Woolley & Wallis

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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 28th February 2017


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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

ARMS & ARMOUR, MEDALS & COINS AND MILITARIA Ned Cowell Gemma Bush

341469 341469

ASIAN ART John Axford MRICS ASFAV Alex Aguilar Doméracki Freya Yuan Marta Olszewska

424506 424583 424589 424591

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

FURNITURE, WORKS OF ART & CLOCKS Mark Richards Jim Gale Suzie Becsy

411854 339161 411854

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

424504 424595

PAINTINGS Victor Fauvelle Jo Butler

424503 424592

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

424509 424598

MARKETING Tamzin Corbett

424590

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Amanda Lawrence Kirstie Tapper

424500

SALEROOM MANAGER David Jordan

424500

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

FRICS FRSA

COMPANY SECRETARY James Macarthur CA

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

339752 339752

ASSOCIATE DIRECTORS Janice Clift Clare Durham Jonathan Edwards FGAA Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

424599


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FINE PORCELAIN & POTTERY

INCLUDING THE PROFESSOR RICHARD CLARKE COLLECTION OF WORCESTER PORCELAIN

Tuesday 28th February 2017 at 10.30am VIEWING TIMES Saturday 25th February Monday 27th February Tuesday 28th February

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

ENQUIRIES

Clare Durham 01722 424507 cd@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 6th March. If you are collecting items on or after this date please contact the department on 01722 424507. All accounts to be settled prior to collection. TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 27th February. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 145 Back cover: Lot 464 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Monday 27th February. Please note there is a 3% +VAT surcharge for using this service.


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A PRIVATE COLLECTION OF CERAMICS PERTAINING TO VICE-ADMIRAL LORD NELSON PROPERTY OF A GENTLEMAN

1. A Copeland subscriber’s issue commemorative tyg, c.1905, printed with a naval battle scene, a portrait of Lord Nelson, and a scene of Britannia in her chariot, titled with various dates and inscriptions, the inside rim inscribed ‘England Expects That Every Man Will Do His Duty’ above naval messaging flags, printed mark, 14.5cm. £150-250

2. A dry-bodied stoneware campana vase of naval interest, early 19th century, the squat globular body applied with Britannia and an angel beside a shield inscribed for Howe and Nelson, the reverse with a maiden and winged Cupid, in white on a dark brown ground, the wide flared neck with a band of stiff fern leaves, restoration to the neck, 19cm. £120-180

Cf. P D Gordon Pugh & Margery Pugh, Naval Ceramics, pl.53.

3. A Minton Parian bust of Lord Nelson, mid 19th century, partially draped in a Classical robe, his medal resting above it, raised on a circular socle, 28.5cm. £300-500

4. A Copeland deluxe limited edition commemorative tyg, c.1905, printed with a portrait of Admiral Lord Nelson flanked by Britannia on her chariot and a scene of HMS Victory beside HMS King Edward VII, surrounded by oak sprigs, nautical motifs and flags within green and gilt borders, printed retailer’s mark for Thomas Goode & Co., London, number 46 of 100 copies, some cracks to the base, 15.5cm high. £250-350

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Cf. Raby Castle, County Durham, for an identical tyg in the collection of Lord Barnard.


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5. A blue and white transferware commemorative Nelson teapot and cover, 19th century, possibly Leeds, printed to each side with motifs beneath a banner titled ‘Trafalgar’, flanked by two mermen with tails entwined, the shoulders and cover with anchors, rose and thistle on a Greek key band, some good restoration, 21.5cm. (2) £150-250

6. A large blue and white transferware commemorative porter mug, 1st half 19th century, printed with a portrait of Nelson within flowering branches, the reverse with a similar panel containing HMS Victory in battle, the front with naval motifs and a list of Nelson’s varying titles, extensively cracked, 13cm. £50-100

Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.193 for a bowl in the same design.

7. A blue and white transferware tazza, c.1820-30, of oval form, depicting the Apotheosis of Nelson, raised on a flared oval foot, a small surface chip to the interior, 24cm across. £100-200

8. Two blue and white commemorative transferware plates, 1st half 19th century, depicting the Apotheosis of Nelson, the well with Neptune and Britannia in a chariot drawn by hippocampi, the rim with portrait roundels and further naval motifs, 24.5cm max. (2) £150-250 Cf. P D Gordon Pugh & Margery Pugh, Naval Ceramics, pl.52c for an oval dish from the same service.

9. A large blue and white commemorative transferware mug, c.1805, printed with Britannia holding a shield bearing a portrait of Lord Nelson before a large pyramid monument, flanked by birds and squirrels perched on branches of oak, a star crack to the base, 20.5cm. £100-200

10. A blue and white transferware commemorative jug, 1st half 19th century, printed with a portrait roundel of Lord Nelson amidst floral scrolls, the reverse with a similar roundel of HMS Victory, beneath the spout with naval motifs and inscribed with Nelson’s various titles, a short crack to the spout, 14.6cm. £100-200 Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.113 for other transferware pieces in this design, which is known to have been made at Swansea, among other potteries.

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11. A black-glazed earthenware commemorative teapot, 1st half 19th century, one side moulded with Britannia and an angel beside an obelisk, the angel holding a shield titled ‘Nelson’, the reverse with a panel of naval motifs, representing Nelson’s three panels, tiny rim chips, 25cm. (2) £80-120

12. A rare Castleford type teapot, 1st half 19th century, applied with Britannia standing beside an obelisk, an angel holding a shield inscribed for Howe and Nelson, the reverse with motifs representing Nelson’s three battles beneath a banner inscribed ‘Patriots’, with a hinged cover, a few small nibbles to the spout, 24.6cm. £80-120

Such glazed teapots used similar sprigging to the black basalt examples, and were a more affordable option for those wishing to honour the memory of Nelson on a budget.

13. Two dry-bodied stoneware jugs, early 19th century, the larger sprigged with a standing portrait of Nelson, flanked by four Classical figures, the neck with foliate sprays on a blue ground, the smaller with a brown glazed roundel applied with Britannia and an angel standing before an obelisk and inscribing a plaque with the names Howe and Nelson, and a small mug with the same application beside four putti with a goat, and doves on a birdbath, minor faults, 13cm max. (3) £100-200

14. A black basalt commemorative teapot and cover, 1st half 19th century, each side applied with a shell panel, one side bearing a scene of Britannia standing beside an obelisk and Fame inscribing a shield with ‘Nelson’, the reverse with motifs representing Nelson’s three battles beneath a banner inscribed ‘Trafalgar’, all reserved on an unusual moulded vermicelli ground, 25.2cm. (2) £150-200

15. A John Moseley black basalt commemorative milk jug, early 19th century, each side applied with a shell-shaped panel, one side depicting Britannia and an angel before an obelisk, the angel holding a shield titled ‘Nelson’, the reverse with motifs representing Nelson’s three battles beneath a banner inscribed ‘Trafalgar’, on an unusual moulded vermicelli ground, impressed mark, and a black basalt sucrier with a swan finial, applied with a figure of Nelson standing between two columns, 16.8cm max. (2) £120-180

16. A Castleford type commemorative teapot and cover, 1st half 19th century, the chamfered rectangular form decorated with oval panels, to one side with naval motifs representing Nelson’s three battles, to the other with Britannia and an angel before an obelisk, the angel holding a shield inscribed ‘Howe’ and ‘Nelson’, highlighted in blue, a long crack, 26cm. (2) £80-120

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Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.185 for similar examples attributed to Elijah Mayer & Son. However, lot 15 in an identical design is marked for John Moseley, suggesting that several Staffordshire factories were producing the same design.


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17. A large black basalt commemorative teapot and cover, 1st half 19th century, of flattened octagonal form, sprigged with Britannia and an angel before an obelisk, the angel holding a shield impressed ‘Howe’ and ‘Nelson’, the reverse with motifs representing Nelson’s three battles, beneath a banner inscribed ‘Patriots’, 28cm. (2) £150-250

18. A T & J Hollins smear-glazed jug, early 19th century, applied with a standing portrait of Nelson beside a tree sprig bearing a large English rose, and with HMS Victory at sail beside Fame and Britannia, the engine turned neck decorated with a rich brown glaze, impressed mark, 18.5cm. £100-200 Paper label for the Gibb Collection, Dreweatt Neate, 26th March 1997.

19. A pearlware commemorative jug, 1st half 19th century, printed in black with a portrait of Nelson before a scene of ships at sea, inside a banner inscribed ‘England Expects that Every Man Will do His Duty’, the reverse with Britannia in Regency dress, weeping beside a tomb, 15cm. £80-120

20. A black basalt commemorative teapot and cover, 1st half 19th century, of flattened octagonal form, one side decorated with Britannia and an angel standing beside an obelisk titled ‘Pro Patria’, the angel holding a shield bearing Nelson’s name, the reverse with motifs representing Nelson’s three battles beneath a banner inscribed ‘Trafalgar’, 25cm. (2) £120-180

21. A large black basalt commemorative teapot and cover, 1st half 19th century, the flattened octagonal form decorated to one side with Britannia and an angel standing beside an obelisk inscribed ‘Pro Patria’, the angel holding a shield titled ‘Nelson’, the reverse with naval motifs representing Nelson’s three battles, beneath a banner titled ‘Trafalgar’, a little restoration to the spout, 28cm. (2) £100-200

22. A Staffordshire porcelain commemorative jug, 1st half 19th century, in the manner of dry-bodied stoneware, sprigged with Nelson riding in Britannia’s chariot, the reverse with Britannia and Fame, beneath the spout with HMS Victory at sea, the neck and foot moulded with panels highlighted in blue, 19.3cm. £100-150

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23. A Wedgwood Jasperware vase, c.1905, commemorating the centenary of the Battle of Trafalgar and the death of Lord Nelson, one side applied with a profile portrait of Nelson, the reverse with a winged Classical maiden before a tall column, the shoulders applied with sphinx head handles, all in white on a pale blue ground, impressed mark, 25.7cm. £400-600

24. A Royal Doulton limited edition figure of Admiral Lord Nelson, c.1993, HN3499, modelled standing on the deck of HMS Victory, with a telescope under his left arm, wearing his Vice-Admiral’s uniform, raised on a circular base inscribed ‘Trafalgar 1805’, printed mark, edition 282 of 950, 32cm. £200-300

25. A Royal Doulton stoneware figure of Nelson, c.1905, standing and wearing his Vice-Admiral’s uniform, raised on a square base inscribed ‘Nelson 1805-1905’, impressed mark, 20cm. £100-150

26. A large Continental enamelled glass jar and cover, late 19th/early 20th century, painted with a portrait roundel titled ‘Admiral Nelson’, within floral swags and small starburst motifs, the ogee-domed cover with a round knop, 29cm. (2) £100-150

27. A Royal Doulton stoneware figure of Nelson, c.1905, modelled standing before a coil of rope and wearing his Vice-Admiral’s uniform, raised on a square base inscribed ‘Nelson 1805-1905’, glazed in a pale green, impressed mark, 20.5cm. £100-200

28. A massive glass commemorative rummer, 19th century, the generous rounded bowl engraved with a half-length portrait of Nelson to one side, the reverse with HMS Victory at sail, around the folded foot inscribed ‘Trafalgar Victory October 21st 1805’, raised on a multiple knopped stem, 29.5cm. £300-500

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29. A large glass commemorative rummer, 19th century, engraved with a profile portrait of Nelson within berried leaf swags, the reverse titled ‘Admiral Lord Nelson’ between oak leaf branches, flanked by the inscription ‘England Expects That Every Man This Day Will Do His Duty’, raised on a hollow stem above a stepped foot, 22.6cm. £250-350

30. A large glass commemorative rummer, 19th century, engraved to one side with Nelson’s coffin on a funeral car titled ‘Trafalgar’ above and ‘Nile’ below, the reverse inscribed ‘In Memory of Lord Nelson’, the generous bowl raised on a short stem, 22.2cm. £250-350 Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.103 for a rummer with similar engraving.

31. Two commemorative engraved wine glasses, 19th century, one with a drawn trumpet bowl engraved with a titled view of HMS Victory at sea, the reverse with a portrait titled ‘Nelson 1805’, the other with a bucket bowl engraved with HMS Victory and titled ‘Lord Nelson’ raised on a low knopped stem, 17.5cm max. (2) £150-200 32. Two Samson porcelain copies of plates from the Nelson service, late 19th century, painted with Nelson’s coat of arms to the well, the rims with a wide band of oak leaves and titled ‘Nelson 22 April San Josef’, 31.8cm max. (2) £80-120 33. A Samson porcelain inkstand in the manner of the Nelson Service, late 19th century, the rectangular tray and two inkwells decorated with the arms of Horatio, Viscount Nelson within a wide oak leaf border, inscribed ‘Nelson 22 April’ and ‘Nelson San Josef’, the inkwells with liners and covers, 27cm. (7) £100-200 The original Nelson service is believed to have been presented to him in 1802 by the City of London, using Coalport and French porcelain blanks decorated in London. This lot is particularly unusual since no inkstand is recorded in the original service, making it something of a curious piece. 31

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34. A pearlware commemorative porter mug, 1st half 19th century, printed in brown with a portrait of Nelson, a depiction of HMS Victory at battle, and a list of Nelson’s various titles, and a pearlware plate depicting the mourning of Lord Nelson, including winged figures seated beside Nelson’s tomb, 21cm max. (2) £150-250

35. Two pearlware Nelson teabowls, early 19th century, one printed in blue, the other in brown and coloured enamels, each to the well with motifs representing Nelson’s three battles, the exteriors with mermen with tails entwined on a cracked ice ground, 8.8cm dia. (2) £80-120

Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.102, no.80 for an identical plate.

The polychrome example is a rare find and may be a trial piece to recreate the service in a new colourway.

36. A Royal Doulton commemorative tyg, c.1905, the generous cylindrical body applied with three rope handles, one side moulded with a profile portrait of Lord Nelson, one with the English coat of arms, the last inscribed ‘England expects every man will do his duty’, glazed in blue and a greyish green, impressed mark, clean repairs to the handles, 16.8cm high. £80-120

37. A Royal Doulton stoneware commemorative tobacco jar and cover, c.1905, moulded in shallow relief with a profile portrait of Nelson, his coat of arms and HMS Victory in green-glazed roundels on a deep blue ground, impressed mark, a small rim flaw, 13cm. (2) £80-120

38. A Royal Doulton stoneware commemorative loving cup, c.1905, the slightly waisted cylindrical form applied with two ropetwist handles, one side moulded in shallow relief with a titled portrait of Lord Nelson, the reverse with ‘England Expects Every Man Will Do His Duty’ washed in a mottled greyish green on a deep blue ground, 14.5cm high. £80-120

39. A Royal Doulton stoneware commemorative jar and cover, c.1905, moulded in shallow relief with a portrait of Nelson, his coat of arms, and crowned N motifs, together with a small vase bearing a similar portrait against a naval battle scene, impressed marks, the jar with a small section broken out and restuck, 13.2cm max. (3) £120-180

40. A Royal Doulton stoneware commemorative teapot and cover, c.1905, the pear-shaped body moulded in shallow relief with a profile portrait of Nelson, the reverse with HMS Victory in battle, impressed mark, 13.5cm high. (2) £100-150

41. A Royal Doulton commemorative tyg, c.1905, the generous cylindrical body applied with three rope handles, one side moulded with a profile portrait of Lord Nelson, one with his coat of arms, the last inscribed ‘England expects every man will do his duty’, glazed in mottled shades of blue, impressed mark, a little restoration to the rim, 16.8cm high. £100-200

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Cf. P D Gordon Pugh & Margery Pugh, Naval Ceramics, pl.55a.


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42. A Royal Doulton stoneware commemorative jug, c.1905, moulded in shallow relief with a profile portrait of Lord Nelson against a naval battle scene, above his dates and below the inscription ‘England Expects Every Man Will Do His Duty’, applied with a ropetwist handle, impressed mark, 20.3cm. £100-150 43. A Royal Doulton stoneware commemorative jug, c.1905, moulded in shallow relief with a profile portrait of Lord Nelson against a naval battle scene, above his dates and below the inscription ‘England Expects Every Man Will Do His Duty’, washed in a sage green glaze on a dark blue ground, applied with a ropetwist handle, impressed mark, 20.5cm. £100-150 44. A Royal Doulton stoneware commemorative jug, c.1905, printed in black and titled ‘Nelson and his Captains’, with a portrait roundel of Nelson himself beneath four smaller roundels of Collingwood, Troubridge, Miller and Hardy, glazed in green to the neck and foot, impressed £80-120 mark, a crack to the base of the handle, 21.5cm. 45. A tall Royal Doulton stoneware commemorative jug, c.1905, moulded in shallow relief with a profile portrait of Nelson against a naval battle scene, washed in a sage green glaze, on a deep blue ground, below the neck inscribed ‘England Expects Every Man Will Do His Duty’, £150-200 impressed mark, 27.5cm. 46. A Royal Doulton stoneware commemorative jug, c.1905, moulded in shallow relief with a profile portrait of Lord Nelson against a naval battle scene, above his dates and below the inscription ‘England Expects Every Man Will Do His Duty’, applied with a ropetwist handle and decorated in mottled glazes, impressed mark, 20.5cm. £100-150 47. A Royal Doulton stoneware commemorative jug, c.1905, moulded in shallow relief with a profile portrait of Lord Nelson against a naval battle scene, above his dates and below the inscription ‘England Expects Every Man Will Do His Duty’, applied with a ropetwist handle, impressed mark, 19.8cm. £100-150 48. Two Royal Doulton stoneware commemorative jugs, c.1905, the taller printed in black and titled, ‘Nelson and his Captains’, depicting Nelson, Miller, Hardy, Collingwood and Troubridge, the smaller with Nelson flanked by flags and the dates 1805-1905, impressed marks, 21.5cm max. (2) £120-180 Cf. P D Gordon Pugh & Margery Pugh, Naval Ceramics, pl.54.

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49. A large Royal Doulton ‘Admiral Nelson’ commemorative loving cup, c.1935, moulded and painted with Nelson upon the deck of HMS Victory, the reverse with men in a rowing boat beside the tall ship, signed ‘H Fenton’ and ‘Noke’, printed inscription to the underside, marked as number 284 in a limited edition of 600, 26cm high. £200-300

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50. A Doulton Lambeth commemorative plaque for the 1905 centenary of the death of Nelson, modelled in high relief with a head and shoulders portrait within an oval berried laurel border, a scroll at the base inscribed ‘Horatio Nelson 1805-1905’, mounted on a wooden shield, the plaque 19cm. £100-150 51. A Coalport Parian bust of Nelson, c.1853, modelled by Joseph Pitts after a painting by John Whichelo, wearing his ViceAdmiral’s uniform and raised on a low circular socle, impressed ‘JOSh PITTS SC LONDON 1853’, the back inscribed ‘Model under the direction of Admiral Sir William Parker KCB from the painting by Wichell in his possession’, 23.2cm. £200-300 Cf. National Maritime Museum, Greenwich, No. AAA5974 for an identical example. 52. A Pratt ware commemorative jug, c.1798, crisply moulded and coloured to one side with a titled profile portrait of Admiral Nelson flanked by two ships, the reverse with a similar portrait of Captain Berry, restoration to the spout, 19.2cm. £100-150 Provenance: Bonhams, 8th September 2004, lot 80. The John Heap Collection.

