Woolley & Wallis by Jamm Design Ltd

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

English & European Ceramics & Glass Tuesday 19th April 2016

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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

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ASIAN ART John Axford MRICS ASFAV Sophie Lister Alex Aguilar Doméracki Freya Yuan

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE, WORKS OF ART & CLOCKS Mark Richards — Jim Gale — Anna Brown — JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA Hannah Galbraith

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Gemma Bush

Members of The Society

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VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598 ACCOUNTS Janice Clift (Office Manager) —

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MARKETING Tamzin Corbett

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Amanda Lawrence SALEROOM MANAGER David Jordan BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 19th April 2016 at 10.30am Viewing Times Saturday 16th April Monday 18th April Tuesday 19th April

10.00am – 1.00pm 10.00am – 5.00pm 9.00am – 10.30am

ENQUIRIES Clare Durham 01722 424507 claredurham@woolleyandwallis.co.uk

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

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Friday 22nd April. If you are collecting items on or after this date please contact the department on 01722 424507. Please note that requests for telephone bids cannot be accepted after 5pm on Monday 18th April.

LIVE BIDDING

Please register by 5pm Monday 18th April. Please note there is a 3% + VAT surcharge for using this service.

Front cover: Lot 444 Back cover: Lot 95 Opposite: Lot 129 Catalogue £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

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1. Three decorative glass vases, 19th century, one painted with a polychrome spray of flowers on an opaque white ground, one richly gilded with leaf fronds, the last with formal leaf scrolls in gilt and white enamel, reserved on a blue ground, 28.5cm max. (3) £100-200 2. A good pair of cut glass decanters and stoppers, 19th century, the sides stepped and faceted, rising to a hobnail cut band, the shoulders with a band of polished ovals, 33cm. (4) £150-250 3. Two decanters and stoppers, late 18th/early 19th century, of mallet shape, each with three neck rings, one cut with two bands of polished lappets, each with a penny stopper, 28cm max. (4) £50-100

4. A collection of thirteen Nailsea glass bells, 19th century, in red, green, blue and turquoise, of varying size with clear glass knopped handles, 34.5cm max. (13) £250-350 5. Seven Venetian wine glasses, late 19th/20th century, the rounded bowls enamelled in white and black with grotesque swans, vases and foliate scrolls, raised on flared stepped stems beneath a blown knop applied with rapsberry prunts, the glass of a delicate orange hue, 20cm. (7) £150-250 6. A mixed lot of glass, 18th and 19th centuries, including two Bohemian large flared beakers with moulded bases, a bellshaped wine glass on a plain stem and domed folded foot, a drawn trumpet wine on a folded foot, two beakers with moulded ribs, and four various rummers, 17.5cm max. (10) £300-500 Provenance: from the collection of David Ferguson Esq.

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7. Two soda wine glasses, 1st half 18th century, both with drawn trumpet bowls, the larger with a teardrop stem above a domed folded foot, the smaller on a moulded pedestal stem, the bowl engraved with a formal border, 17.8cm max. (2) £200-300

8. Three wine glasses, 18th century, one with a rounded bowl raised on a double series opaque twist stem, one with a bellshaped bowl on a knopped airtwist stem, and a Continental glass with a colour twist stem in red and white, a chip to the opaque twist foot, 16cm max. (3) £200-300

9. Two façon de Venise type wine glasses, late 17th century, one with a spiralfluted bucket bowl raised on an incised twist stem above a folded foot, the other with bucket bowl above a high conical folded foot, 12.2cm. (2) £200-300

10. Two wine glasses, mid 18th century, with narrow bell-shaped bowls, raised on plain stems above folded feet, 16cm max. (2) £200-300

11. A near pair of engraved commemorative rummers, dated 1853, the rounded bowls engraved in detailed diamond point by Thomas Sutherland of London, with varying Royal coats of arms, and poems relating to friendship and peace, engraved with the date 1853, 14cm. (2) £400-600

12. Two wine glasses, mid 18th century, both with round funnel bowls raised on differing airtwist stems, the larger bowl cut with a band of polished ovals and stars, a chip to one footrim, 15.2cm max. (2) £150-250

13. A glass magnum flagon or decanter and stopper, late 19th century, the globular body engraved ‘Carlowitz: as supplied by special appointment to Her Majesty’, the reverse with ‘Max Greger & Co. London, Wine Flagon’, with a faceted globe stopper, 27cm. (2) £80-120

14. A large rectangular Bohemian glass flask, c.1740, of flattened rectangular form with rounded shoulders, engraved with stylized tulips to the wider sides and lily of the valley to the narrow sides, 23.5cm. £100-200

15. A Bohemian engraved goblet, dated 1845, the generous bowl engraved with two fox hunt scenes separated by tree trunks, raised on a faceted pedestal stem above an octagonal foot, engraved ‘den 20:ten October 1845’, 21.2cm. £400-600

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16. Twenty Continental drinking glasses, 19th century, the drawn trumpet bowls rising from thick stems with a single teardrop, some engraved with numbers and letters, others inscribed with mottos including 'Mon tour viendra!' and 'Dum spiro spero', with gilt rims, 19cm max. (20) £300-500 Provenance: by repute, from a men's drinking club in Dresden.

17. Five cut glass plates, 19th/early 20th century, cut to the underside with radiating panels, the rims and cavettos flashed in amber, and a pair of Bohemian goblets, flashed in ruby and engraved with stags beneath trees, raised on faceted stems, 21.5cm max. (7) £100-150

18. A baluster wine glass, c.1730, with bell-shaped bowl raised on a knopped baluster stem above a folded foot, 16cm. £350-500

19. A wine glass, c.1765, with bell-shaped bowl raised on a knopped stem with double series opaque twist, 15cm. £150-250

20. A baluster wine glass c.1720, the funnel bowl raised on a knopped stem with teardrop inclusion above a domed foot, the foot trimmed, 14cm. £300-400

21. An amethyst glass decanter and stopper, c.1820, perhaps American, moulded with starburst designs and diamond banding, 27cm. (2) £30-50 17

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22. A Bohemian Lithyalin glass vase, c.1840, the slender ovoid body of a rich marbled sealing wax red with dark striations, 15cm. £150-250

23. A mallet-shaped wine bottle, late 17th/early 18th century, with kick-in base and short tapering neck, encrusted with barnacles, 16.5cm. £100-200

24. A narrow glass jug of Wrockwardine/ Nailsea type, early 19th century, the dark green body flecked with white, with a tall tapering neck and flared spout, 16cm. £300-400

25. Twelve German ‘Friendship’ glasses, 18th/19th century, with bucket-shaped bowls engraved and gilded with hearts, flowers and birds beneath differing sentiments of love and friendship, raised on varying knopped stems above folded feet, 16cm max. (12) £500-1,000

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26. Four cow creamers and covers, 19th/20th century, standing on oval bases, two with heads uplifted and lowing, decorated with splashes in black and red enamel, some repairs, 16.5cm. (8) £50-150

27. Three cow creamers, 19th century, each standing four square on a shaped base, with heads slightly turned, with milkmaids seated beside, some restorations, two covers lacking, 21cm. (4) £100-200

28. Four pearlware cow creamers, 19th century, three with covers, each standing four square on an oval base moulded with a flower, with mouths agape and tails curled to form a handle, their coats variously sponged or with lustre splashes, some damages and restoration, 16.5cm. (7) £80-120

29. Four Jackfield type cow creamers and three covers, 19th/20th century, decorated in a rich black glaze with gilt detailing, and two similar brown-glazed creamers, some faults, 19cm max. (9) £100-150

30. Five creamware cow creamers and stoppers, 19th century, standing on shaped green bases, all decorated with small splashes of polychrome and lustre enamels, some restorations, 18cm. (10) £200-250

31. Five Delft models of cows or bulls, 20th century, two recumbent and three standing, variously decorated with stylized floral designs, and two cow creamers with covers, some restorations, 18cm max. (9) £100-200

32. Five pearlware cow creamers, 19th century, four printed in blue with Chinese landscape scenes, the last in black with a European landscape, three with covers, some damages and repairs, 17.5cm. (8) £80-120

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33. A near pair of creamware cow creamers and covers, c.1800, each standing four square on a shaped base, with a milkmaid seated beside them, their coats sponged in black and ochre, some restoration, 17.5cm max. (4) £150-250

34. Two pearlware cow creamers and one cover, c.1800, each standing four square on a chamfered and stepped rectangular base, one with a milkmaid, the other with a recumbent calf, one cover £100-200 lacking, some repairs, 17cm across. (3)

35. A pair of cow creamers and covers, 1st half 19th century, each standing on a low shaped base, being milked by a seated milkmaid, decorated with blackberry patches, some restoration, 19cm. (4) £80-120

36. A creamware cow creamer, late 18th century, standing four square on a shaped flat green base, her coat sponged in green, ochre and manganese, some damages, 17cm across. (2) £100-150

37. Two Staffordshire pearlware cow creamers and covers, c.1800, standing four square on shaped bases and decorated in splashes of red and black, one with a seated milkmaid, the other with a calf, and a pearlware model of a cow and recumbent calf, decorated with blackberry splashes, some faults, 18.5cm max. (5) £100-150

38. A pearlware cow creamer, c.1800, standing four square on a low shaped base with a milkmaid seated beside, decorated in Portobello colours with splashes of red, black and green, and a Pratt ware oval plaque, moulded and painted with a large bunch of grapes within a beaded rim, the plaque restored, the creamer lacking its cover, 19cm max. (2) £100-150

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39. Four Staffordshire pearlware figures of animals, early 19th century, two of stags standing or recumbent before flowering bocage, one of a sheep with crumbed clay fleece, the last of a cow bending her head down towards her calf, some damages and repairs, 19cm max. (4) £150-250

40. A pair of Staffordshire models of cats, 19th century, seated on green cushions with puce fringing, their heads turned and coats with tabby patches, and a creamware model of a cat decorated with ochre patches over a manganese wash, 9.8cm max. (3) £100-200

41. Three Staffordshire pearlware figures, early 19th century, one of a man, perhaps Abraham, sacrificing a goat upon a pedestal, one of a female figure beside a bowl of flames, probably emblematic of Fire, the last of Ceres holding a large cornucopia, all raised on square bases, some restoration, 25.5cm max. (3) £100-200

42. A Staffordshire castle tulip vase or desk stand, early 19th century, modelled with seven hollow turrets of graduating size, decorated in a rich canary yellow and raised on a stepped red base, script 90 mark beneath, some restoration, 21cm. £150-200

43. A Staffordshire pearlware figure of Elijah, 19th century, seated before flowering bocage with ravens perched beside him, a pearlware figure of Faith, standing with arm outstretched beside a titled shield, and a Staffordshire porcelain figure of Venus and Cupid, some damages and repairs, 24cm max. (3) £100-200

44. A pair of Staffordshire models of cats, 1st half 19th century, each seated on a red cushion with head turned, their coats decorated in green, ochre and red, minor damages, 17.5cm. (2) £150-200

45. Two Staffordshire pearlware figures of Elijah and the Widow, early 19th century, Elijah seated and receiving food from two ravens perched beside him, the Widow standing beside a gnarled tree with three children around her, titled to the front of the base, some damages, 27cm max. (2) £100-200

46. Seven Staffordshire pearlware figure groups, 1st half 19th century, two of musicians seated with various instruments before tree stumps, a pair of figures with animals before flowering bocage, a Tithe Pig group, a promenading couple, and a Pratt ware figure of a girl holding a basket of flowers beneath one arm, some damages and £200-300 restoration, 18cm max. (7)

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47. A Ralph Wood type figure of the Lost Sheep Found, late 18th/early 19th century, a young shepherd carrying a sheep on his back, raised on a square black-glazed base, number 60 to the base, a little restoration, 21cm. £200-300

48. A Ralph Wood figure of Jupiter, late 18th century, standing with one hand holding a staff which rests on his right shoulder, an eagle standing by his right foot, on a grassy base raised on a square black marbled base, titled ‘Jupiter’ in black to the underside, the front of the black base titled ‘Hercules’ beneath the paint, some restoration, 28.5cm. £200-300 The decorator has incorrectly titled this figure as Hercules on the front of the base. When this error was pointed out after the model had been fired, it was given back to the painter to correct the mistake. The normally white base was then overpainted in marbled black to hide the error, while the correct name of Jupiter was painted on the underside.

49. An Italian (Nove) theatrical creamware figure of Columbine, early 19th century, seated atop a tall pedestal base, wearing a mask and chequered coat, beside a yellow vase forming a toothpick holder, some good restoration, 12.8cm. £250-350

50. A pair of French faïence busts of Voltaire and Rousseau, 19th century, draped in blue and lilac robes, each raised on a marbled socle base, Rousseau broken off his base and repaired, 16.5cm. (2) £200-300 The bust of Voltaire is after the 1718 painting by Nicolas de Largillière.

51. A large French faïence model of a pigeon, probably 19th century, naturalistically modelled and with plumage sponged in green with blue, red, yellow and manganese highlights, the shaped base fitted with a narrow hole to two sides suggesting that this might have been intended to cap a newel post or similar, £150-250 26.5cm.

52. A Staffordshire pearlware figure of Elijah, early 19th century, seated on a tree stump and holding out his hand to a raven perched beside him, and a Staffordshire figure of the Welsh Saint Winefride, dressed as an abbess and holding a crosier, titled to the socle base, some restoration, 31cm max. (2) £150-200

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53. A pair of Chanakkale (Western Turkey) pottery ewers, 19th century, with tall necks rising from ovoid bodies, applied with flower motifs and decorated in black enamels over a rich green glaze, minor faults, 37cm. (2) £300-400 54. A massive Hispano-Moresque albarello-shaped vase, 19th century, the tall waisted form decorated in blue and copper lustre with floral £250-350 and foliate bands and geometric motifs, 64cm. 55. A Sicilian maiolica albarello, 18th century, Caltagirone, the waisted form painted with the profile portrait of a solider wearing a helmet, within a scrolling ochre border, reserved on a blue ground, the reverse with scrolling leaves, a little chipping, 23.5cm. £200-300

56. A Moustiers oval dish, c.1765, painted in blue with the bust of a bearded man wearing a cloth hat, between Classical motifs and fountains, £300-500 the shaped and moulded rim with a formal floral border, 45cm. Paper label for Jacqueline Polles, Paris. Cf. Woolley and Wallis, 23rd February 2016, lot 15 for a similar smaller example.

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57. A Spanish faïence salt or spice dish, 18th century, probably Talavera or Puente del Arzobispo, of triangular form and set with three wells, and a similar square inkwell, painted to the exterior with a rabbit, dog and birds in typical palette, 15.5cm max. (2) £100-200

58. A Continental slipware bowl, dated 1748, the interior decorated in yellow, blue, green and brown with a large tulip and other flowers between the initials ‘VF’, the exterior with similar flowers and the date ‘1748’, raised on a circular foot, 11cm high. £120-180

59. An Islamic pottery flask, probably 19th century, of flattened semi-circular form, painted in blue with a large fish to two sides, the rounded shoulders with flower motifs, 11.5cm high. £100-200

60. A pair of Samson faïence candlesticks, late 19th century, after Veuve Perrin, moulded as tall columns issuing from square bases, painted with sprays of polychrome flowers, blue VP and Samson marks, 31.2cm. (2) £100-200

61. A pair of French faïence plates, 18th century, probably Marseilles, painted with chinoiserie scenes in polychrome enamels, the rims with colourful birds on leafy branches, 24cm. (2) £150-250

62. A garniture of three Spanish faïence drug jars and covers, c.1800, each painted with a cartouche in yellow, ochre, blue, green and manganese, titled ‘G R Gutt’, ‘R. Elem’ and ‘Scord.’, some damages and restorations, 30cm. (6) £150-250 Scordium or water germander has a variety of uses including the promotion of sleep, ‘Elem’ relates to an exotic tree resin, while ‘Gutt’ relates to a form of drop.

