Woolley & Wallis Auctioneers

BRITISH & CONTINENTAL CERAMICS & GLASS

TUESDAY 19TH SEPTEMBER 2023

SPECIALIST DEPARTMENTS

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

BRITISH & CONTINENTAL CERAMICS & GLASS

TUESDAY 19TH SEPTEMBER 2023

10.00AM at our City Centre Salerooms, SP1 3SU

VIEWING WILL TAKE PLACE AT OUR OLD SARUM GALLERIES Saturday 16th September

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 16th September 10.00am – 1.00pm

Monday 18th September 10.00am – 4.00pm

Tuesday 19th September 9.00am – 12 noon

THE AUCTION ON 19TH SEPTEMBER WILL TAKE PLACE AT OUR CITY CENTRE SALEROOMS

51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM

Each lot is subject to a Buyer’s Premium of 26% plus VAT

TELEPHONE BIDDING

Requests for telephone bids cannot be accepted after 5pm on Monday 18th September.

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 Monday 18th September

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ILLUSTRATIONS

Front cover: Lot 385

Back cover: Lots 245

Catalogue £10.00 (£15.00 by post)

GLASS LOTS 1 – 97

A PRIVATE LONDON COLLECTION

1 A large heavy baluster glass, c.1720, the generous round funnel bowl with a solid base, raised on an angular inverted baluster knop enclosing a long tear entering a basal ball knop, over a folded conical foot, 20.3cm. £800­1,200

Provenance: a private London collection.

2 A light baluster wine glass, c.1740, the bell­shaped bowl raised on a composite baluster stem with a teared knop over collar rings and an inverted baluster section with basal knop, and another light baluster or balustroid glass with a bell bowl over a hollow baluster and basal knop above a folded foot, 17.5cm max. (2) £300­500

Provenance: a private London collection.

3 A heavy baluster wine glass, c.1720, the round funnel bowl with a solid base, the stem with an annulated knop enclosing a tear above a basal knop and folded conical foot, 16.3cm. £600­800 Provenance: a private London collection. Paper label for A. Churchill Glass.

4 A small baluster wine glass, c.1720, the bell bowl with a solid base enclosing a small tear, raised on a stem with a drop knop above a ball knop enclosing a further tear over a domed folded foot, 15.3cm. £600­1,000 Provenance: a private London collection.

5 A large Lynn wine glass, c.1765, the round funnel bowl moulded with horizontal ribs, raised on a multi­series opaque twist stem on a conical foot, 16.4cm.

Provenance: a private London collection.

£200­300

6 An unusual wine glass, c.1750, the thistle­shaped bowl with a hollow base, raised on a multi­series opaque twist stem above a conical foot, 15.6cm.

Provenance: a private London collection.

£150­250

7 A fine mixed twist flute or toasting glass, c.1750, the narrow drawn trumpet bowl rising from a slender stem enclosing an air spiral around an opaque gauze core over a conical foot, 18.8cm. £250­350

Provenance: a private London collection. Paper label for A. Churchill Glass.

8 A wine glass of probable Jacobite significance, c.1750, the pan­topped bowl engraved with a band of flowers including rose, carnation and honeysuckle, raised on a slender swollen airtwist stem and conical foot, 15.5cm. £400­600

Provenance: a private London collection.

9 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, 17.8cm. £400­600

Provenance: a private London collection.

10 A small wine glass of possible Jacobite significance, c.1760, the slight ogee bowl engraved with a rose and bud spray and a single moth, raised on a multi­series opaque twist stem and conical foot, 13.5cm. £100­200

Provenance: a private London collection.

11 A Williamite wine glass, c.1760, the generous drawn trumpet bowl engraved with the king on horseback brandishing a sword, the reverse with laurel swags enclosing ‘Boyne July 1st 1690’, around the rim inscribed ‘The Glorious Immortal Memory of King William III’, raised on a plain stem enclosing a single tear, the foot trimmed, 16cm. £250­350

Provenance: a private London collection.

13 A chinoiserie subject wine glass, c.1740­50, the drawn trumpet bowl engraved with a continuous scene of a Chinese figure holding a tethered bird beside an arched bridge and trees, raised on a plain stem enclosing a long tear over a folded conical foot, 14.7cm. £150­250

Provenance: a private London collection.

12 An unusual wine glass, c.1770, the bell bowl finely engraved with a formal design of interlaced fruiting branches issuing from a shaped trellis border, raised on an airtwist stem with shoulder knop, 17cm. £150­250

Provenance: a private London collection.

14 Two wine glasses, c.1740­60, with bell bowls, one raised on a thick plain stem above a folded conical foot, the other on a cable airtwist stem over a folded conical foot, the foot with an amateur engraved inscription reading ‘S Baker 1765’, 16.5cm. (2) £150­250

Provenance: a private London collection.

15 A large Beilby glass or goblet, c.1770, painted in white enamel with a growing grapevine, delicate flowers painted around the roots, raised on a multi­series opaque twist stem over a conical foot, the foot trimmed, 17.7cm. £1,000­1,500

Provenance: a private London collection.

16 An unusual Beilby wine glass, c.1770, the drawn trumpet enamelled in white with a spray of fruiting grapevine, the reverse with a small plum sprig, raised on a multi­series opaque twist stem above a conical foot, the rim with traces of gilding, 18cm. £1,000­1,500

Provenance: a private London collection.

It is more usual for glass of this type to be decorated with a continuous band of fruiting vine; the fruit sprig is an unusual addition.

17 A colour twist wine glass, c.1770, the bell bowl raised on a stem enclosing green, red and white spirals around a central core, over a conical foot, 16cm. £600­800

Provenance: a private London collection.

18 A small colour twist wine glass, c.1765, the round funnel bowl raised on a stem with spiral gauze core interlaced with an opaque tape edged in green and red, over a conical foot, the foot trimmed, 14.5cm. £600­1,000

Provenance: a private London collection.

19 A small colour twist wine glass, c.1765, the round funnel bowl raised on a stem enclosing opaque twists around a single red spiral, over a conical foot, 15cm. £600­1,000

Provenance: a private London collection.

20 A colour twist wine glass, c.1770, the bell bowl raised on a stem enclosing a narrow white thread around a white tape edged in green and red, over a conical foot, 16.8cm. £600­800

Provenance: a private London collection.

21 A rare mixed colour twist wine or ale glass, c.1765, the slender round funnel bowl raised on a mixed twist stem with blue spiral around a cable airtwist, over a conical foot, 19.4cm. £1,500­2,000 Provenance: a private London collection.

Five small wine glasses, c.1760­70, four with ogee bowls raised on multi­series opaque twist stems, one with wrythen moulding to the base, another gilded with grapevine, possibly in the Giles atelier, another engraved with an ovolu border, the fifth glass with a pan­topped bowl over a facet cut stem, 15cm max. (5) £200­300

Provenance: a private London collection.

23 A matched set of six small wine glasses, c.1760, the ogee bowls engraved with simple flower sprigs, raised on double series opaque twist stems over conical feet, some foot faults, 13.5cm max. (6) £200­300

Provenance: a private London collection.

24 Two glass rummers, c.1800, with generous flared bucket bowls raised on short plain stems, and a Richardsons of Stourbridge vitrified enamel goblet, decorated with three bands of reeds, 16.7cm max. (3) £80­120

Provenance: a private London collection.

25 An Irish cut glass bowl or centrepiece, c.1820, of navette shape, the turnover rim cut with bands of fluting, raised on a bobbin stem and a fluted foot, 34.5cm across. £250­350

Provenance: a private London collection.

26 A Dutch­engraved Newcastle light baluster glass, c.1740­50, the round funnel bowl well engraved with the Royal coat of arms flanked by crowned lions and bearing the motto of the Order of the Garter ‘Honi Soit Qui Mal Y Pense’, raised on a slender stem with central annulated knop flanked by shoulder and basal knops over a conical foot, 19.5cm.

Provenance: a private London collection.

£400­600

27 A Dutch engraved goblet, mid 18th century, the tall round funnel bowl engraved with a three­masted ship at sail to one side, the other with a farmer tending a horse­drawn plough, inscribed ‘T: STAT: EN LANDIS WEL VAAREN’ for the welfare of the state and lands, raised on a coloured baluster stem enclosing red threads, over a folded foot, 21.3cm. £250­350

Provenance: a private London collection.

28 A Dutch engraved armorial glass, mid 18th century, the tall bowl engraved with seven armorial crowned shields for the Republic of the Seven United Netherlands, beneath the inscription ‘HET WEL VAEREN VAN DESE HEEREN STAATEN’ (Properity to these lords), raised on a faceted baluster stem over a conical foot, 20cm.

Provenance: a private London collection.

£300­500

30 A Venetian or façon de Venise latticino glass or goblet, probably late 17th century, the deep round funnel bowl decorated with vertical stripes of vetro a retorti and a fili, with a single collar over a propeller stem, raised on a conical foot, 15cm. £800­1,200

Provenance: a private London collection.

29 A façon de Venise glass or goblet, 2nd half 17th century, the wide flared bowl rising from two collars above a hollow quatrefoil knop, over a folded conical foot, 15.2cm. £600­800

Provenance: a private London collection.

31 A Venetian or façon de Venise winged wine glass or goblet, 17th century, the rounded funnel bowl raised on an elaborate slender coiled stem enclosing red and white threads, applied with pincered wings, above a short plain section with basal knop, 18.5cm. £400­600

Provenance: a private London collection.

2,000

Provenance: a private London collection.

Glasses of this vetri a serpenti shape originated in Venice in the 16th century, but became highly fashionable elsewhere and were produced across Germany and the Lowlands. Although made in relatively high quantity, few have survived.

Cf.

1975:11206

32 A rare façon de Venise winged serpent­stemmed glass or goblet, 17th century, the tall rounded funnel bowl raised on an elaborate stem with coiled rope enclosing white threads, applied at the sides with pincered wings in bright turquoise, above a folded conical foot with small basal knop, 29cm. £1,500­

The Metropolitan Museum, Accession No.

for a similar example from the Robert Lehman Collection.

END OF COLLECTION

33 A rare façon de Venise serpent stemmed glass flute, 17th century, the tall slender bowl raised on a hollow spiral­moulded baluster stem winged with blue coils and pincered wings over a conical foot, 19.3cm. £1,000­1,500 Provenance: a private London collection.

OTHERPROPERTIES

1,200

Cf. Museum für Kunsthandwerk, Frankfurt, catalogue Glas, p. 71, fig. 131 and p. 81 for a similar tazza. Another tazza also related in shape in the Museo Vetrario, Murano, was shown in the 1000 Years of Venetian Glass exhibition, Correr Museum 1982, p. 116, no. 145.

34 A large façon de Venise glass or goblet, late 17th century, the deep U­shaped bowl raised on a hollow baluster shape stem flanked by collars, over a folded conical foot, 20.3cm. £800

35 A small façon de Venise wine glass, late 17th century, with deep funnel bowl raised on a hollow stem over a folded conical foot, the glass of a pale orange hue, 15cm. £300­500

36 A façon de Venise tazza, late 16th/17th century, the fine glass of a pale yellow hue, the wide undulating bowl with moulded ribs and everted rim, set on a hollow inverted baluster stem over a small flat foot, 16.1cm high. £800

37 Two balustroid wine glasses, c.1740­50, one with a slender bell bowl over a plain stem with baluster section above a basal knop, the other with a round funnel bowl over a double­knopped stem, both above folded conical feet, 17.2cm max. (2) £200­300

38 A wine glass and an ale glass, c.1760, the wine with an ogee bowl with everted rim, raised on an opaque twist tape stem with swollen knop, the tape with a slight pink tinge, the ale glass with vertical moulded flutes to the bowl, raised on an opaque twist stem with spirals enclosing a gauze core, 17.8cm max. (2) £150­250

39 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) £100­150

40 A mead glass and a balustroid wine glass, c.1740­50, the former with a shallow bowl raised on a swollen plain stem, the latter with a bell bowl over collars above a balustroid stem enclosing a long tear, over a folded foot, 17cm max. (2) £100­200

41 Three wine glasses, c.1760, two with vertical moulded flutes to the bowls, one on a plain stem, the other with a knopped double series opaque twist stem, the last with a rounded funnel bowl on an opaque twist stem, together with a firing glass with drawn trumpet bowl over a thick foot, footrim chips to two of the wines, 16cm max. (4) £100­200

42 Four various glasses, c.1750­70, including a wine with a bell bowl raised on a multi­knopped stem, a soda firing glass with drawn trumpet bowl on an opaque twist stem, a small wine or liqueur glass, and an unusual short ale glass probably later engraved with a Jacobite rose, 16.2cm max. (4) £150­250

43 Three wine glasses and a firing glass, c.1750­70, two with bell bowls over opaque twist stems, one engraved with grapevine, the other wine glass with an ogee bowl engraved with a bird and sunflower on a plain stem over a folded foot, the Continental firing glass with a colour twist stem of red and white, 17cm max. (4) £200­300

44 Two large wine glasses, c.1760, with drawn trumpet bowls rising from thick airtwist stems above conical feet, one with later diamond point engraving inscribed ‘W Taylor 1836’, and a pair of Dutch wine glasses, c.1770, the bell bowls raised on knopped opaque twist stems, 18.3cm max. (4) £150­250

45 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 a swollen airtwist stem and conical foot, 15.8cm. £300­400

47 An ale glass of Jacobite significance, c.1760, the slender funnel bowl engraved with a rose and bud spray, raised on a double­knopped airtwist stem over a conical foot, 20.3cm. £800­1,200

46 A wine glass of Jacobite significance, c.1760, the bucket bowl engraved with a rose and bud spray, a star, oakleaf and the word ‘Fiat’, raised on a double­knopped airtwist stem over a conical foot, 15.5cm. £500­800

48 A large wine glass or goblet of Jacobite significance, c.1760, the generous drawn trumpet bowl finely engraved with a continuous band of flowers including rose, carnation, narcissus and passionflower, with flying insects alongside, raised on a thick airtwist stem above a conical foot, 22cm. £1,000­1,500

49 A large wine glass or goblet of Jacobite significance, c.1770, the deep funnel bowl engraved with a daffodil, the reverse with a thistle­like flower spray, raised on a faceted stem, 18.5cm. £200­300

51 A rare champagne or mead glass, c.1750, the bowl engraved with a formal floral and foliate border, raised on a triple­knopped stem, the central ball knop enclosing two rows of tears, raised on a domed and folded foot, 13.8cm. £150­250

50 A small wine glass of Jacobite significance, c.1760, the round funnel bowl engraved with a rose and bud spray and a star, raised on a doubleknopped airtwist stem over a conical foot, 15.9cm. £500­800

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) £400­600

engraved with a band of fruiting grapevine over moulded flutes, a large cut glass sweetmeat with facet cut decoration, and a small glass tazza raised on a baluster stem above a domed and folded foot, 20.8cm max. (3) £120­180

300

52 Three

53 Three sweetmeat glasses, c.1740­50, two with moulded bowls, raised on pedestal stems above domed and folded feet, the last with a plain bowl over a hollow stem above an annulated knop and domed folded foot, 17cm max. (3) £200

54 A large rummer, c.1780

90, the deep bowl

55 A pair of small wine glasses of possible Jacobite significance, c.1770, the ogee bowls engraved and polished with a sunflower spray and a large moth, raised on knopped faceted stems, 13.8cm. (2) £150­250

56 A pair of small wine glasses of Jacobite significance, c.1770, the round funnel bowls engraved and polished with a rose and bud spray, the reverses with a single bee, raised on faceted stems above conical feet, 14.7cm. (2) £250­350

57 Three small wine glasses, c.1740­60, one of Lynn type and moulded with horizontal ribs over an opaque twist stem, another with drawn trumpet bowl over a plain stem and folded conical foot, the last with round funnel bowl over a faceted stem, the Lynn with a replacement foot, 14.9cm max. (3) £150­200

58 A pair of small wine glasses, c.1770, the round funnel bowls engraved and polished with rose and other flower sprays, and a third glass with plain bowl, all raised on facet cut stems over conical feet, 14.5cm max. (3) £100­200

59 Five small wine glasses of possible Jacobite significance, c.1770, the round funnel bowls engraved and polished with a spray of lily­of­the­valley, the reverses with a bee, raised on short facet cut stems, 12.2cm. (5) £100­200

60 An English glass roemer for the export market, 18th century, the cup shaped bowl raised on a wide stem with raspberry prunts, two small wine glasses, one with a moulded funnel bowl on an opaque twist stem, a modern goblet etched with a medieval hunting scene, and a large glass tazza raised on a pedestal stem, 32.2cm max. (5) £200­300

61 A large toasting or mixing glass, late 18th century, the generous round bowl raised on a short plain stem and conical foot, 26.5cm. £100­200

62 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. £150­250

63 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, some grinding to the rim, 14.3cm. £400­600

65 A deceptive baluster dram glass, c.1710­20, with a thick­walled funnel bowl rising from a teared knop over a short plain stem, all on a folded conical foot, 11cm. £400­600

64 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. £150­200

66 Two wine glasses, c.1760, one with a ball bowl with teared solid base, over an airtwist stem with swollen shoulder knop, the other with a tall drawn trumpet bowl over a dense airtwist stem, 19.5cm max. (2) £150­250

67 A composite stem wine glass, c.1750, the bell bowl raised on an airtwist stem above a beaded drop knop and short plain stem, over a conical foot, 17.3cm. £150­250

68 A Continental wine glass, 1st half 18th century, the funnel bowl engraved with a wide foliate border, raised on a baluster stem over a basal knop, above a folded conical foot, 15.5cm. £150­250

69 A toasting glass and a wine glass, c.1760, the former with a tall drawn trumpet with flared rim, raised on a slender multi­series opaque twist stem, the wine glass with round funnel bowl raised on an airtwist stem with shoulder knop, 19.5cm max. (2) £150­250

70 Three wine glasses, c.1760, one with a flared bucket bowl over a mixed twist stem, another with a waisted bucket bowl over an opaque twist stem, the last with an ogee bowl over an opaque twist stem and conical foot, some faults to the feet, 18.2cm max. (3) £100­150

72 A small façon de Venise albarello or pharmacy jar, late 17th/18th century, of waisted form with everted rim, 9.8cm. £200­300

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

73 A commemorative glass rummer or toasting goblet, early 19th century, commemorating four naval victories of Admirals Howe, St Vincent, Duncan and Nelson, inscribed with their names and respective dates of their victories, over fabric swags suspended from paterae and anchor shields, one roundel inscribed with the initials ‘JED’, 20.2cm. £400­600 Provenance: from a private collection. Purchased from Asprey Plc. on 18th June 1986.

400

74 A commemorative glass rummer, early 19th century, well engraved with a view of the Anglican cathedral in Newcastle, titled ‘St Nicholas Church Newcastle’, the reverse with a lozenge panel enclosing the initials ‘WCW’ beneath floral swags, raised on a lemon squeezer base, 15.2cm. £300

75 A commemorative glass rummer, 1st half 19th century, the funnel bowl engraved with fabric swags enclosing the names of four Royal Navy admirals, Nelson, Howe, St Vincent and Duncan, raised on a short stem and thick conical foot, 13cm. £300

400

76 A pair of glass decanters and stoppers, c.1760­70, of mallet form, around the foot polished with vertical fluting, the tapering necks applied with two concentric rings, with flattened stoppers, 28.2cm. (4) £200­300

77 An Irish glass decanter and stopper, c.1820, probably Waterloo Glass Works of Cork, of Prussian shape, the base with a band of vertical moulded flutes, the neck applied with three annulated rings, and a square decanter engraved with stylized sunflowers and titled ‘RUM’, 25.8cm max. (4) £100­150

78 An Apsley Pellatt & Co sulphide decanter and stopper, c.1820­25, the facet cut body applied with an armorial sulphide for the Rainier family, including the motto ‘Laurus Crescit in Arduis’ (The laurel grows in steep places), a little chipping to the stopper, 21cm. (2) £150­200 Cf. Victoria and Albert Museum, Accession No. C.4:1-2005 for a similar example with a ducal crest for the brother of George IV.

79 A large and rare composite stem glass candlestick, c.1740, the deep sconce with wide drip pan, raised on a shallow beaded knop over an inverted Silesian stem above annulated rings and a beaded baluster knop, all raised on a moulded helmet foot, 25.7cm. £400­600

80 An Irish cut glass piggin and stand, early 19th century, cut with deep flutes and a heart­shaped border, and a cut glass jug, 20.5cm max. (3) £100­150

82 A small pair of cut glass table lustres, 1st half 19th century, the stems cut with hobnail bands over starcut bases, the rims each hung with ten sets of hexagonal and rectangular lustres, 15.8cm. (2) £250­350

81 An Irish cut glass tazza or centrepiece, early 19th century, the circular bowl with a deep everted rim cut with a rhomboid design, raised on a knopped plain stem over a square lemon squeezer foot, 23.5cm dia. £150­250

83 A Murano glass latticino side plate, decorated with radiating spirals in red and white, extending to a shaped rim, 18.3cm. £100­150

84 A miniature French latticino glass flask or bottle and glass, c.184550, possibly Clichy, with spiralling stripes in blue and white, the flask 8.2cm high. (2) £100­150

85 A large Baccarat pansy paperweight, c.1850, set with a large flower with starburst centre, and a single bud, with a starcut base, 7.5cm dia. £150­250

86 An English cameo glass lampshade, 19th/20th century, applied in white with branches of blossom on a dark pink ground, together with an opaque glass dish or stand modelled as an upturned hat, 16.3cm max. (2) £100­150

Provenance: a private collection. Purchased from Phillip’s, London, 9th December 2001, lot 16.

87 A Viennese transparent­enamelled beaker, 19th century, decorated with a continuous landscape panel, and three Bohemian glasses or goblets, two flashed in amber and engraved with titled scenes of German and Czechoslovakian castles, the last with ruby­flashed panels engraved with flowers and other motifs, 14.2cm max. (4) £200­300

88 Literature: Charles R. Hajdamach, British Glass 1800­1914; James Rush, The Ingenious Beilbys; Phelps Warren, Irish Glass; Museum of London, Whitefriars Glass; and a number of other books and periodicals relating to glass collecting and history. (A lot) £80­120

89 A set of three green glass decanters and stoppers in an ebonised wood frame, c.1800, of mallet shape, each decorated with a gilt bottle ticket inscribed ‘Hollands’, ‘Brandy’ and ‘Rum’, 25cm overall. (7) £150­250

90 Three blue glass decanters and stoppers, c.1800, of mallet shape, each gilded with a bottle ticket titled ‘Brandy’, ‘Rum’ and ‘Hollands’, and a larger emerald green glass decanter with silver­mounted cork stopper, 25cm max. (8) £100­200

91 Eight coloured glass finger bowls, 1st half 19th century, of plain Ushaped form in cobalt blue, amethyst, emerald green and turquoise glass, 9cm high max. (8) £100­200

92 Three amethyst glass rinsers, c.1800, three small milk or cream jugs in blue or amethyst, one with wrythen moulding, a pair of amethyst glass salts on wide circular feet, and a sugar bowl or other pot and cover, 12cm max. (10) £150­250

93 Five glass cruet or sauce bottles and stoppers, late 18th/early 19th century, four of cobalt blue glass, one emerald green, decorated with gilt bottle tickets inscribed ‘Anchovy’, ‘Tarragon’, ‘Kyan’, ‘Anchovie’ and ‘Cayenne’, 13.2cm max. (10) £100­200

94 Two wine bottles, early 18th century and later, one of onion shape, of a pale green hue, the other applied with a seal embossed ‘CONSTANTIA WYN’ and dated 1835, 29cm max. (2) £200­300

Constantia was a South African dessert wine that was widely exported to Europe during the 18th and 19th centuries. It is referenced in Jane Austen’s Sense and Sensibility when Mrs Jennings recommends for Marianne a glass of “finest old Constantia wine” to cure her broken heart.

95 A small glass wine bottle, early 18th century, of onion shape, a short tapering neck issuing from the squat body with kick­in base, surface lustre from water immersion, some chipping to the string rim, 12.7cm high.

Provenance: from the collection of the late Jonathan Horne.

£100­200

96 A massive Murano glass goblet by Giampolo Ghisetti, 20th century, the waisted bowl painted with a panel copying Antoine Watteau’s L’Amore al Teatro Francese, within elaborate gilt foliate scrolls on a ruby glass ground, raised on a stem with moulded and gilded hollow knop over a tall conical foot, the foot titled to a panel, signed ‘Murano’ and ‘Ghisetti’, 48.3cm.

£200­300

97 A glass jug of Nailsea or Wrockwardine type, late 18th century, the pale green glass with striations in white and brown, and a pale blue soda glass serving bottle, with long tapering neck applied with a single string, 25.5cm max. (2) £100­200

FROM THE COLLECTION OF THE LATE JONATHAN HORNE

LOTS 98 – 143

JONATHAN HORNE MBE (1940-2010)

Jonathan Horne was one of the most influential figures in the field of English ceramics for over forty years. Alongside a long­running career as a dealer, Jonathan was Fellow of the Society of Antiquaries, Freeman of the City of London and Liveryman of the Stationers' Company, to list a few, and actively involved in founding the Society for Post­Medieval Archaeology and the Guild of Arts Scholars, Dealers and Collectors. In 2010, Jonathan was awarded an MBE in recognition of his tireless dedication to promoting the study and collecting of English ceramics.

Jonathan developed his interest in historical artifacts from a young age, participating in a number of archaeological digs while still at school. Lullingstone Roman Villa, Reculver and Dover Roman Forts were all sites on which he assisted, and from 1954 he actively worked for the Kent Archaeological Rescue Unit. Unusually for his time, Jonathan acquired an early fascination for post­Medieval archaeology, then still an overlooked field. This interest would shape not just his professional specialism but also his involvement in founding the Society for Post­Medieval Archaeology in 1966, of which he would later become Vice President.

Alongside his scholarly interest in ceramics, Jonathan was also a formidable dealer. He opened his first stall in Portobello Road in 1968 and within four years was admitted to the British Antique Dealers’ Association (BADA), of which he would serve as Chairman between 2000­2003. Jonathan moved to his premises on Kensington Church Street in 1976, and later merged his business with Alistair Sampson Antiques, another significant force in the field of antique pottery, taking on the name Sampson & Horne in 2006. Jonathan remained heavily invested in integrating scholarship and dealing throughout his career. He published a number of monographs, now standard reference texts, to accompany his regular exhibitions, and also played a significant part in founding the Guild of Arts Scholars, Dealers and Collectors in 2005, of which he would act as Master in 2008­2009.

We are delighted to offer in this sale forty­five lots from his collection, which demonstrate his broad knowledge of pottery and his eye for the esoteric. Highlights include a number of tiles illustrated in his reference work English Tin-Glazed Tiles, a large maiolica dish attributed to Bernard Palissy (Lot 129) and a John Dwight stoneware bottle (Lot 100)

98 A large medieval earthenware jug, c.14th century, probably London, the generous rounded body decorated in a greenish­yellow glaze, traces of incised decoration, applied with a wide strap handle, with pinched decoration to the foot, a smaller jug with traces of a green glaze beneath the spout, and a post­medieval jug partially decorated with a treacle glaze, some damages and repairs, 29cm max. (3) £800­1,200

Provenance: from the collection of the late Jonathan Horne.

The largest jug with an old paper note stating it was excavated in Red Cross Street, London, 18ft below the surface.

Cf. Bernard Rackham, Medieval English Pottery, no.32 for a similar example. The smallest is encrusted with barnacles and has clearly spent a considerable time immersed in water.

99 A Tudor Green chamber pot, c.16th century, the round form decorated inside and out with a rich green glaze, and a shallow earthenware cooking pot with a green glaze to the interior, the chamber pot’s handle lacking, 16.5cm dia. max. (2) £100­200

Provenance: the collection of the late Jonathan Horne.

An identical chamber pot is on display at Shakespeare’s birthplace in Stratford-on-Avon.

101 A large Fulham stoneware flagon or serving bottle, 19th century, of four gallon size, impressed inscription ‘335 George Dady Norwich’ beneath the spout, the handle impressed with a 4, beneath that ‘Fulham Stone Pottery Glazed Inside’, and a smaller stoneware flagon with a buff glaze, 46cm max. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

George Dady was landlord of The Walnut Tree Shades pub in Norwich, and is listed as a wine and spirit merchant in directories of the 1850s. He died in a suspected suicide in 1859 at the age of 27, having been found drowned in a cistern after experiencing financial worries. His wife took over the pub but was killed the following year in a gunpowder explosion. Their two young children were rescued from the blast by a passing sailor and were cared for by their grandparents before being transferred to a London orphanage in 1865.

100 A John Dwight (Fulham) stoneware bottle, c.1675­90, the pearshaped body rising from a tall foot, the tapering neck incised with concentric bands, the grooved handle with a long rat­tail terminal, 17cm.

Provenance: from the collection of the late Jonathan Horne. Exhibited: 1993, John Dwight Exhibition.

£800­1,200

103 A large Godstone ‘Iron Pear Tree’ gout water bottle, c.1745, the tall body applied to the shoulder with two plaques, one depicting a man on crutches crying ‘Oh the Gout!’, the other a healthy man titled ‘Drink and be well’, incised beneath ‘Iron Peartree Water / near Godstone, Surry’, the handle lacking, 38cm. £600­1,000

Provenance: from the collection of the late Jonathan Horne. Surrey Archaeological Society reports that a Surrey landlord named Mr Bonwick sank a new well on his land, near to a pear tree, so he did not have so far to walk for water (being troubled with gout).

After using the water for some time he found he had lost his gout, and used it to brew his beer. Legend has it that the taste was not popular and the unfortunate Mr Bonwick then lost his customers along with his gout. However, for a period of time the Peartree Water was highly fashionable in London and was mentioned by Horace Walpole in a letter to Sir Horace Mann in 1753.

102 A large Godstone ‘Iron Pear Tree’ gout water bottle, c.1745, the tall body applied to the shoulder with two plaques, one depicting a man on crutches crying ‘Oh the Gout!’, the other a healthy man titled ‘Drink and be well’, incised beneath ‘Iron Peartree Water / near Godstone, Surry’, 36cm.

£1,000­1,500

Provenance: from the collection of the late Jonathan Horne.

Surrey Archaeological Society reports that a Surrey landlord named Mr Bonwick sank a new well on his land, near to a pear tree, so he did not have so far to walk for water (being troubled with gout).

After using the water for some time he found he had lost his gout, and used it to brew his beer. Legend has it that the taste was not popular and the unfortunate Mr Bonwick then lost his customers along with his gout. However, for a period of time the Peartree Water was highly fashionable in London and was mentioned by Horace Walpole in a letter to Sir Horace Mann in 1753.

104 A massive English stoneware flagon, dated 1723, the base set with a tap aperture, incised ‘Hen Hosey 1723’ above an applied plaque of a winged female figure or angel, 45cm.

£400­600

Provenance: from the collection of the late Jonathan Horne.

A Henry Hosey of Aldgate is listed as marrying Lydia Johnson on 15th October 1706. He is mentioned in the records of the Old Bailey in 1721 as the victim of the theft of a black gelding. He may well have been a publican in the City of London.

105 A Rhenish stoneware Bellarmine (Bartmannskrug), 17th century, the tapering neck applied with a bearded mask above an armorial shield in an oval cartouche, the handle restored, some chipping to the foot, 22.6cm.

Provenance: from the collection of the late Jonathan Horne.

£200­300

106 A German stoneware Bellarmine (Bartmannskrug), possibly 16th century Cologne/Frechen, the squat body applied with a band of writing to the middle, between leaf motifs and portrait roundels, the neck and shoulder with a bearded mask, replacement handle, other small restorations, 17.8cm.

Provenance: from the collection of the late Jonathan Horne.

£250­350

Provenance:

200

108 A large Staffordshire redware teapot or punch pot and cover, c.1760, the cylindrical form sprigged with figures at various pursuits with birds and objects, between formal foliate and trellis designs, some chipping to the edge of the cover and spout, 7.5cm across. (2) £100­200

Provenance: from the collection of the late Jonathan Horne.

109 A small collection of Chinese Yixing tea wares, 19th century and later, including three teapots and covers, one with an inner vessel, and a part miniature service comprising a sugar bowl and cover, a milk jug, three teabowls and three saucers, 17cm max. (16) £200­300

Provenance: from the collection of the late Jonathan Horne. The three teapots formerly in the Joseph Jackson Collection of Teapots, exhibited at Law Fine Art, 24th April 2001.

110 A study collection of pottery, porcelain and glass sherds, including a 17th century fragment of a bellarmine by William Killigrew, an Akan pottery head, a number of Chinese porcelain fragments, part of a slipware chamberpot, a number of delftware wasters and kiln saggers. (A lot) £50­80

Provenance: from the collection of the late Jonathan Horne.

107 A large salt­glazed stoneware tureen and cover, c.1760­70, the oval form crisply moulded with varying diaper panels on a basketweave ground, some faults, 33cm across. £100

from the collection of the late Jonathan Horne.

111 A small commemorative pearlware lustre plaque, c.1820, moulded in relief with a head and shoulders profile portrait of Queen Caroline, wearing a ruff collar and plumed hat, surmounted by a crown and the initials ‘QC’, decorated with a green and yellow frame, and a pearlware scent bottle with screw cover, modelled as a sleeping baby on a rectangular cushion, the plaque broken and restuck, 15cm max. (3) £150­250

Provenance: from the collection of the late Jonathan Horne.

Cf. John & Jennifer May, Commemorative Pottery 1780-1900, pl.54 for a similar plaque.

112 A Whieldon octagonal plate and a bowl, c.1760­70, the plate decorated with splashes of blue, green and ochre on a black ground, the bowl washed in green and manganese, together with a Pratt ware moon flask, painted with stylized flower sprays, the neck impressed ‘GL’, 24cm max. (3) £100­200

Provenance: from the collection of the late Jonathan Horne.

113 Three ointment pots, 18th and19th centuries, two delftware and decorated in a greenish turquoise glaze, the last pearlware and printed for Beach & Barnicott, and a Westerwald stoneware water stoup, damages, 13cm max. (4) £50­80

Provenance: from the collection of the late Jonathan Horne.

114 A delftware sweetmeat or hors d’oeuvres dish, c.1750, probably Liverpool, of heart shape, painted in blue with a central peony spray within a trellis border, some good restoration, 12cm. £50­80

Provenance: from the collection of the late Jonathan Horne.

116 A German faïence jug, 18th century, the squat spiral­moulded body decorated in a rich turquoise glaze, with a pewter mount to the foot and a hinged pewter cover inscribed ‘MR’ and ‘HSM’, 16.8cm high. £150­250 Provenance: from the collection of the late Jonathan Horne.

115 A delftware wall pocket, c.1760, of spiral­moulded cornucopia form, the rim moulded and painted with three roses linked by a leafy branch on a blue pointillist ground, the back pierced with two suspension holes, a chip to the end, 20cm. £250­350 Provenance: from the collection of the late Jonathan Horne.

117 A delftware spittoon, c.1760, the rounded base painted in blue with large flowering plants, the deep flared rim with a trellis border to the inside, the exterior with a formal stiff leaf band, 8cm high. £150­250 Provenance: from the collection of the late Jonathan Horne.

118 Two delftware plates, c.1760­80, one painted in blue with European travellers in a landscape, a man standing and looking down to his seated companion, the other painted in manganese with a solitary traveller beside trees and garden statuary, some chipping, 22.5cm max. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

120 Two delftware plates, c.1750­70, one painted in blue, manganese and yellow with three Chinese figures beside long­tailed pheasants, the other with a solitary figure beside bamboo and an ornamental fence, pointing into the distance, some rim chipping, 22.5cm. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

119 Two delftware chinoiserie plates, c.1750­70, one painted in polychrome enamels with a figure standing beside a pagoda and a large flying insect, the other with a seated figure reaching up to a bird in flight, reserved on a powdered blue ground, some glaze chipping, 22.5cm max. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

121 Three delftware plates, c.1750­70, one Bristol and painted in the Fazackerly palette with a flower arrangement within a bianco-sopra-bianco border, another Liverpool and painted with figures on a bridge before low huts on an island, the last painted with a lady in a wide hat looking at a large bird perched on a fence, within a panelled diaper border, 23.3cm max. (3) £150­250

Provenance: from the collection of the late Jonathan Horne.

122 Two large delftware chargers, c.1780, simply decorated in blue or manganese with a small central flower sprig, the rims with formal diaper borders, 34.7cm. (2) £100­150

Provenance: from the collection of the late Jonathan Horne.

123 A delftware shallow bowl or tureen, c.16901720, the squat circular form painted with Chinese figures seated in a garden landscape, applied with two scroll handles with blue dash decoration, possibly lacking a cover, some chipping, 18cm dia. £200­300

Provenance: from the collection of the late Jonathan Horne.

124 A rare Brislington delftware plate, c.1720, painted in polychrome enamels with a jumping boy figure beside a vase of flowers on a low table, within a panelled trellis border, together with a similar shallow soup plate depicting a dancing Chinese figure before an ornamental fence, a repair to the latter, 22.5cm max. (2) £500­800

Provenance: from the collection of the late Jonathan Horne. Paper label for Garry Atkins to the former.

126 A Bristol delftware plate, c.1730, of primitive shape, painted in manganese with a standing Chinese figure flanked by sponged trees, and a shallow dish, perhaps Dutch, painted in blue with a European traveller between sponged trees and bushes, cracks, 25cm max. (2) £100­200

Provenance: from the collection of the late Jonathan Horne.

125 Two delftware plates, c.1720­40, probably London, one painted in manganese and yellow with a dog carrying a stick between tall sponged trees, the other in blue and black with a leaping stag beneath sponged trees within a scalloped blue border, some rim faults, 21.8cm max. (2) £300­500

Provenance: from the collection of the late Jonathan Horne.

£100­200

127 An unusual delftware plate, c.1730­40, painted with a short figure wearing a hat, flanked by tall trees sponged in manganese, broken and cleanly repaired, 22cm.

Provenance: from the collection of the late Jonathan Horne. Formerly in the collection of Sir Ivor Bertie Guest, 1st Baron Wimborne.

128 A large delftware charger, c.1720­30, probably London, painted in polychrome enamels with Chinese figures in a garden setting, the rim with further figure vignettes, repaired, 36.7cm. £100­200

Provenance: from the collection of the late Jonathan Horne.

129 A large maiolica dish attributed to Bernard Palissy, c.1600, moulded in high relief with a Bacchanalian scene, showing the drunken Bacchus being supported by a youth, beside a dancing maiden and a piper, the pierced rim with four mask heads, broken and repaired, 49cm. £1,000­1,500 Provenance: from the collection of the late Jonathan Horne.

130 A cuerda seca tile fragment, c.15th century, probably Timurid Empire, Uzbekistan, moulded in high relief with panels edged by foliate scrolls, brightly decorated in white, black, green, blue and turquoise, mounted on a later stand, fragmentary, the tile 32.5cm. £200

300 Provenance: from the collection of the late Jonathan Horne.

132 Four Delft paving tiles, 17th and 18th centuries, three painted with a panel containing a single tulip, within blue fleur de lys corners, the fourth with a fritillary within fleur de lys borders, some chipping, 13.2cm max. (4) £100­200

Provenance: from the collection of the late Jonathan Horne.

131 Four Delft paving tiles, 17th century, London or Antwerp, painted in blue, green, ochre and umber with a geometric design enclosing a stylized flowerhead, the corners with foliate motifs, a pinhole in each corner, 13.5cm. (4) £150­250

Provenance: from the collection of the late Jonathan Horne.

133 Five Delfttiles, 17th century, variously decorated in blue, green, ochre and manganese with flower specimens, one of smaller size with a pomegranate spray, some faults, repainting to one, 13.5cm max. (5)

Provenance: from the collection of the late Jonathan Horne.

£100­200

134 A Pickleherring delftware paving tile, early 17th century, painted in blue, green and ochre with a camel within a circular panel, and a Delfttile painted with a bird flanked by stylized plants, the corners with blue fleur de lys motifs, surface wear to the former, 13.4cm max. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

135 Three Liverpool delftware tiles, c.1775­80, two printed in black and enamelled in green, one with the muse Terpsichore standing before a tall pillar, the other with four maidens in an oval panel tied with ribbon, the last printed in manganese with a girl dancing to a fiddle accompaniment, signed ‘J Sadler Liverpool’, 12.8cm max. (3) £100­200

Provenance: from the collection of the late Jonathan Horne.

Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.132, fig.733 for the Muse tile.

136 Eight delftware tiles, c.1720­80, two Biblical and painted in blue and manganese with Job Smitten with Boils, The Return of the Prodigal Son, another London and painted with a shipwreck showing figures hanging from the rigging, another with figures and dogs reclining in a landscape, the others with figures in landscape scenes, one Bristol in the Bowen manner, 13cm max. (8) £150­250

Provenance: from the collection of the late Jonathan Horne.

Illustrated: Jonathan Horne, English Tin-Glazed Tiles, fig.79 for the shipwreck tile; fig.115 for the Bowen manner tile; fig. 167 for the tile with the figure blowing the horn.

137 A large London delftware tile, c.1725­50, painted in blue with a stag hunt scene showing two dogs in pursuit, on a sponged blue ground with leaf corners, and a larger tile painted with a soldier holding a lance and a shield, within a circular panel, 18.5cm max. (2) £100­200

Provenance: from the collection of the late Jonathan Horne.

Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.48, no.230 for the stag hunt tile.

138 Two delftware tiles, the first London c.1760­90, painted in blue with a smoking kiln and other buildings before a hayrick, the second Bristol and painted in manganese with a smoking kiln chimney, with flowerhead corners linked by a cell diaper band, some chipping, 13cm. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.46, figs.221 and 223.

139 Four Liverpool delftware chinoiserie tiles, c.1750­75, two painted in polychrome enamels with a standing Chinese figure within quarter flowerhead corners, another painted in blue with two Chinese figures, the last with a figure holding a long­handled net, within a floral panelled border, 12.8cm max. (4) £300­500

Provenance: from the collection of the late Jonathan Horne.

Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.58, figs.306 and 309.

140 A rare Nottingham brown stoneware tile, c.1750, attributed to Charles Morley, Beck Lane, incised with a stylized flower around a central concave well, the corners with geometric floral motifs, minor chipping, 13.1cm. £200­300

Provenance: from the collection of the late Jonathan Horne. Formerly the E N Stretton Collection.

Illustrated: Transactions of the Thoroton Society of Nottinghamshire, plate X, p.106 (year unrecorded)

141 A Liverpool delftware tile, c.1755­75, well painted in polychrome enamels with haymakers before tall ricks, and a Delft tile from a large panel, painted with two Chinese figures in colourful junks, each mounted in a later wooden frame, 14.5cm overall. (2) £150­250

Provenance: from the collection of the late Jonathan Horne.

142 Two London delftware tiles from a larger tile panel, c.1770­90, probably Lambeth, finely painted in blue with an equestrian figure and another standing figure before a tavern, a woman peering from behind an open door, mounted on a later wooden frame, 26cm across. £150­250

Provenance: from the collection of the late Jonathan Horne.

Illustrated: Jonathan Horne, Tin-Glazed Tiles, p.120, fig.678.

143 A delftware three tile part panel, c.1720­30, painted in blue with gnarled trees before ruined buildings, partially edged in blue, mounted in a later wooden frame, 42.9cm overall. £100­200

Provenance: from the collection of the late Jonathan Horne.

END OF COLLECTION

SIR HENRY SUTCLIFFE-SMITH LOTS 144-153

Sir Henry Sutcliffe­Smith was born in Halifax, the only surviving son of Frederick Smith and Martha Sutcliffe. From school he joined Edward Ripley & Sons, Bowling Dyeworks and followed an illustrious career in the textile industry. A special tableaux he designed for the Brussels Exhibition in 1910 earned three Grands Prix for the worsted industry of Bradford and earned Sir Henry a special diploma and a gold medal from the Belgian government. His career was largely centred around Bradford where he held positions including President of the Society of Dyers and Colourists, President of the Colour Council, Chairman of the Colour Users’ Association, Chairman of the local Conservative Association and Chairman of the Bradford branch of the RNLI. He had a keen interest in art and antiques, putting together a collection at his home at Ingerthorpe Grange, Ripon, that drew the attention of Queen Mary when Sir Henry entertained her at a tea party in 1935. He established a collection of Lord Nelson memorabilia which is housed at the National Maritime Museum in Greenwich. His love of art led him to become a Fellow of the British Institute of Industrial Art, and of the Royal Society of Arts.

Provenance:

144 A London delftware Royal Blue Dash charger, c.1702

14, painted in blue, yellow and green with a standing portrait of Queen Anne, holding an orb and sceptre and flanked by sponged trees around the letters ‘AR’, with a buff lead glaze to the reverse, broken in half and cleanly restored, further restoration to the rim, 34.3cm. £2,000­3,000

Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

Provenance:

145 A London delftware Royal blue dash charger, c.1690­95, painted with a full length standing portrait of King William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, inscribed ‘WR3’, within a blue dash and yellow border rim, the underside with a buff lead glaze, a faint rim crack, 34.5cm. £4,000­6,000

Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

Provenance:

146 A delftware Royal charger, c.1690­1700, probably London, painted with a full­length standing portrait of King William III in armour, holding an upright sword in his right hand and with his left on his hip, inscribed ‘WR’ above, within a double manganese line border, the underside with a pale lead glaze, a 13cm rim crack, 34cm. £2,000­3,000

Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

147 A London delftware Royal portrait plate or shallow dish, c.1690, painted in blue and ochre with the double portrait of King William and Queen Mary, each wearing a crown, William III in an ermine­edged robe, titled ‘W M R’ between the figures, all within two narrow concentric blue bands, some rim chipping, 21.4cm. £2,000­2,500

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent. Old paper label for Stoner & Evans.

148 A London delftware Royal portrait plate, c.1690, painted in blue and yellow with the double portrait of King William and Queen Mary, each wearing a crown, William III in an ermineedged robe, titled ‘W M R’ between the figures, all within two narrow concentric blue bands, some glaze wear and crazing, 21.3cm.

£2,000­2,500

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

150 A London delftware large plate or charger, c.1765, painted in blue, green, yellow and manganese with a lady beckoning to a gentleman holding a tricorn hat as she sits beneath tall trees flanking a five bar gate, rim chips, 29cm. £300­500

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

149 A Delft Royal portrait charger, c.1690­1700, painted with a mid length portrait of William of Orange between the letters ‘KW’, the rim with a continuous band of tulips, WD monogram mark to the base, 35.2cm. £1,000­2,000

152 An ‘Ordinary’ Toby jug of Enoch Wood type, c.1800, seated with a large round jug of ale and holding his long­stemmed pipe in his right hand, wearing a lilac coat over a green waistcoat, raised on a faux marble base, some repairs to his hat, 24.6cm. £100­200

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

151 A creamware Step or ‘Twyford’ Toby jug, c.1780­90, seated with a jug in his left hand, a long clay pipe between his teeth, supporting the bowl with his right hand, decorated in a running treacle glaze, some restoration to the back of his head and hat, 24cm. £500­800

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

153 A Wood type Toby jug, c.1790­1800, seated with an upright barrel between his feet, a foaming jug of ale resting on one knee, wearing a sponged blue coat over black breeches and an ochre waistcoat, his hat sponged in grey, small damages to his hat and pipe, 25.4cm. £100­200

Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

154 A delftware punch bowl, 19th century, the exterior with a portrait of Admiral Nelson, a ship and polychrome flowers issuing from rockwork, the interior decorated with flower sprigs, restored, 30cm dia. £100­200

155 A large Delft punch bowl, c.1710, the exterior painted with exotic birds amongst flowers, bamboo and rockwork in blue, manganese and green enamels, the well painted with a scene of bamboo, flowering plants and rockwork, monogrammed mark possibly for Lambertus van Eenhorn, a little good restoration to the foot, 35cm dia. £500­700

156 An unusual Continental faïence jardinière or bough pot, 2nd half 18th century, the moulded base painted in polychrome enamels with flower sprigs and feathered panels, the tall domed section pierced with repeated holes, some chipping, 20.3cm. £100­150

157 A small French (Nevers) faïence vase, late 18th century, decorated with a blue spearhead band, the neck with stylized stiff leaves, and a faïence lidded preserve pot, painted in blue, ochre, green and manganese, the lid mounted with a metal hinge, some chipping to the lip of the vase, 16cm max. (2) £100­200

158 Five delftware plates, c.1740­60, one painted with bamboo and peony, another with a formal floral design, one of primitive shape and painted with stylized flower sprigs, another with willow over flowering plants, the last of small size and painted with peony sprays, some faults, 23cm max. (5) £100­200

159 A Delft syrup or wet drug jar, 18th century, inscribed in blue with ‘AMYGD:DVSC:’ within a cartouche topped by peacocks, a hexagonal Delft bottle vase painted with figures and a deer in a Chinese landscape, a Delft punch bowl painted with panels of flowers, and another with a powdered manganese exterior, some damages and restoration, 30cm max. (4) £150­250 Amygdala dulcis (sweet almond) continues to have a number of therapeutic uses, most commonly in the treatment of dry and irritable skin conditions.

160 A Brislington delftware plate, c.1720, painted in blue, red and yellow with a bird in flight above sponged manganese trees, another delftware plate painted in deep blue with two grazing rabbits beneath a tree, and a Delft plate painted with a seated woman holding a cornucopia, ‘PK’ monogram to the underside, the Brislington dish broken and riveted, 23.3cm max. (3) £200­300

161 A Delft teapot and cover, early 18th century, the globular body painted in blue with stylized leaf sprigs beneath a horizontal band, 19.2cm across. (2) £300­500

162 A large and rare Delft charger, 2nd half 17th century, well painted with a Chinese blue and white vase issuing a profusion of flowers including tulips and carnations in blue and yellow, with flying insects beside, broken and restuck, a rim section missing, 39cm. £50­100

163 A Delft apothecary or tobacco jar, 18th century, the ovoid form inscribed ‘Violet’ within a bold floral and foliate scroll motif painted in blue, a 6cm rim section lacking, 25.3cm. £150­200

Provenance: from the collection of Phillip Allen, 1938-2023.

164 A Delft vase and cover, 18th century, the flattened hexagonal form painted on one side with an elaborate cartouche featuring a couple playing cards, the cover’s finial moulded as a bird pecking at a piece of fruit, painted mark for De porceleyne Klaeuw (The Porcelain Claw), some chipping, 39cm. (2) £150­250

165 A rare delftware reticulated plate, c.1760, London or Liverpool, the well painted with a gillyflower spray within smaller scattered sprig, the rim pierced with abstract shapes, 24.3cm. £300­500 Reticulation of this type is rare on delftware and the mould may have originally been intended for porcelain. This, coupled with the Gillyflower design, would suggest a Liverpool attribution is more likely.

166 A Delft marriage plate, dated 1748, the well inscribed ‘Edward and Sarah Brockett 1748’ within a heart shaped panel flanked by cornucopia with flying Cupid above, the rim with a formal border, some chipping to the rim, 22cm. £300­500

167 A Delft plate, dated 1743, inscribed ‘John and Elizabeth Haslope Yarmouth 1743’ within a circular panel, bordered by trellis panels and three fish, 22.5cm. £300­500

A John Haslope is listed in archives at the Norfolk Record Office as a mariner, apprenticing a Lancelot Haslope. Church records show a Lancelot Haslope baptised on 8th March 1721 to Lan (presumed John) and Elizabeth Haslope. The seafaring connection would tie in with the fish motifs appearing on the plate.

168 A small delftware shallow bowl or saucer dish, late 17th century, painted in blue, green, red and manganese with a stylized flower spray within a manganese dash border, the underside decorated with a buff lead glaze, 22.5cm. £100­200

169 A pair of Delft marriage plates, dated 1687, painted in blue with a cartouche containing the initials ‘B/TM’ above the date ‘1687’, flanked by griffins, glaze loss, 21.8cm. (2) £100­200

171 Three delftware plates, c.1740­60, of primitive shape, one painted in blue with a squirrel among vine, another with sponged trees flanked by flowering plants, the last with a hut in an island landscape, some damages, 23cm max. (3) £100­200

170 Two delftware plates, c.1760­70, one Bristol and painted in blue, yellow and manganese with a Chinese figure before a pagoda, within a scalloped bianco-soprabianco rim, the other painted with flowering peony issuing from rockwork, some faults, 23cm max. (2) £100­150

172 An unusual Delft stand or warming dish, dated 1787, the circular form painted in blue to the exterior with small huts in a landscape, applied with two mask handles, raised on three feet, the interior inscribed ‘CAO 1787’, the rim pierced with four narrow openings, some restoration, 18.5cm dia. £200­300

173 A London delftware sugar box and cover, c.1720, the baluster body painted in blue with formal floral motifs beneath a ruyi scroll band, restored, 10cm. (2) £400­600

174 A pair of Dublin delftware large plates, c.1760, painted with small huts behind trees and cannon ball rocks, the rims with landscape vignettes, painter numeral marks, and a delftware charger painted with an Oriental island scene with a low hut and tall wisteria, 34.3cm max. (3) £100­200

175 Three delftware plates, c.1750­70, one probably London and painted with an ornamental fence in an octagonal panel reserved on a brown powdered ground, the other probably Bristol, with a Jumping Boy in a panel on a powdered manganese ground, the last Bristol and painted with a Chinese figure in a landscape, some damages, 23cm max. (3) £100­200

The last plate with a paper label for the Warren Collection, no.635.

176 A rare London delftware salt, mid 17th century, the square form with formally reticulated sides, the top set with a circular recessed well, left in the white, a section broken and restuck,

9.2cm high. £2,000­2,500

Cf. Garry Atkins, Exhibition of English Pottery, March 2001, p.6, no.6 for an identical example.

177 A Bristol delftware wig bowl, c.1720, painted in blue, red and green with a bird perched on a leafy branch, the cavetto with a formal scroll border, with a crimped rim, broken and restuck, 22.8cm dia. £200­300

178 A small delftware dessert basket, c.1760­70, probably Vauxhall, the well painted with a design of eight petals containing a lotus flower on a scrolled ground around a central lotus plant, the rim pierced with interlocking circles, raised on a low cylindrical foot, painter’s numeral 4, some restoration, 17.3cm dia. £300­500

Cf. Victoria and Albert Museum, no. C.25-1981, for a similar basket from the Lipski collection. See also Transactions of the English Ceramic Circle, Vol.9, Pt.2, pl.134 for details of sherds of this pattern excavated at Vauxhall.

179 A very rare delftware plate, c.1740­50, Wincanton or Lambeth, the well painted with a Chinese man standing next to a fence, flowers and insects, the rim with flower panels reserved on a powdered yellow ground, some rim chipping, 22cm. £400­600

180 A London delftware part food warmer or veilleuse, c.1765, the cylindrical base painted in blue with a parrot perched on an ornamental fence beside trees, rocks and a pagoda, applied with two masks, the warming section decorated with a continuous formal border, lacking a cover and bowl, some chipping, 21cm overall. (2) £400­600

Cf. Michael Archer, Delftware, p.359, No.H.21 for a warmer with the same unusual mask, that was excavated in Lambeth.

181 A Bristol delftware ‘Farmyard’ plate, c.1720­30, painted in yellow, blue and red with a strutting peacock between trees sponged in manganese, blue line rim, 23.3cm. £1,000­1,500

Paper label for Herbert Schiffer Antiques, Philadelphia.

182 A Bristol delftware ‘Farmyard’ plate, c.1720­30, painted in yellow, red and blue with a standing cockerel flanked by trees sponged in manganese, within a blue line rim, 22.7cm. £1,000­1,500

184 A delftware Merry Man plate, late 17th century, possibly London or Dutch for the English market, painted in blue and black with a crowned cartouche flanked by griffins, inscribed ‘3 To entertain his guest’, a long glaze crack, some nibbling, 23.2cm. £800­1,200

183 A Bristol delftware ‘Farmyard’ plate, c.1720­30, painted in yellow, blue and red with a proud peacock between trees sponged in manganese, blue line rim, 23cm. £1,000­1,500

185 A delftware Merry Man plate, c.1710, painted in blue with a circular cartouche within a formal foliate border, inscribed ‘5 But if his wife do frown’, the rim with a wide trellis band, some glaze chipping, 22.5cm. £500­800

186 A rare and early London delftware ‘Merry Man’ plate, c.1720, inscribed in red with ‘(2) Let him do What he Can’ within a continuous formal leaf border in blue and green, 22.8cm. £2,000­3,000 Old paper shipping label for Robert Fisher Ltd, London, relating to Herbert Schiffer Antiques in Philadelphia.

Cf. Bonhams, 12th November 2014, lot 19 for an identical plate from the S J McManus Collection.

187 A good and rare London delftware ‘Merry Man’ plate, dated 1735, painted in blue with ‘(6) All Merryment Goes Down 1735’, within a continuous leaf border, minor rim chipping only, 22.5cm. £2,500­3,000

Cf. Victoria and Albert Museum, Accession No. C.9-2016 for a very similar example dated 1727.

188 A delftware bin label, c.1770­80, of coathanger form, painted in black with ‘CYDER’, 13.7cm across. £800­1,200

189 A delftware bin label, c.1770­80, of coathanger form, painted in black with ‘SHRUB’, 13.6cm across. £800­1,200

190 A delftware bin label, c.1770­80, of coathanger form, painted in black with ‘HOLLANDS’, 13.7cm across. £600­800

191 A delftware bin label, c.1800, of coathanger form, painted in blue and inscribed ‘MOUNTAIN’ within a narrow line border, 13.5cm across. £300

500

193 An Italian maiolica tazza, 16th century, painted in polychrome enamels with a central flowerhead and leaves, with gadrooned moulding, raised on a flared foot, and a Spanish faïence bowl, decorated with sponged flowers and stylized leaves in blue, green, ochre and manganese, some restoration to the tazza, 25.7cm dia max. (2) £200­300

192 A Montelupo maiolica charger, 17th century, painted with a soldier striding in a landscape wearing a striped uniform with a gun over one shoulder, decorated in a palette of blue, yellow, green and manganese, some glaze loss to the rim and underside, 32.2cm. £500­700

194 An Italian maiolica dish, 2nd half 17th century, painted in yellow, ochre, blue and manganese with a central drum motif within a continuous foliate scroll, and an Urbino­style albarello or syrup jar, painted with a haloed figure holding a feather, the spout and overhead handle enamelled in green, minor faults, 24.5cm max. (2) £400­600

195 An Italian maiolica salt, 18th/19th century, in the Urbino Renaissance manner, modelled with two putti holding a large shell and seated on the edge of an oval base, the well painted with the portrait of a soldier, the sides with mythical creatures, some glaze chipping, 20.5cm across. £100­150

196 An Islamic pottery votive oil lamp, probably 19th century, painted in turquoise and black with stylized flowerheads, a dish or charger painted in blue, green and manganese with a foliate design and a chequered border, and a small bowl pencilled in brown with floral panels, some faults, 33cm max. (3) £100­200

197 Two large Islamic pottery vases, probably 19th century, one of ovoid form and decorated with a spiral pattern in blue and manganese, the other with a formal trellis design in blue and black, and a shallow vase or bowl with a formal lustre design on a blue ground, some damages, 33cm max. (3) £100­200

198 A large Kutahya (Turkey) pottery model of an egg, 20th century, painted with masks within stylized blue wings, amidst Iznik­style flower sprays, decorated in bright enamels, inscribed to the base, pierced with a large suspension hole, and five Kutahya egg­shaped hanging ornaments, variously decorated in yellow, blue and turquoise enamels with stylized floral designs and other geometric motifs on a cream ground, some glaze chipping, 17.5cm high max. (6) £200­300

Provenance: from the collection of Dr Venetia Newall.

199 A Continental Iznik­style jug, late 19th century, probably Samson, boldly painted in traditional style with red carnations between blue and green saz leaves, a little enamel loss, 24cm. £200­300

201 Two post medieval jugs, c.16th/17th century, one of rounded form with a treacle glaze to the neck and handle, the other Tudor Green or Border Ware with a mossy­green glaze to the upper section, and a later brown stoneware chamberpot or vomit pot, 19cm max. (3)

£300­400

200 Four medieval encaustic tiles, c.14th/15th century, variously decorated in cream slip with geometric and other designs, some wear and chipping, 12.7cm max. (4) £100­200

202 A post­medieval earthenware jug, 16th century, the slender rounded body incised to the neck with parallel lines, the interior decorated in a pale treacle glaze, some rim chipping, 25.5cm. £300­400

Cf.

Models of this type were often given as christening gifts.

203 A large slipware dish, mid 18th century, the shallow oblong form decorated with a cream ground combed with brown stripes of slip, with piecrust indentations to the rim, some wear, 42.5cm. £1,000

1,500

204 A large Toft­style slipware dish or charger, probably 19th century, decorated in the manner of Thomas Toft in treacle and cream slip glazes, with a mermaid holding a comb to her hair, the rim with a wide trellis border, minor faults, 34cm. £400­600

Victoria and Albert Museum, Accession No. 299-1869 for an original Toft dish with this subject matter.

205 A Yorkshire slipware model of a lambing chair, dated 1886, decorated in striated cream and treacle glazes, trailed with the inscription ‘E B 1886’, and a slipware model of a top hat inscribed ‘James Baron 1888’ , a little chipping, 19cm max. (2) £250­350

206 A Rhenish stoneware Bellarmine or Bartmannskrug, late 17th/18th century, the neck applied with a bearded face, the body with a roundel enclosing a heart around the initials MM, 31cm. £200­300

207 A silver­mounted German stoneware beer stein or jug, probably 19th century in the late 16th century Raeren manner, the ovoid body applied with ten figures representing most of the Apostles, the silver mount engraved with the arms of the Kingdom of Prussia, 18.3cm. £200­300

208 An unusual Bailey & Batkin silver lustre ‘perdifume’ or gas consumer, c.1825, moulded with the Royal coat of arms above a cartouche inscribed ‘Bailey & Batkin Sole Patentees’, the flared base with a band of fruiting grapevine, the spherical top surmounted with a recumbent lion, some wear, a riveted crack, 35.5cm. £200­300 This highly decorative chimney was designed to more effectively consume the smoke arising from gas burners or lamps.

209 A pair of silver lustre stoneware wall brackets, 19th century, the hexagonal tops issuing from bases elaborately moulded with foliate scrolls, all decorated in silver lustre, the lustre worn in places, 14cm. (2) £100­200

210 A satirical pearlware mug, c.1820­25, printed with a version of Isaac Cruikshank’s Dandies at Tea, with two effete figures flanking a tea table, the reverse with a dandy dressing before a mirror, the interior rim with caricature vignettes, 12.5cm. £100­150

211 A small lustre jug of slavery interest, early 19th century, inscribed ‘Health to the sick, Honour to the brave, Success to the lover, and Freedom to the slave’, the reverse with a ship, within peach lustre bands, and a large creamware jug, c.1800, printed in black with a satirical cartoon of a wronged Waterman, titled ‘Poll and my Partner Joe’, the reverse with a ship, the former’s handle broken and restuck, restored cracks and chips to the latter, 31.5cm max. (2) £150­250

212 A pair of creamware Anti­Gallican saucers, 18th century, printed in dark red with the arms of the Anti­Gallican Society, a central cartouche of St George piercing the French flag above a banner inscribed ‘For Our Country’, minor faults, 13.1cm. (2) £100­150

213 Two creamware tazzae, 19th century, one painted with a botanical specimen of a poppy to the interior and other flowers to the sides, the other Wedgwood and decorated with scattered leaves and nuts, a New Hall teapot decorated with the Boy in the Window pattern, and a Continental coffee pot and cover painted in blue, some damages and restorations, 32.5cm max. (6) £100­150

214 A Staffordshire redware teapot and cover, c.1780, the cylindrical body turned with a continuous geometric design, glazed to the interior and exterior, a small salt­glazed cream jug painted with pink flowers and green foliage and a small Jackfield helmet shape jug, minor faults, 10cm high max. (4) £150­250

211

212

210

215 A commemorative pearlware bowl, early 19th century, the interior painted in blue with ‘Shew me my foes Brave Nelson Cried’, within a wide jagged border, the exterior painted with simple flower sprigs, restored, 23cm dia. £100­200

216 A Dillwyn & Co (Swansea) pearlware plate, c.1830, painted to the well in pink and purple lustre with a seated monkey holding onto a tree, within a green wicker border, the reticulated rim edged in pink lustre, impressed mark to the underside, some restoration to the rim, 20cm. £100­200

217 Two Pratt ware oval plaques, c.1800, each moulded in high relief with two lions in repose on a green ground, boldly enamelled in typical Pratt colours, within integral yellow frames, 28.8cm. (2) £400

600

218 A blue and white transferware bough pot and cover, c.1815­20, probably John & William Ridgway, of D form, printed with the Eastern Port pattern, raised on three bun feet, together with a plate and a soup plate in the same pattern and a small plate with a chinoiserie scene, some faults, 24.7cm max. (5) £100­200

219 Three blue and white transferware chargers or meat dishes, 19th century, two printed with figures in boats beside a thatched cottage in a European landscape, the last Copeland Spode and printed with the Girl at the Well pattern, some restoration, 49cm max. (3) £150­250

220 Three blue and white transferware chargers, 19th century, the largest Spode and decorated with an Italianate landscape, together with a later version of the same design, the last possibly Davenport and decorated with a chinoiserie ruins design, some restoration to the former, 51.5cm max. (3) £150

250

221 Four large blue and white transferware chargers, 19th century, one Mason’s stone china and printed with Chinese pheasants among peony flowers, another copying a Chinese porcelain original and decorated with a deer in a landscape, one possibly Rogers and printed with a European river scene, titled ‘Ponte Rotto’, the last John Meir & Son and printed in a pale lilac with an Italianate landscape, 52cm max. (4) £150­250

222 A Pratt ware Toby jug, c.1790, seated with a foaming jug of ale, his long­stemmed pipe resting between his feet, wearing a coat sponged in blue and ochre over a patterned waistcoat, the handle moulded with an acanthus leaf, 24.5cm. £200­300

223 A Pratt ware Toby jug, c.1790­1800, seated with a foaming jug of ale with flower motif, decorated in typical colours and wearing an ermine­type coat over yellow breeches and striped stockings, replacement handle, 24.5cm. £100­150

224 A Pratt ware Toby jug, c.1790, decorated in blue, ochre and umber, wearing an elaborately striped coat over a patterned waistcoat and striped stockings, raised on a polka dot base, some restoration, 25cm. £100­200

225 A good pearlware Toby jug, c.1780­90, seated with a foaming jug of ale, wearing a striped coat over green breeches, with sponged decoration to the base, 24.5cm. £150­250

226 A matched pair of small Pratt ware Toby jugs, c.1800, each seated on a tall base with a foaming jug of ale, decorated in ochre, umber and brown with dots and stripes, 18.7cm max. (2) £300­500

228 A matched pair of Yorkshire Pratt ware standing Toby jugs, c.1810­20, wearing patterned waistcoats beneath blue coats, the inside hat rims and bases sponged with broad stripes, the handles modelled as a figurehead, and a pair of small standing Toby jugs painted in polychrome enamels, small damages, one handle repaired, 20.3cm max. (4) £250­350

227 An unusual Toby jug, c.1800, of Ordinary type, seated with a large empty jug on one knee, wearing green breeches beneath a white coat with puce buttons, his ruddy face finely painted, some good restoration to his hat and base, 25.5cm. £100­200

229 A pair of Enoch Wood pearlware figures of Anthony and Cleopatra, early 19th century, each reclining and resting on one elbow, Cleopatra’s asp curled around one upper arm, Anthony concealing his sword beneath him, some restoration, 31cm across. (2) £400

600

230 A pair of English earthenware figures of lions, early 19th century, modelled recumbent with front paws crossed and tails flicked back over their bodies, their mouths agape, decorated in a dark treacle glaze, 19.5cm across. (2) £150­250

231 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) £250

350

232 A Portobello cow creamer and stopper, c.1810, standing four square with a milk maid seated to one side, the cow’s coat sponged in a characteristic red, raised on a flat shaped green base, minor damages, 19.5cm across. (2) £100

200

233 A salt­glazed stoneware model of a goat, early 19th century, standing four square on a low oval base, decorated with patches of brown, some good restoration to the ears and horns, 11.5cm high. £200­300

235 A pearlware model of a ram, c.1800, possibly Scottish, modelled with each horn pointed in different directions, brightly glazed in yellow, green and brown, standing four square on a shaped rectangular base, 10cm. £200­300

234 A pearlware oval box and cover, 19th century, possibly Scottish, the cover surmounted with a recumbent lion with forepaws crossed, the base moulded with flowerheads within trellis panels, picked out in Portobello type colours, a chip to the cover’s flange, 15cm across. (2) £100

200

237 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. 300­500

236 A Mosanic pottery model of a cat, early 20th century, one forepaw bandaged, the cat seated and wearing a blue and white bib over its green coat, blue mark to the interior, 24cm. £200­300

238 A Whieldon­type figure of a cat, c.1770­90, seated on its haunches and moulded with a patterned collar, decorated in running glazes of green, ochre, manganese and black, a long restored crack, some restoration to one ear, 17cm. £100­200

239 A Savona faïence figure group, c.1770­80, modelled by Giacomo Boselli with a man seated beneath a bare tree trunk while his kneeling companion removes his sock, minor chipping, 19.4cm. £300­400

240 A Parian figure of Ariadne and the Panther, mid 19th century, after the original model by Johann Heinrich von Dannecker, and the Minton version modelled by John Bell, the naked maiden leaning on the back of the cat, raised on an oval stepped base, unmarked, 32cm high. £500­700

241 A near pair of smear­glazed models of sphinxes, 19th century, recumbent on chamfered rectangular bases with paws crossed before them, one white, the other a blue­grey, incised B mark to one, the white sphinx broken off the base and restuck, 14cm across. (2) £150­250

243 A pair of Sèvres portrait plaques, early 19th century, of Madame Adelaide de France (1732­1800), 6th child of Louis XV and Queen Marie Leszczyiska, and her husband, Louis Jean Marie de Bourbon, Le Duc de Ponthièvre (1725­1793), modelled in relief in white on a pale blue ground, titled around the edge, within wooden frames, and a Wedgwood Jasperware portrait plaque of Julius Caesar, incised to the reverse, impressed mark, one Sèvres plaque broken and restuck, 9.3cm max overall. (3)

£100­200

242 A Wedgwood & Bentley black basalt plaque, c.1772­80, moulded in high relief with a young Bacchus and a lion or panther, within an integral tied bamboo frame, in a later gilt wood frame, the plaque 35cm. £500­800 Cf. Diana Edwards, Black Basalt, p.71, fig.64 for the model.

£200­300

244 A pair of Villingen stoneware ewers, late 19th century, formed in the Renaissance manner with snakes issuing from the mouth of a bearded mask, incised with shells, lobsters and leaf scrolls, impressed coloured mark for Johann Glatz, 41cm. (2)

245 A large and impressive near pair of Minton Majolica shell and coral jardinières, c.1875, each naturalistically modelled as a deep single shell glazed to the interior with pink or turquoise, raised on an elaborate red coral stem on circular bases, 66.5cm. (2) £12,000­15,000

Provenance: a private UK collection. Formerly the estate of Lillian Forte.

247 A pair of Royal Worcester vases and covers, date codes for 1912, of shape 2486, painted by Harry Davis with travellers in rural landscapes, beneath tall trees and before misty castle ruins, reserved within gilt panels on a green and white striped ground, signed, printed marks, some damages, 31cm. (4) £1,000­1,500

246 A large pair of Copeland Spode vases, c.1900, finely painted in the manner of Charles Ferdinand Hürten with panels of flowers including rose, dianthus and forget­me­not, within elaborate gilt borders on a rich green ground, the circular feet edged with a band of pink roses, the covers surmounted with putti finials, printed marks, minor faults, 46.5cm. (4) £800­1,000 Cf. Woolley and Wallis, 15th September 2015, lot 144 for a pair of bough pots with similar decoration.

248 A pair of Chamberlain’s Worcester bottles or flasks and stoppers, 1st half 19th century, the bottle forms applied with large flowers to the globular bodies, the tapering necks decorated with a gilt vermicelli design, losses to the flowers, 24cm. (4) £150­250

249 A Chamberlain’s Worcester soup plate from the Carnatic Service, dated 1820, painted with a specimen of purple flowering henbane within blue moulded borders picked out in white and gilt, a small panel inscribed in Arabic with ‘Amir­al­Hind Nawab Azam Jah Bahadur 1236 Hÿri’, the date corresponding to 1820 AD, the plant probably copied from a William Curtis botanical illustration, red title to the underside, printed marks, 25.5cm £250­350

This service was ordered by Azam Jah, His Highness the Nawab (sometimes Nabob) of the Carnatic in 1820 and delivered from Worcester in 1823. The service was sold at Bonhams on 11th May 1978, lot 115.

250 A Chamberlain’s Worcester commemorative beaker, c.1802, the flared form well painted with a scene of a portrait bust of George III being crowned by putti, raised on a pedestal inscribed ‘Peace’ and flanked by a soldier and a sailor, reserved on a peach ground with gilt scrolls, husks and flowerheads, some gilt wear, 10.8cm. £300­500

After long negotiations, the Treaty of Amiens was signed on 25th March 1802 by Charles, Marquess Cornwallis and Joseph Bonaparte. The short-lived treaty 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.

251 A Chamberlain’s Worcester basket, c.1840, the large circular dish painted with a central view of boats on the river in Worcester before the arched bridge, the town visible beyond, the rim moulded and gilded with overlapping leaves, with an overhead handle, raised on four paw feet, iron red script mark and titled ‘Worcester’ to the underside, some good restoration, 25.5cm across.

252 An unusual Flight, Barr and Barr Worcester rosewater sprinkler or ewer, c.1820­25, the small ovoid body painted with three rustic figures in a continuous landscape, including a fisherman and a traveller, reserved on a cream ground, the wide spout covered and pierced with four small holes, script mark, 11.6cm high. £300­400

£200­300

253 A Chamberlain’s Worcester porter mug, c.1810­15, painted with a Napoleonic soldier standing in the doorway of a Russian peasant’s house, reserved in an octagonal panel with a stylized foliate border, 10cm. £100­150

254 A large Derby punch bowl with rare mark, painted to the interior probably by George Robertson with a view of the Isle of Wight after John ‘Warwick’ Smith, within a continuous gilt foliate border, the bowl’s exterior with moulded ribs, a rare puce crowned DK monogram mark, 28.5cm dia. £200­300

Cf. Victoria & Albert Museum, Accession no. C.244-1922 for a mug with the same mark, believed to relate to the Duesbury and Kean partnership. The painting derives from Samuel Middiman’s print of ‘Warwick’ Smith’s painting, probably of Shanklin Chine.

255 A pair of Derby cabinet plates of ornithological interest, c.1815, painted by Richard Dodson, each with an octagonal panel of birds including green woodpecker, magpie, goldfinch and pheasant, within a foliate gilt border reserved on a pale blue ground, iron red crowned crossed batons mark, some gilt wear, 22cm. (2) £150­250

256 Two Derby bough pots and covers, c.1820­30, painted with panels of English flowers, one reserved on a cobalt blue ground, the covers pierced with rows of small holes, some damages, 22.5cm across max. (4) £200­300

257 A New Hall tea service, c.1800, decorated in pattern number 89 with a simple gilt and puce border. Comprising: a teapot and cover, a milk jug, a sugar bowl and cover, a slop bowl, two cake plates, ten teabowls, four coffee cups and ten saucers. (32) £150­200

258 A New Hall part tea service, c.1800, decorated in pattern 167 with narrow pink bands above gilt flower sprigs. Comprising: a teapot with cover and stand, a milk jug, eleven teabowls, three coffee cups and twelve saucers. (30) £150­200

259 Five English porcelain plates, c.1770­1820, including a Derby saucer dish painted with flowers, a Derby plate with a flower spray within a blue band, a Chamberlain’s Worcester plate moulded and painted with flowers, a Coalport plate painted with flowers within a blue and gilt rim, and a Spode plate with flowers within a formal flowerhead border, some faults, 24cm max. (5) £150­250

260 Five vases in the Sèvres­style, 19th century, two Coalbrookdale, one painted with panels of flowers and fruit, the other with figures in pastoral scenes, both on a pink ground, a two­handled vase with cover, painted with central panels of flowers and ribbons on a oeil de perdrix ground, two pot pourri vases and covers of pot pourri Pompadour shape, one Paris porcelain, variously painted with flowers, some damages and restoration, 31cm high max (8) £200­300

261 A pair of Minton scent flasks and stoppers, 19th century, the flattened pear­shaped forms painted in the manner of Boullemier with scenes of putti in puce monochrome, the handles formed as female masks, with gilt and turquoise detailing, ermine marks, some restoration, 17.5cm. (4) £350­450

262 A rare New Hall teapot and cover, c.1782­85, the silver­shaped form applied with four rosette feet to the underside, painted with simplistic flower sprays within bright puce and blue borders, 22.7cm. (2) £500­700

263 Three English porcelain plates, c.1760­1800, one Chelsea and painted with flower sprays, brown anchor mark, another Worcester and painted with exotic birds within a gilded floral garland border, open crescent mark, the last Derby and finely painted with pine and peony beside rockwork and an ornamental fence, black crowned crossed batons and D mark, 23.5cm max. (3) £100­200

The Worcester plate with a paper label for the Anthony and Frances Packman Collection.

264 Two Staffordshire porcelain models of swans, c.1820­40, with necks curved, one raised on a green enamelled base, and a figure of a pug dog wearing a blue collar and seated on a tasselled cushion, some good restoration, 13cm max. (3) £150­250

265 A near pair of Minton seaux, first half 19th century, after Sèrves, decorated with a blue bordered band of painted vases of roses, ribboned posies and cornflowers, and two square form jardinières painted on each side in puce monochrome with panels of putti reserved on a turquoise ground, some damages, 11.5cm high max, (4) £150­250

266 A metal­mounted inkstand, 19th century, decorated in the Sèvresstyle with floral wreaths set in a blue and gilt border, metal mounts to the rim, base of the inkpot and lid rim, with a later glass insert, pseudo Sèvres mark to base, and a pair of Coalbrookdale candlesticks, c.1810­25, spiralmoulded and decorated with continuous flower garlands bordered with dark blue and gilt, blue CBD marks to the underside, some faults, 17cm high max, (4) £100­200

267 Six Royal Worcester cabinet plates, date codes for 1886, moulded as lotus leaves, decorated in the Aesthetic manner with large flower sprays, the rims pierced with three small holes, printed and impressed marks, 23.5cm. (6) £150­250

268 A pair of Royal Worcester cabinet plates, c.1891, the shaped forms painted with birds within moulded gilt borders, and a Royal Worcester sweetmeat dish modelled as a lady playing the lute and seated in a large shell, 22cm max. (3) £100­200

269 A Royal Worcester dessert service, date code for 1926, the wells painted with vignettes of fruit, nuts and flowers, the rims with small floral panels on a rich yellow ground with gilt motifs, printed marks including retailer’s marks for T Goode & Co. Comprising: two square dishes, two oval dishes and 12 plates. (16) £1,000­1,500

270 A fine and large Royal Worcester vase and cover, date code for 1884, finely painted, perhaps by James Bradley, in the Japanese manner, with three birds perched on leafy bamboo stems, highlighted in raised gilt, the reverse with a single bamboo stem, the neck and finial with a reticulated band, printed mark and applied VR mark, 53cm. (2) £800­1,200

Provenance: a private UK collection.

269

272 An unusual pair of Minton figures, c.1895­1900, of high society ladies wearing bustle dresses, decorated in a rich coral pink, their faces and arms left in the white, one with a gilt monogram for Marc­Louis Solon, gilt globe mark and indistinct swan date mark, 25.8cm max. (2) £600­1,000

271 A Spode Copeland’s vase and cover, c.1900, painted with panels of European flowers reserved within gilt foliate borders on a dark blue ground, one panel signed, the handles and foot edged in green with gilt and white beading, printed marks, 27cm. (2) £350­450

273 A Minton porcelain jardinière, 19th century, the square form painted with panels of birds, gardening and other motifs reserved on a green ground, the corners mounted with mythical terms with arms folded, printed mark, some restoration, 24cm. £100­200

274 An extremely rare Minton porcelain Robin teapot and cover, c.1876, designed by William James Goode and modelled as a fluffed­up robin with tail erect and beak agape, standing on a mossy ground applied with berried holly, its plumage naturalistically coloured, printed and impressed marks including for T. Goode & Co., restored, the cover a replacement, 16.3cm high. (2) £10,000­12,000

Provenance: formerly in the collection of Archibald Brabazon Sparrow Acheson, 4th Earl of Gosford (1841-1922)

It seems likely that this teapot is the one commissioned from William Goode in 1876 by the then Princess of Wales (Alexandra of Denmark) for her husband, later Edward VII. That teapot is no longer in the Royal Collection and, since the 4th Earl of Gosford was Vice-Chamberlain to Queen Alexandra, it is entirely possible that she gave the teapot to him, since she was in the habit of regularly gifting high value items to her staff and friends.

Illustrated: Philip Rayner, Thomas Goode of London 1827-1977, p 13; see also Paul Atterbury and Maureen Batkin, Dictionary of Minton, p 215.

A PRIVATE HAMPSHIRE COLLECTION

275 A good Minton tray or stand, c.1875­85, the lozenge shape decorated in the Sèvres­style with a central panel of fruit and flowers flanked by four roundels of exotic birds, reserved on a turquoise ground, printed gilt marks, 36.4cm. £150­250

Provenance: a private collection in Hampshire.

276 A pair of English porcelain vases and covers, 19th century, well painted with panels of fruit and flowers reserved within raised foliate green borders on a pink ground, the necks and covers pierced, 25cm. (4) £100­200

Provenance: a private collection in Hampshire.

277 A pair of Derby pot pourri vases and covers, c.1820, the circular forms well painted with continuous bands of flowers beneath mythical masks, and a Derby sauce tureen and cover, painted in the manner of George Complin with panels of fruit, the oval body raised on four paw feet, iron red crowned crossed batons marks, some restoration, 18cm max. (6) £150­250

Provenance: a private collection in Hampshire. The pot pourris formerly in the McGurk Collection, no.42.

278 A Spode inkstand, c.1815­25, decorated in an extended Imari palette in pattern 967, the shaped stand fitted with two pounce pots and covers and an inkwell and cover, the cover of the integral pen tray surmounted with a gilt putto finial, iron red factory mark and pattern number, a little gilt wear, 20.5cm across. (8) £300­500

Provenance: a private collection in Hampshire.

279 A Derby inkstand or desk set, c.1820, the rectangular form painted with European landscape panels reserved on a dark blue ground with gilt foliate motifs, set with three covered wells of vase form, raised on four paw feet, iron red crowned crossed batons and D mark, a small amount of restoration, 30cm across. (4) £100­200

Provenance: a private collection in Hampshire.

280 A Chamberlain’s Worcester inkstand or desk set, c.1810­20, the vertical panel painted with figures in an extensive view of Malvern, reserved on a dark blue ground with gilt foliate scrolls, set with two removable covered inkwells and a pounce pot, red script marks, 21.7cm across. (7) £100­200

Provenance: a private collection in Hampshire.

281 A Flight and Barr Worcester inkstand or desk set, c.1800­10, painted with a vertical landscape scene, reserved on a white ground with gilt foliate motifs, set with two covered inkwells and a pounce pot, incised B marks and painted script mark, some good restoration, 23.7cm across. (7) £300­500

Provenance: a private collection in Hampshire.

282 A rare Derby egg cruet set, c.1820­30, the rectangular tray set with six generous egg cups, all decorated in the Imari palette with stylized flower sprays and scroll panels, the stand raised on four scroll feet, iron red crowned crossed batons marks, 28cm. (7) £100­200

Provenance: a private collection in Hampshire. Formerly the McGurk Collection, no.31.

283 An English porcelain desk or dressing table set, 1st half 19th century, probably Coalport, the shaped rectangular form painted with panels of flowers reserved on a dark blue ground, set with a candlestick, small vase and two covered pots, 28.8cm. (7) £100­200

Provenance: a private collection in Hampshire.

284 Two Worcester inkwells, c.1805­15, one of drum shape and painted with two exotic birds flanked by monochrome landscape panels, the other painted with travellers in a European landscape, the handle moulded with a gilt mask, the latter with a script Flight, Barr and Barr mark, 17.5cm across max. (2) £250­350

Provenance: a private collection in Hampshire.

285 Three Worcester chambersticks, c.1805­20, two from the Barr, Flight and Barr partnership, of hexagonal form, one painted with shells, the other with flower sprays, the last Flight, Barr and Barr and painted with English flowers on a pale green ground, impressed, painted and printed marks, 10.5cm max. (3) £150­250

Provenance: a private collection in Hampshire.

286 A Chamberlain’s Worcester inkwell, c.1810, the flared form finely painted with a panel of feathers reserved on a pale greenish­grey ground, the circular base raised on three paw feet, puce script mark, 8cm high. £100­200

Provenance: a private collection in Hampshire.

287 Four English porcelain inkwells, c.1810­20, one Chamberlain’s Worcester, of cylindrical form and painted in the Imari palette with pattern 240, another of drum shape with lion mask handles, painted with a panel of figures, fitted with a later glass well, another similar with a continuous rural landscape, the pierced top with flower sprays, with removable inkwell, the last Coalport of shell form with a swan handle, the top painted with flowers amidst gilt detailing, with removable inkwell and dolphin finial, some faults, 14.5cm max. (8) £150­250

Provenance: a private collection in Hampshire.

288 Two Chamberlain’s Worcester chambersticks, c.182030, well painted with views of Worcester, reserved on blue grounds with gilt foliate detailing, printed marks, some good restoration to one, 11.3cm across. (2) £150­250

Provenance: a private collection in Hampshire.

289 Three Spode chambersticks, c.1820, one painted in pattern 1166 with flowers on a blue scale ground, two decorated in pattern 967, in an extended Imari palette, one set with a removable snuffer, some restorations, 7.6cm max. (4) £250­350

Provenance: a private collection in Hampshire.

290 Two Spode miniature candlesticks, c.1820, one decorated in pattern 2478 with flowers on a gilt spiral ground, the other in the Imari palette in pattern 2283, a pair of Davenport miniature candlesticks with floral panels on a blue ground, and a miniature vase in an extended Imari palette, various marks, 5.5cm max. (5) £150­250

Provenance: a private collection in Hampshire.

291 A Royal Worcester candle snuffer, date code for 1926, of Monsieur Reynard, modelled as a fox dressed as a lawyer in black robes, holding a book tucked under one arm, printed mark, 10.3cm. £100­200 Provenance: a private collection in Hampshire.

OTHER PROPERTIES

292 Three Royal Worcester candle snuffers, date codes for 1924 and 1925, of Confidence and Diffidence, depicting the singer Jenny Lind as a nightingale, alternately dressed in a yellow, pink or blue gown and holding a sheet of music, printed marks, 11cm. £200­300 Provenance: a private collection in Hampshire.

Jenny Lind first visited the Worcester porcelain factory in 1849, and settled close to Worcester following her retirement. These snuffers are believed to have been designed as a tribute in recognition of the charitable concerts held by Lind to raise money for the local hospital.

293 An enamel stick pin, 19th century, the circular plaque painted with the head of a large dog, signed ‘D V Bailey’ to the reverse, within a gilt metal mount, in a fitted leather case, the pin 8cm in total. £100­200

294 A pair of small Continental enamel plaques, late 18th century, the oval forms painted in puce monochrome with Classical scenes, including Diana the huntress and Neptune with a harpy, mounted in later wood frames, 7.4cm overall. (2) £100­200

λ 295 A German porcelain etui, c.1760­70, the shaped form painted with winged putti balanced on or suspended from flower garlands, the base with a mask and motifs, with gilt metal mounts and full contents, 11.5cm.

Ivory Act Registration No: Q8DPQ7U

£500­800

296 A silver­mounted German porcelain snuff box or bonbonnière, c.1770, moulded as a large ruffled flowerhead or rose bud, painted with small floral sprigs and flying insects, the inside of the lid with rustic lovers in a woodland, German hallmarks including maker’s mark CD, possibly Augsburg, 6.4cm dia. £200­300

£400­600

297 A German enamel gold­mounted snuff box, mid 18th century, probably Berlin from the workshop of Pierre Fromery, painted with figures in landscape scenes within elaborate raised gilt borders and leaf scrolls, the shaped sides with small vignettes and putti, the interior with a silver­gilt lining, 7.5cm across.

298 A Continental enamel silver­gilt mounted snuff box of Fromery type, mid 18th century, decorated in raised gilt with figures, fruit baskets and formal motifs within polychrome decoration of landscapes and detailing, with a silver­gilt lining to the interior, 7.5cm across. £200­300

299 No Lot

300 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) £200­300

Provenance: from the estate of the late Barry Lock. Both boxes relate to the death of Admiral Lord Nelson at the Battle of Trafalgar.

301 Three English enamel snuff boxes, c.1760, one circular, one rectangular, and one of shaped moulded form, all painted in polychrome enamels with flowers, a Sèvres­style enamel tea canister and cover, of chamfered rectangular form and painted with vertical stripes of small flower sprigs, and a Continental porcelain scent bottle painted with a band of flowers, some damages, 9cm max. (6) £250­350

302 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) £200­300

Provenance: from the estate of the late Barry Lock.

303 A Continental enamel snuff box, c.1770­80, the shallow rectangular form painted to the cover with a woman and child standing beside a man fishing before an arched bridge, the sides with small flower sprays, 9.7cm. £100­150

304 Three English enamel patch boxes relating to Lord Nelson, c.1798

1805, 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) £250­350

Provenance: from the estate of the late Barry Lock.

The inscription on the smallest box relates to Nelson’s victory at the Battle of the Nile in 1798.

305 A French enamel snuff box, 1st half 19th century, the circular form painted with a double portrait of the Montgolfier brothers, in the Classical manner, reserved on a duck­egg blue ground, titled ‘Etienne et Joseph Montgolfier, Freres nes a Annonay en Vivarais’, with gilt metal mounts, 7.8cm across. £150­250

Joseph-Michel and Jacques-Etienne Montgolfier were born in Annonay in the 1740s and began experimenting with balloon flights in the 1780s. Their first public flight took place in Annonay on 4th June 1783.

306 A Bilston enamel scent or snuff bottle, c.1780, of flattened double gourd form, painted with panels of figures in rural landscapes, edged in raised gilt on a pale blue ground, with a silver­coloured metal mount and chained stopper, 8.5cm. £200­300

307 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. £300­400

Provenance: from the estate of the late Barry Lock.

308 A South Staffordshire enamel patch box commemorating the Treaty of Amiens, c.1802, decorated with the figures of Fame and Plenty standing back­to­back 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.

£200­300

Provenance: from the estate of the late Barry Lock.

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.

309 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 Platov, inscribed ‘General Platoff’, within a white beaded border, raised on a pale blue base, internal mirror fitted, some restoration to the base, 4.7cm. £200­300

Provenance: from the estate of the late Barry Lock.

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.

310 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. £100­200

Provenance: from the estate of the late Barry Lock.

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 ended within a few years.

311 A pair of Bilston enamel candesticks, c.1770, with removable drip pans, the swollen stem painted with panels of figures and lighthouses in harbour settings, the moulded feet with ships and marine buildings, reserved within gilt foliate panels on a deep cobalt blue ground, the necks and lower stems with a band of flowers on white, some good restoration, 26.5cm. (4) £1,500­2,000

312 Three Meissen pendants or necklaces, modern, modelled as a polar bear, a pug wearing a tartan coat, and caparisoned elephant, with various chain or leather thong suspensions, each in its original box, the largest pendant 4.5cm. (3) £150­250

313 A Saint Cloud cane handle, c.1730­50, of bec de corbin shape, the tapering curved form painted in polychrome enamels with Chinese figures holding a parasol and a pennant beneath a flowering prunus tree, the end painted with a mythical animal mask in yellow and red, and two Saint Cloud cane handles of pommel form, the smaller painted in underglaze blue with three large sprays of flowering Oriental plants, the larger with a continuous flowering spray encircling the stem, some wear, 6cm max (3). £300­500

314 A Continental porcelain thimble, late 18th century, modelled with a wide band decorated with gilt flowerheads, beneath a small panel; enclosing the initial M, the domed surface with even pitting, 3.3cm. £150­250

315 A Berlin (KPM) topographical Easter egg, c.1830, finely painted with a view of the New Palace at Potsdam, probably after Georg Michael Kurz, reserved on a blue ground and titled to the reverse in a small panel, 5.5cm. £800­1,200

318 Four St Cloud knife handles, c.1740, the white­glazed hafts of pistol grip form, moulded with flower sprays, with unmarked silver mounts and sharp steel blades, 25.5cm. (4) £150­250

316 A Meissen butter curler or spoon, mid 18th century, the shaped bowl with a serrated surface and edges, the reverse and shaped handle painted with sprays of Deutsche blumen, 11.2cm. £100­150

317 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) £250­300

319 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) £200­300

450

300

320 A German porcelain rectangular plaque, 19th century, probably Berlin (KPM), painted with the Penitent Magdalen after Pompeo Gerolamo Batoni, she lying wrapped in a blue robe and studying a large book which rests on an upturned skull, mounted in a giltwood frame, the plaque 23cm across. £500­800

321 A large Paris porcelain vase, 19th century, well painted in the manner of Feuillet with a mausoleum among trees, reserved on a blue ground, of elaborate rococo scroll form with pierced neck, 44.5cm. £350

322 A very large Potschappel vase with cover and stand, 19th century, painted in the Dresden manner with Watteau­esque scenes of figures amidst flower sprays, the shoulders applied with goat mask handles, blue cross and T mark, 67cm overall. (3) £200

323 A Böttger porcelain hexagonal tea canister, c.1715, the baluster form moulded with six recessed panels, each applied with a large spray of fruiting grapevine, with traces of gilding, some staining, the cover lacking, 9cm high. £600­1,000

Provenance: from the collection of Phillip Allen, 1938-2023.

324 A Doccia coffee cup and saucer, c.1765­70, finely painted in the Meissen manner, the cup with a maiden beneath trees, the saucer with Cupid beside a bird in a cage, reserved within laub und bandelwerk borders in red, gilt and lilac, the cup with an angular scroll handle, 12.6cm. (2) £300­500

Cf. D’Agliano, Meligati, etc., Lucca and the Porcelain of the Ginori Manufactory, p.164 for a similar cup.

325 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) £300­500

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

326 A Meissen saucer, c.1725­30, painted in underglaze blue with a fisherman in a Chinese landscape, a Batavian glaze to the underside, blue crossed swords mark, 13cm. £200­300

327 A pair of Meissen ornithological soup plates, mid 18th century, each painted to the well with two birds perched on plants, the osier moulded rims with scattered insects and moths, blue crossed swords marks, 23cm. (2) £150­250 Purchased from Christie’s, 11th December 2000, lot 455.

328 Three Meissen cups and saucers, c.1740, painted with fruit, nuts, and insects within formal gilt borders, blue crossed swords marks and gilt decorator’s marks, pressnummer 53 to the saucers, 13.5cm. (6) £150­250

329 A group of Zurich porcelain teawares, c.1770­80, comprising two teabowls and saucers, one teabowl and two saucers, variously painted with figures and buildings in European landscapes, blue Z marks, minor damages, 13.5cm max. (7) £250

350

330 A Meissen composite tea and coffee service, c.1740, the quatrefoil forms painted with varying Holzschnitt flowers and insects, blue crossed swords marks. Comprising: a coffee pot and cover, a teapot and cover, a sucrier and cover, a tea canister and cover, five cups and six saucers. (19) £600­800 Provenance: the Chetwynd family, Brocton Hall, Staffordshire.

332 A Meissen two­handled cup and trembleuse saucer, c.1740, finely painted with Holzschnitt flowers, the well with a tall pierced gallery, blue crossed swords marks, a Höchst coffee cup and trembleuse saucer, the cup painted with the letter F depicted in flowers, blue wheel mark, and a Meissen jug and cover painted with flowers, 14cm max. (6) £150­250

331 A pair of Meissen tureens and covers for the Turkish market, c.1780­1800, the flattened circular forms painted with spiral panels of flowers alternating with pale orange stripes, each surmounted with a lemon finial, with further bold sprays of flowers to the interiors, blue crossed swords and star marks for the Marcolini period, 19.3cm dia. (4) £300­500

£300­500

333 Two Royal Copenhagen Flora Danica coffee cans and saucers, 20th century, the cans painted with botanical specimens Vesicaria arctica R.Br and Ranunculus hyperboreus Rollb titled in Latin to the base, the saucers and cans with gilt and pink borders, printed marks and three wave marks, one can with a faint crack to the handle, 13.7cm. (4) £200­300

£300­500

335 Two Royal Copenhagen Flora Danica coffee cans and saucers, 20th century, the cans painted with botanical specimans Vicia lathyroides L and Ranunculus hyperboreus Rottb titled in Latin to the base, the saucers and cans with gilt and pink borders, printed and three wave marks, 13.7cm max (4) £200­300

334 Two small Royal Copenhagen Flora Danica plates, 20th century, painted with botanical specimens Hypericum humifusum L and Alpine groenlandica fzl, titled in Latin to the base, within a jagged gilt and pink border, printed marks and three wave marks, 14.2cm. (2)

336 Two small Royal Copenhagen Flora Danica plates, 20th century, painted with a botanical specimen of Draba verna L and Illecebrum verticillatum L, titled in Latin to the base, within a jagged gilt and pink border, both with printed marks and three wave marks, 14.2cm. (2)

337 A Niderviller coffee pot with ormolu­mounted cover, late 18th/early 19th century, painted with a panel of flowers and victory motifs within a gilt border, reserved on a white ground with further flower sprays, red script N mark, the handle broken and reattached, 24.3cm. £100­200

338 A Volkstedt porcelain coffee pot and cover and a milk jug, c.1780, painted in iron red and grisaille with scenes of figures and animals before Classical ruins, blue crossed hayforks, a few small rim chips, 23cm max. (3) £120­180

339 A Nast (Paris) porcelain high­handled jug, c.1800­10, painted with figures in a continuous landscape scene with a building spanning a winding river, the handle issuing from a face mask and terminating in a griffin head, gilt mark, 19.5cm. £100­200

340 An Italian porcelain arbour, 18th century, modelled with four trellis struts applied with flowers and leaves, left in the white, and two white

glazed pickle dishes formed from large leaves, 26cm max. (3) £400­500

341 Three Tournai plates, c.1800­1820, the borders painted with a festoon pattern in underglaze blue, 23.5cm. (3) £150­250 Cf. Victoria & Albert Museum, Accession No.13041901 for an identical example.

342 A pair of Paris porcelain bough pots and covers, 19th century, of D shape, each painted in sepia monochrome with scenes of Moorish figures carousing and dancing, flanked by smaller panels of vases and musical instruments, raised on shaped feet, some restoration, 22.2cm across. (4) £300­500

343 Two Oude Loosdrecht oval dishes, c.177282, one painted with a central flower spray within a continuous floral garland, the other with scattered cornflower sprigs within a garlanded rim, blue MoL and star marks, 21cm max. (2) £100­200

344 A Tournai mustard pot and associated cover, c.1756­60, the baluster shape painted in underglaze blue with flowering 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) £100­200

345 A Sèvres­style jug and a small vase or pot, late 19th century, painted with putti flanking crowned LP monograms for Louis­Philippe, reserved on a turquoise ground, printed marks including for Chateau des Tuileries, the vase’s cover lacking, a repair to the jug’s rim, 11.8cm max. (2) £100­200

346 A Sèvres double­walled teacup and saucer, mid 19th century, the cup pierced with stylized flowerheads on a honeycomb design beneath a band of pink roses, the saucers with a hooded bird of prey within continuous garland borders and pierced floral rims, gilt marks, 12.5cm. (3) £100­200

347 Two Sèvres­style cabinet plates, the porcelain 18th century, laterdecorated with portraits of Louis XV and Madame Du Barry, the former with interlaced Ls in flowers outside gilt crowns, between jewelled fleur de lys, the latter within a jewelled border and floral panels, blue interlaced Ls marks, one broken and restuck, 24.5cm. (2) £150­250

348 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) £100­200

349 A large Sèvres circular dish or charger, 19th century, gilded with the crowned LP monogram for Louis­Philippe, a similarly decorated coffee can with a stamp for the Chateau des Tuileries, a small Sèvres vase decorated with small gilt sprigs on a blue ground, and a modern Sèvres bust of a young boy after the model by Jean­Antoine Houdon, raised on a blue glazed socle, 30.6cm max. (4) £150­250

350 A Sèvres­style soup plate, 19th century, the well decorated with a crowned gilt LP monogram for Louis­Philippe, the rim with a continuous band of flowers including pink roses, tulip and primrose, printed marks for Chateau des Tuileries, some gilt wear, 23.7cm. £100­150

351 A large St Cloud coffee cup and trembleuse saucer, c.1730, painted in blue with a lambrequin border outside of moulded fluting, a narrow blue border to the saucer’s gallery, marked SCT 1 to the underside, some faults to the cup, 13.7cm. (2) £150­250

352 A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1784, painted by Taillandier, the can with the initial D painted in flowers with a floral halo above, both can and saucer painted with two borders of cornflowers and pink roses, blue interlaced LL mark enclosing date letters gg above the painters mark of a fleur de lys, 13.2cm (2) £150­250 Paper label for E Allain, 66 Rue La Boetie, Paris.

353 A Sèvres coffee cup and associated saucer, date codes for 1766 and 1770, painted with birds between flowering plants, within gilt scroll borders on a bleu celeste ground, blue interlaced LL marks enclosing date letters, the decoration probably later, 12.8cm max. (2) £100­200

354 A Chantilly sugar bowl and cover, c.1750, painted with delicate flower sprigs, the cover surmounted by three convolvulus type flowers, red hunting horn mark, some losses to the applied flowers, 11.5cm. (2) £300­400

355 Ten Sèvres soup plates (assiettes à potage), date codes for 1782, painted with scattered flower sprays, the rims with a band of blue feathering, blue interlaced LL marks, painter’s marks including Taillandier, 24.5cm. (10) £800­1,000

356 A Sèvres or Vincennes glass cooler (seau à verre ordinaire), c.1755 or later, painted in blue monochrome with scenes of putti, one side reclining with a sheaf of music and a violin, the reverse with a basket of fruits, a small flower spray beneath each scroll handle edged in gilt, blue interlaced Ls marks enclosing the letter C and an anchor painter’s mark for Charles Buteux, 12.3cm. £400­600

Provenance: from the collection of Lady Kate Davson, née Kate Foster (19382020)

357 A Serves circular dish (compotier rond), date code for 1792, painted with a central posy of cornflowers and pink roses encircled by a chain of pearls on a blue ground, the wide rim painted with repeated sprigs and blue and gilt dots, blue interlaced Ls enclosing date letters pp above a blue painter’s mark and GI gilder’s mark, 20.4cm £150­250

359 A small group of Chinese porcelains, Kangxi (16621722) and later, two saucer dishes painted in the Japanese manner in famille verte enamels with flowering plants, a small bowl and a small plate painted in underglaze blue, a small teapot and cover painted with a landscape scene, a large mug for the export market and a helmet jug with European gilding, some damages and repairs, 17cm max. (8)

£100­200

358 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) £300­500

360 A Russian porcelain powder box and cover, c.1927, State Porcelain factory, Lomonosov, modelled by Natalya Danko with a young maiden wearing a fringed shawl and beaded necklace, her hands crossed at the wrists, the box base with garlands from blue rosettes, 10cm high. (2)

£400­600

Cf. Vladimir Levshenkov, The Art of Sisters N. Ya and I. Ya Danko, p. 241 for a similar example.

361 A Russian biscuit porcelain figure of a peasant girl, 19th century, Gardner manufactory, cradling a swaddled baby, standing barefoot on a circular base, printed red mark, and a Gardner­style porcelain figure of a seated accordion player, raised on a square base, blue printed mark, some restoration, 24cm. (2) £200­300

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

362 A Russian biscuit porcelain figure of a peasant at his supper, 19th/20th century, Gardner manufactory, seated and raising a handled pan to his lips, a lidded barrel to his right side, and two biscuit porcelain still life groups, one of ladles beside a large patterned bowl, the other of a pair of fur­lined gloves beside an upturned top hat, red printed marks, 13.5cm max. (4) £400­600

365 Eight Herend figures of rabbits, modern, whiteglazed with small coloured detailing, modelled in various poses, printed marks, one ear broken and restuck, another with a small chip, 29.8cm max. (8) £150­250

366 No lot

364 Two Herend figures of cats, modern, one playing with a ball, its coat decorated in blue scale, the other seated on its haunches, and an Austrian figure of a cat grooming itself, 14.5cm max. (3) £100­150

367 A set of four small Continental porcelain figure groups of the Seasons, c.1770­90, each depicting a courting couple seated beneath a tree or arbour, with bushels of grapes, sheaves of corn, a warming bowl and a small obelisk, left in the white, one incised ‘3F’, some losses and restoration, 10.6cm. (4) £300­500

Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).

368 A pair of Meissen figures of the Racegoer and his companion, 19th century, he dressed in a green suit, holding his spyglass to his right eye, his companion holding a racecard and with her other hand tucked into a feathered muff, blue crossed swords marks, incised D65 and D66, damages to his left arm and hand, his cane lacking, 20.5cm. (2) £200­300

369 A Meissen figure from a monkey band (affenkapelle), 19th century, modelled as a female simian singer, seated with an open musical score on her lap, raised on a low scroll base, blue crossed swords mark, a repair to her right foot, the figure 12.5cm. Together with an associated wooden stand. (2) £150­250

370 A pair of Italian porcelain figures of peasants, late 19th/20th century, well modelled as a bearded man in a greatcoat and wide­brimmed hat, leaning on a stick, his companion dressed in rags, each raised on a rectangular base set into a gilt metal mount, incised interlaced Ls marks, one hand lacking, 18.3cm. (2) £100­200

371 A small German porcelain pagoda figure, 19th century, after Meissen, depicting a bare­chested monk loosely draped in robes and formed as a censer with a hole in the top of his head and a small spout between his teeth, 8.8cm. £200­300 Cf. Sammlung Margarete und Franz Oppenheimer, Ludwig Schnorr von Carolsfeld for a collection of similar Meissen pagoda figures.

372 A Meissen figure of a faun and a baby, 19th century, the faun seated on a trunk and playing panpipes to a swaddled infant in a rocking cradle beside rushes, cancelled blue crossed swords mark, incised D52, some chipping, 16.7cm high. £100­200

373 A Meissen figure of a boy and his dog, mid 18th century, seated on a rocky stump and reaching out his left hand to pet his dog seated beside him, holding a small posy of flowers in his right hand, and elaborately dressed in a large plumed green hat and loose blue coat, the scrolled base with gilt detailing, blue crossed swords mark to the reverse, some good restoration, 17.5cm. £300­400

374 Two Meissen figures, 19th and 20th centuries, one of a girl holding a basket of flowers and standing beside a tall vase, the other of a gallant wearing a red coat over a flowered waistcoat, a dog recumbent at his feet, blue crossed swords marks, small losses, 18.3cm max. (2) £100­200

375 A Tournai figure group, c.1760, modelled with an impish figure, possibly Daphnis, playing the pan pipes and seated on a rocky base above a winged putto and a Classical maiden, together with a white­glazed figure of an old man, probably emblematic of Winter, incised IL mark, 18cm max. (2) £200­300

376 A Sèvres biscuit porcelain figure group of putti, 2nd half 18th century, probably emblematic of Summer, seated on sheaves of corn and large fruits, one supporting a book, incised B for Bachelier, small losses, 11cm high. £350­450

377 A Höchst­style figure group of children, probably 19th century, one recumbent and being scolded by a girl carrying a cat, a second boy standing between a dog and a brick archway, all on a grassy base, blue wheel mark, small losses, 20cm across. £100­200

378 A Continental porcelain figure of a sphinx, late 18th/19th century, possibly depicting Louis XV, raised on a cushion with a rosette on each corner, wearing a ruffled shirt and a tricorn hat, his paws crossed before him, repaired through the neck, a restored chip to his hat, 17.3cm high.

£150­250

379 A Meissen figure group of skaters, 19th century, probably emblematic of Winter, a gentleman kneeling to tie the ice skate of his female companion, raised on a scrolled base, blue crossed swords mark, incised No. 36, 14.5cm. £150­250

380 A Frankenthal figure of a lady, c.1762­65, modelled by Johann Friedrich Lück, standing gazing slightly upwards, her blue and white dress below a puce cape trimmed in ermine, her hands inside a fur­lined muff, raised on a shaped base moulded with scrolls picked out in puce, blue CT and crown mark, incised workman’s marks AB, R and numerals, tiny chips to the hem of her gown and lace sleeves, 15cm. £300­400

Paper label for the Luise Hofmann Collection.

Cf. Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century (1972), pp. 140-41.

381 A Fürstenberg figure of a girl, c.1770, holding the edge of her apron in her left hand, standing barefoot on a low base edged in pink and gilt, overglaze blue crossed swords mark, 17cm. £150­250

383 A Meissen group of Europa and the Bull, 19th century, the original model by J J Kändler, Europa seated on the back of the bull garlanded in flowers, she draped in a pink robe, attended by two maidens, blue crossed swords mark, incised No. 2694, small losses and repairs, 22cm high.

£250­350

382 A large pair of Meissen figures of jays, 19th century, naturalistically modelled perched on tall rocky bases, their heads turned and plumage finely detailed, blue crossed swords marks, incised 104, small losses, 37.5cm. (2) £1,000­1,500

Provenance: a private collection in Salisbury.

384 A Meissen figure of a lady at repose, 19th century, after the model by J J Kändler with a lady reclining in a chair beside a tabletop spinning wheel, a closed bible held in her right hand, raised on a low scrolled base, cancelled blue crossed swords mark, incised 2685, small restorations, 15.5cm high.

Provenance: a private collection in Hampshire.

£100­200

The model is after the engraving ‘Les amusements de la vie privée’ by Louis Surugue of 1747, after the painting by Chardin of 1746. The engraving was dedicated to Madame La Comtesse de Tessin.

385 A large pair of Meissen figures of greyhounds, c.1745­50, modelled by Johann Joachim Kändler, each in pursuit with forepaws lifted off the ground, supported on low tree stumps, their coats decorated with small brown patches, the oval bases applied with flowers and leaves, blue crossed swords marks, some good restoration, 26cm across. (2) £5,000­8,000

Provenance: a private UK collection.

These models were designed by Kändler to feature as part of the table decorations at the hunting lodge of Augustus the Strong.

386 An unusual Derby figure of the Abyssinian Archer, c.1765, wearing a long flowered robe and holding a clutch of short arrows in his right hand, a quiver and bow slung behind his back, raised on a low scrolled base applied with flowers and leaves, minor losses and restoration, 28.2cm. £300­400

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

387 A Derby hairdressing figure group, c.1830­34, the gentleman hairdresser coiffing his female client’s hair, she with a mirror in her hand, raised on a pierced scroll base, red printed crowned D mark to the base, some restoration to her left hand and part of her chair lacking, 19cm high. £150­250

388 A large Derby theatrical figure of the actor James Quinn as Falstaff, c.1765, the corpulent actor wearing a floral waistcoat, holding a shield in one hand and a sword with a large pommel in the other, raised on a footed base picked out in puce and turquoise, some restoration, 38.5cm. £200­300

389 A Derby figure of a shepherdess, c.1757, standing on a tall scrolled base, a lamb recumbent at her feet and a small posy of flowers held in her left hand, small losses, 26.5cm. £300­350

390 A pair of Bloor Derby figures of a gardener and his companion, c.1830, raised on pierced circular bases, and an earlier Derby figure of Summer from the French Seasons series, holding a sheaf of corn and flowers, some losses and restorations, 24.5cm max. (3) £100­200

391 A Chelsea miniature figure of a nanny goat, c.1755, recumbent with head turned to the left, her front hooves folded beneath her, her coat decorated with striations of manganese, 6.3cm across. £300­500

392 A large Derby figure of a musical shepherdess, c.1760, seated and playing the mandolin, a sheep standing beside her right knee, a chip to her jacket, the end of her instrument lacking, 28.5cm.

This figure is more commonly seen with a long headdress.

£300­400

393 A large Derby sweetmeat figure, c.1756, modelled as a gentleman seated with crossed ankles, a shallow basket resting between his hands on his lap and painted to the interior with flowers, two lambs and a dog recumbent at his feet, his head turned to the right, raised on a scrolled base picked out in green, puce and gilt, minor restorations, 22.5cm. £250­350

394 A Plymouth white­glazed figure group, c.1770, modelled with two putti and a goat raised on a tall scrolled base before flowering bocage, some chipping, 20.5cm.

£400­600

The original source for the model is a bronze group by Jacques Sarazzin of c.1640 in the Louvre. The same group was produced at both Longton Hall and Vauxhall and it is possible that the Plymouth example copied these rather than the original bronze.

395 A Bow figure of a male dancer, c.1760­65, standing and turning towards his extended right arm, his left foot pointed away from him, raised on a footed base with scrollwork picked out in puce, a small amount of good restoration, 18.7cm.

Provenance: the Nigel Morgan collection.

£150­250

Exhibited: Treasury of Bow, Melbourne, Ballarat and Hamilton, Ceramics and Glass Circle of Australia, 2000-2001.

396 A pair of Derby figures of the Ranelagh Dancers, c.1765, each standing in dramatic pose with one hand on a hip and the other partly extended, standing before low flowering bocage on scrolled bases, some restorations, 32cm max. (2) £150­200

397 A Derby figure of Summer, c.1756­58, modelled as a young boy seated on a low stump and holding stems of corn and flowers, a sickle and further corn ears surround his feet, wearing a flowered jacket and a corn diadem, raised on a low scrolled base, a small amount of restoration to his fingers, 12cm. £150­250

398 A Bow figure of a boy, c.1756, possibly emblematic of Autumn, standing barefoot and holding a short length of fruiting grapevine, raised on a low base with scrolls picked out in puce enamel, a few small chips, 13.7cm. £150­250

399 An early pair of Bow figures of Liberty and Matrimony c.1750­52, modelled as a gentleman holding a small bird aloft in his right hand, his companion holding a bird cage on one hip, each with a recumbent sheep beside them and raised on scrolled bases, some damages and restoration, probably later-decorated, 26cm. (2) £400­600

Cf. Simon Spero, Fifteen Years Among Furnaces: Bow Porcelain from a Private Collection, April 2012, p.52 for a figure of David Garrick with similar decoration.

400 A rare Chelsea figure of a leveret, c.1755, after the Meissen models by J J Kändler, crouched on all fours on a rocky base applied with leaves and flowers, its coat decorated with a pale wash, some chips to the flowers and leaves, a small amount of good restoration, 9.5cm tall. £1,500

2,000

Cf. D. Fennimore et al., The David and Peggy Rockefeller Collection: Decorative Arts, vol. IV, p. 79, no. 70 for a pair.

401 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) £400­600

402 A pair of Worcester plates, c.1770, the wells painted with Classical vases or urns draped in flowers, reserved within wide wet blue borders with gilt grapevine bands, open crescent marks, 21.5cm. (2) £150­250

403 A small Worcester mug, c.1760, printed in black with the Whitton Anglers, the reverse with a milking scene, a small filled rim chip, 8.6cm. £300­400

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.

404 Two Chelsea Derby trios and two coffee cups and saucers, c.1770­80, one trio of fluted forms and painted with green camaieu flower swags, the other moulded with flowers and painted with a blue and gilt border, together with a matching teabowl, one cup spiral­moulded and painted with polychrome flowers, the other of plain shape and decorated with a berried band, 13cm max. (11) £100­200

405 Three English porcelain punch bowls, c.1756­60, one Chelsea and painted with back­to­back roses and other flowers, red anchor mark, another Liverpool and painted with flowering peony and other plants, the interior rim with a panelled and green trellis border, the last Bow and painted with bright floral arrangements, small damages, 21.3cm max. (3) £250­350

Provenance: the David Stopher Collection.

406 Three English porcelain slop bowls, c.1758­65, two Liverpool and painted with varying flower arrangements including a large pink rose, the interior rims with gilt and red borders, and a lobed Bow bowl painted in the famille rose palette with a bird perched on a peony branch, another in flight to the reverse, the latter cracked, 15.5cm max. (3) £80­120

Provenance: the David Stopher Collection.

407 Three Bow circular baskets, c.1755, of varying size, each painted to the interior in famille rose colours with chrysanthemum and bamboo issuing from holey rockwork, the reticulated sides with scattered leaf sprigs, the rim with a continuous floral border, all with red painter’s numerals 47, 24.7cm max. (3) £300­500

Exhibited: A Treasury of Bow, Melbourne, Ballarat and Hamilton, Ceramics and Glass Circle of Australia, 2000-2001.

Provenance: the Nigel Morgan collection.

408 A Worcester tea canister and cover, c.177080, of fluted ovoid form, painted with polychrome flower sprays within vertical turquoise and puce bands, a well restored footrim section, 16.8cm. (2) £100­150

409 A rare Worcester beaker vase, c.1758, after Meissen, the generous flared neck rising from a squat baluster body, finely painted with flower arrangements and scattered sprigs, a little restoration to the rim, 16cm. £250­300 Meissen vases of this type were copied at Chelsea in the mid 1750s with these versions subsequently being copied at Worcester.

410 A group of Worcester tea and coffee wares, c.1770­90, a coffee cup and saucer painted with the Pu Tai pattern, a cup painted in the London atelier of James Giles with a version of the Scarlet Japan pattern, three other cups painted with Chinese figures, and a teapot and cover painted with polychrome flowers, minor faults, 18cm max. (8) £150­250

411 Eight Worcester coffee cups, c.1770, painted with scenes of Chinese figures at various pursuits, some perhaps decorated in the London atelier of James Giles, around the handles with gilt, black and puce foliate scrolls and small panels, 6.5cm. (8) £250­350

408

410

411

409

412 A pair of Chelsea teabowls and saucers, c.1754, of lobed hexafoil form, painted with sprays and arrangements of flowers amidst colourful moths and insects, red anchor marks, a crack to the well of one saucer, 11.5cm max. (4) £400­500

413 A Chelsea leaf­shaped sauceboat, c.1752­55, the deep form finely painted inside and out with naturalistic flower sprays and a flying insect, the exterior moulded with sprays of alpine strawberry extending to form the feet and over the crabstock handle, brown line rim, red anchor mark, a few small nibbles, 19.5cm. £100­200

414 A Chelsea plate c.1760, painted with an exotic bird standing before leafy branches, with flying insects around, within a shaped yellow rim edged with gilt foliate scrolls, puce anchor mark, some wear to the gilt rim, 20.5cm. £100­200

Provenance: F S Mackenna Collection.

Cf. Victoria & Albert Museum, Accession No. C.103-1957 for a plate from the same service.

415 A Chelsea bough pot, c.1755, the fluted D section finely painted with a spray of flowers including honeysuckle and rose, a central moulded band with formal puce floral motifs, the top pierced with two bands of small holes around a central aperture, 18.3cm. £250­450

Illustrated: Flowers and Fables: A Survey of Chelsea Porcelain 1745-69, no. 120.

Provenance: the Nigel Morgan collection.

416 A graduated set of three Plymouth mugs, c.1770, enamelled with the Dragons in Compartments pattern, with mythical beasts alternating with panels of vases on low tables, the largest with a red tin mark, the smallest broken and restuck, a rim crack to the larger, 14cm max. (3) £500­800

417 Four Bow plates, c.1754­58, three painted in famille rose enamels with bamboo and flowering chrysanthemum issuing from holey rockwork, the rims with flowering lotus and other plants, the last painted in a limited polychrome palette with peony and other flowering plants, minor damages, 23.5cm max. (4) £150­250

Provenance: the David Stopher Collection.

418 An early Bow oblong dish, c.1753, of elongated octagonal form, painted with a long­tailed bird in flight above flowering peony branches and holey blue rockwork, the cavetto with a gilt scroll border, the rim with a panelled green trellis border, 27.4cm. £100­200

Provenance: the David Stopher Collection.

Cf. Bow Porcelain, The Collection formed by Geoffrey Freeman, p.34, pl.24 for a similar pair.

419 A Worcester cos lettuce sauceboat, c.1757, crisply moulded with overlapping leaves and delicately decorated with butterflies, flower sprays and scattered leaves, a further flower sprig to the interior, black painter’s mark to the base, 18.2cm across. £150­250

420 A Richard Chaffers (Liverpool) jug, c.1760­64, well painted with two long­tailed birds facing each other beside leafy branches, with further exotic birds in flight above, a chip to the rim, 17.8cm. £1,000­1,500

Cf. English Ceramic Circle 50th Anniversary Exhibition, 1977, no 183 for a jug with similar fine bird decoration.

421 A large Chelsea wine cooler, c.1755, of lobed form, painted with small flower sprays among applied and enamelled fruiting grapevine, drilled, some peppering, 21cm high.

£800­1,200

Provenance: a private collection. Acquired from Woolley and Wallis, 7th September 2004.

£400­600

422 A Chelsea peach shaped jug, c.1750­52, painted in the Kakiemon palette with the Flying Fox and Squirrel pattern, the animals on and around banded hedges and fruiting grapevine, a small chip to the handle, 6.3cm high.

Provenance: the Chetwynd family, Brocton Hall, Staffordshire.

423 A Chelsea dish, c.1752­55, of lozenge shape, painted in the Kakiemon palette with two exotic Ho­Ho birds perched on flowering prunus branches and in flight above, the rim with a formal border of leaf scrolls, red anchor mark, a small repair to the rim, 29.8cm.

Provenance: the David Stopher Collection.

£150­250

Provenance:

424 A rare Chelsea octagonal bowl, c.1749­52, finely decorated in the Kakiemon palette with alternating panels of figures, dragons, birds and stylized flowers, the interior with a pagoda beside a bridge and flowering plants, the rim with a red and gilt lappet border, raised anchor mark, some high quality restoration, 16.9cm dia. £1,200­1,800

the David Stopher Collection.

Cf. Geoffrey Godden, British Porcelain: An Illustrated Guide, p.124, fig. 123.

425 Three Worcester blue and white teapots and covers, c.1760­80, one printed with the Fence pattern, one with the Three Flowers pattern, the last painted with the Cannon Ball pattern, and a small Worcester teapot printed with the Plantation pattern, together with a matched Lowestoft cover, some faults, 18cm max. (8) £200­300

426 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) £150­250

Provenance: the David Stopher Collection. The sauceboat with a paper label for the Frank Wheeldon Collection.

427 Two Worcester blue and white mask jugs, c.1760, and a cylindrical mug, all printed with naturalistic flower sprays and flying moths, the necks of the jugs with grapevine and convolvulus motifs, hatched crescent marks, a crack to the base of the mug, small chips to the smaller jug, 22.3cm max. (3) £250­350

428 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) £150­250

Provenance: the Peter Burke Collection. The smaller plates with paper labels for Roderick Jellicoe, the larger for Mercury Antiques.

429 Two Worcester blue and white junket dishes, c.1760, printed with differing flower sprays in panels alternating with basketweave bands around a central flowerhead, hatched crescent marks, 23.8cm. (2) £300­350

430 A pair of Bow blue and white leaf dishes, c.1765, each modelled as a large vine leaf, painted with scattered flying insects around a stem of fruiting vine, pseudo Chinese script marks, a small section of one broken and restuck, 20cm. (2) £250­350

431 A large and rare Worcester blue and white leaf dish, c.1758­60, formed of two overlapping cos leaves, decorated with the Blown Tulip pattern, 34.7cm. £300­400

432 A Derby blue and white basket, c.1765­70, the oval form painted to the interior with a figure fishing from a boat before a pagoda issuing from crossed rocks beneath a pine tree, the reticulated exterior applied with flowerheads at the intersections, a 3cm restored rim section, 24cm across. £200­300 Paper label for the Frank Wheeldon Collection.

433 A Lowestoft blue and white punch pot and cover, c.1765­70, the globular body painted with a three­storeyed pagoda in a Chinese landscape, the shoulder with a formal scroll rim, painter’s numeral 5 to the inside footrim, a long body crack, 28cm across. (2) £200­300

Cf. Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, no.577 for a similar example.

434 A John and Jane Pennington (Liverpool) blue and white bowl, c.1785­90, painted with figures fishing in a European landscape, the interior with a sail boat at sea, the interior rim with large flower sprays, 22cm dia. £300­350

Provenance: the David and Jan Birley Collection. Formerly the Watney Collection.

435 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) £200­300

Provenance: the David Stopher Collection.

436 A large Worcester blue and white vase, c.1765, of baluster form, one side printed with the Parrot Pecking Fruit pattern, the reverse with the Pinecone spray, with smaller sprigs and scattered insects around, script W mark, 29.8cm. £300­500

437 Two Worcester blue and white punch bowls, c.1760­70, the larger painted with the Rock Strata Island pattern, the smaller with the Cannon Ball pattern, open crescent marks, 23.5cm dia max. (2) £200­250

438 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) £150­250

Provenance: the David Stopher Collection.

Provenance:

Provenance:

Provenance:

439 A rare Lowestoft blue and white pickle dish, c.1765­70, of unusual leaf shape, painted with fruiting grapevine, the stalk with a flowerhead, raised on three low feet, broken and riveted, 10.8cm. £200­250

the David and Jan Birley Collection.

440 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. £100­200

the David Stopher Collection. Green enamelled initials for the Gilbert Bradley Collection.

441 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) £80­120

the David Stopher Collection.

442 A Worcester blue and white butter tub with cover and stand, c.1770, printed with the Fence pattern, and four slop bowls variously decorated with the Three Flowers, Fisherman and Mansfield patterns, crescent marks, 16.4cm max. (7) £200­300

443 A rare Lowestoft blue and white tea canister, c.1775, the ovoid form printed with the Three Flowers pattern, the reverse with moths and small flower sprays, hatched crescent mark, 14.9cm high. £150­250 Cf. Geoffrey Godden, Lowestoft Porcelains, p.215 for a discussion of this rare shape. Also Bonhams, 2nd May 2018, lot 404 for a similar example in the Fence pattern.

444 A Richard Chaffers (Liverpool) blue and white coffee pot and cover, c.1760, the baluster form crisply moulded with flowering branches, the rim painted with a cell diaper border, the finial restored, 23.5cm. (2) £200­300

Provenance: the Ron Sparrow Collection.

445 A Vauxhall blue and white teabowl and saucer, c.1760, painted with a solitary Chinese figure crossing a bridge between islands, the teabowl broken and restuck, 11.5cm. (2) £150­250

Provenance: the David and Jan Birley Collection.

446 A Caughley blue and white milk or cream jug, c.1775­85, of distinctive barrel shape, painted with the Mansfield pattern, blue C mark, 7.2cm. £200­250

Provenance: the David and Jan Birley Collection.

447 A Longton Hall cos leaf sauceboat, c.1755­60, moulded with overlapping leaves, painted in underglaze blue with a blurred landscape scene, a section broken and restuck, 17cm across. £250­300

Provenance: the David and Jan Birley Collection.

Exhibited: English Ceramics Circle, 2006, no.93.

448 A large Worcester blue and white sauceboat, c.1755, the highfooted body moulded with foliate cartouches and painted with the Fisherman on a Towering Rock pattern, the interior with a similar scene of a fisherman in a pagoda landscape, with flowering prunus branches to the rim, workman’s mark beneath the handle, a small restoration to the foot, 23.2cm. £100­200

449 A very rare Worcester blue and white teacup, c.1757, painted with the Meissen Floral pattern, copying Meissen Deutsche blumen, the reverse with beetles and a further floral sprig, blue crossed swords mark, 4.5cm high. £800­1,200

Provenance: the David and Jan Birley Collection.

Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain, I.E.29A for a cup from the Godden Reference Collection, thought at the time to be the only known example.

450 A rare Worcester blue and white egg cup, c.1760, painted with flower sprays beneath a cell diaper border, open crescent mark, a filled rim chip, 6.3cm. £300­400

Provenance: the David and Jan Birley Collection. Formerly the Stirling-Lee Collection and exhibited at Albert Amor Ltd, 1994.

451 A pair of Bow blue and white serving dishes, c.1760, moulded with raised leaf sprays and painted with fruiting grapevine, with seaweed tendrils to the underside of the rims, 29.7cm. (2) £250­350

452 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) £150­250 Provenance: the David Stopher Collection. The two smaller baskets formerly in the collection of Susi and Ian Sutherland.

453 A rare Limehouse blue and white creamboat, c.1746­48, of flared hexagonal shape, painted with European landscapes, one side with a tall building with arched doorways, the reserve with a stone monument decorated with a mask, between moulded leaf and shell designs, broken and restuck, 14.5cm across.

£1,000­1,500

Cf. Limehouse Ware Revealed, English Ceramics Circle, p.38, no.69.

Provenance: the David and Jan Birley Collection.

Formerly the Susi and Ian Sutherland Collection.

454 A rare Seth Pennington (Liverpool) blue and white glass­bottomed mug, c.1775­85, painted with a European couple seated beneath a tree beside water, a ship at sail behind them, with a distinctive scroll handle, 9.7cm.

£1,000­1,200

Provenance: the David and Jan Birley Collection. Formerly the Davies Collection and the Watney Collection.

Exhibited: Phillips, Liverpool Exhibition, 1997, no. 3/33.

Illustrated: Maurice Hillis, Liverpool Porcelain, p.391, figs. 9.36 and 9.37.

455 A rare Vauxhall blue and white potted meat tub, c.1760, painted in a deep blue with Chinese landscape scenes, the interior with a large butterfly and a panelled trellis border, broken and restuck, 12.2cm dia. £100­200

Provenance: the David and Jan Birley Collection.

Formerly the Susi and Ian Sutherland Collection.

456 A rare miniature or toy­sized Worcester blue and white teapot and cover, c.1785, printed with a shepherdess and a girl on a swing from the Wheeling Chair Group of patterns, within beaded roundels, disguised numeral mark, a body crack and a crack to the handle, 12cm across. (2) £500­700

Provenance: the David and Jan Birley Collection.

Cf. Branyan, French and Sandon, Blue and White Worcester Porcelain, II.A.20, where the pattern is described as ‘very rare’.

457 A Worcester miniature or toy­sized blue and white saucer, c.1785, printed with the Wheeling Chair Group, showing children playing with a wheeled chair, in a roundel suspended from ribbons, broken and restuck, 8.8cm. £150­250

Provenance: the David and Jan Birley Collection.

458 A Worcester miniature blue and white milk jug, c.1760­62, painted with the Prunus Root pattern, with branches extending inside the rim, with a grooved strap handle, open crescent mark, 5.5cm. £200­300

459 Two Worcester miniature blue and white coffee cups and two teabowls, c.1760­62, painted with the Prunus Root pattern, the branches extending inside the rims, open crescent marks, 3.6cm max. (4) £200­300

457

458

456

459

461 A Worcester miniature blue and white coffee pot and cover, c.1760, the tapering cylindrical form painted with the Prunus Root pattern, open crescent mark, a small section of the spout broken and restuck, 7.5cm. (2) £800­1,200

460 A very rare miniature Worcester blue and white tea kettle and cover, c.1760­62, painted with the Prunus Root pattern, open crescent mark, 7.8cm high. (2) £1,000­1,500

Cf. Simon Spero, The Simpson Collection, March 2003, no.28 for an identical example. This unusual shape is Dutch in origin and would have been accompanied by a pierced tripod stand.

462 A rare Worcester miniature blue and white tea canister and cover, c.1760, the cylindrical form painted with the Prunus Root pattern, open crescent mark, the cover possibly associated, 6.3cm. (2) £800­1,200

Very few examples of this shape are recorded, and it is possible that they were only made with a cylindrical cover. However, as the decoration extends to the neck, which would be obscured, and there is no full-sized counterpart in Worcester’s production, it is difficult to be sure.

FURNITURE, WORKS OF ART & CLOCKS

WEDNESDAY 4TH & THURSDAY 5TH OCTOBER 2023

ENQUIRIES

myr@woolleyandwallis.co.uk

A late George III terrestrial pocket globe by Nathaniel Lane Estimate £2,000 ­ 3,000*

AUCTION INFORMATION

OPENING HOURS City Centre Salerooms

Monday to Friday 9am – 5pm

Old Sarum Galleries

Monday to Friday 9am – 5pm

VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US

All first time buyers need to register with us. To register, you will need to provide two forms of identification:

1. a passport or photographic driving licence

2. a utility bill or document showing your name and address

You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk

You will be asked to show your documents or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION

See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

BIDDING IN THE ROOM

To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale.

COMMISSION BIDDING

If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING

It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING

Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

CONDITION REPORTS

The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS

These will be posted on our website shortly after the sale.

PACKING AND SHIPPING

Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping +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

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

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

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

Debit and Credit cards: Visa, Mastercard, Amex or Union Pay. 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 Φ 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 will not be 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

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) 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.

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) 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 Φ 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

TUESDAY 19TH SEPTEMBER 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

AUCTION CALENDAR

2023 SEPTEMBER

5th & 6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th & 21st Arts of Africa, Oceania and the Americas

OCTOBER

4th & 5th Furniture, Works of Art & Clocks

18th Design

24th Single Owner Collection of Jewellery

25th & 26th Fine Jewellery

31st Silver & Objects of Vertu (Day One)

NOVEMBER

1st Silver & Objects of Vertu (Day Two)

14th ­ 16th Asian Art, Chinese Paintings & Japanese Works of Art

28th Medals & Coins, Arms & Armour

29th British Art Pottery

DECEMBER

13th Modern British & 20th Century Art

Dates may be subject to change

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2024 AUCTIONS

A good and large cider glass, c.1755­60 SOLD FOR £5,625*