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

Fine Porcelain & Pottery

Tuesday 23rd February 2016

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

20TH CENTURY DESIGN Michael Jeffery

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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 —

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PAINTINGS Victor Fauvelle Jo Butler

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Ellie Osmond

Members of The Society

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

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

SILVER Rupert Slingsby Lucy Chalmers

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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COMPANY SECRETARY Jim Macarthur CA — —

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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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FINE PORCELAIN & POTTERY

Tuesday 23rd February 2016 at 10.30am Viewing Times Saturday 20th February Monday 22nd February Tuesday 23rd February

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 Monday 29th February. If you are collecting items on or after this date please contact the department on 01722 424507.

LIVE BIDDING

Please register by 5pm Monday 22nd February. Please note there is a 3% + VAT surcharge for using this service. Front cover: Lots 203 - 206 Back cover: Lot 141 detail Catalogue £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk 29

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1. A delftware charger, early 18th century, decorated in blue with a central swirl within stylized leaves and a blue dash band, 34.3cm. £200-300 Provenance: from a private collection in Surrey.

2. A large delftware charger, c.1740, painted in blue, red, green and yellow with a Chinaman hunting a stag with a bow and arrow, the rim with floral panels on a hatched diaper ground, a restored rim crack, 34cm. £100-200 Cf. Louis L Lipski and Michael Archer, Dated English Delftware, p.99, no.428 for a similar plate in the Hall-Warren Collection.

3. A Liverpool delftware charger, mid 18th century, painted in blue with bamboo and peony issuing from an ornamental fence, an insect in flight above, the rim with four further sprays of bamboo and peony, 34cm. £200-300

4. An early delftware oak-leaf charger, c.1700, decorated in blue with a typical design of a single oak leaf within four partial leaves and simple foliate sprigs, some damages and repair, 29.2cm. £100-150

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5. A large Delft lobed dish, c.1700, decorated in blue, yellow and manganese with a seated Chinese figure to the well within a foliate panel, the rim with further figures and landscape vignettes, 34cm. £300-500

6. A large Delft polychrome charger, 18th century, painted with a central figure of a lady seated on a ground of large yellow fruit and red fronded leaves, the narrow rim with a similarly decorated panelled border, some glaze chipping, 35.3cm. £100-150

7. A delftware charger, mid 18th century, painted in blue, red and green with two long-legged birds striding beneath thick bamboo stems and a flowering Oriental tree, the rim with stylized foliate sprigs, 33.2cm. £300-400

8. A Delft lobed dish, c.1700, painted in blue with a central seated figure within a stylized border of leaves and circles, the wide rim with further figures in the Oriental manner, 33.5cm. £100-150

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9. A pair of delftware octagonal plates, mid 18th century, each well painted with a figure standing on one end of a sampan and punting along the river, a small dog perched beside, the rims with a bold formal design, some rim chipping, 23.2cm. (2) ÂŁ300-400

10. A pair of Lambeth delftware saucer dishes, c.1750, the wells decorated in polychrome enamels with tall rockwork and Oriental flowers towering over small buildings, the wide rims with a simple yellow floral design on a powdered manganese ground, small rim chips, 22.2cm. (2) ÂŁ150-250

11. A Faenza soup plate and a matching plate, 2nd half 18th century, probably de Ferniani, brightly decorated in the Chinese famille verte palette with flowers issuing from rockwork beside an ornamental fence, the rim with flower sprays above a diaper border, 23.7cm. (2) ÂŁ200-300

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12. A good Nove maiolica plate, mid 18th century, the silver-shape dish richly decorated in the famille verte palette with pagodas on small islands in an Oriental landscape, 24cm. £200-300

13. A Deruta maiolica tazza, early 17th century or later, the lobed form raised on a low flared foot, brightly enamelled with a winged putto holding a spear and leaning on a low column pedestal, the wide border with mythical creatures and grotesques, some faults, 25.5cm. £150-250 Cf. Bernard Rackham, Catalogue of Italian Maiolica,p.353, no 1054, for a similar example in the Victoria and Albert Museum.

14. An Italian maiolica tazza, probably 17th century Naples, moulded with deep lobes and painted with a simple tulip design in yellow, blue and green, raised on a flared foot, 27cm. £100-200

15. A Moustiers oval dish, c.1765, painted in blue with two winged putti seated on a scrolled shell between two terms and an arrangement of rococo scrolls, fabric swags, Classical motifs and fountains, the shaped and moulded rim with a formal floral border, £200-300 33.5cm.

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16. A Bristol or Wincanton delftware plate, c.1740, the well painted with an octagonal panel in blue of a figure standing on a castle wall in a waterside setting, the rim with eight small floral panels reserved on a sponged manganese ground, numeral 6 mark, 23cm. £250-350

17. An Irish delftware plate, mid 18th century, decorated with bamboo and flowering peony beside an ornamental fence, the rim with narrow panels on a hatched diaper ground, painted numeral 17 mark to the base, some rim faults, 23.3cm. £100-200

Cf. Michael Archer, Delftware, p.140, B 49 and B 50 for related plates.

Cf. Peter Francis, Irish Delftware, p.85 for similar examples copied directly from a Chinese porcelain original.

18. A Bristol delftware plate, c.1760, painted in the Bowen manner, with two ladies beneath tall sponged trees in a European landscape, 22.5cm. £150-250

19. An English delftware plate with a rare border, mid 18th century, painted to the well with an octagonal panel in blue with a boat and small building beneath a willow tree, the sponged manganese border with four blue sprays of fruiting peach branches, broken and repaired, 22.5cm. £200-300

Cf. Frank Britton, English Delftware in the Bristol Collection, pp 276297 for a discussion of the Bowen style of painting.

20. A Wincanton or Bristol delftware plate, c.1740, painted with an octagonal panel to the well of two ships at sail before a castle flying a long pennant, the rim with eight small floral panels, all reserved on a sponged manganese ground, 22.5cm. £250-350

21. A delftware plate, mid 18th century, painted in polychrome enamels with figures fishing from boats in a Chinese landscape, some rim faults, 22cm. £200-300

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22. A small delftware plate, c.1750, probably Bristol, painted in manganese with the figure of a lady holding a basket over her right arm, standing beneath a tall sponged tree with a tall ornamental vase to the left, some restoration to the rim, 19.5cm. £150-250

24. A delft warming stand, 18th or 19th century, the square form finely potted and decorated to two sides with ships at sea, the back with smoke issuing from the chimney of a building, one side left open, the top pierced with four hearts and around a central hole, a chip to one corner, 8cm across. £80-120

23. A Bristol delftware Farmhouse plate of unusually small size, c.1730, brightly enamelled with a peacock perched amidst sponged manganese foliage, within a blue line rim, 17.7cm. £300-500

25. Two Delft teabowls, 18th century, the generous forms decorated to the exterior with continuous bands of foliage and flowers in blue and black, short cracks, 9cm dia. (2) £150-200

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26. An unusual Delft bottle or guglet, 18th century, the squat body painted in blue in the Chinese manner with vases of flowers and other auspicious objects, the narrow neck applied with a scallop shell thumbpiece, some chipping to the thumbpiece, 22cm. £250-350

27. A Delft jug or tankard, 18th century, the ovoid body painted in polychrome enamels with two winged putti either side of a circular cartouche containing a tall boot and two shoes, mounted with a hinged pewter lid with shell thumbpiece, minor damages, 20.5cm. £100-200 The cartouche probably relates to a cobbler or cordwainer of some distinction.

28. A pair of Delft vases and covers, 18th century, the baluster forms painted in blue with landscape panels above stiff leaf bands to the flared feet, the large domed covers with gourd finials and similarly decorated with panels, some faults, 37.5cm. (4) £200-300

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29. A rare and early Portugeuse faïence ewer, dated 1635, the ovoid body painted in blue with yellow highlights, with a crowned heraldic lion holding a key, with a wreath above the date 1635, the reverse with stylized Oriental foliage and flowers, some restoration to the neck, foot and handle, 28cm. £3,000-5,000 This is possibly the earliest dated piece of polychrome Portuguese faïence, coming just 14 years after the earliest recorded piece of Portuguese faience - a blue and white bowl dated 1621 in the collection of the Museu Nacional de Soares dos Reis, Porto - and three years before a ewer dated 1638, previously thought to be the earliest date on a piece of polychrome Portuguese faïence. The lion motif is used as both a decorative and armorial device on Portuguese faïence and can be seen on faïence decorated with the arms of the Da Silva family and other noble Portuguese families.

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30. A rare delftware lobed tray or stand, c.1710-30, possibly London, each of the eight lobes painted in blue with a spray of Oriental flowers, around a central well with an applied frieze, the raised rim decorated with blue dashes, the whole raised on four bun feet, some damages, 34.2cm dia. £400-600 Cf. The Victoria and Albert Museum, Accession No. 3864-1901, for a six-lobed tea tray of similar form and size, derived from silver examples of the early 18th century.

31. A delftware plate, mid 18th century, simply painted in blue with bamboo issuing from a fence beside large flowering peony, the rim with three sprays of further peony, some rim chipping, 24cm. £100-150 Provenance: from a private collection in Surrey.

32. A large delftware polychrome charger, mid 18th century, Liverpool or Bristol, painted in the Chinese style with a figure crossing a low bridge to an island with a small pagoda, a further figure in a sampan in the foreground, blue leaf mark to the underside, broken and riveted, 33.3cm. £100-200

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33. A large Bristol delftware bowl, c.1730, possibly Limekiln Lane, painted to the interior with Oriental flower sprays in red, blue and green, a stylized foliate band to the cavetto, the pinched piecrust rim with a simple design in blue and red, painted 7 mark, a section broken and restuck, 26.5cm dia. £300-500 Cf. The Victoria and Albert Museum, Accession Nos. CIRC.944-1924 and C.190-1912 for two similar examples.

34. Three Strasbourg faïence plates, 2nd half 18th century, each well decorated with a single pink flower, the eight-lobed rims with further single stems, a little glaze chipping, a restored chip to one, 24.3cm. (3) £200-300

35. A Strasbourg faïence dish, c.1770, painted in rich enamels with sprays of flowers and scattered leaves extending to the shaped rim, +J+ mark, 33cm. £250-350

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36. A rare pair of Qajar (Iran) pottery slippers, late 19th century, the closed pointed toes decorated with stylized foliate scrolls in black on a blue ground, the open heels with a similar scrolled design in black on green, with painted lines of beading around the upper and sole, 14.5cm. (2) £400-600

37. A French creamware inkstand, c.1800, the rectangular form set with two circular apertures to the top, a flat tray with a shaped gallery to the front, all decorated with a red marbled effect, some faults, 16.4cm. £100-150

Cf. Christie’s, 20th April 2007, lot 285 for a single identical slipper.

38. A Cockpit Hill (Derby) creamware tea canister, c.1765, of flattened rectangular form, painted in red with a figure firing an arrow at a bird in the sky, the reverse with a lady standing before a barrel, and a circular creamware tea canister painted in polychrome enamels with a small building before an ornamental fence, some restoration, 12cm max. (2) £120-180

39. Four pottery furniture rests, 19th century, probably Scottish, each modelled as a basket of fruit, brightly decorated in Portobello type colours, 12.8cm. (4) £250-350 Cf. Peter Garland, Ceramic Furniture Rests, figs.100-102 for similar examples.

Provenance: the Rowland Williams Collection.

40. A green-glazed creamware model of a cradle, late 18th century, modelled with woven rush decoration to the exterior, the hood with an incised diamond design, raised on two rockers, a little wear, 14cm long. £150-250

41. A pair of creamware flasks, c.1800, possibly Bovey Tracy, the flattened forms moulded to each side with panels of birds and animals, decorated in splashed manganese, green and blue glazes, minor faults, 12.5cm. (2) £150-200

Models of empty cradles of this kind were often given as wedding gifts, hinting that the newly weds were expected to fill it in due course.

Provenance: from the Rowland Williams collection.

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42. A rare pearlware chamberstick, early 19th century, the sconce and drip pan rising from a flattened pedestal above a shell-shaped dish, the handle formed from a mythical dolphin, a spike at the other end for a candle snuffer, all decorated in a pink or purple lustre glaze, a little good restoration, 13cm high. ÂŁ200-300

43. A Sunderland lustre coffee pot and cover, 19th century, decorated in pink and purple lustre with buildings before a row of trees, raised on a circular foot, the neck with a continuous foliate border, some faults, 29cm. (2) ÂŁ100-150 Provenance: the Rowland Williams Collection.