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Captain Edward Berry was Nelson’s flag captain on HMS Vanguard at the Battle of the Nile, and it is likely that these jugs were made to commemorate that battle. 53. A rare Pratt ware commemorative jug, dated 1809, moulded and coloured with a depiction of the apotheosis of Lord Nelson, the naval hero driving Neptune’s chariot while a wreath is held over his head, the sides with Britannia and Fame, beneath the spout inscribed with the initials JW above the date 1809, restoration to the spout and handle, 15.5cm. £100-200 54. A Royal Doulton stoneware commemorative character jug, c.1905, modelled as the head and shoulders of Lord Nelson wearing a bicorn hat, a ropetwist handle to the reverse, impressed underneath ‘Replica of the Original Jug made by Doulton & Watts Lambeth’, 20cm. £80-120

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55 56 57 55. A Doulton & Watts Lambeth Pottery salt-glazed stoneware Lord Nelson jug, c.1840-50, wearing his naval uniform and bicorn hat, one of the medals around his neck impressed ‘Nile 1798’, the base inscribed ‘Trafalgar 1805: England expects every man to do his duty’, impressed mark to the base, 33cm. £200-300 Cf. P D Gordon Pugh & Margery Pugh, Naval Ceramics, pl.48b. 56. A Doulton & Watts Lambeth Pottery Nelson jug, c.1840-50, modelled as the head and shoulders of Lord Nelson, wearing his naval uniform and a bicorn hat, impressed mark to the base, 19.5cm. £100-150 57. A rare Doulton & Watts Lambeth Pottery Nelson jug, c.1840-50, of unusually small size, wearing his naval uniform and a bicorn hat, a small ropetwist handle to the reverse, impressed mark to the base, 13cm. £100-200

58. A Doulton & Watts Lambeth Pottery salt-glazed stoneware Lord Nelson portrait jug, c.1840-50, of half-length, wearing his naval uniform and bicorn hat, one of the medals around his neck impressed ‘Nile 1798’, the base inscribed ‘Trafalgar 1805: England expects every man to do his duty’, impressed mark to the base, the glaze unusually dark, 33cm. £200-300

59. A rare and large Doulton & Watts Lambeth Pottery stoneware Nelson flagon, c.1840-50, modelled as a half-length figurehead of Nelson wearing his Vice-Admiral’s uniform, one of the medals around his neck impressed ‘Nile 1798’, the cockade of his hat forming the bottle’s opening, impressed to the front with ‘TRAFALGAR 1805 ENGLAND EXPECTS EVERY MAN TO DO HIS DUTY’, marked to the base, some faults, 41.5cm. £300-400 This half-length model is particularly rare in bottle form, although it is sometimes seen as a jug.

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60. A matched graduated set of commemorative pearlware jugs, 1st half 19th century, of Portobello type, printed in yellow on a brown ground with portrait roundels of Lord Nelson on a chinoiserie landscape ground, some damages, 15.5cm max. (3) £150-250

61. A graduated pair of pearlware commemorative jugs, 1st half 19th century, with pineapple-moulded bodies, printed in brown with a portrait of Nelson amid flowering branches, the reverse with HMS Victory at battle, beneath the spouts with flags and a list of Nelson’s varying titles, some chips and restoration, 15cm max. (2) £100-150

62. Two Staffordshire flatback figures of the Death of Nelson, 19th century, the naval hero flanked in each case by two officers, wearing his hat in one group whilst bare-headed in another, the reverse of the former showing an outline of HMS Victory, together with a Staffordshire half-length portrait jug of Nelson in his ViceAdmiral’s uniform, picked out in blue, red and gilt, minor faults, 26.4cm max. (3) £80-120

63. Two pearlware commemorative jugs and a porter mug, 19th century, of Portobello type, printed in yellow on a brown ground with portraits of Lord Nelson, one jug with a print of HMS Victory, the other two pieces with portraits of Lord Collingwood, some damages, 12.2cm max. (3) £120-180

64. A small collection of ceramics relating to Vice-Admiral Lord Nelson, mostly 20th century, including a small Wedgwood cup and saucer printed with Nelson’s portrait in a laurel wreath border, a Royal Doulton Kingsware flagon for Dewar’s Whisky, a tin-glazed mug and a porcelain oval dish bearing titled portraits in blue, and a 19th century pearlware mug printed and coloured with Neptune, and with a sailor beneath the banner ‘England expects every man to do his duty’, 27.2cm max. (6) £50-100

65. Two pearlware commemorative jugs, 1st half 19th century, one printed in black with with a portrait of Admiral Nelson, the reverse with a Classical maiden weeping over the body of a hunter in the woods, the other jug of octagonal form, printed in blue with an oval portrait of Nelson, below the spout listing his various titles, the latter broken and restuck, 14.5cm max. (2) £150-200

66. A black basalt portrait bust of Nelson, 19th century, modelled with head turned to sinister and raised on a waisted square base moulded with military motifs, together with a Continental faïence bust of Nelson, a Staffordshire porcelain figure and two Continental porcelain figures of Nelson, all modelled standing and wearing his Vice-Admiral’s uniform, 19cm max. (5) £150-200

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Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.169 for an identical white stoneware bust made at Herculaneum. However, as the factory was known to use moulds from other Staffordshire factories, and as the piece is unusually unmarked, a definite attribution is not possible. 66


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67. A Copeland and Garrett smear-glazed portrait bust of Lord Nelson, mid 19th century, after a bust by Lucius Gahagan, wearing his naval uniform and a sombre expression, his head turned slightly to the left, raised on a circular socle, titled ‘Horatio Lord Nelson’ to the reverse, printed mark to the base, 24cm. £100-150

68. A large and rare creamware commemorative jug, 1st half 19th century, printed in black in Liverpool with a portrait of Lord Nelson, flanked by two putti emblematic of Fame and Fortune, above a diagram of ships titled ‘Battle of the Nile’, the reverse with a ship at sail, beneath the spout painted in black with ‘William Baker born September 12th 1806’, a little chipping to the foot, fine crack to the spout, 22.5cm. £500-700

69. A Copeland Parian bust of Nelson, mid 19th century, modelled by John Flaxman, wearing his naval uniform with starred epaulettes, and two medals around his neck, one inscribed ‘Nile 1 August 1798’, titled ‘Horatio Nelson’ in script at the top of the waisted square socle, a small chip to the top of the base, 34cm. £100-200 Cf. Richard Walker, The Nelson Portraits, p.267.

Cf. John & Jennifer May, Commemorative Pottery 1780-1900, pl.154 for this rare print of Nelson.

70. A creamware commemorative jug, 1st half 19th century, printed in black with a portrait of Admiral Lord Nelson in an oval panel surrounded by naval motifs, the reverse with Britannia holding a shield and seated beside a lion, a crack to the handle, 15cm. £80-120

71. A rare commemorative creamware frog mug, early 19th century, printed in black with a portrait of Admiral Lord Nelson flanked by a sailor and Britannia standing before flags, the interior modelled with a large frog climbing up the inside, a small star crack to the base, 14cm. £100-150

72. A small Pratt ware commemorative jug, late 18th/early 19th century, one side crisply moulded and coloured with a profile portrait titled ‘Admiral Nelson’, the reverse with a similar portrait of Captain Berry, each flanked by two ships, some restoration, 15.6cm. £80-120

Cf. John & Jennifer May, Commemorative Pottery 1780-1900, p.98, pl.164 for an identical frog mug.

Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.107, no.88.

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73. A pearlware commemorative footed bowl, 1st half 19th century, depicting the mourning of Lord Nelson, the interior well printed in black with panels containing Neptune presenting a trident to Britannia, and two with figures at the grave of Nelson, the exterior with a continuous band of peony, 23.7cm. £80-120

74. A Robinson & Leadbetter Parian bust of Nelson, 2nd half 19th century, raised on a low square socle, impressed monogram mark behind his right shoulder, and two miniature biscuit porcelain busts of Nelson, one modelled wearing full uniform, the other modelled in the Classical style and titled in black, both raised on low circular socles, 18.5cm max. (3) £120-180

75. A blue and white commemorative transferware bowl, 1st half 19th century, printed to the well with a portrait of Lord Nelson surrounded by naval motifs and an eight line poem, the interior and exterior rims with a Fitzhugh border, 20cm dia. £80-120 Cf. Remembering Nelson, A Record of The Lily Lambert McCarthy Collection at the Royal Naval Museum, England, p.182 for an identical example. 76. A blue and white commemorative transferware plate, 1st half 19th century, the well decorated with motifs representing Nelson’s three battles, reserved on a ground of mermen blowing conch shells and with tails entwined, reserved on a cracked ice ground, 20.8cm. £100-150 77. A pearlware commemorative lustre jug, 19th century, moulded with a scene depicting the apotheosis of Nelson, the naval hero driving Neptune’s chariot while a Classical figure holds a wreath above his head, the reverse with Britannia and Fame, highlighted with pink and purple lustre and green enamel, a chip to the foot, 14cm. £150-200

77 78. A rare yellow-glazed pearlware commemorative jug, 1st half 19th century, printed in black with a portrait of Nelson flanked by a sailor and Britannia beside flags, reserved on a bright canary yellow ground, minor faults, 12.5cm high. £100-200

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79. A good and rare commemorative pearlware lustre jug, c.1805, printed in black with a portrait of Admiral Lord Nelson, titled with his dates, the reverse with a list of British ships in the order they attacked the combined fleets of France and Spain on 21st October 1805, beneath the spout printed with a six line stanza titled ‘The Landlord’s Caution’, between silver lustre sprigs, the rim and neck with bands of further lustre, a faint star crack to the base, 17cm. £200-300 78

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80. A rare pair of Herculaneum creamware chargers, early 19th century, the well printed in black with an oval portrait of Lord Nelson, the rim with a narrow black border, impressed marks, 52.3cm. (2) £800-1,200 The portrait on this service is after a stipple engraving by William Evans, in turn after a drawing by Henry Edridge. Cf. Richard Walker, The Nelson Portraits, p.196. Very few oval dishes from this service are recorded.

81. A rare pearlware commemorative lustre jug, 1st half 19th century, printed and coloured with Britannia weeping over the ashes of Nelson, the tomb at which she stands inscribed ‘Horatia Nelson’, the reverse with the Farmers Arms, beneath the spout with deer grazing before a stately home, the neck with a band of silver lustre decoration, the handle broken and restuck, 17.5cm. £100-200

82. A pair of Herculaneum creamware plates, late 18th/early 19th century, printed in black to the well with a portrait of Nelson, the rims with black line borders, impressed marks, 25cm. (2) £500-800 The portrait on this service is after a stipple engraving by William Evans, in turn after a drawing by Henry Edridge. Cf. Richard Walker, The Nelson Portraits, p.196.

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83. A rare Jones & Son blue and white transferware tazza, c.1826-28, from the British History series, the well printed with the Death of Nelson, the naval hero surrounded by his crew and officers on the deck of HMS Victory, the exterior sides with Charles I Ordering the Speaker to Give up the Five Members, the interior rim and foot with the flowers of the Union and vignettes of military trophies, a crack to the foot, 28.5cm across. £800-1,200 Cf. A W Coysh and R K Henrywood, The Dictionary of Blue and White Printed Pottery 1780-1880, p.58 for details of this series.

84. An early Jackfield footed teapot and cover of Jacobite significance, mid 18th century, the globular body decorated to each side with a Jacobite rose above a trailing flowering branch. with crabstock spout and handle, the cover surmounted with a bird finial, a little nibbling, 18cm. (2) £150-200

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85. A miniature creamware teapot and cover, c.1770, the globular body decorated in a Whieldon type glaze with running splashes in green, ochre and manganese, cracked, 14cm across. (2) £150-250 Provenance: from the collection of Elizabeth Adams.

86. A pearlware moulded jug of military interest, early 19th century, moulded in high relief, one side with a half-length portrait of Lord Wellington, the reverse with General Hill, between flags and banners, brightly enamelled and with a silver lustre rim, minor faults, 13.3cm. £150-200 General Rowland Hill, 1st Viscount Hill (17721842) served under Wellington during the Napoleonic Wars. He commanded the II Corps at the Battle of Waterloo, and at one point was believed to have been killed.


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87. A good and rare political creamware mug, 2nd half 18th century, the barrel shape painted in red and black with a portrait of John Wilkes, titled ‘Wilkes & Liberty No.45’ in a banner beneath, with feathery scrolls around, a band of impressed ovals to the rim and foot, 12.5cm. £800-1,200 John Wilkes (1725-1798) was a notorious rake, who exposed the scandals of the Hell Fire Club after being expelled from their membership. In issue 45 of his publication, The North Briton, Wilkes’ attack on George III’s 1763 speech endorsing the Paris Peace Treaty earned him a warrant for his arrest for libel. With strong public support, Wilkes was cleared by the Lord Chief Justice.

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88. A massive stone china vase and cover, 19th century, decorated in an Imari type palette with birds perched on large flowering branches surrounding a figure in a small pavilion, the shoulders with kylin handles, echoed to the cover's finial, printed Real Stone China mark, 78cm. (2) ÂŁ200-300

89. A Copeland Parian figure of The Bride, c.1861, modelled by Raphaelle Monti for the Crystal Palace Art Union, a diaphanous veil clinging to the contours of her face and held in place by a floral diadem, raised on a circular socle, incised and impressed marks, 37cm. ÂŁ800-1,200 Cf. Richard Dennis, The Parian Phenomenon, fig. 586.

90. A black basalt figure of a girl, c.1790, probably Neale & Co., standing on a rocky outcrop and holding a basket of flowers under her right arm, the folds of her apron in her left hand, above a chamfered square base, unmarked, a little chipping to the base, 14.5cm. ÂŁ200-300 Cf. Diana Edwards, Neale Pottery and Porcelain, pl.161.

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91. A Staffordshire solid agateware jug and cover, c.1755, the ovoid body marbled with striations of blue and manganese on a cream ground and raised on three paw feet issuing from lion masks, the cover surmounted with a recumbent lion dog finial, the cover joined to the handle with a loose chain mount, small damages, 14.5cm. (2) ÂŁ1,000-1,500 Cf. Bonhams, 18th April 2012, lot 21, for an identical example from the D M Wood Collection.

92. Three salt-glazed stoneware dishes, c.1760, one moulded with a dense design of shaped diaper and basketweave panels, the rim pierced with eight diamond designs, one painted in famille rose enamels with three Chinese figures in a garden setting, this and the largest with a shaped rim enclosing panels of osier moulding and hatched patterns, some damages, 46cm max. (3) ÂŁ150-250

93. A large slipware jug, probably 18th century, the large ovoid body decorated in cream slip with a central tulip roundel beneath a protruding spout, the sides with large swirls, some flaking to the glaze, 30.5cm. ÂŁ200-300

Provenance: from the collection of Elizabeth Adams.

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94. A good pair of Barrow & Jackson creamware bin labels, 1st half 19th century, the coathanger forms of unusually small size, inscribed in black with MARSALA, impressed marks, 7.8cm across. (2) £200-300

95. A rare redware lead-glazed teapot stand, 2nd half 18th century, the shaped form moulded with a low border of a formal leaf design, raised on four low feet, impressed square seal mark, and a lead-glazed earthenware jug, decorated in a dark allover treacle glaze, minor faults, 17.3cm max. (2) £100-200

96. Two pearlware figures, c.1820, one Walton, each of a young girl standing before flowering bocage and feeding a lamb by her side, raised on a tall scrolled base, moulded Walton mark to one, minor faults, 14cm. (2) £180-220

97. Three Staffordshire pearlware figures, c.1780-90, one emblematic of Winter, modelled as a boy clutching a cloak around him, another of a young girl holding a basket of flowers, the last of a boy seated and resting his head on one hand, some repairs to the latter, 12cm max. (3) £100-200 Provenance: from the collection of Elizabeth Adams.

98. A salt-glazed stoneware whistle, 19th century, modelled as a standing cockerel with incised plumage, his body and coxcomb glazed in a rich blue, 8.4cm. £200-300

99. A Staffordshire creamware model of a cat, c.1800, seated on its haunches with head turned to sinister, its coat splashed in ochre and black, raised on a green base, a little chipping, 8.5cm. £100-200

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Cf. Christies, The Margaret Cadman Collection of Staffordshire Ceramics, 10th October 2002, lot 145.


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100. A large and rare Staffordshire model of a cat, 19th century, seated on its haunches with head turned, its coat decorated with black patches, and three small Staffordshire models of cats in a similar pose, 27cm max. (4) £200-300

101. Two treacle-glazed models of cats, 19th century, seated on their haunches with heads turned and tails naturalistically curled, decorated in a streaked glaze of ochre and brown, and a small slipware model of a cat, some chipping, 14.5cm max. (3) £200-300 Cf. Christies, The Margaret Cadman Collection of Staffordshire Ceramics, 10th October 2002, lots 163 and 165 for similar examples of the treacle-glazed cats.

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102. An unusual ceramic model of a recumbent lion, probably 18th century, laying on a stepped rectangular base with his front paws crossed, his head turned to sinister and tail flicked up over his back, left in the white, restoration to one corner of the base, 19.7cm across. £300-400

103. Three pottery models of cats, 19th century, one slipware and seated with its head turned to the left, decorated in striations of cream, brown and red slip, one with a dark treacle glaze, holding a mouse in its mouth, the last decorated in allover copper lustre, minor faults, 12cm max. (3) £150-250

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104. A rare creamware model of a dog, 18th/early 19th century, standing four square on a flat rectangular base, his head cocked to one side, wearing a wide collar, some clean repairs to the base and forelegs, 15cm high. £400-600

105. A Ralph Wood figure of a young chimney sweep, c.1770-80, probably modelled by John Voyez after Paul-Louis Cyfflé, standing with his hands tucked inside his clothes for warmth, some restoration to the base, 17.5cm. £100-200

106. An early Staffordshire model of a cat, c.1780, seated on its haunches with head turned to sinister, its tail curled around its back paws, its coat and ears picked out in manganese and ochre, raised on a low shaped base, 13cm. £200-300

Provenance: from the Brian Adams collection.

107. A large pearlware model of the Madonna and Child, early 19th century, attributed to Enoch Wood, seated and wearing a floral patterned robe, the infant Jesus on her knee and reaching up to his mother’s face, some flaking and chipping, 33.5cm. £200-300 Provenance: from the collection of Elizabeth Adams.

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108. A Staffordshire pearlware sweetmeat figure group, late 18th/early 19th century, perhaps by Ralph Wood, modelled with a couple seated on rockwork and holding large circular baskets, some restoration, 19.5cm. £100-200 Provenance: from the collection of Elizabeth Adams.

109. A pearlware Biblical figure group, c.1820, of Abraham sacrificing Isaac, holding a knife to his son’s throat while an angel appears from behind to stop him, impressed to one side with ‘He said lay not thine [h]and upon thy lad neither do thou any thing unto him’, small chips, some losses to the bocage, 19cm. £150-200


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110. A large Pratt ware plaque of Toby Fillpot, c.1790, moulded in high relief with a depiction of the famous toper seated with his pipe and jug of ale, inspired by Robert Dighton’s print of 1761, unusually painted with a beard, within further moulds of putti and other figures, a painted husk border, a few small rim chips, 25.2cm. £750-900 Illustrated: J & G Lewis, Pratt Ware, p.191. The book raises the theory that such plaques were used as trial runs for moulds to be used as applications on later jugs and other vessels, based on the apparently random and unassociated smaller designs.

111. A Yorkshire Pratt ware sheep group, c.1820, modelled with a young shepherd standing beside a tall ram, his crook leant up against its left foreleg, a small dog recumbent beneath, the base edged in black, ochre and blue, some damages and repairs, 16cm high. £200-300 Provenance: from the Brian Adams collection.

Provenance: the Leonard Russell Collection.

112. A rare female Snuff Taker Toby jug, c.1830, wearing a green dress with a polka dot scarf tied around her neck, holding a circular snuff box and raising a pinch to her right nostril, minor faults, 23.5cm. £400-600 Provenance: the Colin Russell Collection.

113. A Wayte & Ridge comical Toby jug, c.1864, modelled as a Prussian soldier in blue and orange uniform, wedged into a wooden barrel and pulling a face of frustration and disgust, his tongue protruding, the handle formed from his plaited hair, impressed W&R mark, some restoration to his hat, 34cm. £400-600

Female snuff-takers are more commonly seen in the Portobello type, such as the example sold at these salerooms on 25th February 2014, lot 438.