63. A French faïence trompe l’oeil plate, 19th century, the well applied with greenish black olives above painted decoration of a single orange rose, the lobed rim with simple line borders, a small rim chip, 23.3cm. £80-120

64. A Moustiers faïence serving dish, c.1740, painted in shades of blue, green, yellow and manganese with stylized floral arrangements, the shaped rim with a narrow border, 41cm. £100-200

65. A Cantagalli circular wall plaque, late 19th century, modelled in high relief with the head of a putto with a halo behind, one pair of wings outstretched behind with another pair folded in front, all in white on a blue ground, black cockerel mark, within a wooden frame, the plaque 16.5cm dia. £100-200

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66. A Delft six tile panel, 18th century, painted in manganese with a dog seated on its haunches and wearing a collar, set within a black frame, 43 x 29.5cm overall. £200-300

68. A rare Delft portrait tile, 2nd half 17th century, from a larger panel, painted with the face of a lady with ringlet curls, her eyes looking out to her left, minor damages, 12.8cm. £150-250 Cf. Sotheby’s, Important Dutch Portrait Tiles of the House of Orange, 13th May 1982, 335 for a tile panel of Maria van Nassau.

67. A Delft six tile panel, 18th century, painted in manganese with a horse rearing up on to its hind legs, set within a black frame, 43 x 29.5cm overall. £200-300

69. A Qajar square tile, c.1860, brightly painted with a figure on horseback, a yellow bird perched on his left hand, all reserved on a rich blue ground within a turquoise border, 20cm. £100-200

70. A Liverpool delftware tile, c.1750-75, painted in blue with an octagonal panel containing a figure and animals in a boat before swans and further boats in a watery landscape, the border with four putti and large stylized leaves, 13.3cm. £100-150

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71. Nine Delft tiles, 18th century, each painted in blue with a soldier in historical costume, holding a musket or sword, the corners with stylized foliate motifs, some damages, 13cm. (9) £150-250

72. Twelve slipware tiles, c.1750-70, probably Bristol, decorated with a marbled design in rusty orange and manganese on a cream ground, 13cm. (12) £300-500 Cf. Anthony Ray, English Delftware Tiles, p.235, no. 595.

73. Eight Bristol delftware tiles, c.1725-50, each decorated in blue with a hatted figure in a rural landscape, reserved on a flower-shaped panel on a sponged manganese ground, the corners with flowerhead motifs, minor faults, 12.8cm. (8) £100-200 Cf. Anthony Ray, English Delftware Tiles, p.133, nos. 110 and 111 for similar examples.

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74. Two delftware tiles, 18th century, one decorated with a figure in European costume driving a cow, the other with a figure standing in the doorway of a low building beside a jetty, each with stylized foliate motifs to the corners, minor glaze chipping to the edges, 13cm max. (2) £50-100

75. Two London delftware Biblical tiles, mid 18th century, one painted with Rebecca and Eliezer at the well, the other with Lazarus in Heaven and the rich man in Hell, both within circular panels with differing corner decoration, each mounted in a painted wooden frame, the tiles 12.5cm. (2) £100-150

76. A rare Aldgate delftware paving tile, c.1590-1620, painted with a circular panel of a chequered design in green, ochre and white, reserved on blue, and four Pickleherring Pothouse white-glazed tiles, some damages and restoration, 13cm. (5) £400-600

77. Five Delft tiles, 17th/18th century, three painted in blue, green, yellow and ochre, variously with a large pomegranate, a tulip spray and a vase of flowers, two in blue with similar decoration, the corners with flowerhead or fleur de lys designs, some damages, 13.5cm. (5) £100-200

Cf. Ian M Betts and Rosemary I Weinstein, Tin-Glazed Tiles from London, pp.98-99 for the Aldgate tile.

78. A pair of Delft rectangular plaques, 18th century, both painted in blue, one with a courting couple, the other with a young farmhand holding a sickle and an ear of corn, both beneath sponged trees, with metal mounts and candle sconces, some restoration, 29cm overall. (2) £200-300

79. A Delft jar and cover, 18th century, the squat body painted in blue with a lambrequin border above a band of lappets, the cover with a low button finial, and a Delft inkwell or wax jack, of drum shape with foliate swags, a large circular opening to the top with a smaller raised lip to one side, 13.2cm max. (3) £150-250 80. Three delftware plates, 18th century, two painted in blue with Oriental flowers, the last in polychrome enamels with a censer of flowers in a small circular panel, some glaze chipping, 23.2cm max. (3) £100-200 81. Two delftware plates, 18th century, variously painted in blue, each with a bird perched on a leafy branch, one with floral sprays to the rim, the other with a stylized border, and a Delft plate painted with Oriental flowers and foliage, minor damages, 22.5cm max. (3) £150-250

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82. Three large delftware plates, mid 18th century, each painted in blue with a small building beneath tall stylized trees, the cavetto with a geometric band, the rim with a cell diaper border, some damages, 35.7cm. (3) £250-350

83. A delftware charger and a bowl, 18th century, the charger decorated in polychrome enamels with a continuous floral design, the bowl with insects in flight above a vase of flowers, damages and repairs, 29.5cm max. (2) £150-250

84. Three delftware plates, 18th century, one painted with a shepherdess and shepherd beneath a tall tree beside Classical ruins, one with a stylized floral design in blue, the last with a large polychrome peony spray within a formal foliate border, some faults, 23cm max. (3) £150-250

85. Two delftware plates, c.1730, the wells painted in blue with a pattern of simplistic flowerheads, the rims with geometric borders, minor faults, 22.2cm max. (2) £150-250

86. Four Delft vases from a garniture, late 18th century, two of ovoid form with covers, two of flared form, each painted in blue with a Chinese figure before a low fence in a garden setting, within a moulded panel, the covers surmounted with birds, blue Duijn marks for De Porceleyn Schotel factory, some damages and restoration, 33.5cm max. (6) £200-300

87. A Delft fluted bowl, c.1720, painted to the steep sides of the exterior in red, green and blue with cockerels and flower sprays within leafy swags, the interior with red branches and a foliate green border, some damages, 23.5cm dia. £250-350

88. A large delftware punch bowl, 18th century, the exterior painted with Oriental flower sprigs between wide formal foliate borders, the interior with a single flower spray and a simple band of leaf motifs, broken and restored, 30.5cm dia. £150-250

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89. A delftware plate, 1st half 18th century, perhaps London, decorated in blue, green, red and manganese with a leaping stag to the well, within two bands of stylized swags, minor damages, 23.2cm. £300-400 Cf. Bonhams, The Sampson and Horne Collection: Defining the Vernacular, 28th April 2010, lot 115 for a blue and white Farmhouse dish with a similar scene.

90. A Bristol delftware plate, c.1720-40, painted with a bird perched on a feathered foliate frond above flowers and rockwork enamelled in red, yellow, green and manganese, a few repainted rim chips, 22.7cm. £200-300

91. A delftware dry drug jar, 2nd half 18th century, painted in blue with two putti holding flower stems above a banner surmounted with a scallop shell motif, inscribed ‘C:RORISMAR’, broken and repaired, 18cm. £100-200 The inscription relates to the flowers of rosemary, which had a wide range of medicinal uses including as an astringent and a cure for headaches.

92. A Delft dry drug jar, 18th century, painted in blue with a basket of flowers and leaf fronds above the banner inscribed ‘Ther: Andr’, broken and repaired, 19.5cm. £100-200

Theriac of Andromachus was a traditional remedy containing 73 ingredients including viper flesh, making it a popular choice as an antidote to poisonous bites.

93. A delftware dish, c.1720, probably London, naively painted in blue with a peacock beside simplistic foliage, 23cm. £150-250

94. An English delftware plate, c.1720-40, painted in red, blue and green with four floral petal-shaped panels around a central circular vignette of a bird and butterfly perched on a fence, with red pinecone motifs on a blue ground, a 9cm rim crack, 21.7cm. £100-150 93

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95. A London delftware Royal charger, c.1690, painted in polychrome enamels with a full length portrait of William and Mary beneath the initials WMR in manganese, standing between green sponged trees, the rim with a double manganese line, a long crack, 33.7cm. £2,000-3,000

96. A large English delftware charger, c.1740, painted in blue with squirrels scampering amongst branches of fruiting grapevine issuing from stylized fences, 34cm. £200-300

97. A large Bristol delftware charger, c.1740, painted in polychrome enamels with a flying insect above sprays of Oriental flowers, broken and restored, 34.2cm. £100-200

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98. A Kent or Sussex pottery jug, 16th century, the large form decorated to the upper part with a rich brown glaze, and a two-handled cooking pot, glazed to the interior, small damages, 30cm max. (2) £250-350 The jug was discovered in a chimney in a Kent cottage and is believed to have been used as a Witch Bottle, placed to protect against black magic and evil forces.

99. A Wedgwood smear-glazed caneware crocus pot, early 19th century, modelled as a hedgehog standing four square, its high domed back pierced with a large number of circular holes, impressed mark underneath the tail, some staining, the stand lacking, 23cm across. £100-150

100. A large slipware mug, dated 1867, the swollen body decorated in a cream glaze, with two small stylized flower sprigs either side of the date 1867 contained in a green heart, 13.5cm. £80-120

Cf. Diana Edwards, Black Basalt; Wedgwood and Contemporary Manufacturers, p.103, fig. 120 for a basalt example.

101. A brown stoneware gin flask, 19th century, modelled as a large fish with mouth agape, decorated in a two tone glaze, a crack to the tail, 22cm. £100-150

102. A miniature salt-glazed stoneware teapot, the small globular body with faceted spout and near wishbone handle, a treacle-glazed slipware moneybox modelled as a recumbent cat, and a pearlware octagonal salt printed with a formal floral design, some faults, the £150-250 teapot’s cover lacking, 13.2cm max. (3)

103. Three earthenware jugs, 19th century and earlier, one globular with a narrow neck and strap handle, decorated in a green glaze, another of unusual square form with a green-glazed band to the exterior, the last Italian maiolica, painted in blue with a stylized foliate spray, small damages, 18cm max. (3) £80-120

104. Six German stoneware jugs and tankards, 18th century and later, two Westerwald stoneware decorated with a GR, monogram, a Westerwald tankard with incised bands of foliate scrolls, a brownglazed stoneware jug with panels of figures, an unglazed jug applied with a shield, and a lustre-glazed jug and cover with metal mounts, some faults, 24cm max. (6) £250-350

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105. A good brown stoneware coffee pot and cover, 19th century, one side applied with a hare running beneath trees, the reverse with a pheasant amidst corn, a stylized floral border to the neck, 25.5cm. (2) £200-300

106. A Stephen Green (Lambeth) brown stoneware commemorative jug, c.1831, moulded in high relief with a profile portrait of William IV and Adelaide, and with a coat of arms and farming motifs beneath a grapevine border, moulded mark to the base, £200-300 a few small rim chips, 26cm.

107. A Siegsburg stoneware jug, c.1500, with tall cylindrical neck rising from a rounded body above a pinched foot, with small strap handle, 18.5cm. £150-250

108. A Westerwald stoneware jug, probably c.1620-25, the grey body highlighted in blue and applied around the body with scenes from the Seven Works of Mercy, the spout applied with a bearded mask, some damages, 28cm. £250-350

109. A Westerwald stoneware square bottle or flask, 2nd half 18th century, incised and glazed in blue with ‘Mein Hertz Ist Dein’ across four sides, the rounded shoulders with a stylized flowerhead design, a chip to the rim, 15.5cm high. £100-200

110. A Westerwald stoneware jug, c.1700, decorated with a crowned WR monogram within a laurel wreath cartouche, on a ground of incised and applied flowers in purple and grey on a rich blue ground, the neck applied with a pewter band, damages to the rim, 21cm. £100-200

Cf. David Gaimster, German Stoneware 12001900, p.258-9 for a similar example.

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111. A good Donyatt slipware puzzle jug, dated 1834, the globular body incised with stylized tulips beneath the motto ‘Now drink of me and merry be’, beneath the spout a plaque inscribed ‘R + M June 9 1834’, the neck pierced with holes, 19cm. £400-600

113. An English salt-glazed stoneware buttertub and cover, 2nd half 18th century, the oval form crisply moulded with a basketweave design, with two upright handles, the cover with a stylized floral finial, 13cm dia. (2) £150-250

112. A stoneware Bellarmine jug of unusually small size, 17th century, the globular body decorated in a mottled brown glaze, a bearded mask to one side of the short tapering neck, some restoration £200-300 to the handle and neckrim, 13.5cm high.

114. A small Staffordshire salt-glazed stoneware teapot and cover, c.1750, the globular body brightly enamelled with a colourful bird perched on turquoise rockwork amidst Oriental flowers, the reverse with further chrysanthemum and other flowers, with crabstock handle and spout, minor damages, 15cm across. (2) £300-400 Provenance: the C E Hanley Collection. Purchased from Charles Garland, 4th October 1993.

115. A salt-glazed stoneware tureen and cover, c.1770, the oval form moulded with alternating bands of diaper and basketweave, raised on three paw feet issuing from satyr masks, some damages £100-200 and restoration, 31cm. (2)

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116. A rare Liverpool tin-glazed stoneware teapot and cover, c.1760, the globular body painted in blue with a small building beside four tall trees in a rural landscape, the cover with a hatched border, cracked, 18cm across. (2) £2,500-3,000 Provenance: the C E Hanley Collection. Purchased from Christie’s, 12th June 1995, lot 24.

117. A rare Staffordshire salt-glazed stoneware teapot and cover, c.1750-55, brightly enamelled each side with a jagged panel containing a putto reaching down through the clouds to a bird perched on sprays of flowering prunus and chrysanthemum, reserved on a turquoise ground, minor faults, 20cm across. (2) £1,500-2,500 Provenance: the C E Hanley Collection. Purchased from Sotheby’s, The Shand Kydd Collection, 25th November 1997, lot 216. Previously in the collection of Frances L. Dickson. Illustrated: Frank Tilley, Teapots and Tea, p.20, col. pl.A.

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A PRIVATE COLLECTION OF STAFFORDSHIRE SALT-GLAZE

118. Two Staffordshire salt-glazed stoneware teapots and covers, mid 18th century, one painted with a shepherd and his companion to one side, the reverse with a maiden holding a basket and standing beside a ruined tomb, the other painted with a male flautist to one side, and a similar maiden to the reverse between floral sprays, damages and restoration, 18.5cm. (4) £250-350

119. Three Staffordshire salt-glazed stoneware teapots, mid 18th century, one with a cover and painted in the famille rose palette with peony behind an ornamental fence, one decorated with buildings beside trees, with a replacement metal cover, the last with scenes of Classical ruins, damages and restorations, 18.5cm max. (5) £200-300 Provenance: from a private collection near London.

Provenance: from a private collection near London.

120. Two Staffordshire salt-glazed stoneware milk jugs, mid 18th century, one painted with a lady in a pink dress holding a fan, the other with a bold floral spray, and a waisted coffee cup decorated in the famille rose palette with a large flower spray, damages and repairs, 8cm max. (3) £150-250 Provenance: from a private collection near London.

121. Two Staffordshire salt-glazed stoneware teapots and covers, mid 18th century, the smaller brightly enamelled with a lady playing a mandolin, the reverse with a lady standing beside a tall tree, the larger teapot decorated with a figure to each side between large floral sprays, with crabstock spouts and handles, some damages and restorations, 19cm max. (4) £250-350 Provenance: from a private collection near London.

122. A Staffordshire salt-glazed stoneware mug, c.1760, the cylindrical body brightly enamelled with a lady wearing a turquoise dress and holding a basket over one arm, standing beside a building with a cupola, the interior rim with a simple blue and black band, cracked, 10cm. £100-150 Provenance: from a private collection near London.

123. A Staffordshire salt-glazed stoneware jug, mid 18th century, of unusual quatrelobed form, moulded with a panel to two sides, enamelled with flowers and scattered leaves, the foot with stiff leaf moulding, some restoration to the rim and handle, 8.7cm. £100-200 Provenance: from a private collection near London.