44. Two yellow ground silver lustre pearlware jugs, early 19th century, decorated in silver lustre revealing floral designs in a rich canary yellow beneath, 14cm max. (2) ÂŁ300-400

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45. An early English pottery candlestick, 17th century, raised on a tall flared foot with wide drip pan and knopped sconce, decorated in a rich yellow glaze, some damages, 18cm. £150-200 Cf. Bonhams, The Sampson and Horne Collection: Defining the British Vernacular, 28th April 2010, lot 5 for two similar examples.

46. A Pratt ware model of a longcase clock, c.1810, the pediment moulded with two putti, the base with formal foliage around a Classical urn, decorated in a typical palette of green, blue and ochre, a little good restoration to the top, 20cm. £250-350

48. A large mocha ware mug, early 19th century, the cylindrical form decorated with a wide band of feathery seaweed tendrils in brown on a pale orange ground between brown bands, 15cm high. £200-300

47. A Donyatt puzzle jug, dated 1865, with sgraffito decoration of a man smoking a pipe and a bird perched on a branch, incised ‘John Hake 1865’, the whole decorated in a mottled green and yellow glaze, 17cm. £200-300

49. A Mortlake (Kishere) brown stoneware tankard, c.1800, with a rectangular plaque of Hogarth’s Modern Midnight Conversation in the middle of a continuous hunting scene, with plate rim, and a similar stoneware jug with a similar scene of topers flanked by Classical maidens, above a hunting scene, silver mount to the rim with hallmarks for 1799 and possibly George Longstaffe, 19.5cm max. (2) £300-400

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50. A Cockpit Hill (Derby) creamware coffee pot and cover, c.1765-70, the pear-shaped body boldly decorated with a spray of rose and honeysuckle in red, green and black, with scattered cherries beside, the spout moulded with a foliate design, damages to the cover, 21.5cm. (2) £100-200

51. A creamware coffee pot and cover, c.1760-70, painted in polychrome enamels, to one side a gentleman in a frock coat standing with a church in the background, the reverse with a ruined obelisk, the spout elaborately moulded, a little restoration to the end of the spout, 23.5cm. (2) £200-300 Paper labels for the Tom Walford Collection. Exhibited: The NCS Creamware and Pearlware Exhibition, 1986, p.70, fig.29. Illustrated: The Transactions of the English Ceramic Circle, Volume 24, 2013, Pat Halfpenny and Peter Williams, Creamware and Early Enamel Painting in Staffordshire, figs. 19A and 19B.

52. A Staffordshire green-glazed basket stand, c.1755, the oval form with a wide reticulated rim moulded with flowerheads at the intersections, decorated in a rich allover green glaze, 26cm. £150-200 Cf. Rosalie Sharp, Ceramics Ethics and Scandal, p.20 for a similar green-glazed basket and stand. Queen Charlotte ordered six identical ones from Wedgwood in 1765.

53. A large creamware punch bowl, late 18th century, printed to the outside in black with three figures playing a dice game at a table in a garden, with cattle pulling a plough, and with a harvest scene, the interior with the initials JC, 30.6cm dia. £300-400

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PRINTED CREAMWARE During the reign of King George III, the fashion for printed creamware grew apace. The technique of printing on to ceramics had been discovered in the late 1750s, and became more widespread in use as it was perfected. With the prints themselves deriving straight from London print shops, it is unsurprising that the subject matter drew strongly on current trends and events. The long reign of George III saw many conflicts, especially the French and the American Revolutionary Wars, and witnessed many strong military and political characters. The six jugs illustrated here are just a selection of the wide variety of commemorative, satirical and sentimental prints celebrating this incredible time in maritime history, and the three of American interest (lots 54, 56 & 57) are a rare reminder of the birth of a nation.

54. A creamware jug of American interest, c.1795, printed to one side with the American eagle surrounded by fifteen interlocking rings bearing the names of the first 15 states to be admitted into the Union, the reverse with a hand-coloured print of a ship at sail, a little restoration, 18cm high. £400-600 The inclusion of Kentucky in the list of states, and the omission of Tennessee, dates the print on this jug to between June 1792 and June 1796.

55. A large creamware jug of naval interest, late 18th century, one side printed and hand-coloured with a dandified sailor approaching a young lady in a village landscape, titled ‘Jack on a Cruise’, the print after Robert Sayer’s original of 1782, the reverse with a three-masted ship flying a multitude of flags, damage to the spout, 21.5cm high. £100-150 Cf. David Drakard, Printed English Pottery, pp.133-135 for a discussion of prints of this type.

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56. A creamware jug of American interest, c.1800, printed in black to one side with an obelisk bearing a portrait of George Washington and his dates, beneath black clouds parting to reveal the sun, a maiden and an eagle weeping beside, titled ‘Washington in Glory’ above and ‘America in Tears’ below, beneath the spout inscribed ‘A man without example: A Patriot without reproach’, the reverse with a four line stanza featuring Warren, Montgomery and Washington, within an elaborate cartouche, some restoration to the spout and rim, 21cm high. £400-600

57. A large creamware jug of American interest, c.1804, printed and hand-coloured to one side with a Continental soldier standing beneath the American flag with ships in the background, titled ‘Success to America whose Militia is better than Standing Armies, May Its Citizens Emulate Soldiers and its Soldiers Heroes’, a further two line stanza beneath, to the reverse a three-masted ship, beneath the spout the American Eagle surrounded by a quote from Thomas Jefferson’s inaugural speech of 1801, some restoration, 22.7cm high. £500-700

The Montgomery referred to on the jug is Richard Montgomery, the Irish-born Major General in the Continental Army during the American Revolutionary War, killed in 1775 during the failed invasion of Canada. Warren is Dr Joseph Warren, also killed in 1775 and then martyred for the Revolutionary Cause.

Cf. David Drakard, Printed English Pottery, p.182, figs 491 and 493 for two of the prints depicted on this jug.

58. A creamware jug of maritime interest, c.1810, printed in black with a figure of Hope looking out to sea towards a three-masted ship flying a flag and a long-tailed pennant, the reverse with two gentleman and their dogs seated on a break from shooting, 17.5cm high. £250-350

59. A creamware commemorative jug, c.1805, printed in black in memory of Lord Nelson, one side with Britannia weeping beside a tomb bearing Nelson’s dates and portrait, the reverse with a three masted ship above the banner ‘Success to Trade’, among the banner further reading ‘EVB No. 43, To V, W No. 6’, 20cm high. £300-500

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60. A rare pair of Staffordshire models of a cockerel and hen, mid 19th century, probably Thomas Parr, standing on circular bases with plumage naturally detailed, the bases moulded and decorated in blue and red with a continuous diamond design, some good restoration, 19cm. (2) £600-800 Cf. Myrna Schkolne, People, Pastimes and Pleasures, Staffordshire Figures 1810-1835, p.290 for a similar pair.

61. A rare near pair of Staffordshire spaniels ‘Grace’ and ‘Majesty’, mid 19th century, each standing on a pink rectangular base with leaf detailing, with heads turned and coats decorated with large red wheels of fire, 19.5cm high. (2) £800-1,200

62. A near pair of Staffordshire figures of Elijah and the Widow, early 19th century, the former seated and being fed by a raven perched beside him, another bird in the bocage behind, the Widow seated and holding a bundle of faggots, a small child by her side, each raised on a square titled base with faux marbling, some damages, 26.5cm. (2) £200-300

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63. A rare Staffordshire pearlware hunting group, early 19th century, of three hounds attacking a running deer, the dogs variously decorated with red, black and spotted coats, all raised on a low green base applied with flowers and moss, iron red 30 mark to the base, minor faults, 20.5cm across. ÂŁ3,500-4,000

64. A pair of Staffordshire figures of Antony and Cleopatra, early 19th century, each reclining on a low base decorated with flowers, Mark Antony wearing a chainmail tunic with lion mask motifs to the shoulders, Cleopatra with an asp curled around the top of her left arm, some good restoration, 34cm. (2) ÂŁ500-800

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65. A good Walton Staffordshire figure group of Tenderness, c.1820, modelled as a couple and a sheep standing beneath largeleaved flowering bocage and holding a garland of flowers, titled to the front of the scrolled base, impressed mark to the reverse, 18.5cm. £250-350

66. A rare theatrical creamware figure of Mezzetin from the Commedia dell’Arte, c.1780, standing with his right arm outstretched and holding the edge of his cloak, wearing a blue tunic and Elizabethan style ruff and breeches, coloured in blue, green and manganese, 11.3cm. £800-1,200

67. A Staffordshire figure group, 1st half 19th century, of a couple promenading arm in arm, he wearing a black top hat and frock coat over striped trousers, she a widebrimmed hat trimmed with blue feathers, some restoration, 21.5cm. £300-400

This figure appears to derive from Peter Reinicke’s model at Meissen, which in turn took its inspiration from Francois Joullain’s print ‘Habit de Mezzetin’. A similar salt-glazed figure is in the Glaisher collection at the Fitzwilliam Museum. Mezzetin is a stock character in the Italian comedy, his name translating to ‘Half Measure’, and with a variable nature.

68. A Staffordshire figure of Mark Antony, early 19th century, reclining on a low mossy base, wearing a chainmail tunic with lion mask motifs to the shoulders, holding the hilt of a dagger concealed beneath a green robe, some good restoration, 32cm. £250-350

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69. A Staffordshire spill vase, 1st half 19th century, modelled with two figures standing either side of a quatrefoil flattened vase painted with a spray of strawberries, water gushing from a mask fountain between their feet, raised on a rectangular base, some good restoration, 19cm. £200-300

70. A rare Staffordshire pearlware group of birds in branches, late 18th century, modelled as two yellow finches perched in the leafy branches of a gnarled tree beneath a nest containing speckled eggs, a green serpent slithering among the roots, raised on a square marbled base, some restoration to the leaves, 21cm. £300-400

71. A pair of Staffordshire pearlware models of sheep, c.1800, a ram and a ewe recumbent on low grassy bases, decorated in a rich yellow glaze, 7.5cm high. (2) £250-350

72. A Staffordshire Tithe Pig figure group, c.1820, of a couple and clergyman standing beneath leafy bocage, the man holding a piglet, the woman a baby, sheaves of corn and a basket of eggs at their feet, raised on a scrolled base with so-called ‘patriot’ decoration in red and blue on white, some good restoration to the bocage, 18cm. £300-400

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73. A Wedgwood creamware shell-shaped part service, 19th century, formed as a variety of shells bordered in gilt and iron red, impressed marks. Comprising: a tazza, a sauce tureen with cover and stand, two large dishes, two scallop shell dishes and six plates. (14) £200-300

74. A massive Herculaneum salt-glazed stoneware jug and cover, late 18th/early 19th century, applied with two hunting scenes either side of a blank oval cartouche, the shoulder with a continuous band of fruiting vine, the spout formed as the mask of a grotesque satyr, impressed mark, 55.5cm. (2) £300-500 Cf. Peter Hyland, The Herculaneum Pottery: Liverpool’s Forgotten Glory, p.63, fig. 51 for a creamware jug of the same shape and dimension.

75. A pair of Wedgwood Jasperware vases and covers, c.1900, of camapna shape, finely applied with scenes of Classical maidens with animals and children, beside trees and flowering plants, the rim and foot with acanthus leaf bands, the square bases with formal foliate motifs, all in white on a sage green ground, impressed marks, 30cm. (4) £300-500

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76. A rare pair of South Staffordshire enamel cassolettes, c.1775, the inverted baluster forms decorated with gilt floral motifs within a pink cartouche edged in green and dark blue on a turquoise ground, with further gilt and blue detailing to the covers, sconces and feet, with gilt metal mounts, some good restoration, 18.5cm. (6) £1,000-1,500 Cf. Bonhams, The Mort and Moira Lesser Collection of English Enamels, 19th October 2011, lot 50 for a similar pair with painted panels. A related pair from the Ionides Collection are illustrated in B & T Hughes, English Painted Enamels, p.19, pl.3.

77. A pair of Birmingham or Battersea enamel rectangular plaques, c.1750-60, printed in purple with engravings by Simon Francois Ravenet, one with Venus mourning the loss of Adonis, the other with La Toilette Pastorale after Boucher, each within a gilt metal frame, 10.5cm. (2) £400-600 Cf. Catalogue of the Schreiber Collection, Vol. III, pl.33, nos. 60 and 61 for plaques with the same print.

78. A Sèvres biscuit porcelain roundel, c.1901, modelled in high relief with profile portraits of Edward VII and Queen Alexandra in white on a pale blue ground, green printed mark, 9.4cm. £80-100

79. Three Wedgwood Jasperware circular plaques or roundels, late 18th century, one depicting three Classical maidens, one a Classical figure in a horse-drawn chariot, the last two children with a barefoot maiden working a drop spindle, impressed marks, 6.3cm. (3) £200-300

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80. Two Minton Parian figures of Classical maidens, date codes for 1865 and 1883, one of Pandora, modelled by A. Carrier-Belleuse, wearing a patterned robe around her lower half and holding a small box, the other of an Abyssinian Slave, modelled by John Bell, her wrists manacled, wearing a short fringed robe, impressed marks, 45.5cm max. (2) £200-300 Provenance: from the Raymond Sims Collection.

81. A large Parian group of the Union Refugees, c.1861, modelled by John Rogers, a woman holding the hand of her young son and leaning her head wearily on her husband’s chest, and a Parian group of a Classical maiden leading an old bearded man across brick steps, with a young girl behind, some damages, 46cm max. (2) £200-300 John Rogers was an American sculptor who produced a series of figures based around the American Civil War, several of which were taken up by the English Art Union. Provenance: from the Raymond Sims Collection.

82. Two Copeland Parian figures of Classical maidens, 2nd half 19th century, one of Musidora modelled by W Theed, clutching a robe to preserve her modesty and standing before bulrushes, the other of a young flower girl holding a posy in her left hand, modelled by A Chesneau, various impressed marks including those for the Art Union, £150-250 minor faults, 43.2cm max. (2) Provenance: from the Raymond Sims Collection.

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83. Two large English Parian figure groups of religious subject, mid 19th century, one Minton of the Three Marys, the other of Peter and Cornelius, each raised on an oval base, some faults, 38.3cm max. (2) £150-200 Provenance: from the Raymond Sims Collection.

84. A Parian bust of the Apollo Belvedere, c.1861, with head turned to sinister, raised on a low socle impressed ‘ART UNION OF LONDON 1861’, signed ‘Delpech’ to the reverse, together with a turned dark wood base, 42cm overall. (2) £100-200

85. A Copeland Parian figure of Paul and Virigina, mid 19th century, modelled by C. Cumberworth, both seated on a rocky stump with a nest containing four chicks, a small amount of restoration, 30cm high. £100-200

Provenance: from the Raymond Sims Collection.

This model, which was first published in 1846, derives from the novel Paul and Virginia by Jacques-Henri Bernadin de Saint-Pierre, which tells the tragic tale of two children who grow up on a paradise island, entirely governed by nature’s laws, and are then corrupted by society with tragic consequences. Provenance: from the Raymond Sims Collection.

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86. A Meissen part dinner service, 19th/20th century, decorated in the Zweibelmuster or Onion pattern with Oriental foliage and flowers. Comprising: a large tureen and cover, a 58cm serving dish, a 36cm serving dish, 20 plates of 25cm, 25 plates of 21cm, eight soup plates, six plates with pierced rims, and five butter plates of 15.7cm. (68) £1,500-2,500 Provenance: a private collection, Holland Park, London.

87. A set of twelve Continental porcelain cabinet plates in the Sèvres style, late 19th century, each decorated to the well with a copy of different Dutch interior scenes after Old Masters, including Vermeer’s Music Lesson, and Jan Steen’s The Parrot Cage, the rims with landscape panels reserved on a deep blue ground, crowned interlaced LL marks with letters L and S, 23.7cm. (12) £500-800

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88. A Paris porcelain tea service, 19th century, decorated with scenes of figures on horseback and in rural settings, the formal borders with gilt lyre and foliate motifs on a white ground, gilt marks for Dagoty of Paris. Comprising: a square tray, a teapot and cover, a milk jug, a sucrier and cover, three cups and three saucers. (12) £300-500 Provenance: Diana Keppel, Countess of Albemarle.

89. A Paris porcelain bough pot and cover, 19th century, the Dshape form brightly painted with panels of flowers between moulded columns with gilt decoration, the cover pierced with a geometric arrangement of holes, gilt LM monogram and script W, 22.5cm across. (2) £150-250

90. A pair of Sèvres plates, c.1760, later decorated, probably in London, with birds perched on low branches before water and buildings, the shaped rims each with three panels of beetles and insects within gilt floral cartouches on a turquoise ground, reminiscent of the Duc d’Orleans service, interlaced LL marks, 23.9cm. (2) £250-350

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91. A very large Meissen style candelabra, 19th century, with three tiers of branches issuing from a baluster stem applied with flowers and raised on three feet, above each foot a figure of a gentleman or lady holding a garland of flowers, formed in six sections, some small damages and restorations, 70.5cm. (6) £300-500

92. A large and impressive pair of Continental porcelain vases, late 19th/20th century, perhaps Russian, brightly enamelled with arrangements of European flowers to two sides within gilded panels reserved on a blue ground, the flared rims with petal mouldings, spurious marks for the Gardner factory, 49.7cm. (2) £200-400

93. A large pair of Continental porcelain topographical vases, 19th century, one painted with a view of the Long Bridge (Lange Brucke) in the Berlin district of Köpenick, the other with figures before a similar Schloss, between gilt scrolling and stiff leaf bands reserved on a blue ground, 32cm. (2) £300-500

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94. A Tournai plate, c.1765-70, painted probably by Duvivier, in puce monochrome with a figure standing beside frolicking goat kids and a large recumbent bull in a rural landscape, the shaped rim with narrow spiral moulding, blue crossed swords and Xs mark, 24.5cm. £150-250

95. A Meissen plate, mid 18th century, the well painted with a floral bouquet within moths, a ladybird and other flying insects, the rim applied with single flower stems, blue crossed swords mark, a few small chips to the applications, 26cm. £300-500

Henri Joseph Duvivier came to Tournai from England, where he was believed to have worked at Chelsea. He is particularly associated with this style of painting.

96. A Meissen style tankard, 19th century, the tall cylindrical form boldly painted with birds and butterflies around large floral sprays tied with coloured ribbons, the neck with a Dutch silver mount and hinged lid bearing a roundel of Augustus the Strong, 20.2cm. £400-600

97. A large Meissen style tankard, probably 19th century, painted in purple monochrome with a continuous scene of merchants and other figures in a busy harbour, the neck and foot with formal gilt foliate designs, with gilt metal mounts and a hinged lid with a floral finial, blue crossed swords mark, a little good restoration, 22cm. £400-600

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98. 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) £300-500

99. A Meissen teabowl and saucer, c.1740, finely painted with sprays of deutsche Blumen and single scattered flowers, brown line rims, blue crossed swords marks, some wear, 13.2cm. (2) £150-200

Provenance: a private collection, Holland Park, London.

100. A Du Paquier two-handled beaker, c.1725-30, the narrow form pierced with four large flowerheads within an arrangement of other shaped holes, all outlined in pencilled red, the everted rim with a band of Oriental flowers in red and green, the foot and shaped handles decorated with traces of a dark lustre, 7.5cm. £300-500

101. A Chantilly cinquefoil beaker, c.1735, the petal lobed form painted in the Kakiemon palette with the Two Quail pattern, the two birds between simple Oriental flowers, a well restored crack, 6.3cm high. £400-600

102. A Sèvres hyacinth bulb pot, c.1755-60, the shaped square form later decorated probably in London with panels of fancy birds reserved on a pale green caillouté ground, restored, 13.5cm. £250-350

103. A Meissen teacup and saucer, c.1735, the quatrefoil form painted in the Kakiemon palette with the Two Quail pattern, the cup with a moulded scroll handle, brown line rims, blue crossed swords mark, restored rim cracks to the saucer, 14.2cm. (2) £250-350

Provenance: the Rowland Williams Collection.

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104. A rare Meissen beaker with trembleuse saucer, c.1730, painted in the Kakiemon palette with small birds in flight among Oriental flower sprays, the rim with a narrow floral band in iron red and gilt, the saucer with a tall pierced gallery with a shaped moulded design, blue crossed swords marks, a small filled chip to the beaker’s rim, 12.5cm. (2) £1,000-1,500

105. A Meissen tea canister and cover, 18th century, the inverted pear-shaped body finely painted with a continuous chinoiserie scene of figures in a garden setting, at various pursuits with fly-catchers, toys and fruit, with birds and insects in flight above, blue crossed swords and dot mark, the cover probably a replacement, 8.5cm. (2) £1,800-2,200

106. A Meissen two-handled beaker c.1725, the tall flared form painted to each side with a quatrefoil panel, one with a female pedlar and other figures before a church, the other with figures handling cloth bales in a harbour scene, reserved in borders of Böttger lustre and feathered scrollwork in red, puce and gilt, the inner rim with a wide formal gilt border, gilt 39 mark to the base, 7.7cm. £500-800

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107. A good Meissen coffee cup and saucer, c.1735, painted with chinoiserie scenes of figures being pestered by flying insects, holding fly whisks, incense burners and fans, the cup with a delicately scrolled handle, blue crossed swords mark, Dreher’s mark to the saucer’s footrim, 13cm. (2) £1,800-2,200

108. A good Meissen slop bowl, c.1725, the exterior sprigged with a band of stiff leaves around the foot, and gilded with a stylized scrolling design between, the fine rim delicately curved over, the interior gilded, 18.8cm dia. £1,500-2,000

109. A Meissen cream pot and cover, mid 18th century, painted to two sides with a shaped panel of traders at the quayside in a busy harbour scene, reserved on a pale blue or turquoise ground, raised on three lion paw feet, the cover surmounted with a rose finial, blue crossed swords mark and gilt H, small damages, 14cm high. (2) £300-500

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110. A Meissen scent bottle or flask, mid 18th century, modelled by J G Ehder as a miniature vase of slightly flattened form with rams head handles, painted with the Schmetterling pattern within a rococo moulded scroll to two sides, with gilt metal mounts to the neck and foot, blue crossed swords mark, 7cm. £200-300 The model for this vase was listed by Johann Gottlieb Ehder in his work notes in March 1744 as being for Heinrich Graf von Brühl. Fortyeight apparently unpainted examples were sent from Dresden to the Warsaw Court Pantry in 1746, and another fifty entered the Warsaw Court Pantry in 1750.

111. A Continental porcelain bonbonnière, 18th/19th century, modelled as a masked female face, mounted in gold with a hinged closure formed of a plaque of moss agate, her eyes set with rose cut diamonds, 4.5cm. £1,000-1,500

112. A Meissen miniature model of a cow, 18th century, standing four square on a low base applied with leaves, grazing with her head slightly turned, her coat decorated with black patches, one horn restored, 8cm across. £200-300

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113. A large pair of Samson models of parakeets, late 19th century, after Meissen, modelled with wings outstretched and plumage richly decorated in green with red and yellow detailing, each perched upon a stump encrusted with flowers, pseudo blue crossed swords marks, a repair to one wing, 31cm high. (2) £100-200

114. A pair of ormolu-mounted Meissen figures of a gentleman and his companion, c.1760-70, he wearing a patterned frock coat and breeches and standing with his left hand outstretched, she holding the edges of her skirt, a beaded necklace around her neck, each raised on a simple scrolled base and set into an ormolu scrolled stand, some damages, 16.5cm. (2) £400-600

115. A pair of Samson sweetmeat figures, 19th century, after Kändler’s models at Meissen, each modelled as a blackamoor wearing a skirt and a headdress, each standing beside a large basket painted with flowers, pseudo blue crossed swords marks, small chips to the fingers, 17.2cm. (2) £100-200

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116. A large Furstenberg bacchanalian figure group, 2nd half 18th century, Bacchus seated astride a central barrel and raising a glass in his right hand, a female putto filling a large bottle from the barrel, another putto astride a goat, a drunken female seated the other side of the barrel with a further putto, raised on a scrolled base, blue F mark, some repairs, 28cm high. £800-1,200

117. A pair of Meissen white-glazed models of cows, c.1745-50, modelled by J J Kändler, each recumbent with head turned, one lowing, the coats lightly incised with detailing, blue crossed swords marks, some good restorations, 12cm across. (2) £800-1,200

118. Two Meissen figures of children, mid 18th century, one of a girl holding a basket of vegetables before her, wearing a patterned skirt, the other of a young musician, a drum slung over his left arm, holding the drumstick in his right hand and playing a pipe, blue crossed swords marks, 13.5cm max. (2) £200-300

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119. A Frankenthal figure of a toy seller, dated 1777, probably modelled by Karl Gottlieb Lück, holding strings of brightly coloured rings and toys, wearing a striped skirt and brown clogs, raised on a low scrolled base, blue crowned CT monogram and 77 mark, a little good restoration, 15.5cm. £400-600

120. A Meissen figure of a Dutch fisherman, mid 18th century, modelled by Peter Reinicke, standing with his right arm outstretched and holding the end of a large fish, two further fish on the ground in front of him, blue crossed swords mark, restored, 14.2cm. £250-350

121. A rare Meissen figure of a dancing blackamoor girl, mid 18th century, wearing a green robe with white beading and a colourful feathered headdress, holding an instrument in her right hand, her left outstretched, raised on a square base, blue crossed swords mark, some good restoration, 12.7cm. £300-500

122. An Italian porcelain figure of a blackamoor, c.1800, wearing a puce frock-coat and green striped breeches, raised on a square gilded base, some restoration, 10.5cm. £150-250

Cf. Yvonne and Len Adams, Meissen Portrait Figures, p.148.

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123. A Frankenthal figure of an alchemist or pharmacist, c.1775, modelled by K G Lück, holding a phial or small bottle aloft and with a book tucked beneath his left arm, wearing a long curled wig, blue crowned CT monogram, 14cm. £250-350 Cf. F.H. Hofmann, Frankenthaler Porzellan Münich, Vol. II, pl. 108, no. 448. Hofmann attributes this figure as being a theatrical figure, although a scientific influence seems more likely.

124. A Meissen figure of Aphrodite, mid 18th century, modelled by J Eberlein, standing on a low square base and resting her right hand on the head of a putto, a dolphin behind her, curling his tail to protect her modesty, holding the Golden Apple in her left hand, blue crossed swords mark, a little restoration to her right hand, 18.5cm. £600-800

125. A Samson figure of a vegetable seller, late 19th century, after Kändler’s models at Meissen for the Cris de Paris series, standing barefoot with a basket of gourds and other vegetables to his right side, wearing a green coat over yellow breeches, the pad base applied with flowers and leaves, pseudo blue crossed swords mark, 18cm. £300-500

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BRITISH 19TH CENTURY PORCELAIN

126. A pair of Nantgarw plates, c.1817-20, of Brace Service type, painted in London in the Bradley workshop with a central spray of flowers, the rims moulded with flowers and C scrolls reserving six panels painted with a bird, floral sprigs and a spray of strawberries or rosehips, impressed NANTGARW CW marks, 25cm. (2) £1,000-1,500 Provenance: Diana Keppel, Countess of Albemarle.

127. A pair of Nantgarw plates, c.1817-20, of Brace Service type, painted in London in the Bradley workshop with a central spray of flowers, the rims moulded with flowers and C scrolls reserving six panels painted with a bird, floral sprigs and a spray of cherries and a peach, one with butterflies to the reverse disguising a firing fault, impressed NANTGARW CW marks, 25cm. (2) £1,000-1,500 Provenance: Diana Keppel, Countess of Albemarle.

128. A pair of Nantgarw plates, c.1817-20, of Brace Service type, painted in London in the Bradley workshop with a central spray of flowers, the rims moulded with flowers and C scrolls reserving six panels painted with a bird, floral sprigs and a spray of cherries, impressed NANTGARW CW marks, 25cm. (2) £1,000-1,500 Provenance: Diana Keppel, Countess of Albemarle.

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129. A rare Nantgarw square dessert dish, c.1818-20, London-decorated in the Bradley workshop with an upright floral bouquet in the Brace service manner, including divergent tulip, rose, forget-me-not and convolvulus, the rim moulded with C scrolls and flowers picked out in gold around panels of further flowers and a single bird, faintly impressed NANTGARW CW, 24cm. £2,000-3,000

130. A pair of Swansea plates, c.181517, painted probably by Henry Morris with colourful floral posies and single scattered sprigs, the rims with continuous berried tendrils in green and gilt, impressed trident and SWANSEA marks, some wear to the border, 22.5cm. (2) £200-300

131. A good Chamberlain Worcester basket, c.1840, the well painted with a bold arrangement of fruit including fig, pineapple, grapes, lemon, pear and plum on a marble table top, the rim applied with a variety of shells on a bed of bright green seaweed, raised on a scroll moulded base, 22cm across. £400-600

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132. A Derby ichthyological plate, c.1815, painted perhaps by Thomas Tatlow with a large fish against a background of aquatic plants, within a bold gilt foliate scroll border, titled ‘Carp’ in iron red to the reverse, crowned crossed batons mark, 22.4cm. £100-200 Cf. John Twitchett, Derby Porcelain, p.222 for a plate from the same service.

134. A Chamberlain Worcester basket, c.1840, the large circular dish painted with a central view of a boat race on the river in Worcester, other figures in boats watching on, the rim moulded and gilded with overlapping leaves, with an overhead handle, iron red script mark and titled ‘Worcester’ to the underside, 25.5cm across. £200-300

133. A good English porcelain topographical dessert dish, early 19th century, of shell shape, decorated with a mother and child standing beneath autumnal trees by the water’s edge, a view of Shane’s Castle in the distance, the rim with a Greek key and palmette border in gilt and rust orange, titled in red to the underside, 20cm. £100-200

135. A Spode pot pourri bowl and cover, early 19th century, applied with flowerheads in the schneeballen style, the reticulated cover surmounted with a garland hoop finial, gilt SPODE and 4645 mark, 19cm. (2) £150-250

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136. A large Flight Barr and Barr armorial dessert tureen and cover, c.1825, the rounded form decorated with the crest of a corn stook in gilt and red, reserved on a rich apple green ground, 30.5cm across. (2) £300-400

137. A good Chamberlain armorial punchbowl, c.1820-25, the wide lobed shaped decorated to both sides with a border bearing four panels of exotic birds reserved on a pale blue ground, the interior well decorated with an armorial shield for the Prescott family impaling Brice and Hoare, black script factory mark in a foliate cartouche, 27.6cm dia. £400-600

138. A Chamberlain Worcester plate in the Princess Charlotte pattern, c.1816-17, the well painted with a fruit and flower spray, the wide border probably painted by George Davis with six diamondshaped panels of exotic birds reserved on a pale blue ground with an elaborate gilt design of shells, scrolls and seedheads, black script mark with a foliate cartouche, 21.7cm. £300-500

139. An English porcelain bough pot and cover, early 19th century, probably Worcester, painted with three panels of flowers attributed to William Billingsley, separated by fluted and gilded columns, the tall domed cover with a similar band of flowers beneath three holes, raised on five ball feet, the pinecone finial broken and repaired, 26.7cm. (2) £700-900

Princess Charlotte Augusta was the only legitimate child of George IV, and ordered a service of this pattern to celebrate her marriage to Prince Leopold of Saxe-Coburg-Saalfield. She died in childbirth in November 1817 and was greatly mourned by the family and public alike. In 1814 she had appointed Chamberlain as her porcelain manufacturer and was a significant patron, ordering several services in the three years before her death, including this one which included some 144 plates alone.

Cf. The Victoria and Albert Museum, Accession No. C.42&A-1928, for a very similar pot with near identical decoration.

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part illustrated

140. A fine Coalport dessert service, c.1820-30, of ‘Union’ shape, the wells finely painted with vignettes of birds and bird nests amidst bold flower arrangements, reserved on a pink ground. Comprising: two sauce tureens with covers, two square dishes, one oval dish, and fourteen plates with two handles. (21) £1,000-1,500 Cf. Geoffrey Godden, Coalport and Coalbrookdale Porcelains, p.70 for an explanation of the Union shape of dessert service, which relates to the emblems on the handles of the shell dishes.

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part illustrated

141. An extensive Flight Barr and Barr armorial dinner service, c.1810-20, decorated with the crest of a panther with a coronet around his neck and a maltese cross, within wide shaped rims with a grapevine border on a salmon ground. Comprising: two circular stands, four vegetable tureens and covers, one square bowl, two servings dishes of 57cm, two serving dishes of 51cm, two serving dishes of 41cm, three serving dishes of 35.5cm, seven oval dishes of 31cm, two oval dishes of 25.5cm, 27 soup plates, 35 plates of 26.5cm, and 20 plates of 22cm. (111) ÂŁ3,500-4,000

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142. A Coalport part dessert service, c.1840, the wells brightly painted with sprays of fruit and flowers, the lobed rims moulded with foliate scrolls and highlighted in gilt on a café au lait ground with cobalt border, gilt 4/781 marks. Comprising: a high tazza, three pairs of shaped dishes, and eighteen plates. (25) £500-800

143. A Chamberlain Worcester tea and coffee service, c.1810, richly decorated in the Imari palette with pattern 544, a formal design of red and gilt flowering plants within shaped blue and gilt foliate panels, painted script mark to some pieces, painted pattern number, minor damages. Comprising: a teapot with cover and stand, a sucrier and cover, a milk jug, a slop bowl, two plates, twelve tea cups, twelve coffee cups and £500-800 twelve saucers. (45) Cf. Geoffrey Godden, Chamberlain Worcester, p.325 for a record of this pattern listed as ‘Scarlet with blue and gold curtains’.

144. A rare Factory Z (Staffordshire) silver lustre part tea and coffee service, c.1795-1805, printed in red with a bucolic scene of a young maiden holding a lamb, a boy driving a flock of sheep behind, reserved on a silver lustre and vermicelli ground, the spouts with white dots, some damages. Comprising: a coffee pot and cover, a teapot and cover, a sugar bowl and cover, and a milk jug. (7) £200-300 Provenance: the Geoffrey Godden reference collection.

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145. A pair of Derby botanical dessert plates, c.1800, painted in pattern 115 with floral specimens of Golden Ornithogalum and Tangier Pea, within a gilt lily of the valley border, each piece titled to the reverse, blue factory marks and pattern numbers, 23.8cm. (2) £300-500 Cf. Woolley and Wallis, 12th February 2013, lot 117 for the rest of the service. Also, John Twitchett, Derby Porcelain, p.193, pl.233 for a plate in the same pattern.

146. A pair of Coalport plates, c.1805, richly decorated in the Church Gresley pattern with central floral roundels within a geometric border of rose motifs and leaf panels, small star cracks, 21cm. (2) £100-150

147. A pair of Derby dessert dishes, c.1790, decorated in pattern 140, painted by George Complin with an arrangement of fruit and nuts to the well, the rim with a border of leaves in autumnal shades, puce factory marks and pattern numbers, 22.6cm. (2) £300-500 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.

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148. A good Derby botanical centrepiece or tazza, c.1796-1800, well painted in the manner of William ‘Quaker’ Pegg with a bold specimen of a fruiting orange branch within a gilt foliate rim, the spreading foot with specimens of Sweet Pea and Blue Aster, titled in blue to the base, two small chips to the underside of the rim, 34.3cm across. £800-1,200 The flowers are taken from John Edward’s ‘A Collection of Flowers’, print numbers 2 (Sweet Pease, published 3rd January 1793), 36 (The Orange Tree, published 24th December 1788), and 78 (Tall Blue Aster, published 1st September 1795).

149. Seven Chamberlain Worcester botanical plates, c.1815-20, each plate finely painted with a single floral specimen, titled to the reverse with Saffron Coloured Ixia, Strawberry of Versailles, Campion, Woodbine, Fox-Glove, Love in a Bush, and French Marigold, the rims moulded with a shell and ovolu design highlighted in gilt, script factory marks, some faults, 21.5cm. (7) £250-350

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150. A small pair of Grainger Lee & Co. Worcester topographical plaques, c.1825-30, the rectangular forms finely painted, one with a view of Worcester showing the Severn bridge and cathedral, the other with a distant view of Malvern, two figures promenading in the foreground with the town nestling before hills behind, iron red script marks and titled to the reverse, some clean crazing, the plaques 7cm x 10.5cm. (2) £300-500

151. A Chamberlain Worcester two-handled vase, c.1810-20, the ovoid body painted with a continuous band of flowers including convolvulus, rose, poppy and iris, the foot and neck with a deep puce ground, applied to the shoulder with two gilt griffin head handles, raised on a square black foot, painted mark, the cover lacking, 33cm. £500-800

152. A Flight Barr and Barr rectangular plaque, c.1825-35, painted with The Bard, an old man with flowing grey beard and hair standing with his right arm raised, and leaning on a lyre or small harp with his left, reserved in a border of gilt and black mythical creatures and formal motifs on a white ground, the reverse titled ‘The Bard: Loose his beard and hoary hair, Stream’d like a meteor to the troubled air’, script factory mark including the Coventry Street address, within a £500-800 burr and gilt wood frame, the plaque 21.2cm x 18.3cm. The Bard is a poem by Thomas Gray, published in 1757 and partly inspired by his discovery of Welsh harp music. It is sometimes credited as being the catalyst for the British Romantic movement.

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THE CORDWENT COLLECTION OF DERBY PORCELAIN

153. An English porcelain plaque, c.1825, perhaps Derby, painted with a bullfinch perched above a nest of eggs bewneath a bold arrangement of flowers including honeysuckle, heartsease, passion flower and auricula, with flying insects about, signed to the reverse ‘J.B. March 24th 1825’, in a velvet and gilt wood frame, some restoration, 27.2cm x 33.2cm overall. £80-120

154. A small Derby rectangular plaque, c.1830, painted with a floral arrangement including rose, convolvulus and poppy, reserved in a scrolling gilt cartouche on an apple green ground in the Sèvres style, crowned interlaced LL mark, in a gilt wood frame, some crazing, the plaque 10cm x 12cm. £50-100 Provenance: the Cordwent Collection.

Provenance: the Cordwent Collection.

155. An English porcelain rectangular plaque, 19th century, perhaps Derby, painted with a formal garden landscape, with swans on a large pond between stone urns on tall plinths, with pale mountains in the distance, within a burr wood frame, the plaque 13cm x 18cm. £100-200 Provenance: the Cordwent Collection.

156. A Derby rectangular plaque, 19th century, painted with six children seated on and around a felled tree trunk in a wooded landscape, titled ‘Primrose Gatherers’ at the bottom, signed ‘A Bourne’ and with an indistinct date, in a gilt wood frame, iron red crowned crossed batons mark, some restoration, the plaque 17.5cm x 25cm. £100-150 Provenance: the Cordwent Collection.

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157. A pair of Derby porcelain plaques, c.1835, attributed to Horatio Steele, each painted in the Sèvres manner with colourful birds perched on and beneath leafy branches, reserved in a gilt C scroll cartouche on an apple green ground, the plaques 10.5cm x 16.5cm. (2) £400-600 Provenance: the Cordwent Collection.

158. An English porcelain rectangular plaque, 19th century, finely painted with a vase of flowers including nasturtium, chrysanthemum, hollyhock and passionflower, resting on a white stone ledge beside a large bunch of grapes and a pineapple, within a gilt wood and velvet frame, the plaque 26cm x 19cm. £200-300

159. A large English porcelain plaque, 19th century, painted with a bullfinch perched on a stem of fruiting grapevine above other fruits including raspberries and peaches on a marble ledge, a view of misty mountains in the background, in a giltwood frame, 39cm overall. £100-200

Provenance: the Cordwent Collection.

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160. Two Bloor Derby pot pourri vases and covers, c.1825-30,the larger applied with four mask handles above a flattened body applied with flowers on a green ground, the smaller of campana form with similar applied flowers on a puce ground, and a ten-sided bottle or flask painted with panels of flowers reserved on a green ground, some damages, 15cm max. (5) £150-200 Provenance: the Cordwent Collection.

161. A pair of Derby scent bottles and stoppers, c.1820, the rounded bodies painted in pattern 28 with small panels of flowers within a formal foliate gilt border on a white ground, together with a later Derby bottle of similar form encrusted with various flowers, red factory marks, some faults, 13cm max. (6) £100-200 Provenance: the Cordwent Collection. Illustrated: John Twitchett, Derby Porcelain 1748-1848, p.231.

162. A small Derby circular box and cover, c.1810, the lid finely painted with flowers including tulip, convolvulus, poppy and rose issuing from a tall basket on a marble ledge, the sides and base richly decorated with a formal gilt foliate design on a blue ground, chips to the flange, 9.5cm dia. (2) £100-200

163. A pair of Derby chocolate cups and trembleuse saucers, c.1775-80, the flared cups with simple loop handles, all painted in the Sèvres manner with polychrome flower garlands suspended from gilt dentil rims, each saucer set with a deep well, crowned D marks in blue, 12.5cm. (4) £150-250

Provenance: the Cordwent Collection. Lot label for Sotheby’s, 15th September 1992, lot 396.

Provenance: the Cordwent Collection.

164. Three miniature Bloor Derby items, c.1830-40, a miniature tea kettle with warmer and stand, a watering can and cover encrusted with polychrome flowers, and an inkstand set with two circular inkwells and covers, variously glazed in green, iron red marks, 17.5cm max. (11) £150-200

165. A pair of Derby miniature pedestal busts of George IV and Admiral Lord Nelson, 1st half 19th century, probably modelled by Edward Keys, each raised on a short gilded socle above a column bearing a gilt inscription above a circular foot, together with a model of a jewelled crown with ermine trim, set with two holes, probably as a pen holder, iron red marks, some restoration, 11cm max. (3) £150-250

Provenance: the Cordwent Collection.

Provenance: the Cordwent Collection. lllustrated: John Twitchett, Derby Porcelain 1748-1848, p.157, col. pl.117 for the two pedestal figures.

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166. A large Derby tureen and cover, c.1815, the generous oval form raised on four lion paw feet issuing from lion masks, painted in the manner of Leonard Lead with bold floral arrangements, a sauce tureen with cover and stand from the same service, and a further sauce tureen with cover and stand, painted with small panels of pink roses in the Billingsley style reserved on a yellow ground, damages £200-300 and restoration, 37cm max. (8) Provenance: the Cordwent Collection.

167. Three Derby plates, late 18th century, decorated by William Billingsley, one in pattern 100 with a central flower spray within a spiral moulded blue line rim, one in pattern 18 with a spray of pink rose within gilt and cobalt blue bands, the last painted in the Sèvres manner with a landscape roundel by Zachariah Boreman within a border of Billingsley rose panels on a blue border highlighted in gilt and white jewelling by Thomas Soar, puce factory marks, the last with a longtailed 7 inside the footrim, some wear, 23cm max. (3) £180-220 Provenance: the Cordwent Collection.

168. A Derby two-handled vase and cover, c.1770, the ovoid form painted to each side with an oval panel of flowers, with smaller panels echoed to the neck, reserved on a sea green or French green ground, and a later Derby vase finely painted to one side with garden flowers including poppy, rose, dahlia and forget-me-not, reserved on a green ground, some restoration to the first, 29.5cm max. (3) £150-250

169. A Bloor Derby two-handled chocolate cup and trembleuse saucer, c.1840, finely painted with tied bouquets of flowers including primrose, passionflower, tulip, poppy and lonicera, together with a small ewer and stopper decorated in the same pattern, and a Derby dessert dish, c.1815, of shell shape, painted with a flower spray and £100-200 single stems, red factory marks, 25cm max. (5)

Provenance: the Cordwent Collection.

Provenance: the Cordwent Collection. Cf. John Twitchett, Derby Porcelain 1748-1848, p.204 where the ewer is illustrated.

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170. Five Derby biscuit porcelain figures, late 18th/early 19th century, a pair of putti seated on rocky stumps beneath trees, one with a dog and the other a falcon, a further putto standing with a dog and gun, a young huntsman seated and holding a bird while a dog waits beside him, and a young girl kneeling on a cushion and saying her prayers, some faults, 12cm max. (5) £200-300 Provenance: the Cordwent Collection.

171. Four Derby figures, c.1770-80, including a pair of a shepherd and shepherdess with a dog and a lamb, raised on low scrolled bases with turquoise and gilt highlights, a figure of Neptune standing beside a large colourful dolphin, and a gardener carrying a basket of flowers, some restoration, 15cm max. (4) £150-200 Provenance: the Cordwent Collection.

172. Two pairs of Derby biscuit porcelain figures, c.1775, one pair from the French Seasons emblematic of Spring and Autumn with attributes of flowers and fruit, the other pair of a boy and girl seated with hats containing flowers resting in their laps, the flowers highlighted in blue, incised N123 and N36 respectively, small damages, 16.5cm max. (4) £200-300 Provenance: the Cordwent Collection.

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173. Two Derby biscuit porcelain figure groups, c.1775, one of three putti seated on a rocky base around an oak tree, one playing the lute, another holding a basket of flowers, the last with a dog, the other of four putti wearing hats, similarly arranged around a tree, with a dog, a hunting horn, a bird cage and a bugle, incised marks and numbers 252 and 251 respectively. some damages, 27cm max. (2) £150-250

174. A pair of Derby candlestick figures of Venus and Mars, c.1760, each standing before a stump applied with colourful flowers, raised on low circular bases with scrolled decoration highlighted in puce, green and gilt, some damages, 24.5cm. (2) £200-300 Provenance: the Cordwent Collection.

Provenance: the Cordwent Collection.

175. Three Derby figures of putti, c.1760 and later, including two Cupids out Hunting, one with a gun and a dog on a leash, the other blowing a hunting horn, the last emblematic of Autumn, draped in fruiting grapevine, together with a three-footed stand with scroll work highlighted in puce, gilt and green, some damages and restorations, 12.2cm max. (4) £150-200

176. A Derby figure of a Ranelagh Dancer, c.1765, standing with one hand on her hip, the other holding onto flowering bocage next to her, raised on a shell scrolled base highlighted in green and gilt, damages and restoration, 27cm. £80-120 Provenance: the Cordwent Collection.

Provenance: the Cordwent Collection.

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177. A large Derby bell-shaped mug, c.1770, painted in the manner of Edward Withers with simple polychrome flower sprays and single scattered blooms, the rim with a border of gilt flower heads on a deep blue ground, 16cm high. £100-150 Provenance: the Cordwent Collection.

178. A Chelsea-Derby teapot and cover, c.1775, the small globular body delicately painted with simple sprays of polychrome flowers, the wishbone handle issuing from moulded acanthus leaves, with further flowers to the sides of the spout, 15.5cm across. (2) £100-200 Provenance: the Cordwent Collection.

179. A Sèvres cup and saucer, c.1765-70, painted in pink monochrome with small sprays of flowers within gilt dentil rims, the cup with an interlaced LL mark, the saucer with a rare blue chalice painter's mark, 12.7cm. £100-200 Provenance: the Cordwent Collection.

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180. A Derby campana vase, c.1815, painted with a wide band of English flowers including variegated poppy, viola, pink rose, blue convolvulus, auricula and nasturtium, reserved on a white ground with a bold formal foliate design in gilt, iron red crowned crossed batons mark to the base, painted 13 beneath, some good restoration to the foot and base, 32.5cm. £200-300 Provenance: the Cordwent Collection.

181. A large and impressive Derby vase in the Antique style, c.1775, the ovoid body moulded around the shoulder each side with two lions around a grotesque face mask between Greek key and leaf borders, the handles formed as the heads of dolphins biting the rim, issuing from a lion’s leg resting on the head of a ram, the rich blue body decorated with a gilt caillouté design, the whole raised on a £100-150 square base, some restoration, 42cm. Cf. The Victoria and Albert Museum, Accession No. 414:437-1885 for a vase of identical form previously in the collection of Lady Charlotte Schreiber. The design for the vase is taken from a print by G.B. Galestruzzi, published in 1658 and based on Decoration by Polidoro da Caravaggio. Provenance: the Cordwent Collection.

182. A rare Derby campana vase, c.1810-15, painted to one side with an octagonal panel containing an arrangement of shells and coral, the handles each formed as a coiled serpent or lamprey, red crowned crossed batons mark and painted 36 to the foot, 17cm. £150-250 Shell decoration is rarely found on Derby porcelain. Provenance: the Cordwent Collection.

END OF COLLECTION

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183. A set of Derby figures of the Four Quarters of the World, c.1820, each modelled as a child emblematic of Africa, America, Europe and Asia, with various attributes representing each continent, raised on scrolled titled bases highlighted in pink and gilt, blue crossed swords marks, some restorations, 21cm. (4) £400-600 The models for this series originate from a series of adult Continents modelled by Kändler at Meissen, and adapted into children by Meyer. These were copied by Chelsea from which the Derby figures probably derive.

184. Two Derby figures emblematic of the Seasons, c.1775-90, one of a female putto probably representing Spring, holding a garland of flowers and resting against a low square plinth, incised No. 64 to the base, the other of a young boy representing Winter, holding a bundle of faggots on his shoulder and wearing a fur-lined coat, some good restoration, 20.5cm. (2) £100-200

185. A pair of Derby figures of Mars and Minerva, c.1755, each modelled in traditional pose with a shield, Mars holding the hilt of his sword, Minerva’s hand outstretched to receive her spear, both raised on low oval bases painted with flowers, some damages and restoration, 17cm. (2) £400-600

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186. A Derby biscuit porcelain group of Virgins awakening Cupid, c.1775, the putto sleeping beneath a tree, the two maidens standing above him, incised No.195 and the initials JW, losses to the leaves, 31cm. £200-300

187. A large Derby figure of Britannia, c.1770, her shield resting on the head of a recumbent lion, a dagger and bugle at her feet, raised on a low scrolled base, some restorations, 37cm. £150-200

188. A Chamberlain Worcester model of a pug dog, c.1820, seated on a low rectangular base with head turned to sinister, wearing a red and gilt collar, script factory mark, and a Chamberlain figure of Madam Vestris as the Broom Girl, wearing a striped bodice and with her right arm outstretched, incised mark, some restoration to the latter, 13cm max. (2) £200-300

189. A Derby figure of Neptune, c.1780, standing on a low scrolled base beside a large colourful dolphin, holding the edge of his patterned robe as it billows out behind, incised ‘N.300 small’, his trident lacking, 14cm. £100-200 Provenance: from a private collection in Surrey.

The pug with an exhibition label for the London Ceramics Circle, 2014.

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190. A large and rare near pair of Bristol figures of a Goatherd and a Milkmaid, c.1775, probably modelled by Pierre Stephan, he standing with a goat kid under his right arm, his pipe tucked into his hatband, she holding a bucket of milk and leaning against stone steps, each left largely in the white with simple coloured enamel highlights, minor faults, 27cm. (2) ÂŁ2,000-3,000 Cf. Arthur Lane, English Porcelain Figures of the Eighteenth Century, plates 94 and 95 for identical examples in the collection at Fenton House in Hampstead.

191. A matched pair of large Derby mythological figures, c.1765, one of Europa and the Bull, she seated on the back of Zeus in bovine form and garlanding him with flowers, the other of Leda and the Swan, she embracing the same god in different form, each raised on rococo scrolled bases, some restoration to the maidensâ&#x20AC;&#x2122; green robes behind, 31cm. (2) ÂŁ1,000-2,000 Provenance: from a private collection in Surrey.

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192. A large pair of Bow figures of a piper and his companion, c.1765, he standing with a dog and a sheep by his feet, she with an apron full of flowers and a lamb recumbent beside her, each brightly enamelled and raised on a tall scrolled base highlighted in blue, puce and gilt, minor faults, 29.5cm. (2) £1,500-2,000

193. A Bow figure of a New Dancer, c.1760, holding his arms out before him and stepping off his low scrolled base with puce detailing, wearing a yellow hat with a large feathered plume, broken through the stem and right leg and restuck, 17cm. £200-300

194. A Bow figure of a Flower Girl, c.1755-60, modelled with a basket of flowers suspended from the crook of her right elbow, her left hand holding the hem of her overskirt, wearing a puce jacket and dark blue hat, some good restoration to her hat, 15cm. £300-400 Cf. Peter Bradshaw, Bow Porcelain Figures, pl.128. Bradshaw suggests that this figure is perhaps a copy of a Chelsea figure of Spring.

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195. A rare Bow porcelain figure group of goats, c.1760-65, a kid recumbent at the feet of a standing billy goat, both before flowering bocage, raised on a flat scrolled base with gilt highlights, red anchor and dagger mark, small damages, 13.3cm. ÂŁ500-800 Provenance: from a private collection in Surrey.

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196. A Bow white-glazed model of a sheep and her lamb, c.1752-53, the sleeping lamb resting against his mother’s haunches as she turns her head protectively, raised on a low rocky base, a small chip to the ewe’s ear, 13cm across. £600-1,000

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197. A rare pair of Chelsea models of sheep, c.1755, modelled as a ewe and a ram each recumbent on a low base applied with leaves and flowers, their heads turned and fleece lightly detailed in grey pencilling, red anchor marks, some restoration to the ram’s horns, 9.5cm. (2) £1,500-2,000

198. A Bow white-glazed model of a lion, c.1753, recumbent with head turned to dexter and resting his right forepaw on top of a ball, raised on a low base, some old restoration to the left ear, 11cm across. £500-800

199. A Bow white-glazed figure of Winter, c.1755, from the Rustic Seasons series, modelled as an old man huddled over a flaming brazier and wearing a hooded coat, minor losses, 13cm. £200-300

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200. A Chelsea allegorical figure group, c.1760, modelled as three putti huddled together on a tall scrolled base, two reading a scroll, while the central third raises his left hand, a furled scroll held in his right, standing before flowering bocage with further flowers to the base, impressed R mark, some damages, 25cm. ÂŁ150-250

201. A Bow figure of a flower girl, c.1756, standing with a basket of flowers over her right arm, holding the hem of her skirt in her left hand, raised on a low pad base applied with flowers, a repair to her hat, 15cm. ÂŁ300-500

202. A large Bow figure of Minerva, c.1760, standing on a tall rococo base with puce and gilt highlights, resting one hand on her shield which bears the face of the Gorgon, the other raised to hold a spear, an owl perched by her right foot, some damages and restoration, 35.5cm. ÂŁ400-600

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LOTS 203-206 The following four lots of a matched set of Samuel Gilbody figures of the Seasons, from a private collection in Surrey, we believe represent the first time a full set has come on to the market at the same time, and probably the first time a Gilbody figure of Autumn has been sold at auction. The Gilbody factory was brought to light first in the late 1950s, but the attribution of figures to that factory only came about in 1966, with excavations carried out by Alan Smith of the Liverpool Museum, and polychrome figures in 1972 with discoveries by John Mallet. In a paper given by Bernard Watney to the English Ceramic Circle on 15th May 1979 he illustrates a complete set of Infant Seasons in the collection at Plymouth Museum, which had previously been thought of as Longton Hall. This set features the strong yellow enamel, seen on the figure of Summer in lot 206, which is peculiar to Gilbody. Although records show several examples of Winter and a few examples of Spring being sold in recent years, and a matched set of three Seasons included in the Crane Collection in 2010, fewer Summer figures appear in auction records and we have yet to uncover an Autumn that has been sold at auction in the UK. Outside of the Plymouth Museum and the current set, another full set is not known.

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203. A rare Samuel Gilbody (Liverpool) figure of Autumn, c.175660, modelled as a putto draped in fruiting grapevine and holding a single bunch of grapes in his left hand, some restoration, 13cm. £1,000-1,500

204. A rare Samuel Gilbody (Liverpool) figure of Winter, c.175660, modelled as a putto draped in a yellow cloak lined with ermine and wearing ice skates, his left hand covering his mouth, a few small chips, 11.5cm. £1,000-1,500

Provenance: from a private collection in Surrey.

Old label for Jas. A. Lewis & Son, New York. Provenance: from a private collection in Surrey.

205. A rare Samuel Gilbody (Liverpool) figure of Spring, c.175660, modelled as a putto holding a basket of flowers in his left arm and further draped in a floral garland, the low base applied with small flowers, some restoration, 12.5cm. £1,000-1,500 Provenance: from a private collection in Surrey.

206. A rare Samuel Gilbody (Liverpool) figure of Summer, c.175660, a large sheaf of corn resting against his left hip and coloured a bright, distinctive yellow, wearing a corn diadem and with scattered ears around his feet, some restoration to his right arm, 11.2cm. £1,000-1,500 Provenance: from a private collection in Surrey.

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207. A large and rare Pennington (Liverpool) blue and white mug, c.1770-80, painted with a couple walking hand in hand and carrying a rake and a corn sheaf, in the background an extensive farmland scene, all within an elaborate floral and diaper cartouche, firing faults, 16cm. £300-400 The figures in this scene derive from The Haymakers print (sometimes called Harvest Home) which was published by Robert Sayer in 1766. Provenance: from a private collection in Surrey.

208. A rare and large John Pennington (Liverpool) blue and white mug, c.1779, printed with an elaborate scrolling cartouche, the top corners with birds perched atop, the bottom left corner with a ship mast behind boxes, the right with ducks swimming before a tower, the centre containing the monogrammed initials JMB, either side of the cartouche decorated with a lion rampant, a long restored crack, 21.3cm high. £250-350 Exhibited: Simon Spero, 1997, No. 32. Provenance: from a private collection in Surrey.

209. A good Worcester blue and white water bottle or guglet, c.1760-65, painted with the Willow Bridge Fisherman pattern, a figure traversing an arched bridge with two further figures fishing from a sampan beneath, the reverse with a figure and a bird beside a small pagoda beneath pine, the ovoid body rising to a knopped neck, open crescent mark, 24.5cm. £600-800

210. A Worcester blue and white moulded cornucopia wall pocket, c.1758, the traditional spiral horn shape additionally moulded with a detailed landscape of cattle grazing before a chapel, with a bird in a tree, above and beneath the moulding painted with flowers and a hatched diaper design, workman’s mark, two small rim chips, 21.3cm. £400-600

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211. A massive Pennington (Liverpool) blue and white mug, c.1765-70, of exceptional size, the cylindrical form painted with a large flower spray including narcissi, heartsease, convolvulus and chrysanthemum, with scattered butterflies and flying insects, the rim with a formal scroll border, the strap handle with a foliate terminal, 27.4cm high. £600-800 Provenance: from a private collection in Surrey.

212. A Worcester blue and white circular buttertub with cover and stand, c.1775, printed with the Three Flowers pattern within a cell diaper border, hatched crescent marks, 16cm. (3) £250-350

213. A good Worcester blue and white teapot and cover, c.1775, painted with the Waiting Chinaman pattern, a solitary figure standing beside a low fence and flowering peony, open crescent mark, 21cm. (2) £300-400

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214. A Lowestoft blue and white teabowl, c.1772, printed with a Chinese figure standing behind a low fence next to a pagoda between trees and rockwork, the reverse with a small vignette of a mountainous landscape, 7.8cm. £150-200

215. A rare Bow blue and white coffee cup, c.1765-70, painted with a dense landscape pattern of figures and small buildings amidst tall trees and mountains, the interior with a wide floral border, 6cm high. £150-250

216. A rare Caughley blue and white pickle dish, c.1770, the large leaf-shape dish printed in a bright blue with the Birds in Branches pattern, 11cm. £300-500

217. An unusual English porcelain blue and white saucer, c.1770, probably Lowestoft, the fluted form printed with three flower sprays around a central smaller sprig, some rim faults, 12.5cm. £120-180

218. A Bow blue and white bowl, c.1770, painted with a small dwelling in an Oriental landscape with weeping willow and flocks of birds in flight, the inner rim with a band of flowerhead mons and hatched diaper panels, painter’s numeral 7, a short crack, 15cm dia. £120-180

219. A Worcester blue and white spittoon, c.1770, printed with the Three Flowers pattern, the reverse and wide rim with scattered naturalistic flowers, hatched crescent mark, 9.8cm high. £100-150

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220. A rare Worcester blue and white trio, c.1760, painted with the Leaf Scroll Border pattern, a peony spray akin to the Mansfield pattern in the centre, beside large scrolling leaves, workman’s marks, a chip to the rim of the teabowl, 11.6cm. (3) £300-500

221. A rare Longton Hall blue and white sauceboat, c.1758, each side painted with buildings beside Oriental plants and pylon trees, the moulded handle with a simple scroll design, raised on an octagonal foot, S mark inside the footrim, some restoration, 18cm. £300-500

222. A rare Worcester blue and white basket, c.1762, the circular form painted to the interior with the Anemone and Bellflower Spray pattern, the interior walls with bands of flowerheads and leaves, the exterior applied with flowerheads, open crescent mark, a short rim crack, 16.7cm dia. £500-800 Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain 1751-1790, I.E.24A.

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223. A Worcester teabowl and saucer, c.1760, printed in black with ornithological designs, the teabowl with a finch perched on a branch, the saucer with a bird diving onto two others below, 12.2cm. (2) £200-300

224. A Worcester teabowl and saucer, c.1760, printed in black, the teabowl with a single bird perched on a branch with two others in flight to the reverse, the saucer with a duck flying above other birds in flight and perched on the ground, 12.2cm. (2) £200-300

225. A Worcester teabowl and saucer, c.1775-70, the fluted forms printed in black with various scenes of Classical ruins, 14cm. (2) £120-180

226. A Worcester large teabowl and a saucer, c.1765, both printed in purple, the teabowl with scenes of Classical ruins and a scene of figures in a boat before a wall, the saucer with the Obelisk and Temple of Minerva Medica, 12.8cm max. (2) £180-220 Provenance: The Zorensky Collection of Worcester Porcelain Part I, lot 271 (the saucer). Paper labels for the Sir Jeremy Lever Collection. The print on the saucer is considered to be by James Ross, a pupil of Robert Hancock. The source of the print is after an engraving by J.S. Muller after Pannini, dated 1753.

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227. A Worcester ornithological saucer, c.1760, printed in black with a pair of doves perched on the ground either side of a small tree and turning back to form a heart shape, further birds in flight above, 12cm. £150-250

228. A Worcester ornithological saucer, c.1758-60, printed in black with River Scene, with swans and other aquatic birds swimming on water beneath trees, a heron standing in the background, some wear to the black line rim, 12.3cm. £150-250 Cf. Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamels, no.3.8 for a similar saucer dish and a discussion of the origins of the River Scene print.

229. A Worcester trio, c.1765-70, comprising a teabowl, a coffee cup and a saucer, the fluted forms printed in black with various scenes of figures before Classical ruins, with gilt line rims, 14cm. (3) £200-300

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230. A Worcester ovoid vase, c.1765, printed in black to one side with May Day, two ladies dancing to the music of a peg-legged fiddler, before a man balancing a bowl of flowers and other objects on his head, the reverse with a scene of Milkmaids, 20cm. £400-600 Paper label for the E & J Handley Collection. Illustrated: Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamels, no.2.42. The May Day print derives from a painting by Francis Hayman, which appears on p.120 of The Ladies Amusement.

231. A large Richard Chaffers (Liverpool) mug, c.1762-65, the tall cylindrical form printed in black with The Tythe Pig, a young couple offering the village clergyman a piglet and a baby before a farmstead, above a sixteen line verse telling the story behind the picture, a long crack, 16.5cm. £250-350 Cf. Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamels, p.218. The engraving derives from a print by Müller after Boitard and also appears on Worcester and Longton Hall, as well as Liverpool delftware tiles and Wedgwood creamware. The same subject is depicted in both Staffordshire earthenware figures and Derby porcelain figures. Please see lot 72 for a version in Staffordshire pottery.

232. A large Worcester bell-shaped mug, c.1770, printed in black with May Day, ladies dancing to the music of a peg-legged fiddler, the reverse with Milkmaids, damaged, 15.8cm. £80-120 Paper label for the E & J Handley Collection. The May Day print derives from a painting by Francis Hayman, which appears on p.120 of The Ladies Amusement.

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

234. A Worcester printed slop bowl, c.1765, one side printed in black with L’Amour, a couple courting on a bench while the maid looks on, the reverse with Rural Gambols, a couple seated on the grass and watching two dogs at play, the interior with swans swimming, L’Amour signed in the print with RH Worcester and an anchor for Richard Holdship, 15.5cm dia. £200-300 Paper label for the E & J Handley Collection.

235. A Worcester saucer dish, c.1760-65, printed and hand-coloured with a scene of two figures seated at the water’s edge amidst Classical ruins, black line rim, a couple of small filled chips, 18.6cm. £200-300

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236. A rare matched pair of Worcester flower pots, c.1768-70, of flared bucket form with two moulded bands, the everted rim with ovolu moulding highlighted in puce and gilt, the exteriors painted with polychrome flower sprays, one incised 82 to the base, a crack to one, 5.5cm high. (2) £200-300

237. A small Plymouth coffee cup, c.1768-71, painted in polychrome enamels with two Chinese figures, one holding a bird on the end of a stuck, and a Pennington’s (Liverpool) coffee can or small mug, painted in blue with the Cannon Ball pattern, 6.8cm max. (2) £150-250 Provenance: from a private collection in Surrey.

Cf. H Rissik Marshall, pl.20, no.383 for a similar pair with floral tops, now in the Ashmolean Museum. Such pots are believed to have been modelled by John Toulouse, who may have brought the shape with him when he moved from Bow in the late 1760s.

238. A rare Worcester hexagonal spoon tray, c.1765, the elongated form brightly enamelled with a Japan pattern of Kakiemon floral panels alternating with chrysanthemum mons reserved on a dark blue ground, unusually moulded with a footrim rather than a flat base, square seal mark, 15.5cm. £300-500

239. A Liverpool creamboat, c.1765-70, probably Pennington’s, of footed silver shape with a tall handle issuing from a moulded acanthus leaf, painted in a muted palette with sprays of rose and other European flowers, brown line rim, 9cm high. £100-200

240. A Liverpool porcelain teabowl, c.1760, probably Richard Chaffers, finely painted with a crane standing before a red fence beside flowering peony and blue rockwork, together with a Chinese porcelain saucer bearing the same pattern from which it derives, 11.8cm. (2) £150-200

241. A Worcester teabowl and saucer, c.1768, painted in the famille rose palette with the Astley or Harvest Bug pattern, a large insect above a spray of flowering peony, within a red crowsfoot border, £100-150 12.3cm. (2)

Provenance: from a private collection in Surrey.

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242. A Worcester teapot stand, c.1765, the hexagonal form painted in the Giles atelier with a simple flower spray in puce camaieu, with further scattered sprigs around, 14.7cm. £150-250

243. A small Bristol milk jug, c.1770, painted in polychrome enamels with a flower spray and single scattered blooms, brown line rim, faint X and 9 mark to the base, 8.5cm. £100-150

Cf. Stephen Hanscombe, James Giles China and Glass Painter, pl.27 for a near identical example.

244. A Chelsea bell-shaped cup, c.1755, finely painted with sprays of English flowers including heartsease and convolvulus, with an unusual wishbone handle with flattened thumbrest, red anchor mark, some wear to the brown line rim, 6.5cm. £100-200

245. A rare Derby cream jug or ewer, c.1770, with unusual moulded decoration in a geometric diamond design, painted with simple polychrome flower sprays, with heavy wishbone handle, 7cm high. £150-250 Cf. Geoffrey Godden, English Blue and White Porcelain, pl.253 for a similar blue and white example.

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246. A Worcester part tea and coffee service, c.1775, decorated in the Hop Trellis pattern with berried swags between trellis panels in gilt and red. Comprising: a sucrier and cover, four coffee cups, two teabowls and eight saucers. (16) £500-800 Provenance: Diana Keppel, Countess of Albemarle.

247. Four Caughley breakfast bowls and saucers, c.1780, the generous forms simply decorated with floral sprays in blue and gilt within gilt dentil rims, 16.5cm. (8) £200-300 Provenance: from a private collection in Surrey.

248. Four Worcester coffee cups and two saucers, c.1775, the fluted forms decorated in a version of the Hop Trellis pattern, with berried swags alternating between gilt and red trellis above a turquoise band, one cup handle lacking, another cup cracked, 12.5cm. (6) £150-250 Provenance: Diana Keppel, Countess of Albemarle.

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249. A pair of Worcester plates, c.1765-70, decorated in the atelier of James Giles, the silver-shaped forms painted with colourful sprays of flowers and scattered blooms, brown line rims, 22.5cm. (2) £300-500

250. An unusual pair of Worcester dessert dishes, c.1775, the shaped square forms decorated with a rich turquoise ground within a gilt line rim, 22cm. (2) £300-500

251. Two Chelsea plates, c.1755-56, one finely painted with a large spray of flowers and single stems within a lobed rim, red anchor mark, the other a soup plate moulded in the Gotzkowsky manner and simply decorated with single scatted blooms, a colourful moth and a dragonfly, 23.2cm max. (2) £200-300

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252. A Worcester dessert plate, c.1770, with scalloped edge, the well painted with insects in flight above an Oriental garden scene of trees and rockwork, reserved on a wet blue ground within simple gilt rims, script W mark, 18.8cm. £100-150 Provenance: Bonhams, The Zorensky Collection of Worcester Porcelain, Part I, lot 172. Illustrated by Simon Spero and John Sandon (1986), fig 318. It has been suggested that the central decoration was carried out by an independent decorator, since that and the lack of gilding are atypical of what the factory was producing at that time.

254. A rare Worcester cornucopia wall pocket, c.1770-75, the spiral moulded body of traditional form, decorated in green and gilt with sprays of auricula and other flowers, the top with an elaborate scroll moulded band, 27cm. Together with a Perspex stand. (2) £300-500 Provenance: Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 118. Illustrated: John Sandon, Dictionary of Worcester Porcelain, p. 118.

253. A Worcester circular basket, c.1758-60, the sides formed from overlapping circles applied with flowerheads to the exterior, the interior well finely painted with three colourful birds in flight, the interior sides with purple flowerhead motifs, a restored section to the rim, 19.8cm dia. £400-600 Provenance: Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 37.

255. A rare Worcester cornucopia wall pocket, c.1755-58, the traditional spiral-moulded horn shape with a moulded floral border to the top, decorated with sprays of flowers in the Chinese manner, and with scattered flying insects, 25.5cm. Together with a Perspex stand (2) £300-500 Cf. H Rissik Marshall, Coloured Worcester Porcelain, pl. 1, fig. 20 for a similar pair. Paper label for the R. David Butti Collection, No. 118.

The Oriental style enamelling on this piece is more reminiscent of the indianische Blumen of Meissen, and therefore probably derives from the German porcelain rather than directly from the Chinese or Japanese.

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256. A rare Worcester teapot and cover, c.1765, painted in the atelier of James Giles with the arms of the Elsley family, a centaur with a bow and arrow atop a shield quartered in gilt and white with five flowerhead motifs, within a floral scroll cartouche and beneath a gilt spearhead border, a little nibbling to the spout, 18.5cm. (2) £1,200-1,800 Exhibited: The English Ceramic Circle, Armorials Exhibition, 2008.

257. A Worcester teapot and cover, c.1765, of small globular form, finely painted in the famille rose manner with a bird in flight beside flowering peony above an ornamental fence, with similar floral decoration to the other side, some good restoration, 18.5cm. (2) £200-300

258. A Worcester teapot and cover, c.1765, of small size, painted in the atelier of James Giles with brightly enamelled sprays of polychrome flowers, the faceted spout and handle with a plain line of puce dashes, the cover with a floral finial, 17.5cm. (2) £400-600

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259. A Worcester kidney-shaped dessert dish, c.1780, the well painted with a fancy bird perched on a grassy mound with a further bird perched in leafy branches behind, the cavetto with gilt floral swags suspended from a bright blue border, script W mark, 26cm. £200-300

260. A Worcester dessert dish, c.1785, decorated in the manner of the Stormont service with swags of puce drapery suspended from £250-350 bows within a gilt dentil rim, some wear, 28.7cm.

261. A Worcester basket moulded dish, c.1760, the handles moulded as vine stalks, the whole painted with scattered flower sprigs, with puce detailing to the moulded arched border, some rim cracks, 30.5cm. £300-500

262. A Worcester lobed dessert dish, c.1780, the well painted with a fancy bird perched on a grassy mound with a further bird perched in leafy branches behind, the steep fluted sides with gilt floral swags suspended from a bright blue border, script W mark, 26.7cm. £200-300

263. A Worcester dessert dish, c.1770, of steep-sided oval form, the well painted with an arrangement of Spotted Fruit within a wide gilt caillouté border on a wet blue ground, open crescent mark, two small chips to the footrim, 26.4cm. £250-350

264. A Worcester chestnut basket stand, c.1770-75, of quatrefoil form, the well painted with a bright flower spray, the rim reticulated with a flowerhead design around a yellow border, the twig handles issuing from applied flowers, restoration to one handle, 25.5cm. £150-200

In the early 1780s Worcester produced a tea service for David Murray, 7th Viscount Stormont, which copied a Sèvres pattern of turquoise fabric festoons. This puce version occurs on both tea and dessert wares.

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265. A rare Worcester reticulated square dessert dish, c.1770, the lobed rim pierced with a narrow band of diamonds and small circles, the well painted with a floral arrangement and small scattered blooms, brown line rim, minor rim chips, 26.3cm. £250-350 It is probable that the shape and pierced rim on this dish derives from creamware.

266. A Worcester plate, c.1770, richly decorated with an Imari inspired design in blue, red and gilt with highlights in green and purple, the well with flowering chrysanthemum above an ornamental fence, the rim with three floral panels on a leafy ground with red birds in flight, 22.2cm. £200-300

267. A Worcester armorial plate, c.1772, painted in the atelier of James Giles with the arms of Gavin impaling Hearsey, with scattered flower sprigs in a dark purple monochrome around, gilt line rim, 22.5cm. £300-500

268. A rare Worcester plate c.1765, after Meissen, painted in Kakiemon type colours with two birds perched on a purple-stemmed branch of flowering chrysanthemum, small scattered sprigs, a restored rim crack, 22.5cm. £600-1,000

The arms relate to David Gavin of Langton House, Berwickshire who married first Miss Hearsey of Middleburg and secondly, on 9 April 1770, the Lady Elizabeth Maitland. However, the plate would appear to post-date his second marriage. Cf. Gerald Coke, In Search of James Giles, pl. 28(a) for a similar but smaller plate from the same service.

Cf. Rainer Rückert, Meissener Porzellan, p.85, fig 332 for the Meissen original of this design. Also, H Rissik Marshall, Coloured Worcester Porcelain, pl.22, fig.449 for the Worcester example.

269. A Worcester scallop-edged plate, c.1765, painted in the atelier of James Giles with sprays of colourful flowers and single scattered blooms, some rim cracks, 19.7cm. £150-250

270. A Worcester leaf dish, c.1760-65, moulded as two overlapping leaves, brightly enamelled with The Magician pattern, two Chinese figures watching a third standing beside a low table and garden seats with one arm raised, a butterfly in flight above, some restoration, 26cm. £150-200

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271. A Worcester trio, c.1770, the Warmstry fluted bodies richly enamelled with the Dragons in Compartments pattern, the interiors of the cup and teabowl with a cell diaper border and flowerhead panels, 14.2cm. (3) £150-250 Cf. Woolley and Wallis, The Raymond Dennis Collection, 25th February 2014, lot 109 for a near identical trio.

273. A Worcester trio, c.1760-65, decorated in the famille rose palette after a Chinese original with a crane standing before a fence and beside holey rockwork and flowering peony, 12.1cm. (3) £250-350 The saucer with paper labels for the Mark Hall Collection, and for Roderick Jellicoe. See lot 240 for the Chinese original and a Liverpool copy.

272. A rare Worcester matched armorial trio, c.1768, comprising a teacup, a coffee cup and a saucer, painted with panels of Kakiemon flowers alternating with narrow blue ground bands, each painted with the arms for the Fry family of a green shield bearing three running horses and a fleur de lys, square seal marks, 13cm. (3) £800-1,200 Provenance: The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 159, for the teacup and saucer, which had been sold as part of an armorial tea service by Phillips in the mid 1980s.

274. A Worcester matched trio, c.1765-68, comprising a teacup, a coffee cup and a saucer, all moulded with a continuous chrysanthemum band and painted with the Old Worcester Parrot pattern, the rims with a dense colourful floral border, the tea cup with a moulded handle, 13cm. (3) £250-350 Paper label for Newman & Newman Antiques, London to the saucer.

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275. A rare and early Worcester spoon tray, c.1754, the long octagonal shape painted with a version of the Stag Hunt pattern, with a red stag being chased by a black dog behind bowing Chinese figures between low islands, the border pencilled with a continuous band of ruyi heads, a few filled rim chips, 15.3cm. £300-500 Provenance: The Zorensky Collection, part I, lot 15, the Sir Jeremy Lever Collection, lot 15, and the Crane Collection, lot 26.

276. A rare Worcester buttertub with cover and stand, c.1770, the oval forms painted in polychrome enamels with sprays of flowers and single scattered leaves, the twig handles issuing from applied flowers and leaves, 19.5cm. (3) £800-1,000

277. A Worcester slop bowl, c.1760, pencilled in black with the Boy on a Buffalo pattern, the eponymous figures set within a continuous Chinese landscape, 15.5cm dia. £500-800

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278. A small Chelsea basket, c.1755, of circular form, the sides formed of interlocking circles and applied to the exterior with small yellow flowerheads at the intersections, the interior well painted with a yellow rose and purple crocus, brown line rim, red anchor and 9 mark, a section of the rim broken and restored, 14.7cm dia. £100-200 Paper label for the Spencer Collection at Althorp House.

279. A Philip Christian (Liverpool) teapot and cover, c.1770, decorated in Imari colours with a low building in a Chinese landscape, beneath pine and prunus trees, some faults, 19.5cm. (2) £100-200

280. A large Chelsea oval dish, c.1756, moulded in the Gotzkowsky manner with panels of flowers, alternating with finely painted panels of further English flowers, the well with three butterflies and a dragonfly around further scattered blooms. red anchor mark, a small rim £200-300 chip, 40.3cm.

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281. A rare Derby coffee cup and saucer, c.1765, each painted with two quatre-lobed panels containing large birds and bamboo trellis in the Kakiemon palette, reserved on a turquoise or sea green ground with a gilt dentil rim, some restoration to the saucer, 12.5cm. (2) £100-200

282. A Richard Chaffers (Liverpool) teabowl and saucer, c.1760, painted with exotic birds standing between leafy bushes with two further birds in flight above, 12cm. (2) £150-250 Provenance: from a private collection in Surrey.

Cf. The Victoria and Albert Museum, Accession No. C.1068&A-1924, for a teabowl and saucer in the same pattern.

283. Two fluted teabowls and saucers, c.1765-75, one painted with an exotic bird perched in leafy branches with flying insects and moths, the other with a simple cornflower sprig pattern, the former marked with a 2 in brackets, 14cm max. (4) £150-250 Provenance: from a private collection in Surrey.

284. A Philip Christian (Liverpool) bowl, c.1770, painted in the famille rose palette with a hawk perched on rockwork beside flowering sprays of chrysanthemum, with further birds in flight, the interior with a spray of Oriental flowers, the rim with iron red floral panels and a hatched diaper design, 18cm dia. £200-300 Provenance: from a private collection in Surrey.

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285. A rare Worcester teabowl and saucer, c.1765, painted in the Giles atelier with a yellow bird or canary perched on a spindly branch, a flower spray to the teabowl’s interior, 12cm. (2) £600-800 Cf: Stephen Hanscombe, James Giles, China and Glass Painter, pl.68 for a trio in the same pattern.

287. A rare Pennington (Liverpool) beaker, dated 1787, the flared form painted with a cartouche of polychrome flowers containing the inscription ‘John and Elizabeth Baker 1787’, the reverse with a corn stook, the interior rim with a continuous band of puce grapevine, a star crack to the base, 8.3cm. £400-600

286. A Worcester sauce ladle, c.1775-80, the rounded bowl painted with a single sheep standing with head turned to sinister, birds in flight around a tall tree behind, within a gilt dentil rim, the narrow handle with moulded scroll detailing highlighted in gilt, some good restoration, 16.5cm. £150-250

288. A William Reid (Liverpool) cream jug, c.1756-58, the finely potted body with a flared neck and wide spout, painted in red with two swans between Oriental rockwork and peony, applied with a scroll handle, some rim faults, 9cm. £600-1,000

Provenance: from a private collection in Surrey.

Provenance: from a private collection in Surrey. Paper labels for Rod Jellicoe and Christie’s.

Illustrated: Maurice Hillis, Liverpool Porcelain, p.519, fig.13.41.

Illustrated: Maurice Hillis, Liverpool Porcelain, p.54, pl.3.92.

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289. A rare and large William Reid jug, c.1756, painted in a muted palette with simple loose sprays of flowers and single scattered stems, the handle, foot and neck richly decorated with a formal gilt border, the gilding probably later, 23.1cm. £700-900 Provenance: from a private collection in Surrey.

290. A Samuel Gilbody (Liverpool) shell salt or sweetmeat, c.175560, formed as a deep shell painted to the interior with a flowering spray in red and gilt, the dish raised on a cinquefoil base encrusted with further small shells, 11cm across. £1,000-1,500

291. An early Chelsea white-glazed small salt, c.1746-48, formed as a deep scallop shell resting on a base of coral, seaweed and further tiny applied shells, a section broken and cleanly repaired, 8cm across. £800-1,200

Provenance: from a private collection in Surrey.

Cf. F. Severne MacKenna, Chelsea Porcelain: The Triangle and Raised Anchor Wares, pl.4, no.10 for an identical example bearing an incised triangle mark.

A very similar salt from the Crane Collection (Bonhams, 31st March 2010, lot 199) was exhibited by Simon Spero in 1993, number 20. A similar dish from the Watney Collection is illustrated by Alan Smith, Some Finds at Liverpool, ECC Trans, Vol 7, Part 2, 1969, Plate 116a.

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292. A rare Worcester ‘trial’ coffee cup, c.1768-70, painted with an armorial shield within simple purple scrollwork, to either side a finely painted flower sprig respectively numbered ‘No. 2’ and ‘No. 3’, 6.3cm high. £250-350 Paper labels for the Zorensky Collection, the Sir Jeremy Lever Collection and the Crane Collection. Exhibited: The English Ceramic Circle, Armorials Exhibition, 2008. The flower painting on this cup shows a good degree of realism compared to the usual factory output. No other item of Worcester porcelain is known with similar trial numbers.

293. A rare and early Worcester reeded coffee cup, c.1753-54, the flared lobed form moulded with a fine band of ribbing, delicately painted in polychrome enamels with a Chinese lady holding a flower in each hand, standing beneath weeping willow, with a small boy dancing beneath leafy bamboo and a tall vase containing a single peacock feather, with a small scroll handle, some rim faults, 5.2cm £500-800 high. Cf. Bonhams, The Billie Pain Collection of English Porcelain, 26th November 2003, lot 111 for a similar example. Another example in the collection of Dr Bernard Watney featured the same figure holding a sword and a flower.

END OF SALE

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PAINTINGS

Wednesday 16th March 2016

Montague Dawson (1895-1973) Rolling Home (detail) Signed, oil on canvas 91 x 61cm Estimate: £10,000 - £15,000

ENQUIRIES Victor Fauvelle | Tel: +44 (0)1722 424503 | victorfauvelle@woolleyandwallis.co.uk

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 6th April 2016

A George III satinwood secretaire bookcase in the manner of Mayhew & Ince. Estimate: £8,000 - £12,000 ENQUIRIES Mark Richards | Tel: +44 (0)1722 411854 | markrichards@woolleyandwallis.co.uk

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ARMS & ARMOUR

Wednesday 6th April 2016

A pair of 19th century Indian ceremonial maces, Soontas, 70cm long. Estimate: £2,000 - £3,000 ENQUIRIES Will Hobbs | Tel: +44 (0)1722 339752 | willhobbs@woolleyandwallis.co.uk

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

Entries are now being accepted for this sale

Inspiration Caprice, a Clarice Cliff Bizarre wall charger. Estimate: £1,200 - £1,800

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

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ASIAN ART

Tuesday 17th & Wednesday 18th May 2016 Entries are now being accepted for this sale

17th century Chinese porcelain, including from a collection in Holland Park, London.

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

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

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

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

Pack & Send

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

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

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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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A345 Castle Rd

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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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WOOLLEY & WALLIS Salt Lane

Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

SCOTS LANE

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

R LANE

R O AD

A354 DORCHESTER WEYMOUTH & BLANDFORD

A338 BOURNMOUTH & RINGWOOD

REET

TONE ST

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

ARN HAM

LANE

IN S

RO A

( T)

SALT

UT SO

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A36(T) SO UTHA MPT ON R

W BED

HAR NH AM

W OOLLEY & W ALLIS S ALEROOMS

SOUTHAMPTON CATHEDRAL

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ST AN

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Qudos CASTLE STREET

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 Fine Porcelain & Pottery

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 23rd February 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

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www.woolleyandwallis.co.uk

AUCTION CALENDAR PAINTINGS 16th March – Oils, Watercolours, Prints & Miniatures 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 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 ENGLISH & EUROPEAN CERAMICS & GLASS 19th April – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@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 TRIBAL ART & ANTIQUITIES 20th September Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk