760, the flared bell bowl raised on a thick dense airtwist stem above a conical foot, 18.5cm. £200-300

32. A Dutch-engraved moulded stem armorial goblet, c.1750, the round funnel bowl engraved with the crowned arms of the Seven United Provinces, raised on an eight-sided stem with two basal rings above a domed foot, 19.8cm. £500-800

33. A Bohemian glass vase and cover for the Ottoman market, 19th/20th century, the rounded form overlaid in white on a green ground and cut with geometric designs, painted within orange foliate scrolls, and a hookah base cut with faceted panels and highlighted in polychrome enamels and cranberry detailing, 35.2cm max. (3) £300-500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

34. A Mamluk pottery bowl, Egypt or Syria, 13th/14th century, with sgraffito decoration to the interior, the well with glaze highlights in green, yellow and umber, raised on a low circular foot, a section broken and partially restuck, 19.2cm dia. £100-150

35. An Iznik (Turkey) dish or plate, c.1575-80, the shallow form decorated in blue, green, black and red with flower sprays radiating from a central rosette, the rim with a stylized rock and wave design within black lines, raised on a low foot, some glaze chipping to the rim, 26.2cm. £400-600 Radiating designs of this sort, issuing from a central flowerhead, were a particular decorative feature of the last quarter of the 16th century.

36. A Qajar tile fragment, 19th century, moulded and enamelled with a scene of figures on horseback, and one flying a kite, the edge with panels of Arabic script, 30.4cm. £100-200

37. A Qajar tile, 19th century, the rectangular form moulded with a figure kneeling and holding a staff with a cow’s head before a large bird, decorated in a simple polychrome palette, mounted in a later wood frame, 24cm overall. £100-150 38.

No lot

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39. An Iznik-style dish, 19th century, decorated in a typical palette with a formal flower spray in red, turquoise, blue and black, the rim with a wave and rockwork border, 26cm. £100-200

40. A pair of Boch Freres Iznik-style jugs, late 19th/early 20th century, after an Islamic shape, decorated with geometric bands in red, black and blue on a washed green ground, black BFK marks, 26cm. (2) £300-500

41. A Samson Iznik-style jug, late 19th century, of tapering octagonal form, painted with alternating panels of flowers and formal foliate designs in blue, turquoise, black and red, black script mark, 19.3cm. £100-200

42. A pair of Canakkale (Turkey) pottery ewers, 19th century, of bottle form, applied with rosette flowers and cold-painted with fuether flowering plants, the narrow necks riding to anthropomorphic spouts, decorated in a dark treacle glaze, 35.5cm. (2) £200-300

43. A Canakkale (Turkey) ewer, 19th century, of bottle form with a tall flared neck, applied with rosettes and leaf scrolls, coldpainted with stylized flowers on a black £80-120 ground, 35.5cm.

44. Two Canakkale (Turkey) baskets and covers, 19th century, one double walled and decorated with an elaborated pierced scrolling design, the other applied with foliate scrolls and roundels, decorated in cream and brown slip, some faults, 25cm. (4) £100-200

45. A lead-glazed pottery jar, probably 19th century, in the Chinese or Canakkale style, modelled as a monkey seated on its haunches, decorated in a treacle glaze, some glaze chipping, 21.5cm. £200-300

46. A Samson ‘Aesthetic’ Iznik-style charger, late 19th century, decorated in raised enamelling with a formal floral arrangement in turquoise, blue, green and yellow on a pink ground, a chip to the foot, 32cm. £100-150

47. A large Hispano-Moresque charger, 19th century, moulded in high relief with a lion rampant holding a shield bearing a quartered coat of arms, in blue and copper lustre, inscribed around the rim, 44cm. £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

48. A group of earthenware vessels, 20th century and earlier, some in the Roman manner with geometric designs in black or red, one formed as a seated, stylized figure, and two earthenware jugs with glazed decoration, some damages, 23cm max. (12) £100-150

49. A medieval encaustic tile, 13th/14th century, decorated in cream slip with a formal radiating leaf design, and an 18th century Donyatt earthenware jug, glazed around the neck and upper shoulder with yellow and pale green stripes, 23.5cm max. (2) £150-200

50. A slipware bowl, probably 19th century, the deep conical form decorated with spiky leaf fronds in yellow slip on a pale treacle ground, raised on a low foot, 28.7cm. £100-150

51. A Canakkale (Turkey) pottery aquamanile, 19th century, formed as a camel standing four square with head slightly raised, decorated with yellow splashes on a treacle ground, 18cm high. £300-500

52. An earthenware flagon, probably 19th century, the upper half of the generous form decorated in a thick greenish slip over the narrow neck and wide strap handle, the foot slightly flared, some chipping, 22.5cm. £100-200

53. A German brown stoneware jug, c.1600, Frechen or Cologne, moulded with a central star roundel, the neck impressed with flowerhead motifs, some rim chipping, 18cm. £300-500

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54. A small stoneware Bellarmine jug, early 17th century, probably Cologne, the squat diminutive form moulded with a bearded face on the narrow neck, a strap handle with rat tail terminal, the handle broken and reattached, 12.5cm. £300-500

55. A German stoneware jug, c.1580-1600, probably Frechen or Cologne, applied with three medallions containing the arms of the City of Amsterdam, the tapering neck with flowerhead motifs, decorated with splashes of cobalt blue, restored, 23cm. £300-500 Bartmann or Bellarmine jugs bearing the same arms have been found on the wrecks of ships belonging to the Dutch East India Company.

56. A rare French faïence moulded dish attributed to Bernard Palissy, c.1580-1600, moulded with mask heads surmounted with floral diadems between foliate scrolls and around a central rosette, raised on a circular foot, the underside decorated in a mottled glaze, 23.5cm. £2,000-3,000 Cf. Rev. Thomas Frognall Dibdin, The Workmanship of Bernard Palissy of the Sixteenth Century, title plate for an identical dish in Dibdin’s collection. See also, Ashmolean Museum, Accession No. WA1978.158 for an identical plate bequeathed by Gerald Reitlinger. Provenance: from the collection of Hector Binney, Pampisford Hall, Cambridge.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

57. A large Westerwald jug, early 19th century, with sgraffito decoration of running stags and dogs amid large flower sprays reserved on a blue ground, 40cm. £200-300

58. A Westerwald stoneware jug, 18th century, the globular form incised and applied with a formal floral design in blue and grey on a manganese ground, some faults, 18cm. £80-120

60. A brown stoneware mug, early 19th century, probably Mortlake, the cylindrical form applied with topers at a table above a stag hunt, with a silver rim, and a later stoneware tankard with a pewter cover inscribed ‘CA No 8’, some faults, 19.3cm max. (2) £150-250

59. A Mortlake brown stoneware jug, early 19th century, applied with a rectangular plaque of topers above a continuous scene of hounds in pursuit of a stag, other sprigs including Andromache weeping over the ashes of Hector, trees, cattle and buildings, with a silver plate mount and hinged cover, 29cm. £300-500

61. A large brown stoneware jug, early 19th century, applied with a rectangular panel after Hogarth’s Modern Midnight Conversation, above a continuous fox hunt scene beneath tree sprigs, a metal mount to the rim, the handle repaired, 21.2cm. £400-600

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62. Three brown stoneware jugs, 1st half 19th century, each applied with the Royal coat of arms flanked by recumbent lions, the necks with sprays of rose and thistle, two of the jugs with mask spouts and greyhound handles, some restoration, 25.5cm max. (3) £150-250

63. Two brown stoneware political spirit flasks, mid 19th century, one modelled as Sir Robert Peel, standing beside a sheaf of corn and holding a scroll inscribed ‘Bread for the Millions’, the other of Lord John Russell, holding a scroll impressed ‘The True Spirit of Reform’, 24.5cm max. (2) £100-200 In 1845, Lord John Russell as Leader of the Opposition supported the repeal of the Corn Laws, forcing Prime Minister Sir Robert Peel to follow suit.

64. A Staffordshire redware coffee pot and cover, c.1760, of plain baluster form, the spout moulded with formal leaves, the domed cover with a plain knop, the cover broken and restuck, 23.5cm. (2) £120-180

65. A Staffordshire redware teapot and cover, c.1765, the small cylindrical form with zigzag bands of engine turned decoration, a pseudo Chinese square seal mark, a small amount of chipping, 15.2cm. (2) £150-250

66. A small table set with ten Bristol delftware tiles, the tiles c.1750-70, painted in blue in the Bowen manner with figures, animals, ships and buildings within chamfered panels, the corners with quarter flowerheads, set into a modern table, the table 55cm across. £200-300

67. Thirty-nine Delft tiles, 17th century, painted in blue, green and ochre with split pomegranates within fleur de lys corners, 13.3cm. (39) £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

68. A pair of Bristol delftware tiles, c.1740-60, painted in blue with baskets of flowers in a lobed panel between angel head corners, and four Dutch Delft tiles, early 18th century, variously decorated with figures and a well in blue within panels on a powdered manganese ground, 13.5cm. (6) £150-250

69. A Delft tile panel, 18th or 19th century, comprising six rectangular border tiles painted in manganese with a continuous floral border, mounted in a modern wood frame, 41.5cm overall. £100-200

Cf. Anthony Ray, English Delftware Tiles, p.225, no.544 for the Bristol tiles.

70. A pair of delftware Biblical tiles, c.1740, probably London, painted in manganese with the Stoning of Stephen and Christ Healing the Blind Man, in circular panels with stylized foliate motifs to the corners, mounted in later gilt wood frames, 16cm overall. (2) £100-200

71. A Liverpool delftware theatrical printed tile, c.1775, printed by John Sadler with a scene from a play, perhaps La Malade Imaginaire, two ladies supporting a central gentleman while another looks on, some glaze chipping, 12.7cm. £100-200 Cf. Anthony Ray, Delftware Tiles, p.257, no.703.

73. Two Delft teabols and three saucers, c.1740, the teabowls painted in blue with formal floral designs, the saucers in polychrome enamels, one with floral panels, one with a bird perched on a basket of fruit, the last with a cartouche within flowering branches, damages, 12.3cm max. (5) £200-300

72. A Delft tea canister, probably 19th century, the square form painted in red, black, green and blue with floral panels and foliate motifs, and a faïence teapot and cover, the pear-shaped body painted with simple flower sprays and leaf sprigs, some £150-250 glaze chipping, 17cm. (3)

74. A pair of Delft plates, mid 18th century, painted in blue with a Chinaman seated beneath rockwork and a willow tree, turning his head to look up, the cavetto and rim with continuous scroll borders, some rim chipping, 22.5cm. (2) £100-200

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75. A delftware charger, c.1740, boldly painted in red, green and blue with a dense floral ground around a central flowerhead roundel, the rim with scrolled panels, some wear, 34cm. £150-200 76. A delftware plate or charger, c.1740, painted in blue with a female figure, possibly Ceres, seated among large flowers and holding a cornucopia, the rim with a panelled border of flower sprays, numeral 4 mark to the base, 29.2cm. £200-300 77. A Delft small plate, 18th century, painted in polychrome enamels with a long-tailed bird perched on an ornamental fence, with a second bird in flight above, amidst bold flowering and leafy plants, VE monogram mark perhaps for Lambertus van Eenhoorn, 22.8cm. £150-200 78. A lobed delftware dish, c.1680-90, possibly London, painted with a seated Chinese figure in a £200-300 landscape setting, the deep lobed rim with a tassel design, raised on a circular foot, 30.5cm. Cf. Michael Archer, Delftware, p.113, A64 for a similar dish. Fragments of lobed dishes with this tasselled design have been excavated at Lambeth. 79. 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 80. A small Frankfurt faïence lobed dish, c.1690, moulded with ten lobes painted in blue with a stylized leaf and tassel panel around a central floral motif, raised on a low foot, painted N mark to the base, 21.7cm. £100-200 81. A large Delft plate or charger, c.1700-10, the well painted with a putto between large plants reserved £300-500 on a dense floral ground in red, green and blue, 35.2cm. 82. A large delftware charger, c.1740, painted in blue with a bird perched on a flowering branch, within a circular panel, the wide rim with further sprays of peony and chrysanthemum, some glaze chipping, 34cm. £100-200 83. A delftware plate or charger, c.1720, probably Bristol, painted with five shaped panels around a central roundel containing formal flower sprays, between red leaf motifs reserved on a blue ground, £60-80 cracked, 30cm.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

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84. Three Continental faïence tankards, late 18th/19th century, one of cylindrical form and painted with shaped panels of trees on a sponged manganese ground, the pewter lid inscribed ‘ACD 1791’, another painted with a pagoda landscape, the pewter lid inscribed ‘M Vollhalsin 1823’, the last of baluster form and painted with a bird in a panel on a sponged blue ground, 27.2cm max. (3) £200-300

85. Four large faïence chargers, 19th century, three decorated with a musician flanked by trees and small buildings, one playing the flute, another a cello, the last a horn, the fourth plate painted with a jester playing a wind instrument topped with a dragon head, damages, 38.5cm. (4) £150-250

86. A Delft vase, 1st half 18th century, painted in blue and yellow with winged putti and birds amidst flowers, a faïence bottle painted in blue with a crowned armorial shield, and a faïence spice box of oval form, divided into three sections, the exterior painted with fruit and flower sprays, the Delft vase lacking the top of the neck, 28cm max. (3) £250-350

87. A Delft portrait dish, probably 19th century, painted with the portrait of a Dutch gentleman wearing a plumed hat, the rim with a geometric border in blue and yellow, raised on a low circular foot, broken and restored, 29cm. £100-200

88. A Portuguese faïence tazza, early 18th century, naively painted with a rabbit in blue monochrome, within a border of repeated semi circles, raised on a circular foot, some rim chipping, 27cm. £150-250

89. A Spanish maiolica vinegar jar, 18th century, the ovoid form painted with a banner inscribed ‘Aceto’ within blue flower scrolls, the shaped knop spout glazed green, damages to the neck, 22cm. £200-300

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

90. A Montelupo maiolica charger, c.1675, boldly painted with a figure on horseback, in a palette of manganese, yellow, blue and green, within a green washed border, 30.5cm. ÂŁ600-800

91. An Italian maiolica albarello, c.1720, the waisted form painted with a continuous scene of a traveller beneath trees and beside tall buildings, yellow line rim, 18cm. ÂŁ200-300

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

92. A German faïence pewter-mounted tankard, 18th century, the cylindrical form painted in blue with a bird in flight within a panel titled ‘Ad Solem’ reserved within foliate scrolls on a powdered manganese ground, H mark to the base, 27cm. £150-250 93. A Spanish maiolica albarello, c.1740, probably Talavera, the slender waisted form painted in blue with a crowned panel inscribed ‘IHS’ above a blank rectangular cartouche, a short hairline crack, 27.8cm. £250-350 94. A tin-glazed apothecary bottle, 1st half 18th century, probably Brussels or Lille, of generous size, rising to a narrow flared neck, painted in blue and manganese with a cartouche inscribed ‘A Parietariae’ beneath a basket of fruit flanked by peacocks and stylized carnations, 32cm. £400-600 Parietaria, colloquially known as Pellitory of the Wall, is a herb that grows in the cracks of masonry, as its name would suggest. It was used to ease the symptoms of a variety of urinary tract infections, as well as constipation. Cf. J K Crellin, Medical Ceramics in the Wellcome Institute, no.67, fig.105 for a similar example. 95. A Delft vase, c.1700, after a Chinese Kangxi original, painted in blue with an allover design of mythical animals on a prunus ground, the cover lacking, 28.2cm. £200-300

96. A pair of Naples maiolica albarelli, dated 1711, the waisted forms painted in blue with buildings beside an arched bridge within a foliate panel beneath a hatched border, the reverses inscribed ‘S 1711 P’, one broken and restuck, 27.7cm. (2) £200-300

97. A maiolica albarello, 18th century, probably Talavera, painted in blue with a crowned double-headed eagle with a shield containg four lions rampant, and a small faïence albarello or pill jar painted with a bird on a fruiting branch with a small butterfly in flight above a flowering branch, 22cm max. (2) £200-300

98. A pair of Delft dry drug jars or albarelli, c.1720-40, painted in blue with cartouches inscribed ‘Nitras Kalicus’ and ‘Manna’ beneath fruit baskets flanked by peacocks, the rims slightly reduced, 18cm. (2) £100-200

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Dunley Manor, Hampshire.

99. A pair of Italian maiolica two-handled jars and covers, dated 1579, Pesaro, each painted with the figure of Fortuna standing astride a dolphin and holding a makeshift sail over her head, reserved on a ground of shells, coins and other motifs in orange on blue, titled ‘ NARAN COF’ and ‘SV ROSATO’, dated to one handle, some damages, the finials wooden replacements, 42.5cm. (4) £3,000-5,000 Cf. Timothy Wilson, Maiolica Italian Renaissance Ceramics in the Metropolitan Museum of Art,, pp. 204-285, 101A-C for a discussion on dates and iconography of maiolica from the ‘Fortuna’ series and the probable attribution of Pesaro, where three jars from the same series are illustrated. The author writes that one possible explanation for the figure of Fortuna is that she is connected to the city of Fano, or Fanum Fortunae in Latin, near to Pesaro. Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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100. A creamware jug of maritime interest, early 19th century, printed to one side in red with a harbour scene titled ‘A Ship coming to Spithead, with a view of Cowes Castle’, after a print by John Cleveley the Younger, the reverse with a sailor taking leave of his lass above a twelve line poem titled ‘Poor Jack’, 21cm. £150-250

101. A large pearlware commemorative jug, c.1822-30, painted with bold, colourful flower sprays, inscribed in red beneath the spout with ‘Thomas & Ann Tounge, Dolphin Inn, Christchurch’, a repair to the handle, 23cm. £100-200 Thomas Tongue married Ann Porter in Christchurch, Hampshire on 20th August 1822, and is listed as landlord of the Dolphin Inn on the 1839 Directory, and on the 1841 census. The 1861 census lists his widow, Ann, as innkeeper of the nearby George Inn. A note underneath the jug states it was acquired from the Maddick Collection on 20th July 1944, and claims that for many years it was in the possession of James Phelps, victualler at the Rising Sun Inn in Bristol in the 1860s-80s.

102. Two documentary creamware jugs, 1st half 19th century, one inscribed ‘Thomas Fishes is my name, England is my Nation, Worsley is my dwelling place and Christ is my Salvation, Born Jan 20th 1799’, between printed stanzas, the other printed and hand-coloured with a view of the London mail coach, inscribed ‘J Heath 1827’, some damages, 18cm max. (2) £100-200

103. A commemorative salt-glazed stoneware jug, c.1810, moulded with a panel containing a crown and the Prince of Wales feathers, reserved on a ground of repeated rosettes, and a pearlware plate moulded and enamelled with a profile portrait of Queen Caroline, the rim with crowns and sprays of rose and thistle, good restoration to the jug’s spout, 24cm max. (2) £200-300

104. Two creamware tea canisters, late 18th century, of rectangular form, one moulded with Cupid and with a Classical maiden sacrificing a rabbit, the other painted with simple flower sprays, and a pearlware spirit flask moulded with four putti emblematic of the four Seasons, some faults, 14.5cm max. (3) £150-250

105. Two pearlware models of cradles, c.1800, a rectangular tea canister painted in pink lustre with a castellated building between moulded borders, and a yellow-glazed pearlware model of a recumbent sheep, the sheep broken and restuck, 12.5cm max. (4) £100-200

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

106. A large Mocha ware mug, 19th century, the cylindrical form decorated with horizontal bands of blue and cream with brown splashes and striations, fitted with a hinged pewter cover inscribed ‘Jgf C Schnibbe 1668’, 20.3cm. £100-200

107. A rare pearlware anti-Napoleon vase and cover, c.1813, printed in blue to two sides with a Cossack and a Frenchman attacking each other on horseback, reserved on a pale yellow ground, raised on a faux marble circular foot, applied with rams head handles, some good restoration, 25cm. (2) £200-300 This is an adaptation of a print by Samuel Knight that was published on 1st January 1813.

109. A creamware melon tureen and cover, c.1780, naturalistically moulded on a large gourd leaf, a smaller melon forming the finial, and a Jackfield teapot and cover, moulded with continuous grapevine tendrils, raised on three feet, restorations, 22cm max. (4) £200-300

111. Four agateware plates, c.1800-20, the clay mixed to simulate hardstone, richly striated in cream, brown and umber, 20.5cm. (4) £200-300

108. A commemorative pearlware lustre jug, c.1820, moulded and enamelled with a head and shoulders portrait of Thomas Denman, 1st Baron Denman, the reverse with Henry Brougham, each flanked by sprays of rose and thistle in pink, green and purple lustre, some restoration, 15.4cm. £100-200 Henry Brougham and Thomas Denman led Queen Caroline’s legal team during George IV’s attempt to strip his estranged wife of her royal title. Their eloquent defence of the popular princess led to their instant fame.

110. Two creamware dishes, c.1760-80, one oval with a scallopedged reticulated rim, glazed a rich green, the other of Whieldon type and decorated with splashes of green on a mottled manganese ground, 26cm max. (2) £150-250

112. A pair of Wedgwood plates, c.1810, painted in sepia with the Waterlily pattern, coloured in pink and green, an octagonal creamware Whieldon type plate sponged in manganese, and a creamware soup plate printed in black with ‘Come Box the Compass’, the rim with flower sprigs, some faults, 24.5cm max. (4) £100-200 The Wedgwood Waterlily pattern derives from prints in the Botanist’s Repository and the Botanical Magazine, from 1803-6. The design was probably inspired by the interests of Josiah Wedgwood’s eldest son John, who was a founder member of the Royal Horticultural Society.

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113. Eight Leeds Pottery creamware dessert dishes, c.1800, painted in blue with a standing Chinese man beneath a parasol in front of an ornamental fence, the shaped rims with four elaborately pierced panels, impressed marks, comprising seven plates and one quatrefoil dish, 28cm max. (8) £150-200

114. A pair of Neale creamware dishes, c.1780-90, the oval forms painted with turquoise ribbon borders enclosing a pink polka dot band, impressed marks, and a pearlware jug with a large blue band beneath £100-200 a chequered border, some faults, 27.2cm max. (3)

115. 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. £100-200

116. A Majolica fish tureen with cover and stand, 19th/early 20th century, the oval form moulded with basketweave and flowers, the cover with a large fish finial above further fish swimming among reeds, incised 3544 to the base of the stand, 34.5cm. (3) £100-200

117. A Wedgwood Jasperware tobacco jar and cover and a mug, late 19th century, the jar sprigged in white with putti at various pursuits, the mug with five Classical figures emblematic of the Arts, and a Wedgwood rectangular plaque applied with putti representing the Four Seasons on a pale blue ground, framed, 33.2cm max overall. (4) £150-200

118. A pair of Wedgwood tricolour Jasperware vases and covers, c.1900, the Neoclassical forms applied with small roundels of Classical figures above flower swags suspended from rams head masks, between formal leaf borders, applied in pink and green on a white ground, impressed Wedgwood and England marks, some repairs to the covers, 27cm. (4) £150-250

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119. A John Rose & Co Parian bust, c.1847, of an unknown gentleman, draped in a Classical robe, his head turned slightly to the left, inscribed to the reverse ‘John Rose & Co, Publish’d January 1847 by permission by Thos. Smith’, the surface stained and £100-200 degraded, 33cm.

120. A Wedgwood Jasperware portrait plaque of William Pitt the Younger, late 18th/early 19th century, probably modelled by John Flaxman with a head and shoulders portrait of the young Prime Minister, in white on a pale blue ground, mounted in a later gilt wood frame, the plaque 12cm. £100-200

121. A black basalt figure of Lord Rodney, c.1785-90, modelled by Pierre Stephan, standing before a cannon and flags, 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. (2) £50-80

Cf. Richard Dennis, The Parian Phenomenon, p.244, fig.817.

Cf. John Flaxman, ed. David Bindman, p.63, no.50.

Provenance: the collection of Rodney Bewes.

122. A pair of Italian pearlware figure groups, late 18th/19th century, possibly emblematic of Earth and Water, one with a family hunting game with two dogs, the other with a fisherman emptying his nets, helped by a girl and a small boy, both beneath tall trees, damages and repairs, 31cm max. (2) £100-200

123. A large Staffordshire figure of Britannia, 19th century, seated, with a lion recumbent at her side, one hand resting on a shield, the other holding a metal spear, raised on a rectangular faux marble base, 36.5cm. £150-250

124. Two treacle-glazed Toby jugs and a spirit flask, 19th century, one modelled as a snuff taker, the other of traditional form, seated with a jug of ale and a pipe, the spirit flask modelled as a character sitting astride a barrel, a restuck section to one hat, 24cm max. (3) £100-200

125. A Davenport Toby jug, 1st half 19th century, seated with a boldly patterned jug of ale, raised on a base sponged with green and red, and a pearlware female snuff taker jug, wearing a checked skirt, taking a pinch from a small box in her left hand, the handle of the latter broken and restuck, 25.5cm max. (2) £100-200 Provenance: the collection of Robert Willcox, and thence by descent.

126. A French faïence toby jug figure, late 18th/early 19th century, of a female hurdygurdy player, possibly Columbine, seated and playing the instrument resting on one knee, wearing a wide brimmed hat, decorated in washed green, yellow and manganese, damages, 23.5cm. £100-200

Provenance: the collection of Robert Willcox, and thence by descent.

127. Two Hearty Good Fellow Toby jugs, c.1820-30, each standing with a foaming jug of ale and holding a long-stemmed clay pipe, wearing brightly patterned waistcoats, damages to the hats, 29cm max. (2) £150-250 Provenance: the collection of Robert Willcox, and thence by descent.

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128. A Pratt ware Toby jug, c.1790-1800, seated with a large jug resting on his left knee, his clay pipe propped beside his right foot, wearing a yellow jacket over a patterned waistcoat and polka dot breeches, raised on a tall sponged base, his hat damaged and repaired, 24cm. £150-250 Paper label for J P Way, Bristol. Provenance: the collection of Robert Willcox, and thence by descent.

129. Two Toby jugs, c.1800-1820, one a Mexborough, seated with an empty jug on his knee and holding a hexagonal cup in his right hand, the other a Pratt example of small form, wearing an ochre coat over a yellow waistcoat and blue breeches, damages, 25cm max. (2) £150-250 128

129

Provenance: the collection of Robert Willcox, and thence by descent.

130. Two Toby jugs, c.1810, of Ordinary type, each seated with a foaming jug of ale on his left knee, a clay pipe resting along his right arm, some damages and repairs to the £200-300 hats, 25cm max. (2) Provenance: the collection of Robert Willcox, and thence by descent.

131. An American Sailor toby jug, c.1820, seated on a sea chest inscribed ‘Dollars’, holding a foaming jug bearing the legend ‘Success to our Wooden Walls’, wearing a blue suit with yellow buttons, the enamel extensively flaked, 27cm. £100-200 Provenance: the collection of Robert Willcox, and thence by descent. 130

131 132. Two pearlware Toby jugs, c.1800-10, of Ordinary type, each seated with a foaming jug of ale on one knee, an upright barrel between their feet, wearing a sponged blue coat over an ochre waistcoat and black breeches, one hat heavily restored, 25.5cm. (2) £150-250 Provenance: the collection of Robert Willcox, and thence by descent.

133. Two Toby jugs, c.1810-30, of Ordinary type, the larger with a foaming jug of ale and a clay pipe, wearing a lilac coat over a patterned waistcoat, the other smaller and wearing a striped waistcoat, some damages, 25cm max. (2) £150-250 Provenance: the collection of Robert Willcox, and thence by descent. 132

133

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134. A pearlware bust of John Milton, late 18th century, modelled in melancholic pose, decorated in washed green, blue and manganese, raised on a shaped socle base, incised X mark, some restoration to the socle, 21cm. ÂŁ200-300

135. A large Staffordshire pearlware figure of Sir Anthony van Dyck, c.1810, after Michael Rysbrack, standing with one hand on his hip, the other outstretched and holding a scroll, draped in a long cloak and standing beside a large plinth, raised on a rectangular faux marble base, some restoration, 55.5cm. ÂŁ800-1,200 The Rysbrack statues of van Dyck and Rubens were also produced at the Bow porcelain factory around 1760.

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136. Four Staffordshire pearlware figures, c.1810, one of a gardener, one of a hunter and his dog, another of a female archer, the last larger and of a hunter holding his gun and a dead game bird, all raised on square bases, some restorations, 23cm max. (4) £250-350

137. A pair of Walton pearlware figures, c.1800, of a boy and a girl holding baskets of fruit and standing barefoot before flowering bocage, applied Walton banners to the back of each, some repairs to the bocage, 19.5cm. (2) £100-200

138. Three Staffordshire pearlware figures, early 19th century, one of a huntsman with his dog, another of a female archer standing beside a straw target, the last of a gardener leaning on his spade before flowering bocage, restorations, 17.8cm max. (3) £100-200

139. Two Staffordshire figures of rabbits, 19th century, crouched with their ears laying flat along their backs, their coats decorated in black patches, raised on oval grassy bases, some faults, 5.5cm high. (2) £100-150

140. Five Staffordshire figures, 19th century, an elderly gentleman and his wife walking with crutches and a stick, one of a couple arm in arm and carrying baskets, one of the Lost Sheep after Ralph Wood, the last of the Prince of Wales on horseback, some damages, 20cm max. (5) £200-300

141. A pair of Staffordshire spill vase figures, 19th century, modelled as a sheep and a ram standing before tree trunks acting as the vase, the shaped bases applied with moss, the animals’ fleece of applied crumb frit, 18cm. (2) £100-200

142. Three Walton pearlware figures, c.1815-25, modelled as gardeners standing on rocky bases before flowering bocage, applied Walton marks, and two Walton-style figures of a boy and his dog, and of a putto, some faults, 15cm max. (5) £100-200 Provenance: a private collection from Hampshire.

Provenance: a private collection from Hampshire.

143. A pair of Walton pearlware figures of sheep and lambs, c.1810-20, standing four square on grassy bases above recumbent lambs, all before bocage, applied Walton banners to the reverse, and a Staffordshire figure group of a couple garlanding a ram with flower swags, some damages, 16.5cm. (3) £250-350

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144. A pair of Staffordshire models of pipe-smoking spaniels, 19th century, each dog seated on its haunches with head turned, a pipe clutched between its teeth, their coats decorated in blackberry patches, raised on scroll bases glazed turquoise and highlighted in green, one pipe restored, 22cm. (2) £400-600

145. A large pair of Staffordshire models of cats, 19th century, seated on their haunches with heads turned, wearing ribbon collars with a small bell, their faces detailed in polychrome enamels, some gilt wear, 33.5cm. (2) £200-300

146. A large Staffordshire pearlware figure of a ram, c.1790-1800, recumbent on a domed grassy base, his head turned to the right, his coat sponged in manganese, his horns restored, 16.5cm across. £200-300

147. A creamware cow creamer and cover, c.1800-10, standing four square on an octagonal base, a recumbent calf between her feet, her coat sponged in black and ochre, some restoration, 16cm across. (2) £100-200

148. A pottery model of a spaniel by Anne Gordon, Marchioness of Aberdeen, dated 1970, modelled in a playful pose with ears pricked and tail erect, raised on a low grassy base, AG monogram, 14cm high. £150-250 The subject matter is quite an unusual one for Gordon, and it is possible that this was a specific commission for a friend or valued client.

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149. A Royal Worcester tea service, c.1891, painted in the manner of Edward Raby with flowers edged in gilt on a pale ivory ground, moulded in the Aesthetic manner to simulate bamboo. Comprising: a teapot and cover, a milk jug, a sugar bowl, six cups and six saucers. (16) £100-200

150. A Royal Worcester part fruit service, date codes for 1939, the wells painted by Richard Sebright and Edward Townsend with vignettes of peaches, grapes, plums, raspberries, apples and other fruits, reserved on a claret ground with gilt foliate scrolls and jewelled highlights in white, green and yellow enamel, signed, printed marks. Comprising: a square dish, two bowls and six plates. (9) £300-500

151. A Coalport tea service, c.1830, decorated in pattern 4/808 within continuous gilded grapevine bands on a buff ground, the teapot’s spout formed as a mythical beast. Comprising: a teapot and cover with stand, a sugar bowl and cover, a milk jug, a slop bowl, two square plates, nine tea cups, six coffee cups and 11 saucers. (35) £150-250

152. Five English porcelain sucriers and covers, 1st half 19th century, including New Hall and Coalport, variously decorated in the Imari palette with leafy branches, floral panels and flowers, some restoration, 19cm max. (10) £150-250

153. An early Coalport tea service, c.1790-1800, of spiral fluted form, painted with small flower sprays beneath a puce diaper panel border. Comprising: a teapot and cover, a milk jug, a slop bowl, seven teabowls and seven saucers. (18) £200-300

154. A Caughley part tea service, c.1790, the fluted forms simply decorated with narrow gilt bands on a white ground. Comprising: a teapot and cover with stand, a sucrier and cover, a slop bowl, two teabowls and two saucers. (10) £100-200

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

155. A garniture of three Derby vases, c.1820, of campana shape, decorated in the Imari palette with stylized flower sprays and panels of gilt foliate motifs, the handles formed as serpents, iron red crowned crossed batons and D marks, restoration to the larger vase, 21cm max. (3) £150-250

156. Seven English porcelain sucriers and covers, 1st half 19th century, including Coalport, Derby and Ridgway, of oval, circular and square form, variously decorated with flower panels, formal flower designs, foliate scrolls and formal geometric bands, some faults, 18cm max. (14) £200-300

157. Three English porcelain teapots, c.1800-30, including Coalport and Derby, one spiral-moulded and painted with gilt and blue cornflower sprigs, another printed in purple with figures fishing before a stately home within silver lustre borders, the last painted with a continuous leaf scroll in blue and gilt, 27cm max. (6) £250-350

158. A New Hall teapot and cover, c.1790, simply decorated with flower sprigs in a palette of pink, purple and red, a New Hall saucer dish decorated in pattern 943 with ruined buildings beneath bold stylized trees, and a Worcester plate decorated with a pattern of gilt husk swags, 21cm max. (4) £100-200

159. A Chamberlain’s Worcester teapot with cover and stand, c.1800, together with a slop bowl, milk jug, teabowl and two cups, all painted with the Stag Hunt pattern within shaped gilt cartouches, 25cm max. (8) £200-300

160. A Chamberlain’s Worcester sucrier and cover, c.1800, of oval form, painted with the Stag Hunt pattern within gilt panels, together with a hexagonal teapot stand and two teabowls and saucers in the same pattern, 14.5cm max. (7) £200-300

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161. A Royal Crown Derby vase, c.1930, of campana shape, painted by Cuthbert Gresley with panels of flowers within raised gilt cartouches on a deep blue ground, signed ‘C Gresley’, raised on a pierced square base, printed mark and indistinct date code, 20.3cm. £200-300

162. A Royal Worcester pot pourri vase and cover, date code for 1930, the lobed shape painted by Harry Stinton with Highland cattle in a mountain landscape, signed ‘H Stinton’, the gilded cover pierced with a foliate design, printed mark, 14.7cm. (2) £150-250

163. A pair of Royal Worcester vases, date codes for 1905, of small ovoid shape with twin handles, painted by Harry Chair with small panels of roses and forget-me-not within raised gilt scroll cartouches on a dark blue ground, signed, printed marks, 8.7cm. (2) £300-400

164. A pair of English porcelain candlesticks, 1st half 19th century, painted with continuous landscape scenes, with small figures before harbours, lakes, waterfalls and fields, raised on octagonal bases, some faults, 20.5cm. (2) £200-300

165. An unusual Rockingham wine cooler, c.1835, after a Sèvres shape, painted with baskets of flowers between shaped pink borders edged with gilt foliate scrolls, printed mark, 20.5cm. £150-250

166. A large Rockingham bowl, c.1830, the fluted form painted with baskets of flowers reserved within elaborate gilt scroll borders on a rich blue ground, the interior with further floral sprays, printed mark, together with a Chinese hardwood stand, 23cm dia. (2) £100-150

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

167. A pair of Spode miniature candlesticks, c.1820, of cylindrical form issuing from circular bases, painted with panels of flowers within gilt scroll cartouches on a blue ground, some good restoration to one, 6cm. (2) £50-80

168. A Spode small pot pourri basket and cover, c.1815, the oval form decorated in pattern 711 with colourful flowers on a gold ground, the domed cover pierced with small holes, iron red Spode mark and pattern number, one handle restuck, 11cm. (2) £150-250 Cf. Bonhams, The Contents of Trelissick House, 24th July 2013, lot 580 for a pair of similar baskets.

169. A Swansea plate, c.1815-20, the rim moulded with C scrolls and foliate scrolls, painted in the manner of William Pollard with small sprays of flowers and fruit including primrose, dog rose, forget-menot and strawberry, 23.1cm. £300-400

170. An English porcelain inkstand, early 19th century, probably Coalport, made in the Sèvres style with three affixed covered inkwells, the central well surmounted with a small bell, all painted with floral arrangements within gilt scroll panels on a blue ground, the whole raised on scrolled feet, 32.5cm across. (4) £150-250

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171. A rare pair of Chelsea-Derby plates, c.1770-75, painted probably by Richard Askew, each with a scene of a putto on clouds in puce monochrome, the rims moulded with leaf swags in turquoise and gilt, tied with puce ribbons, gold anchor and D marks, some gilt wear, 21.5cm. (2) £350-450

172. Two Derby plates, c.1775 and later, one of saucer form, painted in the Imari palette with a stylized pagoda landscape within a border of peony sprays, the other painted with birds perched on a low branch beside flowers and amidst flying insects and butterflies, iron red crowned crossed batons mark to the latter, 22.4cm max. (2) £150-200

173. A pair of English porcelain candlesticks, early 19th century, after Meissen, painted with garden birds perched in low trees with scattered butterflies and insects above, the feet and rims with gilt scroll borders, 13cm. (2) £100-200

174. 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 £150-250 inscription, some wear, 21.7cm max. (3) Cf. Sotheby’s, Sir Leslie Joseph Collection, 15th May 1992, lot 502 for a similar Nantgarw plate.

175. A Bloor Derby two-handled pedestal dish, c.1830, of curved rectangular form, painted to the well with a view of the town and castle of Stirling from St Ninians, titled in red to the underside, printed mark, 29.5cm. £250-350

176. A Coalport blue and white hors d’oeuvre set, early 19th century, the rectangular tray set with four square dishes around a narrow rectangular tray, printed with a Chinese pagoda landscape, 28cm. (6) £150-250

177. A good English porcelain pierced dish or basket stand, early 19th century, the oval form moulded with a band of leaves within a pierced arcade, highlighted in blue, purple and gilt, 26.3cm. £100-200

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178. Four creamware bin labels, c.1800, of coathanger form, inscribed in black with ‘Cyder’, ‘Raisin’, ‘Chablis’ and ‘Sherry’ the latter with a Wedgwood mark, and a Caughley porcelain blue and white wine taster, the deep bowl printed with the Fisherman pattern, damages, 14cm max. (5) £200-300

179. A pair of South Staffordshire enamel candlesticks, c.1770, finely painted with flower sprays and single scattered sprigs in polychrome enamels on a white ground, with small gilt sprays, raised on wide shaped feet, fitted for oil lamps, one with a removable glass drip pan, 34.5cm overall. (3) £200-300

180. Three English enamel snuff boxes, c.1760, one circular, one rectangular, and one of shaped moulded form, all painted in polychrome enamels with flowers, and a Sèvres-style enamel tea canister and cover, of chamfered rectangular form and painted with vertical stripes of small flower sprigs, some damages, 9cm max. (5) £400-500

181. Two Russian porcelain Easter eggs, 20th century, one probably Imperial Factory St Petersburg, finely decorated with butterflies in a mosaic effect between gilt panels with stylized foliate designs, the other with formal gilt scrolls on alternating green and white stripes, with yellow suspension ribbons, the porcelain 7cm max. (2) £400-600 Provenance: from the collection of Dr Venetia Newall.

182. A Samson porcelain etui, late 19th century, modelled in the shape of a leg wearing a heeled yellow shoe, and a blue garter around the knee, fitted with a hinged silver-coloured metal mount, 12.5cm. £100-150

183. A Saint Cloud silver-mounted snuff box, c.1740-50, the shaped sides painted in Kakiemon type colours with ducks swimming and birds in flight above small buildings, the cover with two Chinese figures above an ornamental fence and beside a large flowering plant, the design echoed to the cover’s interior, Paris discharge mark to the silver mount, 7.6cm. £400-600

184. A porcelain scent bottle, probably c.1770, moulded with vertical reeding highlighted in blue and yellow, separated by a painted continuous band of flowers, 7.3cm. £60-100

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185. A Continental porcelain oval portrait plaque, 19th century, possibly KPM, depicting a young girl draped in a white robe and wearing a leafy diadem with pearls and precious metals over her long blonde hair, in a gilt metal frame, the plaque 12cm. £100-200

186. A Continental porcelain oval portrait plaque, 19th century, probably KPM, painted with a young girl seated and wearing a loose white costume that slips off one shoulder, mounted in a gilt metal frame, the plaque £200-300 13.5cm.

187. A KPM porcelain oval portrait plaque, 19th century, painted with a lady wearing a head scarf of medieval type, a cross around her neck, impressed 15 to the reverse, 8.5cm. £100-200

188. Two Continental porcelain plaques, 19th century, of KPM type, one circular and painted with the portrait of a young girl with hands clasped, lying on one side and baring her left shoulder, the other rectangular and of Mary and the Infant Jesus, mounted in gilt metal frames, 11.2cm max. (2) £150-200

189. Four small Continental porcelain plaques, 19th century, of KPM type, all oval and painted with the portraits of young ladues, one playing an organ, another in medieval dress, the others with elaborate 18th century hairstyles, in gilt metal frames, and a circular enamel plaque painted with Harlequin and Columbine in a later wooden frame, 10.3cm max. (5) £200-300

190. Two Meissen bottle stoppers, 20th century, one modelled as a caricature of a gentleman with large ears, wearing a cap, the other in the 18th century manner with a gentleman wearing a tricorn hat, each mounted on a cork stopper, 9.5cm max. (2) £100-200

191. Two miniature Meissen figures of huntsmen, 19th/20th century, each resting his left hand on the muzzle of his gun, raised on low bases applied with flowers, and a Meissen figure of Cupid in Disguise, blue crossed swords marks, some restoration, 9.5cm max. (3) £200-300

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

192. A Herend figure group of two rabbits, modern, one alert with one ear erect, the other in relaxed pose beside his companion, with ears laid flat along his back, decorated in a red scale ground, printed mark, 14.3cm. £100-200

193. Seven Herend figures of animals and birds, modern, two of ducks nestled together, one of a cockerel, two of owls, one of a pelican, and the last of a snail, variously decorated in red, green and blue scale grounds, the snail’s antennae lacking, 13cm max. (7) £300-500

194. Five Nymphenburg white-glazed figures, modern, after Franz Anton Bustelli, four from the Commedia dell’Arte of Pantalone, Columbine, Julia and il Dottore, the last of the Mischievous Soldier, raised on flat scroll bases, impressed shield marks, 22cm max. (5) £200-300

195. Two Meissen models of birds, 20th century, one a magpie with tail erect and beak agape, the other a kingfisher raised on a rocky base, and a Meissen paperweight modelled as a sphinx on a stepped base painted with floral sprigs, blue crossed swords marks, 20.5cm max. (3) £150-250

196. A large pair of Berlin models of magpies, 19th/early 20th century, perched on tall stumps with beaks agape, one bird regarding a large snail that creeps up towards it, blue sceptre marks, 27.5cm. (2) £300-400

197. Six Nymphenburg white-glazed figures, modern, one of a lady with a dog ripping at her skirts, another of Donna Martina from the Commedia dell’Arte, both modelled after Franz Anton Bustelli, an equestrian figure of Johann Wilhelm II, titled ‘Jan Wellem’, two figures of huntsman, one with a falcon, the other with dogs, the last a small figure of a monk with a pointed hood, and a Berlin figure of Cupid in disguise as a street musician, 23cm max. (7) £200-300

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198. A Meissen figure group of two putti, 19th century, working as bricklayers and building a low wall, incised ‘P113’, cancelled blue crossed swords mark, and two Meissen-style groups of children emblematic of Music and Sculpture, blue crossed pitchfork marks after Volkstedt, 13.3cm max. (3) £150-250

199. A Meissen figure group of two putti, 19th century, modelled by Juechtzer, one dancing with a tambourine, the other holding a ewer and putting out a hand to restrain his companion, a marble column between them, blue crossed swords mark, incised H36, some restoration, 13cm. £150-250

200. Two Meissen sweetmeat figures, mid 18th century, from a table centrepiece, modelled as children with large upturned straw hats under their arms, wearing ragged clothing, raised on modern turned wooden bases, some minor restoration, 15.2cm max. (2) £200-300

201. 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. £50-100

202. A miniature Berlin figure of a vegetable seller, mid 18th century, a large basket strapped to her back containing parsnips, carrots and other vegetables, on a low square base, blue sceptre mark, some chipping, 9cm. £100-200

203. A Meissen figure of a girl, 19th century, seated with an open book on one knee, holding a pocket watch in her right hand, raised on a circular base with gilded moulded scrolls, blue crossed swords mark, incised F49, 14cm. £100-200

204. Two small Meissen figures, 19th century, one of a gardener, holding a hat full of roses on his left hip, incised C73 to the base, the other of a young girl carrying flowers in her apron, and a Vienna figure of the Racegoer’s Companion, blue crossed swords and blue shield marks, some repairs, 20.5cm max. (3) £100-200

205. Three Berlin figural salts, 19th century, each modelled as a putto kneeling between two oval baskets painted with exotic birds, raised on scrolled bases, blue sceptre marks, 12.5cm high. (3) £100-200

206. A pair of Meissen figures from the Five Senses, 19th century, emblematic of Touch and Smell, each seated beside a small table, Touch with a bird emerging from a cage, Smell with a basket of flowers and a scent bottle, blue crossed swords marks, incised E4 and E5, Touch lacking a section of the base, 14.5cm. (2) £100-200

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

207. A matched pair of Russian biscuit porcelain figures, 19th/20th century, Gardner factory, Moscow, of a male balalaika player, and of a girl dancing, both raised on square grassy bases, printed red marks, some damages, 21.5cm. (2) £400-600

208. A pair of Meissen figures of putti, mid 18th century, emblematic of Summer and Winter, each seated on a chamfered square plinth, Summer with a sheaf of corn, Winter with a pot of hot coals, faint blue crossed swords marks, small damages, 14.2cm max. (2) £250-350

209. Two small Meissen allegorical figures, 19th century, one of Prometheus holding firebolts above his head while further flames lick around his feet, a large eagle perched by his side, the other emblematic of Taste, a maiden raising a bunch of grapes to her lips while a monkey holds a fruit by her feet, blue crossed swords mark to the former, some restoration, 15cm. (2) £200-300

210. A Meissen figure group, 19th century, of courting shepherds, seated on a rocky base, a sheep stealing blooms from his mistress’s lap, blue crossed swords mark, incised H41, minor losses, 19cm. £300-500

211. A Meissen figure group, 19th century, a shepherd and his companion seated on a rocky base with a sheep standing between them and resting a front hoof on its master’s knee, the girl with a basket of grapes in her lap, blue crossed swords mark, incised C41, some restoration, 19cm. £200-300

212. A pair of Berlin style candlestick figures, 19th/early 20th century, modelled as two putti entwined around a column supporting a vase-shaped candle sconce, raised on circular bases studded with colourful jewelling, blue sceptre marks, 30cm. (2) £100-200

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213. A large Meissen figure of a shepherdess, mid 18th century, holding a lamb on her left hip, a small posy of flowers in her right hand, raised on a tall scrolled base with puce detailing, blue crossed swords mark to the back of the base, some good restoration, 29.5cm. £400-600 Provenance: from a private collection in Northamptonshire.

214. A Meissen figure group of Apple Pickers, 19th century, after the model by Kändler and Meyer, a young boy barefoot up a ladder resting against the fruiting tree, with three figures beneath gathering the apples in hats, aprons and other receptacles, blue crossed swords mark, incised 1998, some chips to the tree, 28.3cm. £200-300

Provenance: from a private collection in Northamptonshire.

Cf. R Rückert, Meissener Porzellan 17101810, no. 1006 for a similar example.

216. 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. £200-300 Provenance: from a private collection in Northamptonshire.

215. A large Meissen figure of a shepherd, mid 18th century, modelled by J J Kändler, the young boy standing and turning to his dog as it jumps up beside him, taking a pastry from a satchel by his left leg, a recumbent sheep resting on the scrolled base, blue crossed swords mark to the back of the base, good restoration, 29.5cm. £600-1,000

217. A Meissen figure of Winter, mid 18th century, modelled as an old man wearing a fur-lined robe and standing beside a flaming brazier, blue crossed swords mark, some restoration, 20cm. £100-200

218. 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 £350-500 base, minor restorations, 12cm. Provenance: from a private collection in Northamptonshire.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

219. A large Meissen tureen and cover, c.1770, with later associated stand, the moulded oval form painted with bold flower sprays, the cover with a putto finial spilling a cornucopia of fruit and flowers, the rims with a band of osier moulding, blue crossed swords and dot mark to the tureen, minor damages, 39cm max. (3) £150-250

220. A Meissen ecuelle with cover and stand, 19th century, possibly outside decorated with scenes of courting couples reserved in quatrefoil panels on a russet ground, blue crossed swords marks, £100-150 23.2cm. (3)

221. A Meissen tureen with cover and stand, 19th century, the quatrefoil form painted with scenes of figures performing traditional crafts, including blacksmiths forging, basketweavers and coopers making barrels, reserved between flower sprays on a green leaf ground, cancelled blue crossed swords marks, 24.5cm. (3) £150-250

222. A Höchst bowl, c.1785, the square form crisply moulded with flower swags to the exterior and painted with further polychrome flower sprays and scattered sprigs, puce wheel mark, incised IN and with an incised wheel mark, 24.5cm across. £100-200

223. A large Berlin circular tureen and cover, 19th century, painted with a version of Hogarth’s Modern Midnight Conversation to the side and cover, within osier moulded borders painted with flower sprays, the cover surmounted with a bacchanalian putto finial, blue sceptre mark, 29cm dia. (2) £200-300

224. A large Russian porcelain vase, modern, Dimitrov Factory, Verbilki, the ovoid body brightly painted with foliate scrolls and palmettes in orange, puce and yellow enamels with gilt detailing, gilt factory mark to the base, 51.5cm. £400-600

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225. A Russian porcelain part tea service, Imperial Factory, St Petersburg, Nicholas I period, painted with small floral arrangements surrounded by a scroll diaper ground in gilt and blue enamel, printed marks. Comprising: twelve cups and four saucers. (16) £200-300

226. A Herend part tea service, modern, decorated in the Rothschild Birds pattern with Meissen-style songbirds perched in branches from which drape jewels and necklaces. Comprising: six plates, three jugs, £200-300 twelve cups, twelve saucers and a pin tray. (34)

227. A small collection of Meissen blue and white porcelains, 20th century, including two coffee pots and covers, two small tureens and covers with built-in stands, two double-ended sauceboats, and two tea canisters and covers, all decorated in the Zweibelmuster or Onion pattern, together with a large Meissen heavily moulded charger, blue crossed swords marks, 32cm max. (15) £300-400

228. A Berlin tête à tête tea set, 19th century, painted with scenes of farmyard animals including sheep, cattle and goats, within blue and gilt line borders, blue sceptre marks. Comprising: a tray, a coffee pot and cover, a cream jug and cover, a sucrier and cover, two cups and two saucers. (11) £200-300

229. A large Meissen tureen stand or dish, c.1760, painted with bold flower sprays and single scattered blooms, the rim with a band of osier-moulding, blue crossed swords and dot mark, 45.5cm. £250-350

230. A Chantilly buttertub and cover and a custard cup, c.1760, the buttertub of circular form with a built-in stand, both simply decorated with flower sprigs, an Arras plate with similar decoration, a Tournai plate painted in the Ronda pattern, and a Caughley plate painted with a gillyflower, various marks, 24.5cm max. (6) £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

231. A Russian porcelain cup and saucer from the Ropsha Service, Imperial Porcelain Manufactory, St Petersburg, period of Nicholas II (1894-1917), dated 1906, richly decorated with a continuous gilt border of formal shell motifs reserved on a blue ground, the well of the saucer with a double headed eagle, printed marks, 14cm max. (2) £400-600

232. A Vienna cabinet plate, late 18th/early 19th century, painted with a scene of Henry IV of France appealing to Leopold of Austria before a battle scene, within an elaborate raised gilt border on a mauve and pale blue ground, titled in black to the underside, blue shield mark, an 8mm rim chip, 24.4cm. £100-200

233. A Sèvres coffee can and saucer, date code for 1782, painted with a portrait of the Duchess du Maine, titled to the underside of the can, the saucer with a gilt DM monogram within jewelled motifs on a mazarin blue ground, interlaced LL mark to the can, 14.1cm. (2) £300-500

234. A Vienna sugar bowl and cover, 2nd half 18th century, the oval form painted with birds on low leafy branches, including a duck, jay and finches, the cover with a yellow rose finial, blue shield mark, some chipping to the finial, 13.7cm. (2) £100-200

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235. A large Doccia plate or dish, c.176070, painted with sprays of polychrome flowers and single scattered sprigs, 29.5cm. £100-150

236. A Doccia shaped dish, c.1770, painted with the Tulipano pattern, the shaped and moulded rim picked out in puce, and a Mennecy toilet pot and cover, of lobed form, painted with flower sprays, some chipping to the finial, 20.2cm max. (3) £150-200

238. A Meissen tea cup and saucer, 19th century, well painted with birds, the cup with herons in a river scene, the saucer with quail, blue crossed swords marks, and a Nyon teabowl and saucer painted with scattered butterflies and floral sprays, blue fish mark, 13cm. (4) £100-200

240. A Meissen pickle dish, mid 18th century, of deep leaf shape, decorated in purpurmalerei with chrysanthemum issuing from a banded hedge, the rim with gilt flower mons within a continuous floral band, blue crossed swords mark, 12.3cm. £100-200

237. A Sèvres-style cabinet plate, 2nd half 18th century, the well painted with a figure standing beneath a tree, within an elaborate foliate gilt design, the rim with a continuous band of pink roses and heartsease, blue ‘Sevres’ and ‘LB’ marks, the decoration probably later, small rim chips, 24.3cm. £100-200

239. A Meissen cup with cover and stand, c.1740, painted with sprays of deutscheBlumen, the trembleuse saucer with a tall reticulated gallery, a Meissen teabowl painted with birds on branches flanking a distant landscape, and a saucer decorated largely in puce monochrome with a traveller tending to his horse, blue crossed swords marks, the cup’s cover broken and restuck, 13.5cm max. (5) £150-200

241. A Sèvres small chocolate pot, 2nd half 18th century, the cylindrical body painted with cornflower sprigs on a white ground, the handle of a dark hardwood, puce interlaced LL mark and fleur de lys mark perhaps for Taillandier, the cover lacking, 10.8cm high. £100-200

242. A Sèvres teapot and cover, c.1770, the ovoid body painted with polychrome flower sprays on a white ground, gilt dentil rim, blue interlaced LL mark and star painter’s mark possibly for Bienfait, some chipping to the spout, 18cm. (2) £100-200

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

243. A pair of Sèvres-style câchepots, late 18th/early 19th century, each painted with the head and shoulders portrait of Madame du Barry, reserved within turquoise ribbon panels (rubans bleu céleste) garlanded with flowers, the reverses with the monogram DB for Madame du Barry, interlaced LL marks and date code S, 13cm. (2) £500-800

244. A Vienna teapot and cover, c.1750, painted in the manner of Andreas Philipp Oettner with figures travelling before ruined buildings, the spout formed as a mythical creature, the cover surmounted with a strawberry finial, blue shield mark, the cover restored, 17.5cm. (2) £100-200

245. An Italian porcelain silver-gilt mounted tankard, 19th century, moulded in high relief with centurions being mauled by lions, the cover with a large lion finial set in a chased silver-gilt fitting, gilt crowned N mark, 21.5cm. £200-300

246. A Meissen reticulated basket and cover, c.1770-80, the basket with a built-in stand, all elaborately pierced and picked out in blue and puce, blue crossed swords and dot mark, and a pair of Copenhagen circular baskets painted with flowers to the interior, the exteriors detailed in pink and gilt, triple wave marks, the Meissen basket restored, 28cm max. (4) £200-300 245

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247. A Derby figure of Dr Syntax, 20th century, his face bound in a scarf and being given a piggyback by a lady, raised on a circular base, 14cm. £100-200

248. A pair of Derby figures of dancers, early 19th century, both elaborately dressed, she holding the edges of her overskirt in both hands, with heads gently inclined, raised on scrolled bases detailed in pink and gilt, 19cm. (2) £400-600

249. A rare Derby biscuit porcelain figure of Belisarius and his daughter, c.1820, the young girl leading her blind, elderly father, the circular base encrusted with flowers and leaves, incised crowned crossed batons and D mark and ‘No 392’, some damages, 24cm. £300-400

250. A pair of Derby models of cats, c.1820, recumbent with tails tucked around their bodies, wearing gilt collars, an English porcelain figure of a lioness standing four square on an oval base, with head turned to the right, and a further figure of a cat seated on its haunches with head slightly turned, some restoration and minor damages, 8.5cm max. (4) £150-200 250

251. Three English porcelain figures of dogs, 1st half 19th century, one of a poodle seated with three puppies sleeping and playing on a scrolled rococo base, another formed as an inkwell, with a dog recumbent and suckling a single pup, the other of a hound chained and seated on a grassy base, 12.5cm max. (3) £150-250

Provenance: a private collection from Hampshire. 251

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

252. A Derby figure of a seated lady, c.1780, after Meissen, playing a stringed instrument while seated in a high-backed chair, raised on a circular scrolled base with gilt detailing, some restoration, the end of her instrument lacking, 15.5cm. £250-350

253. A Derby figure emblematic of Architecture, c.1800, modelled as two winged putti either side of a short column and base, raised on a rocky base applied with flowers, blue crossed swords mark, the £200-300 wings and one arm restored, 13cm.

254. A rare Derby figure group emblematic of Feeling, c.1770, from a set of the Five Senses, modelled as a young girl seated and holding an arrow, Cupid kneeling beside her and reaching into her lap, raised on a low rocky base, restoration, 17.5cm. £400-600

255. A Derby figure of a cow and calf, c.1775, the cow standing four square above its recumbent calf on a grassy base applied with flowers and leaves, standing before flowering bocage, minor damages, £100-200 15.5cm. Provenance: a private collection from Hampshire.

256. A pair of Derby figures of the Dresden Shepherds, c.1820, each standing with one arm outstretched, she with a lamb at her feet, he with a dog seated at his side, each raised on a pierced scrolled base, incised ‘No 55’ and with iron red factory marks, 21.3cm. (2) £250-350

257. Two Derby figures, c.1765-70, one of a shepherd, standing beside a basket of fruit, a lamb tucked under his right arm, the other a candlestick figure of a boy and a dog seated before flowering bocage, some restoration, the sconce associated, 19.7cm max. (2) £150-250 Provenance: a private collection in Northamptonshire.

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258. Two Derby figures of Classical gods, c.1760, one of Jupiter standing beside a large eagle and holding a firebolt above his head, the other of Apollo, resting his right hand on a lyre and standing beside a pile of books and music, each raised on a scrolled base picked out in gilt and turquoise, some restoration, 21.5cm max. (2) £600-800

259. A pair of Derby figures of Shakespeare and Milton, c.1800, each poet standing and leaning on a moulded plinth, holding a scroll inscribed with verses from The Tempest and Paradise Lost respectively, raised on chamfered bases and highlighted in pink and gilt, incised No 305, 25.5cm. (2) £300-400

260. A pair of Derby figures of a piping shepherd and his companion, c.1765, the young gallant playing his pipe while his companion dances, standing before flowering bocage with a dog and a recumbent lamb, raised on scrolled bases, restorations, 22.5cm. (2) £300-400

261. Two Derby Classical figures, c.1780-90, one of the goddess Diana, holding a dog on a leash and with a quiver of arrows slung across her back, the other of Justice, standing with eyes closed, both raised on chamfered square bases, Diana with a star repairer’s mark for Isaac Farnsworth, some losses, 26.5cm max. (2) £350-450

262. A pair of Derby figures emblematic of Earth and Fire, c.176570, the former modelled as a gardener with a spade and watering can, the latter standing beside a flaming urn and a small cannon, both before flowering bocage and raised on pierced scrolled bases picked out in turquoise and gilt, some restoration, 24.5cm. (2) £150-250

263. Two Derby candlestick figure groups, c.1765, each modelled with two playful lambs standing before flowering bocage, raised on tall scroll bases picked out in pink, turquoise and gilt, each surmounted with a pierced sconce, some chipping, 24.2cm. (2) £400-600

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

264

265

266

267

264. 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. £200-300 265. A rare Derby figure of Britannia, c.1760, standing beside an oak leaf and acorn bocage, her right hand resting on a shield emblazoned £400-500 with a lion and a wild boar, raised on a pierced scroll base, her spear lacking, 26.5cm. Cf. Peter Bradshaw, Derby Porcelain Figures, p.329 for a slightly larger example in the Bowes Museum. 266. A Bow figure of Fame, c.1758, blowing a long trumpet, with wings outstretched and holding a pineapple in her right hand, wearing a laurel wreath diadem and raised on a cloud scroll base, some repairs, the trumpet a replacement, 17cm. £400-600 267. A large Derby figure of John Wilkes, c.1765-70, standing and resting one hand on a square plinth, atop of which rests a scroll inscribed ‘Bill of Rights’, draped in a long pink cloak, a putto to his right, holding a phrygian cap on the end of a stick and supporting a book titled ‘Lock [sic] on Gov’t’, raised on a scrolled base, the putto’s right foot lacking, 30cm. £500-700 John Wilkes (1725-1797) was an English politician and radical journalist whose criticism of the King in his magazine The North Briton earned him a warrant for his arrest for libel in 1763. Citing parliamentary privilege he was cleared of the charge and went on to become Lord Mayor of London in 1774.

268. Three Derby figures of hunters, c.1765-75, two standing beside their guns with a dog seated at their side, the last a young boy seated before fruiting bocage and holding a bird in both hands, some damages, 17.5cm max. (3) £200-300

269. A rare Chelsea bust of a maiden, c.1755, modelled in the Classical manner with head slightly turned, raised on a shaped square socle, red anchor mark, and two Chelsea figures of putti, one wearing a quiver of arrows and standing beside a basket resting on a tree stump, gold anchor mark, the other with one foot elevated on a marble slab, red anchor mark, some damages and repairs, 14.2cm £600-800 max. (3)

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270. Three Derby figures, c.1765-70, one of Leda and the Swan, another emblematic of Matrimony and modelled as a lady holding a birdcage and resting against an arbour, the other emblematic of Winter and modelled as a young girl wearing ice skates and carrying a goose in a basket, damages, 23cm max. (3) £500-700

271. Three Bow figures of hunters, c.1760-65, one of a huntsman standing beside a dog holding the muzzle of his gun, before bocage on a tall scrolled base, one a lady falconer holding a bird of prey aloft on her left hand, red anchor and dagger mark, the other a huntress with a dog on its haunches at her side, some damages, 21.5cm max. (3) £250-350

272. A large Derby figure group of the Three Graces Distressing Cupid, c.1780, the mischievous putto tied to a tree while the the three maidens surround him and plot his punishment, raised on a rocky base, inscribed 235 to the base, some losses and repairs, 38.5cm. £150-250

274. A Bow figure of Ceres, c.1760-65, emblematic of Earth from the Four Elements, standing before a recumbent lion, holding a cornucopia of fruit and flowers, raised on a tall scrolled base picked out in puce and gilt, some restoration to her left wrist and the flowers of her cornucopia, 23.4cm. £400-600

The figure was produced after Angelica Kaufman’s painting of the same subject.

273. A Bow figure of Bacchus, c.1760, standing before a large urn garlanded in grapevine, holding a goblet of wine in his right hand, raised on a scrolled base with puce detailing, some restoration, 24.5cm. £500-700

275. A Derby figure of the Dresden Shepherdess, c.1760, holding out a flower in her left hand, clutching the corner of her apron in her right, a lamb recumbent at her feet, raised on a tall scrolled base picked out in puce and green, restorations, 23.5cm. £300-400

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

276. A Derby figure of Neptune, c.1765, standing on a tall pierced rocky base applied with shells and seaweed, his left arm raised and right drawn across his body to hold his robe, a large mythical dolphin by his side, his left arm broken and restuck, the end of the dolphin’s tail lacking, 24.8cm. £150-250

277. A Derby figure of Asia, c.1775, from the Four Quarters of the Globe series, modelled as a young girl standing before a recumbent camel and holding a golden orb and a posy of flowers, incised number to the base, some restoration, 16.5cm. £350-450

278. A Derby figure of Summer, c.1756-58, modelled as a young boy seated on a low stump and holding stems of corn and flowers, a sickle and further corn ears surround his feet, wearing a flowered jacket and a corn diadem, raised on a low scrolled base, a small amount of restoration to his fingers, 12cm. £300-400

279. A Derby candlestick figure, late 18th century, of a young girl holding the edge of her apron full of flowers, standing on a pierced scrolled base before flowering bocage, surmounted with a pierced sconce and serrated drip pan, some restoration to the bocage, 27.2cm. £250-350

280. Two Derby candlesticks, c.1765, modelled as Mars, standing with his hand on one hip and holding the hilt of his sword, before a tall trunk entwined with flowers rising to a candle sconce, some faults, 26.5cm. (2) £300-400

281. A Bow figure of a boy, c.1756, possibly emblematic of Autumn, standing barefoot and holding a short length of fruiting grapevine, raised on a low base with scrolls picked out in puce enamel, a few small chips, 13.7cm. £300-400

282. Two Derby figures of Elements, c.1765-80, one of Air, holding a bird above her head and with a bugle in her right hand, standing on cloud scrolls, the other emblematic of Fire, holding a stick in his left hand, raised on a rocky base, some damages and repairs, 24.8cm max. (2) £350-450

283. A Derby figure of a Ranelagh Dancer, c.1765, standing with one hand on her hip, the other holding onto flowering bocage next to her, raised on a shell scrolled base highlighted in green and gilt, damages and restoration, 27cm. £250-350

284. A pair of Derby figures of the Italian Farmers, c.1760, he standing and holding a cockerel, she with a chicken tucked under her right arm, each standing beside flowering branches on low scrolled bases, small damages, 22cm. (2) £400-600

Provenance: the Cordwent Collection.

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285. A rare Derby figure of The Prudent Mother, c.1785, the lady seated on a high-backed chair with her child standing beside, reading from a book resting on her lap, raised on a tall square base, incised ‘No 137’ and ‘F70’, some restoration to the chair back, 21cm. £350-450

286. A Derby figure of a musician, c.1758-60, standing on a low pad base applied with flowers, his bagpipes tucked under his left arm, wearing a pink hat and flowered breeches, minor damages, 16cm. £350-450

287. 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, small damages and restorations, 23.2cm. £250-350

289. A Derby figure of a dancing shepherdess, c.175860, 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. £300-400

288. 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. £150-250

Provenance: from a private collection in Northamptonshire. Paper label for the Cordwent Collection.

290. A Bow figure of a female musician, c.1760-65, standing and playing the hurdy-gurdy, raised on a tall scrolled base applied with flowers and picked out in turquoise and gilt, red anchor and dagger mark, restored through the neck, 16.2cm. £100-150

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

291. Two rare Derby white-glazed figures, c.1760, one of a mother holding her baby, part of the Tithe Pig group, raised on a circular pad base applied with flowers and leaves, the other of a musician, seated on a rocky stump and playing the violin, incised W mark to the latter, some damages, 16.8cm max. (2) £400-600

292. A Chelsea figure of a huntsman, c.1758-60, standing and holding the barrel of his gun in his left hand, a game bird in his right, wearing a fur-lined cloak over elaborately patterned waistcoat and breeches, the scrolled base applied with flowers, gold anchor mark, impressed R to the base, some restoration to the gun, 22.2cm. £400-600

293. A Chelsea porcelain seal, c.1755, modelled as Pulcinello on a low pad base painted with flowers, with a gilt metal mount around a hardstone seal engraved with a bird holding an olive branch and inscribed ‘Liberte’, 3.2cm. £300-500

294. A Chelsea porcelain seal, c.1755, modelled as a dog seated on his haunches with head turned over his left shoulder, inscribed ‘Fidelle & Vigilant’, with a gilt metal mount and hardstone seal bearing the portrait of a gentleman, 2.8cm. £300-500

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295. A Liverpool blue and white teabowl and saucer, c.1770, moulded with sprays of flowers over a reeded ground, painted in underglaze blue with a stylized leaf and berry border, the teabowl’s interior rim with a trellis border, 12.5cm. (2) £100-200

296. A Worcester blue and white doubleended sauceboat, c.1758-60, the interior well painted with the Two-Handled Sauceboat Landscape Pattern, the moulded exterior with small panels of further figures, birds and bamboo, painter’s mark, 19cm. £500-700

297. A Bow blue and white butterboat and a small cream jug, c.1755-60, the butterboat moulded from overlapping leaves and painted to the interior with small flower sprays, the cream jug painted in the Mansfield pattern, open crescent mark to the jug, 7.2cm max. (2) £450-550

298. A rare Bristol blue and white pickle dish, c.1772, of leaf shape, painted with sprays of flowers and small scattered sprigs, the serrated rim edged in blue, blue X mark to the underside, a few tiny chips, 9.3cm. £500-700

299. A pair of Lowestoft blue and white creamboats, c.1770-75, of low Chelsea ewer form, each painted with a flower spray above moulded leaves, the interior rims with foliate £200-300 sprays, 9.5cm. (2)

300. An early Bow blue and white coffee cup, c.1752, painted with the Cross Legged Chinaman pattern, the eponymous figure seated beneath a willow tree, a further figure fishing to the reverse, painter’s numeral 48, cracked, 6cm. £80-120

301. A Vauxhall blue and white teabowl, c.1755-58, painted in a bright blue with small huts in a continuous Chinese island landscape, the interior with a small rock vignette, 7.3cm. £100-200

302. Two Chinese porcelain coffee cans, 18th century, the narrow cylindrical forms painted in underglaze blue with sprays of flowering peony, 6cm. (2) £50-80

303. A Lowestoft blue and white coffee cup, c.1775, printed with a naturalistic spray of rose and other flowers, the reverse with a large moth or butterfly, the interior with a triple trellis border, a small rim chip, 6cm. £100-150

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

304. A small group of Caughley blue and white tea wares, c.178090, painted in the Chantilly Sprig pattern and with similar small flower sprigs, including four saucers and seven coffee cups, 13cm max. (11) £200-300

305. Six Lowestoft blue and white saucers and a teabowl, c.176575, the teabowl and saucer painted with elaborate buildings on a rock strata island, the other saucers variously painted with a boy crossing a bridge, ornamental fence patterns, flowering branches issuing from rockwork, and the Dragon pattern, together with a Lowestoft patty pan painted with flowers and a moth, some damages, 13cm. (8) £250-350

306. Five Worcester blue and white saucers, c.1760-80, painted in the Gazebo, Bird in a Ring and Rock Warbler patterns, one octagonal and decorated in the Romantic Rocks pattern with a small associated teabowl in the same pattern, the last saucer printed in the Birds in Branches pattern, workman’s and crescent marks, some faults, 13.3cm max. (6) £100-200

307. Seven Worcester blue and white saucers and five teabowls, c.1758-75, variously decorated with Mansfield, Cannon Ball, Fence and Prunus Root patterns, and a Caughley saucer in the Fence pattern, 12.8cm max. (13) £200-300

308. Four Worcester blue and white saucers, c.1757-60, painted in the Landslip, Rock Warbler, Prunus Fence and Prunus Root patterns, workman’s marks, and a shell-shaped pickle dish in the Two Peony Rock Bird pattern, 12.5cm max. (5) £150-200

309. A small group of Lowestoft tea wares, c.1770-90, including five blue and white saucers, a teabowl and a milk jug painted with varying Chinese pagoda landscapes within scroll, trellis and foliate borders, and an Imari coffee cup and saucer with a similar Chinese island landscape, 12.8cm max. (9) £300-500

The pickle dish with a paper label for the Chas Crane Collection.

310. An English porcelain blue and white teabowl and saucer, c.1760-70, probably Isleworth, printed with the Boy on a Buffalo pattern, and a Bow teabowl and saucer painted with a Chinese pagoda landscape within a double trellis border, minor faults, 11.5cm max. (4) £200-300

311. Four Lowestoft blue and white coffee cups, c.1770, painted with flowering plants issuing from holey rockwork, the inside rims with a trellis border, and a Lowestoft teabowl indistinctly printed with the Fence pattern, open crescent mark to the latter, 6.2cm max. (5) £300-400

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312. A rare Worcester blue and white punch pot and cover, c.175354, painted with the Zig Zag Fence pattern, with flowering branches and rockwork beside an ornamental fence, workman’s mark, 26.5cm. (2) £1,000-1,500 Provenance: the Gilbert Bradley Collection. Illustrated: John Sandon, The Dictionary of Worcester Porcelain, p.271.

313. A large Bow blue and white mug, c.1760, the rounded form painted with a figure fishing beside pagodas and a large pine tree in a Chinese island landscape, the rim with flowerhead panels on a triple trellis border, 14cm. £350-450

314. A rare Worcester cylindrical blue and white mug, c.1775, printed with Man Holding a Gun and Man Shooting a Gun, each hunter in a rural landscape and accompanied by a hound, fluted strap handle, hatched crescent mark, 11.8cm. £400-600

315. A small Bow blue and white mug, c.1760, the cylindrical form painted with a figure fishing from a boat within a continuous Chinese island landscape, the rim with a trellis border around flowerhead panels, the small strap handle ending in a heart-shaped terminal, £250-350 painter’s numeral, the handle restored, 9.2cm.

These shooting prints appear to be confined to cylindrical mugs of varying size, but the more common Man Shooting Gun print is usually seen alongside a print of a man aiming a gun, while the second print on this example is far less common.

316. A rare Worcester blue and white small mug, c.1760-65, printed with the Man Leaning on a Fence pattern, a single Chinese figure resting his arms on a simple wooden fence beneath birds in flight, the reverse with a pagoda landscape, restored, 8.5cm. £300-400 Paper label for the Swift Collection.

317. A Vauxhall blue and white small sauceboat, c.1756-58, painted with a figure beside a small hut, trees and rockwork in a Chinese landscape, the interior with flowering branches, 16.3cm. £450-600 Cf. ECC, Ceramics of Vauxhall, no.88 for an identical example. The design is a close copy of a rare Worcester pattern, ‘The Diagonal Rock Island’.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

318. A rare Caughley blue and white cabbage leaf jug, dated 1783, the moulded sides printed with the Fisherman and Cormorant pattern, beneath the spout with a circular cell diaper panel containing the painted inscription ‘Bridgin 1783’, the border echoed to the interior rim, 22.3cm. £1,000-1,500 The name of Bridgin is recorded in Shropshire archives from the 1600s, and a Thomas Bridgin is listed on the roll call of the county’s Loyal Volunteers in 1802. However, it is possible that the jug relates to the Bridgen of Messrs Waller and Bridgen, who were London merchants listed as owning lands in North Carolina. These lands were confiscated and sold following the American declaration of independence in 1776.

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319. Four Lowestoft blue and white saucers, c.1770, painted in the Mansfield pattern, open crescent marks, and a Worcester saucer with reeding to the well, painted in the Immortelle pattern, 13cm max. (5) £100-200

320. Four miniature Pennington’s (Liverpool) blue and white saucers, c.1770, painted with simple stylized flower sprays within a wavy border, and a miniature Caughley teabowl and saucer in the £100-200 Island pattern, some faults, 7.8cm max. (6)

321. Two Liverpool blue and white teabowls and a saucer, c.176075, variously painted with the Boy on a Buffalo pattern, Chinese pagoda landscapes, and a bird on a flowering branch, and a Lowestoft saucer copying a William Reid pattern of a pagoda landscape, some damages, 12.2cm max. (4) £100-200

322. A Caughley blue and white mustard pot and cover, c.1780, printed with the Fence pattern, printed C mark, and two asparagus servers printed with the Fisherman and Cormorant pattern, 9.7cm max. (4) £150-250

323. A small collection of Worcester blue and white porcelains, c.1765-80, including a cabbage leaf jug printed with naturalistic floral sprays, a Pinecone pattern junket dish with two rectangular dishes and two soup bowls in the same pattern, a Three Flowers milk jug, hatched crescent marks, and a Caughley jug printed in the Fisherman and Cormorant pattern, some damages, 29.5cm max. (8) £250-350

324. A pair of Bow blue and white octagonal plates, c.1760, the wells painted with bamboo and chrysanthemum plants, the rims with stylized floral panels reserved on a diaper ground, painter’s numeral marks, 23.6cm. (2) £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

325. A Caughley blue and white mask jug, c.1780, printed with naturalistic flower sprays of rose and other blooms, moulded with leaf scrolls, fitted with a later hinged pewter cover, printed S mark, the handle broken and restuck, 25.3cm. £100-200

326. A Bow blue and white octagonal plate, c.1760, painted with a fan-panelled design of figures in boats in Chinese pagoda landscapes, alternating with small floral sprays, reserved on a powder blue ground, pseudo script mark, some filled chips, 23.6cm. £100-200

327. A Richard Chaffers (Liverpool) blue and white coffee pot and cover, c.1760, the baluster form crisply moulded with flowering branches, the rim painted with a cell diaper border, the finial restored, 23.5cm. (2) £300-400 Provenance: the Ron Sparrow Collection.

328. A Bow blue and white basket, c.1758-60, the circular form painted to the interior with sprays of Oriental flowers, the inside rim with a continuous floral band, the latticed exterior painted at the cross sections with single flowerheads, painter’s mark, 17.2cm. £450-600

329. A Bow blue and white plate and a small bowl, c.1760-70, the bowl painted with the Dragon pattern, the scaly beast spilling over the rim, the plate painted with two figures in a Chinese pagoda landscape, the rim with three sprays of peony, painter’s numeral 19 to the plate, a section of the bowl’s rim broken out and restuck, 23cm. (2) £200-300

330. A large Worcester blue and white shell pickle dish, c.1758, the scallop shell form painted with the Two Peony Rock Bird pattern, a small bird perched on holey rockwork beneath flowering branches and a flying insect, workman’s mark, 10.8cm. £250-350

331. A Worcester milk jug, c.1780, painted in dry blue with sprays of flowers and single scattered leaves, the spout with a gilt dentil border, 12cm. £100-200

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332. A Pennington’s (Liverpool) teapot and cover, c.1775, printed in underglaze blue with Chinese figures in a garden setting, overdecorated in red and gilt to simulate Imari, and a smaller teapot and cover painted with polychrome flower sprays, the flower finial restored, 19cm max. (4) £150-250

333. Two Chelsea trembleuse saucers, c.1758-60, moulded with radiating sepals and painted with fruit and berry sprays amid scattered insects, brown anchor marks, and a pair of Worcester saucers painted £150-250 in the Hibiscus pattern, minor damages, 15cm max. (4)

334. A Pennington’s (Liverpool) teapot and cover, c.1770-75, moulded with foliate panels and painted with vignettes of Chinese figures alternating with flowering plants, A Liverpool coffee cup painted with flowers, and a clobbered Lowestoft blue and white teabowl and saucer, 21cm max. (5) £200-300

335. A Bristol fluted teabowl and saucer, c.1775-80, and a Bristol tea cup and saucer, the teabowl painted with small floral sprays within a shaped rim edged in puce, the cup and saucer with a floral garland suspended from gilt rings, blue X mark to the latter, 13.5cm max. (4) £600-800 Cf. Woolley and Wallis, The Raymond Dennis Collection, 25th Februay 2014, lot 42 for a similar teabowl and saucer.

336. Two Worcester sucriers and covers, c.1770-90, one painted with the Queen Charlotte pattern, the base with a square seal mark, the other spiral fluted and decorated with gilt flower sprays between formal gilt and blue borders, open crescent mark, some restoration to the floral finial, 13.5cm max. (4) £150-200

337. A Lowestoft teapot and cover, c.1770, the globular body painted in polychrome enamels with formal rose sprays and other floral motifs beneath a garland border, and a Chelsea-Derby teabowl painted in green and gilt with flowering branches, the teapot’s cover broken and restuck, 19cm max. (3) £100-200

338. A small pair of Worcester dessert dishes, c.1765, the oval forms painted with polychrome flower garlands within moulded gilt scroll panels, reserved on a blue scale ground, square seal marks, 19.5cm. (2) £450-550

339. A Bow teapot and cover with matching milk jug, c.1765, painted in polychrome enamels with large flower sprays, within further small scattered sprigs, beneath a red crowsfoot border, some £550-750 small chips to the teapot, 20cm max. (3)

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340. A good pair of Worcester vases, c.1760-65, of ovoid form, painted with large panels of suspended flower sprays, reserved within gilt scroll cartouches on a blue scale ground, square seal marks, 15.6cm. (2) £700-900

341. A Worcester teapot and cover, c.1765, richly decorated with panels of flowering plants and banded hedges in a Kakiemon palette, reserved within shaped gilt cartouches on a blue scale ground, and a Worcester dessert plate decorated with panels of flowers on a blue scale ground, square seal marks, 20cm max. (3) £500-700

342. A rare Chelsea dessert plate, c.1752-58, richly decorated in the Imari palette with the Brocade pattern, with sprays of flowering chrysanthemum to the well, the cavetto and rim with a wide panelled border of prunus sprays and hatched designs beneath floating chrysanthemum mons, the underside of the rim with further flower sprays, 24.7cm. £500-700

343. 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. £450-550

Paper label for the Lloyd Collection, No.43.

344. A pair of Chelsea-style vases, probably 19th century, the ovoid bodies painted with bold flower sprays on a white ground, the elaborate scroll handles picked out in pink and gilt, gold anchor marks, 22cm. (2) £150-250

345. A pair of Chelsea-Derby two-handled vases, c.1765-70, painted with children in pastoral settings, the other side with putti on clouds, reserved on a claret ground between scrolled handles issuing from satyr masks, some restoration, 27.7cm. (2) £800-1,200

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346. A Bow prunus cup and matched saucer, c.1750-55, applied with sprigs of flowering prunus, the saucer with additional enamelling of small flower sprays in the Kakiemon palette, small painted W to the underside, 11.5cm. (2) £100-200

347. A Chelsea teabowl, c.1758-60, later decorated in red, green and overglaze blue with a small hut between trees, the interior with a continuous red border, signs of £100-200 refiring, 8cm.

349. A Worcester coffee pot and cover, c.1765-70, painted in polychrome enamels with the Chinese Family pattern, with figures around a low table and beside a tall plant stand, the domed cover with a floral finial, 23.5cm. (2) £550-750

350. A Worcester circular basket, c.1760, painted to the interior with a spray of flowers, the rim and sides with further scattered blooms, the exterior sides applied with flowerheads where the interlocking circles £400-600 join, 17.2cm dia.

348. A Bristol tea cup and saucer, c.1770, of ogee form, painted in green monochrome with garlands of flowers suspended from a gilt dentil rim, blue X marks, 12.3cm. (2) £100-200

An old paper label records the teabowl as Bow, c.1740 and states ‘Identified by Hobson, B.Museum and Rackham, V&A in consultation’.

351. A Worcester teapot and cover, c.1765-70, painted with a Chinese family standing beside a tall stand with butterflies in flight around, damages to the cover, 18.3cm. (2) £100-200

352. A pair of Bow plates, c.1755, painted in the Kakiemon palette with the Two Quail pattern, the rims edged in a continuous red and gilt floral design, some wear, a faint star crack, 21cm. (2) £200-300

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353. A rare Worcester small bowl, c.1756-58, finely moulded with small rococo panels on a strap-fluted body, the panels painted in puce monochrome with European landscapes, the smaller panels with polychrome flower sprays amidst purple scrollwork, the bowl’s interior with further flower sprays issuing from a scrollwork border, 11.8cm dia. £300-400

354. A small Worcester sauceboat, c.1754-56, finely painted in a famille verte palette with a Long Eliza figure before an ornamental fence, the reverse with a small boat beneath weeping willow, reserved in moulded panels, the interior with a flowering peony spray and a flower panel border on a green diaper design, some resoration to the rim, 16.5cm. £400-600

Cf. Bonhams, The David Butti Collection, 10th May 2006, lot 40 for a coffee cup and saucer from the same service.

355. An early Bow white-glazed teapot and cover, c.1753-55, the squat globular form crisply applied with sprays of flowering prunus blossom and small scattered sprigs, echoed to the cover around a knop finial, the handle moulded with foliate scrolls, some chipping to the spout, 17cm. (2) £400-600

356. A rare Baddeley-Littler pickle dish, c.1780-85, of leaf shape, the moulded form painted in puce, purple, red and green with a continuous band of foliate and feather scrolls, with a serrated edge, raised on three peg feet, 11.5cm. £500-700

357. A Bow leaf dish, c.1760, moulded with further small vine leaves, painted with polychrome flower sprays within a puce edged rim, 18.8cm. £400-600

358. An early Bow cream pail or piggin, c.1752, the flared sides applied with three large sprigs of flowering prunus, an overhead handle moulded with light twisting, 8cm high. £500-700

Paper label for the Jacob Isaac Ashley Collection.

Cf. Elizabeth Adams and David Redstone, Bow Porcelain, p.111 for a similar example.

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359. A Chelsea-Derby vase, c.1765, painted with a lady standing above her sleeping companion leaning against a barrel, the reverse with a young girl seated and playing the hurdy-gurdy, reserved on a powder blue ground, the tall scrolled handles issuing from satyr mask handles, damages to the handles, 32.8cm. £300-400

360. A large Plymouth mug, c.1768-70, the cylindrical form painted in polychrome enamels with small scattered flower sprays and single leaves, the rim with a continuous puce foliate border echoed to the grooved strap handle, 13.2cm. £300-400

361. A Chelsea sauceboat, c.1756, the gently lobed form painted with sprays of flowers in polychrome enamels, the interior with a single loose sprig, brown line rim, 19.5cm. £450-550

362. An early Bow white-glazed mug, c.1752-55, with a flared foot, applied with sprigs of flowering prunus, 9.3cm. £600-800

363. A Worcester dessert dish, c.1770, the square form painted with polychrome flower sprays and small scattered sprigs, the rim pierced with a continuous geometric band within brown line scrolls, 26.5cm. £300-400

364. Four Chelsea oval dishes, c.1758-60, three painted with large fancy birds perched on rockwork and low branches, the last with a botanical flower specimen and smaller sprigs, all within feather moulded borders picked out in turquoise and brown, brown anchor marks, some wear, a restuck section to one, 26.5cm. (4) £300-500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

365. A rare pair of Chelsea fluted dishes, c.1752-55, the rectangular forms painted to the wells with figures in pastoral settings, one with a shepherd tending his flock, the other with travellers beside a winding river with a village in the distance, the fluted rims with scattered flower sprays, brown line rims, two restored rim chips, 20.7cm. (2) ÂŁ1,000-1,500 Cf. Victoria & Albert Museum, Accession No. C.243-1935 for a similar dish from the Herbert Allen collection.

366. A large and rare Derby basket, c.1760, the oval form painted to the interior with three figures in a garden landscape, within a puce scroll border reserved on a rich yellow ground with small flower sprigs, the exterior of the latticed sides applied at the cross sections with single flowerheads, the ropetwist handles issuing from applied flowers, 28cm across. ÂŁ1,000-1,500 Illustrated: John Twitchett, Derby Porcelain, p.103, fig.100.

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FINE CHINESE WORKS OF ART

Tuesday 21st & Wednesday 22nd May 2019

A rare Chinese lacquer box and cover, Qianlong 1736-95. Provenance: John Sparks, 16th June 1947. Estimate: £20,000 - £30,000

ENQUIRIES Amber Lees | Tel: +44 (0)1722 424571 | aml@woolleyandwallis.co.uk

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JAPANESE WORKS OF ART Tuesday 21st May 2019

A Japanese Kakiemon vase and cover, c.1680. Estimate: £12,000 - £15,000

ENQUIRIES Alex Aguilar | Tel: +44 (0)1722 424583 | aa@woolleyandwallis.co.uk

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ARTS & CRAFTS

Wednesday 19th June 2019 Entries are now being accepted for this sale.

A William De Morgan pottery Late Fulham Period lustre tile. Estimate: £1,500 - £2,000

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

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SILVER & OBJECTS OF VERTU

Tuesday 16th & Wednesday 17th July 2019 Entries are now being accepted for this sale.

A revivalist silver-mounted tiger ware jug, Chester 1929. Estimate: £400 - £600

ENQUIRIES Rupert Slingsby | Tel: +44 (0)1722 424501 | rs@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:

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01962 622 133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

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

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. 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.

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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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 Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29

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

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WOO L LE Y & WA L LI S

Absentee Bid Form English & European Ceramics & Glass

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 30th April 2019 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

www.woolleyandwallis.co.uk

Auction Calendar SILVER 16th April 2019 – Fine Silver & Objects of Vertu 16th & 17th July 2019 – Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 18th April 2019 – Fine Jewellery 18th July 2019 – 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 MEDALS & COINS, ARMS & ARMOUR 1st May 2019 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 21st & 22nd May 2019 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar +44 (0) 1722 424583 • aa@woolleyandwallis.co.uk PAINTINGS 5th June 2019 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 446961 • vf@woolleyandwallis.co.uk 20TH CENTURY DESIGN 19th June 2019 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 3rd July 2019 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk Jim Gale +44 (0) 1722 339161 • jg@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 18th September 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 15th October 2019 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk