Woolley & Wallis Auctioneers

BRITISH & CONTINENTAL CERAMICS & GLASS

WEDNESDAY 26TH & THURSDAY 27TH APRIL 2023

SPECIALIST DEPARTMENTS

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

BRITISH & CONTINENTAL CERAMICS & GLASS

WEDNESDAY 26TH APRIL 2023

10.00AM LOTS 1-334

THURSDAY 27TH APRIL 2023

10.00AM LOTS 335-733

at our Castle Street Salerooms, SP1 3SU

VIEWING AT OUR OLD SARUM GALLERIES Unit 1B, Castle Gate Business Park Old Sarum, Salisbury SP4 6QX Saturday

Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

Hollie Morrison 01722 446964 hm@woolleyandwallis.co.uk

THE VIEWING OF THIS SALE WILL TAKE PLACE AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park

Old Sarum, Salisbury, SP4 6QX

Client Parking Available

Saturday 22nd April 10.00am – 1.00pm

Monday 24th April 10.00am – 4.00pm

Tuesday 25th April 10.00am – 4.00pm

Wednesday 26th April 10.00am – 4.00pm

Thursday 27th April 9.00am –12noon

THE AUCTION ON 26TH & 27TH APRIL WILL TAKE PLACE AT OUR CITY CENTRE SALEROOM

51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM

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

TELEPHONE BIDDING

Requests for telephone bids cannot be accepted after 5pm on Tuesday 25th April

CONDITION OF LOTS

Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults

COLLECTIONOF LOTS BY APPOINTMENT

Collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please instruct carriers accordingly and note, the warehouse is closed over weekends. Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready

All accounts to be settled prior to collection

EXPORT AND CITES LICENCES

Some lots will require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

LIVE ONLINE BIDDING – FREE OF CHARGE

bid.woolleyandwallis.co.uk

Please register by 5pm on Tuesday 25th April

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ILLUSTRATIONS

Front cover: Lots 105, 89, 30, 38, 81 & 28

Back cover: Lot 723

Catalogue £10.00 (£15.00 by post)

1 Three wine glasses, c.1750­60, with round funnel bowls raised on differing multi­series opaque twist stems, one on a folded foot, 16.8cm max. (3) £150­250

2 Three small wine glasses, c.1740­50, two with drawn trumpet bowls over plain stems, the larger enclosing a tear, and one with a round funnel bowl over a plain stem, all with folded conical feet, 15.5cm max. (3) £150­250

3 Two toasting glasses or wine flutes, c.1750, with drawn trumpet bowls, one on a cable airtwist stem, the other on a dense airtwist stem, and a cordial glass with drawn trumpet bowl on an airtwist stem, 19cm max. (3) £200­300

4 Two wine glasses and a cordial glass, c.1750­60, with round funnel bowls, two raised on airtwist stems, one on a dense opaque gauze stem, a small chip to the foot of the cordial, 15.5cm. (3) £150­250

5 Two wine glasses, c.1750, one with a bell bowl, the other a drawn trumpet bowl, each raised on a dense airtwist stem over a conical foot, 16.2cm max. (2) £100­200

6 A large wine glass and an ale glass, c.1760­70, the wine with a round funnel bowl over a knopped opaque twist stem, the ale with a slender funnel bowl raised on a multi­series opaque twist stem, 18.9cm max. (2) £200­300

7 An ale glass and a wine flute, c.1750­60, the ale with an elongated funnel bowl raised on a double­knopped airtwist stem, the flute with a slender drawn trumpet bowl raised on a double series opaque twist stem, 20.3cm max. (2) £200­300

8 A wine glass and an ale glass, mid 18th century, the wine with a bell bowl, the ale with a slender round funnel bowl, each on a double­knopped airtwist stem, 20.5cm max. (2) £150­200

9 Two ale glasses, c.1760­70, one with a generous round funnel bowl gilded with hops and barley over a plain stem, the other with a slender bowl engraved with hops and barley, over a multi­series opaque twist stem, 18.7cm max. (2) £250­350

10 Two balustroid wine glasses, c.1730­40, one of Kit Kat type with a drawn trumpet bowl rising from a plain stem over a baluster section and basal knop over a domed foot, the other with a bell bowl over a bladed shoulder knop and swollen hollow knop above a folded foot, 18.1cm max. (2) £200­300

11 Three small wine glasses, c.1760, two with ogee bowls over multi­series opaque twist stems with central knops, the last with a moulded round funnel bowl over a knopped opaque twist stem, 15.3cm max. (3) £200­300

12 Four small wine glasses, c.1750­70, one with a round funnel bowl engraved with a flower spray on a cable airtwist stem, one with an ogee bowl gilded with flowers, another with a plain ogee bowl, both over multi­series opaque twist stems, one with an ovoid bowl over a faceted stem, and a firing glass with a short opaque twist stem over a thick foot, some chipping to the feet, 14.7cm max. (5) £200­300

13 Four small wine or dram glasses, c.1760­80, with round funnel or ogee bowls, two raised on multi­series opaque twist stems, one on a firing foot, the others on facet cut stems, one with cutting extending to the bowl, 12.8cm max. (4) £100­200

14 Five small wine glasses, c.1760­70, four with ogee bowls, one with an ovoid bowl, all on varying multi­series opaque twist stems, 15.3cm max. (5) £200­300

15 A Lynn wine glass, c.1765, the round funnel bowl moulded with horizontal ribs, raised on a multi­series opaque twist stem on a conical foot, 14.8cm. £150­250

16 A cordial glass, c.1760­70, the small bowl moulded with vertical flutes, raised on a thick stem with two opaque spiral twists enclosing a gauze core, above a conical foot, 17.2cm. £250­350

17 A wine glass, c.1750, with drawn trumpet bowl rising from a tapering opaque twist stem over a conical foot, 18.3cm. £150­250 Provenance: the John Towse Collection.

Exhibited and illustrated: 50th Anniversary Exhibition of the Glass Circle, 1987, Strange and Rare, no.65, p.22.

18 A composite stem wine glass, c.1750, the bell bowl raised on an airtwist stem above a flattened beaded knop and short plain stem, 17cm. £150­250

19 A wine glass, c.1760, with a bell bowl raised on a triple­knopped stem enclosing a multi­series opaque twist, 16.3cm. £150­250

20 A small wine glass of possible Jacobite significance, c.1760, the round funnel bowl engraved with two stems of lily­of­the­valley and a single bee, over a double series airtwist stem and conical foot, 14.8cm. £150­250

21 A tall wine glass, c.1750, the slender drawn trumpet bowl rising from a thick plain stem above a helmet foot, 19.3cm. £150­250

22 A wine glass, c.1750, the ogee bowl with wrythen moulding, raised on a multi­series opaque twist stem over a conical foot, 16.5cm. £100­200

23 Three large wine glasses, c.1740­80, with drawn trumpet bowls, one on a plain stem with swollen knop over a folded foot, another with a six­sided facet­cut stem on a folded foot, the last with a plain stem enclosing a tear, 16.9cm max. (3) £250­350

24 Three wine glasses, c.1750, one with a pan­topped bowl over an airtwist stem with swollen knop, the other two with drawn trumpet bowls over thick airtwist stems, 16.9cm max. (3) £150­250

25 Three wine glasses, c.1750­80, one with a slender bell bowl raised on a square moulded stem enclosing a long tear over a folded foot, another with a drawn trumpet bowl on a plain stem enclosing a tear, the last with a faceted ogee bowl over a cut glass stem, 17.2cm max. (3) £150­250

26 Three wine glasses, c.1750, with bell bowls, one raised on an airtwist stem extending into the bowl base, the others on airtwist stems with swollen shoulder knops, some footrim faults, 17.8cm max. (3) £150­250

27 A heavy baluster glass, c.1710­20, the small bell bowl with a solid base raised on a cushion knop above a merese over a baluster section enclosing a tear, raised on a folded conical foot, 13.8cm. £600­1,000

29 A baluster wine glass, c.1710­20, the bell bowl with a solid base, raised on a stem with annulated knop over a plain section enclosing a tear and an inverted baluster, over a folded conical foot, 17.3cm. £800­1,200

28 A large baluster wine glass, c.1710­20, the round funnel bowl with a solid base, raised on a ball knop above a bladed knop and true baluster section enclosing a tear, over a domed folded foot, 17.3cm. £500­800

30 A large baluster glass goblet, c.1720­30, the generous round funnel bowl with an everted rim, raised on a baluster stem with a flattened knop over two cushion knops and a short plain section over a basal knop and domed foot, 24.4cm. £1,000­2,000

31 A large baluster glass goblet, c.1710, the deep round funnel bowl raised on a baluster stem with an angular knop above a true hollow baluster section over a folded conical foot, 22cm. £1,200­1,500

32 A wine glass, c.1750, the large bucket bowl engraved with a stylized sunflower, over a plain stem and folded conical foot, 15.8cm. £100­200

33 A wine glass, c.1740, the base of the round funnel bowl with hammered decoration, raised on an incised twist stem over a domed foot, 16.5cm. £150­200

34 An ale glass, c.1730­40, with slender bell bowl rising from a plain stem over a conical foot, 20.2cm. £400­600

35 A composite stem wine glass, c.1750, the bell bowl raised on an airtwist stem over annulated collars and a beaded knop, over a domed helmet foot, a chip to the foot, 17.7cm. £300­500

36 A dwarf ale glass and four other glasses, c.1740­80, the ale engraved with hops and barley over a short balustroid stem, a drawn trumpet glass engraved with flowers over a plain stem and firing foot, a Continental wine glass engraved with hearts in an elaborate panel over a spiral moulded stem, a small wine with drawn trumpet bowl on a plain stem and folded foot, and a dram glass with bell bowl over a cushion knop and helmet foot, 12.8cm max. (5) £150­250

37 Three small wine glasses, c.1760­70, with ogee bowls cut to the base and raised on faceted stems over conical feet, and a small oil lamp with a shallow bowl over an incised twist stem, 13cm max. (4) £100­200

38 A small baluster glass, c.1710­20, the funnel bowl with a solid base, raised on a baluster stem with mushroom knop enclosing a long tear, the basal knop with a further tear, over a folded conical foot, 12.3cm. £600­1,000

39 An unusual wine glass, c.1730, the tulip bowl engraved with a butterfly and a large bunch of polished grapes, raised on a plain stem above a teared inverted baluster over a helmet foot, 16cm. £800­1,200

40 A heavy baluster glass, c.1710, the bell bowl with a solid base over a true baluster stem and domed folded foot, 14.7cm. £600­1,000

Provenance: the John Towse Collection. Formerly the Anthony Waugh Collection.

41 A composite stem wine glass, c.1730­40, with a tulip bowl raised on a composite stem including an airtwist section over an inverted teared baluster, above a domed helmet foot, 17.5cm. £600­800

42 A rare

glass goblet, c.1715, the round funnel bowl finely engraved in diamond point with ‘Robert Buxton at the Oxford Inn Exon’ in gothic script between foliate scrolls, over a baluster stem with slight mushroom knop over a folded conical foot, a small bruise to the rim, 18cm. £1,000­1,500

Provenance: the John Towse Collection.

The Oxford Inn mentioned was likely in the Exeter area, possibly near to the smaller town of Exton. Several hostelries of this name are recorded in the West Country, where Buxton is a fairly common surname; unlike in the Derbyshire area where it is also found in the early 18th century.

baluster

43 A large wine glass or goblet, c.1740, the deep tulip bowl raised on a plain stem with a central knop enclosing two rows of tears, over a flattened domed foot, 18cm. £1,000­1,500

44 A heavy baluster glass, c.1710, the generous funnel bowl raised on a baluster stem enclosing a large tear above a small basal knop, over a folded conical foot, 17.5cm. £600­800

45 A baluster wine glass, c.1710, with conical bowl rising from an acorn knop over a bladed knop and hollow baluster section, above a folded conical foot, 17.2cm. £500­800

46 A large baluster wine glass, c.1710, the round funnel bowl with a solid base enclosing a single bead, over a baluster stem with angular knop enclosing a long tear, above a basal knop and folded conical foot, 19.8cm. £700­1,000

Provenance: the John Towse Collection.

47 A small baluster wine glass, c.1730, with a bell bowl over a cushion knop and inverted baluster section above a basal knop and domed folded foot, 12.5cm. £700­900

48 Two wine glasses, c.1740­50, with drawn trumpet bowls, one on a spiral mercury twist stem, the other with a dense airtwist stem, a chip beneath one foot, 17cm max. (2) £100­200

49 Two ale glasses, c.1750­70, one with a round funnel bowl engraved with hops and barley, raised on a plain stem and folded foot, the other gilded with three stems of barley and small flower sprays, on a faceted stem, 19.2cm max. (2) £150­250

50 A large wine glass and an ale glass, c.1750­60, the wine glass with a round funnel bowl over a mixed twist stem with an opaque spiral tinged with mercury around a solid core, the ale glass with slight ogee bowl over a multi­series opaque twist stem and conical foot, 19.8cm max. (2) £150­250

51 Two ale glasses, c.1760, with slender funnel bowls, one partially moulded with vertical flutes, both engraved with hops and barley, over multi­series opaque twist stems, 19.8cm max. (2) £150­250

52 Two pedestal stem glasses, c.1720­30, one with a conical bowl with solid base raised on a hollow eight­sided pedestal stem and folded foot, the other with a slender bowl moulded with lappets, above a pedestal stem between collar rings on a folded foot, 16.8cm max. (2) £300­500

53 Two wine glasses of Jacobite significance, mid 18th century, the larger with a round funnel bowl engraved with a butterfly beside a rose and bud spray, over an opaque gauze twist stem, the smaller engraved with a rose and bud spray, a star and an oak leaf, over a dense airtwist stem, small chips to both, 17.7cm max. (2) £300­500

54 Four small wine glasses, c.1750­60, one with an ogee bowl with everted rim engraved with a band of grapevine, raised on a knopped opaque twist stem, a round funnel bowl and an ogee bowl engraved with a stylized floral band, and a rounded bowl moulded with lappets and engraved with trellis panels, all over multi­series opaque twist stems, small footrim nibbles, 14.8cm max. (4) £150­250

55 A dwarf ale glass, c.1750, with spiral moulded bowl over a short knopped stem, a miniature sweetmeat or cordial glass with honeycomb moulded bowl over a pedestal stem and folded foot, a small oil lamp with shallow circular bowl over an incised twist stem, and three Continental glasses, one with a colour twist stem, the other two with pedestal stems, 16.3cm max. (6) £150­250

The moulded sweetmeat with a paper label for A Churchill.

56 Five wine glasses, mid 18th century, one with a rare oval bucket bowl engraved with grapevine, another with a bucket bowl engraved with flowers, another with a moulded ogee bowl engraved with a bird and flower spray, all on plain stems above folded feet, another with engraved ogee bowl including lily of the valley over an airtwist stem, the last with a bird and flowers over a faceted stem, 15.4cm max. (5) £300­400

57 Five wine glasses, c.1750­70, with ogee bowls, one of possible Jacobite significance engraved with a narcissus and a bird, one with an insect and flower spray, the others with flower bands or formal trellis borders, all raised on multi­series opaque twist stems over conical feet, a chip to the foot of the narcissus glass, 15cm max. (5) £300­400

58 A rare Jacobite goblet, c.1740, the generous bucket bowl engraved with a bird in flight beside a large rose and bud spray, raised on a moulded pedestal stem above annulated collars on a plain foot, chips to the foot, 18.8cm. £200­300

Cf. Geoffrey B. Seddon, Jacobites and their Drinking Glasses, p.84, pl.10 for a similar glass.

59 A large Jacobite wine glass or goblet, c.1760, the generous round funnel bowl engraved with a rose and bud spray, a single rosebud, an oak leaf, and the word ‘FIAT’ above a star, raised on a plain stem above a conical foot, 20cm. £500­800

60 A rare armorial wine glass of possible Jacobite significance, c.1760, the slight ogee bowl engraved with a quartered shield and crest above the motto ‘Pro Rege et Patria’, flanked by flower stems, raised on a dense airtwist stem above a conical foot, 17.5cm. £400­600

The crest and motto relate to the Scottish family of Bell.

61 A good wine glass of probable Jacobite significance, c.1750, the pan­topped bowl engraved with a band of flowers including rose, carnation and honeysuckle, raised on an airtwist stem and conical foot, 16.5cm. £400­600

62 A wine glass of Jacobite type, c.1760, the round funnel bowl engraved with a daffodil and branches of oak, with two moths and an ant, raised on a plain stem above a conical foot, 16.2cm. £800

1,000

63 A rare Hanoverian wine glass, c.1760, the round funnel bowl engraved with the white horse of Hanover galloping beneath a banner inscribed ‘LIBERTY’, the reverse with a rose and bud growing from a line of grass, raised on a double

knopped airtwist stem above a conical foot, 16.3cm. £1,000­1,500

Cf. Geoffrey B. Seddon, The Jacobites and their Drinking Glasses, p.183.

64 A Jacobite glass finger bowl, c.1760, the rounded body engraved with an eight­petalled rose and bud spray, 11.8cm dia. £800­1,200

65 A composite stem wine glass, c.1760­70, the bell bowl with a solid base enclosing two rows of tears, over a multi­series opaque twist stem and conical foot, 17.4cm. £150­250

Provenance: formerly in the Stuart Collection.

66 A balustroid wine glass, c.1730­40, the bell bowl with a solid base, raised on a plain stem with single knop above a folded conical foot, 14.8cm. £150­250

67 A mixed twist wine glass, c.1750, the bell bowl raised on a mixed twist stem of a white opaque spiral and an airtwist cable, over a conical foot, 15.5cm. £100­200

68 An ale glass, c.1765, the slender funnel bowl engraved with crossed stems of barley and a spray of hops, raised on a multi­series opaque twist stem over a conical foot, 19.4cm. £100­200

69 An ale glass with a mixed twist stem, c.1760­70, the drawn trumpet bowl rising from a stem with a double air spiral enclosing an opaque gauze core, over a conical foot, 18.5cm. £150­250

70 A light baluster glass, c.1730­40, the bell bowl engraved with a flying insect and stylized flower, over a plain baluster stem enclosing two rows of tears, above a conical foot, 18.1cm. £150­250

71 An ale glass, c.1740, with slender bell bowl raised on a plain stem over a folded conical foot, 18cm. £300­500

Provenance: formerly the Henry Levine Collection.

72 A small wine glass, c.1730, the drawn trumpet bowl raised on a slender plain stem enclosing a single tear, over a folded conical foot, 15.3cm. £200­300

73 A pair of armorial balustroid wine glasses, c.1750, the bell shaped bowls with a fine band of diamond point engraving including a shield possibly for the English branch of the Kelly family, one including a possible crest of a squirrel sejant and eating a nut, the other with a basket of fruit, on a continuous band of flowers, raised on plain stems with central ball knops above lower flattened knops, over domed feet, the feet chipped, 18.2cm. (2) £150­250

74 Two wine glasses, c.1760, one with a flared conical bowl, the other with a round funnel bowl, both raised on double­knopped airtwist stems over conical feet, 18.4cm max. (2) £200­300

75 Three balustroid wine glasses, c.1730­40, the largest with a bell bowl engraved with a trellis border, with a cushion knop over an inverted baluster, the smallest with a bell bowl over a similar stem, the last with a round funnel bowl over a plain stem with shoulder and central knops, all over folded conical feet, 15.5cm max. (3) £400­600

76 Three small wine glasses, 18th and 19th centuries, one with a round funnel bowl gilded with flowers, another with an ogee bowl engraved with a chinoiserie landscape over stipple moulding, the last with a small round funnel bowl engraved with grapevine, over multi­series opaque twist stems, 15.2cm max. (3) £100­200

77 Three wine glasses, mid 18th century, one with an ogee bowl lightly moulded with vertical fluting, one with a drawn trumpet bowl, the last with a round funnel bowl, all over multi­series opaque twist stems and conical feet, the first with a small chip to the bowl, 16cm max. (3) £100­200

78 Three wine glasses, c.1750­60, the largest with a bell bowl over a double­knopped multi­series opaque twist stem, the next with a large round funnel bowl over an opaque twist stem with central knop, the last with an ogee bowl over a knopped stem enclosing an opaque gauze, a chip to the foot of the last, 16.8cm max. (3) £200­300

79 Three wine glasses, c.1760, two with ogee bowls over differing opaque twist stems, the last with a round funnel bowl engraved with a bird and grapevine, over a multi­series opaque twist stem, 14.8cm max. (3) £180­220

80 A gin glass and two wine glasses, c.1730­50, the gin glass with a moulded drawn trumpet bowl, the wines variously with a bell bowl and round funnel bowl, all over plain stems and folded conical feet, 15.5cm max. (3) £200­300

81 A rare baluster dram or firing glass, c.1720, the bell bowl with a thick solid base over a firing foot, 8.5cm. £700­900

82 A heavy baluster deceptive dram glass, c.1700­10, the thick conical bowl raised on a drop baluster stem above a short plain section and domed folded foot, the bowl with an amateur diamond point inscription ‘Baccus & [illegible] Corina’, 11.5cm. £400­600

83 A rare heavy baluster dram glass, c.1700, the large conical bowl with a solid base, raised on a large ball knop enclosing a small tear over a firing foot, 13cm. £1,500­2,000

84 A deceptive baluster dram glass, c.1710­20, with a thick­walled funnel bowl rising from a teared knop over a basal ball knop, all on a folded conical foot, 12.5cm. £400­600

85 A large wine glass of Jacobite significance, c.1750­60, the bell bowl engraved with a butterfly beside a rose and bud spray, raised on a doubleknopped airtwist stem over a conical foot, 17.8cm. £500­800

87 A small wine glass or firing glass of Jacobite type, c.1760, the thick drawn trumpet bowl engraved with a rose and bud spray, an oak leaf and the word ‘Fiat’, raised on an airtwist stem over a conical firing foot, 12.3cm. £500­700

86 A large wine glass of Jacobite significance, c.1740, the drawn trumpet bowl engraved with a rose and bud spray beside an oak leaf and the word ‘Fiat’, raised on an airtwist stem and conical foot, 18.8cm. £500­800

88 91 89 90

88 A wine glass of Jacobite significance, c.1750, the round funnel bowl engraved with a rose and bud spray, raised on a double­knopped airtwist stem above a conical foot, a small chip to the foot, 16.8cm. £400­600

89 A good wine glass of possible Jacobite significance, c.1750, the drawn trumpet finely engraved with a spray of passion flower, raised on a doubleknopped airtwist stem over a conical foot, 16.8cm. £200­300

90 A large wine glass or goblet, c.1740­50, the generous drawn trumpet bowl rising from a plain stem enclosing a single tear over a conical foot, 18.9cm. £200­300

91 A wine glass, c.1730, with drawn trumpet bowl engraved with a band of fruiting grapevine, raised on a balustroid stem of Kit Kat type with a plain section above an inverted baluster and basal knop, on a domed foot, 17.8cm. £300­500

92 Three wine glasses, c.1760­70, one with a slight pan­topped bowl over a multi­series opaque twist stem, another with a bell bowl, the last with a bucket bowl, over differing opaque twist stems, and a 19th century wine glass with a bucket bowl over an opaque twist stem, 15.8cm max. (4) £150­250

93 Four small wine glasses, c.1740­70, one with a round funnel bowl engraved with fruiting grapevine over a double­knopped airtwist stem, another engraved with grapevine over a plain stem and folded foot, one with an ogee bowl engraved with a bird and sunflower over a plain stem and folded foot, the last with a round bowl engraved with an ovolu band over a facet cut stem, small footrim chips to the first glass, 15.5cm max. (4) £150­250

95 A rare and large commemorative glass goblet, c.1760, the generous round funnel bowl engraved with a figure on horseback holding his sword before him, inscribed beneath ‘Duke of Marlborough at Ramillies’, on a plain stem above a conical foot, small chips to the foot, 19.6cm. £500­800

94 A Continental wine glass, the glass c.1760, later engraved to commemorate the hot air balloon flight of James Sadler, the flared bowl with diamond point engraving of a hot air balloon in flight with two figures in the basket, the reverse inscribed ‘The Balloon of Mr Sadler Aeronaut’, on a plain stem above a conical foot, 17.5cm. Together with a 1785 print of James Sadler and Stuart Amos Arnold from New London Magazine. (2) £500­800

James Sadler (1753-1828) was the first English balloonist, following a career as a pastry chef and a chemist. He made his first ascent on 4th October 1784 from Christ Church Meadow in Oxford. The depiction on the glass copies a print of his ascent from Hackney in August 1811.

96 A rare ‘Privateer’ wine glass, dated 1757, the bucket bowl engraved with a three­masted ship beneath the inscription ‘Success to the EAGLE FRIGATE Privateer’, the reverse with a spoiled anchor beneath the inscription ‘Benjamin Huntly 1757’, raised on a double series opaque twist stem over a conical foot, a large chip to the rim, 15.5cm. £400­600 The Eagle was a Bristol-based privateer that was purpose-built as such and took to the seas in 1756 under the command of Captain John Knill. Similar glasses are recorded bearing Knill’s name. No record survives of any reference to a Benjamin Huntly connected to the Eagle, but a Captain Benjamin Huntley of the Friendship is recorded as prosecutor in a trial at the Old Bailey in 1794.

97 A rare ‘Privateer’ wine glass, c.1760­70, the bucket bowl engraved with a brig at sail, inscribed above with ‘Success to the Hornet Privateer’, raised on a double series opaque twist stem over a conical foot, 15.3cm. £3,000­5,000 The National Archives record letters of marque in August 1758 for a ship called The Hornet, owned by Richard Earnshaw and the Company of London; and also in October of the same year owned by the Company of Bristol. However, another privateer of the same name is recorded in 1777, operating out of Liverpool.

98 A Beilby wine glass, c.1770, the drawn trumpet bowl finely decorated in white enamel with trailing bands of fruiting grapevine, raised on an opaque twist stem with a thick gauze core, over a conical foot, a chip to the foot, 17.3cm. £200­300

99 A rare sweetmeat glass, c.1720, the shallow ogee bowl raised on a bobbin knop stem with eight consecutive ball knops, over a conical foot, a small chip to the foot, 16.8cm.

Provenance: the John Towse Collection. Formerly in the collections of Walter J Smith, Henry Brown and Hamilton Clements.

Illustrated: Joseph Bles, Rare English Glasses, pl.70, fig. 103; Percy Bate, English Table Glass, pl.43; W A Thorpe, English and Irish Glass, no.63C.

Exhibited: 50th Anniversary Exhibition of the Glass Circle, 1987, Strange and Rare, no. 44.

100 A small Beilby wine glass, c.1760, the round funnel bowl enamelled in white with a continuous band of fruiting grapevine, over a multi­series opaque twist stem, the foot possibly replaced, 14cm. £300­500

101 A rare ship’s dram or firing glass, c.1750, with a bell bowl raised on an exceptionally wide domed firing foot, 7.8cm. £300

102 An emerald green mead or champagne glass, c.1750­60, the cup bowl moulded with gadroons, raised on a plain stem and conical foot, some nibbling and a small repair to the foot, 11.5cm. £200­300

Cf. Woolley and Wallis, 16th June 2021, lot 82 for an identical example from the Terence C Woodfield Collection.

103 A firing glass, c.1730, the large flared funnel bowl with a solid base above a solid cushion knop and a steep conical foot, 11.5cm. £100­200

104 An enamelled ale glass, c.1760, possibly from the Beilby workshop, the slender ogee bowl decorated in thin white enamel with four crossed stems of barley, raised on a double series airtwist stem on a conical foot, 20cm. £1,000­1,500

105 A good and large cider glass, c.1755­60, the bucket bowl engraved with two fruiting branches of apples, raised on a thick plain stem above a conical foot, 18cm. £800­1,000

106 A large baluster wine glass or goblet, c.1730­40, with a generous bucket bowl raised on a baluster stem comprising an annulated knop enclosing a tear extending into a baluster section above a round basal knop, raised on a domed folded foot, 18.5cm. £500­800

107 A pair of wine glasses of Jacobite significance, c.1765, each with a lipped ogee bowl engraved with a flying insect beside a rose and bud spray, raised on a double series opaque twist stem above a conical foot, 14.8cm. (2) £500­800

108 A pair of Dutch­engraved ‘Friendship’ glasses, c.1750, each round funnel bowl engraved with hands clasped in a handshake, raised on stems with an angular knop above a beaded inverted baluster, 18.2cm. (2) £200­300

109 Two wine glasses, c.1760, one with a tulip bowl moulded with vertical ribs, raised on a multi­thread opaque twist stem, the other with a moulded round funnel bowl, raised on an opaque twist stem with swollen central knop, 16.5cm max. (2) £200­300

110 Two small balustroid wine glasses, c.1740, each with a round funnel bowl, one raised on a plain stem with two flattened knops, the other with a triple knop above an inverted baluster section and basal knop, both over folded conical feet, 14.5cm. (2) £150­250

111 A wine glass and an ale glass, c.1760, each with a moulded ogee bowl rising from a multi­series opaque twist stem over a conical foot, 19.4cm max. (2) £100­200

112 A large wine glass or goblet, c.1750­60, the slight ogee bowl raised on a thick opaque twist stem, and a flute or ale glass, with slender ogee bowl raised on a dense opaque twist stem with swollen shoulder knop, 19.2cm max. (2) £150­250

113 A large ceremonial flute or goblet, c.1750, the generous drawn trumpet bowl rising from a short plain stem enclosing a long tear, over a folded foot, and a large wine glass or goblet, with ogee bowl raised on a multi­series airtwist stem, the folded foot possibly a replacement, 25.5cm max. (2) £150­250

114 Two wine glasses, c.1740­60, with bell bowls, one with a solid base over an airtwist stem with swollen shoulder knop, the other on a dense airtwist stem, 17cm max. (2) £150­250

115 A ratafia glass, c.1760, the narrow funnel bowl engraved with a continuous flowering spray, raised on a dense opaque twist stem over a conical foot, 18.5cm. £400­600

116 A wine glass, c.1720­30, the drawn trumpet bowl raised on a plain stem enclosing a long tear over a thick helmet foot, 16cm. £300­400

117 A small wine glass, c.1760, the waisted ogee bowl engraved with fruiting grapevine, raised on an opaque twist stem with a central swollen knop, 15.5cm. £150­250

118 A wine glass, c.1740­50, with a bell bowl raised on a mercury twist stem over a conical foot, 15.5cm. £300­400

119 A firing glass, c.1760­70, the drawn trumpet bowl engraved with a peacock and the head of a stag, raised on a short plain stem and a thick stepped foot, 9.7cm. £250­350

The decoration probably relates to a gentlemen’s club or drinking establishment.

120 A Dutch­engraved armorial goblet or toasting glass, mid 18th century, deeply engraved with the coat of arms for the Hoeufft family including the motto ‘Optimus quisque Nobilissimus’, raised on a ball knop above a thick stepped foot, 15.7cm. £400­600

The goblet may have been made for Jacob Hoeufft, a Dutch admiral and father of Jacob Hendrik Hoeufft, a notable poet of Latin verse.

121 An unusual firing glass, c.1760­70, the cup bowl engraved with stars and an ovolu border, raised on a short faceted stem and a thick firing foot, 11.3cm. £300­400

122 Three deceptive glasses, late 18th/19th century, one with a thick­walled drawn trumpet bowl over a plain baluster stem, another with a deep flared bowl over a short knopped stem, the last with a shallow bowl on a thick solid base over a firing foot, 15.1cm max. (3) £150­250

123 Three wine glasses, c.1730­40, two with bell bowls enclosing a small tear to the base, on plain stems above folded feet, the last with a drawn trumpet bowl over a plain stem enclosing a long tear over a folded foot, one with small nicks to the rim, 16.4cm max. (3) £100­200

124 An unusual wine glass, c.1730­40, the drawn trumpet bowl partially moulded with vertical flutes over a plain stem and folded foot, a firing glass with ogee bowl over a short opaque twist stem and stepped firing foot, and an ale or mead glass with slender tulip bowl applied with annulated rings, raised on a short plain stem, 13.8cm max. (3) £150­250

125 A large wine glass and two rummers, c.1740 and early 19th century, the wine glass with a conical bowl with solid teared base over a Silesian stem and folded foot, one rummer with a U­shaped bowl engraved in diamond point with ‘E Newton’, the other with an ogee bowl, each on a low knopped plain stem, 17.3cm max. (3) £100­200

127 A baluster wine glass, c.1720­30, the round funnel bowl raised on a ball knop over an acorn knop and short plain section enclosing a long tear, above a folded conical foot, 17.3cm. £800­1,200

Provenance: the John Towse Collection.

800

Provenance:

128 A rare composite baluster wine glass or goblet, c.1720, the generous bell bowl with a solid teared base, raised on an annulated knop above a baluster stem enclosing two rows of tears above a flattened basal knop, the domed foot enclosing a further row of tears, 19.5cm. £800­1,200

126 A light baluster wine glass, c.1740, the bell bowl raised on double mereses over an inverted baluster and true baluster, above a conical foot, 16.8cm. £500

the John Towse Collection. Formerly the Walter J Smith Collection.

129 A large baluster glass goblet, c.1710­20, the bell bowl with a solid base enclosing a tear, raised on a stem with a double drop baluster over a domed folded foot, 21.5cm. £1,000­1,500

Provenance: the John Towse Collection. Formerly the Peter Lazarus Collection.

Exhibited: City of Bristol Museum and Art Gallery, The Lazarus Collection of Drinking Glasses, 31st January - 30th September 1981, and on loan until 14th November 1986.

130 A rare baluster wine glass, c.1720, the bell bowl with a solid base enclosing a tear extending into the cushion knop beneath, over a double drop knop stem and basal knop, above a folded domed foot, 16.9cm. £1,000­1,500

Provenance: the John Towse Collection.

131 A small baluster glass, c.1710­20, the round funnel bowl with a solid base enclosing a small tear, raised on a baluster stem with a flattened knop between teared ball knops over a domed folded foot, 14.3cm. £400­600

132 A light baluster glass, c.1740, the bell bowl with a solid base, raised on an annulated knop over an inverted baluster section enclosing a tear above a basal knop and folded conical foot, 17.3cm. £250­350

133 A Dutch­engraved ‘Newcastle’ light baluster goblet, c.1740, the round funnel bowl well engraved with a ship at sail and with a farmer driving horses pulling a plough, inscribed ‘T. lands Welvaren’ (the country’s prosperity), raised on a baluster stem with bladed knops flanking a teared ball knop above a short baluster section, a good repair to the foot, 18.2cm. £400­600

134 A baluster wine glass, c.1730, the bell bowl raised on a bladed knop over a true baluster section over a conical foot, foot possibly trimmed, 16.2cm. £250­350

135 A ‘single flint’ light baluster glass, late 17th century, the round funnel bowl raised on a stem with two flattened knops over a folded conical foot, 13.8cm. £300­500

Provenance: the John Towse Collection.

136 A light baluster glass, c.1730, with a deep ogee bowl raised on a stem with inverted baluster section between two ball knops, over a conical foot, 16.5cm. £300­500

137 A large toasting glass or goblet, c.1740, the tall bell bowl with a solid base, raised on a plain stem above a folded conical foot, 24.5cm. £500­700

138 A ‘Friendly Hunt’ wine glass, c.1750, the bell bowl engraved with ‘The Friendly Hunt’ and a short foliate spray, raised on a plain stem enclosing a single tear over a domed foot, 16.5cm. £500­800 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.

Formerly in the John Towse Collection.

Exhibited: Delomosne &

1997.

800

139 A rare cordial glass with colour twist stem, c.1765, the small round funnel bowl raised on a stem enclosing a pale pink tape spiral over a conical foot, 14cm. £600

Son Ltd,

141 A large glass goblet, c.1740, the generous round funnel bowl raised on a thick plain stem enclosing a single long tear, over a domed folded foot, 20.4cm. £300­500

140 An ale glass, c.1750, the slender bell bowl engraved with hops and barley, over an opaque twist stem enclosing a gauze core, above a conical foot, 19.3cm. £500­700

Provenance: the John

Collection. Formerly Kirby Mason Collection.

Illustrated: W A Thorpe, English and Irish Glass, pl.LV.

Exhibited and illustrated: 50th Anniversary Exhibition of the Glass Circle, 1987, Strange and Rare, no.30.

142 A rare and possibly unrecorded toasting glass or goblet, c.1720­30, the drawn trumpet bowl rising from a thick plain stem over a basal knop and an unusual domed and terraced foot, 20cm. £1,500­2,000

143 A rare coin goblet, c.1700, the cup bowl enclosing a ball knop containing a Charles II groat dated 1680, raised on a quatrefoil stem over a domed folded foot, 17.3cm. £1,500­2,000

Towse

144 Two gin glasses, c.1740­50, with bell bowls, the smaller raised on a baluster stem including a bladed knop, the other with a balustroid stem of a plain section between ball knops, both over folded conical feet, 13.5cm max. (2) £150­250

145 Two wine glasses, c.1760, with bell bowls raised on triple­knopped multi­series opaque twist stems over conical feet, 17.3cm max. (2) £200­300

146 Two dram or firing glasses, 2nd half 18th century, one with a drawn trumpet bowl over a thick airtwist stem and firing foot, the other with a waisted bowl over a solid flared foot, 11cm max. (2) £500­700

147 Four small wine glasses, c.1760, one with a bucket bowl engraved with a bird and grapes, one with a cup bowl engraved with lily of the valley, one with a drawn trumpet bowl engraved with the initials ‘JH’ in a garland panel, the last with a round funnel bowl engraved with stylized flowers, all on multi­series opaque twist stems and conical feet, 15.5cm max. (4) £150­250

148 Two small sweetmeat glasses, c.1750­60, one with a moulded ogee bowl with a dog tooth rim, raised on a short multi­series opaque twist stem over a moulded foot, the other with a shallow bucket bowl with everted rim and funnel extension, over a short stem enclosing a row of tears, 8.5cm max. (2) £300­500

149 Two sweetmeat glasses, c.1750, with honeycomb moulding to the ogee bowls, raised on pedestal stems with annulated collars above domed moulded feet, 16.8cm max. (2) £300­500

150 Two sweetmeat glasses, c.1750, with ogee bowls moulded with wide flutes, raised on pedestal stems above annulated collars and domed feet, the larger foot folded, 18.7cm max. (2) £250­350

151 Two large sweetmeat glasses, mid 18th century, one with a shallow cup bowl on a moulded Silesian pedestal stem over a thick conical foot, the other with a deep ogee bowl with vesica cutting, raised on a faceted stem over a domed foot, some chipping to the latter, 17.7cm max. (2) £100­200

152 Three sweetmeat glasses, mid 18th century, two with honeycomb moulding to the bowls, raised on Silesian pedestal stems with annulated collars above moulded feet, the last vesica cut to the bowl, with a shaped rim, raised on a faceted swollen stem, 16.5cm max. (3) £600­800

153 Three sweetmeat glasses, c.1740­50, the ogee bowls moulded with vertical flutes, raised on Silesian pedestal stems with basal rings or collars, over domed and folded feet, 17.7cm max. (3) £300­500

154 A pair of bonnet glasses, c.1770­80, the ogee bowls with honeycomb moulding and blue glass rims, raised on short moulded knops, 7.2cm. (2) £50­80

155 A pair of glass rummers, early 19th century, the flared bucket bowls engraved with birds in flight between hops and barley, each inscribed ‘W E Pool’, and an ale glass, moulded with lappets and engraved with hops and barley, 14cm max. (3) £100­200

156 Four glass rummers, early 19th century, three with lightly moulded funnel bowls raised on stepped square feet, the last engraved with the initials ‘RES’ beneath a flowerhead border, raised on a square lemon squeezer foot, 15.2cm max. (4) £150­250

157 A commemorative glass stirrup cup and a small wine glass, 1st half 19th century, the stirrup cup modelled in the form of a boot and engraved ‘ Wellington Victory at Waterloo 1815’, the glass engraved ‘England has done her Duty’, 9cm max. (2) £150­200

158 A pair of commemorative goblets or rummers, 19th century, possibly relating to the Worshipful Company of Woolmen, engraved with a sheep above two crossed pins or distaffs, each inscribed ‘Presented by WLM to R and EW’, 14.2cm. (2) £150­200

159 A large pair of glass rummers, early 19th century, the deep funnel bowls engraved with a sailing vessel titled ‘Alfred’, the reverse with the initials ‘TJB’ within leaf swags, raised on square lemon squeezer feet, 16cm. (2) £100­200

160 A pair of glass rummers, 19th century, the round funnel bowls engraved ‘WELLS’ and with monogrammed initials ‘MJC’, above moulded lappets, raised on square lemon squeezer feet, 13.7cm. (2) £150­200

161 A large wine glass or goblet, c.1740, the generous drawn trumpet bowl raised on a plain stem enclosing a large tear, over a folded conical foot, 20.5cm. £300­400

162 A large wine glass, c.1730, the bell bowl with a solid base enclosing a long tear extending into the plain stem, over a folded conical foot, 17.5cm £200­300

163 A short wine glass, c.1730, the bell bowl with a solid base enclosing a round tear, raised on a short plain stem over a folded foot, 12cm. £300­500

164 A champagne or mead glass, c.1725, the ogee bowl raised on a Silesian pedestal stem over an annulated collar and domed foot, a small chip to the foot, 16cm. £150­250

165 A sweetmeat glass, c.1750, the shallow bowl with everted rim, raised on a Silesian pedestal stem with three annulated rings above a folded conical foot, 13.8cm. £100­200

166 A coin rummer, c.1760, the deep round funnel bowl raised on a short opaque twist stem above a flattened hollow knop enclosing a silver sixpence dated 1757, over a stepped foot, 15.8cm. £150­250

167 A glass goblet or rummer, c.1760, the generous rounded bowl engraved with a three masted ship, the reverse with a spoiled anchor flanked by two barley or corn stems, raised on a short plain stem, 11.2cm. £250­350

168 A large glass punch bowl, c.1730, with flared straight sides over a spreading folded foot, 27cm dia. £400­500 Cf. Bonhams, The Contents of Harvey’s Wine Museum, 1st October 2003, lot 102 for a similar example.

169 A massive ceremonial goblet or mixing glass, c.1750­70, the capacious round bowl raised on a shaped plain stem over a thick foot, 30.5cm. £300­500

170 A massive ceremonial goblet or mixing glass, c.1790­1800, the deep U­shaped bowl raised on a knopped plain stem over a thick stepped foot, 35.3cm. £700­1,000

171 A large commemorative glass rummer for the Golden Jubilee of George III, dated 1810, the tall bucket bowl engraved with a crown between laurels above the inscription ‘G III D REX REIGNd FIFTY YEARS OCTr 25 1810’, the reverse with the monogrammed initials ‘MN’ raised on a short knopped stem, 20.2cm. £300­400

172 A large Coronation goblet or rummer, dated 1838, the bucket bowl engraved to one side with the Royal Coat of Arms, the reverse with a crown above ‘VR’ within a band inscribed ‘Crowned at Westminster June 28 1838’, raised on a short knopped stem over a wide foot, 21.3cm. £500­700

173 A glass rummer, c.1800, the generous bucket bowl engraved with a two masted sailing ship titled ‘Cesar’, the reverse with the initials ‘JA’ within a star panel flanked by a rose and a thistle, raised on a square lemon squeezer base, 14cm. £300­500

174 A large coin goblet, c.1811, the rounded bowl engraved with a three masted ship titled ‘RAMILLIES’, with the Farmers Arms, and with the initials ‘CC’ within a circular cartouche, the hollow knop stem enclosing a Northumberland and Durham silver sixpence token dated 1811, payable by John Robertson, over a folded conical foot, 20cm. £500­700 HMS Ramillies was Admiral John Byng’s flagship during the Seven Years’ War. She was wrecked off the coast off Plymouth in Devon in 1760. However, the inscription may relate to the Battle of Ramillies, and the initials to a descendant of Charles Churchill, younger brother of the 1st Duke of Marlborough.

175 A Prussian engraved wine glass, c.1740, the faceted bowl engraved with a portrait of a Hohenzollern king, probably Frederick Wilhelm I, on a shield above military motifs, the reverse with an inscription in German referring to the Prussian army of 80,000 men, raised on a faceted stem and cut foot, 17.2cm. £200­300

When Frederick Wilhelm II acceded the throne in 1740 from his father, he inherited an army of 80,000 men.

176 A Dutch goblet, c.1750, the thistle­shaped bowl engraved with a crown over a roundel enclosing hands clasping beneath the sun, flanked by flowers, inscribed to the reverse ‘De Goede Vrindschap’ (The good friendship), the base of the bowl faceted and enclosing tears, over a faceted baluster stem and domed folded foot, 21.4cm. £200­300

177 A rare pair of composite glass candlesticks, c.1760, English or Norwegian, the deep moulded sconces raised on beaded knops over moulded baluster stems set into triple mereses over basal beaded knops, the helmet folded feet with honeycomb moulding, 22.3cm. (2) £800­1,000

178 Two cut glass candlesticks, late 18th/early 19th century, with faceted cylindrical nozzles raised on knopped stems over domed cut feet, some chipping, 21.5cm max. (2) £300­500

179 A part suite of Continental glass, late 18th/early 19th century, the faceted bowls gilded with flower garlands issuing from tied ribbons above a chainlink border, raised on facet cut stems. Comprising: four red wine glasses, six white wine glasses, six port glasses and three liqueur glasses. (19) £300­400

180 Two glass tazzae, mid 18th century, each flat top raised over a moulded stem rising from collar rings, over domed folded feet, 31cm dia. max. (2) £100­200

181 A part suite of sixteen wine glasses, 20th century, the tall bowls engraved with various figures from a monkey band, seated or standing on scroll motifs, raised on swollen faceted stems, 14.8cm. (16) £250­350

182 Seven coloured glass finger bowls, 1st half 19th century, three of plain U­shaped form in blue and amethyst, three with vertical moulded flutes in blue and green, the last amethyst with everted rim and applied circular band, 13cm max dia. (7) £100­200

183 Three pairs of coloured glass finger bowls, c.1800, of rounded Ushape, in cobalt blue, emerald green and amethyst, 10cm max. (6) £100­200

184 Six glass bottles for the Middle Eastern market, 19th century, three cut with trellis designs and gilt foliate motifs, one of blue opaque glass with a gilt scale design, another white opaque glass with a panelled floral design, the last a ewer with thin curved spout, four with stoppers, 26.5cm max. (10) £200­300

185 An Irish glass decanter and stopper, c.1820, Waterloo Glass Works of Cork, of Prussian shape, engraved with stylized flowers between ribbon bows above a band of vertical moulded flutes, the neck applied with three rings, with a moulded bullseye stopper, moulded mark to the base, 24.3cm. (2) £400­600

187 A glass decanter and stopper, dated 1774, of club shape and engraved with a three­masted ship at sail, the reverse inscribed ‘A F F / CASTLE / 1774’ between Masonic emblems, with a flattened honeycomb stopper, 27.7cm. (2) £600­800

186 A rare green glass decanter and stopper, c.1790­1800, of simple club shape, engraved and gilded with a large label titled ‘CAPPILLAIRE’ and suspended from a gilt chain, the flattened stopped decorated with a C to both sides, 27.5cm. (2) £400­600

Capillaire was a syrup made from the Maidenhair Fern, usually flavoured with orange-flower water and honey. It had a range of medicinal purposes including as a cure for pulmonary infections and the King’s Evil. Over time the fern became optional and the term was used for any orange-flavoured syrup.

£200­300

188 A Venetian or façon de Venise wine glass or goblet, 17th century, with a large bell bowl over a collar knop above a hollow stem and folded foot, 17.1cm.

Provenance: the John Towse Collection.

Exhibited: 50th Anniversary Exhibition of the Glass Circle, 1987, Strange and Rare, no.17.

189 A James Powell & Son Whitefriars goblet, 20th century, probably designed by Harry J Powell, the deep bowl and wide foot lightly trailed in arcs of yellow glass, raised on a large ball knop embedded with gold leaf, 21.3cm. £250­350

Provenance: the John Towse Collection. Formerly the John Scott Collection.

Exhibited: Fine Art Society, The John Scott Exhibition, 11th June - 3rd July 2014.

Cf. Lesley Jackson Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis Publications, p.113 pl.76 for comparable goblets with embedded gold knops designed by Harry J Powell probably between 1905-1919. The melted threads relate to the Minerbi range of glass tableware designed by Harry Powell and produced by James Powell & Sons in 1906 as a 400 piece service for Count Lionel Minerbi.

190 A Viennese transparent enamelled beaker (ranftbecher) in the manner of Anton Kothgasser, c.1820­30, the waisted form painted with a view of St Stephen’s Cathedral in Vienna, titled in gilt to the reverse with ‘Domkirche zu St Stephan in Vien’, raised on a starcut foot with amber highlights, 11.2cm. £600­800

Provenance: the John Towse Collection.

191 A Bohemian zwischengeldglas beaker, c.1720­30, the cylindrical fluted form gilded with a continuous stag hunt scene beneath trees, the scene echoed to a red roundel to the interior, 8.5cm.

Provenance: the John Towse Collection.

£400­600

Exhibited and illustrated: 50th Anniversary Exhibition of the Glass Circle, 1987, Strange and Rare, no.29.

192 A Baccarat cut glass tumbler, 19th century, enamelled and foiled with a spray of rose and heartsease on a panel within a wide hobnail cut border, 9.2cm.

Provenance: the John Towse Collection.

£150­200

193 A Baccarat spaced millefiori paperweight, mid 19th century, set with sixteen stylized flower canes including animal silhouettes, set on a ground of latticino canes in white, red and blue, 6.2cm dia.

£150­250

194

195

194 A glass decanter and stopper, c.1800, the mallet shape engraved with roundels and tied leaf swags, with a faceted flat stopper, and a Continental magnum bottle or carafe, moulded with vertical flutes, 35.3cm max. (3) £200­300

195 A pair of decanters and stoppers, late 18th century, of club shape, each engraved with a bottle ticket inscribed ‘Claret’ and ‘W. Wine’ respectively, suspended from a chain and above grapevine scrolls, each with a flattened moulded stopper, 29cm max. (4) £300­500

196 A pair of overlaid glass sweetmeat jars and covers, 19th century, the deep bowls flashed in cobalt blue and deeply cut with a crosses design, raised on square feet, the covers with faceted finials, 30.5cm. (4) £300­500

197 A good cut glass claret jug and stopper, c.1800, the ovoid body pillar cut, the neck with stepped rings, a little nibbling to the handle, 25cm. £150­200

Provenance: the John Towse Collection.

199 A Thomas Webb & Sons (Stourbridge) cameo glass vase, c.1880­90, of bottle form with a tall cylindrical neck rising from a squat body, the blue ground overlaid in white with tumbling branches of flowering jasmine, the reverse with a single moth or butterfly in flight, circular mark to the base, 23.1cm. £400­600

198

A stipple engraved goblet, the bucket bowl engraved with thatched buildings beneath tall trees transitioning between seasons, titled to the spreading foot ‘and Summer and Winter’, signed ‘LW’ and dated 1965, 26.8cm. £1,000­1,500

Illustrated: Laurence Whistler, Pictures on Glass, Nos. 20 and 21.

Provenance: the John Towse Collection.

Sir Laurence Whistler CBE (1912­2000)

200 A silver­mounted sealed onion wine bottle, dated 1719, the squat body of an olive green hue, applied with a seal bearing the name ‘Henry Ceane’ and the date 1719, the neck with a 20th century silver mount bearing faint Birmingham hallmarks, 16.2cm high. £1,000­2,000

The surname ‘Ceane’ appears to have been based in the Devon and Cornwall area in the early 18th century. The 1706 will of Richard Eare of Saltash mentions a Henry Ceane who was a merchant in Plymouth.

201 A large cold­painted Dutch wine bottle, 19th century, of slightly flattened globular shape, painted to one side with a cobbler seated at a table and doing his accounts, attended by a young girl, the reverse with an armorial shield of a lion over three stars, 33.5cm. £150­250

202 Four green glass wine bottles, early 18th century and later, three of onion shape, one with a tall tapering neck, one later with moulded initials beneath the base, the last mallet shape with a kick­in base and string rim, some faults, 21cm max. (4) £300­500

203 Three Dutch wine bottles, 18th century, two of onion shape with tapering necks and applied rings, one Transitional to onion with a short tapering neck, some chipping, one degraded from interment, 22.5cm max. (3) £100­200

201

202

200

204 A delftware bin label, c.1770­80, of coathanger form, painted in black with ‘HOLLANDS’, 14cm across. £600­800

205 A Delft strainer dish or stand, 18th century, of hexafoil form, painted in blue with a formal panelled floral design, each lobe pierced with a formal arrangement, raised on three feet, LPK mark, one foot broken and restuck, 22cm. £80­120

206 A rare Delft tea canister, 1st half 18th century, of rectangular form, painted in blue with flowering branches, the shoulders with formal motifs, a little chipping, 9.7cm high. £500­700

207 A Delft tea canister, 18th/19th century, the square form painted in a deep blue with figures and birds among flowering branches, the cover lacking, 9.7cm high. £100­200

208 A Delft broth bowl or milk tureen and cover, c.1690, the circular form painted in blue with Chinese figures in a garden, dancing beside vessels issuing smoke, the loop handles with blue dashes, each piece marked VS I, a crack to the cover, 27.5cm across. (2)

210 A Delft vase, c.1680, of octagonal baluster form, painted in blue and manganese with Chinese figures in garden landscapes, in the Chinese Transitional manner, a repair to the foot, the cover lacking, 20cm. £100­150

211 A delftware vase, 18th century, the ovoid form painted in the Chinese manner with two figures carrying vases beneath pine and willow trees, the shoulder and foot with formal bands of stiff leaves and ruyi heads, painter’s numeral 3 to the base, a little chipping, the cover lacking, 21.5cm. £150­250

£300­500

209 A delftware punch bowl, c.1730, possibly Vauxhall, painted in blue, red and green with stylized flower sprigs and a geometric border, rim crack, 21.5cm dia. £250­350

212 Two Delft vases and covers, 18th century, of octagonal baluster form, the smaller painted with Chinese figures and birds beneath trees in a garden setting, within formal leaf borders, marked for de porceleyn Schotel (the Porcelain Dish) manufactory, the other with peacocks and other birds among flowering plants, the domed cover with a lion dog finial, with a CK mark, some damages, 44.2cm max. (4) £250­350

213 A pair of Delft double­walled vases and covers, 19th century, each painted with a panel containing a courting couple and two other panels of landscapes and sailing boats, on a reticulated exterior wall, the covers pierced and with three landscape panels, pseudo APK monograms after Pieter Koeks, some chipping, 41cm. (4) £400­600

214 Four delftware plates, c.1720­50, of pancake shape, variously painted with central flower sprays of geometric swirls within foliate borders, some damages, 22.7cm max. (4) £150­250

215 Four Liverpool delftware plates, c.1750­75, all painted in blue, one with a bird perched on flowering peony, one with a Chinaman standing in a garden with another visible in a window, another with flowering branches within a panelled border, the last of small size and painted with a censer of flowers, some damages, 22.3cm max. (4) £100­200

216 Three Bristol delftware chargers, c.1720­50, one painted in the Kraak manner with confronting cockerels within a floral panelled border, another in red monochrome with a basket of flowers on a powdered manganese ground, the last with a hut beside rockwork, and a Bristol delftware plate painted with a Chinese figure beside a low table, damages and repairs, 34.3cm max. (4) £200­300

217 Two early delftware dishes, c.1680­1700, variously painted in blue with differing Chinese figures seated in a garden landscape, damages, 21.4cm max. (2) £150­250

218 Two Lancaster or Liverpool delftware plates, c.1760, one painted in blue with a pagoda in an island landscape, the other with bamboo and peony issuing from holey rootwork, the former broken and riveted, 22.3cm max. (2) £100­200

Cf. Barbara Blenkinship and Matthew S Hobson, Lancaster Delftware, p.69 and p.77 for similar plates.

219 A large delftware punch bowl, c.1770, painted in blue with formal foliate scrolls, and a delftware charger, painted in blue, yellow and manganese with a central flowerhead within a panel on a cracked ice ground, damages and repairs, 33.7cm max. (2) £150­250

220 A delftware plate, c.1760, painted in blue with two Chinese figures communicating between rocky ledges, the rim with a bianco-sopra-bianco border, a Delft charger painted with a peacock beside flowering plants, and a delftware tile, painted in manganese with a European figure feeding chickens, the corners with carnation motifs, some damages, 30.7cm max. (3) £80­120

£250­350

222 A redware teapot and silver cover, c.1750­60, attributed to Thomas Whieldon, the octagonal form ornately moulded with Chinese figures among foliage, with silver cover and spout, and a Delft teapot and cover, painted in blue, red and green with flowering branches, damages to the Delft, 19cm max. (4) £500­700

Cf. Victoria and Albert Museum, Accession No. C.306&A-1951 for a redware teapot in the same design.

221 A delftware ointment pot, late 17th/early 18th century, decorated in a white glaze, a delftware leaf­shaped pickle dish, a saucer painted with flower panels on a brown ground, and a Delft milk jug painted with foliate sprays, 10.8cm max. (4)

223 A Delft plate, dated 1690, painted in blue with two griffins flanking a cartouche enclosing the initials E / RC and the date 1690, above a mask issuing a tasselled garland, a restored crack, 22.3cm. £400­600

224 A Delft armorial plate, c.1670­90, painted in a bright blue with the arms of the city of Leiden, depicting the crossed keys of the patron Saint Petrus, broken and restuck, 21.8cm. £100­200

225 A Delft marriage plate, dated 1779, the well with an inscription relating to the marriage of Henderrik Blom and Christiaans Swart in July 1779, the rim with a formal panelled border, mark for Jan van Duyn at De porceleyn Schotel (the Porcelain Dish), 25.5cm. £100­200

226 A Delft tazza, last quarter 17th century, painted in blue and manganese with Cupid firing an arrow from his bow, within a formal fleur de lys border, raised on a low knopped foot, some rim chipping, 26.2cm dia. £400

600

227 A Delft Royal lobed dish or charger, c.1690, moulded with rows of narrow flutes, painted in blue, green, black and yellow with a portrait of King William flanked by tulips, the rim with a continuous band of tulips and other flowers, a short rim crack, 34.3cm. £500­800

228 A fluted delftware charger, c.1690, painted in blue, black and yellow with a Chinese figure seated in a garden, the wide rim with further figures in landscapes, a rim crack, 34.5cm. £200­300

229 A Delft plaque, 18th century, of square form with chamfered corners, painted with long­tailed birds in flight and perched on flowering branches, with upturned baskets below, the rim with a panelled floral border, 24.6cm. £500­700

231 A London delftware commemorative plate, c.1785, painted in green and manganese with a hot air balloon in flight above a building, trees and an ornamental fence painted in blue, the rim with a flower garland border, 19.6cm. £500­700

The plate depicts the balloon ascent of the Italian aeronaut Vincenzo Lunardi, whose first British flight took place in 1784. Lunardi executed several flights between 1784 and 1785, including at least one that took off from Southwark, near the delftware potteries.

230 A delftware ‘Farmyard’ plate, c.1730, probably Bristol, painted in blue with a church flanked by tall trees with sponged manganese foliage, some rim chipping, 19.7cm. £800­1,200 Paper label for the Gautier collection.

232 A delftware charger, c.1700, of deep shape, painted in blue with a geometric design of a central spiral within concentric circles and a chainlink border, broken and restuck, 33.5cm. £150­250

233 A rare delftware plate, late 17th century, painted in yellow and manganese with a Chinese figure in a landscape, the rim with further figures, rocks and trees, 22cm. £600­800

234 A delftware plate, c.1740, possibly Liverpool, painted in polychrome enamels with two swans swimming before low buildings and three trees, the rim with a berried border, 22.8cm. £100­150

235 A rare delftware plate, c.1760­70, probably Bristol, painted in blue, green, red and yellow with a central sun with a face, the cavetto and rim with stylized scroll borders, some rim chipping, 22.2cm. £150­200

236 A Bristol delftware Fazackerly plate, c.1740, painted with flowering branches beside an ornamental zigzag fence, 22.6cm. £200­300

237 A large Liverpool delftware soup plate, mid 18th century, the well painted in blue with flowering plants, the rim with three birds in flight between leaf sprigs, some glaze chipping, 25.5cm. £100­150 Paper label for the Warner Collection.

238 A large Bristol delftware charger, c.1740, painted in blue with flowering lotus before an ornamental fence and leafy bamboo, the rim with a narrow panelled trellis border, numeral 2 mark to the base, some rim chipping, 36.3cm. £150­200

239 A large delftware charger, c.1760­70, probably Irish, painted in blue with a patterned censer of flowers including chrysanthemum and peony, the cavetto with a scroll border, the rim with vignettes of flowers, tied scrolls and other auspicious objects, 48.3cm. £300­500

240 A Bristol delftware wig bowl, c.1720, painted in polychrome enamels with a bird perched on a mound, with a crimped rim, and a delftware plate of pancake form, painted in blue with a bird on a fence between sponged trees, the bowl broken and restored, 21.8cm max. (2) £800­1,200

241 Six English and Dutch delftware plates, c.1730­70, including a polychrome soup plate with a parrot on a ring, a Dutch peacock charger, a plate and a soup plate painted with flowering branches, and a plate with a Chinese boy seated beneath willow, some damages, 32.3cm max. (6)

£200­300

243 Four delftware plates, c.1720­50, variously painted in blue with stylized flowerheads and geometric motifs within formal and line borders, minor damages, 22.5cm max. (4) £150­250

242 A pair of small delftware octagonal plates, c.1770, Liverpool or Dublin, painted in blue with La Pêche, a lady fishing and watched by a figure beneath an archway, with a Pratt ware novelty pipe, c.1800, formed of elaborate coils of clay decorated in blue and ochre dots, some chipping and restoration, 29.8cm max. (3)

£100­200

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

244 A Delft charger and two plates, 18th century, painted in blue with censers of flowers and peacock feathers, the rims with wide formal panelled designs, one plate drilled, 31cm max. (3) £150­250

245 An unusual delftware dish, mid 18th century, painted in blue with a tent­like structure flying a flag beneath a tall flowering branch, repairs to the rim, 28.7cm. £100­150

246 A Delft jug or tankard, late 17th century, of baluster form, painted with Chinese figures seated in a garden beside leafy plants and trees, the handle with a blue scroll design, previously fitted with a metal cover, 19cm. £200­300

247 An ormolu­mounted Delft vase, c.1740­60, the mounts later, the vase moulded and painted in blue with flowering stems on a washed brown ground, with ormolu mounts to the foot and neck, 19.5cm. £100­150

248 A large Delft model of a cow, probably 19th century, standing with head slightly turned, a milkmaid seated to her left side, both decorated in a bold polychrome palette with flowers and leaf scroll designs, raised on a shaped base, red APK monogram after Pieter Kocx, 23.5cm across. £100­200

245 246

250 A Bristol delftware flower brick, c.1760, the rectangular form painted to the long sides with two figures in a boat before buildings and a tall tree, the short sides with two figures fishing back­to­back, the recessed top pierced with two square and nine small circular holes, a crack to the base, 15.6cm across. £500­700

249 A Delft apothecary bottle, mid 17th century, the tall ovoid form painted in blue with a cartouche inscribed ‘A. Buglossi’ beneath a fleur de lys motif and above an angel mask, footrim chips, a small rim section lacking, 27.5cm. £1,000­2,000

The leaves, roots and flowers of bugloss were all used and were said to cure melancholy as well as alleviating headaches and nervous complaints.

Cf. J K Crellin, Medical Ceramics in the Wellcome Institute, p.79, no.144 for a jar with similar decoration.

251 A delftware wall pocket, mid 18th century, moulded with a female mask to the top within leaf and shell scrolls, the base with a shell motif over a mythical bearded mask, all picked out in blue, some surface chipping, 19.5cm. £300­500

252 Six delftware tiles, c.1750­70, painted in manganese with European figures in boats and bucolic landscapes, two framed tiles painted in blue with octagonal panels of buildings reserved on a powdered manganese ground, and another framed tile painted with figures in a hilly landscape, 14.3cm max. (9) £150­250

253 Four delftware Biblical tiles, c.1750, painted in blue with scenes including Abraham and Isaac, Noah and the Flood, and David and Goliath, and five other tin­glazed tiles variously decorated with figures, landscapes and flowers in blue and manganese, 13.2cm max. (9) £250­350

254 Five Spanish maiolica tiles, 18th and 19th centuries, three figural and painted with a woman driving a donkey, a bare­bottomed man on the shoulders of another figure, and a man shouldering a weapon or staff, two other tiles decorated with geometric motifs in blue and yellow, some damages, 13.9cm max. (5) £200­300

255 Eight Liverpool delftware tiles, c.1750­70, painted in blue with figures in European landscape scenes reserved within octagonal borders, the corners with quarter flowerheads, 12.4cm. (8) £100­200

256 Fourteen English and Dutch delftware tiles, 18th century, painted in blue or manganese with scenes including the Stoning of Stephen, the Woman of Canaan, the Tribute Money, the Temptation in the Wilderness, the Return of the Prodigal Son, the Annunciation and Daniel Scattering Ashes in the Temple, within circular panels with stylized foliate corner motifs, some faults, 12.8cm. (14) £250­350

252

257 A Delft stove tile, late 18th/19th century, probably Rotterdam, painted in blue with a huntsman with game slung over his rifle, within a shaped cartouche, the edges with foliate scrolls, 20.3cm. £80­120

258 A medieval Spanish maiolica floor tile, c.1420­50, of elongated hexagonal form, painted in blue with an banner inscribed ‘fes be’ (translating to ‘do good’), within stylized leaf scrolls and flowerheads, some glaze loss, 22.8cm. £100­200

By repute from the Chapel of San Jeronimo at the Convent of la Concepcion Francisca in Toledo. Cf. The Getty Museum, No. 84.DE.747 for a tile panel featuring similar tiles.

259 A large Continental stove or floor tile, in the 17th century manner, painted with a roundel containing a mythical beast, reserved on a ground of foliate scrolls, signed with a black monogram, broken and riveted, 30.7cm. £50­80

260 A large Qajar circular plaque, 19th century, painted with a lady standing and playing a stringed instrument above a bearded man seated with a bottle and small bowl, on a ground of repeating flower motifs, the rim with a border of flowerheads on a blue ground, 37.5cm. £100­200

261 A Moroccan pottery tagine and cover, 19th/20th century, decorated with bold geometric designs in blue, green, yellow and manganese, with brass mounts, and a bowl with similar designs, together with a later brass stand, 36.5cm max. (4) £300­500

263 A pair of Italian maiolica syrup or apothecary jars, probably 18th century, each decorated with the arms of the Vatican City beneath banners inscribed ‘AQa D PAPAVE’ and ‘AQa D MELISSA’, within berried leaf borders, beneath each strap handle with an ochre heart, the spouts replaced, some chipping, 20.3cm. (2) £150­250

These jars were used to contain medicated or aromatic waters of poppy and honey.

262 A pair of Cantagalli Iznik­style vases, late 19th century, of bottle form, decorated with panels of formal flowers in red, green, blue, black and turquoise, the neck and foot with a flowerhead band, blue cockerel marks, both drilled to the bases, 27.5cm. (2) £250­350

A small Castelli maiolica plate, c.1740, painted with four men reclined and carousing beneath a tree, the rim with putti and mythical masks, 17.3cm.

£250­350

265 A Castelli maiolica plate and a saucer, c.1725­40, the saucer painted with the infant Bacchus on the shoulders of a satyr after a 17th century etching by Stefano della Bella, the plate with a huntsman on horseback in pursuit of a stag, the rim with putti, the saucer broken and restored, 23cm max. (2) £150­250

266 A maiolica charger, 19th/early 20th century, boldly enamelled with a putto carrying fruit and standing on the back of a large dog, the rim with a fabric swag design in shades of blue, yellow and ochre, raised on a low circular foot, 32cm. £100­150

267 An Italian maiolica syrup jar, in the 16th century Urbino manner, brightly painted with a winged putto flanked by buildings and tall trees beneath a scroll inscribed ‘Ol Mastica’, with a straight yellow­glazed spout and a wide strap handle, some restoration to the foot, 21.6cm. £600­800

264

268 Two Savona maiolica drug jars or albarelli, c.1760, of dumbbell form, inscribed in manganese with ‘Conf: Rosar’ and ‘Ung: Basilir’, within continuous scrolling bands of flowering branches, raised on circular feet, 19.3cm. (2) £150­250

Rose syrup was made by infusing petals in water and thickening with sugar. It has an aperient action. Basilicon ointment was made from wax, pitch, olive oil and other ingredients, and was used in the treatment of wounds.

270 A large Moustiers faïence tureen and cover, c.1750, the shallow form raised on four paw feet and applied with two lion mask handles, painted in blue with formal foliate scrolls flanking a crowned armorial shield containing a lion rampant, an area of good restoration to the base, 33.5cm across. (2) £250­350

269 A small Italian maiolica albarello or pill jar, dated 1662, the waisted form painted in blue, green and ochre with a small panel of a tree issuing from round rocks beneath a helmet crest, above a banner inscribed ‘UNG O D LITRGL’, the reverse inscribed ‘1662’, some faults, 16cm. £300­400

Provenance:

has been in the family for upwards of 200 years.

800

271 A Staffordshire salt­glazed stoneware bear jug and cover, c.1750, leaning forward on his forepaws, his coat crumbed in white clay, wearing a collar with black detailing, some restoration to the cover, 20.3cm. (2) £600

from a private collection. With multiple old (20th century) notes stating that the bear

272 A slipware dish, late 17th/18th century, the deep circular body decorated in a cream glaze combed with brown slip, with a piecrust rim, some wear, a 10cm rim crack, 35cm. £400

600

120

275 A salt­glazed stoneware teabowl and saucer c.1760­70, brightly enamelled with a moth and flowers, and an unusual brown stoneware double­walled mug, of thistle shape, cut with floral stems and decorated with a brown lustre, minor damages, 11.8cm max. (3) £100­200

276 A Staffordshire salt­glazed teabowl and saucer, c.1760, brightly painted with flower sprays, and a salt­glazed stoneware small sauceboat or creamboat, moulded with diaper panels and scrolls, 14cm max. (3) £200

300

273 A Sussex slipware puzzle jug, 18th century, the neck pierced with small holes beneath three spouts, all decorated in a treacle glaze, and an unusual earthenware jug surmounted with a figure playing an instrument, the latter lacking the handle and foot, 20.3cm max. (2) £150­250

274 An unusual stoneware plant stand vase, modelled as a chair with five branch apertures around a central area splashed in brown and blue, 15cm high. £80

A PRIVATE COLLECTION OF FROG MUGS

Provenance:

The mug commemorates the bare knuckle championship fight between the existing champion, Tom Spring, and the challenger, Jack Langan. Over 30,000 people turned up to watch the match which lasted for over 70 rounds and more than two and a half hours. Two of the spectator stands collapsed during the fight at Worcester racecourse, while others climbed the masts of boats moored nearby in order to view the fight for free.

277 A commemorative creamware frog mug relating to Lord Nelson, c.1805, printed in black with a naval engagement scene titled ‘Lord Nelson engaging the Combined Fleets of Cape Trafalgar’, the interior with a large black frog climbing up the side, some restoration to the rim, 12cm. £200­300

279 A large and rare two­handled ‘pugilist’ frog mug, c.1825, printed and coloured with two boxers sparring in an outdoor ring, titled ‘Spring’ and ‘Langan’, the interior with two small frogs and two newts, a rim crack, 17.6cm high. £200­300

purchased from Alistair Sampson Antiques Ltd.

278 A commemorative creamware frog mug relating to Lord Nelson, c.1805, printed in black with HMS Victory at sail above a banner inscribed ‘England Expects every man to do his Duty’, the interior with a large frog decorated with manganese dots, minor faults, 12cm. £150­250

280 Two Sunderland Pottery creamware frog mugs, early 19th century, one Dixon & Co and printed with a ship at sail inscribed ‘Success to the Coal Trade’, the other J Phillips & Co and printed with the Mariner’s Compass, each signed in the print, each mug containing a large frog climbing up the interior wall, small footrim chips, 12.5cm max. (2) £200­300

281 Two Dixon & Co Sunderland creamware frog mugs, early 19th century, one printed and hand­coloured with a view of the Iron Bridge at Sunderland, the other with two figures flanking the Farmers’ Arms, inscribed ‘God Speed the Plough’, each signed in the print, both mugs containing a large frog crawling up the inside, minor faults, 12.2cm max. (2) £200­300

282 Two large two­handled frog mugs, 19th century, one printed and coloured with stanzas and motifs relating to farming, the other with a comical print of two donkeys inverting to depict two moustachioed soldiers, titled ‘The Two Allies, each mug containing applied frogs, 15.2cm high max. (2) £150­250

283 Three frog mugs, 1st half 19th century, one creamware and inscribed ‘No heart so true as mine’s to You 1800’, one printed with a view of Sunderland Bridge within pink lustre bands, the last moulded and coloured with osier bands and inscribed ‘Winchester Measure Warranted’, each containing a brown frog, the creamware restored, 12.8cm max. (3) £150­250

284 Four two­handled frog mugs or loving cups, 19th century, one printed in black with portraits of Queen Victoria and Prince Albert, another with an exterior scene of the Crystal Palace, one printed in purple with two Eastern figures, the foot inscribed ‘Frederick Goldthorpe’, the last with a stag, the reverse inscribed in gilt with ‘J M Hancock 1859’, three containing a large frog, one with two frogs and a newt, 20.5cm max. (4) £150­250

285 Three large pearlware frog mugs, 19th century, the largest printed in the Imari palette with flowering branches, the others in black or red with a scene of figures before decadent buildings in an island landscape, each containing a frog or a newt, minor faults, 15.5cm max. (3) £100­200

286 Five two­handled pearlware frog mugs, 19th century, one blue and white transferware printed with a milkmaid, another slipware and inscribed for ‘John Crowther 1887’, one printed and hand­coloured with the Farmers’ Arms and a twelve line verse, another painted with a large bouquet of garden flowers, the last with more stylized flowers and raised on a circular foot, each containing various frogs or newts, some damages, 15.5cm max. (5) £150­250

287 Four small transferware frog mugs, 19th century, variously printed in blue and purple with landscapes, animals, flowers and fruit, and a larger lustre mug painted with a stylized flower band between copper lustre borders, each mug containing a large frog, 11.5cm max. (5) £100­200

END OF COLLECTION

288 Three French creamware plates, late 18th/19th century, one Creil and printed with Magius rebuking the Campanians for their cowardice, two octagonal and printed with similar Classical scenes within grapevine borders, printed marks, 24.5cm max. (3) £100­200

Provenance: the Douglas Johnson Collection.

289 A pair of pearlware plates, c.1810, painted in blue and ochre with simple flower sprays within blue chainlink borders, and a miniature pearlware cornucopia wall pocket, spiral­moulded and decorated with a band of acanthus leaves picked out in blue, small faults, 21.2cm max. (3) £150­200

290 A set of twelve Middlesbrough Pottery nursery plates, mid 19th century, printed in black with twelve different scenes of the ‘Sacred History of Joseph and his Brethren’, the wide rims moulded with three bands of flowerheads, impressed marks, 18.5cm. (12) £100­150

291 A pair of pearlware Bristol Mansion House plates, 19th century, painted with colourful flower sprays tied with a red ribbon bow, the undersides marked ‘MH’, 24.9cm. (2) £100­200

The original Mansion House in Bristol’s Queen’s Square was destroyed in the Bristol Riots of 1831. It was replaced by a second house in Great George Street, but this closed in 1835.

292 Two commemorative pearlware jugs, early 19th century, printed in blue with a portrait of Nelson and a roundel of HMS Victory, one with additional colouring and inscribed ‘Mary Smith Tildsley 1807’, and a large creamware jug painted with flowers and leaves on an orange ground, inscribed in black ‘ROB’t & SA’h GOULD 1812’, minor repairs, 23.3cm max. (3) £150

200

The 1780 baptism records of Ringley in Lancashire show a Mary, daughter of Ann Smith and John Tildsley.

Provenance: the Douglas Johnson Collection.

290

293 Four large transferware chargers or meat dishes, 19th century, two printed with a night sea battle between the Blanche and La Pique, within borders of sea shells and seaweed, a charger decorated with a large dragon on a red and gilt floral ground, the last printed with travellers in a seaside landscape, 54.5cm max. (4) £150­250

Provenance: the Douglas Johnson Collection.

294 Four blue and white transferware chargers or meat dishes, 19th century, one Jones & Sons and printed with Nelson at the Battle of Waterloo, one Wedgwood and printed with figures in an exotic harbour scene, another charger printed with a Game Keeper, the last with a lake scene, 54cm max. (4) £150­250

Provenance: the Douglas Johnson Collection.

295 Five J & W Ridgway blue and white transferware chargers or meat dishes, 19th century, printed with scenes of colleges and other buildings in Oxford and Cambridge, the borders with panels of putti and sprays of convolvulus, the two largest chargers with draining channels, printed marks, 52.5cm max. (5) £250­350

Provenance: the Douglas Johnson Collection.

296 Six blue and white transferware plates by Enoch Wood, 19th century, depicting harbour scenes, sailing vessels and steamers within a wide border of shells and seaweed, some variously titled ‘Dartmouth’ and ‘View of Liverpool’, a Clews plate printed with the ‘Landing of General Lafayette’, and another soup plate with a steamer, impressed marks to some, 26cm max. (8) £100­200

Provenance: the Douglas Johnson Collection.

297 A blue and white transferware Durham Ox charger, 1st half 19th century, printed with the eponymous bull standing beside his owner, John Day, from the print by J. Whessell after the painting by John Boultbee, within a border of stylized flowerheads and foliate scrolls, 56cm. £500­800

The Durham Ox was the result of an intensive breeding programme and became famous after being toured around the country by his aristocratic owner. In one day, London tourists paid a total of £97 in admission fees.

Provenance: the Douglas Johnson Collection.

299 A pair of Herculaneum creamware plates, late 18th/early 19th century, printed in black to the well with a portrait of Nelson, the rims with black line borders, impressed marks, 25cm. (2) £200­300 The portrait on this service is after a stipple engraving by William Evans, in turn after a drawing by Henry Edridge. Cf. Richard Walker, The Nelson Portraits, p.196.

Provenance: the Douglas Johnson Collection.

298 A pair of blue and white transferware Durham Ox plates, 1st half 19th century, printed with the eponymous bull from the print by J. Whessell after the painting by John Boultbee, within a border of stylized flowerheads and foliate scrolls, 25.5cm. (2) £150­250

Provenance: the Douglas Johnson Collection.

300

commemorative bowl, c.1805, painted to the interior with a portrait of Admiral Lord Horatio Nelson within a brown border, the exterior with narrow concentric lines, 8cm rim crack, 14.8cm dia. £100­150

301 A creamware flask, c.1760­80, the flattened circular form painted in blue, one side with flowering branches issuing from a zig­zag fence, the reverse with a spray of European flowers, a chip to the neck, 15cm. £100­200

302 A pearlware ‘Winchester Measure’ frog mug, c.1820, the exterior decorated with bands of basket weave and flowering branches, inscribed ‘Winchester Measure Warranted’, the decoration picked out in blue, yellow, green and brown, the interior containing a yellow frog decorated with brown spots, a 3.5cm chip to the foot, 11cm. £100­150

303 A pair of Wedgwood creamware chocolate cups with covers and stands, late 18th century, the two­handled forms decorated with the initials ‘SW’ within a circular panel, with brown line rims, impressed marks, 9cm high. (6) £200­300

304 A printed pottery darning egg, c.1820­40, printed in black with a galloping horse, the reverse inscribed ‘A Present for Robert’, 5.7cm.

250

A small pearlware

£50­100

305 A Whitehaven Pottery darning egg, c.1820­40, printed in black to one side with three children playing, the reverse with a banner inscribed ‘NANCY’, 6.3cm. £150­

350

309 An unusual Mason’s bottle or flask and stopper, 19th century, the flattened rhomboid form printed and coloured with scenes of Chinese figures between bands of chrysanthemum and peony, 23cm. (2) £100­200

306 A Pratt ware oval plaque, c.1790­1800, modelled with a young cowherd attending two cattle, picked out in yellow, ochre and umber, restored crack, 18cm. £150­250 Paper label for Jonathan Horne.

307 A Pratt ware rectangular plaque, c.1790­1800, moulded with a scene of huntsmen resting, with four figures, a horse and a dog outside a tavern flanked by trees, decorated in yellow, ochre, manganese and green, some chipping to the underside, 23.2cm. £200

308 A Jackfield coffee pot and cover, c.1760, the pear­shaped body decorated in a lustrous black glaze, raised on three small feet, the cover linked to the handle with a metal chain, a few small rim chips, 20cm. (2) £200­300

310 A Whieldon­type creamware figure of a dog, 2nd half 18th century, seated on its haunches and moulded with a patterned collar, decorated in running glazes of green, ochre and manganese, possibly once fitted with a candle sconce, 17.2cm. £100­200

311 A good creamware Whieldon­type figure of a cat, c.1780, seated on its haunches with head turned to the right, raised on a base moulded with a continuous leaf scroll, the whole decorated in washed blue, cream and manganese glazes, 15.2cm. £500­700

312 A Whieldon­type creamware cow creamer, c.1760, standing four square with a calf suckling at her udder, raised on a shaped base, decorated in running glazes of black, manganese, green and ochre, damages, the cover lacking, 15.5cm across. £100­200

313 A rare creamware model of a dog, 18th/early 19th century, standing four square on a flat rectangular base, his head cocked to one side, wearing a wide collar, some clean repairs to the base and forelegs, 15cm high. £100

200

314 A good pearlware bust of William Pitt the Younger, c.1800, probably Enoch Wood, modelled wearing a powdered wig and with head slightly turned, raised on a faux marble socle base, together with two Derby porcelain figures of a fish seller and a girl with a dog, damages to the Derby, 22cm max. (3) £250­350

315 A Staffordshire pearlware bust of John Locke, c.1800­20, modelled wearing a red cloak draped around his shoulders, raised on a socle with faux marble decoration, incised ‘LOCKE’ to the reverse, 19cm. £100­200 The English philosopher and physician, John Locke, was one of the key figures in the Age of Enlightenment whose writings influenced Voltaire and Rousseau.

316 A Ralph Wood Toby jug, c.1785­90, seated with a jug of ale, the foam spilling down one side, wearing a green coat over an ochre waistcoat and breeches, restoration to his hat, 24.3cm. £150­250

250

one Pratt ware and wearing a patterned coat over striped stockings, his face a ruddied yellow, the other creamware and seated with an empty jug on one knee, with a blue coat over an ochre waistcoat, some restoration to both, 25.5cm max. (2) £200­300

c.1790­

Toby jug, c.1800, seated with a foaming jug of ale on one knee, wearing a blue coat over an ochre waistcoat, raised on a double base, some good restoration to his hat, a small chip to the base, 26.2cm. £100­200

317 A small Pratt ware Toby jug and stopper, c.1800, seated with a polka dot jug of ale, raised on a tall sponged base, and a pearlware Toby of similar size, wearing a turquoise coat over blue breeches, 19.6cm max. (3) £300­400

318 Two Toby jugs,

1800,

319 Two Pratt ware Toby jugs, 1st half 19th century, of Ordinary type, each with a foaming jug of ale, one wearing a striped jacket over yellow breeches, the other’s jacket sponged in ochre, green and manganese, some restoration, 25.3cm max. (2) £150

320 A Pratt ware

type

The

and

Pero secretly breast­feeding the imprisoned Cimon,

chained before turrets and small trees, raised on a ti

base, with purple lustre highlights, some restoration, 25.7cm. £300­500 Pero, daughter of Cimon, visits her father and sustains him through the act of breastfeeding - a selfless act that eventually led to his release. The story was depicted in art throughout the ages and saw a revival on the stage in the 19th century.

321 A Staffordshire ‘Sherratt’

figure group of

Grecian

Daughter, c.1820, depicting

who reclines

tled footed

323 A Grove & Stark (Longton Hall) majolica planter, late 19th century, modelled as a recumbent sphinx, with sgraffito decoration of hieroglyphs and mythical creatures on a green ground, impressed mark, 35cm across. £100­150

322 A pair of Staffordshire figures of the British Lion, c.1860, triumphant over the body of the vanquished Napoleon III who lies beneath their paws, raised on grassy bases, restoration to one, 22cm. (2) £200

300

324 Two pairs of figures of the actor John Liston c.1830, one pair by Enoch Wood of John Liston in two of his comic roles, as Sam Swipes from Exchange No Robbery, the other as Van Dunder from T’would Puzzle a Conjuror, the other pair as Paul Pry and Lubin Log, raised on rectangular bases, some damages, 18.4cm max. (4) £300­500

325 Three large English pearlware figures c.1795­1810, one of Isaac Newton standing beside a globe and holding a telescope, of Ralph Wood type, another of Venus punishing Cupid, the last of a gardener resting on a spade, also attributed to Wood, some damages and repairs, 30cm max. (3) £100­200

326 Six Staffordshire figures, c.1780­1820, including a group emblematic of Charity, two depicting Winter, a creamware figure of Apollo, a small Whieldon type figure of a boy with a basket of fruit, and a pearlware model of a bird splashed in treacle, green and manganese glazes, small damages, 18.3cm max. (6) £250­350

327 A pair of Staffordshire figures of the Cobbler and his Wife, 19th century, raised on square black bases, a Walton spill vase, modelled with a man sleeping at the base of a tree trunk, and a small fair Hebe jug, some repairs, 14.7cm max. (4) £100­200

328 A pair of Staffordshire spill vases, 19th century, each modelled as a zebra standing before a hollow gnarled tree trunk with an orange­glazed interior, the bases with gilt detailing, some good restoration, 30cm. (2)

£100­200

329 A pair of Staffordshire figures of the Royal Children, c.1845, each seated on the back of a large dog with wheels of fire decoration, a small black and white puppy on their laps, raised on shaped blue bases with gilt detailing, restoration to one, 15cm high. (2) £200­300

330 A pair of Staffordshire figures of Venus and Neptune, c.1810, Venus leaning her left hand on the tail of a dolphin, Cupid beside her, Neptune with his right foot on the head of a dolphin, each raised on a square base, restoration to Venus, Neptune’s trident lacking, 23.5cm. (2) £100­200

332 A Pratt ware cow creamer and stopper, c.1800, standing four square with head slightly turned to the left, with ochre markings and sponged in black, a seated milkmaid beside her flank, the chamfered base with green sponged decoration, some restoration to the horns, the stopper a replacement, 18.5cm across. (2) £150­250

333 A Wood­type pearlware figure of King David, c.1800, standing atop a rocky base and holding a small Irish harp, raised on a tall square base moulded with the portrait of a Classical maiden and inscribed ‘King David’, the reverse impressed ‘28’, some good restoration to the base, 31.7cm. £150­250

334 Three Italian terracotta figures, late 19th/20th century, one modelled by Giuseppe Vaccaro of a woodcutter, another (also Palermo) of a water carrier, the last Caltagirone of an old man, impressed or inscribed marks, some damages, 32.7cm max. (3) £250­350

331 A large Staffordshire figural spill vase, 1st half 19th century, modelled with two parrots or other birds perched between large hollow branches of a tree above a man seated on a rocky base, small losses and restorations, 26.7cm. £100­200

332

334

333

DAY TWO

THURSDAY 27TH APRIL 2023

AT 10.00 AM

LOTS 335-733

THE BARRY LOCK COLLECTION

Barry Lock was born in Wimbledon in July 1934. He was educated at King’s School in Canterbury, and then went to read for a BA in Jurisprudence at Magdalen College, Oxford from 1953 to 1956. He stayed for another year for a bachelorship in civil law. After Oxford, he became a solicitor and was articled with Coward Chance (later Clifford Chance) where in 1964, he became the firm’s youngest equity partner. By 1988 he had moved to Lawrence Graham, where he remained until his retirement in 2005.

Barry had a lifelong interest in and knowledge of royal and aristocratic history, and a great passion for collecting antiques, which he loved talking about with his many friends. As well as enamel boxes, he focused on silver, paintings and portrait miniatures. His interest in history, both royal, naval and military, is well reflected in the boxes offered here. Barry sourced his collection from auctions, as well as several leading London silver dealers. He also liked to support smaller dealers, and this was particularly the case at the Sunday antique fair he loved to attend at the Royal Horticultural Halls, a short walk from his home in Morpeth Mansions.

Barry was a very generous man, and actively supported a range of charities including the Richard III Society, the Society of St. Augustine of Canterbury, and the Friends of Westminster Cathedral. He was a founding member of the King’s School Legacy Club. At Magdalen he funded the Barry Lock Bursary, which is awarded every year to students in need, as well as supporting the choir, the Longwall Library and the Grove Quad.

Barry died in April 2021, and his funeral was at Westminster Cathedral, where he regularly attended mass. His ashes are interred in Magdalen College Fellows’ Garden, Oxford.

335

200

William Henry West Betty (1791-1874) was a popular child actor of the early 19th century, known as the young Roscius. He retired from the stage in 1808 to attend Christ’s College in Cambridge, and although he tried to stage two comebacks he officially gave up acting in 1824.

A rare Staffordshire enamel patch box of pugilist interest, late 18th century, the oval form decorated with two fighters in a boxing ring, watched by gentlemen in top hats and inscribed ‘Set to’, raised on a dark blue base, some repainting to the base, 4.8cm. £400

600

336 A South Staffordshire enamel patch box of theatrical interest, c.1805, the top printed and coloured with a titled profile portrait of ‘Young Roscius’, the navette shaped base a pale blue, a mirror to the interior lid, some restoration, 4.5cm. £100

337 A rare South Staffordshire commemorative patch box, c.1789­90, printed and coloured with a profile portrait of George III beneath a radiating eye, inscribed ‘Britons rejoice and thank the Lord, In mercy our lov’d King’s restor’d’, raised on a pale blue oval base, with an internal mirror, a little cracking, 5.2cm. £200­300

King George III’s first illness in 1788 caused consternation in both court and parliament, leading to the passing of the Regency Act in the House of Commons. The King, however, recovered before the Act reached the House of Lords.

338 A rare South Staffordshire commemorative patch box, c.1800, printed in manganese with an angel holding a shield bearing the portrait of King George III, in her other hand a shield deflecting the course of an arrow, inscribed ‘God Save the King’ and ‘May no weapon form’d against him prosper’, raised on a dark blue base, fitted with an internal mirror, a little cracking, 5.2cm. £400­600

The print on the box relates to a failed assassination attempt on George III on 15th May 1800, when James Hadfield fired a shot at the king during the singing of the national anthem at the Drury Lane Theatre. The medal from which this print was taken was designed by P. Kempson.

339 A South Staffordshire enamel commemorative patch box, c.1820, painted with an oval portrait of Caroline of Brunswick wearing a feathered hat, within a jewelled border, inscribed ‘Queen Caroline has triumphed over her enemies’, raised on a moulded pink base, fitted with an internal mirror, 4cm. £150­250

The relationship between George IV and Caroline of Brunswick was strained long before he acceded the throne in 1820. That same year he tried repeatedly to divorce her, eventually putting her on trial for adultery. The trial preceded the passing of the bill of Pains and Penalties, which would allow George IV to divorce his wife. The tide of public opinion in Caroline’s favour meant the bill was abandoned, making the trial irrelevant and thus resulting in a victory of sorts for Caroline.

340 A Bilston enamel commemorative patch box of Royal interest, c.1791, the oval form inscribed ‘May the Duke and Dutchess [sic] of York possess Unbounded love and happiness’ within a blue pennant border, the white oval base with a continuous band of blue flowers, some restoration to the top, 5.2cm. £200­300

In 1791, Frederick the Duke of York and Albany married Frederica, Royal Princess of Prussia. Despite the fervent good wish expressed on this box, the marriage was not a happy one and had ended within a few years.

341 A rare South Staffordshire commemorative patch box, c.1810­20, printed with full length portraits of the Prince of Wales and Mrs Fitzherbert, titled on a ribbon beneath, raised on moulded sides in a pale blue, fitted with an internal mirror, restored, 4cm. £300­500 Maria Fitzherbert (née Smythe) was the twice-widowed companion of the future George IV, whom he married in 1785 without his father’s consent, rendering the union invalid under the Royal Marriage Act of 1772.

342 Two English enamel patch boxes of Royal interest, c.1800­20, one printed with a portrait of Princess Charlotte, titled ‘Princess Royal of England’, raised on a lilac base, the other inscribed ‘King and Constitution’ within a shaped blue border, raised on a moulded dark blue base, both fitted with internal mirrors, some restoration, 4.7cm max. (2) £150­250

343 Two South Staffordshire enamel patch boxes of Royal interest, c.1800, one printed and coloured with a portrait of the Duke of York leaning against a stone plinth beneath trees, the other printed in black with a head and shoulders portrait flanked by military trophies, inscribed ‘Duke of York’, both raised on pink bases, some restoration, 5.1cm max. (2) £150­250

344 Two English enamel patch boxes of Royal interest, early 19th century, one printed and coloured with a head and shoulders portrait of the future George IV, titled ‘Prince Regent’, the other with a profile portrait of Frederick William, King of Prussia, raised on moulded bases enamelled pale blue and pale pink respectively, fitted with internal mirrors, some restoration, 4.3cm. (2) £300­400

345 A South Staffordshire enamel commemorative snuff box, c.179395, painted with a depiction of the execution of Louis XVI by guillotine, after a print titled ‘Massacre of the French King’ published by William Lane, within an oval blue band border with raised white dots, inscribed ‘He died lamented by all good men’, raised on a white base, restored, 5.4cm.

Formely in the Mort and Moira Lesser Collection.

£300­500

346 A South Staffordshire enamel patch box of political interest, c.1801, the circular top printed and coloured with a profile portrait of William Pitt, titled in black around the edge, the moulded ogee base painted with flower sprays, fitted with an internal mirror, restored, 4.5cm. £150­250

William Pitt the Younger was Prime Minister between 1783 and 1801, then again between 1804 and 1806. The print derives from a drawing by Robert Dighton, now in the Parliamentary Art Collection.

347 A South Staffordshire commemorative patch box, dated 1800, commemorating the Union of Great Britain and Ireland, printed and coloured with two Classical maidens shaking hands before a brick pyramid, inscribed ‘Great Britain & Ireland Unite’ above the date ‘1800’, raised on a pink base, restored, 5.7cm. £100­200

The Union Act that came into effect on 1st January 1801 was brought about to try and stop Ireland from uniting against Britain with revolutionary France.

348 A rare South Staffordshire enamel commemorative patch box of American interest, c.1783, inscribed ‘May the glorious eighty Three For evermore remember’d be’, within a red dot border, raised on a moulded green base, fitted with an internal mirror, 4.4cm. £300­500

The inscription on the box is believed to relate to the Peace of Paris, signed in 1783, which saw the end of the First British Empire and led to the end of the American Revolutionary War.

349 A South Staffordshire enamel snuff box of naval interest, c.1780, the oval form painted with a portrait of Admiral Keppel, dressed in elaborate costume and looking to his left, reserved in a raised scrollwork border on a pale blue ground, the sides with flower sprays in raised enamel on an eau de nil ground, some cracking and restoration to the base, 5.7cm. £150­250

Augustus Keppel, 1st Viscount Keppel, served during the Seven Years War, and later as First Lord of the Admiralty during the War of American Independence. Charges of misconduct were brought against him by Vice Admiral Sir Hugh Palliser following the battle of Ushant, but following a court martial, Keppel was honourably acquitted. The portrait on this box is after a medal by T Lyng, struck in 1779 to commemorate his acquittal.

350 An English enamel patch box relating to the American Wars of Independence, c.1780, the oval form printed with a portrait of Admiral George Brydges Rodney, titled ‘Sr G B Rodney’, raised on a pink base, fitted with an internal mirror, some cracking and restoration, 5.5cm. £150­250

George Brydges Rodney was ordered to the West Indies in late 1779 by way of Gibraltar where, in January 1780, he defeated the Spanish at the battle of St Vincent. He had previously had a very successful career during the Seven Years War.

351 A South Staffordshire enamel patch box, c.1812, printed and coloured with a head and shoulders portrait of Arthur Wellesley, titled ‘Marquis of Wellington’, raised on a moulded base enamelled dark green, fitted with an internal mirror, some cracking, 4.2cm. £100­200 Wellington was made a Marquess in August 1812. He became the Duke of Wellington in 1814.

352 A rare South Staffordshire enamel patch box of military interest, early 19th century, the oval form printed and coloured with a head and shoulders portrait of Count Matvei Ivanovich Platoff, inscribed ‘General Platoff’, within a white beaded border, raised on a pale blue base, internal mirror fitted, some restoration to the base, 4.7cm. £300­500 Platov was a Russian general who commanded the Don Cossacks during the Napoleonic Wars. The print is taken from a portrait by Karl Friedrich Schulz.

353 A South Staffordshire enamel patch box commemorating the Treaty of Amiens, c.1802, decorated with the figures of Fame and Plenty standing back to back beside ships at sail, Plenty holding a victory wreath above her cornucopia, Fame with a banner suspended from her trumpet, inscribed ‘Duncan, Jervis, Abercrombie, Nelson, Howe’, above them inscribed ‘Fame Proclaiming her Heroes, Peace with Plenty’, the base coloured a dark blue, the interior cover fitted with a mirror, a little fill to the base, 5.4cm £300­500

The short-lived Treaty of Amiens lasted only one year but engendered the only period of true peace between 1793 and 1814. The uneasy truce was ended by Britain declaring war on France in May 1803, following Napoleon’s increased attempts to control Western Europe.

354 A rare South Staffordshire enamel patch box of military interest, c.1782­83, the oval top printed and coloured with a scene depicting the Great Siege of Gibraltar, titled ‘Gibraltar’ on a ribbon banner, within a green ropetwist border, raised on a pale blue base, fitted with an internal mirror, a little cracking, 5.3cm. £500­800

The Great Siege of Gibraltar took place during the War of the American Revolution and constituted an unsuccessful attempt by France and Spain to capture Gibraltar from the British. At three years, seven months and 12 days, it was the longest siege ever endured by the British Armed Forces.

355 A rare South Staffordshire enamel commemorative patch box of naval interest, c.1797, painted with ships engaged in a sea battle, inscribed ‘The Glorious Victory of Admiral Duncan 11th Oct. 1797’, some restoration, 5cm. £400­600

The scene depicts the defeat of the Dutch by Admiral Adam Duncan at the Battle of Camperdown; considered one of the most significant actions in naval history.

356 A South Staffordshire enamel commemorative patch box of naval interest, c.1805, the oval shape painted with a putto astride a dolphin, within the inscription ‘Victorious Nelson Immortal be his Name; the Triton with his shell resounds his Fame’, within a white beaded border, raised on a dark blue base, some cracking and retouching, 5.3cm. £250­350

357 A rare South Staffordshire enamel commemorative patch box, dated 1798, the navette shape painted with a scene from the Battle of the Nile, inscribed ‘L’Orient on fire in the Glorious Victory by Adm. Nelson, 1st August 1798’, within a beaded border on a dark blue ground, some restoration, 5.2cm. £300­500

The Battle of the Nile was fought between the British and French between 1st and 3rd August 1798.

358 A South Staffordshire enamel commemorative patch box, c.1798, painted with a Classical maiden, probably Fame, blowing a trumpet and holding a banner inscribed ‘Nelson: his fames shall sound the world around’, raised on a pale blue base, fitted with an internal mirror, 5cm. £200­300

This box was probably made to commemorate Nelson’s victory at the Battle of the Nile in August 1798.

359 A rare South Staffordshire enamel commemorative patch box, c.1801, relating to the Treaty of London, painted with a Classical maiden holding an olive branch and leaning against a marble tablet inscribed ‘GB FR Peace Oct 1st’, within a white jewelled border on a dark green ground, fitted with an internal mirror, some retouching to the base, 4.3cm.

£300­500

The Treaty of London was signed by Lord Hawkesbury and Louis Guillaume Otto on 1st October 1801 and led to the 1802 Treaty of Amiens, which heralded a short-lived period of peace.

360 A South Staffordshire enamel commemorative patch box, c.1809, painted with a soldier in mourning beside an urn on a plinth inscribed ‘In memory of Gen’l Moore’, within a white beaded border, raised on a dark blue base, fitted with an internal mirror, minor restoration, 4.5cm.

£100­200

Lieutenant-General Sir John Moore (1761-1809) was a British Army officer, killed at the Battle of Corunna during the Peninsular War.

361 A South Staffordshire enamel patch box of naval interest, c.1794, the oval form painted in black with a sea battle within the inscription ‘The glorious Victory of Earl Howe On the 1st of June 1794’, raised on a green base, fitted with an internal mirror, some restoration, 4.1cm. £200­300

In the first major naval action of the Revolutionary War, Admiral Lord Howe defeated the Brest fleet of Admiral Villaret-Joyeuse at the Battle of the Glorious 1st June in 1794.

362 Two English enamel commemorative patch boxes, c.1812, the smaller painted in black with a ship at sail and the words ‘Brave Nelson is no more’, raised on a pink base, the other with a three­masted vessel within an oval cartouche flanked by doves, a narrow blue border faintly inscribed ‘The Gift of a Friend’, raised on a blue base, some restoration, 5.2cm max. (2) £300­500

Both boxes relate to the death of Admiral Lord Nelson at the Battle of Trafalgar.

363 Two South Staffordshire enamel patch boxes of naval interest, c.1797, one decorated with a sea battle and inscribed ‘Success to Admiral Duncan’, the other printed with a spoiled anchor and laurel swags, inscribed ‘Duncan and Victory’, 4cm. (2) £250­350

Admiral Adam Duncan (1731-1804) defeated the Dutch fleet off Camperdown on 11th October 1797. He was heavily involved in the American Revolutionary Wars as well as the Seven Years War.

364 Three English enamel patch boxes relating to Lord Nelson, c.17981805, one of navette shape and decorated with Britannia and a lion seated by the seashore, inscribed ‘Britannia rules the Waves’, raised on a pale blue base, another painted ‘British Gratitude to Nelson’s Valour’ within a laurel wreath on a pink ground, the last inscribed ‘The Arabs danc’d & fill’d the Sky With Nelson’s glorious Victory’, over a pink base, some restoration, 5cm max. (3) £400­600 The inscription on the smallest box relates to Nelson’s victory at the Battle of the Nile in 1798.

365 Three English enamel topographical patch boxes, early 19th century, one printed in manganese with a street view of Tunbridge Wells, titled ‘ A Perspective View of Tunbridge Wells’, another with a titled view of York Cathedral, inscribed ‘A Trifle from York’, the last with a view of Wells Cathedral, inscribed ‘A Present from Wells’, two on moulded bases coloured blue and green, one with flower sprays around the sides, some cracking and restoration, 4.5cm max. (3) £150­250

366 Four English enamel patch boxes, late 18th/early 19th century, one of navette shape and inscribed ‘Keep this for my sake’ within a jewelled border, the others variously inscribed ‘Farewell my Dear, I must away’, ‘Fear God and honor the King, Kiss a pretty girl, That’s no sin’, and ‘For Modes of Faith let Graceless Zelots Fight’, all on green and blue bases, some restoration, 5.5cm max. (4) £200­300

366A Five English enamel patch boxes, late 18th/early 19th century, two inscribed ‘A Trifle from Oxford’ within patterned borders in blue and pink, one with a view of Lovers Leap at Buxton, one printed with a townscape of Yarmouth, the last with a sailing vessel above a banner inscribed ‘A Trifle from Yarmouth’, the four oval boxes fitted with internal mirrors, some faults and restoration, 4.7cm max. (5) £200­300

367 Three South Staffordshire enamel patch boxes, late 18th/early 19th century, one painted with a dove holding out an olive branch to a Classical maiden, raised on a dark blue base, the other two printed with a fruiting cornucopia, one inscribed ‘Peace and Plenty’ over a moulded pink base, the other ‘Peace, Unity & Trade’ over a moulded green base, some restoration, 4.5cm max. (3) £200­300

368 Three English enamel topographical patch boxes, early 19th century, one printed and coloured with a view of Carlton House, inscribed ‘A Trifle from London’, another two inscribed ‘A Trifle from Bath’, one depicting a view of the Royal Crescent, another with a view of Bath Abbey, raised on pink and blue bases respectively, all fitted with internal mirrors, some cracking and minor restoration, 5.3cm max. (3) £250­350

369 Two English enamel patch boxes and a snuff box, late 18th/early 19th century, one circular and decorated in the manner of Jasperware with a Classical figure and a falcon, another of navette shape and decorated with a feathered floral design on a blue ground, the last moulded with a scallop shell lid with blue ribs on a seaweed tendril ground, some restoration, 5.7cm max. (3)

£300­500

370 Three English enamel patch boxes, late 18th/early 19th century, one painted with a man smoking a long pipe beside a large beer barrel, another printed with a woman skating on a frozen pond, the last with a jockey riding a horse and titled ‘Ecclipse’ [sic], some cracking and restoration, 5.1cm max. (3)

£200­300

The racehorse, Eclipse, was born during the solar eclipse of 1764 and bred by the Duke of Cumberland. He went on to have an illustrious career and was undefeated until his retirement to stud in 1771. He died of colic in Middlesex in 1789 and his skeleton is on display at the Jockey Club Museum in Newmarket.

371 A large English enamel snuff box or bonbonnière, c.1770, modelled as a dog pinning down a hare with its mouth and forepaw, raised on a grassy base, the metal­mounted cover painted with hare coursing scene, some cracking and small surface chips, 8.5cm across. £300­500

372 A rare South Staffordshire enamel bonbonniere, c.1770, modelled as a peach with purple striations and pale green sponged decoration, the interior cover painted in puce enamel with a portrait of a lady, possibly an actress, with a feathered head ornament, 5cm. £200­300

373 Four English enamel patch boxes, c.1760­90, of oval form, three painted in black with inscriptions including ‘A Trifle from Andover’, and ‘When this you see Remember me’, the last with a bird in white enamel on a blue ground, inscribed ‘A Token of Regard’, and a later oval enamel box moulded and painted with fruit reserved on a linen ground, some damages, 6cm max. (5) £100­200

374 A rare English enamel bonbonnière or box, c.1770, formed as a rose bud with detailing to the pink petals, and a ceramic scent bottle formed as a tulip bud detailed in puce and pale yellow, with a metal screw­fitted top, some restoration to the rose, 6.2cm max. (2) £400­600

375 A collection of nineteen Halcyon Days enamel boxes or bonbonnières, modern, six modelled as dogs, six as birds, the others as animals including a cat, otter, deer, hare and frog, two plain circular boxes. Together with a collection of Halcyon Days catalogues from the late 1990s and early 2000s. (A lot) £100­200

376 An English enamel candlestick, late 18th century, the hexafoil foot moulded and painted with flowers, with further single blooms to the knopped stem and detachable drip pan, restored, 25.3cm. (2) £100­200

377 A Staffordshire enamel mustard pot and cover, c.1780, the baluster form painted with panels of shepherds tending their flock in waterside landscapes, reserved on a deep blue ground with polychrome flower decoration and white diaper panels, the domed cover with an oval spoon aperture, 11.2cm. (2) £100­150

378 An English enamel small plate, c.1770, painted with a musician playing the flute to a lady seated before Classical ruins beside farm animals, within a moulded rim picked out in gilt and white enamel, cracks, 18.4cm. £100­150

379 A rectangular porcelain plaque by Leighton Maybury, modern, painted with an Iceland falcon and a Greenland falcon perched on low rocks in a moorland landscape, signed bottom right, marked to the reverse, in a contemporary giltwood frame, the plaque 28.5cm x 18.7cm. £100­200

380 Six Chamberlain’s Worcester plates, c.1810­20, brightly decorated with the Dragons in Compartments pattern, the rims with alternating panels of flowerheads and cell diaper bands in red and green, some wear, 24.5cm. (6)

£250­350

381 A set of six Minton ornithological cabinet plates, date codes for 1881, each painted by William Mussill (1828­1906) with birds including Impeyan pheasants, pigeons, teal, quail, pheasant and Amhert pheasant, each signed ‘W Mussill’, within wide mazarine blue borders with gilt medallions and white jewelled swags, printed marks including retailers marks for Davis Collamore & Co, New York, 24cm. (6) £300­500

382 Eighteen Wedgwood topographical plates, 19th century, each painted with a British landscape scene, titled in red to the reverse, the wavy rims with an elaborate gilt foliate border on a dark blue band, impressed marks, 23.5cm. (18) £300­500

380

381

382

383 A Chamberlain’s Worcester cabinet dish, c.1840, finely painted with a view of Malvern Priory within a bright blue border, the rim moulded with leaves tinged in salmon and with gilt detailing, titled in red to the underside ‘NW View of the Priory of Great Malvern, Worcestershire’, 30.8cm. £100­200

Provenance: the Douglas Johnson Collection.

384 A Flight Barr and Barr ecuelle with cover and stand, c.1825, painted with titled views of the Ruins of Persepolis, Linlithgow Palace, the Tomb of Metella in Rome, and another Roman tomb, reserved on a pink ground, the cover with small floral panels, faint impressed mark, puce script mark to the ecuelle, 17.5cm max (3) £400­600

385 Two Chamberlain’s Worcester cabinet cups and two saucers, c.1825, one outside­decorated with a view of Worcester and reserved on an apple ground, signed ‘C Hayton 1825’, the other with flower garlands on a green ground, applied with two handles and raised on three hoof feet, a Spode twohandled cabinet cup with cover and stand, painted with flowers on a blue­grey ground, and a Paris cabinet cup and stand painted with a ruined archway on a claret ground, one stand associated, some faults, 15cm max. (9) £200­300

386 A Chamberlain Worcester inkwell and a small vase, c.1810, the inkwell painted with a view of Cheltenham, the campana vase with a view of Durham Cathedral, both reserved on a salmon pink ground with gilt vermicelli decoration, the inkwell raised on three mermaid supports, with a small inkwell insert, puce script marks, one vase handle lacking, 13cm max. (3) £150­200

Provenance: Quorn House, Leicestershire.

387 Three Bloor Derby flower vases, c.1830, all modelled with an effusion of flowers including rose, auricula, convolvulus and carnation, red printed marks to two, some chipping, 18cm max. (3) £150­250

388 A Royal Worcester cabinet plate or dish, date code for 1933, painted by Richard Sebright with fruit including apples and blackberries scattered on a woodland floor, signed, within a wide blue border enclosing pink panels with elaborate raised gilt scrolls, printed mark, 24cm. £100­200

389 A Royal Worcester ornithological cabinet plate, 20th century, painted by Edward Townsend with a shaped panel of two Golden Plovers, signed, reserved on an elaborate Islamic­style gilt ground with raised foliate decoration, titled to the underside, gilt mark, 23.6cm. £100­200

390 A pair of Royal Worcester ‘Nautilus’ vases, date codes for 1887, each formed with a crisply moulded nautilus shell raised on a base of coral, seaweed and smaller shells picked out in gilt and burnished lustre, printed and impressed marks, minor nibbles, 21.5cm. (2) £100­200

391 A Royal Worcester vase, date code for 1920, shape 1661, painted by Harry Stinton with two Highland cattle in a heather­filled landscape, printed mark, restoration to the neck, 22.7cm. £150­200

392 A Royal Doulton cabinet plate, early 20th century, finely decorated in raised gilt with flower swags and foliate scrolls around four urns of polychrome fruit and flowers flanked by smaller fruiting cornucopia, green printed mark, 26.7cm. £60­100

To be sold without reserve.

393 A large Copeland jardinière or bottle cooler, c.1895­1900, the Ushaped form painted by Samuel Alcock with a rustic couple in a woodland setting, reserved on a green ground within raised gilt borders, and a Copeland jewelled plate also painted by Alcock with a maiden standing beside a balustrade, the rim with enamel jewelling, flower garlands and motifs of musical instruments, 28cm max. (2) £300­500 Provenance: from the Douglas Johnson Collection.

394 A Swansea trio, c.1815­18, comprising a teacup, coffee cup and saucer, painted probably by William Pollard with loose wild flowers and stems of fruiting strawberry, the rim with panels of gilt trellis work, 14.4cm. (3) £100­200

Provenance: the Douglas Johnson Collection. Old paper label from Cardiff

395 An English porcelain snuff box and cover, c.1800­10, probably Derby, the circular form painted to the top with a three­masted ship at sail, the sides with a gilt and orange design, beneath the base painted with a pink rose spray, a little gilt wear, 6.7cm across. (2) £200­300

396 Two Nantgarw plates, c.1818­20, one probably London­decorated with sprays of flowers in blue monochrome within a moulded rim, the next with small pink rose sprays, impressed ‘Nantgarw CW’ marks, and a Swansea plate decorated with a Mandarin type pattern of figures in a garden, the rim with panels of birds, red printed SWANSEA mark, 24.6cm max. (3) £150­250

397 A Nantgarw part tea service, c.1818­20, painted probably in London with diagonally placed sprays of garden flowers, three reserved within a feathered gilt panel. Comprising: a slop bowl, a cake plate, a coffee cup, two teacups and two saucers. (7) £200­300

Provenance: the Douglas Johnson Collection.

398 Three Coalport trios, c.1818­20, comprising varying teacups, coffee cups and saucers, each decorated in pattern 840 with small floral panels reserved on a blue ground with a dense gilt design of fruiting grapevine, 14.8cm max. (9) £150­250

399 Five Herend figure groups of birds, modern, one of four penguins on an ice floe, one of a cormorant with a fish, one of a pair of ducks, two of a cockerel, and a small figure of a frog on a lilypad, all variously decorated with coloured scale designs, printed marks, 21.6cm max. (6) £150­250

400 Six Herend figures of animals, modern, four various groups of rabbits decorated in red and blue scale patterns, a squirrel with silver lustre decoration, and a panda chewing on a stem of bamboo, printed marks, 14.3cm max. (6) £150­250

401 Twelve miniature Meissen figures of birds, 20th century, naturalistically modelled and decorated, including a pair of parrots, a pair of mallard ducks, a pair of cockatoos, a quail, an owl, a stork, a chicken, a peacock, and a yellow canary, 6.5cm max. (12) £200­300

402 A small Meissen figure of a tiger, 20th century, modelled with one forepaw raised and head turned slightly to the right, seated on a low rocky base, blue crossed swords mark, impressed 1471, 6.5cm high. £100­200

403 A pair of Meissen figures of quail, 20th century, naturalistically modelled and decorated with speckled plumage, raised on low bases, blue crossed swords marks, incised 478, a tiny chip to one beak, 7.3cm high. (2) £150­200

404 An unusual Buen Retiro figure of a Chinese sage, late 18th century, standing and wearing a long robe, his hands tucked into his capacious sleeves, Chinese characters written on a tablet he holds to his chest, raised on a square white base, blue fleur de lys mark, some faults, 24.8cm. £300­500

405 An Italian glazed pottery figure of St Anthony the Abbot, late 18th century, the bearded figure well modelled and wearing a long hooded cloak with rosary beads hanging from his waist, a Tau cross moulded to his breast, a small boar and a fire on the base beside him, losses and repairs, 28cm. £500­800

406 A Vienna combat figure group of dogs, probably 19th century, raised on a low square base, and a whiteglazed figure of a lion, modelled with head turned slightly to the right, some damages, 12cm max. (2) £80­120

407 A Continental porcelain figure group of Venus and Cupid, c.1770, probably Italian, modelled seated with flowers on a tall plinth with leaf swags, and a faïence figure of two putti with a large dolphin, some faults, 17.4cm across max. (2) £150­250

408 A Sèvres biscuit porcelain figure of Le Petit Vandengeur, mid 18th century, modelled by Falconet after Boucher as a young boy leaning on a tree stump with a basket of grapes, incised F beneath the base, and another biscuit porcelain figure of a young girl carrying a bird, the boy’s basket handle lacking, 15cm max. (2) £150­250

409 A white­glazed Tournai figure group of musicians, c.1765­70, modelled with four figures and instruments seated atop and around a pierced rocky base, and a French or Italian figure group of five putti with flowers, fruit, birds and a spyglass, raised on a rocky base, some losses and repairs, 23.8cm max. (2) £100­200

410 A large Berlin white­glazed figure group, c.1770­90, of Venus and Cupid, modelled by Wilhelm Christian Meyer, the goddess reclining on a tasselled cushion raised on a tall shaped plinth, blue sceptre mark, some restoration, 23.5cm high. £150­250

411 A Frankenthal white­glazed sweetmeat figure, c.1775, modelled as a Moorish figure balancing a wide pierced dish on his head, blue crowned CT monogram, and a 19th century Vienna vase, left in the white and modelled with a dog and birds amidst applied flowers and leaves, some restoration, 19.5cm max. (2) £150

250

413 A Vienna figure of a fisherman, c.1770, seated on an upturned basket with a large fish across his lap, an upturned basket of scallop and other shells beneath his left elbow, wearing a striped neckerchief and holding a pipe in his mouth, a jug and teabowl on a wooden stand beside him, blue shield mark, small good restorations, 16cm. £400­600

412 A Mennecy figure group, c.1760, of seated lovers, probably emblematic of Matrimony, the woman seated with a bird cage on her lap, her companion seated with his arm around her and holding a bird in his left hand, small restorations, the bird cage broken off and restuck, 14.7cm high.

Cf. British Museum, Accession No. 1987,0106.1.

£400­600

414 A Vienna figure group, c.1760, depicting a couple, possibly an actress and her companion or relating to the Commedia dell’Arte, she seated and holding a mask in her left hand, her right raised in remonstrance, her companion seated on a black cloak and leaning on her left thigh, blue shield mark, firing cracks and restoration, 14.5cm high. £100­200

415 A Meissen figure group of lovers, 19th century, modelled as a shepherdess and her companion, she seated on a rocky stump and feeding grapes to a young gentleman beside her, a lamb standing between them, blue crossed swords mark, incised C41a, the lamb’s foreleg restored, 18.8cm. £150­250

416 A Meissen figure group of children, 19th century, probably emblematic of Spring or Summer, she holding a flower garland and seated beside a basket of further flowers, he standing beside and resting one foot on the basket’s edge, blue crossed swords mark, incised ‘J93’, minor damages, 14.7cm high. £100­200

417 A German porcelain figure group of putti, 18th century, one perched on the back of a billy goat chewing on grapevine, the other kneeling behind, the goat’s back draped in a flowered robe, incised FJ/o to the base, minor faults and firing cracks, 13cm high. £100­200

418 A Vienna figure group of children, date code for 1846, a boy trying to conceal a bird beneath the skirts of a girl dancing with another boy, raised on a scroll base, impressed shield mark, 17.5cm. £100­200

419 A set of Meissen figures of the Five Senses, late 19th/20th century, modelled by J C Schönheit, each as a young woman seated with varying attributes, Sight gazing into a mirror, Hearing playing the spinet, Smell lifting a flower to her nose, Touch having her finger nipped by a bird in a cage, Taste beside a table set with fruit and pastries, blue crossed swords marks, incised and impressed numbers, 14.5cm high max. (5) £1,500­2,000 Provenance: from a private UK collection.

420 Four Continental porcelain figures of putti musicians, c.1760­90, two Ludwisgburg, one playing the flute, the other playing the violin and raised atop a tall base, another Volkstedt and playing the lute, the last possibly Italian and playing the flute, small losses, 12.8cm max. (4) £100­200

421 Three German porcelain busts of men, 2nd half 18th century, one Höchst and depicting a centurion in plumed helmet, raised on a waisted socle base, another probably Meissen and modelled in the antique manner, the last of Bacchus, draped in a puce­lined robe and raised on an associated socle base, with a Capodimonte­style bust of a Classical maiden, some damages, 12cm max. (4) £100­200

419

422 A Meissen figure of a young Bacchus, c.1760, wearing a stag pelt and holding bunches of grapes, leaning against a branch entwined with fruiting vine, raised on a low scrolled base, some good restoration, 14.3cm. £100­200

423 A Meissen figure of the Racegoer’s Companion, 19th century, wearing a fur­lined lilac cloak over a striped floral dress, her left hand tucked inside a muff of brightly coloured feathers, a sealed envelope held in her right hand, cancelled blue crossed swords mark, incised D66, some restoration to her right arm and hand, 20.5cm. £100­150

424 A Ludwigsburg figure of Minerva, c.1765­70, dressed in flowing robes and standing beside a low pillar supporting her shield and helmet, raised on a chamfered square base, blue interlaced CCs mark, some restoration to her arms, 27cm. £200­300

425 A Meissen figure of the Lover Discovered, 19th century, reclining and holding his slippers, a small German porcelain white­glazed figure of a vintner, holding a basket of grapes on his back, and a small figure of a girl holding a large sheaf of corn, small faults, 10cm max. (3) £100­200

426 A large Meissen equestrian figure of Augustus III, 19th century, after the model by J J Kändler, the ruler depicted as a Roman emperor, wearing an embossed tunic and laurel crown, riding a chestnut horse with a lion skin saddle, losses, 35cm across. £100­200 Kändler is said to have worked on a full-size version of this model for a period of five years but never fully completed it to his satisfaction.

422

424

423

428 Three German porcelain figures of Cupid in Disguise, c.1750­60, two Frankenthal, disguised as an artist with a palette and brushes, and as a lady’s maid or make­up artist with a pot of powder and a brush, the last Wegely and disguised as a judge wearing a wig and black robes, some damages and restoration, 10.4cm max. (3) £300­500

427 Three small Continental porcelain figures of theatricals, late 18th century, one Furstenberg of a dancing girl, another Vienna of a dancing pierrot in commedia dell’arte costume, the last a chinoiserie figure of a young boy wearing a pointed hat and a jacket with long sleeves over a striped tunic, small damages, 13.4cm max. (3) £200­300

429 A Meissen monkey band figure, late 18th century, modelled playing the barrel organ, blue crossed swords and star mark, incised 77, and a commedia dell’arte figure of an actress in breeches and a long jacket, raised on a low base with puce detailing, incised 166, some damages and restoration, 12.5cm max. (2) £200­300

430 Three small German porcelain figures, 2nd half 18th century, one probably Volkstedt and depicting a female vintner, another of a boy seated on a rocky base, the last of a putto, some damages and repairs, 8.5cm max. (3) £100­150

431 Three miniature Mennecy figures, c.1760, one of a female flower trader carrying a basket of flowers, the other two of male musicians playing the bagpipes and a large drum, restorations, 9.4cm max. (3) £150­250

432 Two Thuringian porcelain figures of Classical maidens, c.1760­75, one of Minerva, resting one hand on her shield, the other figure probably a muse, modelled as a sculptress standing beside a male torso and carrying a small statue of an infant, and a French faïence figure of Summer, modelled as a young woman carrying a sheaf of corn, restorations, 20cm max. (3) £100­200

433 An Italian porcelain figure group, late 18th century, probably Nove di Bassano, of a couple promenading, she carrying a basket of flowers, and a porcelain figure of a boy, possibly emblematic of Summer, reclining against sheaves of corn and holding out a cup of wine, blue G or Omega mark, restorations to the Nove, 16cm max. (2) £150­250

600

434 A Höchst white­glazed figure of a woodcutter, c.1775, modelled by J P Melchoir, leaning on a stump beside his axe, a Ludwigsburg figure group of vintners, he reclining on a mossy base with his companion standing beside him, and a Ludwigsburg bowl painted with figures in garden settings, various marks, small damages and restorations, 17.5cm max. (3) £400

435 A French porcelain figure of a female musician, possibly Terpsicore, the Muse of music and dancing, wearing loose robes and holding a lute in her left hand, her right foot stepping on the square rocky base, some good restoration, 15.4cm.

436 A Niderviller biscuit porcelain figure of a shepherd boy, c.1780, after a model by Charles Lemire, holding a flageolet and leaning against a tree stump with ankles crossed, small losses to his pipe, 23.5cm. £100­200

437 A Naples pottery (terraglia) figure of a rustic gentleman, c.1790, possibly emblematic of Summer, wearing striped breeches under a pink jacket and standing beside a sheaf of corn, his right thumb lacking, 15.5cm £150­250

438 A French porcelain figure of a peasant girl, c.1770, standing barefoot and holding a fierce pig that struggles from her grasp, some good restoration, 13.5cm. £100­200

439 A Mennecy sweetmeat figure, c.1750, modelled as a girl seated on a rocky base and flanked by two large shells with puce decoration, the shells restored, 19.5cm across. £100­200

440 A Kloster Veilsdorf figure of Mars or Apollo, c.1765­70, modelled by Friedrich Eugen Döll and Wenzel Neu, seated on a low tree stump with a hunting horn slung over one shoulder and a dog by his side, and another figure of Father Time, probably also Kloster Veilsdorf, standing before cloud scrolls and holding an hourglass, small losses, 18.2cm max. (2) £200­300 Cf. Albrecht Kurzwelly, Altthüringer Porzellan, tav. LIV.

441 Two Continental porcelain figures, one Italian, probably Cozzi c.1780, and modelled with a young girl with a begging dog standing on a tree stump beside her, the other German and modelled with a Classical maiden emblematic of Earth, a recumbent fox at her feet, incised ‘Die Erde’ to the reverse, minor losses, 17.8cm max. (2) £200­300

442 A rare Volkstedt figure group of Venus and Cupid, c.1770, the goddess seated with a bird perched on her left knee, her right hand resting on the head of winged Cupid standing beside her, a surface chip to her right knee, one wing restored, 17.5cm. £100­150

443 A small Meissen figure of Jupiter, mid 18th century, wearing a pink patterned cloak and standing beside a white eagle with a gilt firebolt between his feet, blue crossed swords mark, and a Vienna figure emblematic of Winter, blue shield mark, small repairs, 12cm max. (2) £200­300

444 Two Ludwigsburg figures, c.1780­1800, one of a shepherd girl carrying a lamb, a flask in her right hand, the other of a ragged peasant with his arm in a sling, sharing food with a dog by his side, interlaced CCs mark, some restoration, 17.3cm max. (2) £150­250

445 A Kloster Veilsdorf figure of a putto, c.1770, emblematic of Water, modelled by Wenzel Neu, holding a fish in his left hand and an upturned water urn in his right, raised on a low shaped base with gilt detailing, together with a Berlin figure of a female putto holding flowers and standing beside a chicken or cockerel, blue sceptre mark, her right arm broken and restuck, 20.2cm max. (2) £200­300

446 A Meissen biscuit porcelain figure of a faun hugging a nymph, late 18th century, modelled by Acier with the cloven­hoofed figure lifting a putto up, raised on a rocky base, incised ‘D28’ to the reverse, minor losses, 18.5cm. £100­200

447 A Meissen figure of a putto holding a globe, mid 18th century, the globe painted to include America on one side and Europe on the other, the putto draped in a pale pink robe painted with indianische Blumen, restoration to his right shoulder, 11.5cm. £100­200

448 Three Continental porcelain scent bottles, late 18th/19th century, one KPM Berlin of shaped flattened form and painted with flowers, another a double scent modelled as a monk carrying a basket of eggs and a goose, a large sack on his back, the last of a fox gazing up a tree trunk, three stoppers lacking, 9.6cm max. (3) £50­80

449 Three French porcelain box or bonbonnière bases, c.1760, one St Cloud and modelled as a huntsman reclining beside his dog and gun, the other probably Mennecy and modelled as a recumbent pug dog, the last modelled as the head of a Turk wearing a turban, the metal mounts and lids lacking, 5.8cm max. (3) £100­200

450 A Continental porcelain snuff box or bonbonnière, 19th century, probably Samson after Meissen, modelled as a white mouse with a long black tail curled about its paws, on a grassy base, the hinged lid painted inside and out with flower sprays, 5.7cm across. £150­200

451 A French porcelain scent bottle and stopper, 19th century, after Chelsea or Charles Gouyn, modelled as a seated pug or other short­snouted dog, wearing a gilt metal mounted collar inscribed ‘Mignone’, the base painted with flowers in the manner of James Giles, 5.7cm. £300­400

452 A Continental porcelain snuff box or bonbonnière, c.1750­60, French or Italian, modelled as a couple embracing, picked out in polychrome enamels, with silver metal mounts, 4.5cm across. £100­150

453 A rare Meissen thimble case or patch box, c.1745­50, the sides painted with a continuous harbour scene or kauffahrtei, depicting figures and boats at the quayside, both sides of the hinged cover with similar decoration, with contemporary silver­gilt mounts, 3.1cm across. £1,000­1,500

Provenance: a private collection. Purchased Christie’s, London, 8th November 1999, lot 293.

454 Five German porcelain snuff box lids, c.1760­75, variously painted to both sides with courting couples, harbour landscapes, a hunting scene and flowers, some damages, 8.2cm max. (5) £100­150

455 A gilt­metal mounted porcelain snuff box, late 18th century, probably German, painted in purple monochrome with a lady seated in an interior, the base with flower sprays, and a rectangular enamel snuff box, the top painted with a courting couple and Cupid, the interior with a lady and her companion seated at a piano, some restoration, 8.5cm max. (2) £150­200

456 A Continental oval porcelain plaque, 19th century, painted after Lucas Cranach the Elder with a portrait of the Madonna and Child, framed and glazed, the plaque 11cm. £100­150 To be sold without reserve.

457 A Sèvres­style jewelled casket or box, 19th century, the rectangular form with detailed decoration of formal foliate motifs within concentric borders picked out in red, white, turquoise and green jewelling on a dark blue ground, with gilt­coloured metal mounts, the interior with a padded fabric lining, gilt interlaced LL mark and ‘LG’ mark after Le Guay, some staining and tears to the fabric lining, 17.5cm across. £400­600

458 A Mennecy­handled knife and fork, c.1740­50, the cannon hafts decorated in the Oriental manner with Chinese figures, pagodas and plants in a limited palette of red, yellow, green and blue, with English silver blade and tines, 24.8cm max. (2) £100­200

456

457

459 A pair of Meissen salts, c.1760, of shell form, painted with flowers and insects, two Thuringian porcelain egg cups, one painted with flowers, the other with moulded flutes, a German porcelain pipe bowl painted with a portrait, a flattened scent flask, possibly Italian, painted with figures, and a French or Italian condiment spoon, some damages, 12.2cm max. (7)

£200­300

460 Three French porcelain sugar ladles or caster spoons, mid 18th century, one Chantilly and pierced with a central starburst design, another Mennecy and painted with small insects, the terminal with flowers, the last left in the white, and two Meissen salt spoons painted in blue with straw flowers, 21.2cm max. (5) £350­450

461 A pair of Sèvres rouge pots, late 18th/early 19th century, each painted with a panel of flowers reserved on a green ground, an early Sèvres small bowl painted with delicate flower sprays, and a cabinet cup painted with butterflies and formal scrolls between orange­red bands, 6.8cm max. (4)

£300­400

462 A pair of Meissen figure or vase stands, c.1740, the rectangular forms moulded and decorated with gilt motifs on a puce faux hardstone ground, one with a blue crossed swords and dot mark, and a Furstenberg stand formed as a pillar with moulded leaf swags, painted with flowers and flying insects, blue F mark, some wear and small chips, 10.5cm max. (3) £100­200

463 A pair of Mennecy miniature vase stands, c.1755­60, the waisted square forms painted with flower sprays, incised DV marks, a pair of Furstenberg vase or figure stands, each side painted with a portrait roundel, and two further small stands, possibly Meissen, moulded with gilt tassels or shell scrolls, 6cm max. (6) £250

350

464 A large Paris porcelain tureen and cover, 19th century, the flared form painted with sprays of European flowers, raised on a circular foot, and a German porcelain dish or stand, painted with convolvulus and other flowers within a shaped brown line rim, the tureen’s handles lacking, a restored chip to the cover’s finial, 30.1cm max. (3) £100­200

465 Three large Volkstedt two­handled vases, late 18th century, all moulded with a band of fruiting grapevine and applied with horned goat or satyr mask handles, one painted in red and grisaille with an armorial shield containing an axe and three stars beneath a nun holding a heart and a rosary, flanked by wings, covers lacking, small damages, 28.5cm max. (3) £150­250

466 A pair of English porcelain vases and covers or cassolettes, 19th century, applied and painted with flowers between curled leaf bands on a pale yellow ground, a tall column vase or lamp base with a band of flowers on a blue ground, and a porcelain tulip flower mounted on a leafy ormolu base, some damages, 28.5cm max. (6) £80­120

467 Five Continental porcelain plates or dishes, late 18th/early 19th century, one Cozzi and painted in blue and gilt with a tied posy, another Furstenberg and painted with flowers, two Paris with formal floral borders, and one Chantilly, painted in the Vincennes manner with flower sprays, some chipping, 23cm max. (5) £100­200

468 Eight Paris porcelain plates, late 18th/19th century, including Dihl et Guerhard, Bordeaux, rue de Petit Carrousel, La Courtille, rue Thiroux and Cligancourt, variously painted with flowers, cornflower sprigs, scattered blooms and formal borders, and a Coalport plate painted in the French style, damages, 25.3cm max. (9) £100­200

469 A small group of Vincennes and Sèvres porcelains, c.175465, including a Vincennes oval tray or stand, an early Sèvres lobed stand, and a pair of Sèvres lobed dishes, all painted with flower sprays within blue borders, a Sèvres plate with an elaborate gilded rim, and a small Sèvres cup and saucer with a gilt dentil rim, varying blue interlaced LL marks, the two dishes broken and restuck, 25cm max. (7)

£550­700

469

£150­200

470 Five Tournai plates, c.1770, with moulded rims, one painted in blue with flowering branches, another with a central coat of arms, one with a central bird and floral vignettes, one in the manner of Duvivier with a pair of young musicians in puce monochrome, the last painted with flowers, various marks, damages, 25cm max. (5)

471 A Naples (Real Fabbrica Ferdinandea) oval dish, c.1790, crowned red RFF monogram, and a Vienna shaped dish, blue shield mark, both painted with flower sprays within osier­moulded rims, and a soup plate, possibly Berlin, painted with a pink rose and other flowers, blue G mark, minor faults, 33cm max. (3) £100­200

472 A Höchst triangular reticulated basket, c.1760­70, the interior painted with sprays of fruit and flowers, moulded with basketweave to the underside, a Meissen lobed dish, painted with Deutsche Blumen, the sides glazed yellow, and a Thuringian porcelain small tray, of waisted rectangular form, well painted with flowers within an osier­moulded border, the Meissen broken and restored, 22.5cm max. (3) £200­300

473 A pair of Vienna cabinet plates, 19th century, painted with a man and a women with dandified hairstyles, one titled ‘L’Amour de la Ville’, the other ‘Coeffure au Colisee’, a Vienna oval bread basket stand with pierced rim, a 2­sided tea canister painted with flowers, and a cylindrical custard cup and cover with formal fan design, blue shield marks, 32.8cm max. (6) £450­600

475 A Meissen hausmaler saucer and a teabowl, c.1730, the teabowl originally decorated in the Fels und Vogel pattern, embellished with gilding and enamels in the workshop of F J Ferner with a gentleman seated on rocks between palm trees, with buildings and a rose spray, the saucer possibly decorated in Bayreuth with a hunter on horseback shooting a fox, within a circular border of fruit, flowers and ribbon scrolls, the underside sprigged with prunus and brightly enamelled, blue crossed swords mark to the teabowl, small rim nibbles, 13cm max. (2) £200­300

474 A Meissen hausmaler cup and saucer, c.1740, probably decorated by Ferdinand Meyer, Pressnitz, the cup with a panel depicting Europa on the back of the bull, the interior with the bust of an 18th century gentleman, the saucer painted with two Classical maidens taming a rearing horse, blue crossed swords marks, 13.5cm. (2) £300­500

476 An early Meissen hausmaler teabowl, c.1718, applied with a band of leaves and decorated in the workshop of Georg Funcke of Dreden with stylized flower sprays in purple lustre, a Meissen or Du Paquier teabowl painted en grisaille with a lion hunt scene, a Meissen saucer painted with a harbour scene within an indianische Blumen panel, and another decorated in purpurmalerei with a courting couple after Watteau, 13.3cm max. (4) £400­600

477 An early Meissen sugar box and cover, c.1723­25, of flattened octagonal form, painted in an extended Imari palette with flowering branches, the cover with trellis borders, blue crossed swords mark, 11cm across. (2) £600­1,000

Provenance: a private collection. Purchased Sotheby’s, London, 17th June 1997, lot 33.

479 An ormolu­mounted Meissen pot pourri vase and cover, c.1730­40, moulded in the Chinese manner with continuous flowers, decorated in a celadon glaze, the cover pierced with four small holes, blue crossed swords mark and * dreher’s mark for Wildenstein, the original finial lacking and replaced with an apple, 14.5cm. (2) £150­250

Provenance: Quorn House, Leicestershire.

478 A Meissen bowl, c.1725­30, well painted with Kauffahrtei (harbour scenes) showing merchants with barrels and bales beside tents and ships, within cartouches with Böttger lustre panels and laub und Bandelwerk, blue crossed swords mark, indistinct gilt mark, 17.8cm dia. £1,000­1,500

Provenance: a private collection. Purchased Sotheby’s, London, 8th September 1999, lot 77.

Painting of early Kauffahrtei scenes is often attributed to Johann Georg Heintze.

480 A Nymphenburg trompe l’oeuil cup and saucer, c.1770, painted in puce with landscape scenes pinned to a faux bois ground, impressed shield marks, a German porcelain coffee cup and saucer painted with monochrome portraits on a puce ground, and a German porcelain coffee can painted with a head and shoulders portrait, 13.3cm max. (5) £200­300

481 A German porcelain coffee pot and associated cover, c.1795­1810, of Neoclassical form, the cylindrical body painted en grisaille with oval panels of figures before Classical ruins, a small German porcelain coffee pot and a sugar box and cover, well painted with oval portraits of 18th century men and women, suspended from gilt chain motifs, the smaller pot lacking its cover, 20.6cm max. (5) £100­200

482 A small collection of Thuringian porcelains, c.1760­70, including a Wallendorf sucrier base painted with figural panels, a rectangular tea canister painted with Classical portraits in puce monochrome, a teabowl and saucer painted with a chicken, a dog and a stag, and a moulded knife handle painted with panels of roses, some faults, 24.2cm max. (5) £350­500

483 A Meissen teapot, mid 18th century, painted with a continuous scene of figures in a harbour, with wishbone handle and mythical spout, blue crossed swords mark, and a Nymphenburg cup and saucer painted with monochrome landscape scenes on a faux bois ground, impressed shield marks, some damages, the teapot’s cover lacking, 20cm max. (3) £120­180 Paper labels for the Arthur Hurst Collection.

484 An ormolu­mounted Meissen vase, c.1740, probably once a cup, painted with panels of flowers on a pale blue ground, a Meissen sugar bowl base painted with scenes of figures in discussion, a moulded teabowl with deutsche Blumen, and a miniature Meissen saucer painted in underglaze blue with the Fels und Vogel pattern, 16.7cm max. (4) £100­200

485 A Furstenberg cup and saucer, 2nd half 18th century, and a Thuringian jug and cover, painted with panels of flowers reserved on a yellow ground, and a Höchst tea canister, incised IN repairer’s mark, painted with landscape panels in puce monochrome on a yellow ground, minor faults, the ground probably a later addition, 13.2cm max. (5) £150­250

486 A Meissen teacup and saucer, c.1740, left in the white and applied with sprigs of flowering prunus, blue crossed swords marks, a Saint Cloud trembleuse saucer and a Bow coffee cup with similar decoration, 13.3cm max. (4) £120­180

487 A Meissen teabowl and saucer, c.1730, painted in the Imari manner with sprays of indianische Blumen beside panels of gilt trellis on a blue ground, blue crossed swords and S painter’s mark, dreher’s mark of an incised X to the footrim, 12.2cm. (2) £300­500

Provenance: a private collection. Purchased Sotheby’s, London, 17th June 1997, lot 35. Formerly Sotheby’s, Zurich, 21st November 1990, lot 42.

488 A Frankenthal vase, c.1770, painted to one side with a cock and hen, the reverse with ducks, a miniature Nymphenburg chocolate pot with mythical mask spout, painted with a monochrome landscape, and a Thuringian sugar bowl and cover, painted in the Meissen manner with figures beside Classical ruins, some restoration to the chocolate pot, 12cm max. (4) £150­250

489 A pair of Meissen vases, late 19th/20th century, of bottle form, well painted with sprays of roses reserved on a rich brown ground, blue crossed swords marks, 15.7cm. (2) £250­350

490 Three Paris porcelain coffee cans and saucers, 19th century, one decorated with an elaborate geometric band, one with a panel of flowers, another with cornflower sprigs, two Paris cans painted en grisaille with figures in landscapes, a saucer with a black monochrome landscape, and another with flower garlands and blue heart motifs, some faults, 16.3cm max. (10) £100­200

491 Seven European porcelain saucers, 2nd half 18th century, one a rare Weesp saucer painted with a chinoiserie figure beside a ship, one Furstenberg and painted with flower garlands within a panelled puce border, one Zurich and painted with birds on a branch, another with flower sprays within a gilt dentil rim, one probably Meissen or Du Paquier and painted with a woolsack panel of peasants, one English and painted with stylized flowers, and a small Sèvres­style saucer painted with flower garlands, 14.5cm max. (7) £150­250 The Weesp saucer formerly in the Andreina Torre collection.

492 A group of Italian and other Continental porcelain teawares, most 2nd half 18th century, including a Nove di Bassano saucer with floral panelled design, a Doccia two­handled cup and stand applied with figures and flower swags, a small saucer with a flower and ribbon design, a flower­painted teabowl and saucer, another teabowl and saucer with an orange and brown border, a coffee can and saucer with black monochrome landscape panels, together with a Frankenthal saucer painted with a bird, an Ansbach coffee can with birds, a barrel­shaped jug painted with flowers, and an English saucer, some faults, 13cm max. (13) £100­200

493 A group of Continental porcelain teawares, 2nd half 18th century, including a Hague­decorated cup and saucer painted with well­dressed ladies, a Zurich cup and saucer painted with men outside a tavern, two Amstel saucers painted with figures in landscapes, a Niderviller saucer with a riverside landscape, a similarly decorated Ansbach saucer, and a Meissen­style saucer, minor faults, 13.5cm max. (9) £200­300

494 A Meissen coffee can and saucer, c.1800, painted with scenes of Russian street vendors after Jean­Baptiste Le Prince, the can with two traders conversing in a street, the saucer with a gentleman buying a trinket from a young seller, all reserved on an apple green ground, blue crossed swords and star marks for the Marcolini period, 13.5cm. (2) £500­700

Provenance: a private collection. Purchased Sotheby’s, London, 15th April 1997, lot 123.

Provenance: a private collection. Purchased from Sotheby’s, London, 15th April 1997, lot 188. Formerly Sotheby’s, New York, 11th October 1995, lot 189.

495 A pair of Meissen cabinet plates, late 19th/early 20th century, each painted to the well with a scene of a courting couple after Watteau, reserved within gilt scroll borders on a blue ground, the rims pierced with foliate and trellis panels, blue crossed swords marks, 26.3cm. (2) £700­900

496 A large Meissen dish or charger, mid 18th century, finely painted with sprays of deutsche Blumen, the rim with Neu-Brandenstein moulding of osier and other panels between spiral ribs, blue crossed swords mark, a little wear, 38.3cm. £150­250

497 A Meissen blue and white cup and saucer, c.1740, painted with the Fels und Vogel pattern of a bird in flight above flowering branches, blue crossed swords and dot marks, and a Zurich teabowl and saucer decorated with the Strawflower pattern, Z marks, 14.3cm max. (4) £100­150

498 A Darte (Paris) porcelain cabinet plate, c.1804­24, painted with a stag, the rim with formal gilt motifs on a blue ground, printed mark and titled ‘Cerf d’Europe’ to the reverse, a Paris porcelain nightlight or candlestick modelled as a deep bowl on a low table, and a French biscuit porcelain figure of a monkey holding a ball up to its ear, inscribed ‘B Rice Sèvres’, 22.8cm max. (3) £250­350

499 A pair of Meissen­style salts, 19th century, the oval bowls raised on quadruped bases with term supports, painted in the Kakiemon palette with flower sprays and corn stooks, a repair to one bowl, 8.7cm high. (2) £100­200

500 A Meissen teapot and cover, c.1740, the finely fluted form painted in underglaze blue with the Strawflower pattern (Strohblumenmuster), blue crossed swords mark, a crack to the base of the handle, 19.4cm across. (2) £100­200

501 A Meissen saucer c.1735­40, painted in Kakiemon enamels with a bird in flight among flowering branches issuing from blue rockwork, brown line rim, puce crossed swords mark, 12.3cm. £100­200

502 A Meissen teabowl and saucer, c.1730, painted in the Kakiemon palette with pine and prunus issuing from banded hedges, incised Johanneum numbers N=243, a Meissen beaker, richly decorated with indianische Blumen in the Tischenmuster pattern, and a Meissen plate painted with insects around flowering plants, the rim with a panelled cell diaper border, blue crossed swords mark, the beaker chipped, 22.5cm max. (4) £400­600

503 A Paris (Duc d’Orleans) teapot and cover, c.1786­89, painted with colourful birds in gilt panels suspended from ribbons, a Zurich teapot moulded with ribs and painted with purple Oriental flower sprays, and a teapot and cover painted in orange monochrome with figures in landscapes, one cover lacking, minor damages, 19.3cm max. (5) £200­300

504 Four Continental porcelain tea canisters and covers, c.1760 and later, one German and painted with puce flower sprays over moulded basketweave, with a silver­coloured metal cover, another painted with panels of figures beneath Classical ruins, one with further ruins and goats, with an associated cover, the last painted with flowers, with a metal cover, minor damages, 12.5cm max. (8) £150­250

200

506 Four Continental porcelain tea canisters, c.1770 and later, one Meissen and painted with Holzschnitt Blumen, with a cover, blue crossed swords mark, another Furstenberg and painted with songbirds perched on branches, blue F mark, one Meissen­style painted with colourful birds and flying insects, with a cover, pseudo blue crossed swords mark, the last probably German and painted with cornflower sprigs, two covers lacking, small faults, 13.3cm max. (6) £200­250

505 Seven Continental porcelain teabowls, 2nd half 18th century, one Nyon and decorated in underglaze blue with flower swags, one Meissen with polychrome additions, a Vienna teacup and a saucer with similar decoration, four probably Italian teabowls with flower panels and a small Meissen cup with a blue and gilt border, 11.4cm max. (10) £100

507 A Wallendorf inkstand, c.1770, of rectangular form, painted in underglaze blue with differing flower sprays, set with a removable inkwell and pounce pot, raised on five bun feet, small filled chips, 15.6cm across. (3)

£100­200

509 Two Naples coffee cans and a saucer, early 19th century, one can painted with a harbour view of Granatello between pink bands, the other with a view of the ancient city of Cannes between green bands, the saucer with a view of the road leading to the abbey of Saint Marie del Monte, all titled in red, the cans with crowned blue N marks, 13.3cm max. (3)

£150­250

508 Two Paris porcelain coffee pots and covers, 19th century, of cylindrical form, one painted in pink and blue flowers with the monogrammed initials LB beneath a diadem, the other with bands of flowers on a gilt dot ground, with further gilt swags, one cover broken and restuck, 17cm. (4)

£150­250

510 A Sèvres miniature cup and saucer, 19th century, painted with a band of flowers, a similar finely potted teabowl or small bowl, a larger cabinet cup with similar decoration, and a white­glazed sucrier and cover with a reeded body, printed marks, minor faults, 11.8cm max. (6)

£250­350

511 A Meissen quatrefoil cup and saucer, c.1745, painted with sprays of flowers, moths and scattered insects within a brown line rim, blue crossed swords mark, and a large Meissen­style teabowl and saucer, the ogee form painted with butterflies and plants on a pale yellow ground, some good restoration to the cup and saucer, 14.5cm max. (4) £120­180

512 A good Fulda coffee cup and saucer, c.1780­85, well decorated in purpurmalerei with courting couples, blue crowned FF marks, two Höchst saucers and a tea cup with puce monochrome decoration of figures and landscapes, a Meissen cup with flowers, and a saucer with a monochrome harbour scene, the underside with a powder blue ground, 14.2cm max. (7) £250­350

513 Two Italian porcelain teabowls, c.1770­90, one Nove and finely painted with animated Chinese figures, the other possibly Vinovo and painted with a seated Chinese figure and an attendant, a Naples coffee cup painted with flowers, a Copenhagen tea cup with a puce monochrome landscape, an Ansbach cup with panels of children, a Höchst cup painted with flowers, and an English teabowl, minor faults, (7) £100­200

514 Four custard cups and covers, late 18th century, two Paris from the factory of Charles­Philippe, Comte d’Artoise, painted with cornflower sprigs, one Vienna with similar decoration, the last French and decorated with a Chantilly sprig design, and a Frankenthal custard cup painted with flowers, one cover lacking, small faults, 8.3cm max. (9) £250­350

515 A group of Thuringian porcelain teawares, late 18th century, including a Wallendorf teapot and cover, a Rauenstein coffee pot and cover, a Wallendorf shallow bowl, a teabowl and saucer, a Rauenstein saucer, a teabowl, coffee can and cup, together with four Tettau saucers and a small cup, some faults, 20cm max. (16) £100­200

516 A group of Continental porcelain teawares, 18th and early 19th centuries, including a pair of Vinovo small teabowls and saucers, two Berlin flared coffee cups and a saucer, a Furstenberg teacup and two saucers, an Ansbach cup and saucer and another cup all decorated in The Hague, and a Nymphenburg saucer, all painted with arrangements of European flowers, various marks, 13.5cm max. (14) £150­250

517 Three Vienna cups and two saucers, c.1770, painted with sprays of flowers and single scattered sprigs within gilt scroll borders, blue shield marks, 12.9cm. (5) £100­200

518 Three German porcelain plates, c.1780, one Meissen and painted largely in puce with a chinoiserie scene of a seated lady and a dog, with a pierced rim, a Furstenberg plate painted with an oval medallion within formal scrolls, with an elaborate reticulated rim, and a larger Höchst plate painted with a gilt monogram or curlicue, the rim moulded with floral panels, 26.8cm max. (3) £150­250

519 A Doccia preserve or mustard pot and cover, c.1770, brightly enamelled in the Tulipano pattern, a Chantilly jug painted with a spray of fruiting pomegranate, a Chantilly­style metal­mounted pot and cover painted with Oriental flowering plants in a Kakiemon palette, and an Alcora or Moustiers faïence jug and cover painted with fantastical birds, some small damages, 15.5cm max. (6) £200­300

520 A French porcelain teapot and cover, c.1770, the ovoid shape finely painted in purple monochrome with flowers, and a squat teapot with associated cover, painted with flowers, some faults, 19.2cm max. (4) £150­250

521 A small Furstenberg chocolate pot and cover and a Höchst teapot and cover, c.1780­90, the chocolate pot of cylindrical form and painted with forget­me­not sprays, blue F mark, the teapot painted with monochrome landscape panels within floral borders, with puce highlights, blue wheel mark, minor damages, 18.5cm max. (4) £150­250

522 A Nyon two­handled chocolate cup with cover and stand, c.1800, painted with panels of figures and landscapes, blue fish mark, a Thuringian coffee pot and cover, painted with panels of Classical ruins, blue R mark, and a Paris porcelain tureen and cover, with harbour scenes within a puce ribbon border, some damages and restoration, 22.2cm max. (7) £100­200

523 A pair of Ludwigsburg teabowls and saucers, c.1760, painted with birds perched on low branches with scattered moths around, within osiermoulded borders, crowned blue marks, and a pair of Furstenberg coffee cans and saucers, with raised decoration of putti and children, blue F marks, some damages to the cans, 13.5cm max. (8) £150­250

524 An Italian porcelain arbour, 18th century, modelled with four trellis struts applied with flowers and leaves, left in the white, and two whiteglazed pickle dishes formed from large leaves, 26cm max. (3) £600­800

525 A Doccia quatrefoil sucrier and cover, c.1760, painted in the Tulipano pattern with a floral finial, and a Zurich plate, painted with indianische Blumen within a feather moulded rim, blue Z and three dots mark, 24cm max. (3) £200­300

526 An unusual small German porcelain teapot and cover, c.1760, the baluster form painted with flowers, the wishbone handle with a shell terminal, with a narrow faceted spout, minor faults, 14.8cm. (2) £100­200 Provenance: formerly the Luise Hofmann Collection.

527 A pair of Vienna­style two­handled cups or small vases, late 19th century, painted with panels of myths and Classical gods, reserved within elaborate gilt panels on a brown lustre ground, pseudo blue shield marks, 8.6cm high. (2) £100­200

528 A Samson ‘Nelson Service’ cup and saucer, late 19th century, painted with the coat of arms of Lord Horatio Nelson, the rims with a wide band of oak leaves and titled ‘Nelson 22 April San Josef’, a small repair to the saucer’s rim, 14cm. (2) £100­200

529 Three St Cloud blue and white trembleuse saucers, c.1740­50, variously painted with lambrequin and other formal patterned borders around a band of reeding enclosing a galleried well, one marked ‘SC T D’ beneath a star, and a Worcester saucer of similar design, c.1755­58, workman’s mark, 13.3cm max. (4) £150­250

530 Four Continental coffee pots, late 18th/early 19th century, one Ludwisgburg and raised on three feet, one Nyon, one Zurich, the last Ilmenau (Thuringia) with an associated cover, all painted with flower sprays including rose, tulip and dahlia, various marks, three covers lacking, some faults, 23cm max. (5)

532 A small group of French porcelains, largely late 18th century, including a Joseph Hannong saucer painted with a woman reading a book in a garden, a Lille covered bowl and a small saucer painted with flowers, a Veuve Perrin toilet pot, a Mennecy cover, two Paris porcelain coffee cans, a small Mennecy model of a basket, and a St Cloud trembleuse saucer, together with a Tournai saucer, a toilet pot cover sprigged with cornflowers, and an English leaf­shaped pickle dish sprigged with cornflowers in the French style, some faults, 14cm max. (13)

£100­200

£150­250

531 A small collection of St Cloud porcelains, c.1740, including two blue and white reeded teabowls and saucers, a small cylindrical pot, and two toilet pots, all painted with formal lambrequin borders, a custard cup and associated cover, and three cutlery handles with foliate scrolls, and a small white­glazed bowl applied with sprays of prunus, some faults, 19cm max. (13) £400­600

533 A Vincennes teabowl and saucer, date letter for 1753­54, painted with flower sprays within a gilt dentil rim, the saucer with a slight trembleuse well, blue interlaced LL marks, date letter A and painter’s mark L, together with a Mennecy cup and saucer painted with flowers, and a smaller Mennecy saucer painted with flower garlands, incised DV marks, 13.3cm max. (5) £200­300

534 A group of Paris porcelains, late 18th/19th century, including a La Courtille sauce tureen and cover, and a small teapot and cover, both painted with flowers, a Niderviller saucer and a Lille saucer with flower sprigs, another saucer painted with a fox attacking a hen, a Christopher Potter saucer with cornflower sprigs, and a plate decorated with sprigs in the Sèvres­style, small damages, 23cm max. (9) £100­200

535 A St Cloud ecuelle with cover and stand, c.1745, the circular forms applied with sprigs of fruiting grapevine, and another French porcelain ecuelle and cover, probably Mennecy, painted with flower sprays and yellow enamel highlights, damages and repairs, 20.3cm max. (5) £150­250

536 Two French porcelain saucepans or warming pots and covers, late 18th century, one Marseilles and probably made at Joseph­Gaspard Robert’s factory, the shallow form painted with flowers and raised on three small feet, a turned wooden handle, blue R mark, the other slightly deeper and painted with heartsease and other flowers, incised letters, minor faults, 16.5cm max. (4) £100­200

537 A Tournai mustard pot and associated cover, c.1756­60, the baluster shape painted in underglaze blue with lowering Oriental branches, and a pair of Tournai trembleuse saucers with pierced galleries to the wells, the rims with flower sprays, varying marks, 12.3cm max. (4) £250­350

538 A pair of large Sèvres sauceboats, mid 19th century, decorated in gilt with LP monograms for Louis Philippe, within oak and laurel swags, the rims with a continuous vine leaf border, printed marks, small damages, 24.5cm. (2) £100­200

539 A pair of Jacob Petit candlesticks, 19th century, of baluster form, painted with panels of flowers reserved on a rich green ground with raised gilt motifs, raised on triangular bases, blue ‘JP’ marks, 27.7cm. (2) £100­200

540 A silver­gilt mounted Sèvres pottery vase, c.1920, decorated in a sang de boeuf glaze, green stamped mark, the neck and foot with silver­gilt mounts by A Risler & Carré, 15.2cm. £150­250

541 Four Sèvres plates (assiettes), 2nd half 18th century, later decorated with central sprays of flowers and fruit, the rims with wide bleu celeste ribbon borders enclosing panels of gilt oeil de perdrix, blue interlaced LL marks and some painters’ marks, a repair to one rim, 23.8cm. (4) £150­250

542 A Vincennes stand (plateau Bouret), c.1750­54, later decorated with a central flower arrangement on a bleu celeste ground, a Vincennes plate with a central flower spray and a bleu lapis rim, and a Vincennes small bowl painted with birds on a bleu lapis ground, blue interlaced LL marks, all with later decoration, 25cm max. (3) £350­450

543 A Meissen coffee can and saucer, late 19th/early 20th century, of generous size, painted with scenes of courting couples after Watteau, reserved within gilt scroll borders on a mazarine blue ground, blue crossed swords marks, 15cm. (2) £150­250

544 A Sèvres­style cabinet plate, late 19th century, painted with figures and horses in a battle scene, the rim with a border of gilt palmettes on a blue ground, pseudo printed marks including for Chateau des Tuileries, 23.8cm. £150­200

545 A good Sèvres saucer (soucoupe), date code for 1783, painted by Jean­Jacques Pierre le jeune with a border of puce foliate scrolls among flower garlands, within gilt borders on a deep orange band, reserved on a green ground (fond vert) with gilt polka dots, blue interlaced LL mark enclosing date code FF, painter’s mark and gilder’s mark for Vincent, 14.7cm. £150­250

546 A French porcelain coffee can and saucer, mid 18th century, painted in a deep blue with small flower sprays around a central butterfly, the can slightly flared and with a moulded scroll handle, blue P mark to the can, 12.5cm. (2) £150­250

547 A small Sèvres tea canister (boite à thé), c.1775, later decorated with panels of birds within foliate gilt borders reserved on a bleu celeste ground, blue interlaced LL mark, a small chip to the cover, 8.2cm high. (2) £600­800

548 A near pair of Mennecy toilet pots and covers, c.1755, the hexafoil forms painted with flower sprays, the covers with fruit finials, and a miniature Mennecy campana vase with similar decoration, incised DV marks, minor faults, 6.7cm max. (5) £100­200

Provenance: the John Buckingham Collection.

549 Two Sèvres plates, c.1760­70, one painted with a central arrangement of fruit and flowers with a panelled border on a pink ground (fondrose), the other with birds perched on a low tree, with panels on a bleu celeste border, blue interlaced LLs mark to the former enclosing the letter E (later added), the decoration probably a later addition, 24cm. (2) £150­250

546

547

545

550 A Sèvres two­handled cup and saucer (gobelet etrusques et soucoupe), c.1800, painted by Louis­Antoine Le Grand with chinoiserie panels of figures at various pursuits in garden landscapes, reserved on a ground of radiating orange and gilt stripes, the rim with further figural panels between vases amongst scroll motifs, blue script Sèvres mark and ‘LG’ painter’s mark, a section of the cup broken and restuck, 16.7cm. (2)

£1,200­1,500

A similar cup and saucer dated 1788, which was made for MarieAntoinette’s dairy, is in the Sèvres Museum. Cf. The Judith Howard Collection at this saleroom, 4th February 2020, lot 232.

551 A small Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1773, painted by François Binet with baskets of flowers within rose garland borders, reserved on a bleu nouveau ground within a gilt foliate border, blue interlaced LL mark enclosing date letter u beneath the painter’s mark of a dotted T, 12.4cm. (2)

£1,500­2,000

552 A Sèvres coffee can and saucer (gobelet litron), c.179396, decorated by Louis Antoine Le Grand or Etienne­Henri Le Guay, the can with three figures beneath a parasol and palm trees beside buildings, a bridge and a fountain, the saucer with a lady and attendant flanked by trees, reserved on a bleu nouveau ground, the can marked in blue with ‘Sevres RF’ above gilder’s mark ‘LG’, the can with a filled hole to the base, the handle broken and restuck, 13.4cm. (2) £1,000­2,000 Cf. The Royal Collection, No. RCIN 39843 for a similar can.

553 A pair of biscuit porcelain flower posies, 19th century, finely detailed with a variety of blooms, mounted on black velvet bases within deep glazed giltwood frames, 30.2cm overall. (2) £600

1,000

554 A pair of English porcelain figures of dogs, c.1820­30, probably setters, seated on their haunches, one chained, the other with prey between its front paws, raised on green rocky bases, red 141 beneath each base, some faults, restoration to one foreleg, 11.3cm max. (2) £100­200

555 A pair of Dudson Staffordshire figures of Mr Pickwick and Sam Weller, c.1830, each brightly enamelled and standing on a green and gilt chamfered base, some good restoration to Weller, 20cm max. (2) £100­200

556 A Staffordshire porcelain figure of a poodle, c.1820, recumbent on a green base, and a Staffordshire figure of Man Friday, wearing a green cap and striped breeches, some restoration to the latter, 15.7cm max. (2)

£450­550

557 A Chelsea Derby figure of a child with a cat, c.1770, seated on a low stool and wearing a nightshirt, incised No. 71, a Bow figure of a goldfinch perched on a low flowering branch, red anchor and dagger mark, and a Derby chamberstick painted with panels of flowers and edged in blue and gilt, a repair to the chamberstick, some good restoration to the goldfinch, 16cm max. (3) £250­350

558 A Bow figure of a grape seller, c.1758­60, modelled as a young girl seated with a basket of grapes, wearing a floral patterned apron over a yellow skirt, raised on a low base with puce highlights, impressed ladder mark and a Bow figure of a child dressed as Columbine, c.1760, wearing a skirt patterned with flowers and playing cards, holding a slapstick in her left hand, raised on a tall scroll base, some restoration, 14.3cm max. (2)

£100­200

559 A pair of Derby figures of the Dresden Shepherds, c.1760, he holding a basket of fruit and extending his right hand, his companion with a bouquet of flowers in her left hand, a lamb recumbent at her feet, raised on scrolled bases picked out in puce and green, some losses and restorations, 27.5cm. (2) £100­200

560 A Bow figure of Vulcan, c.1760­65, emblematic of Fire from the Four Elements series, standing draped in a robe beside a flaming brazier on a rocky stump, beside a phoenix issuing from flames, all on a tall scrolled base picked out in puce, blue and gilt, some chipping, 27cm. £200­300

561 A good Bow figure of Air, c.1755, from the Elements series, modelled as a girl holding a billowing robe over her head, standing on cloud scrolls beside a large eagle, 22cm. £400­600 Provenance: sold at this saleroom, 16th October 2018, lot 699.

562 A Bow figure of Summer, c.1765, from the Rustic Seasons, modelled as a maiden seated with a sheaf of corn and holding further ears in her extended right hand, raised on a footed base picked out in turquoise and gilt, red anchor and dagger mark, restoration to her right arm, 16.3cm.

£120­180

563 A Derby white­glazed figure of St Philip, c.1755, probably modelled by Agostino Carlini, standing before an upturned basket of grapes, barefoot and dressed in rags, with a long beard, and a Bow figure of an abbess, seated with a large Bible or prayer book, left in the white, some losses, mostly to hands, 25cm max. (2) £150­250

564 An unusual English porcelain figure of Harlequin, probably late 18th century, possibly Liverpool, raising a tall stein to his lips, seated on a rocky stump with a goat playing an instrument, some restoration, 12.5cm. £100­200 This model derives from one at Meissen which was copied at Höchst but appears otherwise unknown in English porcelain.

565 A Bow figure of a Classical musician, c.1760, possibly Apollo, standing beside flowering bocage and holding a short stringed instrument, raised on a footed base, red anchor and dagger mark, and a Derby sweetmeat figure, modelled as a lady seated with a large shell on her lap, some losses to the bocage, 19cm. (2) £150­250

566 A Bristol figure of a boy, c.1770­75, standing beside a dog wearing a Macaroni hat and resting atop a tall stump, some damages and restorations, 17cm. £100­150

567 A pair of Bow candlestick figures of putti, c.1765­75, each modelled with a putto standing before flowering bocage and wearing flower garlands and diadems, with pierced sconces issuing from metal branches, raised on pierced scroll bases, red anchor and dagger marks, 19cm. (2) £150­250

568 Two Bow frill vases and covers, c.1765­70, one of flared form, the other baluster, both painted with moths and other flying insects among large applied flowers and face mask handles beneath colourful frills, the pierced covers with bird finials, some faults, 28.2cm max. (4) £150­250

569 Two Derby frill vases, c.1765, of baluster form, painted with flying insects around applied flowering branches, the shoulders pierced with arrangements of small flowerheads, applied with female mask handles, the covers lacking, some chipping, 21cm. (2)

£100­200

570 Three Chelsea dishes, c.1755­58, one oval and painted with a large rose spray beside a smaller fuchsia sprig, another circular with a feathered rim, painted with flying insects around a bunch of grapes, the last probably a stand and decorated with loose flowers, brown line rim, some wear, the last with rim chips, 26.2cm max. (3)

£150­250

571 A collection of Chinese export porcelain tea and coffee wares, 18th century, some pieces possibly decorated in Europe, including a saucer brightly enamelled with figures after Bernard Picard’s Pilgrims of the Island of Cythere, a teabowl and saucer with en grisaille decoration of figures, a coffee cup painted with a harbour scene after Meissen, a coffee cup with Juno, two cups with cockerels, and others with Chinese figures, small damages, 12.1cm max. (11)

£150

250

569

570

571

568

572 A Worcester teapot and cover, c.1760, painted with the Pu Tai or Corpulent Monk pattern, with three Chinese figures seated with varying attributes, the rim and shoulder with a gilt spearhead border, a crack to the spout, 19.2cm across. (2) £100­200

This pattern was copied directly from Chinese porcelain and was in use roughly between 1757 and 1766. Pu Tai was a Buddhist monk who lived during the Tang dynasty.

573 A Derby teapot and cover c.1758, well painted in the Cotton Stem manner with loose arrangements of flowers and smaller single sprigs, the handle with a formal puce motif, minor faults, 17.3cm across. (2) £150­200

574 A Derby reeded teapot and cover c.1760, moulded with a wide band of ribbing and painted in purple camaieu with flowering Oriental branches and a banded hedge, the shoulder with a band of gilt flowerheads and purple foliage, 18.5cm across. (2) £150­250

575 A Worcester teapot and cover, c.1758­60, well painted in polychrome enamels with flowers including rose and tulip, the cover with a floral finial, some damages to the cover, 18.5cm. (2) £250­350

576 A Worcester teapot and cover, c.1780­90, decorated with the Queen Charlotte pattern of spiralling stripes in blue, red, puce and gilt, broken and restored, 22cm across (2) £80­120 To be sold without reserve.

577 An English­decorated Chinese porcelain teabowl and a coffee cup, mid 18th century, the teabowl finely painted with a shepherdess being courted by a gentleman, the interior with a continuous band of flowers, the cup with a dog and billing doves beneath a pine tree, 8.8cm max. (2) £150­250

578 A Lowestoft saucer, c.1770, painted in polychrome enamels with the Blackbird pattern, a Lowestoft milk jug painted with stylized flower sprays within a polychrome floral border, and a teabowl painted with a simple flower basket, the interior rim with a wide scrolled border, 12.8cm max. (3) £100­150

To be sold without reserve.

579 A Worcester shell pickle dish, c.1758, painted in underglaze blue with a flower spray and later embellished in red and green, painter’s mark, a Worcester fluted coffee can, possibly decorated in the atelier of James Giles with a gilt and blue wreath amid gilt leaf swags, a Derby hexagonal deep saucer or stand c.1760, painted with polychrome flower sprays within a brown line rim, and a Pennington’s (Liverpool) blue and white saucer painted with a figure holding a staff beneath a tree, the pickle dish broken and restuck, the cup with a rim crack, 13.7cm max. (4) £100­150

To be sold without reserve.

580 Three Liverpool milk jugs, c.1765­75, two Philip Christian and variously decorated with flowers, one fluted with a blue and gilt cracked ice border, the last Pennington’s and painted with two Chinese figures in a garden, 9.8cm max. (3) £150­200

Provenance: the John Buckingham Collection. All with paper labels for B & T Thorn & Son, Budleigh Salterton.

581 A Lowestoft teabowl and saucer and five other English porcelain saucers, c.1753­75, the teabowl and saucer painted in the Imari palette with confronting cockerels, another in polychrome enamels with flowering plants and rockwork, a Chinese saucer with similar Imari decoration, an early Worcester saucer painted with long­tailed pheasants beside peony, another in the Sir Joshua Reynolds pattern, another in the Astley or Harvest Bug pattern, and a Liverpool saucer painted with flowering branches, some faults, 12.8cm max. (8) £250­350

Provenance: the David Stopher Collection.

582 A Bow small bowl and a plate, c.1754­58, the bowl with a lobed rim and brightly painted in famille rose enamels with a bird perched on flowering branches, the plate with bamboo and chrysanthemum issuing from holey rockwork, the rim with sprays of lotus, minor damages, 19.7cm max. (2) £100­200

583 A Richard Chaffers (Liverpool) saucer dish, c.1758, well painted with red squirrels scampering over flowering peony and other climbing plants entwined around trellis and issuing from blue rootwork, 19.2cm. £300­400 Paper label for the Crane Collection.

Cf. Maurice Hillis, Liverpool Porcelain, p.192, fig. 5.115.

584 A tall Lowestoft mug, c.1785, painted in the Curtis manner with a cornucopia of flowers and foliage, around the handle with panels of scrolling red foliage enclosing polychrome sprigs, and a small Bow mug with polychrome flowers beneath an iron red scroll border, the Bow with damage to the rim, 14.8cm max. (2) £500­800

585 Three Chelsea plates or dishes, c.1753­56, one a soup plate with Gotzkowsky moulding after Meissen, well painted with flower sprays, one of silver­shape and painted with flower sprays within a brown line rim, the last a saucer dish with similar floral decoration, red anchor marks, minor faults, 23.8cm max. (3) £250­350

586 Three Worcester teapots and covers, c.1765­80, one decorated with a Chinese family in an interior, another painted with sprays of flowers, the last of barrel shape and moulded with a raised floral design, minor damages, 19.7cm max. (6) £150­250

587 Two Bristol teabowls and saucers and a cup and saucer, c.1770­75, one teabowl of ogee shape and painted in green camaieu with flower garlands, blue cross marks, the other moulded and painted with polychrome flower sprays, the coffee cup and saucer with small flower sprigs around a laurel leaf band, blue crossed swords mark to the saucer, minor faults, 12.5cm max. (6) £150­250

588 A Worcester teabowl and saucer, c.1756­60, printed in black with the Tea Party No. 3 pattern, a small Worcester bowl printed and coloured with the Red Bull pattern, and two tea cups printed and later enamelled with figures before Classical ruins, crossed swords and 9 marks to the cups, 12.2cm max. (5) £100­200

589 Three English porcelain baskets, c.1755­60, one Derby of oval form and boldly painted with moths around a fruiting cherry branch, another Chelsea and painted with sprays of flowers to the interior, the last a circular Worcester example painted with flowers and a flying insect, the sides applied with individual flowerheads, some damages and restorations, 28.5cm max. (3) £250­350

590 A Worcester bell­shaped mug c.1760, printed in black with The Whitton Anglers, depicting two ladies fishing in an ornamental lake, the reverse with a Milking Scene, small footrim chips, 8.7cm. £120­180 The Whitton Anglers is taken from a small detail of an engraving by William Woollett showing the garden of the Duke of Argyll’s home at Whitton in Middlesex.

591 An early Worcester small mug or coffee can c.1754, printed in black with the ‘Piper’ pattern, a musician seated beneath a tree with a set of bagpipes, regarded by a lady standing before statuary, a long rim crack, 6cm. £150­250

Provenance: the E N Stretton Collection.

592 A Worcester pickle dish c.1756, of leaf shape, printed in black in the Smoky Primitive manner with The Flute Lesson, a couple seated before Classical ruins, the underside moulded with veining, some restoration to the rim, 10.4cm. £100­150

593 A Worcester pickle dish c.1756, of simple leaf shape, printed in black with Summer, depicting a woman bundling sheaves of corn while her companion tackles the crop with a sickle, the rim

pencilled in black with a simple panelled border, broken and restuck, 10.3cm. £120­180

594 A Worcester double­ended sauceboat c.1756­58, the interior printed in black with swans in a river scene, the exterior moulded and printed with four vignettes of figures emblematic of the Four Seasons, the interior rim with a panelled pencilled black border, 19.5cm across. £120­180

595 A Worcester bell­shaped King of Prussia mug, c.1757, printed in black with a head and shoulders portrait of Frederick II of Prussia, titled and dated 1757, the reverse printed with Fame blowing trumpets, both flanking a design of pennants and military trophies, signed in the print ‘RH Worcester’ for Robert Hancock and with an anchor rebus for Richard Holdship, 12cm. £100

200

596 An early Worcester octagonal cup, c.1753­55, painted with a Chinese figure flanked by vases and flower sprigs, with an elaborate scroll handle, and a Worcester creamer moulded with panels and painted with polychrome flower sprays, some chipping to the cup, some restoration to the creamer, 10.8cm max. (2) £100­200

597 A large Philip Christian (Liverpool) sauceboat, c.1765­72, moulded with floral panels and brightly painted, one side with a peacock atop rockwork, the reverse, interior and spout with flowering branches, the rim with a gilt and red spearhead border, 19.6cm. £150­250

Provenance: the John Buckingham Collection. Paper label for the W L Little Collection.

598 A Worcester mug, c.1765, the slightly tapering cylindrical form painted with Chinese ladies in interior scenes between panels of puce diaper and orange leaves, and a Chelsea octagonal teabowl and saucer painted with flower sprays, red anchor marks, the teabowl and saucer broken and restored, 12cm max. (3) £100­200

599 A pair of Samson Chelsea­style botanical dishes, late 19th century, of silver shape, painted with cut lemons and asparagus spears, brown line rims, one with an iron red mark, 25cm. (2) £150­250

Provenance: the John Buckingham Collection.

600 A pair of Chelsea­Derby glass­bottomed mugs, c.1770, painted in the Withers style with flowers arrangements including rose, tulip and auricula, moulded with horizontal bands, the rims with gilt grapevine borders on a blue ground, 12.6cm. (2) £200­300

601 Two pairs of Worcester dessert dishes, c.1765­75, two shell shaped and two kidney shaped, all painted with polychrome flower swags reserved in shaped panels on a blue scale ground, open crescent marks, one broken and restuck, 26.5cm max. (4) £150­250

604 A Pennington’s (Liverpool) trio, c.1765­70, comprising a coffee cup, teabowl and saucer, printed in black with the Tea Drinkers pattern, a couple seated on a garden bench with an attendant standing nearby, with a black and gilt painted rim, 12.1cm. (3) £100­200

Provenance: the John Buckingham Collection.

603 A large Bow mug, c.1765, brightly decorated in polychrome enamels with a bold flower arrangement beneath a formal iron red scroll border, the grooved strap handle with a formal design, ending in a heart terminal, 14.6cm.

200

605 A large Derby cider jug, c.1760, painted with songbirds perched on branches above a strutting bird, a small fluted creamer painted with Cotton Stem type flowers, and a coffee cup with a wishbone handle, some damages, 21.5cm max. (3) £150­250

602 A Bristol jug, c.1775, painted in the Oriental manner with stems of flowering plants, with scattered insects around, blue X and 9 mark, some restoration, 17cm. £100­200

£100

606 Two small Worcester mugs, c.1757­60, one printed in black with the King of Prussia beside victory motifs, the other bell­shaped and printed with The Minuet and The Haymakers, and a Worcester teacup and saucer printed with The Milkmaids, 13.1cm max. (4) £200­300

The Minuet is after a design by Francis Hayman, taken from The Ladies Amusement.

607 A Worcester cream jug c.1756, printed in black with Les Garçons Chinois pattern, a small cylindrical mug printed with the Parrot Pecking Fruit pattern, signed ‘Rbt Hancock fecit’ within the lower branch, and a large Birmingham enamel circular button printed in black with a gallant and his companion, damages, 8.7cm max. (3) £150­250

608 A Worcester cup and saucer, c.1755, printed in black with L’Amour, depicting a couple courting in a garden setting, the saucer signed in the print with RH for Robert Hancock and with an anchor rebus for Richard Holdship, and a Worcester saucer printed in black by John Sadler of Liverpool with the Tea Drinkers, 11.7cm max. (3) £100­200

The single saucer formerly in the Raymond Dennis Collection.

610 A pair of Chelsea dishes, c.1758, boldly painted with exotic birds perched on rockwork and branches beside, brown anchor marks, a Bow elongated octagonal dish painted in Kakiemon enamels with the Two Quail pattern, a bowl in the same pattern, and a Bow white­glazed coffee cup sprigged with prunus, some faults, the bowl restored, 32.2cm max. (5)

£200­300

609 A Chelsea­Derby mug and a beaker c.1775, the mug of bell shape and painted with a pink rose and other flowers, gold anchor and D mark, the slightly flared beaker painted with flowers beneath a bright blue rim, 10.7cm max. (2) £100

200

611 An early Derby teapot and cover c.1756­58, painted in the Cotton Stem manner with loose flower sprays, the reverse with a branch of honeysuckle, with scroll handle and reeded spout, and a fluted teabowl and saucer painted with the same design, minor faults, 19.6cm max. (4) £300­400

612 A Bristol teabowl and saucer, c.1770­75, the fluted forms painted in green camaieu with loose garlands of flowers suspended from rings, brown line rim, gilt and blue B marks, 12.7cm. (2) £100­200

Provenance: the John Buckingham Collection.

613 A Worcester feather­moulded coffee cup, c.1758, finely pencilled in puce at a later date with a cartouche containing a Chinese couple before a pagoda and a sailing vessel, flanked by flowering branches, the interior rim with a formal foliate border, blue tin mark to the base in imitation of Plymouth, some peppering, a small rim chip, 6.4cm. £150­250

£100­200

615 A Bristol milk jug, c.1772­75, well painted with garlanded flowers issuing from a shaped puce rim, above ribboned leaf swags and gilt tendrils, some gilt wear, 11.8cm. £150­250 Paper label for the Frank Arnold Collection.

616 Literature: Geoffrey Godden, Encyclopaedia of British Porcelain; Henry Sandon, Royal Worcester Porcelain; Guy Boney, Liverpool Porcelain; John Twitchett, Derby Porcelain; R J Charleston, English Glass; Michael Berthoud, H & R Daniel; and a number of other reference books relating to ceramics and glass. (19) £50­80

614 Two Derby mugs c.1760­65, of barrel shape with horizontal ribbing, painted with sprays of flowers including pink rose and blue forget­me­not, with further small scattered sprigs, a small amount of good restoration, 15.3cm max. (2)

THE DAVID STOPHER COLLECTION

PART TWO

618 Three large Bow mugs, c.175255, of varying shape, all painted in the Imari palette with flowering plants, bamboo and rootwork beside ornamental fences, the rims with panelled or trellis borders, painter’s marks to two, two mugs cracked, 15.2cm max. (3) £300­400

Provenance: the David Stopher Collection.

619 A rare Vauxhall teabowl and saucer, c.1756­60, finely potted and decorated in the Imari palette with a bird in flight above another perched on a flowering prunus branch, a tiny nick to the saucer’s rim, 11.4cm. (2) £200­300

Cf. Massey, Marno and Spero, Ceramics of Vauxhall, pp 89-90 for the pattern.

Provenance: the David Stopher Collection.

617 A Bow dish, c.1755­58, of shaped oblong form, painted in Imari colours with a pine tree and bamboo stems above flowering peony and rockwork, and a Chinese porcelain plate showing the original design copied at Bow, minor chipping, 29cm max. (2) £200­300

The Bow dish formerly in the Susi and Ian Sutherland Collection. Paper label for Klaber & Klaber.

Provenance: the David Stopher Collection.

Provenance: the David Stopher Collection.

£300­500

617

618

620 A William Reid mug, c.1756­61, the barrel shape painted in the Imari palette with flowering peony branches beside a low ornamental fence and holey rockwork, the rim with a narrow panelled trellis border, 12.2cm.

621 A Derby blue and white ice cup, c.1770, decorated with a large butterfly flanked by flower sprays, raised on a flared foot, and a Bow flared teabowl painted with peony and bamboo, the cup’s handle cracked, a rim chip, 7.2cm max. (2) £100­200

Provenance: the David Stopher Collection.

622 A Bow blue and white pickle dish or salt, c.1755­58, of shell shape, painted with the Dragon pattern, raised on two peg feet, numeral 14 mark, and a large Lowestoft breakfast teabowl and saucer painted with the Dragon pattern, 14.7cm max. (3) £150­250

Provenance: the David Stopher Collection.

623 A Worcester blue and white creamboat, c.1755­58, moulded with panels and painted with the Captive Bird pattern, one side with a bird tethered to a figure seated beneath a tree, and a Worcester pickle dish, the shell shape painted with the Two Peony Rock Bird pattern, workmen’s marks, a small rim chip to the creamer, 11.7cm max. (2) £300­500

Provenance: the David Stopher Collection.

624 Four blue and white patty pans, c.1754­70, one Lowestoft and painted with a central moth and flower sprays within a husk or berry border, the other three Bow and variously decorated with Oriental flowering branches and trellis borders, small rim chips to some, 13.6cm max. (4) £200­300

Provenance: the three Bow patty pans formerly in the Susi and Ian Sutherland Collection; the David Stopher Collection.

625 Two Bow blue and white patty pans, c.1754­57, of circular form with flared sides, painted in a bright blue with Chinese flowers and fungi within a ruyi scroll border, some staining, 10cm max. (2) £100­200

Provenance: one formerly in the Susi and Ian Sutherland Collection; the David Stopher Collection.

626 A Lowestoft blue and white milk jug, c.1775, painted with flowering branches issuing from holey rockwork, a coffee cup with similar decoration of flowering Oriental branches, and a small slop bowl decorated with radiating stripes, 11cm max. (3) £100­200

Provenance: the David Stopher Collection.

628 Three Lowestoft blue and white teabowls and saucers, c.1765­75, one painted with flowering branches and rockwork within a berry border, painter’s mark to the footrim, the other two with differing pagoda landscapes within a trellis border, 11.8cm max. (6) £150­250

Provenance: the David Stopher Collection.

627 Four Bow blue and white coffee cups, c.1752, variously painted with flowering branches of chrysanthemum, peony and prunus beside pine and willow trees, rockwork and ornamental fences, three with rim cracks, 6cm max. (4) £100­200

Provenance: the David Stopher Collection.

630 Two Liverpool blue and white punch bowls, c.1758­65, one probably William Reid and painted with stylized rockwork beside flowering peony branches, the other with a Chinese figure fishing beside an ornamental fence and beneath a tall fringed tree, the interior with a bird perched on a low fence, 24.4cm max. (2) £150­250

Provenance: the David Stopher Collection.

629 A Liverpool blue and white trio, c.1760, comprising a coffee cup, teabowl and saucer, painted with a bird perched on a flowering peony branch, a slop bowl in the same pattern, and a similar saucer with red and gilt highlighting, 15.8cm max. (5) £150­250

Provenance: the David Stopher Collection.

627

628

629

631 A knife and fork with Bow porcelain handles, c.1758­60, the hafts of pistol grip form, moulded with formal scroll designs, and a Bow knife with a blue and white handle painted with formal foliate scrolls and flowering branches, 28.5cm max. (3) £100­200

Provenance: the David Stopher Collection.

632

633 Three English porcelain blue and white pickle dishes, c.1755­65, one Bow and of early leaf shape painted with bamboo and peony beside a zigzag fence, numeral 3 mark, another Worcester and painted with the Pickle Leaf Vine pattern, workman’s mark, the last Derby of scallop shell form and painted in a bright blue with insects around a flowering branch, 12cm max. (3) £250­350

Provenance: the David Stopher Collection.

632 A Worcester blue and white basin, c.1760­65, painted with the Willow Bridge Fisherman pattern, open crescent mark, a Vauxhall blue and white slop bowl painted with a fence beneath a pine tree, a Liverpool Imari bowl with a pagoda landscape, a Richard Chaffers milk jug painted with a bird on a branch, and a teabowl printed with flowers and a wide formal border, minor faults, the Vauxhall bowl cracked, 27.3cm max. (5) £300­500

Provenance: the David Stopher Collection.

634

634 Two Richard Chaffers (Liverpool) blue and white teabowls and saucers, c.1760­65, one painted with the Long Bridge pattern, the other with peony and willow beside an ornamental fence, 12cm max. (4) £150­250

The latter formerly exhibited at the Northern Ceramics Society, Liverpool 1993, no. 94.

Provenance: the David Stopher Collection.

631

633

636 A small Lowestoft blue and white coffee pot and cover, c.1765, of baluster form, painted with flowering plants issuing from holey rootwork, the reverse with a further peony spray, the rim with a panelled trellis border, the spout cleanly broken and restuck, 17.2cm. (2) £200­300

Provenance: the David Stopher Collection.

635 A Richard Chaffers (Liverpool) blue and white vase, c.1760, of inverted baluster form, painted with flowering peony and other branches, a rim chip, the cover lacking, 16.6cm. £150­250

Provenance: the David Stopher Collection.

637 A

ft blue and white small vase, c.1760­65, of bottle shape with an everted neck, painted with flowering plants and a large moth in flight, the rim with a formal scroll border, raised on a circular foot, a small restored rim chip, 15.2cm. £250­350

Provenance: the David Stopher Collection.

Lowesto

638 A large Bow blue and white mug, c.1760, the generous bell shape painted with a panel containing two Chinese figures conversing on a bridge linking small islands with pagodas, rockwork and ornamental fences, the circular foot with a formal border, the grooved strap handle with a heartshaped terminal, 15.5cm.

Provenance: the David Stopher Collection.

£200­300

640 A good Liverpool blue and white mug, c.1765, the bell shape painted with a figure fishing beside an ornamental fence and beneath a tall fringed tree above other flowering branches, the rim with a trellis border, 15.7cm.

£200­300

Provenance: formerly in the Geoffrey Godden Reference Collection; the David Stopher Collection.

639 A large Bow blue and white mug, c.1760, the generous bell shape painted with flowering peony sprays flanking rockwork, the rim with a formal flowerhead border enclosing shaped panels, the foot with a scale border, a small footrim chip, 15.2cm high. £200­300

Provenance: the David Stopher Collection.

641 Two Richard Chaffers (Liverpool) blue and white mugs, c.1758­60, of cylindrical form, painted with bamboo and flowering chrysanthemum issuing from holey rockwork, the rims with a trellis border, a filled chip to the taller, 15.7cm max. (2) £350­500

Provenance: the David Stopher Collection.

642 A Derby blue and white potted meat tub, c.1760, painted with landscape panels of pagoda islands, a Derby creamboat painted with cannon ball rocks before pagoda islands, and a small Worcester plate painted in the K’ang Hsi Lotus pattern, 16cm max. (3) £100­200

Provenance: the David Stopher Collection.

643 Two Bow blue and white plates c.1758­62, the larger painted with bamboo and chrysanthemum, number 16 mark, the other with a fanpanelled design on a powder blue ground, pseudo Chinese mark, and a Bow strap­moulded sauceboat painted with flower sprays within moulded floral panels, impressed T mark, 22.5cm max. (3) £250­350

The sauceboat with a paper label for the Frank Wheeldon Collection.

Provenance: the David Stopher Collection.

644 Three Bow octagonal blue and white plates c.1760­65, one rare and painted with two Chinese figures conversing in a garden, within a formal floral and trellis panel border, another elongated and painted with the Golfer and Caddy pattern, the last small and painted with the Jumping Boy pattern within tied auspicious motifs, the former with a riveted crack, 27.3cm max. (3) £400­600

Provenance: the David Stopher Collection.

645 Five English blue and white saucers, c.1755­65, one Vauxhall and painted with a low hut beneath a willow tree and towering rocks, two Lowestoft , one painted with a Man on a Bridge within a berry border, another with flowering branches, and two Bow, one with a Chinese man beneath willow, the other with a bird on a bare tree, 12.3cm max. (5) £250­350

Provenance: the David Stopher Collection.

646 Six blue and white English porcelain saucers, c.1760­70, a pair Liverpool and painted with peony and a fringed tree issuing from rockwork, a Worcester saucer painted with the Landslip pattern, another octagonal and painted with the Jumping Boy pattern, a deep Lowestoft saucer painted with plants before a trellis fence, the last painted with a pagoda island landscape, the last saucer cracked, 12.5cm max. (6) £200­300

Provenance: the David Stopher Collection.

647 A Worcester blue and white part tea service c.1760­65, painted in the Mansfield pattern, open crescent marks. Comprising: a teapot and cover, a sucrier and cover, a milk jug and cover and a coffee can. Together with a Warmstry­fluted teabowl and saucer in the Hollow Rock Lily pattern, and two teabowls in the Plantation and the Cannon Ball patterns. (11) £100­200

Provenance: the David Stopher Collection.

648 Three Bow blue and white baskets, c.1755­65, of circular form, the earliest painted with bamboo, peony and millet, the other two of varying size and painted to the interior with flowering branches, the exteriors with flowerhead motifs, some damages, 17.3cm max. (3) £250­350 The two smaller baskets formerly in the collection of Susi and Ian Sutherland.

Provenance: the David Stopher Collection.

649 Two Liverpool blue and white teabowls and saucers, c.1756­65, one Richard Chaffers and finely painted with flowering chrysanthemum and bamboo beside rockwork, the other with a moth or butterfly in flight above a rose branch within a trellis border, a tiny nick to one saucer’s rim, 13.4cm max. (4)

Provenance: the David Stopher Collection.

£200­300

650 A Longton Hall blue and white teabowl and saucer and a Worcester teabowl and saucer, c.1756­60, the Longton Hall painted with the Gatehouse pattern, the Worcester with the Prunus Root pattern, workman’s marks, 12.3cm max. (4) £200­300

Provenance: the David Stopher Collection. The Gatehouse pattern at Longton Hall became known as the Solid Fence Pavilion pattern when it was used (rarely) at Worcester.

649 650

651 An early Bow blue and white shell salt, c.1750, the deep shell salt painted in a bright blue with a gnarled willow tree beside tall rockwork and an ornamental fence, the rim with a formal fleur de lys border, raised on a rocky base formed from three whelk shells and applied with further small shells, a small rim chip, 11.7cm across.

Provenance: the David Stopher Collection.

£200­300

652 A Lowestoft blue and white pickle dish or salt, c.1765, formed as a large scallop shell, painted with flowering branches issuing from rockwork with flying insects beside, the rim with a berry husk border, a tiny rim chip, 14.5cm.

Provenance: the David Stopher Collection.

£150­250

653 A William Reid (Liverpool) blue and white coffee can or small mug, c.1756­60, the cylindrical form painted with the Fir Tree and Rock pattern, a gnarled pine above rockwork, the reverse with round rocks before an island, painter’s mark to the foot, 6.5cm.

Provenance: the David Stopher Collection.

£150­250

654 A Bow blue and white milk jug, c.1753, painted in a bright blue with a gnarled pine tree beside smaller plants, rockwork and long grass, a flock of birds in flight above, a section of the handle cleanly restuck, 8.5cm.

Provenance: the David Stopher Collection.

£200­300

655 A Lowestoft blue and white mug, c.1765, the bell shape painted with a bird perched on a flowering branch above holey rockwork and an ornamental fence, the reverse with a trellis fence and further branches, painter’s numeral 2 inside the footrim, cracked, 11.5cm. £200­300

Provenance: the David Stopher Collection.

656 A large Lowestoft blue and white jug, c.1765, with floral moulding, painted with a Chinese figure beside plants and a three storeyed pagoda behind an ornamental fence, beneath the spout with a small sailing boat, the rim with a ‘Scroll and Floral type 12’ border, a small chip to the spout, 20.2cm. £500­800

Provenance: the David Stopher Collection.

657 A rare Bow blue and white coffee can or small mug, c.1755, with an unusual moulded scroll handle, the cylindrical body painted with a large chrysanthemum spray, and two Bow sparrowbeak jugs, painted with peony, willow, bamboo and chrysanthemum, minor faults, 8.7cm max. (3) £400­600

Provenance: the David Stopher Collection. One jug and the can formerly in the Susi and Ian Sutherland Collection.

658 A Worcester blue and white mug c.1755, of cylindrical form with a slightly flared foot, painted with the Prunus Root pattern, workman’s mark and short scratch mark, and a Worcester punch bowl decorated in the same pattern, workman’s mark, a small rim chip to the bowl, 22.1cm max. (2) £250­350

659 A Plymouth blue and white hors d’oeuvres dish, c.1768­75, the fanshaped dish painted to the exterior with small flowering sprigs, the rim with a berried border, and a Bristol coffee cup, painted with flowering Oriental plants, the interior rim with a trellis band, blue X mark, 10.5cm max. (2) £200­300

Provenance: the David Stopher Collection.

660 An early Bow blue and white mug, c.1753­55, of bell shape and painted in a bright blue with a gnarled pine tree over rockwork and flowering branches, between wide formal borders, blue X mark, and a later Bow mug painted with flowering plants beneath a fringed tree, blue R mark, each with a grooved strap handle, both cracked, 12cm max. (2) £200­300

Provenance: formerly the Susi and Ian Sutherland Collection; the David Stopher Collection..

662 A Limehouse blue and white pickle dish, c.1746­48, of scallop shell form, painted with a house behind tall rocks on a small island, with three Chinese tied motifs, the corners with small leaf motifs, the underside naturalistically moulded, 11.7cm. £1,000­1,500

Cf. Limehouse Ware Revealed, No.107 for a dish with a similar design.

Provenance: the David Stopher Collection.

661 A good Derby two­handled blue and white basket, c.1760, the oval form painted to the well with a pagoda beneath a tall pine tree and other plants in an island landscape, the pierced sides finely decorated with parallel lines and flowerheads, the exterior applied with flower heads at the intersections, 27.2cm across. £300­500

Provenance: the David Stopher Collection.

663 A Lowestoft blue and white saucer dish, c.1765­68, painted with a pagoda beneath a gnarled willow tree on an island, the rim with a characteristic berry border, a 10cm crack to the well, 18.6cm. £200­300

Provenance: green enamelled initials for the Gilbert Bradley Collection; the David Stopher Collection.

664 A very rare and early Lowestoft blue and white spoon tray, c.1757­60, of a deep elongated shape with fluted sides and undulating rim, painted to the well with a willow tree over a three­storeyed pagoda on an island, with small sailing boats beside further islands, the sides with flower sprigs, numeral 3 mark, some damages, 18.3cm. £2,000­3,000

Cf. Geoffrey Godden, Lowestoft Porcelains, col.pl.5; and Christopher Spencer, Early Lowestoft, p.114, fig.146 for the only other known example of the same shape. Spoon trays at Lowestoft evolved in shape over a number of years, with this shape the earliest recorded.

Provenance: the David Stopher Collection.

END OF COLLECTION

666 A Lowestoft blue and white mug, c.1765­68, painted with two longtailed birds between flowering plants, the exterior rim with a husk and berry border, the interior with a formal scroll border, a section broken and riveted, 11.5cm. £150­250

OTHERPROPERTIES

665 A rare Lowestoft blue and white butter tub with cover and stand, c.1762, with Hughes type moulding, the straight­sided oval tub painted possibly by Richard Phillips, with Oriental landscape panels, echoed to the cover, the stand with a more extensive pagoda landscape, painter’s numeral 4 to the tub’s footrim, 18cm. (3) £1,300­1,500 Illustrated: Geoffrey A. Godden, Lowestoft Porcelains, p.67, pl.61 where the author points out the upside-down flowers on one side of the tub, owing to an inverted mould. Also, Christopher Spencer, Early Lowestoft, p.126, fig.173.

667 A documentary Lowestoft blue and white mug dated 1765, the bell shape painted with a fancy bird looking up to an insect in flight, standing beside elaborate flowering plants, inscribed to the underside for ‘Abm. Moore, August 29th 1765’, damages to the rim, 11.5cm. £400­600 Cf. British Museum, Accession No. 1887,0307,XI.7 for a smaller example, and 1957,0403.1 for a modern forgery. This example is illustrated in Geoffrey A. Godden, Lowestoft Porcelains, p.79, pl.82 alongside a larger example. It is not known who Abraham Moore was, nor who produced the known fakes in the 20th century.

668 A Lowestoft blue and white teabowl and saucer, c.1761­65, of Hughes type, moulded with small circular panels containing landscape scenes, on a moulded ground of sunflowers and trellis panels, within a cell diaper border, painter’s numeral 8 to the teabowl’s footrim, 12.6cm. (2) £250­350

Cf. Geoffrey A. Godden, Lowestoft Porcelains, p.75, pl.76.

669 A Lowestoft feeding cup, c.1770, the straight­sided form painted with flowering plants beside an ornamental fence, the top half­covered and painted with a flower spray, the long, straight spout with a delicate foliate motif, a long rim crack, 8.2cm high. £300­500

Cf. Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, Vol 1, no.182.

670 A Lowestoft blue and white pickle dish, c.1762­65, of leaf shape and painted with fruiting grapevine within a berry border, and a Liverpool pickle dish painted with three stylized flower sprays, a chip to the latter, 10.5cm max. (2) £150­250

671 A rare Lowestoft blue and white sauceboat, c.1764­66, of narrow shape, painted probably by Robert Allen with long­tailed birds among flowering Oriental branches, the rim with a trellis band, painter’s numeral 5, cracked, 19cm. £250­350

Illustrated: Geoffrey A. Godden, Lowestoft Porcelains, p.83, pl.89. At the time of publication this sauceboat was in Godden’s own collection. He notes the unusual lack of relief moulding.

673 A small collection of Worcester blue and white teawares, c.176080, including a Mansfield pattern teabowl and saucer, three Fence pattern saucers, a coffee cup in the Leaf Scroll border pattern, a jug and cover in the Immortelle pattern, a teabowl printed with fruit sprays, a coffee can in the Plantation pattern, and a milk jug in the Candle Fence pattern, hatched and open crescent marks, 13cm max. (11) £100­200

672 A group of Worcester blue and white teawares, c.1758­70, including a teapot and cover painted with the Mansfield pattern, a fluted trio and a teabowl and saucer in the Prunus Root pattern, and a teabowl and saucer in the Cannonball pattern, together with a Caughley trio in the Birds in Branches pattern, 18.5cm max. (12) £150­250 Exhibited: the Caughley trio exhibited at the Caughley Bicentenary Exhibition, Ironbridge, 1999, nos. 85 and 87.

675 A collection of Worcester blue and white tea wares, c.1760­80, all printed in the Three Flowers pattern, including a teapot and cover, a sucrier and associated cover, a jug and cover, a preserve pot and cover, a small bowl, a teabowl and saucer, a coffee can and a Caughley teabowl in the same pattern, some faults, 19cm max. (13) £100­200

674 A collection of English blue and white porcelain, c.1760­80, including a Caughley teapot and cover in the Fence pattern, three Worcester and Caughley bowls in the Fence and other patterns, three Worcester saucers and a teabowl in the Fence pattern, a Caughley creamboat with the same decoration, and a Worcester polychrome teapot and cover with floral decoration, minor faults, 19.6cm max. (12) £150

250

677 A Worcester part tea service, c.1790­1800, decorated in the Music pa

ern with radiating bands in underglaze blue between gilt panelled designs on a darker blue ground. Comprising: two slop bowls, three plates, four coffee cups, a teacup and ten saucers. (20) £100­200

678 A Worcester blue and white two­handled sauceboat, c.1758­60, painted with the Two­Handled Sauceboat Landscape, a geranium leaf moulded butterboat painted with flower sprays, a leaf­shaped butterboat in the Mansfield pattern, and a leaf­shaped pickle dish decorated with the Pickle Leaf Vine pattern, open crescent and workman’s marks, 19cm max. (4) £100­200

676 A Worcester part dessert service, c.177585, printed with the Gillyflower pattern within basketweave moulded borders, hatched crescent marks. Comprising: one oval dish, three kidneyshaped dishes, three square dishes and three shell­shaped dishes. (10) £250­350

200

tt

676

677

679 Four Caughley blue and white items in the Fisherman pattern, c.1770­90, including a wine taster, two strainers and an asparagus server, a Worcester geranium leaf butterboat, a Derby wine taster, and two Derby creamboats moulded with fruit, small faults, 14cm max. (8) £100

680 Four Worcester blue and white pickle dishes, c.1755­70, of leaf shape, one painted with the Two Peony Rock Bird pattern, one with a Gillyflower, two with the Pickle Leaf Vine pattern, 10cm max. (4) £100­200

681 A pair of Pennington’s (Liverpool) blue and white pickle dishes, c.1770­80, of generous scallop shell form, each painted with a stylized flower spray, within a feathered blue border, one with a section repaired, 14cm. (2) £100­200

682 Two Liverpool blue and white sauceboats, c.1765­75, the larger Philip Christian and painted with willow trees over flowering plants within strapmoulded borders, the other Pennington’s and painted with panels of low huts and cannon ball rocks, small flaws to the latter, 18.3cm max. (2) £150­250

Provenance: the John Buckingham Collection.

683 A Lowestoft blue and white tea canister, c.1775, the rectangular form painted with the Mansfield pattern, the curved shoulders with a formal border and single flower sprigs, crescent mark, and a Lowestoft patty pan, painted with a large moth, the sides with flower sprays within a berried husk border, the canister’s cover lacking, a restored section to the patty pan, 9.8cm max.

£200­300

£300­500

(2)

684 A Worcester blue and white double­ended sauceboat, c.1756­58, painted with the Two­Handled Sauceboat Landscape pattern with a figure in a small boat between islands, the moulded exterior with four small landscape vignettes, workman’s mark to the footrim, a few small rim nibbles, 19.5cm across. £120­180

685 Two Chelsea knife and fork handles, c.1752, of pistol shape and sprigged with flowering prunus, a Bow knife and fork with blue and white handles, and a smaller Worcester knife and fork with handles painted in underglaze blue with the Knife Handle Formal Floral pattern, 28cm max. (6)

686 A Richard Chaffers (Liverpool) blue and white teapot and cover, c.1758­60, the globular form painted with the Two Men Bowing pattern, the eponymous figures in a Chinese island landscape, some restoration to the cover, 20cm. (2) £100­150

To be sold without reserve.

688 A Vauxhall blue and white teabowl and saucer, c.1755, painted in a strong blue with a Chinese figure walking in a posed fashion before a low ornamental fence, the rim with a trellis border, tiny rim nibbles, 11.7cm. (2) £400­500

687 A pair of Vauxhall blue and white coffee cups, c.1756­60, of waisted capuchine shape, painted with two Chinese figures greeting each other beneath tall rocks and fringed trees, the interior rims with a panelled border, small damages, 6.5cm. (2) £300­500

689 An early Worcester blue and white mug or coffee can, c.1751­53, the slightly waisted form painted with the Willow Root pattern, one side with a figure in a sampan before a small island, the other with a gnarled willow beside an ornamental fence, painter’s numeral 4, filled rim chips, 6.4cm. £300­500

Cf. Ray Jones, The Origins of Worcester Porcelain, pp.446-447 for similar examples.

500

300

Provenance:

Cf.

Provenance: from the collection of Henry Myles-Tarlton (d.1946), Chief Engineer for Bird & Co Mining in India between 1912 and 1932.

690 A Lowestoft baluster vase c.1760­65, painted with a figure crossing an arched bridge linking islands with pagodas, the reverse with a boat sailing beside a small island, the shoulder with a continuous flower garland, painter’s numeral 2 inside the footrim, cracked, the cover lacking, 12.3cm. £200

Bonhams, The Susi and Ian Sutherland Collection, 3rd October 2007, lot 327 for a similar example.

691 A Richard Chaffers (Liverpool) hexagonal flared blue and white beaker, c.1760, painted with the Jumping Boy pattern of a young Chinese boy in a garden beside a maiden seated beneath a tree, four character script mark, rim cracks, 6.1cm. £300

the John Buckingham Collection.

692 A Richard Chaffers (Liverpool) blue and white teabowl, c.1758­60, painted with the Jumping Boy pattern of an exuberant youngster beside a seated maiden, 7.5cm dia. £100­200

693 A Worcester blue and white mug, c.1755­58, the slightly waisted form painted with the Walk in the Garden pattern, a Chinese boy holding out a bird on a stick to an attendant maiden, the reverse with birds perched in a tree, workman’s mark, 8.2cm. £300­400

694 A large Worcester blue and white ‘Dutch’ jug, c.1757, the rounded body formed of overlapping cabbage leaves, boldly painted with continuous sprays of flowering prunus in the Cabbage Leaf Jug Floral pattern, blue crossed swords mark, 26.5cm. £250­350

Exhibited: Klaber & Klaber, 75 Jugs, 1993.

696 A Derby blue and white chestnut basket and cover, c.1765, of circular form, painted to the interior with a pagoda landscape, the rim with a lambrequin border, the exterior moulded with latticework and applied with flowering branches, a firing crack to the base, 19cm dia. (2) £200­300

695 A Philip Christian (Liverpool) coffee pot and cover, c.1770, decorated in the Imari palette with tall pine trees in a pagoda island landscape, with rococo­moulded spout and handle, restoration to the handle’s terminal, a small restored chip to the cover, 24.3cm. (2) £150­250

Provenance: the John Buckingham Collection.

697 A Lowestoft blue and white pickle dish, c.1765­70, of leaf shape, painted with fruiting grapevine within a berry border, a Bow pickle dish painted with the Koto Player, and a Lowestoft teabowl with an everted rim, painted with sailing boats in a pagoda island landscape, a repair to the Lowestoft pickle dish, a little restoration to the Bow, 10.5cm max. (3) £150­250

698 Two Liverpool blue and white coffee cups, c.1765, one James Pennington and painted with the Seated Man and Bird pattern, the other probably Philip Christian and painted with the Plantation pattern, and a Philip Christian creamboat moulded with panels and painted with small flower sprigs, one coffee cup cracked, 12.3cm max. (3) £100­200

699 A Worcester blue and white butter tub with cover and stand, c.1765­70, together with a slightly larger stand printed in the Rose Sprays group, a small circular Pinecone basket, a shell­shaped dish in the Gillyflower pattern, and a bowl painted in the Rock Strata Island pattern, hatched crescent marks to most, 21cm max. (7) £150­250

700 A small study group of blue and white tea wares, c.1753­70, including a small Bow milk jug painted with peony and willow, a teabowl and saucer painted with a Chinese landscape and cannon ball rocks, a Worcester saucer in the Weeping Willow pattern, a small saucer in the Fence pattern with a rare moon mark, and a Lowestoft saucer painted with a flower spray, minor faults, 12cm max. (6) £150­250

701 Three Worcester blue and white baskets, c.1770, of shallow circular form, printed with the Pinecone pattern, the sides formed of interlocking circles with flowerheads applied to the exterior, hatched crescent marks, 22cm max. (3) £100­200

698

706 Two large Worcester blue and white mugs c.1765, printed with naturalistic flower sprays including rose, chrysanthemum and auricula, one with two large moths, hatched crescent marks, 14.2cm max. (2) £100

200

702 A Worcester blue and white sucrier and cover, c.1765­70, printed with the Mother and Child and Man Fishing pattern, the figures contained within elaborate cartouches, hatched crescent mark, 11.8cm. (2) £150­250

703 A Worcester blue and white ‘Dutch’ jug, c.1755­60, the rounded body formed of overlapping cabbage leaves, painted in the Cabbage Leaf Floral pattern with continuous sprays of flowering prunus, workman’s mark beneath the handle, 20.8cm. £100­200

704 A Liverpool blue and white punch bowl, c.1770, painted with a pagoda beneath towering rocks and beside an ornamental fence, the interior with a small island scene and a panelled trellis border, 24cm dia. £120­180

705 A William Reid (Liverpool) blue and white milk jug, c.1756­60, painted with three stylized flower sprays in panels reserved on a moulded ground of overlapping leaves, the exterior rim with a trellis border, 9.2cm. £150­250

THE PETER BURKE COLLECTION OF BOW PORCELAIN

PETER FRANCIS CONWAY BURKE (1926 – 2020)

Peter was an avid collector of blue and white porcelain for a period of 30 years, from the 1980s to 2012. During this time he made numerous trips to Kensington High Street to buy and sell. He usually travelled by bus to and from Paddington Station, which was a rather risky route for an older gentleman. In all he probably collected and sold over 300 pieces.

Peter lived in Torquay for all his working life and happily retired there. During that time he was active in the local Torquay Pottery Collectors Society and gave several presentations in Torquay Museum. He was also an active member of the Northern Ceramic Society. His particular interest was in local South Devon Ceramics.

708 Three rare and early Bow blue and white pickle dishes, c.1747­50, one painted with flowering branches issuing from a banded hedge, one of early leaf shape and painted with flowering branches issuing from a zigzag fence, the last with a spray of prunus above other flowering plants and raised on three peg feet, minor faults, 10cm max. (3) £250­350

Provenance: the Peter Burke Collection. The first purchased from The Watney Collection (Part I), 22nd September 1999, lot 15. The second purchased from the Watney Collection (Part III), 1st November 2000, lot 831. The last from Henry Lawrence, 24th December 1996.

707 Two Bow blue and white teabowls and saucers, c.1750­60, one painted in a bright blue with flowering peony branches issuing from holey rootwork, the other with the Golfer and Caddy pattern, a repair to the first saucer, 12cm max. (4) £150­250

Provenance: the Peter Burke Collection.

709 A miniature Bow teapot and cover, c.1760­65, the globular body painted with fruiting grapevine, and a saucer in the same pattern, the spout broken and cleanly restuck, 12.2cm max. (3) £200­300

Provenance: the Peter Burke Collection. The teapot purchased from Henry Lawrence, Torquay, 6th December 2001.

710 Three early Bow blue and white plates, c.1749­52, painted in a bright blue with the Broken Scroll pattern, the scroll depicting flowering peony issuing from rockwork and a fence, the rims with a panelled cash diaper border, together with a Chinese porcelain plate in the same design, some faults, 22.5cm max. (4) £200­300

Provenance: the Peter Burke Collection.

712 A Bow blue and white charger and a pair of plates, c.1760, of octagonal form, the wells painted with bamboo, peony and lotus, the rims with four stylized flowerhead panels on a trellis diaper ground, some rim chipping, 36.5cm max. (3) £150­250

Provenance: the Peter Burke Collection. The charger purchased from Henry Lawrence, Torquay, 13th November 1997.

711 Two early Bow blue and white plates, c.1748­50, one painted with bamboo and flowering branches, the other with a pine tree above a small hut in an island landscape, and an unusual Bow plate painted in blue, red and gilt with flower sprigs and leaf scrolls, minor damages, 23.3cm max. (3) £500­800

Provenance: the Peter Burke Collection. Paper labels for Klaber & Klaber, and Stockspring Antiques. The left hand plate purchased from Phillips via Robyn Robb, 8th September 1996.

713 Two Bow blue and white milk jugs, c.1750­55, one painted with bamboo and chrysanthemum beside a fence, the other with a pagoda landscape, with a moulded handle, a small coffee can or mug with flowering branches and rockwork, and two coffee cups painted with Chinese landscapes, small faults, 8cm max. (5) £250­350

Provenance: the Peter Burke Collection.

714 Two Bow blue and white mugs, c.1755­60, the larger painted with bamboo and peony, painter’s mark P, the smaller with a figure fishing beside pagodas and a large pine tree in a Chinese island landscape, the rims with flowerhead panels on a triple trellis border, the larger broken and restuck, 14.8cm max. (2) £250­350

Provenance: the Peter Burke Collection. The smaller mug purchased from Simon Spero, 16th October 2010.

715 A Liverpool blue and white coffee pot and cover, c.1765­70, painted with cannon ball rocks in a Chinese pagoda landscape, and a Derby sauceboat, moulded with scrolls and fruit sprays and painted with small landscape panels, the interior with flowering branches beneath a cell diaper border, damages, 26cm max. (3) £50­100

Provenance: the Peter Burke Collection.

716 A rare and early Bow sweetmeat dish or stand, c.1750­53, formed with three scallop shells around a central dolphin with upright tail, each shell painted in famille rose enamels with flowering plants, raised on three peg feet, and a Bow blue and white two­tiered sweetmeat stand, the shells painted to the interior with bamboo and peony beside rockwork, the stem applied with small shells and seaweed, one shell of the latter lacking, restoration to the end of the dolphin’s tail, 13.5cm high max. (2) £300­400

Provenance: the Peter Burke Collection. The blue and white stand purchased from Henry Lawrence, Torquay, 16th October 1996.

717 A large Bow charger or serving plate and a pair of plates, c.1750­52, all painted with the Broken Scroll pattern, the scroll depicting flowering peony and holey rockwork, within a formal panelled border, small rim chips, 30cm max. (3) £300­500

Provenance: the Peter Burke Collection. The smaller plates with paper labels for Roderick Jellicoe, the larger for Mercury

Antiques.

719 A Bow blue and white plate and a saucer dish, c.1755­60, the plate painted with bamboo and flowering plants within a panelled trellis border, the saucer dish with a butterfly above a loose spray of convolvulus and forgetme­not, together with a plate attributed to Bow but possibly relating to Isleworth or Bovey Tracey, painted with a rose and other flowers, the rim with flying insects, a rim crack to the first plate, 23.8cm max. (3) £300­400

Provenance: the Peter Burke Collection. The last plate formerly in the Susi and Ian Sutherland Collection.

The grey glaze of the problem plate is identical to that of the pair of plates in lot 712, where examples of that pattern have also been tentatively attributed to early Isleworth.

718 Three Bow blue and white plates, c.1755­60, one octagonal and painted with bamboo and flowering plants beside a fence and rockwork, another painted with the Jumping Boy pattern, the last of shallow soup plate form and painted with peony and chrysanthemum within a flower scroll border, some rim chips, 22.8cm max. (3) £200­300

Provenance: the Peter Burke Collection. The Jumping Boy plate purchased from Roderick Jellicoe, 13th June 2005.

721 A Bow blue and white mug, c.1753­55, of bell shape, painted with peony sprays beneath a gnarled pine tree and beside towering rocks, the foot with a border of petal panels, the rim with a formal trellis design, a faint crack to the foot, 11.8cm. £150­250

Provenance: the Peter Burke Collection. Purchased from Simon Spero, 15th June 2007.

720 A rare Bow blue and white guglet, c.1755­60, the bottle form painted with chrysanthemum, bamboo, millet and other Oriental plants, beneath ruyi scroll borders and stylized stiff leaf bands, the neck with a swollen knop with a panelled trellis design, some restoration to the rim, 25.3cm. £400­600

Provenance: the Peter Burke Collection. Purchased from Henry Lawrence, Torquay, 2nd December 1995.

722 A large and early Bow blue and white mug, c.1753­55, the generous bell shape finely painted with huts beside rocks and beneath tall pine trees with birds in flight above, with a grooved strap handle, painter’s numeral 23, some restoration to the foot and base, 15cm. £300­500

Provenance: the Peter Burke Collection. Formerly the Watney Collection, sold Bonhams, 1st November 2000, lot 834.

723 A Bow blue and white tureen and cover of exceptional size, c.1750, painted in a bright blue with gnarled pine trees over rockwork, bamboo and flowering peony, with a panelled trellis border, the squat form applied with loop handles issuing from mask terminals, the cover surmounted with a lion finial, the handles restored, 35.2cm across. £800­1,200

Provenance: the Peter Burke Collection. Purchased from Henry Lawrence, Torquay, 28th November 2005.

725 Two Bow blue and white bowls, c.175358, both painted with differing pagoda island landscapes with small sailing vessels, painter’s marks, minor damages, 15cm dia max. (2)

£100­200

Provenance: the Peter Burke Collection.

724 Three Bow blue and white small bowls, c.1750­55, one painted with a figure fishing from a sampan and one seated beneath a pine tree, another bowl painted with a rocky pagoda landscape, the last with flowering peony sprays beneath a scroll border, a workman’s mark, the last bowl broken and restuck, 12.8cm max dia. (3) £250­350

Provenance: the Peter Burke Collection. The first bowl purchased from Henry Lawrence, Torquay, 2nd November 1991.

726 Four Bow blue and white patty pans, c.1750­53, of varying size, the shallow flared forms painted to the interiors with flowering plants within a formal scroll border, the exteriors with further flower sprays, rim cracks, 11.5cm dia max. (4) £200­300

Provenance: the Peter Burke Collection. Three with paper labels for the Watney Collection and purchased from Mercury Antiques, 7th October 2003.

727 A Bow blue and white pickle dish, c.1758­62, formed as a large scallop shell, painted with a large chrysanthemum bloom beside bamboo and other plants, the rim with a panelled trellis border, raised on two peg feet, painter’s numeral 15, 12.2cm. £200­300

Provenance: the Peter Burke Collection. Purchased from Mercury Antiques, 25th March 1996.

728 An early Bow blue and white salt, c.1750, of shell form, the scallop shell painted to the interior with tall rocks beside a willow tree above an ornamental fence, the rim with a fleur de lys border, raised on a rocky base applied with shells and seaweed, some chipping, 12.2cm across. £100­200

Provenance: the Peter Burke Collection.

729 An early Bow blue and white sauceboat, c.1748­52, painted with a pagoda beneath tall trees, the interior with a tied scroll motif, raised on three paw feet, and a Bow two­handled sauceboat, c.1754, painted with chrysanthemum and bamboo within a panelled trellis border, some faults, 18.8cm max. (2) £200­300

Provenance: the Peter Burke Collection. The former purchased from Henry Lawrence, Torquay, 21st December 1994. The latter with a paper label for Roderick Jellicoe.

Exhibited: English Ceramic Circle, 2006, no. 22 (the footed sauceboat).

730 Four Bow blue and white small bowls or teabowls, c.1752­58, one conical and painted with a vase, a tied scroll and other auspicious objects, another of shallower form in the same design, another shallow and raised on a pedestal foot, painted with a continuous Chinese landscape, the last with sailing boats and a small island, painter’s marks to some, minor faults, 10.5cm dia max. (4) £200­300

Provenance: the Peter Burke Collection. The bowl with the tall foot purchased from Mercury Antiques, 5th October 2005.

728

729 730

727

732 A small Bow blue and white teapot and cover, c.1752, the globular form painted in a bright blue with a crane or other bird perched on an ornamental fence beside a palm tree, incised X mark, a small repair to the rim and the spout, 15cm across. (2) £300­500

Provenance: the Peter Burke Collection. Purchased from Stockspring Antiques, 25th May 2012.

731 A Bow blue and white basket, c.1755, the circular form painted to the interior with an insect in flight above bamboo, peony and peony sprays, the pierced sides with a continuous floral border, painter’s numeral 15 to the base, 15.8cm dia. £150­250

Provenance: the Peter Burke Collection. Purchased from Henry Lawrence, Torquay, 11th February 1995.

733 A Bow blue and white finger bowl, c.1750, the waisted form painted with pagodas in a rocky landscape beneath trees, a small sailing vessel behind, the interior of the scalloped rim with a foliate scroll border, a few small filled rim chips, 6.8cm high. £200­300

Provenance: the Peter Burke Collection. Purchased from Simon Spero, 4th October 2005.

Exhibited: Simon Spero, 2005, No. 30.

END OF SALE

MODERN BRITISH & 20TH CENTURY ART

WEDNESDAY 7TH JUNE 2023

ENQUIRIES

Victor Fauvelle | +44 (0)1722 446961 | vf@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying

Eric Kennington RA (1888­1960) Bacchus

Brass, c.1922­24 34 x 17 x 17.5cm

Provenance:

Sir Alan Patrick Herbert (1890­1971); Property of Eric Kennington; And by family descent

Estimate £5,000 ­ 7,000*

MEDALS & COINS, ARMS & ARMOUR, MILITARIA

FINE JAPANESE WORKS OF ART

TUESDAY 23RD MAY 2023

A large Japanese Arita dish, c.1670­80, 53.5cm Estimate £12,000­15,000*

rare Japanese apothecary jar, c.1650, 27.3cm Estimate £5,000

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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+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send+44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

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

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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 card­holder is not present.

Wire transfers should be sent to:

Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB.

Account no. 00957707

Sort code 30­97­41

IBAN no. GB20LOYD30974100957707

BIC code LOYDGB21063

Credit cards: Visa, Mastercard or Amex

Debit cards: Delta, Switch, Connect

Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots 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 (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS

Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvlaen/imports­exports/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, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

INFORMATION FOR BUYERS

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS

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 (Ω) 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. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

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.

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 pre­sale 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 reoffered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest.

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS

In these Conditions:

(a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate;

(b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals.

(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

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 Ω. 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.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

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 NON­PAYMENT 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 lay­out 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.

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.

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.

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

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €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

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

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 2018 (DPA) and 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, 51­61 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;

• the­saleroom.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 the­saleroom.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 (the­saleroom.com’s payment provider);

• sage paywho 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

We may collect the following personal data about you:

• 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 government­issued 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.

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.

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.

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

• our professional advisors;

• the­saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

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;

CONSENT

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.

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 life­threatening 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.

HOW LONG YOUR INFORMATION IS KEPT

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.

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 at: www.ico.org.uk

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS

Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs. 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.

Woolley & Wallis valuations are accepted by all leading insurance companies.

PROBATE VALUATIONS

We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424500 | valuations@woolleyandwallis.co.uk

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500

ABSENTEE BID FORM BRITISH & CONTINENTAL CERAMICS & GLASS

26TH & 27TH APRIL 2023

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 Business 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

ID may be required even if you have bid with us before.

Signature

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2023 AUCTIONS

AUCTION CALENDAR

2023

APRIL

18th & 19th Silver & Objects of Vertu

20th & 21st Fine Jewellery

26th & 27th British & Continental Ceramics & Glass

MAY

17th Medals & Coins, Arms & Armour

23rd, 24th & 25th Asian Art, Chinese Paintings & Japanese Works of Art

JUNE

7th Modern British & 20th Century Art

21st Fine Arts & Crafts (Including Martin Ware)

Exhibition Robert Wallace Martin Potter, Sculptor, Artist

12th to 23rd June

JULY

5th & 6th Furniture, Works of Art & Clocks

11th & 12th Silver & Objects of Vertu

13th Fine Jewellery

Dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk

51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

An Obadiah Sherratt type model of the ‘Roaren Lion’, c.1825 SOLD FOR £4,375*