Provenance: the Colin Russell Collection. Previously in the Les Steer Collection.

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114. A rare Yorkshire Toby jug, c.1780, holding a large churchwarden’s pipe in his left hand and a bottle in his right, his breeches, coat and hat washed in manganese, the handle formed as a caryatid with folded arms, a very small amount of good restoration, 25.5cm. £2,500-3,000

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115. A good Pratt ware Toby jug, c.1800, of Ordinary type, seated and resting a foaming jug of ale on his knee, his coat washed in blue, his breeches yellow, the bright colour echoed to the handle behind, 23.5cm. £300-400

116. A good Staffordshire Toby jug, c.1790, after Ralph Wood, modelled seated and with a foaming jug of ale resting on his left knee, wearing a blue waistcoat and yellow breeches beneath a coat mottled in blue, green, yellow and manganese, his face decorated with large blue spots, incised X to the underside, 23.8cm. £600-800

117. A Staffordshire pearlware Toby jug, c.1780, seated with an upright barrel between his feet, a foaming jug of ale on his left knee and his clay pipe resting by his right side, wearing a sponged blue coat over an ochre waistcoat and black breeches, a little restoration to his hat, 25.3cm. £350-450

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118. A rare pair of Brussels faïence figural water cisterns, c.1724-54, by Philippe Mombaers for the Rue de Laeken factory, modelled as a rotund toper and his companion, each seated on a colourful mound set with a metal tap, and clutching their rounded stomachs, dressed in pierrot type costumes patterned with floral sprigs, each with a handle to the reverse, 34.5cm. (2) £1,500-2,000 Cf. Christie’s, Amsterdam, 14th November 2000, lots 206 and 207 for examples of the gentleman.

119. A French faïence tureen and associated cover, mid 18th century, Rouen or Sinceny, the low form with shaped sides, painted in the Chinese manner, the base with flying insects around flowering Oriental branches, the cover with a bird perched on a branch of peony issuing from a cornucopia, 30.5cm. (2) £300-400 Cf., Dorothée Guillemé-Brulon, Histoire de la Faïence Française, Paris & Rouen for a discussion about the history of the Sinceny factory and the spread of workers from Rouen to that region.

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120. A pair of Rouen faïence bough pots or wall pockets, 18th century, the five-sided forms with flattened backs pierced with two suspension holes, painted in polychrome enamels with a formal floral design, the tops pierced with an arrangement of nine small holes around a large aperture, 17cm across. (2) £350-500


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121. An Italian maiolica low-footed tazza, probably 17th century Deruta, the wide circular form painted with a solitary figure crossing an arched bridge beside further ruined column arches, the border with birds, flowerheads and foliate scrolls within a raised yellow rim, all on a low spreading foot, some chipping, 33.7cm dia. £400-600

122. A Savona maiolica plate, c.1740, painted in blue with a small sailboat at sea, the view fringed by foliage issuing from rocks, hatched shield mark to the base, some restoration to the rim, 22cm. £150-200

124. A French (Nevers) faïence figure of the Madonna and child, c.1780, modelled standing and resting the infant Jesus on her left hip, painted in blue, black and ochre, a little restoration to her crown, 24.8cm. £100-200

125. A Spanish faïence pilgrim flask, probably Aragon, Turel, c.16th/17th century, the flattened circular form naively painted in green, yellow and brown with a simplistic floral roundel, the shoulders and narrow neck applied with two strap handles, one handle broken off and restuck, 18.5cm. £150-250

123. A large delftware polychrome charger, probably London c.1705, brightly decorated in a polychrome palette of red, yellow, blue and green, with flowering Oriental branches within a border of stiff leaves alternating with feathery foliate sprigs, some glaze chipping, 34.3cm. £250-350 Cf. Anthony Ray, English Delftware Pottery, pl.63 for a coffee pot with related decoration. Also, the Metropolitan Museum, New York, Accession number 53.25a-c for a large bowl and cover with similar motifs. Both these pieces are dated 1705.

126. A French (Rennes) faïence model of the Madonna and child, c.1800, modelled standing and holding the infant Jesus on her left hip, wearing a patterned robe and standing on a low base, 24cm. £100-200

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127. A Castelli maiolica rectangular plaque, c.1720-30, painted with two peasants at repose in the foreground beneath a tree and before a lake, framed, 25cm. £400-600

128. Three Pesaro maiolica pill jars, c.1800, the rounded cylindrical bodies variously painted with similar designs of small flowers on continuous leafy branches, between concentric blue bands to the feet and shoulders, some faults, 16cm max. (3) £300-400

129. Two Pesaro maiolica albarelli, c.1800, of waisted form raised on low circular feet, and a small Pesaro pill jar, all similarly decorated with continuous leafy flowering branches between concentric blue bands, the pill jar marked ‘No. 55’ to the base, a restored crack to one albarello, 19.5cm max. (3) £300-400

130. A near pair of Sicilian maiolica drug bottles, c.1760, boldly decorated in a simple palette of yellow, ochre, green, blue and manganese, each with a continuous band of fruit and flowers to the globular bodies, the long necks with concentric coloured bands, small damages, 24cm max. (2) £250-350

131. A pair of Savona maiolica drug bottles, 18th century, the globular bodies painted in blue and manganese, with banners titled ‘Acetose’ and ‘Portulace’ respectively, reserved on a ground of continuous fruiting grapevine, each marked with a fish to the base, chipping to one neck, 23.5cm. (2) £350-450

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Sorrel and Purslane have medicinal benefits, still accessed today. Sorrel contains tannins which help to reduce mucous production. Purslane was boiled with honey to relieve a dry cough, and the leaves applied as a poultice to relieve the symptoms of gout. It is high in anti-oxidants.


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132. A large Spanish faïence syrup jar, mid 18th century, painted with a two-headed black eagle with a shield on its chest, between the initials ‘SP’, and above a banner bearing the inscription ‘A:Di:Boragne’, the sides with proud birds amid scrolling leaves, a wide strap handle, a little glaze chipping, 34cm. £300-500

133. A large Montelupo syrup or wet drug jar, 18th century, the ovoid body painted with a large YHS monogram in shades of ochre on a blue ground within an oval panel, a short spout above, with an overhead ropetwist handle, a few small chips, 37.5cm. £80-120

134. A large Italian maiolica albarello, dated 1787, possibly Liguria, one side painted with a two-handled vase issuing tall flower stems including tulip and chrysanthemum, the reverse inscribed ‘OG 1787’ in manganese, some faults, 23cm. £200-300

135. A Sicilian maiolica drug jar or bottle, mid 18th century, painted with a large hare or rabbit nibbling on grass, the neck with vertical blue stripes to one side, a short crack to the neck, 20cm. £200-300

Cf. The Victoria & Albert Museum, Accession No. C.741-1925 for an example with near identical decoration, dated 1791.

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136. A tall Italian (Naples) maiolica albarello, dated 1802, the narrow waisted form painted with a two-handled vase in the Neoclassical manner, issuing flowering branches, flanked by vertical stripes in blue, ochre and green on yellow, the reverse inscribed ‘1802’ in manganese, two short rim cracks, 30.7cm. £200-300

137. A Spanish maiolica albarello, 18th century, the narrow waisted form decorated in a rich monochrome turquoise glaze, echoed to the interior, 27.5cm. £200-300

140. An Italian (Sicily) maiolica miniature bombola, c.1760, painted with a tree between two buildings within a panel reserved on a blue ground decorated with a single scroll bearing a fruit and a white flower, 7.5cm. £100-200

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138. An Italian (Sicily) maiolica albarello, c.1700, the waisted form painted with a formal design of blue flower sprays flanking rococo panels sponged in black and ochre, minor faults, 25.5cm. £180-220

139. A Spanish (Talavera) lustre-glazed pottery albarello, c.1700, the tall waisted form decorated with three large stylized leaves within oval panels, in a purple lustre on a blue ground, some restoration to the rim, 27.5cm. £200-300

141. A small Deruta maiolica albarello, c.1670, of diminutive waisted form, painted with a small armorial shieldin blue, ochre and yellow, reserved between bands of birds in flight and foliate scrolls in blue, titled beneath with ‘Letificant Galen’, a faint tight rim crack, 12.7cm. £200-300 Laetificans, from the Italian verb meaning ‘to gladden’, was an electuary with general tonic properties. The Galen at the end of inscription refers to Galen of Pergamon, a notable surgeon and physician during the 2nd century AD.


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142. A large pair of Laterza maiolica albarelli, late 17th/early 18th century, both decorated in blue and manganese, one with a lion between tall trees, the other with a dog reared up on its hind legs beside a tower and trees, between blue dash borders, each jar bearing the initials ‘GE’, 27cm. (2) £700-1,000 Cf. The Victoria & Albert Museum, Accession No. C.243-1914 for a similar, smaller example.

143. A pair of Italian maiolica albarelli, late 18th/early 19th century, the waisted forms painted with flower garlands and titled ‘CASS. R.ENT.’ and ‘UNG.DE.ALTH’ respectively in manganese, a little chipping and restoration to the rims, 16.8cm. (2) £200-300 Ointment of Marshmallow (using the root of the mallow plant) was used on fresh wounds, boils and burns to draw unwanted matter to the surface.

144. A pair of Naples maiolica armorial albarelli, c.1710, the large and slightly waisted forms painted in a simple palette, each with a heraldic shield of three birds on a diagonal band across wide stripes in ochre and white, old paper collector’s labels to the reverse, 28cm. (2) £400-600

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145. A Montelupo maiolica jug, c.15th century, the swollen body simply painted in blue and green enamels with an owl, contained in a circular panel reserved on a ground of scrolling foliate motifs, with a wide strap handle and pinched spout, some glaze wear and chipping, 16.5cm high. £500-700 Cf. Faustio Berti, La Maiolica di Montelupo, pl.59.

146. A Montelupo maiolica albarello, 1st half 16th century, the waisted form painted in blue, yellow, green and manganese with a continuous design of overlapping petals containing flowerheads and bands of colour, some wear and chipping, 18cm. £300-400

147. A small Italian maiolica albarello, dated 1613, probably Siena, the slightly flared cylindrical form painted with a winged mask of a putto above a banner inscribed ‘F Di Cappi 1613’, a small portrait of a child flanked by two griffins, a vase to the reverse supporting a long stem bearing the date ‘1613’, the shoulder and foot with a simple border of ochre triangles within a manganese line, a surface chip to one side, 15cm. £400-600 Caper flowers have a long history of use as a culinary spice and as an anti-inflammtory.

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148. An Italian (Deruta) maiolica armorial albarello, c.1650, painted with a small heraldic shield of a blue star either side of a horizontal band in yellow and ochre, flanked by birds in flight amidst foliate scrolls, above a banner inscribed ‘Ung. Lily Laccar’, 22cm. £300-400

149. An Italian (Naples) maiolica albarello, c.1720, painted in a simple palette of blue, yellow and manganese, with the half portrait of a lady, wearing a two strand necklace, the foot and shoulder with concentric blue bands, a short faint rim crack, 21cm. £300-400

150. A Continental maiolica storage jar, dated 1746, probably Italian, the baluster form moulded with three panels to the front, brightly painted with oranges and grapes within rococo scrolls and foliate sprays, the reverse inscribed ‘1746’ in blue, some faults, 18.6cm. £200-300

151. A Montelupo armorial jug (boccale), c.1500, the ovoid body painted with an octagonal panel enclosing a lion rampant, the lower diagonal half in blue on an ochre ground, the colours reversed to the upper half, reserved on a ground of dense blue flower scrolls, the wide strap handle washed in green, damages, 20cm. £300-500 Cf. The Metropolitan Museum, Accession No. 1975.1.1011 for an example from the Robert Lehman Collection.

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THE IRIS JONES COLLECTION OF DELFTWARE

152. Three delftware plates, mid 18th century, one Dublin and painted in blue with the Broken Scroll pattern, one Lambeth and decorated in polychrome enamels with a parrot perched on flowering branches, the last Liverpool and painted in the Fazackerley palette with simple flower sprays, some damages and repairs, 23.5cm max. (3) £150-200

153. Three delftware plates, mid 18th century, the largest painted in blue with a bird in flight above a flowering peony branch, the other two painted with differing designs of birds perched on branches above Oriental blooms, some rim chipping, 29.8cm max. £100-200 Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

154. Two large delftware plates or chargers and a lobed dish, late 17th/18th century, the lobed dish painted in blue with a seated chinaman holding a flying pennant, one plate with a gnarled pine tree above flowering prunus, the other with peony and willow within a wide stylized foliate border, some damages and repairs, 35.5cm max. (3) £200-300

155. Three delftware punch bowls, c.1770, two decorated with Oriental landscape scenes and flowering peony branches, the last with small peony sprays beneath a cell diaper border, some damages, 27.4cm max. (3) £150-250 Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

156. Six delftware plates, 18th century, variously decorated in blue with Oriental landscapes, with arrangements of bamboo, peony, pine and willow above zigzag fences, some damages, 24cm max. (6) £200-300 Provenance: the Iris Jones Collection.

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157. Four Delft and delftware plates, 18th century, variously painted in blue and polychrome enamels with a central roundel within floral sprigs, stylized foliate designs and diaper borders, some damages, 22.8cm max. (4) £150-200 Provenance: the Iris Jones Collection.


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158. A pair of delftware plates, c.1770, probably Lambeth, painted in polychrome enamels with tall plants issuing from a red, blue and yellow zigzag fence, the rims with flower garlands issuing from a feathery blue band, some rim chipping, 22.8cm. (2) £150-250 Provenance: the Iris Jones Collection.

159. A pair of delftware octagonal plates, mid 18th century, each painted in blue with two figures standing on a bridge linking islands in a Chinese landscape, one island with pagodas beneath pine trees, the rims with flower sprays issuing from a cell diaper border, a rim crack to one, 23cm. (2) £120-180 Provenance: the Iris Jones Collection.

160. A Dublin delftware plate and a soup plate, mid 18th century, the plate painted in blue, the bowl in manganese, with chrysanthemum and other Oriental flowers issuing from patterned censers, the rims with further flowers and auspicious objects, painted numeral marks, the plate cracked, 23.5cm. (2) £100-150 Provenance: the Iris Jones Collection.

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161. Three delftware plates, 18th century, one Lambeth and painted in polychrome enamels with a seated Chinese figure beneath a willow tree, one in blue with a figure holding a parasol, regarded by another figure behind a fence, the last with a single figure holding a parasol above his head within a simple landscape, minor damages, 25.5cm max. (3) £200-300

162. Four Bristol delftware plates, c.1760-70, one painted with chrysanthemum and bamboo, another with a tall pine tree beside rockwork and buildings, each within a bianco-sopra-bianco border, two with conical trees beside low buildings within a cell diaper band, one cracked, 23.5cm max. (4) £150-200 Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

163. Three delftware plates, mid 18th century, two painted in blue with tall bamboo sprays beside flowering peony and rockwork, issuing from before a low zigzag fence, the last with a two-storeyed pagoda beneath a tree, the rim with vignettes of foliage and rocks, together with a shallow bowl painted in the same design as the last, some damages, 22.7cm max. (4) £120-180 Provenance: the Iris Jones Collection.

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164. Five Delft and delftware plates, 18th century, variously decorated in blue with central designs of peony and other flowers, within formal and foliate borders, some damages, 22.8cm max. (5) £120-180 Provenance: the Iris Jones Collection.


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165. A London delftware plate, c.1730-40, painted in blue with a peacock standing beside stylized bamboo and holey rockwork, the rim with a series of broken curved lines, some glaze chipping, 22.5cm. £200-300 Provenance: the Iris Jones Collection.

166. A large Bristol delftware charger, c.1760-70, brightly enamelled in blue, red, manganese and green with a typical landscape, a Chinese figure fishing from a bridge and three further figures in boats to the rim, minor rim chipping, 34.2cm. £150-250

167. An early London delftware low footed dish, c.1670, with an unusually moulded rim of alternating ovals and gadroons, painted with tassels and demi foliate mons, the well with a Chinaman seated among rocks, a 5.5cm rim crack, 21.8cm. £150-250

168. An English delftware punchbowl, c.1760, the exterior painted with stylized fruiting branches in the Chinese manner, the interior inscribed ‘ONE MORE AND THEN’ within similar decoration, rim crack, 26.7cm. £150-250

Provenance: the Iris Jones Collection.

The inscription is an abbreviated version of the full ‘One bowl of punch more, and then we part’; punch-drinking being a highly sociable activity during the 18th century.

Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

169. A delftware scallop-edged plate, c.1760-70, painted in blue in the Chinese manner with an insect flying around a large spray of flowering peony, the shaped rim with a stylized feathered or stiff leaf border, painted 2 mark to the underside, 22cm. £100-200 Provenance: the Iris Jones Collection.

170. A Bristol delftware small bowl, mid 18th century, painted in blue, manganese and yellow with a low building on an island in a Chinese landscape, some chipping to the footrim, 12.5cm dia. £150-250 Provenance: the Iris Jones Collection.

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171. Two delftware plates, mid 18th century, one unusually painted in blue with a willow tree issuing from a stack of rocks beside buildings, the mast of a ship visible behind, the other with a figure crossing a bridge between two pagoda islands beneath willow branches, a rim crack to the latter, 23cm. (2) £100-200

172. Two large delftware plates, c.1760, one probably Bristol, painted in blue with differing designs of bamboo, peony and chrysanthemum, some glaze chipping, 31.3cm max. (2) £120-180 Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

173. A pair of delftware plates, c.1760, decorated in polychrome enamels with sprays of bamboo and peony in shades of blue, green, yellow, red and manganese, the rim with a band of blue dots, a tiny amount of restoration to the rim, 22.5cm. (2) £100-200

174. Two delftware chargers, mid 18th century, the smaller painted in polychrome enamels with a peacock perched on holey rockwork beside flowering peony, the larger in blue with a long-tailed bird on a tall stump, some rim chips, 34cm max. (2) £150-250

Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

175. Two large faïence dishes or chargers, 19th century, one painted in blue with a central flower spray within concentric bands of stylized flowerheads, the other painted with a wide continuous band of flowering branches in blue, green, yellow and red, the smaller with a filled chip to the centre, 41.3cm max. (2) £100-200

176. Two Cantagalli plates or stands, late 19th/early 20th century, each painted to the well with a putto, the moulded and reticulated rims with vignettes of buildings and scattered flower sprigs, painted cockerel marks, damages to one, 24cm. (2) £80-100

Provenance: the Iris Jones Collection.

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Provenance: the Iris Jones Collection.


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177. A delftware guglet or water bottle, c.1750, perhaps Vauxhall, the ovoid body painted with eight panels of a single lotus bloom on a dense scroll ground, the tapering neck with a narrow band of stiff leaves, some chipping to the rim, 23.2cm. £200-300 Provenance: the Iris Jones Collection. Cf. John C. Austin, British Delft at Williamsburg, no.590 for a similar example. The notes for this record state that fragments bearing this Lotus pattern have been excavated at Vauxhall.

178. A Liverpool delftware puzzle jug, c.1760-70, of traditional form with a tall reticulated neck issuing from a squat globular body, painted with a four line stanza inviting ‘Here Gentleman come try your skill’, the sides with sprays of flowers in blue, red and green, some damages and repairs to the neck and handle, 18.5cm. £150-250 Provenance: the Iris Jones Collection.

180. Two Delft vases, 18th century, of baluster form, one painted with a Chinese figure within a shaped panel bordered with foliate scrolls, the other with a large peony bloom and foliate scrolls, the latter with an associated cover with a fruit finial, some faults, 24.3cm max. (3) £100-200

179. A delftware guglet or water bottle, c.1770, probably London, the rounded body painted in blue with three large specimens of lotus, peony and chrysanthemum, the tall neck with stylized foliate motifs, the rim lacking, 22.7cm. £200-300 Provenance: the Iris Jones Collection. Cf. John C. Austin, British Delft at Williamsburg, no. 595 for a similar example.

181. Two London delftware tavern measures, late 18th century, of ovoid form with incised necks and small strap handles, the bodies painted in blue with simple stylized floral motifs, 13cm. (2) £100-200 Provenance: the Iris Jones Collection.

Provenance: the Iris Jones Collection.

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OTHER PROPERTIES

182. A rare Dublin or Liverpool delftware vase, c.1760, the ovoid form boldly painted in blue relief with large peony and chrysanthemum blooms amidst scrolling leaves and prunus blossom branches, a rim crack, the cover lacking, 25cm. £600-1,000 Cf. Peter Francis, Irish Delftware, fig. 175 for a similar garniture.

184. A Delft bowl, late 17th/early 18th century, the deep flared sides painted in blue after a Chinese original, with alternating panels of flowering branches and tied auspicious objects, separated by narrow blue dash bands, the interior with a large leaf, cracked, 21.8cm dia. £150-250

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183. A Liverpool delftware guglet, mid 18th century, the rounded body painted to two sides with a bird perched on rockwork beside bamboo and peony, the tapering neck rising to a swollen knop beneath the flared rim, painted with small leaf sprigs, a small amount of chipping to the rim, 23cm. £300-400

185. A London delftware dry drug jar, 1st half 18th century, painted in blue with a cartouche titled ‘THER: AND:’ above a winged mask supporting flower garlands, surmounted by a basket and two birds perched on leafy branches, some damages and restoration, 19.5cm. £350-450 Theriac of Andromachus was a traditional remedy containing 73 ingredients including viper flesh, making it a popular choice as an antidote to poisonous bites.


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186. A rare delftware colander bowl, c.1740-60, unusually decorated in red, green and blue with birds in flight and perched on holey rockwork among flowering branches, the concave top pierced with four concentric rings of holes around a larger central aperture, some chipping, 22.3cm dia. £800-1,200 Polychrome decoration on this type of object is extremely unusual.

187. A delftware small lobed dish or cracknell, c.1660-80, possibly London or Continental, painted in blue with a seated Chinaman amongst rockwork, the same design echoed twice to the lobed rim, raised on a low foot, 21.3cm. £100-200 Whilst Continental examples of this shape are more common, this has nine lobes rather than the more usual eight, a form which it shares with a dish in the Henry Francis du Pont Winterthur Museum painted with the arms of the London Company of Drapers. Provenance: from the Brian Adams collection.

188. A Delft lobed dish or cracknell, c.1660-80, the octagonal well painted in blue with Oriental flowers and foliage, within a wide scalloped rim of alternating landscape panels and stylized scrolling floral designs, 30cm. £150-250

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189. Two Delft plates, 18th century, one painted in manganese with a standing Chinaman before an ornamental fence, a small pagoda island in the distance, the other in polychrome enamels with small huts beneath a fringed tree, some restoration to the rims, 23cm max. (2) £150-250

190. An early delftware small plate, c.1710, the well painted with a three-storeyed pagoda within a circular panel with overlapping petal border, the rim with octagonal panels of peony sprays, 19.5cm. £200-300

191. An English delftware lobed dish or cracknell, c.1690, probably Brislington, the convex well painted with a small building within a jagged foliate border, moulded with two bands of gadroons, the scalloped rim with further foliate motifs and a tassel design, small faults, 33cm. £200-300

192. A large pair of Bristol delftware chargers, mid 18th century, decorated in red, green and blue with a standing figure fishing beside an elaborate pagoda, a further figure in a boat beside, the rims with stylized floral panels on a hatched diaper ground, restoration, 33cm. (2) £200-300

193. Two delftware plates, c.1760-70, one Lambeth and painted in yellow, green, blue and ochre with a seated Chinese figure beside tall rockwork, the other Bristol and painted in blue, yellow, green and manganese with a peacock seated on holey rockwork beside flowering branches, a few filled rim chips to the latter, 22.3cm. (2) £200-300

194. A London delftware charger, c.1770, painted in blue with a maiden reclining on a rocky outcrop and attended by a young shepherd, beneath a tall sponged tree and before a ruined archway, small rim chips, 34cm. £150-250

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A piece of paper to the underside, relating the plate to the Gautier Collection.

The figures are copied from an engraving by Charles Albert von Lespiliez after François de Cuvilliés in Morceaux de Caprice. See Frank Britton, London Delftware, p.161 for a similar example and a copy of the print from which it derives.


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195. Three Liverpool delftware tiles, c.1760-70, printed in black by John Sadler, the first with a street scene of child actors begging and performing for street vendors and two ladies looking out of a window, one with a gentleman doffing his hat to two ladies, after a scene from the Ladies Amusement, the last with a couple beside a see-saw, the last broken and restuck, 12.8cm. (3) £300-400

196. Three Liverpool delftware tiles, c.1760-70, printed in black by John Sadler, one with a shepherd surprising a sleeping shepherdess, one with a gentleman helping a lady to fasten her ice-skate, with a partial signature, the last of a peasant offering a birdcage to a lady and child seated beneath a tree, the last broken and restuck, 13cm. (3) £250-350

Cf. Anthony Ray, English Delftware Tiles, nos. 647, 720 and 643.

The tile with the ice-skater derives from Lancret’s Winter. Cf. Anthony Ray, English Delftware Tiles, nos. 625, 635 and 732.

Provenance: from the collection of Elizabeth Adams.

Provenance: from the collection of Elizabeth Adams.

197. Two delftware Biblical tiles, mid 18th century, variously painted in manganese, one with Jesus and two followers on the Walk to Emmaus, the other with Christ carrying the cross, together with a Dutch tile of an archer on horseback, the Biblical tiles in slender wood frames, 13.8cm max. (3) £120-180 Both Biblical tiles derive from Dutch designs. Cf. Anthony Ray, English Delftware Tiles, p.129, no.91 for the latter, and the V&A, Accession No. C.602:4-1923 for the Dutch version of the former.

198. Four Delft tiles, early 18th century, painted in blue with a central panel containing a rural figure fishing, with a falcon, or blowing a hunting horn, reserved on a powdered manganese ground with geometric stripes, some chipping, 13cm. (4) £100-200 Provenance: from the collection of Elizabeth Adams.

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199. A rare Liverpool delftware tile, c.1780, printed in red, probably by John Sadler with a head and shoulders portrait of a gentleman, perhaps Charles James Fox MP, and a Sadler tile printed in black with a boy watching a girl blowing bubbles at a table, after John Bowles, damages and repairs, 13cm. (2) £500-800

200. A rare pair of Bristol delftware miniature bottle vases, c.1720, painted in blue with a Jumping Boy design, each with two Chinese figures in animated poses either side of vases of flowers, the tapering necks rising to flared rims, 10.2cm. (2) £800-1,200

201. A Dutch Delft teapot and cover, early 18th century, the pearshaped body lightly fluted and painted in red, green and blue with large flowering peony sprays to one side, the reverse with a bird in flight above other flowers, red L F monogram mark for Lambertus van Eenhoorn, the handle broken off and restuck, some chipping, 15cm. (2) £300-500

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202. A Bristol delftware plate, mid 18th century, painted predominantly in manganese with a Chinese lady seated on a large bamboo trunk with a curved branch above her head, holding a fan in her right hand, the rim with bamboo vignettes reserved on a hatched diaper ground, all highlighted in blue, green and yellow, 23cm. £100-200 Cf. Michael Archer, Delftware, p.211.

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203. A documentary Liverpool delftware plate, dated 1750, painted in blue with an insect around a tall peony spray and other Oriental flowers, the rim with panels of tied scrolls reserved on a hatched diaper band, the reverse inscribed ‘Timothy Hoyle of Stublee in Rochdale Parish 1750’, broken and restuck, 22.3cm. £100-200

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Provenance: the Liane Richards Collection. Exhibited: the English Ceramic Circle, 2009. The Timothy Hoyle in question seems likely to have been a yeoman, living in the Stublee (or Lee) area of Rochdale, near Newchurch. He married Elizabeth Topper on 29th November 1749, and the University of Manchester Library holds several records relating to financial transactions and the purchase of a pew in the chapel of Newchurch.

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204. An English delftware lobed dish, c.1690, probably Brislington, the well painted with a church tower and other buildings beside water, the scalloped rim with a border of tassels and stylized foliate motifs, a star crack, 34.5cm. £150-250

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205. A large delftware plate or charger, c.1740-60, probably Bristol, boldly painted in blue, green, red and black with a longtailed bird perched on a banded hedge beneath flowering branches, the rim with four sprays of peony, a blue cross and dash border to the underside, 33.2cm. £150-250 206. A London delftware large plate, mid 18th century, painted with bamboo and peony before a low zigzag fence, the rim with a continuous scroll border, edged in yellow, 30.4cm. £100-200 207. A delftware plate, mid 18th century, painted in blue with a couple standing before a hillside beneath a tall tree, she cradling a baby, some rim chipping, 22.5cm. £180-220

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207

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208. A Royal Worcester cased coffee set, date code for 1924, richly decorated with gilt palmettes beneath beaded borders on a dark blue ground. Comprising: six coffee cups, six saucers and six enamelled silver spoons with marks for Hukin & Heath, all contained in a fitted case. £150-250

209. A Royal Crown Derby cased coffee set, date code for 1927, decorated in pattern 2649 with a floral design in the Imari palette. Comprising: six coffee cups and six saucers contained in a fitted case. £80-120

210. A rare Royal Worcester cased coffee set, date code for 1940, richly decorated in the Independence 1776 pattern, each piece with a blue eagle perched on a flowering branch. Comprising: eight coffee cups and eight saucers contained in a fitted case. £150-250 This design, based on an 18th century original, was produced in a limited run of 500 sets and sold only in the United States of America.

211. Three Worcester plates, late 18th/early 19th century, one painted by George Davis with a peacock and other exotic birds within a garland border, one Flight Barr & Barr and decorated with the arms of the East India Company to the well, within sprays of pink roses and a shaped pink border, the last Chamberlain’s and painted with a Tortoiseshell butterfly within a formal blue and gilt rim, 25cm max. (3) £150-250

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212. A Nantgarw dessert dish and a plate, c.1815-20, the dessert dish of square form and moulded with flowers and C scrolls, painted with butterflies in flight around floral sprays and sprigs of gooseberry and redcurrant, the plate London-decorated in the Sims workshop with an arrangement of pink roses and a single insect, impressed Nantgarw CW marks, and a Wedgwood botanical plate painted with chrysanthemum blooms, 28.8cm max. (3) £1,000-1,200


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213. A pair of English porcelain monogrammed jugs, c.1830-40, possibly Coalport, well painted with bold sprays of native flowers including poppy, auricula, rose and forget-me-not, beneath each spout with monogrammed gilt initials, 17cm. (2) £200-300 By familial repute, these jugs were a wedding gift to Thomas Croisdale and Lilian H Croisdale, believed to have been part of the manufacturing Croisdale family in the West Riding of Yorkshire.

215. A good pair of Royal Worcester tusk spill vases, date code for 1886, modelled by James Hadley to simulate Japanese ivory, one modelled with a daimyo procession of marching frogs, the other with a large serpent curled around a tree, the frogs in retreat, raised on scroll bases, with gilt detailing to mimic shibayama, printed marks, 20.3cm. (2) £500-700

214. A Herculaneum porcelain garniture of three vases, c.1815, of campana form, painted with detailed rural landscapes attributed to Samuel Williams, reserved on a cobalt blue ground with formal gilt foliate scrolls, red pattern number 127 over 5, 15.6cm max. (3 £400-600

216. A pair of Barr Flight and Barr porcelain spill vases, early 19th century, printed in black with rural and farming scenes, with a farmer tending his cows, two men harvesting a crop, a couple traversing a stile, and a woman churning milk, above claret bands, 11.4cm. (2) £100-200 Cf. Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840, pl.66 for a beaker bearing similar bat prints after William Henry Pyne.

A pair of these vases was exhibited in Vienna in 1873, a year after they were first modelled by James Hadley.

218. A Chamberlain’s Worcester bough pot and cover, c.1815-20, the D-shape form split into three panels separated by raised columns surmounted by lion masks, the central panel painted with figures on an old brick bridge above a waterfall, the two smaller panels with landscapes on a gilt vermicelli ground, the stepped cover with two roles of holes and an artichoke finial, titled in the gilt to the base with ‘The Bridge and great Cataract at alata’, 20cm across. (2) £200-300 217. A small English porcelain oval plaque, late 18th/early 19th century, painted with an arrangement of fruit including a cut melon, halved nectarine, strawberries, cherries and grapes, within a rectangular frame, the plaque 8.3cm. £200-300

Cf. Geoffrey Godden, Chamberlain’s Worcester, pls.344 and 345. This example appears to be an interesting transition between the two forms, having the flattened columns of the later model, but the bun feet of the earlier. The central scene is copied from a print in James Bruce’s ‘Travels in Abyssinia’.

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219. A Royal Crown Derby pot pourri vase and cover, date code for 1909, painted by Charles Harris with a colourful bird standing on the ground before trees and aquatic reeds, a pink rose motif beneath, echoed to the foot and cover, the reverse with a pair of birds in flight, signed ‘C Harris’, edged in gilt and turquoise and raised on a chamfered square foot, pattern numbers 7734 and 1586, printed red marks, 14.5cm. (2) £250-350

220. A miniature Spode watering can and cover and a taperstick, c.1810-20, decorated in pattern 3420 with enamelled and gilt flower sprays on a dark blue ground, and a miniature cup and saucer painted with pink roses on a gilt dot ground, 8.5cm max. (5) £200-300

221. A Bristol porcelain model of a bird’s nest, c.1850, modelled by Edward Raby for Pountney & Co., left in the white and containing three small eggs, 7.5cm across. £100-200

222. A rare pair of Minton bone china candle snuffers, c.1845, modelled as a young couple wearing colourful elaborate costumes, the gentleman doffing his hat, mounted on a chequered tray, some restoration, the tray 14.5cm across. (3) £100-150

Cf. The Victoria and Albert Museum, Accession No. C.620-1935. Provenance: from the Brian Adams collection.

Cf. Tony Horsley, Distinguished Extinguishers, p.96. Provenance: from the Brian Adams collection.

223. Four English porcelain models of a cat with a kitten, 1st half 19th century, one Samuel Alcock, each sitting with head turned and raised on a scrolled yellow base, a Staffordshire model of a cat and kitten in a basket, another seated on a rectangular green base, the last formed as an inkwell or pen holder, the kitten stalking a mouse, small damages, 9cm max. (4) £300-400

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224. Four small models of recumbent cats, 1st half 19th century, two of English porcelain, probably Derby, their coats splashed in black and ochre, raised on a low rectangular base enamelled pink and green, a similar model in pearlware, a larger pearlware model of a cat recumbent on a tasselled green base, and a Staffordshire porcelain model of a cat seated on its haunches with head turned to dexter, a few small chips, 7.4cm max. (4) £100-200


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225. A pair of Bloor Derby milk carriers, c.1840, a milkmaid and her companion each carrying three covered churns, one in a hand and each with two suspended from a yoke, raised on circular bases, some restoration, 17cm. (2) £100-200 Provenance: from the Brian Adams collection.

226. A pair of South Staffordshire enamel candlesticks, c.1770, the knopped forms painted with polychrome flower sprays between shaped blue panels with raised gilt flower sprays, the cylindrical sconces fitted with scalloped drip pans, some damages and restoration, 24cm. (4) £150-200

227. An English porcelain monkey band figure, 19th century, perhaps Samuel Alcock, modelled as a hurdy-gurdy player wearing a green jacket over yellow breeches, a small monkey in a red coat perched on top of his instrument, a little restoration, 15cm. £100-200 Provenance: from the Brian Adams collection.

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228. A Meissen scent flask, c.1730, of flattened circular form, finely painted with a continuous harbour landscape, depicting figures unloading boats, setting sail and talking at the water’s edge, the tapering neck moulded with flutes and highlighted in puce, orange and gilt, with metal mounts to the neck and foot, blue crossed swords mark, 9.5cm. £800-1,200

229. A Chelsea-style porcelain scent bottle, probably 2nd half 18th century, formed as a tied bouquet of flowers edged in dark pink, with gilt metal mounts, the stopper formed as a small bird, holding a chain in its beak, a few tiny chips, 6.5cm. £100-200

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230. A rare Staffordshire enamel patch box in the form of a faux montre, c.1770-80, the glass fronted cover opening to reveal an enamel clock face with two movable metal hands, the face opening to reveal a compartment behind with steel mirror, the reverse with a chequered design in blue, white and gilt, fitted with a metal suspension hook, 4.2cm. £500-800

231. A Bilston enamel box in the form of a faux montre, c.1780, the toy pocket watch painted with a clock face showing the time of eight minutes past five, the sides and reverse with a raised design of polychrome flowers on a green ground, with metal mount and suspension loop, 4.2cm. £300-500

232. An English enamel double scent bottle case, c.1780, of flattened rectangular form, decorated with panels of polychrome flowers, edged in raised yellow scrolls on a lilac ground, with further flower sprigs, the interior fitted with two glass scent bottles, one with a stopper, a little chipping beneath the base, 6cm. £100-200

233. A Bilston enamel bird bonbonniere, c.1780, modelled as a large finch, with plumage delicately painted in naturalistic colours, the base painted with a large flower spray in puce and black, the tip of the beak restored, 4.8cm. £300-400

234. A good Birmingham or South Staffordshire bird bonbonniere, c.1760-70, modelled as a goldfinch preening its feathers, its head tucking under its left wing, recumbent on a grassy base, with gilt coloured metal mount, the hinged cover painted with a further bird perched on a flowering branch above a beetle, 7cm. £500-800 Cf. Therle and Bernard Hughes, English Painted Enamels, p.141, fig.77 for a similar example in the Ionides Collection.

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235. A South Staffordshire enamel patch box, c.1780-90, decorated with a crown above a sceptre crossed with a leafy branch, titled ‘King and Constitution’ in black, the sides enamelled in pink, the interior cover fitted with a mirror, some good restoration, 4.8cm. £200-300

236. A rare English enamel patch box, early 19th century, decorated with a portrait of George IV during his time as Prince of Wales, titled Prince Regent in black above, the sides enamelled in a lavender blue, the interior cover fitted with a mirror, some good restoration, 4.3cm. £300-400

237. A rare Bilston enamel patch box, c.1770-80, the oval form decorated in a rich canary yellow ground, the cover inscribed ‘Liberty and Loyalty’, the sides painted with polychrome flower sprays, the interior cover fitted with a mirror, 4.5cm. £300-400

The portrait is taken from a print by William Skelton, after a portrait by Thomas Phillips.

238. An English enamel small patch or pill box, late 18th century, the circular form with screw cover decorated with Charity holding a baby and with right hand outstretched in supplication, two further infants beside her, the sides and base enamelled in blue, some restoration to the base, 3cm. £100-200

239. A Bilston enamel spaniel bonbonnière, c.1780, of small size, modelled with a recumbent cavalier spaniel on a pink cushion mound, its coat picked out in black and white, the base painted with a small spray of flowers on a white ground, the interior cover fitted with a mirror, 4cm. £600-800

240. An English enamel patch box, late 18th century, decorated with a couple standing before a priest, titled in black with ‘The Single Married, the Married happy’, and edged in white raised enamel dots on a pale pink ground, the interior cover fitted with a mirror, a tiny amount of restoration, 4.5cm. £300-400

241. An English enamel patch box, c.1789, painted in black with Britannia kneeling beside her shield and raising her hands in supplication, around the edge inscribed ‘Lost to Britannia’s hopes: But to her prayr’s restor’d’, the sides enamelled in a pale pink, the interior cover fitted with a mirror, some good restoration, 4.3cm. £250-350

242. An English enamel bonbonnière, c.1770-80, modelled as a black and white spaniel curled up on a patterned pink cushion, the hinged lid painted with flowers with a narrow pink border, some restoration, 5cm across. £200-300

243. An English enamel patch box of naval interest, c.1798, printed and hand-coloured with Britannia seated on the shore before a tall masted ship, a pyramid obelisk to her right, the sides and base enamelled in a pale peach, the interior cover fitted with a mirror, a little cracking, 4.4cm. £200-300

The sentiment on this box is echoed on certain coinage of 1789 and probably relates to the serious illness of George III, his recovery and the aborted passing of the Regency Bill.

Provenance: from the collection of Elizabeth Adams.

This print may well relate to Nelson’s victory at the Battle of the Nile in 1798, which saw the captain promoted to Baron Nelson.

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244. An English enamel patch box, late 18th /early 19th century, decorated with a vignette of military motifs including a drum, cannon and banners, inscribed in black with ‘May British Valour Conquests gain And make our Foes Our Friends again’, raised on a pink base, the interior lid fitted with a mirror, a little cracking, the mirror broken, 3.8cm. £200-300 245. A rare English enamel patch box of naval interest, late 18th century, painted in black with a dove of peace above two clasped hands, inscribed ‘Valour United’ above and ‘Nelson & Warren Triumphant’ below, the base enamelled a pale pink, fitted with a mirror to the interior cover, some good restoration, 4.3cm. £500-800 Commodore John Borlase Warren combined a naval career with a career as MP for Great Marlow. He played a key part in the French Revolutionary Wars in 1795 and in the Irish Rebellion in October 1798. 246. A rare South Staffordshire enamel ‘Nelson’ patch box, c.1805, the oval form painted with a panel of ships depicting the battle formation at the Battle of Trafalgar, with a white border edged in gilt and raised white enamel dots, inscribed in black ‘England Expects every man to Do his Duty. Nelson Oct. 21 1805’, reserved on a dark blue ground, some good restoration, 4.8cm. £1,200-1,500 th

Cf. Bonhams, 19 October 2011, lot 186 for an example from the Mort and Moira Lesser Collection. 247. A South Staffordshire enamel patch box, late 18th/early 19th century, the oval form decorated with Britannia seated beside a lion and before a tall masted ship, holding a sceptre and with her shield leaning up against her skirts, within a continuous laurel leaf border, the sides with a striped design of leaves and puce flowerheads, the interior cover fitted with a mirror, a small area of restoration, 5.3cm. £300-400 248. An English enamel patch box, late 18th century, printed in black with Britannia seated before a cannon, holding a trident in her left hand and a laurel branch in her right, her shield leant up against her skirt, the sides and base enamelled in a pale blue, the interior cover fitted with a mirror, some good restoration, 4.7cm. £250-350 249. A good South Staffordshire enamel snuff box of naval interest, c.1780, the oval form painted with a portrait of Admiral Keppel, dressed in elaborate costume and looking to his left, reserved in a raised scrollwork border on a dark pink ground, the sides with flower sprays in raised enamel, a mirror to the interior cover, 5.5cm. £400-600 Augustus Keppel, 1st Viscount Keppel, served during the Seven Years War, and later as First Lord of the Admiralty during the War of American Independence. Charges of misconduct were brought against him by Vice Admiral Sir Hugh Palliser following the battle of Ushant, but following a court martial, Keppel was honourably acquitted. The portrait on this box is after a medal by T Lyng, struck in 1779 to commemorate his acquittal. 250. A South Staffordshire enamel ‘Treaty of Amiens’ patch box, c.1802, decorated with the figures of, Fame and Plenty standing back to back beside ships at sail, Plenty holding a victory wreath above her cornucopia, Fame with a banner suspended from her trumpet, inscribed ‘Duncan, Jervis, Abercrombie, Nelson, Howe’, above them inscribed ‘Fame Proclaiming her Heroes, Peace with Plenty’, the base coloured a pale pink, the interior cover fitted with a mirror, a little cracking, 5.5cm. £800-1,200 The short-lived Treaty of Amiens lasted only one year but engendered the only period of true peace between 1793 and 1814. The uneasy truce was ended by Britain declaring war on France in May 1803, following Napoleon’s increased attempts to control Western Europe. 251. A Birmingham or South Staffordshire enamel ‘Nelson’ patch box, early 19th century, printed and delicately coloured with a ship behind flags, cannons, a drum and other military motifs, around the edge inscribed ‘Like Nelson may each Briton be A Friend to King and Country’, the base enamelled a rich green, the interior cover fitted with a mirror, some good restoration, 4.6cm. £500-800 252. A South Staffordshire enamel ‘Nelson’ patch box, c.1805, painted with the figures of Hope and Fame standing back to back before ships on fire at sea, Hope leaning on her anchor and Fame holding her trumpet aloft, within a white banner edged in gilt and white enamel dots on a rich blue ground, inscribed ‘Hope stands beholding her Captains most Glorious, Fame with her Trumpet sounds Nelson Victorious’, the interior cover fitted with a mirror, some good restoration to the base, 5,4cm. £800-1,200

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253. A Meissen butter curler or spoon, mid 18th century, the curved bowl with a serrated surface, the reverse painted with small sprigs of deutscheBlumen within a puce border garlanded with leaves and further flowers, 15.3cm. £400-600

254. A French porcelain eyebath, c.1770, the shallow bowl painted with delicate polychrome flower sprays, raised on a flared foot with similar decoration, within a narrow gilt feathered border, some chipping, 3.5cm high. £100-200 Provenance: from the collection of Elizabeth Adams.

255. A Marieberg porcelain custard cup and cover, c.1760-65, the wide bellied body finely fluted in the Mennecy manner, the cover with a fruit finial and gilded rim, 8.5cm high. (2) £200-300

256. A Meissen butter curler or spoon, mid 18th century, the shaped bowl with a serrated surface to one side, the reverse and shaped handle painted with sprays of indianischeBlumen, the scrolled edge highlighted in gilt, restored through the stem, 13.4cm. £250-350

257. A good Meissen serving spoon, c.1750-60, well painted to both sides with sprays of deutsche Blumen, and small scattered sprigs, the shaped handle edged in gilt, 31.3cm. £200-300

258. A pair of Meissen miniature coffee pots and covers, mid 18th century, moulded with rococo panels on a hatched ground, painted with flowers and fruit on a ground of small stylized blue flowerheads, the domed covers with floral finials, blue crossed swords marks, some small chips, 11cm. (4) £200-300

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259. A Saint Cloud tall cup and trembleuse saucer, c.1730-40, gently lobed with four panels and painted in a strong blue with tied gourds and auspicious objects in the Chinese manner, the cup with a flattened scroll handle, 13.2cm. (2) £300-400

260. A Mennecy sauce tureen and cover, c.1760, of quatrefoil form, painted in a delicate palette with large sprays of European flowers, the cover with an interlocking scroll handle and with a spoon aperture at one end, incised DV mark, cracked, 14cm across. (2) £300-500

Provenance: the Cynthia Postan Collection, No. E21. Cf. The Victoria & Albert Museum, Accession No. C.62&A-1949 for an identical example.

261. A Paris porcelain coffee can and saucer, c.1810, possibly Christopher Potter at Rue de Crussol, the can painted with bowls of fruit beside long flower stems, the saucer with a spray of convolvulus, all reserved on a yellow ground, 13.1cm. (2) £150-250

262. An early Sèvres or Vincennes cup and saucer, c.1755, left in the white and gilded around the rim, handle and saucer well with a dentil band, the saucer of cinquefoil form, interlaced blue LL mark, incised RR to the base of the cup, 13.3cm. (2) £150-250

263. A rare Tournai blue and white coffee cup and saucer, c.1770, painted with flowering chrysanthemum branches issuing from behind a short banded hedge, the cup with a blue crossed swords and + mark, the saucer incised K3, 13.3cm. (2) £200-300

264. A Saint Cloud white-glazed tall cup and trembleuse saucer, c.1730-40, applied in high relief with three moulded sprigs of prunus blossom, the cup with a grooved scroll handle, the centre of the saucer with a tall gallery, 13.4cm. (2) £250-350 Provenance: the Cynthia Postan Collection, No. E24.

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265. A Paris porcelain part tea or coffee service, 1st half 19th century, decorated with wide bands of continuous gilt oak leaf and acorn garlands above vertical gilt bands, the spouts formed as mythical beasts. Comprising: a coffee pot and cover, a hot water jug and cover, a sugar pot and cover, a milk jug, a large bowl, eleven cups and eleven saucers. (30) £300-500 Provenance: Jean-Pierre Pescatore (1793-1855) and thence by descent. By repute, a gift from Empress Eugénie, wife of Napoleon III. Jean-Pierre Pescatore was a Luxembourgish-French businessman, philanthropist and art collector, who settled in Paris in the 1840s. Napoleon III and Empress Eugénie visited his fine collection of orchids at least twice. His art collection is housed in the Villa Vauban in Luxembourg City.

266. A Russian porcelain Soviet era part tea service, c.1930, decorated with small white and black flowers on a bright orange-red ground within shaped black borders, printed Moscow marks. Comprising: a teapot and cover, a milk jug, a sucrier and cover, five plates, five saucers and five cups. (20) £800-1,200 Some pieces with original paper retail labels.

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267. Three Russian porcelain dishes from the Banqueting Service for the Grand Peterhof Palace, 19th/early 20th century, by the Imperial Porcelain Factory, St Petersburg, periods of Nicholas I and Nicholas II, decorated in the Sèvres manner with three moulded cabbage leaf or feuille de chou panels edged in blue and containing colourful flower sprays, comprising two shallow bowls and one plate, printed factory marks, 25.3cm max. (3) £800-1,200

268. An unusual Russian porcelain sauceboat, Imperial Manufactory, St Petersburg in the reign of Nicholas I (1825-55), modelled in the manner of a carved Chinese libation cup with prunus branches, rocky mountains and ruyi cloud scrolls, raised on three feet, decorated in gilt and white on a turquoise ground, the interior rim decorated with a formal leaf border, underglaze blue factory mark, 18.8cm. £200-300

269. A Paris (Schoelcher) porcelain coffee pot and cover, c.1800, and a footed bowl, painted with simulated cameos of Roman Emperors in shades of sepia and brown, the coffee pot with Romulus and Nema, the bowl with Nerva and Trajan, within rich gilt laurel leaf borders on a gold ground, incised G1 to coffee pot, 26cm max. (3) £500-800

270. A massive Vienna-style circular tray, 19th century, painted with The Spirit of the Alps after Konrad Dielitz, an Austrain traveller sleeping on a narrow mountain path and watched over by a winged maiden holding edelweiss flowers, within a wide border of mythical creatures and foliate scrolls on a pale blue ground, signed ‘P Hoffmann’ in gilt, titled in German to the reverse, blue shield mark, 50.5cm. £500-800

Cf. Régine de Plinval de Guillebon, Faïence et Porcelaine de Paris, p.413, pl. 405 for a similarly decorated sugar bowl. Provenance: the Charles Plante Collection.

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271. Two Berlin topographical plates, 19th century, one painted with figures promenading before the Royal Opera House in Berlin, the rim with an elaborate gilt scroll design on a blue ground, the other with a rectangular panel painted with a view of Berlin’s Old Museum, each titled in black to the underside, printed orb and sceptre marks, 24.3cm max. (2) £300-400

272. A pair of Paris porcelain cabinet plates, c.1820, decorated by J. Rihouet with colourful exotic birds perched on low branches, the rims with two panels of further bright birds reserved on a dark blue ground, gilt marks, 20cm. (2) £400-600

273. Two Meissen saucer dishes, c.1760, painted with deutscheBlumen sprays of tulip, chrysanthemum, rose and heartsease, within shaped brown line rims, blue crossed swords marks, a few small rim chips, 22cm. (2) £200-300

274. A pair of Meissen candlesticks, mid 18th century, of faceted form, the moulded sconces raised on knopped stems above wide stepped feet, painted with small sprays of flowers and single scattered sprigs, applied with a band of gilded leaves around the top of each stem, blue crossed swords mark, one repaired through the neck, 23.5cm. (2) £450-600

275. A Chinese blue and white porcelain bowl from the collection of Augustus the Strong, Kangxi 1662-1722, painted to the exterior with sprays of chrysanthemum and other Oriental flowers, a similar spray to the well, incised and enamelled to the base with a Johanneum mark ‘N:519’, 14.7cm dia. £300-400

276. A Meissen cabinet plate, c.1735-40, painted to the well with a circular panel in purpurmalerei of a young maiden leaning against a marble monument and being serenaded by a musician with a lute, reserved on a gold ground, the rim with three shaped panels containing scenes of courting couples within strapwork and scroll designs, the underside of the rim with small sprigs of indianischeBlumen in a Kakiemon palette, blue crossed swords mark, 23.5cm. £400-600

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277. A pair of Continental porcelain oval plaques, 19th century, painted in the manner of Paul Rubens with scenes of putti at play before a waterfall and on a grassy knoll beneath a tree, incised 94 to the reverse, within gilt gesso frames, 18.8cm overall. (2) £800-1,200

278. A Meissen tankard, 18th century, the cylindrical form with raised decoration of three loose flower sprays, later enamelled and gilt formal borders added, the silver-coloured metal mount set with a copy of a late 16th century coin depicting the three brothers of the German states-Saxony and the date 1593, blue crossed swords mark, 21.5cm. £400-600

279. Three Paris porcelain rectangular plaques, 19th century, probably London-decorated with colourful birds perched and in flight by low branches, reserved within gilt C scrolls on an apple green ground, framed, one corner broken off and cleanly restuck, each plaque 7.5cm x 10cm. (3) £200-300

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280. A massive French bisque porcelain figure of a young huntsman, late 19th/early 20th century, wearing a fur-trimmed tunic over colourful striped breeches, holding three arrows in his right hand, his dog poised beside him, raised on a shaped base edged in gilt, 57cm. £600-800

281. A large Nymphenburg figure of Diana, c.1800, modelled by Joseph Anton Kirchmayer, standing and petting a greyhound to her right, raised on a low square base, impressed shield mark, damages, 43cm. £500-800

282. A Royal Copenhagen figure group, late 18th/early 19th century, of two putti with a sheep, one putting a garland of flowers around her neck, the other bending to stroke her lamb as it suckles, raised on a rocky base, blue three wave mark, 14cm high. £150-200

283. A Meissen sweetmeat figure, 2nd half 18th century, modelled as a scantily clad recumbent maiden holding the sides of a large basket and raised on a shaped, flat base, blue crossed swords mark, some faults, 18.5cm. £400-600

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284. A Meissen figure of a putto from the Royal Court Pantry in Warsaw, mid 18th century, emblematic of Arithmetic, standing on a small square base and draped in a pink robe gilded with leafy sprigs, the base marked in puce ‘KHCW’ for the Hof-Conditorei Warschau, and a Meissen figure of Cupid in Disguise as a fishmonger, holding a basket of shellfish, blue crossed swords marks to both, small restorations, 12cm max. (2) £300-400 285. A pair of Continental figures of putti, 18th century, Italian or French, one of a putto riding on the back of a stag, the other seated by a tree and a low stump, raised on rocky bases, some damages, 7.5cm. (2) £100-200 286. A small Meissen model of a stag and two miniature models of dogs, 19th/20th century, the stag recumbent and with its head turned slightly to sinister, one dog recumbent on an oval base, with one paw outstretched, the other seated on its haunches, both with heads turned, blue crossed swords marks, 11.5cm max. (3) £100-200 Provenance: from the collection of Elizabeth Adams.

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287. A Meissen figure of a swan, mid 18th century, probably modelled by J J Kändler, its right wing outstretched and neck erect, standing on a low pad base, blue crossed swords mark, good restoration to the neck, 14cm. £200-300 288. A Naples (Real Fabbrica Ferdinandea) figure of a lady, c.1790, wearing a tall plumed bonnet and with her hands concealed in a fur muff, 17cm. £1,200-1,500 Cf. Angela Carola Perrotti, Le Porcellane dei Borbone di Napoli, pp.524527 for a discussion on this type of figure, where the author suggests that this type of dessert figure nearly always had a satirical meaning.

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289. A Worcester blue and white solitaire tea service, c.1760-70, of fluted form, painted with the Gillyflower pattern, open crescent marks. Comprising: a small teapot with cover and stand, a sucrier and cover, a milk jug, a spoon tray, a teabowl, coffee cup and saucer. (10) £600-800

290. Two Worcester blue and white plates, c.1765-68, one octagonal and painted with the Fan-Panelled Landscape pattern of Oriental landscapes reserved on a powder blue ground, the other with a scallop-edged rim and painted with peony and chrysanthemum branches to the well, the rim with six panels of flowers on a scale or cracked ice ground, alternating with powder blue panels, pseudo script marks, 20.6cm max. (2) £200-300

291. Two Worcester blue and white dessert plates, c.1770, one painted with the Rubber Tree Plant pattern, the other printed with the Fruit Sprigs pattern, within scallop-edged rims, four character mark and hatched crescent mark, 19.5cm. (2) £150-250

292. A Worcester blue and white guglet and a bowl, c.1770-80, printed with the Pinecone pattern, the guglet with a swollen knop at the top of the tapering neck, the basin of quatrefoil form with shell handles, hatched crescent marks, 32.3cm max. (2) £250-350

293. A massive Caughley blue and white charger or meat dish, c.1775-85, printed with the Nanking pattern of figures in an extensive pagoda landscape, the cavetto with a cell diaper band, the rim with a Fitzhugh border, printed S mark, 57cm. £300-500

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Although one of Caughley’s more common patterns, this dish is of an exceptional size for porcelain of this time.


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294. A Worcester blue and white small slop bowl, c.1770, painted with the Rock Strata Island pattern, the interior with a hatched diaper band, open crescent mark, 12.3cm dia. £150-200

295. An Isleworth blue and white bowl, c.1770, painted with peony blooms issuing from rockwork, the interior with a single peony bloom to the well, the rim with four shaped panels linked by a band of flowerheads on a hatched ground, 20cm dia. £300-400 Cf. The English Ceramic Circle, Exhibition Catalogue June 2003, Isleworth Pottery and Porcelain, p.109.

296. A rare Worcester blue and white bowl, c.1757-58, painted with the Listening Birds pattern, possibly by Rogers, with three birds perched in the branches of a tree with further birds in flight around and mountains visible in the distance, the reverse with a single bird on a leafy branch, a small restored chip and crack, 15.7cm dia. £400-600

297. A rare Derby blue and white chamberstick, c.1760, the shaped circular base lightly moulded with foliate scrolls and applied with flowers and leaves, the sconce rising from a twig handle, all painted with Oriental flower sprays, some good restoration to the sconce, 7.5cm high. £300-500

This rare painted pattern is the predecessor to the more common printed Birds in Branches pattern. Very few examples are known.

298. A James Pennington (Liverpool) blue and white small plate, c.1767-73, of small size with a scalloped rim, painted with bamboo and peony issuing from rockwork, the rim with a formal border, a few small rim chips, 16.2cm. £250-350 Cf. Maurice Hillis, Liverpool Porcelain, p.128, pl.4.102 for an identical example.

299. A Caughley blue and white mug, c.1785, printed with La Pêche and La Promenade Chinoise, one side with a figure reclining on a bank and fishing, whilst a further figure regards him from beneath an arch, the reverse with a lady holding a parasol while her child clutches at her legs, printed C mark, 11.5cm. £250-350

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300. A rare Bow blue and white teabowl, c.1755-60, painted with a sailing boat beside a pagoda on a small island, the interior rim with a hatched diaper border, 7.4cm dia. £150-250

301. An unusual Caughley blue and white teabowl, c.1780-85, the flared shape derived from the Chinese and raised on a tall foot, painted with Chantilly sprigs, a 2.5cm rim crack, 9.6cm dia. £100-200 Paper label for the Wright Collection. Cf. Ironbridge Museum, A Bicentenary Exhibition of Caughley Porcelain, no.462 for a similar teabowl.

302. A Lowestoft blue and white pickle dish, c.1770, the small leaf shape painted with a large spray of fruiting grapevine within a blue feathered rim, moulded with leaf veins to the underside, 8cm. £200-300

303. A rare Bow blue and white saucer, c.1760, painted with a bird alighting on a flowering branch above rockwork, within a scalloped border, a little nibbling to the rim, 11.2cm. £200-300

304. A Vauxhall blue and white teabowl, c.1755-60, painted in sticky blue with a figure punting on a small boat, two further figures perched on a small rocky island, a further island with a pagoda behind tall rocks, 7.4cm. £150-250

305. A good miniature or toy blue and white Caughley teabowl, c.1785, printed with the Three Flowers pattern, blue C mark to the base, 5.4cm dia. £150-250

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Provenance: the Barbara Leake Collection.

Cf. Dr Chris Holloway and Felicity Marno, Caughley Toy Wares, p.26 and p.68.


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306. A Lunds Bristol blue and white pickle dish, c.1750, of leaf shape, painted with a Long Eliza figure standing between tall trees and pointing across her body with her left hand, the underside moulded with veins, a small section broken and cleanly repaired, 10.4cm. £800-1,200 Paper label for the Simon Spero Collection, BWL 4.

307. A rare Worcester blue and white teapot and cover of small size, c.1755-58, the unusual geometric body formed from two flattened cone shapes, painted with the Mansfield pattern, the flat cover with a floral finial, simple scroll motifs to the top of the spout and the handle, small W marks to the base and inside cover, a little nibbling to the spout, 15cm across. (2) £1,000-1,500 Cf. Woolley and Wallis, 15th September 2015, lot 396 for an identical example.

308. A rare pair of Bow blue and white pickle dishes, c.1755-58, of early leaf shape, painted with peony blooms either side of tall bamboo stems before a zigzag fence, the underside moulded with veins, blue 41 inside each footrim, the handles lacking, small faults, 7.5cm. (2) £500-800

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309. A Worcester blue and white teabowl and saucer, c.1758-60, painted with the Prunus Root pattern, and a teacup and saucer with a band of dense flutes within a cell diaper border, open crescent marks, 12.3cm. (4) £150-250

310. A Richard Chaffers (Liverpool) blue and white coffee can, c.1758, the tall cylindrical form painted with two Chinese figures standing beside trees issuing from rocks, the reverse with a pagoda beside a weeping willow, a Pennington milk jug printed with fruit sprays, and a Worcester creamer printed with the Fence pattern, hatched crescent mark to the latter, 9.5cm max. (3) £300-500

311. Two English porcelain blue and white wine tasters, c.177080, one Derby and moulded with a central flowerhead, the other Worcester and printed with the Fisherman and Cormorant pattern, a Caughley strainer in the same pattern, all with shell handles, and a Bow pickle leaf dish painted with a grapevine design, restoration to the latter, 9.5cm max. (4) £150-250

312. A Worcester blue and white pickle dish and a butterboat, c.1760, the former painted in the Pickle Leaf Vine pattern, the butterboat formed of moulded geranium leaves and painted with the Butterboat Mansfield pattern, workman’s marks, 9cm max. (2) £150-200

313. A Richard Chaffers (Liverpool) small mug or coffee can, c.1758-60, the narrow cylindrical form painted with two figures in a Chinese landscape beside rocks and bare trees, the reverse with a tall pagoda in a similar setting, the interior rim with a hatched border, 6cm. £300-500

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The pickle with a paper exhibition label for the Ceramic Society of Australia, Old English China Exhibition, 1959, No. 420.

314. A Lowestoft blue and white patty pan, c.1770-75, the flared sides painted with sprays of flowers, a large moth to the well, within a scalloped rim, 10cm. £100-200

315. An English porcelain blue and white milk jug, c.1770-80, of fluted form, possibly Caughley, painted with an unusual and possibly unrecorded version of the Gillyflower pattern, 8cm. £100-200


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316. A Worcester blue and white sauceboat, c.1756, painted with the Boatman pattern, each side moulded with a shaped panel, to one side painted with a figure fishing from a boat beneath a willow tree, the reverse with a figure standing on an island beside an empty boat, the interior with Oriental flowers, 17.5cm. ÂŁ300-400

317. A rare Limehouse blue and white moulded sauceboat, c.1746-48, moulded to the exterior with bands of overlapping leaves, painted around the foot with a continuous flowering band, the interior with a wide band of peony, echoed to the interior well, the spout and handle with leaf motifs, a crack to the rim, 16.7cm. ÂŁ1,000-2,000 Cf. English Ceramic Circle, Limehouse Ware Revealed, pl.96.

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THE PROFESSOR RICHARD CLARKE COLLECTION OF WORCESTER PORCELAIN

Professor Richard Samuel Jessop Clarke, M.D. was born just outside Belfast in 1929, son of Dr Brice Clarke, a noted tuberculosis physician. He qualified in medicine at Queen’s University, Belfast and, after some spells of work in Oxford and London, returned to his native city, where he has remained. He worked mainly in cardiac anaesthesia in the Royal Victoria Hospital, but also in clinical research, leading to the Chair of Anaesthesia. As well as his medical work, he has found time for a variety of outside interests – some would say obsessions! Not content with working on his own family history, he took up copying old gravestones and, in conjunction with the Ulster Historical Foundation, published some 30 volumes and many papers in this field. His first real collecting interest was of Irish maps and sea charts, and when this was finally broken up and sold in 2015 it was one of the largest private collections in Ireland. His travels for work enabled him to pursue other cultural interests, particularly opera, but it must be said that Belfast is not a great centre for keeping this up, except for the regular relays from the ‘Met’, New York in recent years. Retiring from the career in anaesthetics left him with many medical contacts, so he welcomed the post of Honorary Archivist in his old hospital, and at this stage he published books on the history of the hospital and a two-volume Directory of former Ulster Doctors. While in Oxford he met his future wife, Kyleen Colhoun, who came from Londonderry, and whose mother had been at school with his mother – unusual even in the close-knit society of Northern Ireland. Kyleen’s aunt, Hilda Roden, was headmistress of the Alice Ottley School in Worcester and they visited her several times, with the inevitable tour of the Royal Worcester Porcelain Works and Dyson Perrins Museum. He retained an interest in Worcester throughout his working life, but there are no specialists in English porcelain in Ireland, and it was only on retirement that he found time to visit the porcelain shops in London to learn and to buy (as far as finances allowed). His main source was Simon Spero of Kensington Church Street, and later of Campden Street, though Stockspring Antiques, Roderick Jellicoe, Albert Amor, and Klaber and Klaber were all occasional sources. As a book-lover he also amassed some 30 books on the subject, including many sale catalogues, which certainly whetted his appetite. Now in his late 80s, Richard feels that the time has come to pass on his treasures to other collectors and concentrate on keeping in good health by gardening.

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318. A Worcester blue and white teabowl and saucer, c.1770, painted with the Waiting Chinaman pattern, a solitary figure standing beside a fence and flowering Oriental plants within further small floral sprigs and a crowsfoot border, hatched crescent mark, 12.5cm. (2) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Roderick Jellicoe in 2000.

319. A Worcester blue and white teacup and saucer, c.1770, of Warmstry fluted form, painted with the Hollow Rock Lily pattern, a bird in flight above trailing flowers issuing from holey rockwork, open crescent mark, 11.5cm. (2) £100-200 Provenance: the Professor Richard Clarke Collection. Purchased from Albert Amor Ltd in 2008.

320. A Worcester blue and white teacup and saucer, c.1770, of generous reeded form, painted with the Immortelles pattern of sprawling floral tendrils, the cup with a finely moulded scroll handle, open crescent mark, 13.7cm. (2) £100-200

321. A Worcester blue and white small teabowl and saucer, c.1765-70, painted with the Eloping Bride pattern, the fated couple on horseback being chased by four other figures, pseudo Chinese marks, 10.5cm. (2) £800-1,200

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2000.

Provenance: the Professor Richard Clarke Collection. Purchased from Roderick Jellicoe in 2002.

322. A Worcester blue and white teabowl and saucer, c.1770, printed with the Birds in Branches pattern, hatched crescent marks, 12.8cm. (2) £100-200

323. A Worcester blue and white coffee cup and saucer, c.1758, the cup of generous U-shaped form, painted with the Prunus Root pattern, the flowering branches continuing to the cup’s interior and the underside of the saucer, workman’s mark, 11.8cm. (2) £150-250

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2003.

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2000.

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324. A large Worcester blue and white sauceboat, c.1755, painted with the Fisherman on a Towering Rock pattern within moulded panels, the reverse with a figure in a boat beside another standing before a bridge, the interior with a further fisherman, workman’s mark, 23.5cm. £300-500 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1998.

325. A Worcester blue and white sauceboat, c.1765, painted with the Man with a Bomb pattern, a solitary Chinese figure holding his charge and looking back over one shoulder, the reverse with a fisherman beneath bamboo, within strap moulded panels, open crescent mark, 17.5cm. £300-500 Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 1999.

326. A Worcester blue and white two-handled sauceboat, c.1756, painted with the Two-Handled Sauceboat pattern, the interior with a fisherman beside a two-storey pagoda, the moulded exterior with four small vignettes of further figures, birds and flowers, workman’s mark, 19cm. £200-300 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1998.

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327. A good Worcester blue and white rice spoon, c.1768, painted with the Maltese Cross Flower pattern and pierced to the base of the bowl, the handle with a flower terminal, 14.2cm. £200-300 Provenance: the Professor Richard Clarke Collection. Purchased from Mercury Antiques in 2000.

328. A Worcester blue and white pickle dish, c.1758, the scallop shell form painted with the Two Peony Rock Bird pattern, a small bird perched on holey rockwork beneath flowering branches and a flying insect, workman’s mark, 9.2cm. £250-350 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1998. This shape was made in four different sizes, this being the smallest of the series.

329. A Worcester blue and white asparagus server, c.1775, painted with the Gilliflower pattern, a single large spray of a loose carnation within a crowsfoot border, the exterior sides with a leafy sprig, open crescent mark, 10cm across. £100-150

330. A Worcester blue and white rice spoon, c.1770, painted with the Maltese Cross Flower pattern,the sloping sides of the bowl with further foliate sprays to the exterior, the short handle ending in a floral terminal, 14cm. £150-250

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2000.

Provenance: the Professor Richard Clarke Collection. Purchased from Mercury Antiques in 2000.

331. A Worcester blue and white creamboat, c.1757-60, of hexagonal form, moulded with a geranium leaf to the spout, printed with the Early Creamboat Sprays pattern, hatched crescent mark, 10.5cm across. £250-350

332. A Worcester blue and white knife and fork, c.1758-60, the pistol grip handles painted with th Rose and Floral Sprays pattern, with bold floral arrangements and a small convolvulus sprig to the end of each, 27.5cm overall. (2) £200-300

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1997.

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1999.

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333. A large Worcester blue and white mug, c.1770, printed with the Plantation pattern, with tall bamboo and other Oriental plants issuing from a low ornamental fence, the reverse with a pagoda amidst pine trees and rockwork, hatched crescent mark, 15cm. £100-200

334. A large Worcester blue and white mug, c.1756, the slightly waisted form painted with the Walk in the Garden pattern, with birds perched on a gnarled tree above a boy with a further bird on a long stick and a lady holding a ruyi sceptre, workman’s mark, a small filled rim chip, 14cm. £200-300

Provenance: the Professor Richard Clarke Collection. Purchased from Laurence Mitchell in 1999.

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2001.

335. A rare Worcester cylindrical blue and white mug, c.1775-85, printed with Man Holding a Gun and Man Shooting a Gun, each hunter in a rural landscape and accompanied by a hound, fluted strap handle, hatched crescent mark, a restored rim chip and a small restored chip to the handle, 12cm. £250-350

336. A Worcester blue and white coffee pot and cover, c.1770-75, printed with the Three Flowers pattern, a butterfly in flight above, with further flower sprays to the spout, handle and domed cover, hatched crescent mark, tiny nicks to the floral finial, 23cm. (2) £150-250

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2000. These shooting prints appear to be confined to cylindrical mugs of varying size, but the more common Man Shooting Gun print is usually seen alongside a print of a man aiming a gun, while the second print on this example is far less common.

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Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1998.


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337. Two large Worcester blue and white sauceboats, c.1775, of generous proportion, painted with the Strap Flute Sauceboat Floral pattern, reserved in moulded panels, the rims and spouts with a cell diaper border, open crescent marks, some small faults, 20cm max. (2) £250-350 Provenance: the Professor Richard Clarke Collection.

338. A Worcester blue and white teabowl and saucer, c.1765-70, painted with the Mansfield pattern, and a slop bowl in the same design, open crescent marks, a small filled rim chip to the bowl and teabowl, 15.7cm max. (3) £100-200

339. A Worcester blue and white saucer dish, c.1780, printed with the Argument pattern, disguised numeral mark, a slop bowl and a teabowl printed with the Fisherman and Cormorant pattern and with gilded bands to the rims, and a sugar bowl printed with the Fence pattern, hatched crescent marks, 18.5cm max. (4) £150-250

340. A Worcester blue and white teapot and cover, c.1770-75, and a large milk jug, both printed with the Fence pattern, a zig-zag ornamental fence amidst flowering peony branches, hatched crescent marks, a small body crack to the teapot, 16.8cm max. (3) £150-200

Provenance: the Professor Richard Clarke Collection.

Provenance: the Professor Richard Clarke Collection.

Provenance: the Professor Richard Clarke Collection. Purchased from Delphi Antiques, Dublin in 1999 and 1998.

341. A Worcester blue and white teabowl and saucer, c.1758, finely moulded with a continuous floral design within a hatched diaper border and a flame scroll roundel, workman’s marks, and a coffee can or small mug painted with the Cannonball pattern, open crescent mark, 11.9cm. (3) £150-250

342. A Worcester blue and white creamboat, c.1770-80, of low Chelsea ewer shape, moulded with spiralled leaves and simply painted with a spray of convolvulus, a cell diaper band to inside rim, open crescent mark, and a pickle leaf dish painted with the Pickle Leaf Vine pattern, workman’s mark, 11.5cm max. (2) £100-200

Provenance: the Professor Richard Clarke Collection.

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 1997 and 2001 respectively.

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343. A pair of Worcester blue and white dessert plates, c.1770-80, painted with the Hundred Antiques pattern, with central censers and other Chinese auspicious objects amidst continuous floral scrolls, the design echoed to the shaped rims, pseudo Chinese script marks, a 4mm rim chip to one, 19.3cm. (2) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2007.

344. Two Worcester blue and white plates, c.1770-80, one printed with the central design of the Carnation and Fruit Sprigs pattern, the other with the Gilliflower Print, the latter with bands of osier moulding to the rim, hatched crescent marks, 21.3cm max. (2) £150-250 Provenance: the Professor Richard Clarke Collection. The main flower in the Carnation and Fruit Sprigs print is a refined version of the more common Gilliflower pattern, although the fruit sprigs themselves are lacking on this particular plate.

345. Two Worcester fluted dessert dishes, c.1775, one square, the other lobed, printed with the Carnation and Fruit Sprigs pattern, hatched crescent marks, 27.3cm max. (2) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Delph Antiques, Dublin in 2002.

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346. A large Worcester blue and white circular basket, c.1770-80, printed with the Pinecone pattern, the shallow sloping sides formed of interlocking circles and painted with a diaper design, applied with single flowerheads to the exterior, hatched crescent mark, 25cm. £100-200 Provenance: the Richard Clarke Collection. Purchased from Stockspring Antiques in 1999.

347. A Worcester blue and white punch bowl, c.1770, painted with the Precipice pattern, depicting pagodas on a clifftop amidst pine and other trees, the interior with a hatched diaper border and a landscape vignette, 20.5cm dia. £100-200 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2000.

348. A Worcester blue and white circular buttertub with cover and stand, c.1770-75, printed with the Fence pattern, with large flowering peony branches issuing from an ornamental zig-zag fence, the tub with two scroll handles, the cover with an open floral knop, hatched crescent marks, 15.7cm. (3) £100-200 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1999. 349. A Worcester blue and white spittoon, c.1775, of traditional form with squat globular body and flared rim, printed with the Fence pattern, the rim with large flower sprays, open crescent mark, 10.8cm. £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2002. 350. A Worcester blue and white patty pan, c.1760-62, the flared sides and flattened rim painted with the Prunus Root pattern, open crescent mark, 12.1cm. £200-300

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Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2007.

349

350

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351. A rare Worcester blue and white octagonal dish, c.1754-55, the elongated form painted with the Two-Level Fence and Rock pattern, with twisted flowering branches issuing from holey rockwork and a zig-zag fence, the underside with simple leaf sprigs, workman’s mark, 31.8cm. £800-1,200 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2004. Cf. Branyan, French and Sandon, Blue and White Worcester Porcelain 1751-1790, No. I.D.27.

352. A Worcester blue and white wall pocket, c.1755-58, the spiralmoulded body of cornucopia form and painted with flowering prunus sprays in the Cornucopia Floral pattern, workman’s mark, 22cm. £300-400 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2004.

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353. A large Worcester blue and white cabbage leaf jug, c.1770, printed with the Natural Sprays pattern of moths in flight around large blown flower sprays, the neck with small vignettes of Oriental landscapes beneath a moulded dot and leaf border around the mask spout, 23cm. £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Roderick Jellicoe in 2000.


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354. A Lowestoft blue and white creamboat, c.1775, moulded with arcaded panels and painted with the Two Porter Landscape pattern, the interior with a peony spray and foliate border, 11cm across. £150-250

355. A Worcester blue and white strap-fluted sauceboat, c.1765, painted with the Little Fisherman pattern, the reverse with a landscape vignette, a large peony spray to the interior, open crescent mark, 20cm. £120-180

Provenance: the Professor Richard Clarke Collection. Purchased from Delphi Antiques, Dublin in 2002.

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2000.

Worcester produced a near identical creamboat in the same pattern at around the same time as this Lowestoft example. The painting on the Lowestoft versions tends to be less detailed than the Worcester equivalent.

356. A Worcester blue and white sauceboat, c.1775, of shallow fluted form, painted to the interior with the Full Moon pattern beneath a cell diaper border, the exterior with floral sprigs and a formal border, 20cm. £100-200 Provenance: the Professor Richard Clarke Collection. Purchased from Delphi Antiques, Dublin in 2001. 357. A rare Worcester blue and white fingerbowl and stand, c.1756, painted with the Cormorant pattern, the eponymous bird perched on holey rockwork beside a fisherman and a tall flowering peony branch, workman’s marks, 15.3cm. (2) £600-800 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2000. 358. A Worcester small bowl, c.1755-58, pencilled in black with the Boy on a Buffalo pattern, the eponymous pair depicted in a continuous Chinese landscape with two junks on a river, the interior with bamboo tendrils, a bird in flight and a central flower spray, a short scratch mark to the base, 12.2cm dia. £400-600 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2001. 356

357

358

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359. A good Worcester small mug, c.1758, printed in black with the parrot Pecking Fruit pattern, a large bird bending his beak towards grapes suspended beneath the branch on which he perches, between two large butterflies, a small restored rim chip, 8.3cm. £200-300

360. A Worcester cylindrical mug, c.1765, printed in black with May Day to one side, two ladies dancing to the music of a peg-legged fiddler, the reverse with Rural Lovers, a shepherd piping to his companion as she milks a cow beneath a tree, 12cm. £200-300

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2004. Paper label for the E & J Handley Collection, no. WT 24.

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2010.

361. A Worcester baluster vase, c.1770, printed in black with Rural Lovers to one side, the reverse with Milking Scene No. 1, with birds in flight between both bucolic scenes and to the neck, 17.5cm. £250-350

362. A Worcester small cylindrical mug, dated 1757, printed in black with a head and shoulders portrait of the King of Prussia, and a print of Fame blowing a trumpet flanking a vignette of military trophies and flags, signed RH Worcester for Robert Hancock, and with an anchor rebus for Richard Holdship, 8.7cm. £200-300

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2001.

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Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 1998. The centre flag on the military print is the rare version inscribed ‘Russians’ rather than the more usual ‘Welham’.


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363. A rare Worcester hexafoil dish, dated 1757, printed in black with a full length portrait of the King of Prussia, after a portrait by Antoine Pesne, standing before a battle scene with two putti in flight above, signed RH Worcester for Robert Hancock, 17.5cm. ÂŁ400-600 Provenance: The Professor Richard Clarke Collection. Paper labels for the E & J Handley Collection, the Cyril Cook Collection, and English Ceramic Circle 1948, No. 390. Cf. The Victoria and Albert Museum, Accession No. 404:505 - 1885, for an identical example from the collection of Lady Charlotte Schreiber.

364. A Worcester teapot and cover, c.1768, printed in black with The Fortune Teller to one side, three maidens encountering a palm reader with a child and dog, the reverse with Tea Party No. 2, the cover with vignettes of Ruined Tower and a Windmill, a small footrim chip, 18.5cm. (2) ÂŁ250-350 Provenance: the Professor Richard Clarke Collection. Purchased from Klaber & Klaber in 1998. Paper label for the Frank Arnold Collection, no. E625.

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365. A rare Worcester finger bowl and stand, c.1758, printed in black with the River Scene print, with mallard ducks to the bowl, the stand with swans swimming before a kingfisher on a low branch and a standing heron in the distance, a little wear to the black line rim, 14.7cm. (2) £400-600

366. A Worcester trio, c.1765, comprising a teabowl, coffee cup and saucer, printed in black with landscapes and Classical ruins, the teabowl with a figure fishing before a watermill, the cup with two figures before ruined arches, the saucer with a tree before ruins and other buildings, 11.7cm. (3) £150-200

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2002.

Provenance: The Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2002.

367. A Worcester teabowl and saucer, c.1765, printed in black with L’Amour, a courting couple on a garden bench with a maid chaperoning behind, the well of the teabowl with a single swimming swan, 12.1cm. (2) £100-200

368. A Worcester teacup and saucer, c.1765, printed in black with The Milkmaids, a farmhand helping two maids to balance pails of milk on their heads, blue crossed swords and 9 mark, 13.2cm. (2) £100-200

Provenance: the Professor Richard Clarke Collection. Purchased from Rodney Baker in 2000.

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2002.

369. A Worcester fluted dish, c.1770, printed in black with a courting couple seated before Classical ruins overlooking sailing boats at sea, the wide rim with trailing sprays of rose, auricula and other flowers, 24.5cm. £100-200 Provenance: the Professor Richard Clarke Collection. Purchased from Roderick Jellicoe in 2001.

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370. An early Worcester saucer, c.1754, printed in black in ‘Smoky Primitive’ style with The Flute Lesson, a couple seated beside garden statuary and beneath a leafy tree, 12cm. £200-300 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2002. Paper label for the Dr C M Signy Collection, no. 14. The print derives from Le Maître Galant (La leçon de flute) by Nicholas Lancret. The engraving was taken from an earlier one by JP Le Bas, another version being published later by Robert Sayer in 1766.

371. An early Worcester teabowl, c.1755, printed in black in the ‘Smoky Primitive’ manner with La Cascade, a courting couple promenading in a garden while further figures recline in the background, the reverse with a fountain from the original print, 8cm dia. £250-350 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2001. This print derives from an engraving by G Scotin, after a painting by Jean-Antoine Watteau, which is in the Wallace Collection.

372. A rare Worcester spoon tray, c.1760, the square form printed in black with The Old Dutch Inn, a figure with a barrel standing before a tall building with smoking chimney, a further figure standing on the steps and swigging from a bottle, 13.5cm. £250-350 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2008. This unusual quatrefoil form of spoon tray appears to be peculiar to the printed wares. Other versions with the same design are known but often include a further tree on the left hand side.

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373. A Worcester bell-shaped coffee cup, c.1760-65, printed in black with Les Garçons Chinois, the reverse with a rare print of The Solitary Fisherman, wishbone handle, 6.2cm. £150-250

374. A good Worcester milk jug, c.1765, printed in black with The Milkmaids to one side, the reverse with a milkmaid and calf, a narrow black line to the inside rim, 8.1cm high. £300-400

Provenance: the Professor Richard Clarke Collection. Paper label for the Watney Collection. Cf. Phillips, The Watney Collection Part III, lot 950.

Provenance: the Professor Richard Clarke Collection. Purchased from Klaber & Klaber in 1998. Paper label for the Frank Arnold Collection, no. E171, another titled Gatward and dated 14/8/28.

375. A Worcester saucer, c.1760, printed in black with Les Garçons Chinois, two chinoiserie figures clambering over rococo scrolls above a European landscape, the rim painted with a hatched diaper border and simple floral panels, 12cm. £150-250

376. A Worcester small jug and cover, c.1765, printed in black with scenes of Classical ruins, one side with a figure and ducks on a lake before a partial arch and a column beneath trees, the reverse with two figures surveying an obelisk amidst other colonnaded ruins, a floral knop to the cover, a large chip to the cover’s edge, 13.5cm. (2) £100-200

Provenance: the Professor Richard Clarke Collection. Paper label for the E & J Handley Collection, no. WT 15.

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Provenance: the Professor Richard Clarke Collection. Purchased from Rod Jellicoe in 2001.


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377. A Worcester teabowl and saucer, c.1755-60, printed and coloured with the Red Bull pattern, with Chinese figures standing around the eponymous bovine, 12.1cm. (2) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2007. Old paper collector’s label to the teabowl.

379. A rare Worcester printed and hand-coloured slop bowl, c.1760-65, printed with Les Garçons Chinois to one side, the reverse with The Solitary Fisherman, detailed in polychrome enamels, 15.4cm. £200-300 Provenance: The Professor Richard Clarke Collection. Purchased from Simon Spero in 2003.

378. A Worcester saucer, c.1758-60, printed in black with La Siesta, a Chinese figure recumbent beneath a tall canopy, with a further figure behind, faintly signed ‘RH fecit’, the rim painted with a hatched diaper border and four simplistic floral panels, 12cm. £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2003.

380. A small Worcester teapot and cover, c.1756-60, the balustershaped body printed and hand-coloured with the Red Bull pattern, one side with two Chinese figures standing beside the cattle, the reverse with a further figure leaning on rockwork beside a pine tree, with a faceted spout and grooved handle, some nibbling to the end of the spout, a chip to the cover’s flange, 16.5cm. (2) £300-500 Provenance: The Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 2008. Label for the Weston Taylor Collection.

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381. A Worcester teabowl and saucer, c.1768, painted with three fan-shaped panels of fancy birds, and circular panels of flying insects reserved on a powder blue ground, iron red crescent to the saucer, and a Warmstry-fluted coffee cup and saucer decorated with a Japan pattern of Kakiemon flower panels and narrow stripes with chrysanthemum mons, square seal marks, 13.6cm max. (4) £150-200 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1998, and Stockspring Antiques in 1997, respectively.

382. Two Worcester milk jugs, c.1765-70, one painted in puce camaieu, possibly in the Giles atelier, with a large flower spray and further single scattered sprigs, the other with pink and purple flowers, the inside rim with puce C scrolls and a gilt band, 9.1cm max. (2) £250-350 Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero and Stockspring Antiques in 1997.

383. Two Worcester teapots and covers, c.1770-75, the smaller painted with two Chinese boys and a female attendant beside a red leafy tree, the other with Chinese figures taking tea and a low table, each with foliate motifs and panels around the spout and handle, the spout and £300-500 finial of the larger teapot restored, 18.3cm max. (4)

384. A Worcester scallop-edged dessert plate, c.1770, painted with polychrome flower garlands and single sprigs reserved within shaped panels on a blue scale ground, square seal mark, and a bone china copy of a Worcester plate, with a central floral spray on a wet blue ground,22.2cm max. (2) £100-200

Provenance: the Professor Richard Clarke collection. The smaller with a paper label for the Calowhill Collection, and purchased from Stockspring Antiques in 1998.

Provenance: the Professor Richard Clarke collection. The Worcester plate purchased from Simon Spero in 1998.

385. A pair of Worcester tea canisters and covers, c.1770, the ovoid bodies richly decorated with a Japan pattern of Oriental flowers and ho-ho birds in the Kakiemon palette, alternating with narrow panels of white and gilt flowers on a blue ground, square seal marks, restoration, 16.5cm. (4) £150-250

386. A matched Worcester teabowl and saucer, c.1758-60, brightly enamelled with the Chinese Musicians pattern, two figures with fans either side of a seated piper, with a butterfly hovering above, within red and gilt chainlink borders, the teabowl with a tin mark to the inside footrim, 11.5cm. (2) £250-350

Provenance: the Professor Richard Clarke Collection.

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2007.

Cf. H. Rissik Marshall, Coloured Worcester Porcelain of the First Period, pl.7, no. 120.

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387. A large Worcester teapot and cover, c.1760, of Warmstry fluted form, painted in polychrome enamels with The Beckoning Chinaman to one side, the reverse with The Lady and Child, the cover and around the spout painted with bright floral sprays, the knop broken and restored, 21.5cm. (2) £300-500 Provenance: the Professor Richard Clarke Collection. Purchased from the Silver Shop, Dublin in 2000.

388. A Worcester deep saucer dish, c.1758-60, painted in polychrome enamels with the Chinese Musicians pattern, a central figure playing a pipe and attended by two figures holding fans and a boy holding a ruyi sceptre, a butterfly in flight above, 18.7cm. £300-400

389. A Worcester double leaf dish, c.1758-60, painted in puce monochrome with two Chinese figures standing before a tall pagoda and spreading tree, a boat at sail in the background, the rim with a narrow formal foliate border, 26cm. £400-600

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2006.

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 1999. Cf. The Victoria and Albert Museum, Accession No. C.337&A-1940, for a saucer in the same pattern.

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390. A Worcester milk jug, c.1770, decorated in a Scarlet Japan pattern in the manner of James Giles, with puce camaieu flower sprays alternating with chrysanthemum mons on gilt and orange vertical bands, 8.5cm. £100-200

391. A Worcester milk jug, c.1758, finely potted and decorated in polychrome enamels with the Chinese Musicians pattern, the interior rim with red flowerheads between diaper bands in green and black, two very faint hairline cracks, 7.2cm. £200-300

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 1998.

Provenance: the Professor Richard Clarke Collection. Purchased from Simon Spero in 2007.

392. A large Worcester mug, c.1770-75, decorated with Chinese figures seated at a low table, standing with teabowls and holding a large fan, amidst vases and censers of flowers, the rim with a formal design in underglaze blue, 15cm high. £150-200

393. A rare Worcester moulded teapot and cover, c.1760, the barrel shape embossed with a Chinese landscape including a man fishing beneath a flowering prunus tree, with willow on the opposite bank, the reverse with large prunus sprays, between horizontal foliate scroll bands, a few small chips, 18cm. (2) £300-400

Provenance: the Professor Richard Clarke Collection. Paper label for Roderick Jellicoe.

Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques in 1999. Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 51 for a similar coloured example with the prunus and willow tree reversed.

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394. Five Worcester cups and saucers from the Flight Barr partnership, c.1792-1813, two decorated with the Royal Lily pattern, one with a bright Japan pattern of flowers, fences and rockwork, two with differing continuous foliate bands in gilt, blue and brown, incised B marks to two, two impressed with a crowned BFB mark, the last with a crowned FBB mark, 14.7cm max. (10) £100-200 Provenance: the Professor Richard Clarke Collection.

395. A Barr Worcester part tea service, c.1792-1804, decorated with a continuous gilded foliate band reserved on a wide orange band, incised B marks. Comprising: two chocolate cups with covers and stands, a tea cup, coffee can and saucer, a slop bowl and a plate. (11) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased in 1997.

396. A Barr Flight & Barr milk jug, c.1804-13, printed in black with arrangements of shells and a sea urchin between small gilt sprigs, a Barr Flight & Barr saucer printed with long-tailed birds in flight, and a Flight, Barr & Barr coffee can gilded with a formal husk band, impressed marks, 15.6cm max. (3) £100-200 Provenance: the Professor Richard Clarke Collection.

397. A Flight Worcester oval sucrier and cover, late 18th century, and a Barr Worcester teabowl and saucer, moulded with spiral flutes and decorated with bands of husks or leaf sprays in gilt on cobalt blue, and a Barr Worcester small cabbage leaf jug with similar decoration, crescent mark to the sucrier, the teabowl and saucer with incised B marks, 14cm max. (5) £100-200 Provenance: the Professor Richard Clarke Collection.

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398. A Worcester teapot and cover, c.1765-70, brightly enamelled with the Queen Charlotte pattern of spiralling Oriental flower sprays in the Imari palette, workman’s mark, 19cm. (2) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Delphi Antiques, Dublin in 2001.

399. A Flight Worcester teapot and cover with stand, c.1783-92, richly painted with blue and gilt sprays of flowers within a gilt dentil rim, together with a coffee cup and saucer in an identical pattern, open crescent marks, a small chip to the teapot stand, 23cm max. (5) £150-250 Provenance: the Professor Richard Clarke Collection. Purchased from Stockspring Antiques. 400. A Worcester sucrier and cover, c.1765, richly decorated in the Queen Charlotte pattern of spiralling foliate panels in the Imari palette, the cover surmounted with a rosebud finial, square seal mark, 11.5cm high. (2) £100-200 Provenance: the Professor Richard Clarke Collection. Purchased from Delphi Antiques, Dublin in 2001.

400

401. Literature: Simon Spero and R Burt ‘Lunds Bristol and Early Worcester Porcelain’, H R Marshall ‘Coloured Worcester Porcelain of the First Period’, Henry Sandon ‘Flight and Barr Worcester Porcelain’, Gerald Coke ‘In Search of James Giles’ (limited leather-bound edition), and a large number of other reference works on Worcester and other English porcelains, including catalogues for the Watney Collection, The Norman Stretton Collection, the Sidders Collection, The Klepser Collection, The R David Butti Collection, The Zorensky Collection and the Stieglitz Collection, the latter catalogue from the collection of W J Grant-Davidson. (31) £80-120

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402. An unusual Barr Flight & Barr Worcester ice pail and cover, early 19th century, the urn shape painted with dark blue flowers and leaves, formed with pan masks as handles, impressed BFB mark to the cover, the pedestal with an incised B, the finial broken and restuck, the liner lacking, 28cm. (2) £300-500 Provenance: the Professor Richard Clarke Collection. Purchased from HM Antiques, Dublin in 1998. This piece is perhaps a rare survival, the decoration having an unfinished appearance, possibly owing to the fact that the blue has run somewhat during the firing.


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THE JOHN PINNICK COLLECTION

to be sold in the English & European Ceramics & Glass sale on Tuesday 23rd May 2017

A small selection of lots including Worcester, Bow and Lowestoft. Various estimates

ENQUIRIES Clare Durham | Tel: +44 (0)1722 424507 | cd@woolleyandwallis.co.uk


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OTHER PROPERTIES

403. A good Worcester printed teapot and cover, c.1760, one side printed by Robert Hancock with the Gardener Grafting a Tree print, being watched at his work by a couple standing by, two further figures with a rake and a garden roller behind, the reverse with L’Amour, signed RH Worcester and with an anchor rebus for Richard Holdship, the cover with a windmill and other buildings, 17cm. (2) £500-800 Cf. The Joseph M.Handley Collection, pp 56-57, fig 2.16 for a teapot with the same combination of prints both on the teapot and on the cover.

404. A rare Worcester two-handled sauceboat, c.1755, printed in ‘Smoky Primitive’ manner to the interior with swans swimming and other aquatic birds, the exterior with four printed roundels of ships within moulded panels picked out in green, the shell moulded ends of the sauceboat highlighted in manganese, the rims with borders of Kakiemon flowers, 19cm. £500-700 Cf. H. Rissik Marshall, Coloured Worcester Porcelain of the First Period, pl.5, no.72 for a similar example.

405. A Worcester King of Prussia mug, dated 1757, printed in black with a titled portrait of Frederick II of Prussia pointing towards an arrangement of victory motifs, the reverse with a print of Fame blowing a trumpet, signed in the print R H Worcester for Robert Hancock, and with an anchor rebus for Richard Holdship, 8.8cm high. £150-200

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406. Two Worcester small dessert plates, c.1775, one printed in purple with a figure fishing before Classical ruins including a tall obelisk, the rim with flower sprays, the other painted in dry blue with scattered sprigs and a small floral spray, 19cm. (2) £150-250

407. A good and rare Worcester saucer, c.1762-65, printed in purple with The Windmill pattern, a traveller and his dog standing before a gatehouse and looking towards the mill with further buildings and mountains beyond, 12.2cm. £200-300

408. An unusual Worcester U-shaped cup or bowl, c.1765, printed in black by Robert Hancock with The Decoy and The Three Fishers, with figures fishing beside a river beneath tall trees and before domestic buildings, 7cm. £150-250

Cf. G W Capell, Some Unrecorded or Rare Transfer-Printed Pieces, Connoisseur, December 1953 for a teabowl and saucer in the same pattern.

Cf. Cyril Cook, Supplement to The Life and Work of Robert Hancock, nos. 131 and 168.

409. A Worcester white-glazed creamboat, c.1753-55, the hexagonal form moulded with scrollwork panels beneath a flared rim, with double scroll handle, a geranium leaf moulded beneath the spout, a small restored rim chip, 10.7cm. £300-500

410. A Worcester polychrome coffee cup, c.1756, boldly painted with the Beckoning Chinaman pattern, a single standing figure with his left arm raised, the reverse with a colourful flower spray, 5.7cm. £300-500 More frequently found on mugs and teapots, the Beckoning Chinaman is only recorded on a handful of cups, and no saucers or teabowls are recorded.

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411. A rare Worcester teapot and cover, c.1753-54, decorated in the famille rose palette with long-tailed pheasants perched on and beneath holey rockwork beside flowering peony branches, the flowers echoed to the cover and spout, spoiled red anchor mark, a little restoration to the spout and cover, 20.5cm. (2) ÂŁ1,500-2,000 This design is directly copied from an original on Chinese porcelain from the Yongzheng period (1723-35). Cf. Bonhams, 9th September 2009, lot 67 for a similar finely painted example.

412. A Worcester two-handled sauceboat, c.1760, painted to the interior with sprays of Oriental flowers in a famille rose palette, the exterior moulded with small panels containing birds, flowers and auspicious objects, the handles and outer lip with scroll and hatched designs in iron red, 19cm. ÂŁ400-600

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413. A Worcester high-footed moulded sauceboat, c.1753-54, one side painted with a chinoiserie scene of a figure crossing a bridge, the sun coming out from behind a cloud above, the reverse with a Long Eliza holding a fan, the interior rim with flower sprays and flying insects, the foot broken off and restuck, 19.5cm. ÂŁ150-250


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414. A good Worcester tea service, c.1770, brightly painted with fan-shaped panels containing colourful European flowers, reserved on a powder blue ground with flower and foliate sprays in gilt. Comprising: a teapot with cover and stand, a sucrier and cover, a milk jug, a spoon tray, a slop bowl, a cake plate, ten teabowls, five coffee cups and ten saucers. (34) £1,500-2,000

415. A good Worcester coffee pot and cover, c.1765-70, painted with large fan-shaped panels containing bright exotic birds, reserved on a wet blue ground with smaller circular panels of moths and other flying insects, with puce detailing to the spout and handle, 22.3cm. (2) £600-800

416. A Worcester teapot and cover, c.1770-75, painted with exotic birds with bright plumage within shaped panels, reserved on a blue scale ground with further small panels of moths and, insects, some good restoration, 19.5cm. (2) £200-300

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417. A Caughley sucrier and cover, c.1785, of fluted form with scalloped rims, decorated with sparse gilt foliate sprigs, the cover and internal rim with a band of blue and red stylized flowerheads within gilt ovals and above leafy tendrils, 11.5cm high. (2) £150-250

418. A good Worcester trio, c.1765, comprising a teabowl, coffee cup and saucer, brightly painted in the Meissen manner with large sprays of European flowers including pink rose, the rims bordered with pink and red petals alternating with green diaper bands, 12cm. £600-800 (3) Provenance: the Barbara Leake Collection. The Nina Weil Collection. Paper label for Klaber & Klaber.

419. A Worcester teapot and cover, c.1770, painted with panels of Chinese figures, each side with a figure holding a fishing rod and showing a small boy with his mother, reserved on a gilt foliate ground with small panels of puce flowers and leaf motifs in red and black, a similarly decorated coffee cup, and a Worcester slop bowl painted with Chinese figures, including one seated at a table and holding a fan, the teapot’s cover restored, 20cm max. (4) £200-300

420. Four English porcelain coffee cups, 2nd half 18th century, one Bristol and painted with polychrome sprays of European flowers, blue X and 21 mark, one Bow and decorated in the Kakiemon palette with the Two Quail pattern, incised X and red E mark, a Worcester cup richly painted with two attendants waiting on a reclining Chinaman, and a flared Worcester cup with panels of birds on a blue scale ground, square seal mark, 6.5cm max. (4) £200-300

421. A rare Worcester saucer, c.1755-56, finely potted and moulded with floral panels and painted in the famille rose palette with birds perched on flowering branches, with small scattered sprigs of peony and other Oriental blooms, within a puce feathered border, a short rim crack, 12.6cm. £300-400

422. A Worcester sucrier and cover, c.1770, the Warmstry-fluted form gilded in the atelier of James Giles with small flower sprays and single scattered sprigs beneath a jagged dentil border, 12.7cm. (2) £250-350

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423. A rare Worcester teapot and cover, c.1780, of unusual square section with a fluted spout, painted in polychrome enamels with stylized flower sprays beneath a narrow wavy line border, the shoulder with an ovolu and dart band, a crack to the rim, 21cm. (2) £300-500 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 299 for a blue and white example in the Peony Creeper pattern, believed to be unique. The catalogue references two further blue and white examples from the Godden Collection, illustrated in Miller and Berthoud, Anthology of British Teapots, nos.339 and 341, and a single enamelled version in the National Museum of Wales. One further damaged polychrome example is now known in the Norfolk Museums Collection, accession number NWHCM : 1992.226.1912.

424. A Worcester tea canister and cover, c.1768-70, of Warmstry fluted form, painted with a Japan pattern with panels of kakiemon flowers alternating with narrower bands of chrysanthemum mons on a blue ground with gilt bamboo and other foliage, square seal mark, 14.5cm. (2) £150-250

425. A rare Worcester moulded teapot and cover, c.1760, the barrel shape embossed with a Chinese landscape including a man fishing beneath a flowering prunus tree, with willow on the opposite bank, the reverse with large prunus sprays, all picked out in colours with gilt highlights, the puce running scroll borders also embossed, the cover painted with flowers sprays and a matching scroll border, a horizontal body crack, 17.7cm. (2) £250-350 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 51 for a similar example with the prunus and willow tree reversed. Also H Rissik Marshall, Coloured Worcester Porcelain, pl. 6, fig. 95.

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426. A rare Worcester plate of ‘Grubbe’ type, c.1770, painted in the Giles atelier in puce monochrome with a cow and a goat standing ankle deep in water, a figure on horseback riding beneath a ruined archway, the rim with scattered flower sprays within a gilt border, restored, 22.5cm. £1,500-2,000 Cf. Stephen Hanscombe, James Giles China and Glass Painter, page X, for a discussion on this series of plates. Hanscombe reproduces a series of two 18th century prints which inspired plates in this series. Fig. 4, top, is the direct source, in reverse, for the primary structure used on the present lot.

427. Two Worcester dessert dishes, c.1770, one painted with the Joshua Reynolds pattern of a long-tailed bird in Kakiemon colours, reserved on a deep blue ground, the other of twelve-sided shape and painted in polychrome enamels with a spray of European flowers including a large fritillary head, blue square seal mark to one, 29.7cm max. (2) £150-250

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428. A Worcester cabbage leaf dish and a Blind Earl dish, c.1760, the leaf dish edged in green with the veining picked out in puce, the Blind Earl moulded with a rosebud spray and painted in puce with feathery floral fronds, 21.3cm max. (2) £150-250


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429. A Worcester high-footed moulded sauceboat, c.1753-54, each side moulded with a rococo panel containing a Long Eliza figure standing beside pine trees and holding an auspicious object in her left hand, the interior with flowers, tied scrolls and further objects, 19cm. £200-300

430. A large Worcester meat dish or charger, c.1780, of elongated octagonal form, painted in dry blue with large sprays of flowers and single scattered blooms, within a gilt dentil rim, 43.5cm. £300-500

431. A Derby basket, c.1756-60, the oval form painted to one side with figures promenading by the water’s edge, with two small sailing boats beyond, the reverse with two colourful birds perched on a low branch, the interior with flowers in the Cotton Stem manner, the edges applied with flowers around a pink and green twist overhead handle, some repairs, 14.7cm across. £250-350 Cf. Dennis G. Rice, Derby Porcelain: The Golden Years, p.150, pl.120 for an identical pair of baskets.

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432. A Champion’s Bristol teapot stand, c.1775, the hexagonal form of generous size and painted in polychrome enamels with a spray of flowers within single scattered blooms, the inside rim with a narrow gilt band beneath the gilt dentil border, 16cm. £150-250

433. A Bow teabowl and saucer, c.1755, decorated in the Imari palette with a bold lotus spray, indistinct painter’s numeral to the teabowl’s footrim, a small chip to the teabowl’s rim, 12.3cm. (2) £100-200

434. A Chelsea shaped plate, c.1760, the well painted with a loose posy of English flowers and single scattered blooms, the moulded rim with four vignettes of colourful birds in pairs, 24cm. £150-200

435. A Derby leaf-moulded sauceboat and stand, c.1760, painted in puce monochrome with sprays of Oriental flowers, the stand with similar flowers issuing from a banded hedge, both with a continuous floral border in puce and gilt, a star crack to the sauceboat, 21cm. (2) £300-400

Cf. Catalogue of the Lady Ludlow Collection of English Porcelain at the Bowes Museum, no. 118 for a similar plate.

Exhibited: Klaber & Klaber, Derby Exhibition, 1992, and ECC Exhibition, 2006, No.94. Labels for same.

436. A Lowestoft slop bowl, c.1770, painted in the Imari palette with an Oriental landscape of two figures on a bridge beside trees and pagodas, and with cannon ball type rocks, 15.3cm. £150-250

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437. A small group of soft-paste porcelain white-glazed teawares, mid 18th century, mostly Bow, variously applied with moulded sprigs of flowering prunus, including two coffee cans or small mugs, two coffee cups and a teabowl, minor faults, 7.8cm max. (5) £250-350


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438. A Chelsea-Derby vase and cover, c.1768, one side painted with two putti, one holding a caduceus, the other blowing a trumpet, the reverse with a panel of European flowers, reserved on a claret ground with scattered gilt flowers, the shoulders with two handles issuing from satyr masks, a small reglued chip to the cover, 28.5cm. (2) £600-800 Provenance: purchased from Christie’s, 9th May 1918 and thence by familial descent.

439. A pair of Chelsea plates, c.1758, painted with sprays of flowers and single scattered blooms within a feathered border picked out in brown and turquoise, red anchor marks, and a Chelsea-Derby plate brightly enamelled with flowers, brown anchor mark, 22.5cm max. (3) £200-300

440. A pair of Chelsea moulded shallow bowls, c.1756, moulded after Meissen in the Gotzkowsky manner with a continuous floral garland and four floral panels to the rim, painted with scattered flowers, moths and other insects, brown line rims, 24.5cm. (2) £300-500

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441. A large pair of Chelsea figures of the Imperial Shepherds, c.1765, he with his right arm outstretched and holding a staff in his left hand, his dog seated by his right foot, his companion holding a small posy of flowers in one hand, a basket of further blooms tucked under her other arm, a sheep standing to her left, both standing before flowering bocage and raised on scrolled bases applied with further flowers and picked out in gilt, gold anchor marks, some small damages, 32cm. (2) ÂŁ1,500-2,000

442. A large pair of Derby figures of the Italian Farmers, c.1765, he standing and holding a cockerel, his wife with a hen, each dressed in elaborately patterned costume and standing before tall flowering bocage, raised on scrolled bases picked out in turquoise and gilt, small restorations, 25.5cm. (2) ÂŁ400-600 The Italian Farmers were so called because it was believed they were copied from Doccia originals. However, both the Doccia examples and the Derby derive from a model made at Meissen.

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443. A Bow figure of Cupid, c.1765-70, the winged putto kneeling and reaching up into flowering bocage with a lamb beside him, his quiver of arrows at his feet, raised on a reticulated scroll base, a repair at the base of the bocage, 18cm. £120-180

444. A rare Chelsea figure of a shepherdess, c.1760, the maiden seated and stretching out her right arm, while her left hand rests on the neck of a sheep climbing into her lap, raised on a scroll base applied with flowers and leaves, restoration, 19.6cm. £150-250

Provenance: from the Brian Adams collection.

It is probable that this figure once had an open bocage surmounted with a candle sconce. Provenance: from the Brian Adams collection.

445. A Bow figure of a New Dancer, c.1758, standing on a low base with puce scroll detailing, his left foot stepping off the base, his arms positioned before his body, wearing a plumed yellow hat and a pink coat over patterned trousers, a tiny amount of restoration to his right hand, 17cm. £300-400

446. A Derby figure of a lady vintner, c.1760-65, perhaps personifying Autumn, seated with a basket of grapes on her lap, raised on a short scrolling base, a few small chips, 12cm. £250-350

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447. Seven Derby figures of putti, c.1760-80, the largest seated and supporting a candlestick entwined with flowers, three standing beside baskets of flowers, three holding small baskets before them, and a Bow figure of a seated putto resting a vase on one knee, some restoration, 16cm max. (8) £150-200 Provenance: from the collection of Elizabeth Adams.

448. Two pairs of Derby figures, c.1765, one pair of a piping shepherd and his companion, he with a dog seated beside him, she with a lamb, both raised on tall scroll bases before flowering bocage, the smaller pair of candlestick figures of a seated boy and girl with a dog and lamb, holding out small posies before flowering bocage, some damages and repairs, 23cm max. (4) £200-300 Provenance: from the collection of Elizabeth Adams.

449. A pair of Derby models of canaries, c.1780, the small yellow birds perched on low stumps applied with flowers, and a Derby model of a recumbent sheep or ram, beneath flowering bocage, small damages and repairs, 7cm max. (3) £100-200 Provenance: from the collection of Elizabeth Adams.

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450. An unusual porcelain model of a deer, probably 19th century, after Ralph Wood, recumbent on a low grassy base and with her head turned over her right shoulder, decorated in a muted colour palette, 16cm across. £100-200


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451. A Derby figure group emblematic of Water, c.1770, from The Elements series, modelled with two putti taking fish from a handled net and placing them in a small bucket, beside a tall leafy tree, incised No.45, a little good restoration, 20.5cm. £150-250

452. A Derby candlestick figure of a piping shepherd, c.1765, standing before flowering bocage rising to a candle sconce, his dog recumbent at his feet, raised on a scrolled base with puce, turquoise and gilt detailing, some restoration, 25cm. £100-200 Provenance: from the Brian Adams collection.

453. A large Derby figure of Minerva, c.1760, her right hand held aloft to receive her spear, her left resting on her shield which bears the face of the Gorgon, raised on a scrolled base picked out in gilt and turquoise, some restoration, her spear lacking, 32cm. £100-200 Provenance: from the collection of Elizabeth Adams.

454. A Bow figure of a blackamoor, c.1760, wearing a striped kilt beneath a burgundy tunic, carrying a tazza, and with one hand tucked inside the buttons of the tunic, raised on a footed base with puce and gilt detailing, applied with flowers, some restoration, 18cm. £100-150 Provenance: from the Brian Adams collection.

455. A Derby figure of Apollo, c.1760, standing on a scrolled base with a lyre and a pile of books, wearing a bold patterned robe and holding a furled scroll in his left hand, and a Derby figure of a lady holding a basket of eggs and with her apron full of blue flowers, some damages and restoration, 20cm max. (2) £200-300

456. A rare pair of Bow figures of the Dutch Dancers, c.1765-70, each standing in dancing pose with their hands behind their backs and one leg extended, raised on tall scrolled bases with puce detailing before flowering bocage, some repairs to the bocage and bases, 23.5cm. (2) £400-600

Provenance: from the Brian Adams collection.

Provenance: from the Brian Adams collection.

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457. A large Derby figure of Venus and Cupid, c.1765, seated on the back of a large dolphin spouting water from its mouth, raised on a tall separate stand encrusted with a large variety of shells on a dense seaweed ground, some faults, 35cm overall. (2) £300-500

458. A rare Bow chamberstick Fountain group, c.1765-70, modelled as a gentleman and his companion holding baskets of flowers and standing either side of a wall fountain with a jet of water issuing from a mask, all beneath flowering bocage and raised on a tall scroll base picked out in puce and blue, a twist handle to the reverse, chips and losses, 18.5cm. £300-500 The baskets of flowers are an unusual addition to this type of fountain group, which usually feature the same figures holding guns or sticks.

459. A Bow figure of a New Dancer, c.1770, standing with arms extended and one foot forward, before flowering bocage on a reticulated scrolled base, red anchor and dagger mark, some restoration, 24.5cm. £150-200 Provenance: from the Brian Adams collection.

460. A Plymouth figure of Winter, c.1770, modelled as a young boy wrapped in an ermine-lined robe and standing before a flaming brazier on a tall scrolled base with puce detailing, 14.5cm. £300-400 Cf. The Victoria and Albert Museum, Accession No. 414:688/C-1885 for an example from the collection of Lady Charlotte Schreiber. Provenance: from the Brian Adams collection.

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461. A pair of Derby theatrical figures, c.1765, of David Garrick and Susannah Cibber as the protagonists in Tancred and Sigismunda, Garrick wearing a tall hat trimmed with fur, and holding a scroll in his left hand, Cibber holding a box of bottles in her role as the vivandière, each raised on a low scrolled base applied with flowers, some restoration, 22.5cm. (2) £500-800 David Garrick first took the role of Tancred in James Thompson’s tragedy at Drury Lane in 1745. He reprised the role regularly, but played opposite Cibber in 1756. Cibber herself was involved in a scandalous lawsuit in 1738, when her husband accused her of having an affair with their lodger, William Sloper. Rumours at the time suggested that the three of them may have been involved in a menage à trois.

462. A pair of Derby candlestick figures of musical shepherds, c.1765-70, each seated before elaborate flowering bocage, he playing the bagpipes and she with a lute, a dog and lamb beside them respectively, the pierced candle sconces with puce, turquoise and gilt detailing, some restoration, 20.5cm. (2) £200-300 Provenance: from the Brian Adams collection.

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463. A previously unrecorded white-glazed Bow figure group, c.1758-60, emblematic of the changing year, embodied by five putti standing on a rocky base, four representing the seasons of Spring through to Winter with varying attributes, the central figure holding a basket containing the fruits of the year, and a staff in his right hand, all raised on an unusual pierced rocky base with a recumbent goat and lamb among applied flowers, shells and coral, the base with an impressed T mark, possibly relating to the modeller John Toulouse, some restoration, 19.8cm high. ÂŁ2,000-3,000 Provenance: from a deceased estate on the Channel Islands.

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464. A miniature Bow model of a hare, c.1760, seated on his haunches and scratching his left ear with one paw, his fur finely incised, raised on a low pad base highlighted with puce scrolls, a little good restoration to the ears, 7cm. ÂŁ2,000-2,500 Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, P.152, no.256.

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CLARICE CLIFF, ART DECO & DESIGN Wednesday 29th March 2017

A Clarice Cliff Circle Tree Stamford teapot. Estimate: £800 - £1,200

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


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FURNITURE, WORKS OF ART & CLOCKS Wednesday 12th April 2017

A pair of Victorian cut glass and gilt bronze mounted pineapple finials, 25cm high. Estimate: £500 - £800 ENQUIRIES Mark Richards | Tel: +44 (0)1722 411854 | mr@woolleyandwallis.co.uk


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OLD MASTERS, BRITISH & EUROPEAN PAINTINGS Wednesday 15th March 2017

Allan Ramsey (Scottish 1713-1784) Portrait of James Bateman (d.1758) Signed and dated 1756, oil on canvas, 127 x 101cm Estimate: £15,000 - £20,000 This sale includes a fine selection of portrait miniatures. ENQUIRIES Victor Fauvelle | Tel: +44 (0)1722 424503 | vf@woolleyandwallis.co.uk Jo Butler | Tel: +44 (0)1722 424592 | jb@woolleyandwallis.co.uk


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ASIAN ART

Tuesday 16th & Wednesday 17th May 2017

A Chinese blue and white 'Eight Immortals' incense burner, Kangxi 1662-1722, 19.2cm. Provenance: a Scottish private collection. Estimate: £8,000 - £12,000

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


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TRIBAL ART & ANTIQUITIES Wednesday 1st March 2017

A Maya cylinder vessel Mesoamerica, circa 1000AD 14.5cm high. Provenance: Seward Kennedy, London. Estimate: £400 - £600

ENQUIRIES Will Hobbs | Tel: +44 (0)1722 339752 | wh@woolleyandwallis.co.uk


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MEDALS, COINS, ARMS & ARMOUR Tuesday 28th March 2017

The Great War Flying Gallantry group of medals to Squadron Leader John Tudor Powell Whittaker M.C., R.F.C./R.A.F. Estimate: £1,500 - £2,000

ENQUIRIES Ned Cowell | Tel: +44 (0)1722 341469 | nc@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.

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. 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

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

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

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


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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The following methods of payment may be made:

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

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.

Debit cards: Delta, Switch, Connect

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.

Where practical, payment can be made and purchases collected during the auction.

Please enquire for the accepted exchange rate on the day of the sale.

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.

Royalties for Droit de Suite are as follows:

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

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 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.


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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 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.

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. 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).

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. 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. 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.

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).

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.

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. GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions.

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

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €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 Lots marked with a ‡ symbol are potentially subject to the levy.


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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 Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Registered in England No. 2998482

Salisbury Salerooms

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

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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 28th February 2017 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 ENGLISH & EUROPEAN CERAMICS & GLASS 28th February 2017 – Fine Porcelain & Pottery 23rd May 2017 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 1st March 2017 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk PAINTINGS 15th March 2017 – Old Masters, British & European Paintings 7th June 2017 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk 20TH CENTURY DESIGN 29th March 2017 – Clarice Cliff, Art Deco & Design 21st June 2017 – Arts & Crafts 22nd June 2017 – A Private Collection of Burmantofts Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 28th March 2017 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 12th April 2017 Mark Richards +44 (0) 1722 411854 • mr@woolleyandwallis.co.uk SILVER 25th & 26th April 2017 – Fine Silver & Vertu Including The Arthur Holder Collection Part III Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 27th April 2017 – Fine Jewellery Jonathan Edwards +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk ASIAN ART 16 & 17th May 2017 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk


www.woolleyandwallis.co.uk


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