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124. A rare Staffordshire salt-glazed stoneware teapot and cover, c.1750, the small globular body moulded with two C-scroll cartouches on a pink pineapple moulded ground, the panels painted with English flowers, cracked, the cover broken and restuck, 16cm. (2) £150-200

125. A Staffordshire salt-glazed stoneware milk jug, c.1760, enamelled in imitation of the Kakiemon palette with an exotic bird chasing a flying insect beside blue rockwork and peony sprays, faults to the rim, 9cm. £100-200

Provenance: from a private collection near London.

126. A Staffordshire salt-glazed stoneware coffee pot and cover, c.1750, the conical body painted in the famille rose palette with flowering peony branches issuing from turquoise and blue rockwork, the handle formed as a serpent, the cover a replacement, 15cm. (2) £150-250

127. A rare Staffordshire salt-glazed stoneware hexagonal teapot, mid 18th century, moulded with six oval panels containing tall buildings and a figure in a tricorn hat, highlighted in bright enamels, with scattered flowers around, some damages and restorations, with a metal replacement cover, 18cm. (2) £100-150

Provenance: from a private collection near London.

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128. A Staffordshire salt-glazed stoneware teapot and cover of Jacobite significance, c.1760, enamelled in the famille rose palette with a figure to each side, amidst Oriental flowering branches, one side with a European figure perched beside a six-petalled Jacobite rose, raised on three feet, some restoration, 20cm. (2) ÂŁ400-600 Provenance: from a private collection near London. Paper label for Martyn Edgell Antiques.

129. A rare Staffordshire salt-glazed stoneware chocolate pot, c.1750, of possible Jacobite significance, the spout moulded with a figure sitting astride it, perhaps emblematic of Charles II hiding in the oak tree, with a further figure ascending to the spout from blue rockwork issuing large peony sprays, the reverse with two further figures sharing a goblet, restored, the cover lacking, 17cm high. ÂŁ100-200 Provenance: from a private collection near London.

END OF COLLECTION

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130. A Whieldon type creamware teapot and cover, c.1750-60, the globular body applied with fruiting grapevine and splashed in green, blue and manganese, the cover surmounted with a bird finial, all raised on three paw feet, with small traces of gilding, a little good restoration, 18cm across. (2) £400-600 Provenance: the C E Hanley Collection. Purchased from Woolley and Wallis, 26th October 1989, lot 426. Previously in the Cyril Earle Collection and the Franklin Barret Collection.

131. A Whieldon type creamware teapot and cover, c.1760, applied with sprays of fruiting grapevine on a mottled manganese ground, with crabstock spout and handle, and a Cockpit Hill (Derby) small creamware teapot and cover, the spout moulded with leaves, 18.5cm max. (4) £400-600

132. Two Mochaware mugs, 1st half 19th century, the larger decorated with two bands of a combed design in brown on a cream ground, the other marbled in the manner of agate beneath a chequered band, minor damages, 15.3cm max. (2) £150-250

Provenance: The C E Hanley Collection. The Whieldon teapot purchased from Charles Garland, 28th September 1992. Previously in the Harriet Carlton Goldweitz Collection, and the D L Jones Collection. The Cockpit Hill teapot purchased from Phillips, 14th September 1994. Previously in the Norman Stretton Collection. Illustrated: Henry Sandon, Coffee Pots and Teapots for the Collector, p.51, col. pl.60 (the Whieldon), and Donald Towner, ECC Transactions, Vol. 6, Part 3, pl.165b, and Norman Stretton, Antique Collecting magazine, May 1977, fig 1 (the Cockpit Hill). Exhibited: The Wedgwood Society of Boston Exhibition, Boston Public Library, 1973 (the Whieldon).

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133. A matched pair of Wedgwood creamware tea canisters and covers, c.1775, each of rectangular form and decorated with traces of gilding, one with a moulded feathered design to the shoulder, each domed cover with a floral finial, impressed mark to one, restoration to the covers, 13.2cm. (4) £300-400

134. A small pearlware jug of Masonic interest, early 19th century, one side printed and coloured with a shield, the motto ‘Upon My Honour’ and various Masonic emblems, the reverse inscribed with the toast ‘The Single Married and the Married Happy’, the neck painted with flowers, a little restoration, 13.5cm. £100-200

135. A creamware sauce tureen and cover, late 18th century, the circular form raised on a foot moulded with a ropetwist band, the cover elaborately pierced with arrangements of shaped holes around a floral finial, 15cm dia. (2) £120-180

136. A blue and white transferware plate, early 19th century, related to the Durham Ox series, with a cow and calf standing before a wooded landscape, within a Durham Ox floral border, the rim reticulated and moulded with basketweave, restored, 19.7cm. £80-120

137. A pair of pottery carpet bowls, 19th century, decorated in black and red with a continuous circular pattern, 8cm dia. (2) £50-80

138. Two creamware dessert plates, late 18th/early 19th century, one Lakin & Poole in imitation of Wedgwood, decorated in black and white enamels with Classical ruins, on a café au lait ground, the other Swansea and brightly enamelled with flowers, each with pierced and osier moulded rims, 20.3cm. (2) £100-150

139. A large Sunderland lustre jug, 19th century, printed in black with a view of a three-masted ship, titled Northumberland, the other side with an eleven line verse titled ‘Friendship, Love and Truth’, beneath the spout a further eight line stanza, within pink lustre borders and splashes, 22cm. £200-300

140. A large Pratt ware plate, c.1800, decorated with a large stylized floral spray within differing husk borders, brown X mark to the base, 26cm. £150-200

141. A large pearlware jug, early 19th century, printed and hand-coloured with scenes of Chinese figures at various pursuits in a garden setting, between flowering branches, the rim with a bold hatched formal border, some restoration to the base, 21.5cm high. £150-250

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142. Four Don pottery plates, 1st half 19th century, printed and hand coloured with large sprays of flowers including poppy, dog rose and stock, the rims with leaf borders, 21.3cm. (4) £100-200

143. A large Stone China meat dish, 19th century, printed and coloured in the famille rose manner with exotic birds perched on branches of fruiting pomegranate, the rim with three continuous foliate and formal borders, moulded with a draining channel and well, 51.5cm. £50-150

144. A pearlware ‘Peafowl’ plate, 19th century, decorated in Pratt colours with a ‘Spartacus’ bird perched among sponged green branches, within a feathered moulded green rim, 25cm. £100-150

145. A Melbourne creamware oval dish, c.1765, the scalloped rim with alternating panels of pierced and gilt decoration, the well with a gilded fancy bird, decorated in the atelier of James Giles, 26.4cm. £50-100 Cf. Donald Towner, Creamware, p.111, pl.508 for a similar plate.

146. A creamware charger and a pair of creamware plates, c.177080, printed in black by Sadler & Green of Liverpool, with exotic birds perched on and beneath leafy branches, the rims with six similar vignettes within feather moulding, a few small rim chips, 41cm max. (3) £300-400

147. A pearlware ‘Peafowl’ charger or meat plate, early 19th century, painted with a ‘Spartacus’ bird in yellow, ochre and manganese, perched on foliage sponged in green, the feathered rim highlighted in blue, impressed 16 mark to the underside, 44.3cm. £100-200

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148. A Copeland commemorative tyg, c.1900, printed with scenes relating to the Transvaal War of 1899-1900, within three handles bearing sprigs of rose, thistle and shamrock, with portraits of Queen Victoria, Field-Marshal Lord Roberts, and the Marquis of Salisbury, the interior rim with a banner bearing the names of significant people and places, printed and impressed marks, 14.5cm high. £200-300

149. A Minton Majolica ewer or ‘Tower’ jug, date code for 1868, moulded in high relief with four figures dancing around a stone wall, the neck and foot with continuous ivy branches, impressed marks, 24cm. £150-200

150. A large commemorative pearlware vase, c.1859, the ovoid body supported on three lion paw feet rising to winged terms, decorated to two sides with a view of Silverdale Colliery, the third side inscribed ‘Presented to Mr William Griffiths by Francis Stanier Broade, Silverdale 31st January 1859’ beneath a coat of arms, some faults, the £100-200 cover lacking, 36cm. Cf. Brampton Museum and Art Gallery, Newcastle under Lyme, for an identical vase presented to Mr Francis Tyndall. Francis Stanier Broade is listed as iron master and solicitor on the 1851 census. William Griffiths is listed in 1861 as a potter at Wedgwood, but it is unclear whether this is the same gentleman named on the vase.

151. Four Wedgwood green-glazed Majolica plates, c.1880, of chamfered rectangular form, each moulded with a single foxglove stem on a ground of large leaves and basketweave rims, impressed marks, minor faults, 24cm. (4) £50-100

152. Four pearlware blue and white transferware egg cruets or stands, 19th century, three printed with Chinese landscape scenes, the last with flowers, of varying form and set with circular holes, two with openings for spoons and with the salt built in, some damages, 23cm max. (4) £100-200

153. Three porcelain egg cruets or stands, 19th century, one Spode and moulded with flowers on a blue ground in pattern 2036, of circular form and set with four cups, another English with gilt foliate scrolls, set with five egg cups, the last Continental of shaped form with pink lustre bands and six egg cups, some damages and losses, 23cm max. (18) £120-180

154. Three English porcelain egg cruets or stands, 19th century, one of circular form, printed with black flower sprays and set with four egg cups around a central salt, one octagonal with Imari flower sprays and set with six egg cups, the last Bloor Derby of six-petalled form and painted with Kakiemon flowers, the egg cups lacking, two of the Imari replacements, 20.5cm max. (14) £120-180

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155. Five Chamberlain’s Worcester armorial plates, 1st half 19th century, one with the coat of arms for the Hornyold family of Blackmore Park, another with a lion crest above a gilt monogram, both with floral panels to the rims, the other three with various crests and gilt monograms reserved within blue borders, various script and impressed marks, some faults, 27cm max. (5) £150-200

156. Five Chamberlain’s Worcester plates, early 19th century, two decorated with full coats of arms and the mottos ‘Cassis Tutissima Virtus’ and ‘Fortis in Arduis’, two with armorial crests, one with a monochrome scene of ships at sea, and two Flight, Barr and Barr plates with gadrooned rims, one with a crest and one with a gilt flowerhead roundel, both within claret bands, various printed, impressed and script marks, 26.5cm max. (7) £250-350

157. Five Chamberlain’s Worcester plates and a soup plate, 1st half 19th century, variously decorated in the Imari and Kakiemon palettes with sprays of flowers, three with armorial crests, and with formal stylized borders, together with a Chamberlain’s spiral-moulded jug bearing a gilt monogram for ‘JMM’, various printed, painted and £150-200 impressed factory marks, some faults, 26.5cm max. (7)

158. A Chamberlain’s Worcester armorial part dessert service, 1st half 19th century, decorated with a horse crest and the motto ‘Be Trew’, the rims with gadrooned and shell moulding reserving a rich mazarin blue border, script factory marks. Comprising: two shaped dishes and six plates. (8) £200-300

159. Four Royal Worcester vases, c.1930 and earlier, a small pair of vases and a large baluster vase decorated with large rose sprays, and a beaker vase painted with a panel of fruit by Townsend, signed, reserved on a powdered blue ground, various marks and date codes, 19.5cm max. (4) £150-200

The crest is that of Lt Col. Walter Hamilton Tyndall Bruce (1788-1874) of Myres Castle.

160. A Chamberlain’s Worcester tea service for two, 1st half 19th century, decorated in pattern 1119 with wide claret bands between narrow gilt formal borders. Comprising: a teapot with cover and stand, a cake plate, a milk jug, a sugar bowl and cover, a slop bowl, two tea cups, two coffee cups and two saucers. (13) £150-250

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161. An English porcelain mirror, c.1900, the oval form heavily encrusted with flowers, surmounted with two putti, with wooden back and stand, 37cm. £100-200

162. A large English porcelain jug, c.1820, probably Coalport, boldly painted with sprays of English flowers, including rose, convolvulus, auricula and a divergent tulip, the neck and spout with a formal gilt foliate border, some £100-200 damages, 26cm high.

163. A Derby plate, c.1815, painted with a central roundel of goats in a landscape within a turquoise border, titled ‘In Wales’ to the reverse, a Derby coffee can in pattern 627 with gilt palmette design on a blue ground, rare mark for Donovan of Dublin, and a Grainger & Co flared beaker painted with a view of Worcester, £250-350 printed mark, 22.3cm max. (3) James Donovan was a “china” painter and retailer in Dublin during the late 18th century and into the first half of the 19th. For more information see Maired Reynolds’ article in the Irish Arts Review, 1984.

164. Three Coalport ornithological dessert plates, early 20th century, painted by Percy Simpson with three differing moorland birds in landscape settings, signed, reserved on a rich blue ground with gilt foliate scroll motifs, titled ‘Woodcock’, ‘Plover’ and ‘Mallard’ respectively, 22.3cm. (3) £100-200

165. A pair of English porcelain botanical plates, 1st half 19th century, each painted with a large rose spray within gilt seaweed tendril borders, gilt pattern number 3/2182 to one, and a Derby botanical plate painted with a striped rose, titled ‘Mundi Rose’ to the £150-250 underside, 24.1cm. max. (3)

166. Three Chamberlain’s Worcester armorial dishes from a dessert service, c.1820, the wells painted with the arms of the CliffordConstable family within gadrooned borders of three floral panels reserved on a claret ground, impressed and painted marks, some crazing and faults, 26.8cm. (3) £150-250

167. Four Minton plates, late 19th/early 20th century, two decorated in the Japanese Aesthetic manner with decorative scroll banners painted with scenes of castles, reserved on a rich turquoise ground, one painted with pink rose garlands and decorated with white beading on turquoise, the last with a reticulated rim containing six panels of artistic motifs, printed and impressed marks, 24.5cm max. (4) £200-300

168. An English porcelain two-handled bowl, early 19th century, perhaps Coalport, the rounded form painted with a continuous band of pink roses above a marbled circular foot, 22.5cm across. £100-200

169. Three English porcelain botanical dishes, 19th century, one Derby of shell shape and painted with a spray of Chinese Day-Lily, titled in iron red to the reverse, one untitled but painted with a spray of passionflower and with pierced handles, the last Davenport and painted with a fruiting nectarine branch, one broken and restuck, 30cm max. (3) £100-200

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170. Three English porcelain topographical dishes, 19th century, one painted with a view of Windsor Castle, the six-lobed form raised on three paw feet, a Derby plate painted with a titled view of Civita Castellana in Italy, the last with figures crossing a rickety bridge in a mountain landscape, richly gilded to the underside, 23.5cm max. (3) £100-200

171. A pair of Chamberlain’s Worcester dessert dishes, c.1820, the handled forms brightly enamelled with central sprays of flowers within a rich green rim with gilt gadrooning, painted and impressed marks, 27cm. (2) £100-200

172. A Copeland rectangular charger, c.1900, finely painted to the rim with hummingbirds between floral arrangements within pink and gilt leaf bands, titled in Latin to the underside, and a Derby plate painted with flower garlands around a central bird within a blue and gilt formal rim, 38.7cm. (2) £100-200

173. Three Flight, Barr and Barr topographical dessert plates, early 19th century, each painted with a small circular landscape view, titled to the reverse with ‘Bridge on the Mersey’, ‘Cottage Scene Glamorganshire’, and ‘Rhayader Bridge, Radnorshire’, all within gilt seaweed tendrils, impressed and printed marks, 22.5cm. (3) £150-250

174. A pair of Davenport plates, 2nd half 19th century, the wells painted with scenes of Swiss landscapes, with chalets before distant mountains, within turquoise borders gilded and enamelled with flowers and leaves, and a third Davenport plate painted with a couple and a dog walking along a dusty path, printed marks, 23.8cm. (3) £100-150

175. A pair of Spode Copeland’s China dessert plates, c.1900, richly decorated in the Sèvres manner with gilt and floral DD monograms to the wells, the moulded rims with three panels of flowers within rich gilt panels on a green ground in the manner of the Bertin service, printed marks and gilt retailer’s mark for T Goode & Co., 25.7cm. (2) £100-200

Paper labels for the Mountain Davenport Collection.

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176. A pair of Flight, Barr and Barr ice pails with covers and liners, c.1820, the wide drum forms with entwined handles, painted with small sprays of flowers beneath gilt foliate borders on a blue band, raised on square bases with gilt palmette corners, some restoration, 33cm. (6) £2,500-3,000

177. A Pinxton sucrier and cover, c.1800, the boat-shaped form moulded with wide ribs, painted in pattern 314 with stylized cornflower sprigs beneath gilt swags and a geometric border, gilded pattern number to the cover’s interior, 16cm across. (2) £1,000-1,500

178. A Pinxton teapot and cover, c.1800, the oval form moulded with wide flutes and richly decorated with a gilt foliate band, 26.5cm across. (2) £150-250

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179. A Pinxton tea cup and saucer, c.1795, painted with rural landscapes of small buildings beneath tall trees, and a Pinxton teabowl and saucer decorated with red, blue and green cornflower sprigs, 14.5cm. (4) £200-300

180. A Derby sucrier and cover, c.1800, painted with a spray of English flowers and small scattered sprigs, and a Derby milk jug, the generous conical form painted with small pink roses beneath a turquoise berried leaf swag, puce crowned crossed batons marks, 12.5cm max. (3) £180-220

181. A miniature Davenport teapot and cover, mid 19th century, the cylindrical body enamelled with Oriental flowers on a black ground, printed mark to the base, 8.5cm. (2) £150-250

182. A pair of Derby teacups and saucers, c.1790, painted in pattern number 86 with central landscape panels by Zachariah Boreman, within gilt and blue leaf and chain borders, similar scenes echoed to the cups’ interiors, puce factory marks, the cups’ handles replacements, 13.2cm. (4) £100-200

Provenance: the C E Hanley Collection. Purchased from Gray’s Antiques Market, March 1991. 183. A Spode cabinet cup and saucer, c.1815, the two-handled cup finely painted with a basket of flowers on a marble ledge, the reverse with a spray of flowers, reserved on a brown ground, the cup’s handles formed as mythical birds, faint Spode marks, 11.3cm. (2) £100-200 184. A rare Swansea inkstand, c.1815-20, the small form set with two inkwells within two circular depressions either side of a mythical dolphin handle, painted with small sprays of flowers, minor faults, 9.5cm across. (5) £600-800 Cf. Jones and Joseph, Swansea Porcelain Shapes and Decoration, p.155 for a similar inkstand.

183

184

185

186

185. Three English porcelain spill vases, 19th century, one Royal Worcester, painted with a bullfinch, wren and chaffinch perched on branches, one decorated in the Imari palette, the last with a landscape scene, and a pair of candlesticks, the base of the column forms painted with Lily of the Valley sprigs, some faults, 16.2cm max. (5) £100-200 186. A Coalport small cabinet cup and stand, c.1810-20, the flared form painted with a continuous floral garland, the everted rim with a gilt foliate band, a Coalport inkwell with similar floral decoration, and a cylindrical spill vase painted with panels of birds reserved on a lime £100-200 green ground, 10cm max. (4)

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187. A pair of Derby dessert dishes, c.1790, decorated in pattern 140, painted by George Complin with arrangements of fruit and grapevine to the well, the rims with a border of leaves in autumnal shades, puce factory marks and pattern numbers, 22.5cm. (2) £250-350

188. A garniture of three Derby campana vases, c.1810-20, painted in pattern 37 with chamfered rectangular panels containing baskets of flowers, within gilt foliate borders, the handles formed as serpents, iron red crowned crossed batons and pattern number, small restorations, 16.5cm. (3) £250-350

Cf. John Twitchett, Derby Porcelain, p.130, for an extract from the Derby factory ‘Tea Book’, which records pattern 140 as having fruit decoration by Complin.

189. A Derby botanical oval dish, c.1800, painted in pattern 197 with a specimen of Black Hellebore or Christmas Rose within a simple gilt rim, titled in blue to the underside, and an English porcelain plate painted with rose and chrysanthemum within a gilt and red grapevine border, minor faults, 27cm max. (2) £100-200

190. A Derby armorial centrepiece or tazza, c.1820, decorated in the Chinese style with a border of famille rose peony sprays above a pagoda frieze, the well with the arms of Gresley of Drakelow quartering Wastney of Hedon with Bowyer of Knippersley, Staffordshire, in pretence, 31.5cm. £200-300 Old paper label inscribed ‘Bought at the Drakelowe Sale’.

191. A Derby octagonal dessert dish, c.1795-1800, painted in the Sèvres manner with an oval landscape panel by Zachariah Boreman, the wide rim with small pink rose panels by William Billingsley, reserved on a blue border with gilt and white jewelled designs by Thomas Soar, puce crowned crossed batons mark, 21.6cm. £250-350

192. A Nantgarw plate, c.1818-20, decorated in a London workshop with a splayed floral arrangement including tulip, auricula, convolvulus and rose, within a blue line band, the moulded rim with six small floral vignettes, gilt dentil rim, impressed mark, broken and repaired, 25cm. £100-200

193. A small Derby circular plaque, c.1820, attributed to Moses Webster, painted with a bold spray of English flowers including tulip and dog rose on a white ground, iron red crowned crossed batons mark, in a gilt wood frame, the plaque 11cm dia. £50-100

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194. A Paris porcelain cabinet cup, 19th century, modelled as a tulip with a butterfly handle, a Meissen petal-moulded white-glazed cup and trembleuse saucer, a Paris coffee can painted with a continuous landscape in black and gilt on a rich orange ground, gilt ‘housel’ mark to the base, and a Staffordshire blue-glazed model of a house, some damages, 15.5cm max. (5) £100-200

195. Six Continental porcelain cups and saucers, 19th century and later, including a pair of Vienna-style coffee cans and saucers painted with flowers, a Vienna-style cabinet cup with cover, painted with a Classical scene, a two-handled covered chocolate cup with galleried trembleuse stand, a German porcelain cabinet cup with landscape panels, and a Paris cup and saucer with a colourful Classical motif design, 15.5cm max. (14) £200-300

196. A Vienna part tea service, late 18th century, decorated with a trellis pattern of green leaves intersected by pink roses, with fruit finials, blue shield marks, including a teapot and cover, milk jug and cover, one cup and two saucers, and a Berlin small jug and cover with matching cylindrical jar and cover, decorated with oval panels of Classical figures on a pink ground, blue sceptre marks, 19.5cm max. (11) £150-250

197. Two Frankenthal cups and saucers, 2nd half 18th century, one painted with Classical figures in garden settings within a puce formal; border, dated 1774, the other with shaped panels of puce monochrome landscapes reserved on a claret ground, crowned CT monogram marks, and a Vienna cup and trembleuse saucer painted with a trompe l’oeil ribbon border on a faux bois ground, blue shield marks, 14cm max. (6) £200-300

198. A Strasbourg porcelain cup and saucer, 2nd half 18th century, painted with polychrome flower sprays, blue factory and painter’s marks, a Brussels fluted coffee cup and saucer painted with sprays of flowers including a large tulip, iron red LC mark, and an Alcora plate with a small spray of polychrome flowers, black A mark, 20.5cm max. (5) £100-150

199. A German porcelain part coffee service, late 18th/early 19th century, painted with birds perched in branches, with puce husk borders. Comprising: a small coffee pot and cover, a milk jug, a sugar box and cover, a coffee can and a saucer. (7) £100-200

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200. A Royal Copenhagen Flora Danica part service, 20th century, painted with floral specimens, titled to the reverse, within moulded gilded rims, the plants including Amerorchis rotunifolia, Fedia Olitoria, Scilla verna Huds. and Trifolium alpestre Mull. Comprising: a plate, seven small plates, four small bowls, seven cups and five saucers. (24) £1,500-2,000

201. A Meissen part ornithological dessert service, 19th century, outside decorated with scenes of birds perched on leafy branches, the reticulated rims with panels of flowers between trelliswork highlighted in puce and blue, cancelled blue crossed swords marks. Comprising: four oval dishes, four plates, and a matching smaller plate with a cancelled Marcolini mark. (9) £150-200

202. Eight Sèvres dessert plates, 2nd half 18th century, later decorated with scenes of colourful birds perched in and below leafy branches, the rims with panels of flowers within gilt garlands reserved on a turquoise ground, interlaced LL marks, 24.7cm. (8) £400-600

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203. A Meissen part ornithological service, 19th/20th century, painted with different birds perched on leafy sprigs, the osier-moulded rims with scattered moths, beetles and flying insects, blue crossed swords marks. Comprising: a bowl with built-in stand, two plates and two soup bowls. (5) £300-500

204. A Meissen two-handled tureen and cover, 19th/20th century, painted with songbirds on flowering branches, and a matching square bowl with similar decoration, the osier-moulded rims painted with colourful moths and flying insects, blue crossed swords marks, a section of the bowl broken and restuck, 34.5cm across. (3) £150-250

205. Four Berlin porcelain dessert plates, 19th century, painted with colourful posies of flowers to the well, the rims pierced with a continuous archway design within bands of blue flowers and gilt circles, blue sceptre marks, 23.8cm. (4) £100-150

206. A Samson armorial famille rose tureen, cover and stand, late 19th century, painted with flower sprays within spearhead borders and a central shield with the gibberish motto ‘Noes Probata Cokunu’, 33.6cm. (3) £100-200

207. A Sèvres hard paste porcelain part tea service, c.1775-80, painted with sprays of polychrome flowers within gilt dentil rims on a white ground, crowned interlaced LL marks, painter’s initials of m.c., some damages. Comprising: a teapot and cover, a sucrier and cover, four coffee cans and four saucers. (12) £200-300

208. A mixed lot of Sèvres porcelains, 18th century and later, including a plate with an Islamic style border, a reeded cup and saucer decorated with gilt borders on a pale blue ground, a saucer painted by Buteux l’ainé with military trophies within a flower border, a coffee can painted with birds, and a two-handled cup painted with cornucopia and foliate scrolls, 24.2cm max. (6) £120-180

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209. A Meissen square saucer, c.1735, with chamfered corners, painted on the diagonal with a panel of a lady and gentleman in conversation beneath a Classical statue, a child holding the lady’s skirts, reserved on a gold ground, the underside rim glazed in turquoise, blue crossed swords mark, some gilt wear, 12.9cm. £150-250

210. A Meissen hexagonal candlestick, 20th century, the knopped form painted in blue with the Fels und Vogel pattern of a bird on feathery branches, and a small bottle vase decorated with the Onion or Zweibelmuster pattern, blue crossed swords marks, 16cm max. (2) £200-300

212. A Mennecy confiture, c.1760, the barrel-shaped preserve pot set into an oval base, with a metal-mounted hinged cover, painted with polychrome flower sprays, incised BR mark, 14cm across. £200-300

213. A pair of Paris porcelain vases, 19th century, the wide cylindrical forms painted with panels of society ladies within gilt foliate borders, reserved on a dark blue ground, the reverse with panels of flowers, a small chip to one rim, 16.5cm. (2) £150-250

214. A Sèvres pedestal base or stand, c.1780, of circular form with three rectangular feet, the feet gilded with a hatched diaper band, the rim with a formal scrolling design, all on a rich blue ground, gilt interlaced LL mark, a section broken and restuck, 17.5cm. £50-80

215. A pair of Etiolles salts, c.1770, the oval forms raised on shaped bases painted with flowers and picked out in puce detailing, incised MP monograms for Monier and Pellevé, a Frankenthal salt c.1756-59, painted with figures in a landscape, blue lion mark and Hannong monogram, and a Thuringian porcelain small double-walled basket, 9.7cm max. (4) £200-300

216. A Ludwigsburg coffee pot and cover, c.1793-95, of cylindrical form, painted with polychrome flower arrangements with puce detailing, raised on three feet, the cover with a lion dog finial, crowned L mark, a few small chips, 16.5cm. (2) £200-300

217. A pair of Meissen salts, mid 18th century, each modelled as a scallop shell, raised on three feet and painted with sprays of flowers, blue crossed swords marks, and a Ludwigsburg butterboat, of leaf shape with a twig handle, similarly decorated with flowers, crowned interlaced CC mark and red £500-600 D, 9.5cm. (3)

211. A Meissen teabowl, c.1725, moulded with a panel of reeding near the foot, decorated with alternate gilt panels beneath a gilt lambrequin border, restored, 7.3cm dia. £100-150

Provenance: a private collection, Holland Park, London.

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218. A pair of Sèvres salts and a cream jug, c.1810-20, the small circular salts raised on fluted gilt columns above a shaped base, the exterior rims painted with a continuous floral band, reserved on a blue ground, the jug of Etrusque à Bourrelet shape, simply decorated with a band of gilt dots and stylized stiff leaves, gilt and painted marks, 8.5cm max. (3) £100-200

219. A pair of Meissen salts, mid 18th century, of shaped oval form, raised on flared sides with osier moulding, painted with sprays of deutsche Blumen, blue crossed swords marks, 11.2cm across. (2) £100-200

220. Two small Mennecy campana vases, c.1750-55, painted with flowers, raised on spiral-moulded bases, incised ‘DV’ mark to one, minor chips and some filled chips, 8.1cm. (2) £100-150

221. Two small Vienna cups, late 18th/early 19th century, modelled in the manner of Chinese bird feeders, painted with panels of flowers within gilt borders, each handle surmounted by a small colourful bird, blue shield marks, 4.5cm. (2) £100-200

Cf. Aileen Dawson, French Porcelain, p.57 for similar examples.

222. A Sèvres confiture, c.1768, the oval base set with two circular pots, painted with polychrome flower sprays within blue line and gilt dentil rims, blue interlaced LL mark, date code p and B.n. painter’s mark for Bulidon, the covers lacking, 24.5cm £120-180

223. A Sèvres U-shaped cup or beaker, c.1768, painted in puce monochrome with birds perched on branches and in flight with twigs, and a coffee cup with puce flower sprays beneath a gilt dentil rim, interlaced LL marks, 6.8cm max. (2) £100-200

224. A pair of Furstenberg teacups and saucers, c.1760, the exteriors with dense basketweave moulding, painted with flower sprays and single £100-150 scattered blooms, blue F marks, 14.5cm. (4)

225. A Meissen double salt, mid 18th century, the shaped oval form set with two rounded depressions, painted with flowers, the sides moulded with further floral sprays and raised on four scrolled shell feet, faint blue crossed swords mark, 18.3cm across. £100-200

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226. A Meissen chocolate pot and cover, c.1755, the pear-shaped body painted beneath the spout with a dog seated on its haunches and gazing up reproachfully at a colourful bird perched above its head, the reverse with a rabbit boxing the long tail of a bright parrot, with scroll moulded side handle, blue crossed swords mark, 15.2cm. (2) £300-400

228. A Meissen coffee pot and cover, c.1770, one side painted with a scene of toy makers painting small figurines at a low table, the reverse with wood turners at a lathe, with similar scenes echoed to the cover, the cover affixed with a hinged gilt metal mount, blue crossed swords and dot mark, damages, 26.7cm. £100-200

227. A Meissen sauce jug and cover, c.1750-60, the pear-shaped body moulded with ribs and finely painted with sprays of deutsche Blumen, the spout formed as a mask, and with elaborate scroll handle, the rim with a small aperture to receive a spoon or ladle, blue crossed swords mark, a little chipping to the finial, 18cm. (2) £800-1,200

229. A Dagoty (Paris) porcelain jug, c.1820, the tall helmet-shape with a tall double loop gilt handle, painted beneath the spout with the head and shoulders portrait of a female warrior in sepia monochrome, the rim with a scrolling gilt foliate motif, 18.5cm. £300-500

230. An Italian soft-paste porcelain highhandled jug, 18th century, probably Naples, painted with a topographical panel of figures before the Temple of Diana at Baia, with gilt leaf garlands, titled in red to the base, 12.7cm. £100-200

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231. An Italian porcelain rectangular plaque, 19th century, probably Giustiniani (Naples), copying the Alexander Mosaic, depicting the Battle of Issus with a multitude of soldiers and horses, the ground painted to mimic micromosaic, incised G mark, 36.6cm across. £800-1,200 The Alexander Mosaic was discovered in 1831, during the excavations of Pompeii, in the Casa del Fauno and depicts the clash between Alexander the Great and Darius III in 333BC.

232. A pair of Italian porcelain stands, dated 3rd July 1800, the shaped square forms painted to one side with profile en grisaille Classical portraits within moulded and enamelled laurel wreaths, the shorter sides with purple foliate branches, the rims and footrims with marbled effect, one inscribed ‘A: 1800 3 Luglio’ to the interior, cracks, 15.5cm across. (2) £300-500

233. An unusual pair of Höchst saucers, c.1770, after Meissen, painted with shaped panels containing figures on horseback reserved on a pale green ground with scattered flowers, blue wheel marks, and a pair of Meissen saucers painted with scenes of soldiers within gilt dentil rims, blue crossed swords and star marks, 13.4cm max. (4) £300-400

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234. A Doccia saucer dish, c.1760, moulded with swags of fruit and flowers suspended from shell and C scroll motifs, heightened in polychrome enamels, two small flying insects to the well, 21.2cm. £200-300

235. A Meissen plate, mid 18th century, moulded with the Gotzkowsky relief of four floral panels to the rim and a continuous garland to the well, painted in the botanical manner with specimens including tulip, narcissus, carnation and convolvulus, the rim with a narrow hatched gilt £100-150 border, blue crossed swords mark, 24cm.

236. A rare blue and white Chantilly plate, c.1780, finely painted with a central panel of moths in flight around roses and other flowers, reserved on a dense latticework ground with six further small floral panels, blue hunting horn and R mark, 24.5cm. £300-400

237. A Meissen plate, c.1740, richly decorated in the Imari palette with a bird perched on rockwork beneath a pine tree issuing from further rocks, the rim and cavetto with a wide scalloped border of bird panels, flowers and foliage, blue crossed swords mark, 22.2cm. £800-1,200 This pattern was directly copied from a Japanese original.

238. A large Meissen plate, c.1740-50, brightly enamelled with large butterflies around a tied bouquet of indianische Blumen, similar to the Schmetterling pattern, within an osier-moulded rim, blue crossed swords mark, 26.5cm. £150-250 Paper label for the Luise Hofmann Collection.

239. A Tournai blue and white plate, c.1780, painted with the Ronda pattern of prunus and peony issuing from low rockwork, the rim with four sprays of Oriental flowers, blue crossed swords and + mark, 24cm. £100-200

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240. A Meissen circular bowl and cover, c.1740, painted with flowering branches of indianische Blumen in the Japanese manner, the cover with a strawberry finial, faint blue crossed swords mark, the cover restored, 11.7cm dia. (2) £250-350

241. A pair of Furstenberg teacups and saucers, 19th century, painted with small figures in rural landscape scenes, the rims with diaper panels reserved on a pink ground with gilt husks, blue F marks, 13.3cm. (4) £100-200

242. A German porcelain tea canister and cover, 2nd half 18th century, the quatrefoil form painted with scenes from the Commedia dell’Arte, the shorter sides and shoulders with flower sprigs, the cover with a single figure playing the mandolin, 11.5cm. (2) £300-500

243. A Höchst coffee cup and saucer, c.1770, painted in puce monochrome with small figures and rural buildings beside overgrown Classical ruins, with insects in flight around, the cup with a wishbone handle, blue crowned wheel marks, 13.3cm. (2) £200-300

244. A Meissen Hausmaler tea canister and cover, c.1735-40, the rectangular body painted in underglaze blue with the Fels und Vogel pattern of birds in flight above flowering branches, embellished with gilding and enamels perhaps in the workshop of F J Ferner, with European figures standing before a church and other buildings, 11cm. (2) £500-800

245. A Meissen teabowl and saucer, c.1735-40, the teabowl painted with two quatrefoil panels of figures in harbour scenes, the saucer with a similar scene to the well, reserved on a yellow ground, the teabowl’s interior with a puce monochrome landscape scene, blue crossed swords marks, 13cm. (2) £400-600

246. A Meissen teapot and associated cover, mid 18th century, the inverted pear shape moulded with four panels of flowers, alternating with narrow panels painted with sprays of deutsche Blumen, the spout formed as a mythical beast, blue crossed swords mark, a chip to the finial and a small chip to the spout, 18.8cm. (2) £400-600

247. A rare Meissen butter cooler, mid 18th century, of oval form, pierced to the sides and base with rows of small circular holes, painted with small sprigs of deutsche Blumen, blue crossed swords mark, 14.8cm across. £200-300

248. A Meissen anthropomorphic sauceboat, 20th century, modelled as a grotesque mythical beast with two legs, scaly skin and teeth bared, its pointed tail forming the handle, blue crossed swords mark, 27cm across. £80-120

Butter coolers were designed to allow condensation to drain from the butter, which formed owing to the change in temperature when it was brought into the dining room from the scullery.

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249. A Meissen teacup and saucer, c.1740, of quatrelobed form, painted with scenes of putti at play, with musical instruments to the cup, and with a fishing rod to the saucer, within formal gilt borders, the underside of the saucer with flower sprays, blue crossed swords marks, a small chip to the cup’s footrim, 14cm. (2) £300-500

250. A Meissen Silberchinesen brown-glazed teabowl and saucer, the porcelain c.1725, later silvered and tooled by Joseph Hackl in the Seuter workshop with a continuous scene of chinoiserie figures beneath palm trees, within formal foliate borders, the interior of the teabowl with exotic birds, brown JHC monogram and 37 mark with three dots, some £400-600 oxidisation to the decoration, 12.7cm. (2) Cf. S. Ducret ‘Joseph Hackl, Hausmaler in der Seuterschen Werkstatt in Augsburg’, Keramik-Freunde der Schweiz, Nr. 11, p. 12, pl. 4-5 for a similar teabowl and saucer bearing the same mark.

251. A Paris porcelain two-handled vase, 19th century, the flared form decorated in sepia with a naked Classical maiden draped across the back of a griffin which laps water from a dish she holds before it, the reverse with a further maiden on the back of a female centaur, the rim with pillared panels of further figures, birds, terms and vases, gilt interlaced LL mark, 12.5cm. £150-200

252. A Vienna teapot and cover, c.1760, the inverted pear body painted in the Sèvres manner with a fine oval panel of flowers to two sides, reserved on a blue ground with gilt hatching beneath a continuous shaped floral garland border, blue shield mark and impressed i, some good restoration to the cover, 16.5cm. (2) £200-300

253. A Vienna plate, 2nd half 18th century, of shaped octagonal form after a Du Paquier design, painted with sprays of purple and orange flowers, blue shield mark, a Doccia porcelain custard cup and cover of barrel form, painted with naive flower sprays, incised A mark, and an Ansbach jar and cover in the Meissen style with bands of osier moulding, blue A mark, 22.3cm max. (5) £150-200

254. A massive Meissen charger, 19th century, decorated probably outside of the factory with a bullfinch perched above two larger birds on the branch of a low stump, a goldfinch perched on a flowering thistle beside, the lobed and osier-moulded rim decorated with scattered moths, ants, beetles and other insects, blue crossed swords mark, 42.5cm. £150-250

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255. A Russian plate in the Soviet propaganda style, 20th century, after a design by Mikhail M. Adamovich, painted with a portrait of Lenin, ration cards and the slogan ‘He Who Does Not Work Does Not Eat’, blue hammer and sickle mark, and a Continental porcelain plate decorated with panels of flowers in the manner of Meissen for the Turkish market, interlaced LL mark, 24.8cm max. (2) £300-500

256. A pair of Doccia blue and white plates, mid 18th century, each painted with a large flowering rose and bud to the well, the rim and cavetto with hatched diaper panels and flowerhead motifs, 22cm. (2) £200-300

Cf. Nina Lobanov-Rostovsky, Revolutionary Ceramics, pl.2 for the original design of the Russian plate.

257. A Sèvres plate and a Vienna plate, late 18th/early 19th century, the Sèvres perhaps later decorated with colourful birds within panels of flowers on a turquoise ground, the Vienna with a small scene of figures fishing from a bridge, in green monochrome, initialled KP, 24.5cm. (2) £150-250

258. A pair of Bing and Grondahl plates, 19th century, decorated to the wells with scenes of Classical figures in red monochrome reserved within gilt borders on a pale yellow ground, the rims with a continuous leaf border, blue B&G marks, 19cm. (2) £50-100

259. A large Paris porcelain two-handled cup and stand, 19th century, the shallow bowl painted with the profile portraits of a man and a woman between panels of mythical beasts, similar panels to the stand with further roundels of musical instruments and victory motifs, the cup with a wide gilt border, 21.2cm. (2) £800-1,200 260. A pair of Sèvres-style cabinet plates, 18th century, painted with portraits of society ladies to the well, within panels of flowers reserved on a bright turquoise ground, interlaced LL marks, 24cm. (2) £150-250

259

260

261

262

261. A Sèvres two-handled chocolate cup and saucer, 18th century, later decorated with panels of birds reserved on a dark blue ground with a formal gilt border, titled in blue to the base, and a Ludwigsburg bell-shaped cup painted with finches perched on branches amid moths and insects, covers lacking, the saucer cracked, 16.6cm max. (3) £120-180 262. A pair of Paris porcelain cabinet cups and stands, 19th century, each painted with the profile portrait of a Roman Emperor wearing a laurel leaf crown, one titled ‘Trajan’ the other ‘Titus’ reserved on a pale pink ground with a band of green Gothic tracery, the tall handles with lion mask roundels, 14.2cm. (4) £300-500

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263. A Sèvres chocolate cup with trembleuse saucer and cover, late 18th century, later decorated with panels of exotic and aquatic birds reserved on a turquoise oeil de perdrix ground, the cover with a gilt fruit finial, blue interlaced LL marks, chips to the cover, 15.2cm. (3) £150-200

264. A Sèvres-style large cup and saucer, 18th/19th century, the octagonal forms painted with panels of colourful birds strutting amidst flowering plants, reserved within shaped green borders on a dusky pink ground, gilt interlaced LL marks, 16cm. (2) £150-200

265. A Paris porcelain cabinet cup and saucer, 19th century, painted with a chamfered rectangular panel containing the head and shoulders portrait of a lady wearing a green dress, her hair in ringlets with pink roses, reserved on a deep blue ground with £200-300 formal gilt borders, 14.5cm. (2)

266. A Sèvres coffee cup and saucer, c.1770-80, painted with spiralling trails of polychrome flowers within a shaped gilt foliate border enclosing a rich blue band, interlaced LL marks, 13.8cm. (2) £800-1,200

267. A Mennecy pomade or toilet pot and cover, c.1760, the squat cylindrical form moulded with wide lobes and painted with exotic birds perched on the ground, the low domed cover with a floral finial, incised DV mark, a small restuck rim chip and a chip to the cover’s flange, 7.5cm dia. (2) £350-500

268. A Sèvres coffee can and saucer, c.1805, painted with a formal band of convolvulus and chrysanthemum within leaf swags and scrolled motifs, reserved on a muddy café au lait ground, printed red and incised marks, 13.3cm. (2) £200-300

269. A Sèvres teacup and saucer, c.1790, painted with a wide band of foliate scrolls and pink rose garlands above scattered small yellow flowerheads, interlaced LL mark, mm date code and fx painter’s mark for Fumez, 12.7cm. (2) £150-200

270. A Chinese porcelain teacup and saucer in the Sèvres manner, 2nd half 18th century, painted in polychrome enamels with panels of fruit, reserved on a trellis ground of blue and gilt flowerheads, some gilt wear, 12.3cm. (2) £100-200

271. A European-decorated Chinese teabowl and saucer, 18th century, the octagonal forms heavily enamelled in a seaweed design of green tendrils on a pale blue ground around a central cream chrysanthemum flowerhead, within gilt spearhead borders, and a Chinese whiteglazed libation cup moulded with leaves and butterflies, 11.3cm max. (3) £150-250

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272. A Sevres cup and saucer, c.1782, painted by Jean-Louis Morin with scenes of figures rolling barrels and trading in harbour settings, reserved on a bleu nouveau ground with gilt S scrolls and flower garlands, interlaced LL mark with ee date code and M painter’s mark, 14cm. (2) £1,200-1,500

273. A Sèvres coffee cup and saucer, c.1773, painted with panels of fruit and flowers, the cup with two glasses and a carafe of wine, reserved on a bleu nouveau ground with gilt foliate border, interlaced LL mark and B painter’s mark perhaps for Barré, 13.4cm. (2) £800-1,200

274. A Sèvres teacup and saucer, c.1789, painted by Jean-Charles Siou l’ainé, with berried laurel garlands and single flower sprigs, the rims with blue rhomboid motifs on a lilac zig-zag ground, blue interlaced LL marks and painter’s marks, 12.6cm. (2) £150-200

275. A Sèvres coffee cup and saucer, c.1785, painted with oval panels of fruit alternating with baskets of flowers within gilt bands on a lilac ground, enclosing a band of blue, interlaced LL marks, hh date code and P7 painter’s mark probably for Jean-Jacques Pierre, 13.78cm. (2) £1,200-1,500

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276. A Ludwigsburg figure of a man, c.1770, possibly emblematic of Winter, modelled by Pierre François Lejeune, one hand tucked inside a large fur muff, the other holding his hat down against the wind, raised on a low scroll base, crowned interlaced CC mark, 13cm. £300-400

277. A Ludwigsburg figure of a female street vendor, c.1765, standing with a tray of trinkets suspended from a strap around her neck, raised on a low pad base with gilt scrolls, interlaced CC mark to the back of the base, a little good restoration, 14.5cm. £400-600

280. A Meissen figure of a putto from the Elements series, 19th century, emblematic of Fire, seated beside a kettle on a flaming stove, stirring a cup of hot chocolate on a low table beside him, blue crossed swords mark, incised C97, small damages, 10.5cm high. £100-200

278. A Ludwigsburg figure of Truth, c.1770, modelled by Johann Christian Wilhem Beyer, standing and holding an open book displaying a golden sun and the inscription ‘Veritas’, her modesty scarcely preserved by a corner of her robe which slips onto the pedestal behind her, crowned blue monogram and S mark, 24cm. £400-600

281. A Russian biscuit porcelain figure of a peasant, modern, after the Gardner factory, seated beside an open barrel and drinking from a handled vessel, raised on a chamfered rectangular base, printed and impressed marks, 14cm high. £200-300

279. A Ludwigsburg figure of a gardener, c.1765, modelled by Johann Jacob Louis, standing beside a slender tree stump and holding a sickle in his left hand, a satchel slung over one shoulder, interlaced CC mark, his sickle restored, 13cm. £300-400 Cf. Hans Dieter Flach, Ludwigsburger Porzellan, p. 140 and no. 251, p. 536.

282. A Meissen model of a dog, 19th century, standing four square on an oval base, wearing a blue collar with gilt padlock, his coat splashed with rust patches, the sides of the base decorated with a blue and gilt ovolu border, blue crossed swords mark, incised H33, his tail lacking, other minor £100-200 faults, 20cm high.

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283. A Vienna porcelain figure group of lovers, late 18th/early 19th century, seated on a rocky outcrop, he playing with her hair while a sheep munches on flowers strewn in her lap, a basket of flowers resting on the rocks beside him, faint impressed shield mark, 19.5cm. £300-400

284. A Meissen figure group of four putti, c.1765, emblematic of Summer, modelled by J J Kändler with sheaves of corn, three putti recumbent and one standing on a scrolled base applied with leaves, blue crossed swords and dot mark, some restoration, 14.5cm high. £250-350

285. A German porcelain figure of a couple, 18th century, perhaps Sulzbach, walking side by side along a flower strewn path, her fashionably wide skirt decorated with a repeated floral pattern, some restoration, 18.2cm. £200-300

286. A Samson figure of Europe, late 19th century, after the model by Kändler, modelled as a lady seated on the back of a white horse, holding an orb and sceptre, a globe and open book on the ground before her, pseudo blue crossed swords mark, small damages and repairs, 19.5cm. £100-200

287. Three Meissen biscuit porcelain figures, 18th and 19th centuries, one of a young bagpiper wearing a tricorn hat, another of a young girl seated with a birds nest in her lap, and a figure of a lady seated at a table, emblematic of Taste, two with incised crossed swords marks, Taste with a cancelled blue crossed swords mark, some damages, 13cm max. (3) £150-200

288. A Meissen group of lovers, 20th century, seated on a rocky stump with a garland of flowers, a further basket on the floor beside them, blue crossed swords £250-350 mark, small damages, 18.5cm.

289. Two Sèvres biscuit porcelain figures, 19th century, one of Madame Royale or Enfant aux Coussins, modelled after Boizot after an original by Clodion as a baby playing with the toes on her left foot, seated on a pile of cushions, the other of Cupid seated on a high-backed chair with swan-head arm rests, incised marks to the reverse including the initials AB, 23.5cm max. (2) £400-600

290. A pair of Continental porcelain figures of a shepherd and his companion, 19th century, after Chelsea in the Meissen manner, he with a dog and sheep by his feet, she with an apron full of flowers, raised on scroll bases with black detailing, blue crossed swords marks, small damages, £200-300 23cm. (2)

291. A pair of French soft-paste porcelain figures, mid 18th century, modelled as a vintner and his companion, each seated on a rocky stump, he wearing a cloak and with a drum of grapes resting on one knee, she with a basket of flowers, a small posy tucked into the top of her dress, minor damages and restorations, 18cm. (2) £500-800

Cf. Émile Bourgeois and Georges Lechevallier-Chevignard, Le Biscuit de Sèvres Vol. I, pl. 24, no. 394 for a similar example of the Madame Royale figure.

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292. A Meissen model of the lace maker Barbara Uttman, c.1745, modelled by J F Eberlein, resting her lacemaking pillow on her knee, her hands deftly manipulating the bobbins thereon, a tiny amount of restoration to her left hand, 12cm. £500-800

293. A Meissen figure of a Dutchman, c.1745, modelled by J F Eberlein, seated and holding a jug resting on his left knee, his right hand raising a glass in a toast, wearing a blue fur hat, minor restorations to the jug and goblet, 12.5cm. £500-800

Barbara Uttman (1514-1575) established the lacemaking industry in her home town of Annaberg, Germany. Her tombstone credits her with the invention of bobbin lacemaking in 1561. Cf. Len and Yvonne Adams, Meissen Portrait Figures, pl. XLVII.

294. A Kloster Veilsdorf miniature figure of Mezzetin, late 18th century, modelled by Wenzel Neu after Johann Jacob Schluber, as an artist, holding a palette and brushes, and wearing a green and yellow striped outfit, his paintbrushes broken and restuck, 8.5cm. £200-300

295. A Meissen figure of Cupid in disguise, mid 18th century, wearing a white robe around his waist, blue crossed swords mark, damages, 10cm. £100-200

296. A Höchst figure of a girl, c.1770, wearing a wide brimmed black hat and holding a small golden phial in her right hand, standing on a low grassy base, blue wheel mark, 10.5cm. £100-200

297. A small Ludwigsburg chinoiserie figure, c.1765-70, modelled as a Chinese boy wearing a tall hat, standing and holding a golden bird on his right hand, raised on a low square base, blue interlaced CC mark to the back of the base, some restoration, 11cm. £200-300

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298. A Ludwigsburg figure group, c.1770-75, probably modelled by Johann Adam Bauer, of two figures beside a monument, draping it with leafy garlands, atop the column a bowl of flames, each side moulded with an empty cartouche, interlaced CC mark, 22.8cm. £400-600

299. A Sèvres theatrical biscuit porcelain figure of Mademoiselle La Forrest, c.1780, possibly modelled by Josse-François-Joseph Leriche, in her role as Jeanette, holding a letter in her right hand, her left tucked in the pocket of her apron, raised on a circular base, titled ‘M’elle LAFOREST (l’ainé) role de Jeanette’, incised marks to the base, 29cm. £500-700 The figure derives from a play by A L De Beaunoir titled Jeanette ou Les Battus ne payent pas toujours l’amende, a one-act comedy. It is believed to be the companion figure to that of Janot, from a similarly titled play by Dorvigny.

300. A Continental porcelain white-glazed figure of a pedlar, 18th century, modelled in the manner of Bustelli, carrying a large heavy bundle on his right shoulder, wearing a tricorn hat, raised on a pad base applied with flowers. £200-300

301. A Höchst figure of Venus, c.1770, modelled by J P Melchior, the Classical maiden modelled nude and preserving her modesty with one arm, her left hand resting on her robe which drapes over a tree stump behind, raised on a low grassy base, blue crowned wheel mark, 18.5cm. £400-600 Cf. Christie’s, 4th October 1982, lot 91 for a similar example now in the Boston Museum of Fine Arts.

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302. A German porcelain figure of a Classical maiden, c.1770-90, perhaps Frankenthal, allegorical of Smell, holding a jug of flowers and raising a few blooms to her nose, a panting dog seated beside her, raised on a gilt scrolled base, 15cm. £200-300

303. A Russian porcelain figure in the Soviet style, 20th century, of a Red Army soldier in full uniform, saluting with his right hand and holding a sword in his left, incised hammer and sickle mark, inscribed 1927 but probably later, 25cm. £300-500

306. A Vienna white-glazed figure of a boy, c.1760, playing a small drum and looking at a monkey dressed as a soldier standing on a rocky stump beside him, blue shield mark and incised circle, a few small chips, 15.5cm. £200-300

304. A Tournai figure group, c.1770, modelled with three boys playing beneath a tree on a tall rocky stump, one playing the flute while another tries to distract him, the base encircled with fruiting grapevine, unusual incised ‘R fecit’ mark, some small chips and minor restorations, 24.5cm. £1,500-2,000

305. A Ludwigsburg figure of a wood carrier, c.1765-70, modelled by Johann Jacob Louis, holding a bundle of faggots from a large stack of firewood behind her, raised on a low scrolled base with gilt highlights, blue crowned CC mark, a few small chips, 12cm. £300-400 Cf. Hans Dieter Flach, Ludwigsburger Porzellan, no. 435, p. 556.

307. A Continental porcelain figure of Harlequin, probably 19th century, wearing a bright chequered tunic over green trousers, carrying a slapstick and with one hand raised to his hat, pseudo blue shield mark, 18.2cm. £100-200

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308. A pair of Meissen models of goats, mid 18th century, a nanny and a billy goat each standing with head slightly turned, the billy’s coat decorated with patches of dark grey, blue crossed swords mark to one, some damages and restoration, 9.3cm. (2) £600-800

309. A Mennecy silver-mounted snuff box, mid 18th century, the rectangular form moulded with an allover basketweave design, painted with sprays of flowers, the hinged silver mount with a Paris discharge mark, 7.8cm across. £300-400

310. A German porcelain fable-decorated tatting shuttle, 2nd half 18th century, probably Meissen, finely painted with a lion and a boar to one side, the lion watching the boar drink, the reverse with the boar facing a hunter, and two porcelain buttons painted with birds, 9.2cm max. (3) £300-500

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311. A Continental porcelain étui, c.1765, the tapering form painted in purple monochrome, one side with a well-dressed lady before a tall tree, the reverse with a gentleman proferring his tricorn hat, similar small vignettes to the hinged cover, fitted with gilt metal mounts, the contents lacking, 11.1cm. £350-500

312. A rare Continental porcelain étui, c.1765-75, possibly Kelsterbach, modelled as a crying baby swaddled in yellow robes tied with red ribbon, wearing a blue bonnet edged in lace, its head turned and mouth agape, with gilt metal mounts, 11cm. £800-1,200

311

312 313. A miniature Meissen vase, 19th century, painted in the Tischenmuster pattern with Oriental flowers and foliage issuing from a fence, blue crossed swords mark, 8.5cm. £80-120

314. A Staffordshire enamel étui, c.1770, the flattened tapering form moulded with rococo cartouches painted with scenes of courting couples on a white ground, the contents including, a pair of scissors, a penknife, a snuff spoon and a pair of tweezers, a little good restoration to the top, 10cm. £1,200-1,500

313

314 315. A Staffordshire enamel scent bottle case, c.1770-80, the flattened form painted with panels of polychrome flowers reserved within raised gilt cartouches on a pink ground to simulate linen, the metal mounted cover opening to reveal a small glass scent bottle and stopper, a small amount of good restoration, 6.3cm. £600-800

316. A Bilston enamel bodkin case, c.1780, the cigar-shape form moulded with ribs and finely painted with delicate tendrils between blue lines, 13.2cm. (2) £350-500

315

316

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317. A Bilston enamel bonbonnière, c.1770, modelled as a black and white spaniel curled up on a pink cushion, the metal-mounted and hinged lid painted with a blue flower spray, some good restoration, 4cm. £600-800

318. A Birmingham enamel snuff box, c.1760, the rectangular form painted with small shaped cartouches of figures in harbour scenes, reserved on a blue ground with sprays of honeysuckle and flowers, a little £600-800 cracking to the interior, 6.4cm.

319. A Bilston enamel cat bonbonnière or patch box, c.1770-80, of circular form, the metal-mounted cover moulded with a black and white cat curled up, the sides painted with flowers, a little good restoration, 5cm. £800-1,200

320. A Staffordshire enamel snuff box, c.1770, of rectangular form, painted to the lid with a couple fishing beside the river, the sides with panels of flowers reserved on a blue ground with white detailing, some good restoration, 6.2cm. £450-650

321. A Bilston enamel bouje box and cover, c.1780, the cylindrical form painted with panels of flowers reserved on a blue ground with gilt and raised enamel motifs, a small handle to one side, the flat cover with a small circular opening, some good restoration, 5.2cm high. (2) £400-600

322. A Birmingham enamel snuff box, c.1760, the lid painted with ducks, the sides with vignettes of flowers, the base painted with an insect, 8cm. £600-800

323. A Bilston enamel snuff box, c.1780, of rectangular form with chamfered corners, the cover painted with a courting couple beneath a statue titled ‘Pax’, a man thatching a roof in the background, the sides with small landscape scenes, a little cracking to the enamel, 7.8cm. £600-800

324. A small pair of enamel pommade or toilet pots and covers, c.1800, the cylindrical forms painted with flower sprays beneath a wide shaped band of gilt trellis on a blue ground, gilt stars to the bases, 6.8cm. (4) £250-350

325. A South Staffordshire rectangular snuff box, c.1775, the lid embossed with the head and shoulders portrait of a lady wearing a blue shawl over a yellow dress, within a shaped cartouche reserved on a pink ground, the sides with small flower sprays, a flying insect to the base, some good restoration, £400-600 5.9cm.

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326. A Birmingham or South Staffordshire rectangular snuff box, c.1765, painted with The Haymakers, a couple carrying a rake and a sheaf before a small figure atop a tall hayrick, within a shaped gilt cartouche on a pink ground, the sides and base with panels of flowers, some cracking, a little restoration to the base, 10cm. £600-800

327. A Battersea or Birmingham enamel snuff box, c.1775, the lid printed in black with a scene from the Ladies Amusement, the sides with putti emblematic of The Arts within scrollwork, underneath a shepherdess with various animals, the interior with a piper courting a maiden beneath a tall column, 9cm. £1,200-1,500

328. A Chelsea bonbonnière, c.1760-65, modelled as the head of a lady wearing a white cap and a black mask, set with two diamonds for her eyes, the mount and lid lacking, minor chipping, 4.7cm high. £700-1,000

329. A Chelsea bonbonnière, c.1760-65, modelled as Cupid putting a collar around the neck of a recumbent lamb, a quiver of arrows slung around his neck, the mount and lid lacking, 4.2cm high. £700-1,000

Cf. The Victoria and Albert Museum, No.LOAN:GILBERT.497-2008, for a near identical example from the collection of Rosalinde and Arthur Gilbert.

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330. A matched pair of Birmingham enamel urn-shaped vases, c.1775, painted with scenes of fishermen on a riverbank before an arched bridge and beneath trees, within rococo cartouches on a turquoise ground, the square feet highlighted in yellow with flower sprays, one restored, 25cm. (2) £350-500

331. A Continental porcelain bottle vase, 19th century, mounted as an oil lamp, unusually enamelled in the Chinese manner with dragonflies, moths and other insects in flight around a large branch of flowering prunus, reserved on a powdered manganese ground, mounted on a Chinese style bronzed metal base, 49cm. £100-200

332. A pair of enamel candlesticks, c.1770, painted with flowers and with raised gilt foliate scrolls on green panels, an enamel bonbonnière modelled as the head of a pug dog, and a small enamel thimble painted with flowers, damages and losses, 24,5cm max. (4) £150-250

One with a paper label for D M & P Manheim.

333. An unusual pair of English porcelain drinking figures, early 19th century, the head of each gentleman forming a stopper to his hollow body, one titled ‘Tally-Ho’ and raising a glass, the other titled ‘Landlord’ and gesturing his empty bottle, some good restoration, 15cm. (4) £250-350

334. A pair of Derby figures of the Welsh Tailor and his wife, early 19th century, each seated astride a goat with a basket of children or kids on their back, raised on grassy bases with a gilt shell scroll, incised No. 62 to the undersides, small restorations, 15cm. (2) £250-350

335. A pair of English porcelain figures of a lion and a lioness, 19th century, probably Samuel Alcock, each recumbent on a dark green base, the lioness with a cub pawing at her side, the bases with gilt edges, some damages, 10.7cm across. (2) £150-250

336. A Samuel Alcock porcelain group of a cat and her kitten, 1st half 19th century, seated on a scrolled base glazed a pale yellow, with heads turned and coats decorated with black and grey patches, a little £150-250 good restoration, 6.5cm high.

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337. Four English porcelain figures of putti, c.1760, two Bow and variously modelled holding a basket of flowers and a small dog, two Derby and holding a garland or a basket of flowers, and a Continental porcelain putto standing before flowering bocage, gold anchor mark to the latter, some damages, 13.2cm max. (5) £150-250

338. Two pairs of Minton biscuit porcelain figures, 1st half 19th century, one pair of a gardener and his companion, he standing with a basket of fruit, she with a garland of flowers, raised on circular bases with a Greek key border, the other pair of a boy and girl standing beside empty jugs resting on stumps, minor faults, 18.7cm max. (4) £100-200

339. Four Minton biscuit porcelain figures, 1st half 19th century, one of a dancing girl holding one corner of her skirt, one of a piping shepherd with his dog by his feet, a girl perhaps emblematic of Summer, seated with sheaves of corn, the last a girl standing with a small basket, and a further biscuit figure of a girl seated with a basket of flowers, some damages, 18cm max. (5) £100-200

340. Six Derby figures, 2nd half 18th century, including a pair of a shepherd and his companion before flowering bocage, a girl playing the mandolin, a boy playing the flute, and two figures of putti holding baskets, some damages and repairs, 13.5cm max. (6) £150-250

341. A pair of coloured Parian figures of native warriors, 19th century, he draped in a leopardskin, she with a feathered headdress and the skin of a fallow deer tied around her, both raised on circular socle bases, some restoration, 38cm. (2) £150-200

342. A matched pair of Derby figures of Shakespeare and Milton, c.1780, after Peter Scheemakers, each leaning against a pile of books atop a pillar, Shakespeare with a scroll inscribed in gilt with verses from The Tempest, raised on scrolled bases highlighted in turquoise and gilt, some damages, 30cm. (2) £200-250

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343. A Derby biscuit porcelain figure group of putti hunting, c.1780, the four figures arranged around a central tree, one with a bird and a cage, one playing a flageolet, another a hunting horn, the last with a gun and dog, raised on a rocky stump, incised marks, some damages, 20.5cm. £100-200

344. A large Derby figure of Minerva, c.1760, her right hand held aloft to receive her spear, her left resting on her shield which bears the face of the Gorgon, raised on a scrolled base picked out in gilt and turquoise, restoration to her right shoulder, her spear lacking, £300-500 32cm.

347. A Plymouth figure of a putto, c.1769, possibly emblematic of Spring, standing on a tall base picked out with puce scrolls, between flowering branches, draped in a pink robe, chips to the flowers and leaves, 14.2cm. £250-350

345. A Derby biscuit porcelain figure group of musicians, c.1770-80, four figures encircling a tree and variously playing the flute, the tabor, the horn and cymbals, raised on a rocky stump applied with flowers and leaves, incised mark and No.333, some damages and £100-150 losses, 27cm.

346. A Bow candlestick figure group, c.1765-70, emblematic of Summer, modelled as Ceres with a putto standing on her lap and supporting a tall scrolled sconce, raised on a scrolled base, brightly enamelled with puce and gilt highlights, 26cm. £300-400

348. A Derby biscuit porcelain figure of a putto and a dog, c.1780, seated on a rocky stump beneath a tree, a hunting horn suspended by a leather strap, the dog resting one paw on the putto’s knee and licking his chin, incised No.213, chips and losses to the applied flowers and leaves, 12.2cm. £80-120

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349. A matched pair of Derby figures of the Ranelagh Dancers, c.1765-70, each standing in dancing pose with a small floral posy in one hand, with flowering bocage behind, raised on scrolled bases picked out in gilt and turquoise, some restoration, 29.5cm. (2) £300-500

350. A Derby figure of a seated lady, c.1756-58, wearing a green bodice over a flowered skirt, her hat resting on her left knee, raised on a scrolled base applied with flowers, some restoration, 13.5cm. £150-200

351. 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, two lambs and a dog recumbent at his feet, his head turned to dexter, raised on a scrolled base picked out in green, puce and gilt, small damages, 23.2cm. £300-400

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352. A small group of Caughley blue and white miniature or toy porcelains, c.1770-80, all decorated in the Island pattern, including a matched trio with teabowl, coffee cup and saucer, two plates, and a charger with shaped rim, some pieces with a printed S mark, 10.4cm max. (6) £200-300

353. Two miniature Caughley blue and white dishes, c.1780, of two different sizes, painted with the Island pattern within shaped rims, 10.2cm max. (2) £150-250

354. Two miniature Caughley blue and white dishes, c.1780, painted with the Island pattern, the oval forms in two different sizes, 9.3cm max. (2) £150-250

353

355. A Lowestoft blue and white miniature or toy teabowl and saucer, c.1760-65, painted with a version of the Cannon Ball pattern, with round rocks before a small pagoda on a rocky island beneath a leafless tree, the teabowl broken and restuck, 6.5cm. (2) £100-200

354

356. A Caughley miniature blue and white teabowl and saucer, c.1780, printed with the Fisherman and Cormorant pattern, and a slightly larger Caughley toy teabowl printed with the Fence pattern, 7.3cm max. (3) £100-200

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357. A Lowestoft blue and white miniature or toy teabowl and saucer, c.1760, painted with peony and willow issuing from stylised rockwork beside a low fence, within a hatched diaper border, a few small rim chips, 8cm. (2) £250-350

358. A Lowestoft blue and white miniature or toy teapot and cover, c.1762-65, the small globular body painted with small boats and pagodas in a Chinese island landscape, a berry border to the shoulder and cover’s edge, 10.5cm across. (2) £400-600 Cf. Sheenah Smith, Lowestoft Porcelain in the Norwich Castle Museum, p.218.

359. A Lowestoft blue and white miniature or toy coffee cup and saucer, c.1760-70, painted with boats sailing around pagodas on small islands in a Chinese landscape, the coffee cup with a berry border to the inside rim, painter’s numeral to the inside of the saucer’s footrim, the cup and saucer associated, 7.7cm. (2) £250-350

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360. A good Worcester blue and white spoon, c.1770, of Chinese rice spoon shape, painted with the Maltese Cross Floral pattern, the handle rising to a flowerhead terminal, open crescent mark, 14.3cm. £150-250

361. A Worcester blue and white jug and cover, c.1775, printed with the Fence pattern, the cover with a floral finial, hatched crescent mark, 13.7cm. (2) £100-200

362. A Worcester blue and white teabowl and saucer, c.1755-60, painted in the Rock Warbler pattern, the long-tailed bird perched on a rocky stump with an insect in flight above, workman’s marks, 12.4cm. (2) £200-300

363. A Worcester blue and white teapot, c.1760, of small size with a faceted spout and grooved handle, painted with the Thrush pattern with three songbirds perched on a leafy branch, the reverse with a flower spray, the cover lacking, cracked, 16.5cm across. £150-250

364. A Worcester blue and white mug, c.1765-80, printed with the Thorny Rose pattern, hatched crescent mark, and a Derby blue and white pickle leaf dish, decorated with peony and daisy sprigs, a chip to the mug’s rim, 12.2cm max. (2) £180-220

365. Two Japanese blue and white teabowls, late 17th century, painted in the manner of Frederik van Frytom, with two figures standing guard in a harbour, the interiors with undulating blue rims. (2) £80-100 Van Frytom (1632-1702) was a Dutch Delft artist whose style was copied by Arita potters in the late 17th century. In turn, these Japanese imitations were copied by the Chinese and also by workmen at Bow. Cf. A. Vecht, Frederik van Frytom, p.40 for the original source; also Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, p.63 for the Chinese and the Bow counterparts. Wares of this type are also discussed by Gordon Lang in The Wrestling Boys catalogue for the Burghley House Collection.

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366. A Lowestoft blue and white teabowl and saucer and a Worcester coffee cup and saucer, c.1760-70, both decorated with the Mansfield pattern, workman’s marks to the Worcester, open crescent marks to the Lowestoft, a crack to the Lowestoft saucer, 11.7cm max. (4) £150-250

366

367

367. A rare Worcester blue and white cup with trembleuse saucer, c.1785, painted with the Forked Willow Fence pattern, a weeping willow tree beside large peony flowers and a low ornamental fence, within a cell diaper border, together with a Chinese soft-paste saucer in the same pattern, 12.5cm max. (3) £400-600 Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain 1751-1790, no.I.D.19 for a saucer described at the time of publication as the only known example.

368. A good Lowestoft blue and white basket, c.1775-80, after Worcester, printed with the Pinecone pattern beneath a scrolling border and a band of stylized flowerheads, the ropetwist handles issuing from applied flowers and leaves, the reticulated sides applied with further flowerheads, 23cm across. £250-350 368

369 369. A rare Derby blue and white monteith, c.1770-90, moulded with simple scroll panels and undulating rim, decorated with unfinished shaped panels on a blue scale ground, broken and repaired, 37cm £150-250 across.

370. A Worcester blue and white coffee cup and saucer, c.1770-80, printed in the Bat pattern, with the creatures in flight around vases of flowers, and a Chinese teabowl and saucer decorated in the original pattern, hatched crescent marks to the Worcester, 12.8cm max. (4) £100-200 370

371 371. A pair of Bow blue and white octagonal plates, c.1762-65, of small size, painted with the Jumping Boy pattern, the cavetto with tied scrolls and other auspicious objects, one broken and restuck, 18.2cm. (2) £100-200

372

372. A Worcester blue and white part tea service, c.1770, printed in the Fence pattern and comprising a teapot and cover, a sugar bowl, six teabowls and six saucers, together with a milk jug printed in the Three Flowers pattern, and a sugar bowl and four teabowls painted in the Mansfield pattern, some faults, £200-300 16.5cm max. (21)

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373. A Worcester blue and white feather-moulded teapot and cover, c.1760, painted with the Feather Mould Floral pattern with Oriental sprays of flowers, open crescent mark, the handle broken and riveted, 21.6cm. (2) £100-200

374. A rare Worcester blue and white teabowl and saucer, c.176570, painted with the Candle Fence Pavilion pattern, with tall willow above a storeyed pagoda, open crescent marks, 12.7cm. (2) £150-250

375. A Lowestoft blue and white teapot and cover, c.1780, the globular body painted with the Mansfield pattern, the cover with a floral finial, open crescent mark, a rim crack, 19.5cm. (2) £250-350

376. A rare Worcester blue and white dessert basket, c.1770-75, the lozenge shape dish printed with the Pinecone pattern, the rim with four shell motifs between elaborately pierced panels with tiny blue flowerheads, hatched crescent mark, some good restoration, 31.6cm. £300-500

Paper label for the Lloyd Collection, No. 86.

Most examples of this pattern have been clobbered with polychrome enamels, and survivals in the original palette are rare.

Provenance: Bonhams, The Zorensky Collection of Worcester Porcelain Part III, 22nd February 2006, lot 351.

377. A large Worcester blue and white serving plate, c.1780, printed with the Pinecone pattern, the rim with sprays of flowers and fruit, hatched crescent mark, 29.5cm. £180-220

378. A Worcester blue and white mug, c.1765-70, the cylindrical body printed with the Natural Sprays group, of large chrysanthemum blooms and a spray of rose, hatched crescent mark, 11.8cm. £100-200 Exhibited: London Ceramic Circle, 2014.

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379. A Philip Christian (Liverpool) blue and white teabowl and saucer, c.1772, painted with a bird perched on a branch of flowering peony, a small bowl, probably Isleworth, painted with the Fence pattern, a Chaffers coffee cup painted with the Cannonball pattern, a polychrome Pennington teabowl and a Pennington coffee cup both with floral decoration, 12.8cm max. (6) £200-300

380. An interesting group of porcelains decorated with the Stag Hunt pattern, 18th century, including a Chinese coffee cup and teabowl with original anhua flower decoration, later decorated in Europe, a Worcester coffee cup, and a Chamberlain Worcester teabowl and saucer, showing the development of the pattern, some faults, 13.4cm max. (5) £100-200 381. A pair of Bow white-glazed teabowls and saucers, c.1755-58, with shaped rims, each applied with three sprigs of flowering prunus, a short crack to one saucer, 11.4cm. (4) £400-600 382. A Worcester moulded teapot and cover, c.1770, the barrel form moulded with flower sprays within continuous foliate bands, left in the white, a Worcester coffee cup with polychrome flower decoration, and a slop bowl painted with the Stag Hunt pattern, some restoration to the bowl, 18cm max. (4) £150-250

381

382 383. A Bow bell-shaped mug, c.1770, painted in polychrome enamels with colourful birds, a large moth and a grasshopper, and a Bristol coffee cup painted with three Chinese figures standing in a garden and holding various attributes, a red chain border to the interior rim, the mug with a stained crack, 9cm max. (2) £180-220 384. A Bow white-glazed teabowl and saucer, c.1756, applied with sprigs of flowering prunus, within shaped rims, 11.6cm. (2) £300-500

383

384

385. A Chelsea-Derby coffee can and saucer, c.1775, painted in puce monochrome, probably by Richard Askew with scenes of putti seated on clouds, the rims with green and gilt leaf swags, the saucer with a gilt anchor and D mark, a small chip to the can, 11.2cm. (2) £300-400 386. A Derby coffee cup, c.1758-60, the bell-shaped body with wishbone handle, painted in red monochrome with an Oriental landscape, with gilt highlights, incised star mark, a little chipping, 6.8cm. £120-180 Provenance: Phillips, The Watney Collection, Part III, 1st November 2000, lot 1182.

385

386

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387. A rare Derby teapot and cover, c.1756, decorated in the Imari palette with flowering chrysanthemum and holey rockwork beneath weeping willow, the reverse with chrysanthemum and rockwork, the reeded spout formed as a mythical beast, the cover broken and repaired, 19.5cm. (2) £700-1,000 Provenance: the C E Hanley Collection. Purchased from Simon Spero, 8th October 2002. Previously in the J L Dixon Collection and the David Southern Collection. Before that sold at Christie’s, 12th July 1982, lot 56. Illustrated: J L Dixon, English Porcelain of the 18th Century, pl.32a. Also, Miller and Berthoud, An Anthology of British Teapots, p.23, pl.134.

388. A pair of Derby plates, late 18th century/early 19th century, copying the Japanese with chrysanthemum and other flower sprays issuing from a zigzag fence in the Imari palette, the rims with longtailed birds and sprays of flowering prunus, 22cm. (2) £150-200

389. A garniture of three Derby ‘Mayflower’ vases and covers, c.1770-75, of square baluster form, decorated in the Meissen schneeballen style with closely packed flowerheads edged in turquoise with gilt stamen, the shoulders applied with leafy tendrils bearing clusters of red berries, the covers with tall berry finials, some damages, 28.5cm max. (6) £400-600 Cf. H G Bradley, Ceramics of Derbyshire 1750-1975, p.87, no.121 for a single vase without its cover.

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390. A rare pair of Worcester cornucopia wall pockets, c.1756-58, of traditional spiralmoulded horn shape, painted with colourful indiansiche Blumen floral sprays and large insects, a moulded floral border at the rim picked out in colours, a little restoration to each, 25.5cm. (2) £2,000-2,500 Provenance: The Collection, R99.

Zorensky

Illustrated: Simon Spero & John Sandon, Worcester Porcelain, The Zorensky Collection, fig. 101.

391. A Worcester yellow-ground junket dish, c.1765, the circular form moulded with basketweave and three panels brightly enamelled with flowers, reserved on a rich yellow ground, the shaped rim painted with a band of flowers, well restored, 22.7cm. £200-300

392. A Worcester dessert dish, c.1775, painted probably in a London atelier with a scene in the manner of David Teniers, three children being attacked by a stag and a wild boar, the quatrelobed rim with osier moulding and gilt detailing, 29.7cm. £400-600

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393. A Worcester leaf dish, c.1770-75, naturalistically moulded with undulating rim, the curved stalk forming the handle, painted in the atelier of James Giles with sprigs of dry blue flowers, the rim tinged yellow within a blue line, some restoration to the rim, 21.3cm. £200-300

394. A Worcester leaf dish, c.1770, formed as two overlapping vine leaves with a stalk handle, painted in the atelier of James Giles with sprays of flowers in green monochrome, 22.3cm. £500-800

395. A Worcester dessert plate, c.1770-75, painted in the atelier of James Giles with a central stone urn draped in flowers, the rim with a continuous band of gilded grapevine on a rich blue ground, 22.6cm. £200-300

396. A Worcester square dish, c.1775, painted in the atelier of James Giles with trailing rose garlands draped across a stone vase with serpent handles and grotesque masks, within a simple continuous foliate border, 27.5cm. £400-600

Paper label for The Antique Porcelain Gallery Pty Ltd., Australia.

Exhibited: Stockspring Antiques, James Giles Exhibition, 2005. Paper label for the Stephen Hanscombe Collection.

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397. A Chelsea octagonal soup plate, c.1756, moulded with flower sprays to the rim and well, painted with further flowers and large moths, and a Chelsea lobed oval dish, similarly painted with English flowers within a brown line rim, red anchor mark to the latter, three small chips to the soup plate, 25cm max. (2) £200-300

398. A pair of Worcester shell-shaped dessert dishes, c.1770-80, the wells painted with spiky arrangements of polychrome flowers, reserved within a formal gilt border on a wet blue ground, gilt dentil rims, blue W marks, 19.5cm. (2) £300-400

399. Two Chelsea plates, c.1755, both painted with sprays of English flowers and single scattered leaves and blooms, the larger with a brown line rim, the smaller with a feather-moulded rim highlighted in turquoise, red anchor marks, one restored, 23.5cm max. (2) £300-400

400. A rare Worcester Scolopendrium bowl, c.1772-75, the cinquefoil form moulded with large spiralled scolopendrium leaves, amidst small painted floral sprigs, brown line rim, a small restored rim £300-500 chip, 15.3cm.

401. A Chelsea plate, c.1756, moulded after Meissen in the Gotzkowsky manner, the well painted with a small posy of flowers, the rim with four vignettes of birds perched on branches, brown line rim, 23.5cm. £300-500

402. A Worcester teapot and cover, c.1770-75, painted with flowers in the Compagnie des Indes manner, in a palette of pink, purple, brown, green and gilt, a short crack to the end of the spout, 18.5cm. (2) £100-200

One with a paper label for Stockspring Antiques.

This design is a direct copy of wares produced well over a decade earlier at Chelsea.

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403. A Worcester white-glazed teapot and cover, c.1770, moulded with a wide floral frieze of chrysanthemum in a formal design, echoed to the cover, a small chip to the spout, 19.5cm. (2) £150-250

404. A Baddeley-Littler mask jug, c.1780-85, moulded with overlapping cabbage leaves, brightly painted with sprays of flowers and single scattered blooms, the mask spout enamelled with ruddy £400-600 cheeks, the handle and neck with puce detailing, 21cm.

405. A Worcester en grisaille teapot and cover, c.1770, decorated in black enamels heightened in gilt, with Oriental flower sprays beneath a shell and scroll border, minor faults, 16.8cm. (2) £200-300

406. A Worcester teapot and cover, c.1775, painted in polychrome enamels with a Chinese gentleman seated on a low bench with three further figures holding objects beneath a flowering tree, minor faults, 19.5cm across. (2) £120-180

Paper label for the Zorensky Collection, Y354.

Provenance: Diana Keppel, Countess of Albemarle (1909-2013). Purchased from A G Voss Antiques of Woodbridge on 22nd February 1975.

407. A large Pennington’s (Liverpool) teapot and cover, c.1780, painted in polychrome enamels with the Smoker’s Valet pattern, each side with a Chinese figure holding a long pipe, and another figure holding a flower, a few small chips, 22.5cm. (2) £150-250

408. A Bristol mask jug, c.1775, painted in polychrome enamels with sparse scattered floral sprays, a wavy band of green ribbon beneath a red dash border to the neck, the spout finely modelled with the face of a bearded man, minor faults, 17cm. £300-400 Paper label for A. J. Filkins.

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409. A Chinese armorial guglet or bottle for the European market, Qianlong 1736-91, painted with a shield containing the monogram JJS beneath the crest of a phoenix rising from the flames, 26.5cm. £200-300

410. A Worcester milk jug, c.1760, brightly enamelled with three large moths amidst scattered green leaves, 9.8cm high. £100-150

411. A Worcester tea canister and cover, c.1785, of reeded ovoid form, the shoulders and foot with a wide green band and formal gilt borders, the cover’s finial broken and restuck, £100-150 16.5cm. (2)

412. 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. £250-350 Meissen vases of this type were copied at Chelsea in the mid 1750s with these versions subsequently being copied at Worcester.

413. A Worcester spoon tray, c.1780, decorated in the Dalhousie manner with a central landscape panel within floral arrangements and flying moths, the rim with a blue and gilt border, open crescent mark, 15.6cm. £300-400

414. A Worcester trio, c.1775-80, comprising a teacup, coffee cup and saucer, the fluted forms painted with three puce flower sprays around a central auricula sprig, the rims with purple designs reserved on turquoise within gilt C scrolls, 13.6cm. (3) £180-220 The teacup with a paper label for the Zoresnky Collection, R.102.

415. A Worcester spoon tray, c.1770, painted in the Compagnie des Indes pattern with indianische Blumen within a gilt leaf garland, the rim with a purple diaper band, 15.8cm. £150-250

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416. A William Reid (Liverpool) teapot and cover, c.1754-56, each side painted in polychrome enamels with a standing Chinaman holding a long spear beside a pine tree and a potted plant, the cover with a similar plant and barrel garden seat, the rims with a band of green diaper panels and flowerheads, some chipping, 16.5cm across. (2) £2,000-3,000 Provenance: the C E Hanley Collection. Purchased from Phillips, The Watney Collection Part I, 22nd September 1999, lot 235. Illustrated: Bernard Watney, Liverpool Porcelain, col. pl.5a. Also, ECC Transactions Vol. 20, Part 2, 2008, p.329, and Simon Spero, Price Guide to 18th Century English Porcelain, p.209. Exhibited: Phillips, Liverpool Loan Exhibition, 6th-12th March 1997.

417. A Worcester coffee cup and saucer, c.1775-80, the fluted forms painted with berried leaf swags around four panels of spotted fruit on a turquoise ground, the rims with gilt foliate sprays and diaper panels on a rich blue ground, script W marks, some restoration to the rim of the saucer, 13.5cm. (2) £150-250

418. A Chelsea Fable-decorated saucer, c.1752-54, the well painted by Jeffreyes Hammett O’Neale with the Lion and the Fox, the two animals regarding each other, the fluted sides with scattered flowers and a flying insect, some enamel wear, 11.2cm. £400-500

419. A good Worcester two-handled sauceboat, c.1758, moulded to the exterior with four floral panels containing single polychrome flower stems, echoed to both sides of the shell spouts, the interior with a larger spray, above the handles with puce scroll detailing, 18.8cm. £300-500

The coffee cup with a paper label for the Zorensky Collection, W.43.

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420. A large Bristol teapot and cover, c.1775, the inverted pear-shaped body painted in puce monochrome with scattered single flowers, the shoulder with a border of C scrolls, shells and floral motifs echoed to the cover, blue crossed swords mark and gilt 6, 22cm. (2) £350-500

421. A Worcester teapot and cover, c.1755-57, of slightly compressed globular shape, pencilled in black with the Boy on a Buffalo pattern, the youngster astride his placid bovine mount, the reverse with a bird in flight above another buffalo and two sampans, incised mark to the base, a small chip to the cover, 19cm. (2) £800-1,200 Paper label for Albert Amor Ltd, The Vincent Townrow Collection, 1998 Exhibition.

422. A Philip Christian (Liverpool) teapot and cover, c.1770-75, enamelled with shaped panels of flowers reserved on a bright blue scale ground, the spout and handle with gilt foliate motifs, 21.5cm across. (2) £1,200-1,800 Provenance: the C E Hanley Collection. Purchased from Simon Spero, 4th April 2001. Previously in the Rous Lench Collection. Illustrated: Maurice Hillis, Liverpool Porcelain 17561804, p.229. Cf. The Victoria and Albert Museum, Accession No. C.96-1957 for a cake plate in the same pattern.

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423. A Derby quatrelobed teapot and cover, c.1756-58, the moulded form finely painted in the cotton stem manner with a bold spray of flowers, the reverse with a large spray of honeysuckle, some faults, 20.5cm. (2) £300-500 Provenance: the C E Hanley Collection. Purchased from Jupiter Antiques, 9th September 1996. Previously in the Gordon Partington Collection.

424. A rare John Pennington (Liverpool) teapot and cover, c.1775, the inverted pear-shape body painted in the atelier of James Giles with panels of fruit and flowers reserved on a blue and gilt ground, the spout formed as the head of a mythical beast, the cover’s finial attached to the handle with a gilt metal chain, 21cm. (2) £1,200-1,800 Provenance: the C E Hanley Collection. Purchased from Sotheby’s, 21st February 1995, lot 57. Previously sold at Sotheby’s on 17th November 1976 when it entered an Australian collection. Illustrated: Bernard Watney, Liverpool Porcelain, p.96, fig.389. Also, ECC Transactions, Vol. 14, Part 3, 1992, p.249.

425. A Vauxhall teapot and cover, c.1758, painted with sprays of English flowers including chrysanthemum and tulip, some faults, 18cm. (2) £600-1,000 Provenance: the C E Hanley Collection. Purchased from Simon Spero, 18th March 2000. Previously the Joseph M Handley Collection, the Colby Vallow Collection, the Yarborough Collection. Illustrated: 18th Century English Transfer-Printed Porcelain and Enamels; the Joseph M Handley Collection, p.211.

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426. A Worcester teabowl and saucer, c.1760-65, printed in purple with figures standing beside a ruined tower on a shoreside scene, a figure fishing in the distance beneath a tall tree, 12cm. (2) £180-220

427. A Worcester fluted milk jug, c.1775, the flared bucket-shaped body printed in black with figures among ruined Classical temples, the interior with a rural scene, gilt line rim, 14cm across. £150-250

428. A Worcester milk jug, c.1760-65, printed in black with ducks swimming before a figure standing beside Classical ruins, the reverse with travellers approaching a ruined obelisk, black line to the interior rim, 8.2cm. £200-300 Paper label for the D V Pares Wilson Collection.

429. A rare Worcester teabowl and saucer, c.1760, the fluted forms printed in black with a loose spray of grasses and flowers including convolvulus, 11.8cm. (2) £300-500

430. A Worcester jug and cover, c.1770, printed in black with L’Amour to one side and Lady Watering Garden to the reverse, the cover with three small landscape vignettes around the floral finial, 13.5cm. (2) £180-220

431. A Worcester coffee cup and saucer, c.1765-70, printed in black with differing scenes of figures beside Classical ruins, and a further coffee cup printed and handcoloured with similar scenes, 12.2cm max. (3) £250-300 Paper labels for the E J Handley Collection, nos. 6, 59 and 89.

part 432. Literature: three volumes of Phillips catalogues relating to the sale of The Watney Collection in 1999 and 2000, and a large number of newsletters and transactions from the Northern Ceramic Circle. (A lot) £30-50 Provenance: the Geoffrey Godden Reference Collection.

part 433. Literature: a complete run of the Transactions of the English Ceramic Circle, dating from 1928 to the present day. (A lot) £50-100

434. A Worcester saucer dish, c.1765, printed in black with figures beneath a ruined archway before a statue of Marcus Aurelius, 18.5cm. £100-150

Provenance: the Geoffrey Godden Reference Collection.

Provenance: The Joseph M Handley Collection. The Paul Howell Collection, Glen Ellen, California. Illustrated: 18th Century English TransferPrinted Porcelain and Enamels, The Joseph M. Handley Collection, p.142.

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435. A rare Worcester high footed sauceboat, c.1754-55, each side with a rococo moulded panel, printed in black in the ‘Smoky Primitive’ manner with chinoiserie scenes of figures with parasols and a Buddha in a temple, the interior with a European figure seated beside a Classical urn and blowing bubbles, some damages, 19.5cm across. £150-200

436. A Worcester spoon tray, c.1765, printed in purple with L’Amour, a courting couple seated on a bench among statuary in a garden, chaperoned by a maid behind, 15.7cm. £200-300

Provenance: Phillips, 21st February 2001, The Norman Stretton Collection, lot 32.

437. A Worcester saucer dish, c.1760, printed in black with the Parrot Pecking Fruit pattern, the large bird reaching down to grapes hanging from a lower branch, 16.6cm. £150-250 Paper label for Winifred Williams, Eastbourne.

438. A Worcester leaf-shaped dish, c.1760-65, printed in two tones of black with figures in a rural landscape, crossing an arched bridge, fishing from the riverbank, and promenading before buildings, framed £120-180 to one side by a tall curved tree, 26.7cm. Paper label titled ‘Ex Mullens Collection’.

439. A Worcester slop bowl, c.1765, printed in black with L’Amour to one side, the reverse with Rural Gambols, between small vignettes of Classical ruins, the interior with swans on the water, L’Amour signed R H Worcester in the print for Robert Hancock, and with an anchor rebus for Richard Holdship, some good restoration, 15.5cm. £100-150

440. A Worcester saucer dish, c.1760-65, printed in black with a shepherdess being wooed beneath a leafy tree, behind which lurks the shepherd, their sheep grazing in the foreground, 18.7cm. £200-300

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441. A Worcester teapot and cover, c.1758-60, printed in black with a cockerel, hen and chicks to one side, the reverse with a duck and other birds in flight above fancy birds perched on the ground, the cover with three landscape vignettes around the floral finial, 16cm. (2) ÂŁ400-600

442. A Worcester printed and hand-coloured tea canister, c.1765-70, one side decorated with figures fishing before a tall house with smoking chimney, the reverse with a church with a gilded clock and tall spire, 12.5cm. ÂŁ100-150

443. A Worcester coffee pot and cover, c.1770, printed with the Milkmaids pattern to one side, the reverse with a milking scene, later coloured with polychrome enamels, overglaze blue crossed swords mark, 20.2cm. (2) ÂŁ350-500

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444. A rare Vauxhall teapot and cover, c.1758, printed and hand-coloured with panels of figures in landscapes, one side with a couple standing on a small island beside a third figure on his knees, the reverse with a further couple standing before buildings in a harbour setting, the cover with a shepherdess and musician, some chipping to the spout, 18cm across. (2) £5,000-8,000 Provenance: the C E Hanley Collection. Purchased from Christie’s, The Margaret Cadman Collection, 11th October 2002, lot 56. Illustrated: Stephen Hanscombe, The Early James Giles and his Contemporary London Decorators, p.136 alongside a Chinese teapot painted with the same scene. Also, ECC Transactions, Vol. 18, Part 3, front cover.

445. A European-decorated Chinese porcelain teapot with teabowl and saucer, mid 18th century, printed and hand-coloured in England, perhaps at Battersea, with a shepherd and his flock seated beneath a tall tree with buildings visible on a hill behind, the teabowl and saucer with four character Yongzheng marks, 14.5cm. (4) £500-800 Provenance: the Godden Reference Collection. The teabowl and saucer purchased from E & H Manners, 9th June 2004, and with paper labels for Stockspring Antiques, early James Giles no.153. The teapot previously in the Watney Collection. Exhibited: The Early James Giles and his Contemporary London Decorators, Stockspring Antiques 5-17 June 2008, cat. no.153, together with a matching milk jug. In his text accompanying the 2008 exhibition, pp.139-40, Geoffrey Godden discusses this distinctive pattern and suggests the Chinese blanks may have been up to ten years earlier than the date of the decoration.

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CLARICE CLIFF, ART DECO & 20TH CENTURY DESIGN Wednesday 20th April 2016

Dame Lucie Rie D.B.E (1902-1995) an early porcelain footed bowl, 16.3cm diameter. Provenance: The collection of Anne Saïd (1914-1995) Estimate: £2,000 - £3,000 ENQUIRIES Michael Jeffery | Tel: +44 (0)1722 424505 | michaeljeffery@woolleyandwallis.co.uk

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ASIAN ART

Tuesday 17th & Wednesday 18th May 2016

A Chinese wucai baluster vase and cover, 2nd half 17th century, painted with fruiting vines and squirrels, 40cm. Estimate: £12,000 - £15,000

ENQUIRIES John Axford | Tel: +44 (0)1722 424506 | johnaxford@woolleyandwallis.co.uk

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% + VAT charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. 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. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega ( ) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE 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 12,500. 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 12,500 Lots marked with a ‡ symbol are potentially subject to the levy. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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

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11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque four 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 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 12,500. 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 12,500

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Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

Woolley & Wallis valuations are accepted by all leading insurance companies.

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WOOLLEY & WALLIS

Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

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DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO SALT LANE PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

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Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU

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VAT No: 631 9832 29 TESCO

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

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.

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WOO L LE Y & WA L LI S Absentee Bid Form English & European Ceramics & Glass

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 19th April 2016 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

www.woolleyandwallis.co.uk

AUCTION CALENDAR ARMS & ARMOUR 6th April Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 6th April 6th July Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk 20TH CENTURY DESIGN 20th April – Clarice Cliff, Art Deco & 20th Century Design 22nd June – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk SILVER 27th April – Fine Silver & Objects of Vertu 19th & 20th July – Silver, Vertu, Coins & Medals Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 28th April 21st July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 17th & 18th May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk PAINTINGS 8th June – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th September Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS September 2016 – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk