Woolley & Wallis by Jamm Design Ltd

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

Fine Porcelain & Pottery

Tuesday 15th September 2015

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

20TH CENTURY DESIGN Michael Jeffery

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

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507

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

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MARKETING Tamzin Corbett

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GENERAL OFFICE Sharon Ringwood Pauline West Nicola Young Amanda Lawrence

FURNITURE & CLOCKS Mark Richards Jim Gale

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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SALEROOM MANAGER David Jordan

PAINTINGS Victor Fauvelle Jo Butler

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman

SILVER Rupert Slingsby Lucy Chalmers TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Ellie Osmond

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John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

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

Members of The Society

of Fine Art Auctioneers

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

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FINE PORCELAIN & POTTERY

Tuesday 15th September 2015 at 10.30am Viewing Times Saturday 12th September Monday 14th September Tuesday 15th September

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

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

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

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Thursday 17th September. If you are collecting items on or after this date please contact the department on 01722 424507.

LIVE BIDDING

Please register by 5pm Monday 14th September. Please note there is a 3% + VAT surcharge for using this service.

Front cover: Lot 314 Back cover: Lot 207 Catalogue £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

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1. A Staffordshire salt-glazed stoneware bowl, c.1760-70, brightly painted with a bird perched on holey rockwork amidst Oriental flowers, the interior with a further spray and a green and pink band to the inner rim, a chip to the foot, together with a later Chinese wooden stand, the bowl 16.4cm dia. (2) £200-300

2. A small brown stoneware jug with metal cover, dated 1770, applied with a stylized flower garland in unglazed white, the hinged metal cover engraved ‘AMF 1770’, a repair to the handle, 11.7cm. £100-200

3. A salt-glazed stoneware cream jug, c.1760, brightly painted in the famille rose palette with a large flower spray, restored, 8.5cm. £80-120

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4. A Staffordshire glazed redware coffee pot and associated cover, c.1770, the pear-shaped body engine-turned with a fine design of differing bands of narrow waves, the spout formed as the head of an eagle, the handle moulded with a foliate terminal, impressed pseudo Chinese mark, the cover a poor fit and probably matched, 24.5cm. (2) £200-300

5. A German terracotta stove tile, 16th century, moulded with a large stylized tulip issuing from a small two-handled censer, with four flowerhead roundels, decorated in a rich green glaze, with red to two sides, some surface wear and chipping, 28.6cm. £100-200 Cf. The Victoria & Albert Museum, Accession No. 232-1892 for a similar example.

6. A Donyatt slipware puzzle jug, dated 1809, the yellow-glazed body incised with two large tulip sprays beneath the inscription ‘When this you see Remember Mee’ [sic], bearing the initials JS above the date 1809, the neck pierced with a series of small holes, 21.8cm. £300-500

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7. A large salt-glazed stoneware teapot and cover, c.1760, brightly enamelled with a bird perched on flowering branches of peony, chrysanthemum and prunus issuing from blue holey rockwork, with crabstock handle and spout, some damages, 22cm across. (2) £150-250

8. A rare Staffordshire salt-glazed stoneware spoon tray, c.1750, decorated in crisp relief with scrolling flowers and foliate motifs, the shaped rim with an arched border, 16.4cm. £200-300

9. A rare Scratch Blue salt-glazed stoneware teapot and cover, c.1740, the square body with the spout and handle issuing from the corners, moulded with scallop shells and incised with birds and scrolling flowers, the incised decoration highlighted in blue, a scratched cross to the base, restored, 16cm. (2) £100-200

10. A salt-glazed stoneware teapot and cover, c.1760, painted to each side with a simple floral sprig within a leaf-shaped panel, reserved on a blue ground decorated with an allover black swirl design, with crabstock handle and spout, the cover restored and perhaps a replacement, 21cm. (2) £100-200

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11. A Staffordshire agateware teapot and cover, c.1755, the globular body marbled with striations of blue, cream and manganese, raised on three paw feet, with a moulded handle and short spout, the cover with a three-knopped finial, some good restoration to the end of the spout, 17cm. (2) £1,000-1,500

12. A small Staffordshire creamware teapot and cover, c.1750, the globular body applied with sprigs of fruiting grapevine issuing from the crabstock handle, decorated in a Whieldon type glaze with splashes of blue, green and manganese, some restoration, 14cm across. (2) £200-300

13. A Sussex slipware model of a pig, 19th century, with hinged detachable head forming a drinking cup, the neck incised ‘Wunt be druv’, decorated in a dark treacle glaze, and a miniature slipware twohandled dish of circular form, covered in a dark cream glaze with brown rim, a crack to the pig’s head, 14.5cm max. (3) £300-400 The Sussex expression ‘wunt be druv’ is an unofficial motto of the county, whose residents had a reputation for stubbornness and single-mindedness. The pig’s independence of spirit made it the perfect representation of this sentiment.

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14. A large and unusual pottery vase and cover, probably 19th century, decorated with a faux marble ground, applied with small gilded rectangular plaques of a reclining Classical figure, with lion mask handles holding applied husk swags in their mouths, raised on a square black base, some damages and restorations, 41cm. (2) £300-400 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

15. A large slipware salt pig, dated 1792, the generous body with a wide hooded opening, decorated in cream slip on a treacle ground with large floral sprays, beneath the opening inscribed ‘1792 WCI’, a little retouching to the glaze, 26cm high. £400-600

16. A creamware cruet or condiment stand, late 18th century, the circular stand with vertical slats interwoven with narrow clay ribbons, set with five compartments containing a vinegar bottle, oil bottle and cover, and one large and two small casters, some restoration, 31cm overall. (7) £250-350

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17. A pair of Pratt ware quintals, c.1790, the five branch forms painted with simplistic flower sprays in brown, ochre and yellow, issuing from shaped bases, the ends of the vases feathered and highlighted in blue, some damages, 19cm. (2) £150-250

18. A French agateware part tea service, late 18th century, marbled with cream, brown, salmon and grey striations, the finials modelled as buds or flowers, some restoration. Comprising: a teapot and cover, a jug and cover, and a sugar bowl and cover. (6) £150-250 Cf. Jana Kybalova, European Creamware, p.75, pl.60 for a similar tureen and cover.

20. A creamware sauceboat, late 18th century, of silver shape with moulded feathered edging to the rim and foot, the handle formed as two twisted straps issuing from applied flowers and leaves, 16.5cm. £150-250

19. An unusual French tin-glazed cup on stand, late 18th century, the generous rounded cup well painted in the famille verte palette with a continuous scene of Chinese figures at various pursuits in a garden setting, the stand with bats and cloud scrolls, some chipping, 12.5cm dia. £100-200

21. A creamware small Bacchus jug, c.1790, modelled as the grinning face of Bacchus wearing a diadem of grapevine, picked out in Whieldon type colours of green and manganese, minor faults, 10cm. £200-300

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22. A rare pearlware Napoleonic jug, c.1813, printed and hand-coloured to one side with a Russian soldier holding a rifle over his shoulder from which are suspended the corpses of five Frenchmen, titled ‘A Russian Boor returning from his Field sports’, the reverse with Napoleon surrendering to a further Russian who holds an axe aloft, a short rim crack, 14.5cm. £350-500 The French defeat in Russia at the end of 1812 demonstrated that Napoleon was not invincible nor the military genius that many supposed him to be. Both prints are taken from cartoons etched by George Cruikshank after Russian originals by Terebenev, and were published in January 1813. The second print is sometimes titled ‘Specimen of Russian chopping blocks’. Cf. David Drakard, Printed English Pottery, pp.230-233 for a discussion of wares using these prints.

23. A creamware reticulated vase and cover, late 18th century, probably Leeds, the hexagonal baluster body finely pierced with alternating, scrolled and hatched designs, echoed to the cover with a tall shaped finial, raised on a flared pierced foot, the finial broken and restuck, 25.5cm. (2) £250-350

24. A Pratt ware jug, c.1800, moulded to one side with the Sailor’s Farewell, the reverse with the Sailor’s Return, the eponymous hero depicted with his lass, picked out in a traditional palette of blue, brown, green and ochre, between stiff leaf borders, 12.8cm high. £120-180

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25. A yellow ground pearlware mug, late 18th/early 19th century, decorated in black with a large ship at sail, flying a long pennant from her middle mast, minor faults, 14.5cm. £300-400

26. A previously unrecorded creamware satirical jug, late 18th century, printed and hand-coloured with a bawdy scene of figures including a priest, a chimney sweep, a barber and an old woman with her behind exposed, titled ‘The Devil of a Job - Satan at the bottom of all Mischief’, the rim painted with shaped green panels simulating shagreen, and simple floral sprays, restored, 17.2cm. £200-300 It has sadly not been possible to find the source of this rather risqué print, nor any other pieces bearing the same subject.

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27. A large creamware punchbowl, c.1770, painted to the exterior with a courting couple beside a flock of sheep in a rural landscape, the reverse with a two-masted ship at sail, a spray of flowers to the interior, some restoration, 26cm dia. £250-350

28. A large creamware punchbowl, c.1770, painted to the interior with a large fish beneath the motto ‘Keep me Swimming’ within flower sprays, the exterior with further bold sprays of flowers in red, green, black and yellow, five restored rim cracks, 28cm dia. £500-700

29. A Pratt ware oval plaque, c.1800, moulded in high relief with two lions at repose, the rim enamelled in blue and yellow, pierced at the top with two suspension holes, a small restored rim section, 24.5cm. £200-300

30. A large green-glazed creamware teapot and cover, late 18th century, decorated with impressed horizontal bands, traces of gilt decoration and lettering including the name ‘Elizabeth Symes’, the cover with a small section restuck, 22.5cm. (2) £250-350

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31. A pair of pearlware moneyboxes, dated 1866, of rectangular form with chamfered corners, decorated in Portobello colours with sprays of rose and other flowers, inscribed to the tops, one for Ellen Walters Newton, the other for T Walters Newton, both ‘Crown Hotel South Stockton 1866’, each raised on four low feet, 13.5cm across. (2) £250-350 The Crown Hotel is still in existence today in the village of Kirklevington, Stockton on Tees. A directory of 1890 lists a Thomas Walters Newton as proprietor of the Windmill Inn in Thornaby on Tees.

32. A documentary creamware mug, dated 1788, painted with bright floral sprays either side of the strap handle, the front inscribed in red with ‘Je crains Dieu, et je n’ai point d’autre crainte; Capt. Samuel Parker’, in a ribboned banner ‘When this you see, Remember me, Tho’ many miles We distant be’, Dec. 20th 1788’ beside an anchor, fitted with a glass bottom, 15cm. £450-650 Samuel Parker is a common name in 18th century America, particularly in the six states of New England. Rather than a memorial, the French inscription appears to indicate that the mug was made by a sea captain for his beloved when he set off on a voyage.

33. A small and rare creamware teapot and cover, c.1770-80, perhaps Derby, the globular form printed in black with a pair of chinoiserie figures in a garden setting, the reverse with a multi-storeyed pagoda on an island, some restoration, 17.5cm. (2) £150-250 The subject is copied from a Pillement engraving published in the Ladies Amusement.

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34. A Kutahya (Turkey) pottery small circular dish, 2nd half 18th century, the narrow well decorated with a six-pointed star in deep blue, the rim with three stylized floral sprays in a traditional palette of blue, turquoise, yellow, black and pillar box red, some rim faults, 16.2cm. £700-900 Cf. Altun, Caswell and Oney, Turkish Tiles and Ceramics in the Sadberk Hanim Museum, Nos. K58-61 for similar examples.

35. A Hispano-Moresque two-handled bowl (cuenco de orejas), probably 17th or 18th century, the flared sides decorated to the interior with a stylized leaf design in a rich copper lustre, the underside with simple swirls, moulded with two shaped handles, some glaze wear, 15.5cm. £150-200

36. A Hispano-Moresque small dish, late 17th/early 18th century, decorated in copper lustre with a bird with outstretched wings, some wear, a drilled suspension hole, 19cm. £100-200

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37. A large Sicilian maiolica albarello, probably 18th century Caltagirone, boldly decorated with a continuous band of large and small flowerheads between leaf scrolls, in a palette of blue, green, yellow and ochre, the cylindrical body tapering slightly towards the base, some damages, 26.5cm. £300-500

38. A Continental maiolica charger, possibly 17th century, the well decorated with a saint with outstretched arms, the rim with panels of peacocks and stylized flowers, in a bright palette of blues, green, yellow and ochre, 11cm rim crack, 32cm. £400-600

39. A large Continental pottery white-glazed ‘Alhambra’ vase, probably 19th century, moulded in deep relief with elaborate fretwork and leaf scrolls around stylized flowerhead and star motifs, minor damages, 44.5cm. £200-300

40. A Venetian maiolica albarello, 2nd half 16th century, painted to each side with a profile portrait of a man wearing a blue hat, perhaps in the workshop of Domenego da Venezia, reserved on a ground of scrolling leaves and flowerheads, some glaze wear to the rim, 16.5cm. £400-600 Cf. Italian Maiolica in the Fitzwilliam Museum, pp.418-9 for other examples of work by Domenego da Venezia.

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41. A delftware tulip charger, c.1730-40, probably Brislington, brightly decorated in blue, green, yellow and ochre, with a large tulip flanked by two smaller blooms and a row of stiff leaves, within a stylized leaf border and a sponged blue rim, broken and restuck, 34cm. £200-300 Cf. The Victoria and Albert Museum, Accession No. C.247-1911 for a similar dish.

43. A large English delftware charger, c.1720, Bristol or London, painted with a courting couple beside ships at sail in a harbour, beneath tall sponged trees, some filled chips to the rim, 24.3cm. £300-500

42. A Bristol delftware bowl of unusually small size, c.1750-70, painted in blue with two ladies in full skirts standing beneath tall sponged trees and beside a building with a tall chimney, 17.5cm. £400-600 Cf. Anthony Ray, English Delftware Pottery in the Robert Hall Warren Collection, pl.42 for a plate of the same design.

44. An Italian maiolica charger, c.1780, probably Naples, painted with a large green parrot perched on leafy branches before a scene of boats in a harbour setting beside a castle, the rim with a leaf garland and ribbon border, restored, 41.5cm. £250-350

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45. An early Brislington delftware lobed dish, c.1680, the well painted in blue and manganese with a seated figure, the fluted rim with a stylized formal border of leaf swags, some faults to the rim, 22cm. £200-300

46. A Bristol delftware plate, c.1740, boldly painted in blue, red and green with Oriental flowers and willow issuing from a fence, the rim with a formal foliate border, 20.2cm. £200-300

47. A Porquier-Beau (Quimper) plate, late 19th century, painted in the Oriental manner with flowering prunus and peony issuing from a banded hedge, with butterflies or moths in flight above, the lobed rim painted with a formal floral border reserved on a blue swirl ground, PB monogram mark, 25cm. £150-200

48. An English delftware plate, mid 18th century, well painted with a Chinese design of a crowing cockerel perched atop rockwork beside a large spray of flowering peony, a hen and a chick scratching on the ground, the rim with three flower and pomegranate sprays in yellow, green, blue, orange and manganese, a little rim chipping, 23.5cm. £500-700

49. A Bristol delftware plate, c.1710, painted in blue, green and red with five petal-shaped panels of flowers and leaves, reserved on a blue hatched ground, 22.2cm. £150-200

50. An English delftware plate, mid 18th century, Bristol or Wincanton, painted in blue with a central standing Chinese figure beside a small fence and a pagoda, a large insect flying above, a filled chip to the back of the rim, 22.5cm. £150-200

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51. A delftware hexagonal spoon tray, 2nd half 18th century, perhaps Vauxhall, painted in blue with two Chinese figures dancing with sticks, beneath flying insects, the rim with a scrolled border and a brown line, a little glaze chipping, 14.7cm. £300-500

52. A miniature Continental faïence teapot and cover, 18th century, the finely potted pear-shaped body painted in blue with a stylized floral design below a hatched border, with a ropetwist handle and domed cover with a button finial, some faults, 12cm. (2) £250-350

53. A Savona maiolica sugar caster, 17th century, the cylindrical body painted with a large bird and flower sprays, the reverse with a bell-shaped tent, in a palette of blue, manganese and ochre, the domed top pierced with eight holes around a small finial, 8.5cm. £150-250

54. A Delft tea canister, c.1720-40, the flattened rectangular body with chamfered corners, painted in blue with a winged insect perched atop rockwork between flowering sprays, beneath panels of tied scrolls, the shoulders with stylized peony sprays, blue D/7 mark to the base, some chipping, 11cm. £150-200

55. A delftware small bowl or pot, 1st half 18th century, possibly English, the slightly flared cylindrical sides decorated in blue with a formal design of palmettes and suspended swags, the inner rim with a slight shelf to accommodate a cover, the cover lacking, 9.2cm dia. £200-300

Cf. F H Garner & Michael Archer, English Delftware, pls. 72A and 72B for covered trinket pots of similar formal designs.

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56. An early English delftware bowl, c.1710, probably London, painted in blue with the Mimosa pattern of two tiers of flowering sprigs separated by two thin lines, the interior with a stylized motif border, broken and riveted, 26.5cm dia. £200-300

57. A rare delftware flower pot, possibly English, mid 18th century, of flared square form with chamfered corners, painted in blue to each side with willow and a large peony flower issuing from holey rockwork, the base pierced with five small drainage holes, minor damages, 10.5cm high. £200-300 Cf. Michael Archer, Delftware The Tin- Glazed Earthenware of the British Isles, p.275, item E16 for a water bottle with similar decoration.

58. A London delftware food warmer base, c.1760-80, the cylindrical form with a shaped opening beneath a moulded mask, a further mask to the reverse, the sides with scrolled handles, painted with stylized foliate motifs, blue numeral 4 mark to the base, a small reglued chip, 19.5cm. £100-150

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59. An early English delftware dry drug jar, dated 1663, simply painted in blue with a ribboned banner bearing the inscription ‘DIASCORDIUM’ and the date 1663, a clean repair, some chipping, 20cm. £1,500-2,000 Diascordium is a preparation using the dried leaves of teucrium scordium (water germander) as the primary ingredient. It had a variety of uses including the promotion of sleep and the treatment of the plague. In his London Dispensatorie of 1654, Nicholas Culpeper wrote, “it is a well composed Electuary, a something appropriate to the nature of women, for it Provokes the Terms, hastens their Labor, helps their usual sickness at the time of their Lying-in, I know nothing better... It may be safely given to young children ten grains at a time, ancient people may take a dram or more”.

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60. Three English delftware drug jars, 18th century, two dry drug jars painted in blue, each with a cartouche surmounted by birds or putti flanking a basket of fruit, inscribed ‘U: POPULN’ and ‘E:DIAS: S: MEL’, and a syrup jar with similar decoration beneath a knopped spout, inscribed ‘O: PETROLÆ’, damages and glaze loss, 19.5cm max. (3) £400-600 Unguent of Populeon included poplar buds in its ingredients and was used in the treatment of burns, Petrolæ refers to parsley and the other jar appears to have contained an electuary of honey, both of which had a variety of medicinal uses.

61. A pair of English delftware dry drug jars, mid 18th century, each painted in blue with an oval cartouche surmounted by cherubs holding flower stems either side of a scallop shell, a winged angel beneath, one titled U:ALB:CAM, the other BALS:LOCAT, some damage and restoration, 20cm. (2) £300-500 Balsamum Locatelli was an ointment named after its creator, the Italian physicist Lodovico Locatelli (d.1657). Its ingredients included red sandalwood, olive oil and pine resin, and it was used in the treatment of ulcers. Unguentum Albastrinum was an ointment made from, among other ingredients, powdered alabaster and chamomile flowers. It was used as an emollient.

62. A large Delft albarello or drug jar, 18th century, the slightly waisted cylindrical form painted in blue with a cartouche surmounted by two peacocks flanking a basket of fruit, inscribed ‘U ALTHEÆ, S’, drilled to the base, 29cm. £100-200 Althaea officinalis (Marshmallow) was used particularly in treatment of inflammation of the mucus membranes, and also for throat and gastric ulcers.

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63. A near pair of Liverpool delftware wall pockets, c.1760, each formed as a cornucopia, moulded and painted in blue with a single bird perched on a flowering branch, the shaped rim with small shell and flower motifs, a small amount of restoration to the rims, 19.5cm. (2) £250-350

64. A Liverpool delftware polychrome wall pocket, c.1760, formed as a cornucopia, moulded in shallow relief with a large yellow flowering plant issuing from a small round manganese pot resting atop deep moulded green foliage, 22.2cm. £200-300

65. A Liverpool delftware wall pocket, c.1760, of cornucopia form, moulded and decorated in blue with a bird perched on a flowering branch, the shaped rim with a shell motif and further flowers, restored, 19.5cm. £80-120

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66. A rare white-glazed English delftware sauceboat, mid 18th century, probably Bristol or Liverpool, the generous form raised on three paw feet, the handle formed as a mythical cat-like beast, 19cm across. £400-600 This footed shape, derived from silver, is rare in delftware. A similar example with a plain strap handle is in the collection at Williamsburg, and illustrated in John C Austin’s catalogue, no.383.

67. A pair of Delft two-handled sauceboats, 18th century, the shallow forms with shaped rims, moulded to the exteriors with a band of gadrooning, the interior rims painted in blue with a formal Fitzhugh type border, blue dashes to the handles, 15.5cm. (2) £100-200

68. A pair of Delft small bowls, mid 18th century, each painted in blue with a peasant figure seated beside a tree, 13.5cm dia. (2) £100-200

69. A Bristol delftware powder bowl or basin, c.1720-30, moulded with a pie crust edge, painted to the interior with a twostoreyed building beside trees, within a green dash border, the rim with a blue and red design, broken and riveted, 18.5cm. £100-200

70. A Dutch Delft tile, 17th century, painted in blue, green and ochre with a camel standing four square on grass, within a shaped panel with blue geometric designs to the corners, framed, 17.5cm overall. £150-250

71. A Dutch Delft square plaque, c.1770, painted in blue with a pastoral scene of a young shepherd courting his companion, two sheep recumbent before them, the edge raised to form a frame in a dark blue, broken and restuck, 23.5cm. £100-200

The reverse of the frame with an inscription in German dated to 1953.

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72. A Dutch Delft doré buttertub with cover and stand, c.1750, painted in the typical palette with ships at sea within shaped panels of flowers, stylized scrolls and stiff leaf borders, the cover surmounted with a snail finial, iron red VH marks, two small reglued chips to the cover, 18cm. (3) £2,000-3,000

73. An English delftware small sauceboat, mid 18th century, probably London, the shallow form painted with a tall building in a rural European landscape, beneath the spout with panels of blue scale, the interior with a single flower spray, raised on a crisply moulded foot, a long crack, 15.5cm across. £1,200-1,500 Provenance: the Nick Panes collection. Purchased from Christie’s, Syd Levethan: The Longridge Collection, 3rd November 2011, lot 280. Previously from the estate of Mrs Edith Pitts Curtis, sold at Owen F Valentine & Co, Virginia, 22nd-23rd October 1994, lot 389.

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74. A good Liverpool delftware two-handled sauceboat, mid 18th century, the interior painted in blue with birds perched on sprays of Oriental flowers, the exterior with peony sprays, the handles modelled as foxes perched on rims decorated with diaper panels, 20.4cm across. £600-800 Cf. Michael Archer, Delftware in the Fitzwilliam Museum, no. G15 for an identical example. The shape is believed to have derived from silver, and similar examples are known in St Cloud porcelain.

75. A massive Delft bowl of exceptional size, late 17th/early 18th century, painted in blue with birds in flight and perched among flowering branches of peony, chrysanthemum and other Oriental plants, further long-tailed birds to the interior beneath a band of scroll and leaf motifs, some restoration, 40cm dia. £600-800 A similar example of smaller dimensions can be seen in ‘The Smoking Room’ in the Dennis Severs House Museum, Spitalfields.

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76. A pair of large Dublin delftware plates, c.1760, probably Delamain’s World’s End Pottery, painted with flowering peony and chrysanthemum issuing from a decorated Chinese censer within a formal scroll border, the rims with four groups of Oriental flowers and precious objects, 30cm. (2) £300-500 Provenance: from the Estate of Mary, Duchess of Roxburghe.

77. A pair of English delftware plates, c.1760, painted in a palette of red, green, yellow and blue with flying insects above flowering branches issuing from handled baskets, the rims with a formal border, some chipping to the rims, 22.5cm. (2) £150-250

78. A Delft tulip vase, 19th century, the flattened form moulded with a face between outspread angel’s wings, the shoulder set with ten knopped vase openings, raised on a flared rectangular foot, blue mark to the base, a little restoration, 29cm. £300-500

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79. A large Dutch Delft vase, 17th century, the ovoid form well painted in a bright blue, in the Chinese Transitional manner with figures beneath leafy coconut palms and other tall trees, the short neck with a stylized stiff leaf band, 30.5cm. £400-600

80. A Delft tulip vase or flower pyramid, perhaps 18th century, the octagonal base section resting on the backs of three recumbent lions and painted in blue with a continuous scene of figures in a tiled interior, three further sections resting on the heads of more lions, beach section set with four cylindrical apertures and painted with flowers and stiff leaf bands, blue AP mark perhaps for Anthony Pennis, some damages, 46.5cm. £800-1,200 Anthony Pennis is recorded as working at The Two Little Ships (De twee Scheepjes) between 1759 and 1770.

81. An English delftware vase, mid 18th century, perhaps Bristol, the ovoid form painted in blue with a Chinese figure carrying a vase, a further figure standing beneath pine, prunus and willow trees, the shoulders and foot with stylized leaf and ruyi-head bands in the Chinese Transitional manner, a little chipping, 21.5cm. £150-250

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82. A large French faĂŻence pilgrim flask, early 18th century, the flattened globular form in the Nevers style, painted in blue after the Chinese, one side with censers upon low tables, the reverse with a bird and insect in flight above flowers issuing from a censer and a vase, stylized scrolls to the neck and sides, applied with four simple handles with blue dash decoration, 4.P mark to the base perhaps for the Desvres factory, 42.5cm. ÂŁ1,000-1,500

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83. A large Italian faience figure group of Bacchus and Ariadne, c.1800, attributed to Ferniani, Faenza, the couple seated on a rocky stump, Bacchus holding a glass aloft, Ariadne with one hand resting on the top of a ewer, 30.5cm. ÂŁ400-600 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

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84. A Pratt ware watch stand, early 19th century, modelled as a longcase clock flanked by two boys emblematic of Autumn with a sheaf of corn, and of Winter wrapped in a cloak, richly enamelled in a traditional palette of blue, green, ochre and manganese, good restoration to two of the clock’s finials, 26cm. £300-400

85. A Continental faïence figure of Summer, late 18th century, modelled as a lady holding a sheaf of corn over one shoulder, raised on a tall marbled base, some damages and restoration, 25cm. £250-300 Old paper label for Fenton, 11 New Oxford Street, London.

87. A creamware model of goats, late 18th/early 19th century, modelled as a nanny goat suckling her kid, decorated in splashes of blue, yellow and manganese, some faults, 9cm. £150-250

86. A Minton Majolica centrepiece or comport, 19th century, modelled as a merman kneeling on an oval base and supporting a large scallop shell on his head, the shell’s interior glazed turquoise, impressed marks, 38.5cm. £1,000-1,500

88. A Ralph Wood type figure of a boy, c.1790, standing wearing a scant blue robe, leaning on a tree trunk with leafy bocage behind, some chipping to the leaves, 13.5cm. £50-100

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89. A Staffordshire salt-glazed figure of the Spinario, mid 18th century, the naked youth pulling a thorn from his left foot which is crossed over his right knee, raised on a low base, a little good restoration to his right elbow, 9.5cm high. £500-700 The Spinario, also known as the Boy with a Thorn, derives from a Greco-Roman bronze from the 1st century AD and was widely copied from the 16th century onwards in many forms including marble and bronze. For a time the sculpture was known as Il Fedele (The Faithful Boy) owing to a spurious story about a shepherd boy who delivered a message to the Roman Senate and only afterwards stopped to remove a thorn from his foot.

90. A pair of pottery trompe l’oeil models of artichokes by Lady Anne Gordon (Dowager Marchioness of Aberdeen), dated 1975, realistically modelled with opening petals painted in shades of green and yellow, with monogram marks to one base petal, 14cm high. (2) £150-250

91. A Minton Majolica teapot and cover, c.1870-80, modelled as a monkey wearing a Japonism waistcoat, clutching a large melon, its tail forming the handle, its head the cover, impressed mark, some chipping, 24cm across. (2) £800-1,200

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92. A Ralph Wood model of the Vicar and Moses, c.1785-90, typically modelled with the sleeping cleric above his industrious clerk, each with an open book before them, the pulpit applied with cherub masks to the corners, titled to the front, a small amount of good restoration, 24cm. ÂŁ500-700

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TOBY JUGS FROM T WO PRIVATE COLLECTIONS

93. A brown stoneware Toby jug, 19th century, perhaps Derby, typically modelled with a scaled jug of ale on one knee, his face with a large nose and prominent warts, 24cm. £100-200 Old paper labels to the reverse.

94. An Ordinary Toby jug and stopper, 19th century, typically modelled with a foaming jug of ale, decorated in Portobello colours with striped stockings beneath green breeches and a blue coat, his jug painted with a floral motif, the base and handle sponged in green and red, the stopper associated, some repairs to the hat, 25.3cm. (2) £150-250

95. A Mexborough (Yorkshire) Toby jug, c.1820-30, typically modelled with an empty jug of ale and a hexagonal goblet, wearing a green coat over a patterned waistcoat and brown breeches, the inside of his hat brim and the base sponged in blue with yellow highlights, restoration to his hat, 25cm. £300-500

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96. An Ordinary Toby jug, c.1790, seated with a foaming brown jug of ale on his left knee, an upright barrel between his feet, wearing a splashed manganese coat over a yellow waistcoat and dark grey breeches, 25cm. £300-500

97. A creamware Toby jug, c.1790, seated with a terracottacoloured empty jug on his left knee, a long-stemmed clay pipe resting against the right side of the box on which he sits, his coat and breeches decorated with a brocade design in blue and ochre, his face splashed with manganese to show his drinker’s blush, some restoration to the brim of his hat, 25cm. £250-350

98. A Yorkshire pearlware Toby jug, 19th/early 20th century, seated with an empty jug on one knee, a goblet in his right hand, wearing a blue coat over yellow breeches, the inside brim of his hat matching the sponged yellow, blue and black decoration of the base, some restoration, 25.5cm. £100-200

99. A pearlware ‘Success to our Wooden Walls’ Toby jug, c.182030, typically modelled and painted with a warty face, a foaming jug resting on his left knee with the inscription black within a shield, impressed number to the underside, some faults, restoration to the hat, 25cm. £100-200

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100. A Wood-type pearlware Toby jug, c.1790, modelled in typical seated pose with foaming jug of ale, a small upright barrel between his feet, his long clay pipe resting vertically by his right side, his coat sponged in blue, some faults, 24.5cm. £250-350

101. A pearlware Toby jug, c.1800, of Ordinary type, dressed as a sailor with blue striped stockings under yellow breeches, his blue coat and hat highlighted with yellow buttons, a round-bellied jug of ale perched on his left knee, a long-stemmed clay pipe beside his right foot, some restoration to his hat and left hand, 24.5cm. £150-250

102. A creamware Toby jug, c.1800, of Ordinary type, the jug on his knee disappointingly empty, otherwise typically modelled with a warty nose and missing teeth, some faults, 25.5cm. £150-250

103. A pearlware Toby jug and stopper, 19th century, of Ordinary type, his foaming ale spilling over the side of his floral-decorated jug, his coat decorated in a bright turquoise green, the stopper associated, 23cm. (2) £200-300

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104. Two Toby jugs, 19th century, one of Yorkshire type, holding a jug and hexagonal goblet, decorated in blue with striped breeches and a patterned coat, the other pearlware with a claret coat over a patterned waistcoat and rust-coloured breeches, holding a large foaming jug of ale, some restoration to the latter’s hat, 24.5cm max. (2) £150-250

105. A Pratt ware Toby jug, c.1800-1810, decorated in a typical palette with striped stockings and an ermine type coat, a jug of ale resting on one knee, some restoration to his hat, 24.5cm. £300-500

106. Two Toby jugs, 2nd half 19th century, one a Sampson Smith Landlord Toby, seated astride a barrel titled ‘Home Brewed Ale’, wearing a garlanded hat, and a treacle-glazed Gin Woman Toby with stopper, holding a bottle and glass and decorated in a rich dark glaze, 25.5cm max. (3) £100-150

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107. A Neale & Co creamware Toby jug, c.1795, with a large empty jug on his knee, wearing primrose yellow breeches and a green waistcoat beneath a brown coat, his warty face with a ruddy complexion, impressed mark, some restoration, 24.5cm. £200-300

108. A Squire Toby jug, 19th century, seated on a chair with a jug of ale in his right hand, with mottled brown hat, elsewhere sponged with a black pattern, the handle restored, 29cm. £150-250

109. An unusual Staffordshire Toby jug, 19th century, of Ordinary type, with pink lustre coat and further lustre decoration to his jug of ale, the handle modelled with an ivy leaf, 24cm. £150-200

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110. A pearlware Toby jug and stopper, early 19th century, of Ordinary type, modelled with a foaming jug of ale resting on his left knee, his mouth agape to reveal missing teeth, wearing a burgundy coat over a yellow waistcoat, the stopper probably associated, 26cm. (2) £150-200

111. A Yorkshire pearlware Toby jug, 19th century, with an empty cylindrical mug resting on his left knee, wearing a blue coat over yellow breeches, his jug and the base unusually decorated with blue shamrock or flowerhead motifs, some restoration, 25cm. £250-350

112. A Wood-type pearlware Toby jug, c.1790, resting a foaming jug of ale on one knee and a small barrel propped upright between his feet, a long-stemmed clay pipe leaning beside his right leg, wearing a sponged blue coat over a yellow waistcoat, a 3cm repair to the brim of his hat, 25cm. £300-500

113. A pearlware Toby jug, c.1810, painted in Pratt type colours with an ochre frock coat, green waistcoat and blue breeches, his eyes and hair detailed in blue enamel, damages, 24cm. £100-200

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114. A good Toby jug, c.1790, of Ralph Wood type, with a gadrooned foaming jug of ale resting on one knee, wearing a pale blue coat over dark grey breeches, 25cm. ÂŁ500-800

115. A Pratt ware Toby jug, c.1780, of Ordinary type, wearing a coat striped with dashes in blue and ochre, his foaming jug of ale splashed in brown, restoration to the hat and handle, 25cm. ÂŁ250-350

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116. A pair of pearlware bough pots, early 19th century, the D-shaped forms decorated in burnt orange enamel and silver lustre with central shields flanked by Corinthian columns and flower sprays, short cracks, the covers lacking, 20.5cm across. (2) ÂŁ250-350

117. A rare dry-bodied stoneware bough pot and cover, early 19th century, the central oval panel applied with Cupid and Psyche beside a large eagle on clouds, the sides with octagonal panels containing Classical figures, reserved on a rich yellow ground, the cover with three apertures, 18cm across. (2) ÂŁ500-800

118. A large Wedgwood circular biscuit plaque, modern, of a maiden and two putti playing, one releasing a dove to flight, impressed mark, in a silvered wood frame, the plaque 30cm. ÂŁ400-600

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119. A Wedgwood Jasperware plaque, 19th century, applied with six Classical maidens wearing diaphanous robes, holding hands and dancing, in white on a black ground, in a wood frame, 20.5cm x 38cm overall. £100-200

120. A Wedgwood & Bentley Jasperware oval portrait plaque, c.1773, of Jean-Jacques Rousseau (1712-78), facing to the right and wearing a fur-edged hat and coat, impressed mark, impressed S&I, mounted in a later metal frame, broken in half and restuck, the plaque 5.2cm. £100-200 Cf. The British Museum, Accession No. OA.5054, for an identical example bequeathed by Dr Frederick Parkes Weber in 1906.

121. A large Wedgwood Jasperware rectangular plaque, 19th century, depicting the Choice of Hercules, the hero standing with his wrist being held by Virtue trying to lead him away from Pleasure, who beckons him towards a nymph dancing with a drunken satyr, in white on an olive green ground, impressed mark, mounted in a glazed wooden frame, 26.8cm x 58cm overall. £200-300

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122. A fine pair of Derby biscuit porcelain oval plaques, c.1820-30, modelled perhaps by James Goadsby each with a profusion of delicate white flowers and leaves issuing from cold-painted alabaster style urns, against a blue ground, mounted in giltwood frames behind domed glass, 38cm overall. (2) £2,500-3,000 Cf. John Twitchett, Derby Porcelain 1748-1848, p.78 for a similar plaque with an inscription relating to Goadsby.

123. A Wedgwood pot pourri vase and cover, early 19th century, the ovoid form applied with stylized sprays of lily of the valley between tall acanthus leaves, the neck with a border of interlocking circles and flowerheads, on a pale blue glazed ground, the cover pierced with a geometric arrangement of holes, impressed marks, 20.5cm. (2) £120-180

124. A large Spode two-handled vase, c.1820, of New Shape Jar form, finely decorated with birds including a goldfinch and a bluetit perched amidst fruit and flowers, with colourful butterflies around, all reserved on a rich gold ground, the neck and foot with stylized scroll designs in gilt on white, damages and repairs, 31cm. £300-500

124A. A Spode two-handled vase and cover, c.1820, brightly enamelled with orange and grisaille foliate scrolls issuing from purple urns, 18.2cm. (2) £300-500

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125. A tall pair of Minton pâte sur pâte vases by Lawrence Birks, c.1880-90, each decorated to two sides with long sprays of rose and other flowers reserved on a lilac ground, alternating with panels of stylized green foliage issuing from tied yellow ribbons on a coral ground, the necks with similar panels of butterflies and formal scrolls, one signed with the monogram, LB in green, gilt marks, impressed mark to one, some restoration, 39.5cm. (2) £1,500-2,000 Lawrence Birks was apprenticed to Marc Louis Solon at Minton from 1877 and stayed at the factory until 1894. He was one of few artists at Minton allowed to sign his work.

126. An exceptional Coalport or Coalbrookdale tureen with cover and stand, c.1820-30, finely painted with panels of colourful birds within elaborated tooled gilt foliate sprays on a rich blue ground, between further panels of delicate English flowers, 18.4cm. (3) £1,000-1,500 Paper label for the Sir John Holford Collection, possibly relating to John Holford of Rusholme Hall, Lancashire.

127. A massive pair of Chamberlain’s Worcester candlesticks, c.1820, of impressive size, the tall columns moulded with rococo foliate scrolls in cream and primrose yellow over rich blue, highlighted with gilt, printed marks, the sconces with metal fittings, 46.5cm. (2) £150-250

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128. A London-decorated teacup and saucer, c.1815-20, perhaps Nantgarw, finely painted with arrangements of large windswept flowers including tulip, auricula, rose and lilac in vases on a marbled plinth, within gilt and yellow flowerhead borders, the cup’s exterior with further flower sprays, unmarked, some gilt wear, a small rim chip, 13.8cm. (2) £250-350

129. A Spode violeteer or pot pourri vase and cover, c.1815, of Ushaped form with heart-shaped handles, richly decorated in pattern 1166 with bright flower sprays reserved on a blue and gilt scale ground, iron red factory mark and pattern number, a faint crack to the cover, a little gilt wear, 6.5cm high. (2) £200-300

130. A Derby yellow ground coffee can, c.1815, painted with an oval panel containing a landscape scene of a tree above a low bridge over a river, with tall wishbone handle, titled ‘Near Madely, Shropshire’ to the base, iron red factory mark, 7cm. £200-300

131. A Derby scent bottle, c.1765, formed as a posy of flowers tied around the stems with a pink striped ribbon, with gilt metal mounts, the stopper formed as a butterfly, some damages, 9.5cm. £150-250

132. A New Hall teapot and cover, c.1785-90, with a clip handle and short curved spout, simply decorated with delicate swags issuing from flowerheads beneath a pink scale border with purple C scroll motifs, some good restoration, 20cm. (2) £450-600

133. A Swansea milk jug, c.1815-17, decorated in the Mandarin pattern with attendants waiting on a Chinese dignitary in a garden setting, the inside rim with landscape vignettes within elaborate gilt scrolls, a clean repair to the foot, 13cm. £150-250

Paper label for the C P Neve Collection.

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134. A rare Minton teapot and cover with cup and saucer, c.1880-90, well painted in bright enamels with topographical views of London including St Paul’s Cathedral, the Palace of Westminster, Windsor and The Strand, reserved on a white ground within rich acid-etched gilt borders, printed and impressed marks, some damages to the teapot, 24.2cm max. (4) £1,000-1,500

135. A good pair of English porcelain vases and covers, c.1820-30, possibly Coalport, of campana shape, with gilt term handles issuing from gilt scrolls between foliate swags, reserved on a mazarin blue ground, the covers with gadrooned finials in gilt and white, 26cm. (4) £400-600

136. An English porcelain bough pot and cover, c.1820, richly decorated in the Church Gresley pattern with a bold panel of flowers including rose, narcissus and poppy, reserved within further panels of pink rose diamonds on a red ground and scrolling gilt borders, the cover with three apertures and four smaller openings, some restoration to the cover, 21.7cm across. (2) £400-600

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137. A pair of Minton cabinet plates, c.1895, painted by Antonin Boullemier, one with a girl in Eastern dress standing beside a wall with a blue and white bowl of fruit at her feet, the other with a servant girl reaching up to drink from a water fountain, signed, the rims with a geometric reticulated design highlighted in gilt, printed and impressed marks, 24.2cm. (2) £400-600

138. Two Minton cabinet plates, c.1895-98, one painted by Antonin Boullemier with a Classical maiden seated by a ruined column and holding her face in her hand, doves in flight beside her, the other painted by John Currie with a girl wearing a long fur-lined coat and yellow gloves, knocking on a door, signed, within reticulated rims, printed and impressed marks, 24.2cm. (2) £300-500

139. A pair of Chamberlain’s Worcester ice pails with liners and covers, c.1810-20, painted with polychrome arrangements of rose-centred flower sprays within gilt C scrolls on a white ground, printed marks to the inside of the covers, 22cm. (6) £1,300-1,600

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140. A good Nantgarw plate, c.1817-20, of Brace Service type, painted in London in the Bradley workshop with a central spray of flowers, the rim moulded with flowers and C scrolls reserving six panels painted with a bird, floral sprigs and an insect alighted on cherries, impressed NANTGARW CW mark, 25cm. £1,500-2,000

141. A good English porcelain câchepot and stand, c.1810, of squat flared bucket form applied with ring handles, painted in sepia monochrome with a recumbent figure beside a barrel beneath a tree, reserved on a ground of gilt and burnt orange stripes between Greek key borders, decorator’s numeral 4 to each piece, a little gilt wear, 13cm high. (2) £150-250 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

142. A good and large New Hall punchbowl, c.1790, decorated in the Mandarin palette with pattern 425 also known as the Boy at the Window pattern, the exterior with the protagonist gazing out at three other Chinese figures in a garden, repeated three times with alternating pink scale panels, the interior with a boy with a butterfly and two Chinese ladies within an elaborate border of flowers, cell diaper, birds, butterflies and scroll motifs, painted pattern number to the base, 25cm dia. £300-400

143. A Paris porcelain vase and cover, 1st half 19th century, Londondecorated perhaps at the Sims workshop with three doves at repose in a grassy landscape, the reverse with a basket of flowers including rose, hollyhock, convolvulus, tulip and lilac, the cover pierced with moons and stars and scattered with single pink roses, 26.2cm. (2) £150-200 The floral decoration and gilding is very similar to that on the BurdettCoutts service of Swansea porcelain, also thought to have been decorated in the Sims workshop.

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144. A large and impressive pair of Copeland bough pots or jardinières, 2nd half 19th century, possibly made for the 1862 Exhibition, painted by Charles Ferdinand Hürten, one side with arrangements of flowers including primrose, pansy, iris, the other with grapes and other fruit, within rich borders of raised gilding, reserved on a green ground, each signed Hürten to both sides, printed marks, 35cm across. (2) £3,000-5,000 Charles Ferdinand Hürten (1820-1901)was an active porcelain painter in Paris where he came to the attention of William Taylor Copeland, who took two years to persuade him to come and work at Copeland. Many of his first works were for the factory’s exhibits at the London International Exhibition of 1862. Hürten received many special commissions, including a set of panels for the Grand Drawing Room at Chatsworth created for the Duchess of Devonshire, however he stayed loyal to the Copeland factory where he remained until the 1890s. In 1874 the Art Journal reported, ‘Hürten has no superior in flower painting, especially on pieces sufficiently large to give full scope to his vigorous yet delicate pencil; and his perfect feeling for all the beauties of texture and colour in his favourite subjects is sufficiently obvious. He makes us see he is as much a florist as an artist, and as true a student of form and colour.’

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145. A Chelsea-Derby garniture of three vases and covers, c.1775, probably decorated by Richard Askew and Zachariah Boreman, one side painted with panels of Classical figures, one titled Hope, another Innocence, the reverses with rural landscape scenes, reserved on a ground on narrow vertical gilt stripes, moulded with bands of stiff leaves, the larger with satyr mask handles, incised numbers, some damages and repairs, 26cm. (6) ÂŁ600-800 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

146. Ten Derby dessert plates, c.1815, well painted with arrangements of English flowers including stock, crocus, auricula, narcissus, cowslip, poppy, anemone and rose, the rims with four differing single flower stems, on a white ground with simple gilt rims, iron red factory marks, painted numerals, 25cm. (10) ÂŁ100-200

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147. A pair of Paris porcelain cabinet cups and stands, 19th century, each painted with the profile portrait of a Roman Emperor wearing a laurel leaf crown, one titled ‘Trajan’ the other ‘Titus’ reserved on a pale pink ground with a band of green Gothic tracery, the tall handles with lion mask roundels, 14.2cm. (4) £600-800

148. A Sèvres breakfast cup and saucer, 1st quarter 19th century, finely painted with a dense band of flowers including narcissus, delphinium, lilac, tulip and rose, above concentric bands of gilt flowerheads on a deep blue ground, printed marks, gilt initials, 18cm. (2) £400-600

149. A pair of Sèvres salts and a cream jug, c.1810-20, the small circular salts raised on fluted gilt columns above a shaped base, the exterior rims painted with a continuous floral band, reserved on a blue ground, the jug of Etrusque à Bourrelet shape, simply decorated with a band of gilt dots and stylized stiff leaves, gilt and painted marks, 8.5cm max. (3) £350-450

150. A Paris porcelain cabinet cup and saucer, 19th century, painted with a chamfered rectangular panel containing the heads and shoulders portrait of a lady wearing a green dress, her hair in ringlets with pink roses, reserved on a deep blue ground with formal gilt borders, 14.5cm. (2) £450-650

151. A Sèvres coffee can and saucer, c.1805, painted with a formal band of convolvulus and chrysanthemum within leaf swags and scrolled motifs, reserved on a muddy café au lait ground, printed red and incised marks, 13.3cm. (2) £400-600

152. A Copenhagen cabinet cup and saucer, c.1830-40, finely painted with sprays of fruit and flowers within geometrical gilt borders, possibly by Johannes Ludvig Camradt, the can with a moulded twig handle, blue wave marks, incised B to the cup, 13.5cm. (2) £700-900

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153. A large Paris porcelain two-handled cup and stand, 19th century, the shallow bowl painted with the profile portraits of a man and a woman between panels of mythical beasts, similar panels to the stand with further roundels of musical instruments and victory motifs, the cup with a wide gilt border, 21.2cm. (2) £1,200-1,500

154. A Sèvres tureen with cover and stand, date code for 1846, the oval forms decorated with a continuous foliate garland in raised gilt reserved on a marbled blue ground, green and gilt marks, 24.8cm. (3) £500-800

155. A pair of French porcelain plates, c.1780, possibly Tournai, each decorated in puce monochrome with putti playing amidst clouds, the rims with flower and leaf garlands reserving blue panels, gilt crossed swords and crosses marks, the decoration probably later, 23.5cm. (2) £150-250

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156. A rare pair of Vienna monteiths, c.1770, of oval form, painted with flower sprays above a moulded feathered border picked out in gilt and puce, the undulating rims richly gilded, blue shield marks, puce 19 for Jakob Reibler, 28cm. (2) £800-1,200 Paper labels for the Luise Hofmann Collection.

157. A Louis Cretté (Brussels) coffee can and saucer, early 19th century, painted in sepia with a small dog reclining on a grassy knoll to the can, the saucer with a bird in flight above its nest beside a recumbent sheep, reserved on a ground of white dots on pink between narrow blue and gilt bands, red LC mark to the can, 12.8cm. (2) £450-600

158. A Paris porcelain coffee can and saucer, 19th century, painted in the pastoral manner with still life scenes of roses, hollyhocks and foxgloves beside urns, pedestals and gardening implements, alternated with panels of hatched gilt leaves on a white ground, 13cm. (2) £150-250

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159. A Paris porcelain two-handled vase, 19th century, the flared form decorated in sepia with a naked Classical maiden draped across the back of a griffin which laps water from a dish she holds before it, the reverse with a further maiden on the back of a female centaur, the rim with pillared panels of further figures, birds, terms and vases, gilt interlaced LL mark, 12.5cm. £250-350

160. A Dagoty (Paris) porcelain jug, c.1820, the tall helmet-shape with a tall double loop gilt handle, painted beneath the spout with the head and shoulders portrait of a female warrior in sepia monochrome, the rim with a scrolling gilt foliate motif, 18.5cm. £800-1,200

161. A pair of Paris porcelain cabinet plates, 19th century, painted in the Sèvres manner in the Feuillet workshop, each with a central floral posy to the well within a continuous flower garland, the rim with three flower panels reserved on a dark blue ground within gilt cartouches, signed to the reverse, 25.2cm. (2) £200-300

162. A Paris porcelain bowl, 19th century, painted with a rectangular panel of two putti at play on branches, a smaller panel of a single putto harvesting corn with a sickle, the white ground brightly enamelled with further putti playing pipes and seated on elaborate leaf scrolls, the interior richly gilded, 16.5cm. £500-700

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163. A Continental porcelain etui, 2nd half 18th century, of flattened cylindrical form, painted with panels of bows and quivers of arrows within grisaille foliate and winged mask bands, one side inscribed ‘Souvenir d’amitié’, fitted with gilt metal mounts, 13.8cm. (2) £100-200

164. A German porcelain pipe, 19th century, the long bowl well painted in sepia with a continuous topographical scene looking down on a river flowing through a town, titled ‘Heidelberg’, the long stem with green and white tassels, 26.5cm overall. £200-300

165. A Sèvres teacup and saucer, c.1789, painted by Jean-Charles Siou l’ainé, with berried laurel garlands and single flower sprigs, the rims with blue rhomboid motifs on a lilac zig-zag ground, blue interlaced LL marks and painter’s marks, 12.6cm. (2) £300-500

166. A pair of Continental porcelain miniature vases, mid 18th century, probably Vienna, the wide-shouldered forms moulded with rococo scrolls and raised on square bases, minor faults, 7cm. (2) £200-300

167. A Meissen small teapot and cover, c.1740, of bullet-shape, painted in blue with the Fels und Vogel pattern, a bird in flight above flowering branches and rockwork, blue crossed swords mark, the handle a replacement, 13.5cm across. (2) £100-200

168. A Meissen bowl, c.1745, painted to the interior with a scene of figures in boats at a quayside within a quatrefoil panel, the exterior applied with fruiting grapevine amidst painted insects, blue crossed swords mark, restored, some of the decoration perhaps later, 17.7cm dia. £100-200

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169. A Naples porcelain saucer, late 18th century, the well painted with a Classical figure holding a long staff and wearing a magenta robe, attended by two maidens, the rim with claret ground panels between leaf garlands, crowned N mark in blue, 13.8cm. £200-300

170. A Continental porcelain etui, c.1765, the tapering form painted in purple monochrome, one side with a well-dressed lady before a tall tree, the reverse with a gentleman proferring his tricorn hat, similar small vignettes to the hinged cover, fitted with gilt metal mounts, the contents lacking, 11.1cm. £600-1,000

171. A rare Continental porcelain etui, c.1765-75, possibly Kelsterbach, modelled as a crying baby swaddled in yellow robes tied with red ribbon, wearing a blue bonnet edge in lace, its head turned and mouth agape, with gilt metal mounts, 11cm. £1,500-2,000

171A. A rare Sèvres candle snuffer stand, c.1855, the shaped rectangular tray painted with pink roses and other European flowers, the two snuffers formed as bee skeps with a butterfly forming the handle of each, similarly decorated with sprays of dog rose, printed marks, 16cm. (3) £1,000-1,500

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172. A Vincennes flared cup (gobelet la Reine) and saucer, c.1754, decorated with large cartouches containing gilt birds in flight, edged with wispy floral garlands, reserved on a bleu lapis ground, interlaced LL marks, some damages, 12.9cm. (2) £800-1,200

173. A Sèvres coffee can (gobelet litron) and saucer, date code for 1786, delicately painted with foliate swags and ribboned pendants around vases of feathery grasses, in puce with white enamel highlights on a rich yellow ground, the rim with blue vases and fruiting grapevine, interlaced LL mark, ii date code and painter’s marks for Jean-Joseph-Philippe Boucot fils and Jacques-FrancoisLouis de Laroche, a 4mm chip to the underside of the saucer’s rim, 13.7cm. (2) £2,000-2,500

174. A Tournai cup and saucer, c.1775, painted with sprays of European flowers and single scattered blooms, the moulded handle with puce highlights, incised letters to the base, 13.1cm. (2) £80-120

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175. A French travelling toilet or dressing table set with Mennecy porcelain, mid 18th century, the square box with a veneered marquetry design to the hinged lid, fitted with three Mennecy lobed cylindrical toilet pots and covers painted with flowers, four glass bottles with silver mounts and a silver gilt funnel, the lid’s interior with a mirror, fitted with a lock and key, 19.5cm overall. £2,000-3,000 Cf. The Philadelphia Museum of Art, Accession No. 1942-59-174a—r for a similar case.

176. A Sèvres cabaret set, date codes for 1782, painted with pastoral scenes of figures at various pursuits in rural landscapes, dancing, courting and drinking, all reserved on a pink ground with a formal gilt leaf border, blue interlaced LL marks, painter’s initials of BS, possibly some later decoration. Comprising: a teapot and cover, a sucrier and cover, a milk jug, a cup and saucer, and a two-handled tray. (8) £2,500-3,500

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177. A St Cloud teabowl and trembleuse saucer, c.1740, left in the white and applied with sprigs of flowering prunus, a small chip to the underside of the saucer, 12.2cm. (2) £400-600

178. A Vincennes covered jug, date code for 1753, painted by Barbet with sprays of pink and yellow roses amidst blue forget-menots, fitted with a gilt-metal mount to the hinged cover, blue interlaced LL mark and letter A code, painter’s mark, damage and restoration, 18cm. £100-200

179. A St Cloud pot and cover, c.1730-40, white-glazed and applied with four panels of flowers, matched to the cover, the cover perhaps associated, some small chips to the applications, 7.2cm. (2) £100-200

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180. A Sèvres small seau à liqueur rond from the Marquis de Juigné Service, c.1774, the U-shaped form with two scroll handles, painted with pink rose sprigs beneath a band of oval panels containing similar sprigs reserved on a oeil de perdrix ground, crowned interlaced LL mark, incised with the initials MG and AP, 11.5cm. £1,500-2,000 This service was sold to the Marquis de Juigné in 1775 immediately prior to his becoming the French Ambassador in Russia. Within five years he had gifted it to Grand Duke Paul, son of Catherine the Great. Most of this service remains today at the Palace of Pavlovsk, including an identical bottle cooler. Cf. David Peters, Sèvres Plates and Services of the 18th Century, service list 75-4.

part 181. A selection of pieces from the Russian porcelain service of Grand Duke Alexander Alexandrovich, late 19th/early 20th century, from the Imperial Porcelain Manufactory, all decorated with the crowned cypher of the Grand Duke within gilt borders, green Imperial cypher marks for Alexander III. Comprising: two oval serving plates, five square bowls, two sauceboats, two large plates, 21 dinner plates and 14 soup plates. (46) £6,000-10,000

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182. A pair of Vienna chargers, 2nd half 18th century, the wells bearing the monogrammed initials CSM in gilt and red, with sparse floral sprigs and wide ribboned borders of red and green enamel within shaped rims, blue shield marks, impressed ii near the footrims, 36.8cm. (2) £400-600

183. A close pair of Doccia plates, c.1755-60, well decorated in the Imari palette with sprays of lotus and chrysanthemum to the wells, the rims each with three further sprays of Oriental flowers, 22.3cm. (2) £300-500

184. A Cozzi dish, c.1760, painted in the Imari palette with a family of birds perched on holey rockwork between flowering branches and feathery stems, the shaped rim with four panels of birds perched on flower sprays alternating with narrow panels of hatched diaper in red and blue, red anchor mark, some rim faults, 22.2cm. £800-1,200

185. A Vienna teapot and cover, c.1760, the inverted pear body painted in the Sèvres manner with a fine oval panel of flowers to two sides, reserved on a blue ground with gilt hatching beneath a continuous shaped floral garland border, blue shield mark and impressed i, some good restoration to the cover, 16.5cm. (2) £450-600

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186. A Meissen ornithological tea and coffee service, c.1765-70, painted in purple monochrome with various farm, game and aquatic birds including chickens, ducks, pheasants and herons, among flowers and leaves, blue crossed swords and dot marks, some damages. Comprising: a teapot and cover, a coffee pot and cover, a milk jug and cover, a sugar bowl and cover, a tea canister and cover, a slop bowl, a spoon tray, eleven cups and eleven saucers. (34) £1,500-2,000

187. A Meissen plate, mid 18th century, moulded with the Gotzkowsky relief of four floral panels to the rim and a continuous garland to the well, painted in the botanical manner with specimens including tulip, narcissus, carnation and convolvulus, the rim with a narrow hatched gilt border, blue crossed swords mark, 24cm. £200-300

188. A good Doccia plate, c.1750, decorated after the Chinese in puce camaieu with gilt and red highlights, with a cockerel beneath a fronded tree issuing from holey rockwork, the shaped rim with alternating flower sprays, 23.3cm. £500-800

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189. A Vincennes cup and saucer, c.1753, painted in blue, the cup with a putto seated on the ground beside a basket of flowers, the cinquefoil saucer with a further putto seated beside a goat, gilt dentil rims, blue interlaced LL marks and painter’s mark for Viellard, 13.8cm. (2) £1,000-1,500 Cf. A covered cup and saucer with near identical decoration is in the collection at Upton House, Warwickshire.

190. A rare blue and white Chantilly plate, c.1780, finely painted with a central panel of moths in flight around roses and other flowers, reserved on a dense latticework ground with six further small floral panels, blue hunting horn and R mark, 24.5cm. £500-800

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191. A Chantilly beaker or teabowl, c.1735, painted in the Kakiemon palette with four Japanese boys holding fans and other objects, the reverse with two birds in flight, the shaped everted rim with a stylized floral motif to each corner, a chip to the rim, 5.5cm high. ÂŁ800-1,200 Exhibited: Stockspring Antiques, The Dragon and the Quail, 2000.

192. A Meissen beaker, c.1730, the flared straight sides painted in the Kakiemon palette with a gnarled spray of prunus, the reverse with a single bird in flight, brown line rim, caduceus mark in underglaze blue, 7.5cm. ÂŁ2,000-2,500 Cf. The Victoria and Albert Museum, Accession no. C.45-2006 for a similar example formerly in the collection of Arthur and Hilde Weiner.

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193. A fine Meissen octagonal plate from the Christie-Miller service, c.1740, the well finely painted with a scene of figures standing at the quayside before an Italian palace, a ship being loaded behind, the cavetto with four shaped panels of figures in landscapes in purpurmalerei reserved on a gilt diaper band, the wide rim with similar scenes in polychrome enamels reserved in quatrefoil panels on a wide scrolling foliate gilt and black border, blue crossed swords mark, 24cm. £10,000-15,000 The scenes depicted on this service are derived from etchings by Melchior Küsel after Johann Wilhelm Baur. The decoration on this plate is largely copied from View of the Palace at Muran of the Count Widman of Ständig, although the statues on top of the building are more akin to those in another print of Venetian palaces; both prints dating from 1681. A similar plate from the same service is in the collection of the Victoria and Albert Museum, accession no. 1976-1855, and was previously in the Bernal Collection. Prior to the sale of the 72 pieces from the Christie-Miller family at Sotheby’s in 1970, this was the only other documented plate.

View of the Palace at Muran of the Count Widman of Ständig

Palaces on the new front at Venice

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194. A Meissen Böttger porcelain saucer, c.1722, hausmaler decorated with a single standing chinoiserie figure holding a shaped fan bearing pseudo Chinese characters, between finely painted plants issuing from colourful rockwork, the rim with a simple formal gilt design, some enamel wear, 12.3cm. £750-1,000 Cf. The Hans Syz Collection catalogue, p.550, no.369 for a teabowl and saucer with related decoration.

195. A Meissen two-handled beaker, c.1723, the tall flared form painted to each side with a quatrefoil panel, one with a Chinaman holding a stand on which perches a colourful bird, the reverse with a further figure holding a smoking tray of incense, reserved in borders of Böttger lustre and feathered scrollwork in red, puce and green, the inner rim with a wide formal gilt border, gilt r mark to the base, 8.1cm. £1,600-2,000 Copy of a purchase invoice from Heinz Reichert.

196. A Meissen pommade or toilet pot and cover, c.1740, finely painted in the botanical manner with a spray of tulip and narcissus, the reverse with single scattered sprigs, repeated to the cover with a small pinecone finial, blue crossed swords mark, 8.5cm. (2) £300-500

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197. A good Meissen teapot and cover, c.1735, painted to two sides with a quatrefoil panel of figures on a jetty and by a staithe in harbour landscapes, reserved in gilt borders on a pale turquoise ground, the spout issuing from a grinning moulded mask, the handle with a spray of indianische Blumen, blue crossed swords mark, 15cm across. (2) ÂŁ3,000-4,000

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198. A rare Chinese porcelain German-decorated teabowl, Kangxi 1662-1722, originally left in the white, painted in the early 18th century probably by Ignaz Preissler of Breslau, in Schwarzlot, with a continuous scene of a stag hunt amidst Classical ruins, the interior with two flying insects, underglaze blue tied mark to the base, a hairline crack and a few small rim chips, 7.7cm dia. £2,000-3,000 Cf. The Helen Espir Collection, Woolley and Wallis, 12th November 2014, lot 394.

199. A good Meissen coffee cup and saucer, c.1735, painted with chinoiserie scenes of figures being pestered by flying insects, holding fly whisks, incense burners and fans, the cup with a delicately scrolled handle, blue crossed swords mark, Dreher’s mark to the saucer’s footrim, 13cm. (2) £2,500-3,000

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200. A miniature Meissen pair of storks, 20th century, standing amidst reeds, one holding a swaddled baby in its beak, with necks bent, blue crossed swords marks, 5.6cm. (2) £100-200

201. A pair of Meissen hunting groups, c.1775, one of a dog and a hare, the other of a fox and chicken, each towering over their prey, raised on pierced scrolled bases, blue crossed swords and star marks for the Marcolini period, minor damages and restorations, 6.5cm high. (2) £400-600

202. Three miniature Meissen models of animals, 20th century, one of a bear cub raised up on its haunches with teeth bared, one of a fox with right forepaw raised and head turned to dexter, the last of a tiger or lynx seated on its haunches and turning its head over its right shoulder, blue crossed swords marks, some damages and restoration, 8cm high max. (3) £200-300

203. Three Meissen bird groups, 20th century, comprising a pair of finches perched on a low stump with wings outstretched, a dove or pigeon with beak agape and naturally coloured plumage, and a magpie with tail erect and beak agape, blue crossed swords marks, minor damages, 20cm max. (3) £200-300

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204. A Meissen model of a pug dog, 19th century, after J J Kändler, seated on his haunches with head turned to dexter, wearing a blue ribbon collar applied with gold bells, blue crossed swords mark, some restoration, 13cm. £200-300

205. A Meissen model of a pigeon, 19th century, standing on a low grassy base with head turned slightly to dexter, his plumage naturalistically decorated, incised C521, some damages and restoration, 17.5cm high. £300-500

206. A pair of Meissen models of terns, 20th century, each modelled standing on a grassy base with head slightly turned, naturalistically decorated with black caps and long orange beaks, blue crossed swords marks, some old restorations, 19.5cm high. (2) £300-500

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207. A pair of Meissen models of bitterns, 20th century, after the models by J J Kändler, standing amidst aquatic plants with long necks turned, blue crossed swords marks, model numbers 2015 and 2020, a chip to the end of one beak, 39.5cm. (2) £800-1,200

208. A Meissen model of a Greater Spotted Woodpecker, modern, characteristically perched in the branches of an oak tree, with head slightly turned to sinister, wings folded, a stag beetle crawling the other side of the branch, blue crossed swords mark, minor damages, 26cm. £150-250

209. A Meissen figure of a seagull, 19th century, standing amidst reeds with his left foot raised, naturalistically modelled and painted, his head turned over his right wing, blue crossed swords mark, some restoration, 27cm high. £500-800

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210. A Meissen figure of the Tailor’s Wife, 19th century, seated side-saddle on the back of a nanny goat at which a kid suckles, breast-feeding her own swaddled baby, blue crossed swords mark, restoration to the goat’s horns and ears, 18cm high. £400-600

211. A Meissen figure of Count Brühl’s Tailor, 19th century, after the model by J J Kändler, the eccentric figure modelled astride a billy goat which holds a flat iron his mouth, the tailor brandishing a large pair of scissors above his head, two kids sitting in a half barrel strapped to his back, blue crossed swords mark, some restoration, 23.5cm high. £400-600 Heinrich von Brühl was a Polish-Saxon statesman and diplomat with a famed reputation as a dandy and profligate. Frederick II of Prussia is reported as having said of him, “Brühl had more garments, watches, laces, boots, shoes and slippers than any man of the age. Caesar would have counted him among those curled and perfumed heads that he did not fear”.

212. A Meissen figure group of lovers, late 19th century, after the model by J J Kändler, seated on a grassy stump with hands entwined, a dog recumbent by his side, a sheep resting in his companion’s lap, blue crossed swords mark, incised D19, some restoration, 17cm high. £300-500

213. A Vienna figure of a lady, late 18th century, seated beside a tree stump on which rests a dovecote containing a dove with four chicks, a further dove perched atop, blue shield mark, minor damages, 17cm. £200-300

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214. A matched Meissen set of the Five Senses, 19th/20th century, after the models by Schönheit, each of a lady seated with various attributes, Sight with a mirror on her dressing table, Hearing playing a spinet, Smell lifting a flower to her nose from a basket beside her, Touch reaching out her hand to a bird in a cage, and Taste putting a pastry to her mouth from a table laden with food and drink, blue crossed swords marks, some faults, 13cm. (5) £800-1,200

215. A pair of Meissen figures of a boy and girl firing arrows, 19th century, after the models by Acier, the boy taking aim with a loaded crossbow, the girl with a short arrow in her left hand, each standing beside a marble column, behind which rests a longbow, blue crossed swords marks, incised F32 and F33, some restoration, 15cm. (2) £400-600

216. A pair of Meissen figures with dogs, 19th century, he seated on a low stool and holding a shotgun being pawed at by his dog, his companion showing her dog his reflection in a mirror resting in her lap, blue crossed swords marks, she incised F50, some restoration, 14.2cm. (2) £300-500

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217. A Meissen figure of Cupid in Disguise, mid 18th century, as a wig powderer, wearing a flowered purple cloak, a long yellow bag suspended from his wrist, blue crossed swords mark, slight damages, 9cm. £200-300

218. A Meissen figure of Cupid in Disguise, mid 18th century, as a miner, wearing a black hat inscribed ‘Glück nur’ in gilt lettering, carrying a hammer in one hand, a sack slung over his other shoulder, probably later decorated, one wing restored, 10.5cm. £80-120

219. A Meissen figure of a female hurdy-gurdy player, late 18th century, standing with her instrument suspended from a strap over one shoulder, wearing a black apron over a flowery striped skirt, standing on a low scrolled base, blue crossed swords and star mark, incised triangle mark, minor restoration, 13.5cm. £300-500

220. A Höchst figure of a boy, c.1770-80, standing and holding his hat upturned and full of flowers, a single stem in his left hand, raised on a low grassy base, blue wheel mark, 12cm. £150-200

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221. A near pair of Meissen figures of putti emblematic of the Elements, 19th/20th century, after the models by J J Kändler, one representing Earth, digging with a spade, two potted rose bushes to one side, the other Water with a putto pulling fish from a basket, an upturned creel to one side, blue crossed swords marks, incised C98 and C100, a few small restorations, 12cm. (2) £400-600

222. A pair of Meissen kinderkopf busts of the Bourbon children, 19th century, after the models by Kändler, the prince wearing a gilt-edged bonnet with feather, tied with a blue ribbon, the princess a patterned white headscarf, each with a floral corsage, raised on quatrefoil bases, blue crossed swords marks, a little restoration to the prince, 15cm. (2) £400-600

223. A pair of Meissen figures of dancers, 19th century, he reaching behind his back to find his partner’s hand, she with hands outstretched, each with one foot stepping off the low scrolled base on which they stand, blue crossed swords marks, minor damages, 12cm. (2) £150-250

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224. A matched pair of Meissen figures of a Racegoer and his companion, 19th century, after the models by Acier and Schönheit, he standing and looking through a spyglass, wearing a green suit over a bright patterned waistcoat, his companion reading her racecard or letter, one hand tucked inside a feathered muff, blue crossed swords marks, incised D65 and D66, some faults, 21cm. (2) £500-800

225. A pair of Meissen figures of a shepherd and shepherdess, 19th century, each seated on a stump beside leafy branches with a sheep on their laps, with scrolling gilt highlights to the bases, blue crossed swords marks and gilt 57, some chipping, 22.5cm. (2) £300-500

226. A pair of Meissen figures from the Commedia dell’Arte, modern, after the models by J J Kändler, one of Coviello brandishing a long wavy sword, wearing a doublet edged in blue and gold, his mask with characteristic hooked nose, the other of Boaro playing the mandolin, wearing a bearded mask, blue crossed swords marks, Coviello’s sword broken and repaired, 18cm. (2) £400-600

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227. A pair of Höchst figures of young gardeners, c.1770-80, he leaning on an adze and holding a single flower, his companion holding a carrot and resting one hand on her spade, each raised on a low grassy base, blue wheel and incised marks, some damages to the companion, 13.5cm. (2) £400-600

228. A matched pair of Meissen chinoiserie figures, 19th/20th century, perhaps emblematic of Liberty and Captivity, each seated on a rocky stump, one holding a dead bird by its tail, the other with a live bird perched on one hand, holding a pot of seed in her other hand, blue crossed swords, incised E21 and E24, a little restoration to one bird’s tail, 12.5cm. (2) £300-400

229. A pair of Meissen figures of the Racegoer and his companion, 19th century, he dressed in a green suit, holding his spyglass to his right eye, his left holding the top of his cane, his companion holding a letter and with her other hand tucked into a bright feathered muff, blue crossed swords marks, incised D65 and D66, some restoration, 20.5cm. (2) £400-600

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230. A Meissen figure of a drummer, 1st half 20th century, a long yellow drum suspended from a strap over one shoulder, playing the clarinet and holding a drumstick in his right hand, wearing a flowered tunic over blue breeches, blue crossed swords mark, a few small repairs, 18.5cm. £200-300

231. A Sèvres theatrical biscuit porcelain figure of Mademoiselle La Forrest, c.1780, possibly modelled by Josse-François-Joseph Leriche, in her role as Jeanette, holding a letter in her right hand, her left tucked in the pocket of her apron, raised on a circular base, titled ‘M’elle LAFOREST (l’ainé) role de Jeanette’, incised marks to the base, 29cm. £800-1,200 The figure derives from a play by A L De Beaunoir titled Jeanette ou Les Battus ne payent pas toujours l’amende, a one-act comedy. It is believed to be the companion figure to that of Janot, from a similarly titled play by Dorvigny.

232. A Meissen figure of a lady singing, c.1760, from the Gallant Orchestra, modelled by J J Kändler and F E Meyer, holding a songbook in her left hand, her skirt gathered in her right, raised on a low scrolled base, blue crossed swords mark, some damages, 13.2cm. £400-600

233. A Meissen figure of a female pilgrim, c.1765, perhaps modelled by Reinicke from the Cris de Paris series, her skirt, overskirt and cape edged with scallop shells, standing on a low scrolled base, cancelled blue crossed swords mark, the decoration probably later, some restoration, 15cm. £500-800

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234. A pair of French soft-paste porcelain figures, mid 18th century, modelled as a vintner and his companion, each seated on a rocky stump, he wearing a cloak and with a drum of grapes resting on one knee, she with a basket of flowers, a small posy tucked into the top of her dress, minor damages and restorations, 18cm. (2) £800-1,200

235. A pair of French soft-paste porcelain putti, c.1770, attributed to Orléans, one seated with a basket of grapes, wearing a diadem of fruiting grapevine, the other with a basket of flowers resting on her left knee, each seated on a rocky stump beside leafy branches, some chipping, 15.5cm. (2) £400-600 Cf. The French Porcelain Society Journal, Vol. II, Cyrille Froissart, The Orléans Porcelain Manufactory; its production of soft paste groups and figures’ for a discussion of similar figures.

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236. A Tournai white-glazed figure group, c.1770, modelled with three boys playing beneath a tree on a tall rocky stump, one playing the flute while another tries to distract him, the base encircled with fruiting grapevine, unusual incised ‘R fecit’ mark, some small chips and minor restorations, 24.5cm. £2,500-3,000

237. A Meissen figure of a Night Watchman, c.1765, from the Cris de Paris series, modelled by P. Reinicke after a design by Christophe Hüet, carrying a lantern in one hand, a basket containing bottles slung over his left wrist, cancelled blue crossed swords mark to the back of the base, probably later-decorated, minor restorations, 13cm. £500-800

238. A Meissen model of a lady with a dog, c.1760-70, seated on tall scrollwork heightened in gilt, the small dog standing on her lap with his forepaws resting on her chest, her skirt and cloak billowing in the wind, blue crossed swords mark, a little restoration, 19cm. £500-800

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239. A good HĂśchst figure of Venus, c.1770, modelled by J P Melchior, the Classical maiden modelled nude and preserving her modesty with one arm, her left hand resting on her robe which drapes over a tree stump behind, raised on a low grassy base, blue crowned wheel mark, incised Melchior to the reverse, 18.5cm. ÂŁ2,000-3,000

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240. A Meissen figure of a sleeping girl, 19th century, relaxed in a large chair and resting on a tall wooden table, her shoes discarded and a love letter tucked into the top of her bodice, blue crossed swords mark, incised E58, a little restoration to her right hand, 18.5cm. £200-300

241. A rare Chantilly hotteuse figure, c.1740-45, white-glazed and modelled as a Moorish lady wearing a long coat and a low turban, carrying an open pannier basket on her back to form a vase, well restored through the neck, 27cm. £1,500-2,000

242. Two Sèvres biscuit porcelain figures, 19th century, one of Madame Royale or Enfant aux Coussins, modelled after Boizot after an original by Clodion, as a baby playing with the toes on her left foot, seated on a pile of cushions, the other of Cupid seated on a high-backed chair with swan-head arm rests, incised marks to the reverse including the initials AB, 23.5cm max. (2) £800-1,200

243. A large Meissen figure of a shepherd, 20th century, standing and leaning on a leafy tree stump, a sheep recumbent at his feet, a bird perched with wings outstretched on the fingers of his right hand, some small restorations, 26cm. £150-250

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

Hotteuse or bouqueterie figures were usually produced in pairs at Chantilly, with a European figure matching up to a Chinese or Moorish partner.

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244. A Meissen figure of a girl with a broken mirror, 19th century, standing with hands clasped and gazing regretfully down to the cracked object at her feet, wearing an elaborate floral bustle over a striped underskirt, raised on a circular scrolled base, blue crossed swords mark, a small amount of restoration to the edge of the mirror, 15cm. £250-350

245. A Meissen figure of a Classical musician, late 19th/early 20th century, standing and wearing a lilac tunic, holding two long gilded pipes or horns, a low square plinth behind, blue crossed swords mark, incised J46, a repair to the pipes, 15.5cm. £150-250

246. A Meissen figure of the Racegoer’s Companion, 19th century, wearing a fur-lined pink cloak over a striped floral dress, her left hand tucked inside a muff of brightly coloured feathers, a sealed envelope held in her right hand, blue crossed swords mark, incised D66, some restoration to her right arm and hand, 20.5cm. £250-350

247. A Continental biscuit porcelain figure of a shepherdess, late 18th/early 19th century, wearing Classical robes, standing and leaning on a tall trunk, a sheep by her side, raised on a circular base, minor damages, 34.5cm. £100-200

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248. A Meissen figure of a female musician, mid 18th century, standing and playing the triangle held in her left hand, barefoot and wearing a flowered skirt beneath a gathered green apron, blue crossed swords mark, 13.2cm. ÂŁ300-500

249. A Naples porcelain figure of a fruit seller, c.1790, standing with a large basket of fruit balanced on her head and with one hand on her hip, raised on a low pad base, 14.6cm. ÂŁ400-600

250. Five Meissen miniature models of huntsmen, 19th/20th century, variously modelled with guns and gamebirds, one with a whip, wearing tricorn hats and long coats, blue crossed swords marks, some restorations, 7.8cm. (5) ÂŁ350-500

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251. A Derby figure of a vintner, c.1758, seated on a stump with ankles crossed and head turned, a large basket of grapes resting in his lap, wearing a pink hat and yellow coat over flowered breeches, raised on a low scrolled base, broken through the stump and restored, 13cm. ÂŁ150-250

252. A Bow model of a goldfinch, c.1760-65, perched on a low flowering branch with head slightly turned to dexter, its plumage naturalistically painted with russet and yellow markings, some restoration, 8.8cm. ÂŁ200-300

253. A Derby figure of Matrimony, c.1765, personified as a maiden holding a small bird cage which rests on her right hip, wearing a gathered green apron over a striped floral skirt, the low scrolling base applied with flowers and leaves, a little restoration to the tree stump behind, 23cm. ÂŁ250-350

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254. A Derby figure of a shepherdess, c.1755-60, standing with a recumbent lamb at her feet, wearing a pink jacket over a yellow bodice and flower skirt, holding on corner of her green apron in her right hand, a small posy in her left, raised on a scrolled base applied with flowers and leaves, some restoration, 22.5cm. £200-300 Paper label for B&T Thorn, Budleigh Salterton.

255. A large Derby figure of John Wilkes, c.1765-70, standing and resting one hand on a square plinth, atop of which rests a scroll, draped in a long pink cloak over a gilt patterned waistcoat, a putto to his right, holding a phrygian cap on the end of a stick and supporting a book titled ‘Lock [sic] on Gov’t’, raised on a scrolled base, minor damages, 31.5cm. £250-350 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire. John Wilkes (1725-1797) was an English politician and radical journalist whose criticism of the King in his magazine The North Briton earned him a warrant for his arrest for libel in 1763. Citing parliamentary privilege he was cleared of the charge and went on to become Lord Mayor of London in 1774.

256. A rare Derby figure group of a Macaroni and a farmer, c.1775-80, the country gent throwing his hands up in horror at his dandified son in powdered wig and bright apparel, incised No. 85 to the base, some chipping, 18cm. £300-500 The group is copied from an anonymous print titled ‘What is this, my son Tom?’ which was published by R Sayer and J Bannatt in 1774. The derogatory term ‘macaroni’ came into use in the mid 18th century in reference to overly-fashionable young gentleman who had developed a taste for the Italian pasta during their Grand Tour travels.

257. A good Bow figure of a female New Dancer, c.1770, modelled in typical pose, raised on a tall scrolled and reticulated base highlighted in green, puce and gilt, standing before elaborate flowering bocage, 24cm. £300-400

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258. A Bow model of a sphinx, c.1752-3, modelled reclining on a tall scrolling base, her head turned to sinister, wearing a mob cap, beaded necklace and buttoned lace-edged cuffs, the head broken off and restuck, 12.5cm high. £400-600 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire. This model is traditionally believed to represent the actress Margaret ‘Peg’ Woffington (1717-60), who lived for many years with David Garrick but repeatedly refused his offers of marriage. Cf. Raymond C. Yarbrough, Bow Porcelain and the London Theatre, col. pl. III for an enamelled pair, which are discussed on pages 49-52.

259. A Bow candlestick figure group, c.1765-70, emblematic of Summer, modelled as Ceres with a putto standing on her lap and supporting a tall scrolled sconce, raised on a scrolled base, brightly enamelled with puce and gilt highlights, 26cm. £500-700

260. A rare Derby candlestick figure, c.1755-58, modelled as two Chinese boys playing on rococo scrollwork, wearing short trousers and loose-fitting jackets, the base painted with flowers, the scrolls highlighted in green and gilt, a restored break to the candlestick stem, 26cm. £1,000-1,500 Cf. Chelsea and Other English Porcelain: The Collection of Irwin Untermyer, pl.107 for a pair of figures formerly in the Hurlbutt Collection.

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261. A South Staffordshire tea canister and cover, c.1770, the rectangular form finely painted in puce monochrome with a continuous landscape scene of figures fishing from boats in a harbour, tending cattle, and travelling on horseback with similar scenes echoed to the shoulders and cover, some losses to the top, 10cm. (2) £150-250

262. A good pair of Birmingham or South Staffordshire enamel tapersticks, c.1760-65, made in two sections and joined with a gilt metal mount, each shaped foot painted in purple monochrome with six vignettes of figures in landscapes, on a white ground, 16.5cm. (2) £300-500

263. An English enamel snuff box, 2nd half 18th century, of rectangular form, the top of the lid painted with two figures standing beside an obelisk among Classical ruins and trees, the sides and base with simple flower sprays on a white ground, fitted with metal mounts, 7.1cm. £300-400 Provenance: the collection of the late Lavinia Baird.

264. A rare English enamel snuff box, c.1790, of oval form, painted to the top of the lid with a titled portrait of George Washington, the base a rich yellow, with hinged metal mounts, 5.2cm. £250-350 Provenance: by repute, formerly in the collection of Mrs H Ionides.

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265. Two English porcelain fob seals, c.1760-70, probably Chelsea, one formed as a parrot, brightly enamelled and perched on a low branch, the other modelled as a lion, recumbent on a grassy mound with head turned to sinister, the seals and metal fittings lacking, 2.5cm max. (2) £150-250

266. A rare Worcester hexagonal beaker or teabowl, c.1753-55, decorated in the Chinese manner with panels of vases and auspicious objects alternating with bands of flowers and foliage, the interior with a red hatched border to the rim and a spray of lotus to the well, a little restoration to the rim, 5.5cm high. £600-1,000 Cf. Simon Spero & John Sandon, Worcester Porcelain: The Zorensky Collection, no. 47 for a teabowl and saucer in the same pattern.

267. An early Bow coffee cup, c.1752-54, well painted in the famille rose palette with bold sprays of flowering peony issuing from holey rockwork, an incised cross to the base, 6cm high. £150-200

268. A good Worcester porcelain coffee cup, c.1765-75, well painted in bright polychrome enamels with a Chinese lady playing the flute to a further seated figure, a small boy playing with a dog while a moth flies above colourful garden seats, 6cm. £100-200

269. A Worcester coffee cup, c.1770, brightly decorated perhaps in London with sprays of European flowers, with further single sprigs to the inside rim, 6.2cm. £100-200

270. A Derby dolphin ewer sauceboat, c.1765-70, with shell moulding, beneath the spout moulded with two entwined dolphins with a trident, painted in polychrome enamels with sprays of English flowers, brown line rim, a few small rim nibbles, 15.5cm across. £150-250 Exhibited: English Ceramic Circle Exhibition, 2006, no. 54.

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271. A pair of Worcester fluted saucers, c.1770, painted in the Giles atelier with sprays of dry blue flowers within gilt dentil rims, the undersides marked with rare single floral sprigs, one broken in half and restuck, 11.7cm. (2) £50-100 272. A pair of Worcester saucers, c.1770, painted in the manner of James Giles with colourful sprays of European flowers and single scattered blooms, brown line rims, blue crossed swords and 9 marks, a star crack to one, 13.3cm. (2) £100-150 273. A Worcester teabowl and saucer and a coffee cup and saucer, c.1780, with rounded and Warmstry fluting, painted in dry blue with sprays of European flowers, square seal marks to the coffee cup and saucer, and a Worcester saucer with similar decoration executed at the Giles atelier, crossed swords and 9 mark, 13cm max. (5) £150-250

274. A Chelsea-Derby coffee cup, c.177075, moulded with flowering branches, delicately painted in the Giles atelier with a band of flowers to the rim, the footrim with a Sèvres-style blue and gilt border, gold anchor mark, 7cm. £100-150 Cf. Gerald Coke, In Search of James Giles, p.175 for a teapot with identical decoration.

275. A Worcester saucer, c.1775, with Warmstry fluting well painted in dry blue with sparse flower sprays in the windswept manner, perhaps in the Giles atelier, 13.4cm. £150-200

276. A Worcester coffee cup, c.1772, decorated in the London atelier of James Giles, with the Bucrania pattern of gilt bull’s heads and paterae between husk and leaf swags, the interior with a border of interlaced ovals and dots, 6.5cm. £200-300 Cf. Stephen Hanscombe, James Giles China and Glass Painter (1718-80), pl.127 for examples of opaque glass and Worcester porcelain decorated in this pattern.

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277. A large lobed Chelsea dish, c.1758-60, brightly enamelled with bold flower sprays including rose, tulip, narcissus and forget-me-not, brown line rim, brown anchor mark, minor faults, 28.3cm. £200-300

278. A Bow plate, c.1760, painted in polychrome enamels with a dishevelled bird standing on a grassy area with two other birds in flight or perched on a branch behind, the rim with brightly coloured moths, insects and a caterpillar, within a gilt dentil rim, red anchor and dagger mark to the reverse, 20.5cm. £200-300 Provenance: Sotheby’s, 12th November 1963, lot 19, from the Arnold Collection.

279. A good pair of Worcester plates, c.1770, decorated in the atelier of James Giles with shaped panels of flower garlands edged with further gilt flowers, reserved on a blue scale ground, square seal marks, 22.5cm. (2) £600-800 Cf. Bonhams, 2nd December 2009, lot 105 for an identical plate.

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280. A good Worcester ovoid vase, c.1770, richly decorated with a wide panel of two phoenix or other fancy birds perched on flowering chrysanthemum stems and holey rockwork, two further panels of chrysanthemum and leafy bamboo in the Kakiemon palette, alternating with narrow bands of gilt and white flowerheads on a deep blue ground, square seal mark, 19.8cm. £500-700

281. A fine Worcester gu-beaker vase, c.1770, the flared and lightly knopped form painted with two panels of brightly-coloured fancy birds beneath leafy trees, within gilt cartouches reserved on a blue scale ground, the exterior rim with two further small panels of moths, blue square seal mark, 15.5cm. £1,000-1,500

282. A pair of Chelsea-Derby chocolate cups with covers and stands, c.1770, painted with green urns in gilt panels between claret and gilt fabric swags, gold anchor marks, some damages, 13.7cm. (4) £600-1,000

283. A rare Caughley saucer dish, c.1790, with scallop-edged rim, with fine gilt decoration of husks and chains suspended from a fringed and enamelled crescent border, 17.8cm. £200-300

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284. A Worcester and a Barr Worcester cup and saucer, c.1770 and c.1800, richly decorated in the Queen Charlotte pattern with spiralling panels of stylized flowers in imitation of the Imari palette, square seal and incised B marks, 14.2cm max. (4) £100-200

285. A pair of Barr Worcester dessert plates, c.1800, richly decorated in the Queen Charlotte pattern with spiralling stripes of stylized flowers in red, puce, blue and gilt around a central flowerhead, incised B marks, 19.5cm. (2) £80-120

286. Three Barr Worcester plates, c.1800, one large and two small, all decorated with the Queen Charlotte pattern of spiralling stripes in a stylized floral design in imitation of the Imari palette, incised B marks, 24cm max. (3) £100-200

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287. A good Worcester trio, c.1770, comprising a teacup, coffee cup and saucer, brightly decorated with panels of Oriental flowers and foliage in the Kakiemon palette, reserved within shaped cartouches on a blue scale ground, square seal marks, 13.6cm. (3) £100-200

288. A pair of Chelsea-Derby plates, c.1770, the well painted with urns garlanded with pink roses within further sprays of flowers, the shaped rims with scrolling gilt palmette motifs and white enamel dots on a blue ground, gold anchor and D marks, 23cm. (2) £100-200

289. A good Chamberlain’s Worcester beaker, c.1790-1800, richly decorated with vertical spiralling stripes of deep blue and gilt husks around an oval roundel containing a multi-pointed star, the interior rim with gilt carnation petals on a blue ground, 9cm high. £300-500

290. A rare Caughley ice cup, c.1790, of campana shape, raised on a circular foot and with a moulded scroll handle, decorated with flower sprays in cobalt blue and gilt, beneath a gilt dot border, the interior rim with a band of oeil de perdix in gilt on blue, painted S mark, 6.5cm. £350-500 Cf. A Bicentenary Exhibition of Caughley Porcelain, Ironbridge Museum, 1999, no. 562 for an identical example described as a sorbet cup.

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291. A Worcester fluted teabowl and saucer, c.1765-70, of Warmstry-shape, printed in purple with The Milkmaids pattern, the reverse of the teabowl with three cattle, the interior with a swan, blue square seal marks, 11.8cm. (2) £200-300

292. A Worcester teabowl and saucer, c.1758-60, printed in black with the Tea Party No. 3 pattern, the reverse of the teabowl with the Maid and Page pattern, 11.8cm. (2) £120-200

293. A Worcester hexagonal teapot stand, c.1765, printed in black with L’Amour, a courting couple seated on a bench while the lady’s maid looks on, 14.5cm. £100-200

294. A Worcester printed cup and saucer, c.1762, the bell-shaped cup with a wishbone handle, printed in black with L’Amour, the cup’s reverse with elaborate garden statuary, 11.5cm. (2) £120-180

295. A Worcester coffee cup, c.1765, printed in black with the Milkmaids, the reverse with a rare print of a further milkmaid with a cow and her calf standing before a small thatched building, 5.8cm. £100-150

296. A rare Worcester coffee cup, c.1760-70, printed in purple with scenes of Classical ruins, one side with a fisherman and a figures in a boat beside a ruined obelisk and column, the reverse with a flaming urn beneath trees, 5.6cm. £300-400

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297. 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. £300-400 Cf. G W Capell, Some Unrecorded or Rare Transfer-Printed Pieces, Connoisseur, December 1953 for a teabowl and saucer in the same pattern.

299. A Bow coffee cup, c.1755, white-glazed and applied with three sprigs of flowering prunus, with a plain loop handle, an 8mm rim crack, 5.7cm. £80-120

298. A rare Philip Christian (Liverpool) armorial saucer, c.1768-72, painted in polychrome enamels with the arms of Brougham impaling Lamplugh, a chevron with three lucies, and a cross flory surmounted with a crest of a hand and arm in armour holding a further lucie, 15.4cm. £150-250 Cf. ECC Transactions, Vol. 18, No. 3 (2004), Colin Handley, A Critical Consideration of an Armorial Teapot and Stand, which discusses the arms found on this service as probably being for the planned marriage between Peter Brougham and his second cousin Elizabeth Falconer, who died in 1769 before any marriage could go ahead. The service passed to Peter Brougham’s niece, Mary Ballantine-Dykes whose descendants eventually sold the service in January 2001.

300. A Worcester teabowl and saucer, c.1770-75, with a fine band of reeding, painted with shaped panels of turquoise shagreen linked by puce floral swags, 13cm. (2) £600-800 Provenance: Albert Amor Ltd., The Sidders Collection of Worcester Porcelain, 1985, no. 76.

301. Two Lowestoft creamboats, c.1770, of low Chelsea ewer form, moulded with spiralling leaves around the base, one painted with a spray of European flowers and further single sprigs, with a brown line rim, the other more simply decorated with sparse flower sprays, minor faults to one, 6cm high. (2) £250-350

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302. A Worcester teacup and saucer, c.1780-85, the fluted forms painted with the Royal Wedding pattern of three differing floral swags around a turquoise caillouté band, open crescent marks, 13.6cm. (2) £400-600 The pattern was so named when a service of this type was presented by the Borough of Cheltenham to HRH Queen Elizabeth and the Duke of Edinburgh on their wedding in 1948.

304. A Bow white-glazed piggin or cream pail, c.1752-54, the flared sides applied with three sprigs of flowering prunus, an overhead handle moulded with light twisting, 7.5cm high. £450-550 Cf. Elizabeth Adams and David Redstone, Bow Porcelain, p.111 for a similar example.

303. A Bow prunus mug, c.1750-54, the cyrlindrical body flaring out to the foot, applied with three sprigs of prunus, the handle with a central groove, a faint incised line to the base, 9cm high. £300-400 This piece belongs to a group of early objects, sometimes marked with an R, discussed by Anton Gabszewicz, Bow Porcelain: The Incised ‘R’ Marked Group and Associated Wares , ECC Trans. Vol. 17, pt. 2.

305. A Lowestoft sparrow beak jug, c.1770, painted in the Chinese manner with the Blackbird pattern, a bird perched on a branch issuing from red rockwork, its head pointing down towards two large pink fruits, the rim with a scrolled border in red and purple, 8.5cm. £350-450

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306. A rare pair of Bow vases, c.1760, of ovoid shaped, each raised on a shaped domed foot with a short flared neck, painted in polychrome enamels with bold flower sprays, flying insects and moths, brown line rims to the necks, one with an iron red 4 mark, minor faults, 22cm. (2) £850-1,200 Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, no.55 for a vase of similar shape with Kakiemon decoration.

307. A garniture of three Derby ‘Mayflower’ vases and covers, c.1770-75, of square baluster form, decorated in the Meissen schneeballen style with closely packed flowerheads edged in turquoise with gilt stamen, the shoulders applied with leafy tendrils bearing clusters of red berries, the covers with tall berry finials, some damages, 28.5cm max. (6) £800-1,200 Cf. H G Bradley, Ceramics of Derbyshire 1750-1975, p.87, no.121 for a single vase without its cover.

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308. A pair of Worcester dessert plates, c.1770, the wells painted with polychrome sprays of rose and heartsease within three further arrangements of flowers in purple monochrome, the scallopedged rims with a gilt oval design on a blue band, open crescent marks, 21.8cm. (2) £150-250

309. A pair of Chelsea plates, c.1760, the wells painted with butterflies and other flying insects around small leafy sprays of fruit and nuts, the feathered rims highlighted in brown and green, brown anchor marks, 21.5cm. (2) £200-300 Paper labels for Town House Antiques, St Catherines, Ontario.

310. A rare Worcester reticulated tazza or comport, c.1775, the well painted with a starburst posy of flowers within further flower garlands in purple monochrome issuing from a shaped sea green rim edged in gilt scrolls, the rim pierced with a geometric design, raised on a low foot with further pierced and feather-moulded decoration, the underside painted with colourful moths and further flowers, two small rim chips, 29.4cm across. £500-700 Cf. H Rissik Marshall, Coloured Worcester Porcelain of the First Period, no.1024 for the shape.

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311. A rare Chelsea teacup and saucer, c.1755, of spiral-fluted form, moulded with a band of leaves picked out in green, puce and pale yellow enamels, painted with sprays of English flowers, a small ladybird to the saucer, the cup with a scroll moulded handle, red anchor marks, the handle restored, 12.5cm. (2) £600-800

312. A good Chelsea silver-shaped plate, c.1755, delicately painted with narcissus, forget-me-not and other flowers within a moulded brown line rim, 27cm. £500-700

313. A Chelsea leaf-shaped sauceboat, c.1752-55, the deep form finely painted inside and out with naturalistic flower sprays and flying insects, the exterior moulded with sprays of alpine strawberry extending to form the feet and over the crabstock handle, brown line rim, red anchor mark, two small rim chips, 18.5cm. £400-600

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314. A rare Chelsea mug, c.1754-55, of unusually large size, the bell shape finely painted with fancy birds perched in branches, perhaps after George Edwards, the reverse with a botanical sprig of apple blossom, a well restored crack, 12.5cm high. £1,500-2,000 This unusual form is believed to have been copied from the Vincennes/Sèvres factory who produced a small amount of such mugs or cups (known as a bardaque) for the Turkish market. For a Vincennes example cf. Sotheby’s, The Evill/Frost Collection Part III, 16th June 2011, lot 210.

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315. A pair of Worcester dessert plates, c.1775, from the Bishop Sumner service, richly decorated in the manner of Chinese famille verte with a kylin and a phoenix to the well, the rim with six panels of birds, flowers and mythical beasts, the undersides with three floral sprays, 22.5cm. (2) £1,500-2,000 The pattern is a direct copy of a Chinese original from the Kangxi period (1662-1722) although the palette is not true to the Chinese porcelain. There are several Bishop Sumners after whom the service could be named - perhaps the most likely the brothers John Sumner, Archbishop of Canterbury (1780-1862) and Charles Sumner, Bishop of Winchester (1790-1874) - but as both lived in the 19th century the service cannot have been originally made for them. It is possible that a link was made when the service was sold as part of one of the bishop’s estates.

316. A Worcester soup tureen and cover, c.1772-75, the quatrefoil form painted with sprays of polychrome flowers, single sprigs and leaves, the handles and finial formed as stalks issuing oak leaves and acorns, 29.5cm. (2) £700-1,000

317. A Longton Hall leaf dish, c.1755, moulded with sprays of heartsease and a strawberry leaf, painted in the Trembly Rose manner with a delicate spray of English flowers, edged in brown and puce, 23cm. £800-1,200 Cf. Bonhams, The Barbara Leake Collection, 12th May 2008, lot 64 for a similar dish.

100

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318. A Worcester dolphin ewer creamboat, c.1765-68, of traditional form, moulded beneath the spout with two dolphins with tails entwined, the handle formed as a lamprey, picked out in polychrome enamels, a single blue flower sprig to the inside spout, minor faults, 9.1cm across. £400-600 Provenance: by repute, from the collection of Jack and Sarah Cohen. Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 218 for a similar example.

319. A large Worcester sauceboat, c.1765, each side moulded with an elaborate scrolled panel reserved on a basketweave ground, brightly painted with ‘agitated’ birds, the interior with scattered flower sprays, with detailing in puce, green and gilt, some restoration to the spout and handle, 20.3cm. £500-800

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320. A Worcester sparrow beak jug, c.1754, pencilled in black with the Boy on Buffalo pattern, the youngster holding a switch above his head while the placid beast stands by beneath a tall pine tree, the reverse with a bird in flight above boats and willow, black workman’s mark to the base, 9.7cm high. £600-1,000 Provenance: the Jack and Sarah Cohen Collection. Exhibited: Albert Amor Ltd, Worcester Porcelain: The First Decade, 1981, and Albert Amor Ltd, The Cohen Collection, 1992.

321. A rare Worcester coffee cup, c.1756, finely pencilled in black with two figures bowing before enclosed buildings in a mountainous Oriental landscape, the interior of the everted rim with a spearhead border, incised cross mark, 6cm high. £600-1,000 This design is based on an original Chinese pattern in encre de Chine. A sparrow beak jug with the same pattern was sold at Bonhams as part of the Billie Pain Collection on 26th November 2003, lot 130.

322. A rare Vauxhall cider jug, c.1756-60, painted in the Imari palette with a single Chinese figure standing on a bridge between holey rockwork and tall trees, a three-storeyed pagoda in the distance, the interior rim with a hatched diaper band, a small chip to the end of the spout and to the footrim, 13.3cm. £300-400

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323. A fine and large Worcester hexagonal vase and matched cover, c.1758, painted with the Fancybird in a Tree pattern, three sides with the eponymous long-tailed bird perched in flowering branches, three with further sprays of Oriental flowers, the neck and shoulders with three landscape panels reserved on a dense foliate ground, the cover with the same design, workman’s mark to the vase, the cover with a blue crossed swords mark, 38.5cm. (2) £2,000-3,000 Cf. Bonhams, The Geoffrey Godden Collection of Blue and White Porcelain, 30th June 2010, lot 68 for a near identical vase, illustrated in Godden’s English Blue and White Porcelain, p.23.

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324. A Worcester blue and white teabowl and saucer, c.1755-60, painted with the Gazebo pattern, a figure in a boat bedore a rocky island, a small building poking out between jagged rocks, workman’s marks, the teabowl and saucer associated, 11.9cm. (2) £200-300

325. A William Reid (Liverpool) blue and white teabowl, c.1760, painted with the Prunus Root pattern, with long tendrils encircling the bowl and interior rim, and a Liverpool saucer, perhaps also William Reid, painted with similar Oriental flower sprays with a hatched diaper border, minor rim faults, 12cm max. (2) £150-250

326. A Worcester blue and white creamboat, c.1758-60, the fluted form painted with the Prunus Root pattern, the handle delicately moulded, workman’s mark, some faults, 10.5cm. £150-200

327. A Worcester blue and white sucrière and cover, c.1770-80, printed with the Three Flowers pattern, the reverse with a moth and a rare flower sprig, 13.2cm high. (2) £150-250 Cf. Lawrence Branyan, Neil French & John Sandon, Worcester Blue and White Porcelain 1751-1790, II.C.19 which illustrates a milk jug bearing the rare reverse print.

328. A Lowestoft blue and white tea canister, c.1775, of rectangular form with domed shoulders, printed in the Worcester manner with the Three Flowers pattern, with smaller sprigs and a butterfly to the narrow sides and shoulder, 10cm. £150-250

104

329. A Worcester blue and white mustard pot and cover, c.1765, painted with the Prunus Root pattern, with bold sprays of the flowering tree trailing to the rim and over the cover, open crescent mark, 8.5cm. (2) £200-300

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330. A rare Liverpool blue and white spoon tray, c.1780, probably John or Seth Pennington, the narrow oval shape printed with the Three Stamens pattern of differing flowers within a wide elaborate border of panels and scrolls, 17.3cm. £200-300

331. A Vauxhall blue and white sauceboat, c.1755-60, painted in bright blue with two Chinese figures conversing beneath willow issuing from rockwork, a small building to one side, the interior with a spray of rose, the handle with a leaf-moulded terminal, some restoration to the spout, 16.5cm across. £400-600

332. A John Pennington (Liverpool) blue and white sauceboat, c.1775-80, of fluted form, unusually decorated with alternating bold stripes of blue, the interior with a simple foliate rim, the foot lightly moulded, the handle with a pointed terminus and moulded thrumbrest, a crack to the rim, 13.8cm. £300-400 Illustrated: Maurice Hillis, Liverpool Porcelain 1756-1804, p.355, pl.8.90.

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333. A rare Worcester blue and white Blind Earl plate, c.1765, with scallop-edged rim, moulded and painted with a spray of wild rose, painted around with a caterpillar, ladybird and various moths and flying insects, open crescent mark, 19.9cm. ÂŁ400-600

334. A good Lowestoft blue and white plate, c.1770, painted with a Chinese lady holding an elaborate open parasol above her head, standing before a zigzag fence, the pattern echoed to the large vase on her right, the rim with three vignettes of prunus issuing from rockwork, 21.8cm. ÂŁ500-800

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335. A Richard Chaffers (Liverpool) blue and white coffee pot and cover, c.1758-60, of baluster shape with a plain strap handle and long shaped spout, painted with a low Chinese hut beneath willow issuing from rockwork, the rim with a hatched diaper border, the pattern echoed to the domed cover, a 2mm chip to the cover, 23cm. (2) £800-1,200

336. A Worcester blue and white mug, c.1770, painted with the Gardener pattern, a Chinese figure kneeling and digging a patch of ground while a dignitary looks on holding a fan, crescent mark, two small filled rim chips, 12.5cm. £100-200

337. A Worcester blue and white mug, c.1770, the tall cylindrical body printed with La Pêche and La Promenade Chinoise, with chinoiserie figures at various pursuits in rococo garden settings, hatched crescent mark, 12cm. £100-200

338. A Worcester blue and white Dutch jug, c.1755-60, painted with the Cabbage-Leaf Jug Floral pattern, the leaf-moulded body covered with trailing flowering branches, workman’s mark beneath the handle, 21cm. £300-400

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339. A Vauxhall blue and white coffee cup, c.1755, painted with a bridge and a single-storeyed pagoda beneath willow in a rocky island landscape, hair crack to the rim, 5.5cm. £150-250

340. A Vauxhall blue and white coffee cup, c.1755-58, painted with a Chinese landscape scene of willow issuing from rocks above other plants and a small building, the interior rim with a hatched border, 6cm. £300-400

341. A Lowestoft blue and white pickle dish, c.1770, formed as a leaf with a serrated edge, painted with a fruiting grapevine tendril, with veined moulding to the underside, 10.4cm. £100-200

342. A rare Caughley blue and white teabowl, c.1780-85, printed with the Travellers pattern, a turbaned figure seated on the back of a donkey and smoking a pipe, a woman and child walking beside, the reverse with a further figure and child, S mark, 9cm dia. £100-200 Cf. The Caughley Society, Caughley Blue and White Patterns, p.63 for a discussion of the pattern which is based on an etching by the artist Paul Sandby (1731-1809).

343. Two Lowestoft blue and white saucers, c.1775, one printed with the Dromedaries on a Raft pattern, the other with a figure travelling across a bridge before pagodas and tall rocks, each with a hatched border, 12.5cm. (2) £150-250

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344. A Worcester blue and white small bowl, c.1757, with strapfluted moulding, painted with the Fisherman and Willow Pavilion pattern, of three small panels of a Chinese fisherman beneath tall willow trees, repeated to the bowl’s interior, workman’s mark, 12cm. £150-250

345. A Worcester blue and white small bowl, c.1758-60, boldly painted with the Dragon pattern, the large scaly beast chasing a flaming pearl to the bowl’s interior, its tail extending to the bowl’s exterior, workman’s mark to the base, a section broken out and restuck, 11.6cm dia. £60-100

346. A Worcester blue and white small bowl, c.1755-60, painted with the Landslip pattern, a small building at the bottom of a steep hill with gnarled trees, a spray of chrysanthemum issuing from holey rockwork, workman’s mark, a rim crack and two small chips, 10.1cm dia. £100-150

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347. A Bow blue and white octagonal plate, c.1765, painted with a central roundel and four fan-shaped panels containing Chinese river landscapes, with four smaller roundels of single flowerheads, all reserved on a powder blue ground, pseudo Chinese characters mark, 23.5cm. £100-200

348. A West Pans blue and white dish or stand, c.1765-70, the rim elaborately moulded with scrolls in the silver manner, decorated with a wide blue border, 26cm. £100-200

349. A good Lowestoft blue and white basket, c.1775-80, after Worcester, printed with the Pinecone pattern beneath a scrolling border and a band of stylized flowerheads, the ropetwist handles issuing from applied flowers and leaves, the reticulated sides applied with further flowerheads, 23cm across. £500-700

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350. A good Philip Christian (Liverpool) blue and white mug, c.1765, the bell shape crisply moulded with flowering branches encircling scrolled panels containing Chinese landscape vignettes, one with a figure fishing from rocks, the rim with a hatched diaper band, 9.6cm. £500-700

351. A large Lowestoft blue and white mug, c.1770, printed with a Chinese figure standing before an arched wall with buildings behind, a further figure holding a parasol and crossing a bridge beside a twostoreyed pagoda beneath tall pine, the interior rim with a hatched diaper band, some faults, 15cm high. £400-600

Exhibited: Phillips, 1997, Liverpool Exhibition, No. 111.

352. A West Pans blue and white bottle or guglet, c.1770, simply painted with bamboo issuing from rockwork beside a short, low fence, the ovoid body rising to a tapered neck flaring at the rim, a small chip to the rim, 20.5cm. £400-600

353. A West Pans blue and white mug, c.1770, the small bellshaped form decorated in a bright blue with a Chinese landscape related to the Cannon Ball pattern, beneath a hatched border, raised on a circular foot, 10cm. £250-350

Cf. The National Museum of Scotland, Out of the Blue Exhibition, 2009, for a related bottle.

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354. A pair of Worcester blue and white sauceboats, c.1770, the exteriors moulded in high relief with sprays of rose and auricula, painted to the interiors with peony and other Oriental flowers with a cell diaper border, open crescent marks, 17.5cm. (2) £400-600 One with a paper label for the Southern Collection.

356. A Vauxhall blue and white saucer, c.1755-60, painted with two Chinese figures beneath a flowering tree beside a low building, with stylized mountains in the distance, within a cell diaper border, 11.7cm. £200-300

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355. A Worcester blue and white junket dish, c.1762, crisply moulded with panels of basketweave around shaped cartouches, printed with sprays of chrysanthemum and rose within an undulating cell diaper border, hatched crescent mark, two short rim cracks, 23.5cm. £100-150

357. A large Bow blue and white mug, c.1752-55, of cylindrical form with a flared foot, unusually painted with a parrot perched on the hand of a moustachioed Chinese figure, a further figure walking behind with a large parasol, the rim with a cell diaper border containing small flowerhead panels, the grooved strap handle with a stylized foliate motif, a large riveted crack, 14.2cm high. £150-250

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358. A large Bow blue and white sauceboat, c.1765, the exterior moulded with a floral panel to each side reserved on an overlapping leaf ground, painted with a peony spray beneath the spout with similar designs echoed to the interior, the rims with cell diaper borders, some rim faults, 21.5cm. £150-250 Paper label for Mercury Antiques.

359. A Worcester blue and white two-handled sauceboat, c.1760, painted with the Two-Handled Sauceboat Landscape pattern, the exterior moulded with small panels of landscape vignettes, workman’s mark, minor faults, 19.3cm. £350-500

360. A Worcester blue and white coffee cup and saucer, c.1760, moulded with a band of narrow ribbing, painted with a formal lambrequin border, open crescent marks, 12.3cm. (2) £100-200

361. A Plymouth blue and white teapot, c.1768-70, painted with a large peony spray to each side, the spout and grooved handle with stylized scroll designs, the shoulder with a hatched diaper band, tin mark to the base, the cover lacking, some faults, 16.5cm across. £200-300

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This fine collection of early Worcester blue and white porcelain from a deceased estate has links to another major collection of Worcester porcelain; that of Jack and Sarah Cohen. Collecting from the 1960s until Jack Cohen’s death in 1991, the Cohens bought the best examples of early polychrome Worcester from the dealers of the time, especially Tilley & Co and Anne George at Albert Amor Ltd whose job it became to sell the collection in 1992. Lot 320 (a pencilled Worcester milk jug) featured in that catalogue as item 21, and lot 318 is also believed to have come from that collection. As their collection was refined over time, the Cohens focused on acquiring the best quality and condition pieces from the first decade of the factory’s production, and the same aim has clearly been followed with this collection. The bulk of the pieces pre-date 1760 and every effort has also been made to secure the rarest patterns or shapes. The pieces that date from the 1760s and ‘70s are again of patterns that appealed, that had a rarity or a particular aesthetic appeal. The first four lots of the collection fit the latter criteria. Produced largely during the last half of the 1760s, The Eloping Bride was a slightly simplified version of an original Chinese design which possibly derives from The Romance of the West Chamber. This was a popular Chinese drama from the Yuan Dynasty, which told the story of the young scholar, Zhang Sheng, and Cui Yingying, the daughter of a chief minister of the Tang Court. The scenes of elopement, which hint at a love consummated outside of marriage, led to the book being banned for a time and being described by one 17th century critic as “a book teaching debauchery”.

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362. 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). £500-800

363. A rare Worcester blue and white jug and cover, c.1765-70, painted with the Eloping Bride pattern, the fated couple on horseback being chased by three other figures, pseudo Chinese mark, a small chip to the cover’s flange, 13cm. (2) £600-800

Old paper lot label for 21st June 1995.

364. 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) £500-800

365. A Worcester blue and white small saucer, c.1765-70, painted with the Eloping Bride pattern, the fated couple on horseback being chased by four other figures, pseudo Chinese mark, 10.6cm. £200-300

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366. A Worcester blue and white teabowl and saucer, c.1770, painted with the Waiting Chinaman pattern, the single standing figure reserved in a circular panel within sprigs of Oriental flowers, open crescent marks, 12.3cm. (2) £100-200

367. A Worcester blue and white coffee cup and saucer, c.1770, painted with the Waiting Chinaman pattern, the single standing figure reserved in a circular panel to the saucer with sprigs of Oriental flowers around, 12.3cm. (2) £100-200

368. A rare Worcester blue and white teabowl and saucer, c.1755, painted with the Bamboo Root pattern, the tall bamboo spikes issuing from gnarled roots beside a large spray of flowering peony, workman’s marks, 11.8cm. (2) £300-500

369. A Worcester blue and white teabowl and saucer, c.1755-60, the strap moulded forms painted with the Indian Fisherman pattern, the saucer with a prominent central figure within other panels of figures fishing beneath weeping willow, workman’s marks, a short crack to the saucer, 12.5cm. (2) £200-300

This rare pattern is a direct copy of one produced on Chinese porcelain of the Kangxi period (1662-1722).

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Exhibited: Albert Amor Ltd., The Paul Zeisler Collection of English Blue and White Porcelain, 1986.

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370. A rare Worcester blue and white high Chelsea ewer, c.1770, painted with the Trellis Scroll Border Floral pattern, one side of the shaped rim edged with the trellis band reserved inside the floral sprig, the reverse with a more simple spray of flowers and leaves, the foot moulded with a formal leaf design, open crescent mark, 8.6cm high. £250-350

371. A rare and early Worcester blue and white sauceboat, c.1753-54, the widely flared form moulded with oval panels encircled by delicate leaf sprigs, painted with the Boatman pattern, the interior rim with peony sprays, workman’s mark to the base of the angular handle, minor rim faults, 15.3cm. £500-800

372. A Worcester blue and white creamboat, c.1755, each side moulded with a shaped panel beneath an arched osier border, painted with the Captive Bird pattern, to one side a Chinaman holding a bird in flight at the end of a rope, the other with a figure crossing a bridge beside a storeyed pagoda, floral sprays to the interior, workman’s mark beneath the scrolling handle, 11.5cm. £250-350 Paper label for Albert Amor Ltd.

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373. A Worcester blue and white trio, c.1755-58, the coffee cup, teabowl and saucer all with Warmstry fluting and painted with the Prunus Root pattern of gnarled flowering branches, workman’s marks, 11.3cm. (3) £150-250

374. Two Worcester blue and white teabowls and saucers, c.1760-65, one with Warmstry fluting and painted with the Hollow Rock Lily pattern, the other of plain form and decorated with the Cannon Ball pattern, open crescent marks, and another teabowl also in the Cannon Ball pattern, workman’s mark, 12.2cm max. (5) £150-250

375. A Worcester leaf-shaped butterboat, c.1760-65, painted with the Mansfield pattern, with angular handle, a teabowl printed with the Fence pattern, and a Chinese porcelain armorial saucer, painted with the arms of the Glover family of Norfolk within a hatched diaper border, a short crack to the saucer, 14.3cm max. (3) £100-200 The arms for Glover may relate to Captain Adolphus Glover who captained the East Indiaman, Duke of Cumberland, in 1766. The arms are also known on items of Bow porcelain.

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376. A pair of Worcester blue and white dolphin ewer creamboats, c.1765-70, each crisply moulded with crossed dolphins beneath the spout, the handles formed as a lamprey, painted with flower sprays and sprigs of narcissus, convolvulus and rose, the interior rims with a crowsfoot border, open crescent mark to one, one with a crack to the footrim, 9.3cm across. (2) £200-300

377. A pair of Worcester blue and white patty pans, c.1758-60, painted with the Bare Tree and Speared Bird pattern, each with a Chinese figure holding a long stick with a bird perched on it, beside a low building beneath a bare tree, within a formal border, workman’s marks, 10.4cm. (2) £250-350

378. A Worcester blue and white teabowl and saucer, c.1760, of Chrysanthemum type, crisply moulded with scrolling flower sprays and delicate leaves within a hatched diaper border, the well of the saucer left blank, workman’s marks, 11.7cm. (2) £100-200

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379. A large and rare Worcester blue and white two-handled sauceboat, c.1755-60, painted to the interior with the Two-Handled Sauceboat Landscape, with two boats beside small pagodas on rock strata, the exterior with further landscape vignettes within crisply moulded leafy borders, the handles modelled with grotesque animal heads, workman’s mark, a small rim chip, 22.5cm across. £600-1,000 Cf. Bonhams, The Geoffrey Godden Collection of Blue and White Porcelain, 30th June 2010, lot 57 for an identical sauceboat with the same workman’s mark.

380. An early Worcester blue and white scallop shell dish, c.175558, painted with the Two-Peony Rock Bird pattern, an insect in flight above the bird perched on holey rockwork between flowering peony sprays, the rim with three formal swag motifs, workman’s mark, 15cm. £200-300 Provenance: Previously in the Rous Lench Collection, sold at Sotheby’s, 1st July 1986, lot 294.

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381. A Worcester blue and white leaf dish, c.1758-60, modelled as two overlapping leaves painted with blown flower sprays including narcissus and poppy, workman’s mark, 25.5cm. £150-250

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382. A Worcester blue and white mug, c.1755-60, the tall cylindrical form slightly waisted and painted with the Prunus Fence pattern, tall branches of peony and prunus issuing from holey rockwork and a floral panelled fence, workman’s mark beneath the grooved strap handle, 12.4cm. £250-350

383. A good Worcester blue and white mug, c.1760, the compact cylindrical form well painted with the Dragon pattern, the sinuous scaly beast chasing a flaming pearl of wisdom among cloud scrolls, his tail curling over the rim of the mug to the interior, open crescent mark, 8.8cm high. £300-500 The treatment of this popular pattern varies widely with some pieces finely executed with each scale individually painted, and others outlined over a paler wash.

384. A good Worcester blue and white mug, c.1755, painted with the Prunus Root pattern, the cylindrical form flaring out at the foot, the grooved strap handle with a simple scroll motif, workman’s mark beneath the base, 9cm. £200-300

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385. A Worcester blue and white sauceboat, c.1765, the strap fluted body painted with the traditional Strap Flute Sauceboat Floral pattern, the interior with a single tulip, open crescent mark and incised cross beneath the foot, 17cm across. £100-200

386. A rare Worcester blue and white bowl, c.1755, painted with the Squirrel and Vine pattern, the exterior with two of the stylized animals romping through fruiting vine tendrils, a further creature perched on a bunch of grapes to the interior, workman’s mark, 14.9cm dia. £250-350 This pattern derives from Chinese porcelain of the 17th century, but probably came to Worcester via the delftware painters in Bristol and London.

387. A Worcester blue and white butter tub with cover and stand, c.1765-70, the tub printed with the Three Flowers pattern, the stand with the Rose-Centred Spray Group, the twig handles issuing from applied flowers and leaves, hatched crescent marks, 19cm. (3) £100-200 Although both these patterns bear similarities and were sometimes used in conjunction, it is likely that the stand is associated to the tub.

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388. Two Worcester blue and white saucer dishes, c.1755-60, one moulded with panels on a strap-fluted ground and painted with the Fisherman and Willow Pavilion pattern, the other decorated with the Feather Mould Floral pattern, workman’s mark to the latter, 19cm max. (2) £150-250 Exhibited: Albert Amor Ltd., The Paul Zeisler Collection of English Blue and White Porcelain, 1986 (the Fisherman and Willow dish).

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389. An early Worcester blue and white pickle dish, c.1755-60, the simple leaf shape painted with the Two-Peony Rock Bird pattern, the eponymous flowers flanking holey rockwork on which the bird perches, with moulded veins to the underside, workman’s mark, 10.3cm. £150-250

390. An early Worcester blue and white coffee cup, c.1753-54, the eight-lobed form moulded with vertical ribbing, the plain rim painted with a continuous scrolling floral band, workman’s mark beneath the scrolled handle, 5.6cm high. £200-300

391. A Worcester blue and white fork, c.1758-60, of pistol-grip shape, painted with the Rose and Floral Sprays pattern of bold flower sprays, 17.5cm overall. £100-200

392. A rare Worcester blue and white creamboat, c.1780, printed with the Obelisk Fisherman pattern, a European figure fishing from the riverbank beside a crumbling stone obelisk, the reverse with further ruins, disguised numeral mark, a crack to the base of the handle, 11cm. £300-500

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393. A large Worcester blue and white mug, c.1758-60, the cylindrical body flaring to the foot and applied with a grooved strap handle, painted with the Walk in the Garden pattern, workman’s mark to the inner footrim, 14cm. £300-500

394. A Worcester blue and white water bottle or guglet, c.176065, painted with the Willow Bridge Fisherman pattern, a figure traversing an arched bridge with two further figures fishing from a sampan beneath, the reverse with a figure and a bird beside a small pagoda beneath pine, the ovoid body rising to a knopped flared neck, open crescent mark, a short rim crack, 27.8cm. £400-600 The term ‘guglet’ is believed to derive from the sound made by liquid pouring out of the wide neck of such shaped bottles, though in fact the flared neck of this bottle is less common at Worcester than the narrow truncated opening on similar bottles.

395. A large Worcester blue and white bell-shaped mug, c.1760-65, well painted with the Walk in the Garden pattern, a lady holding a ruyi sceptre and being followed by a child holding a bird on a stick, the reverse with long-tailed birds perched in gnarled branches, open crescent mark, 15.5cm. £400-600

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396. A very 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, workman’s mark beneath the handle, a little nibbling to the spout, 14.5cm across. (2) £800-1,200 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 285 for an identical teapot with the same workman’s mark.

397. A rare Worcester blue and white teacup and saucer, c.1760, painted with the Feather Mould Floral pattern, the surface lightly moulded with a herringbone feather design, the cup’s handle delicately moulded, workman’s mark to the saucer, open crescent mark to the cup, 11.8cm. (2) £150-250

398. A Worcester blue and white teabowl and saucer, c.1760-70, decorated with the Fisherman in a Fan-shaped Panel pattern, with three shaped panels of Oriental landscapes between three floral roundels, reserved on a pale powder blue ground, square seal and open crescent marks, 11.8cm (2). £600-800 Paper label for Klaber & Klaber.

END OF SALE

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English & European Ceramics & Glass Tuesday 24th November Closing date for entries 9th October

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

Two Thomas Webb & Co (Stourbridge) cameo glass scent bottles of unusually large size, 23cm and 25cm. Each estimated at ÂŁ800 - ÂŁ1,200

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20th Century Design Wednesday 21st October

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

A Wedgwood Fairyland lustre Roc Centre plate, designed by Daisy Makeig Jones. Estimate: £2,500 - £3,000

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Fine Silver & Objects of Vertu Wednesday 28th October Closing date for entries 11th September

ENQUIRIES Rupert Slingsby Tel: +44 (0)1722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers Tel: +44 (0)1722 424594 lucychalmers@woolleyandwallis.co.uk

A late 16th century silver mounted tigerware jug, 14cm high. Estimate: ÂŁ4,000 - ÂŁ6,000

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British Art Pottery Wedneday 25th November Closing date for entries 30th September

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

A fine Martin Brothers stoneware spoon-warmer by Robert Wallace Martin, dated 1879, 14.5cm high. Estimate: ÂŁ15,000 - ÂŁ20,000

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

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% + VAT charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

APS

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

Mailboxes

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

Pack & Send

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

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

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.

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500

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

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

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

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

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

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

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

W MARLBOROUGH & SWINDON

CENTRAL CAR PARK

N SCOTS L SALISBURY ST WE

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CHIPPER

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Salisbury Salerooms ark eP hiv

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A36 Ch

WILTON & WARMINSTER

Sarum Business Park

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Old Sarum Park

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Woolley & Wallis 2 Danebury Court Old Sarum Park SP4 6EB

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WOOLLEY & WALLIS

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

AMESBURY & MARLBOROUGH

E LS

H AS

YR LE

CASTLE RD A345

LONDON, ANDOVER & WINCHESTER

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A345 Castle Rd

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SALISBURY A36

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Old Sarum

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

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

D A30

94 NEW H

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WOOLLEY & WALLIS Salt Lane

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

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ENDLESS STR

Registered in England No. 2998482

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

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

R LANE

R O AD

A354 DORCHESTER WEYMOUTH & BLANDFORD

A338 BOURNMOUTH & RINGWOOD

REET

TONE ST

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

ARN HAM

SALT LANE

LANE

SALT

RO A

( T)

EET

UT SO

Y A36

A36(T) SO UTHA MPT ON R

STR

HAR NH AM

W OOLLEY & W ALLIS S ALEROOMS

WIN

SOUTHAMPTON CATHEDRAL

BED

ST AN

N ST

Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

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

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

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 15th September 2015 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

136

www.woolleyandwallis.co.uk

AUCTION CALENDAR ENGLISH & EUROPEAN CERAMICS & GLASS 15th September – Fine Porcelain & Pottery 24th November Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk PAINTINGS 23rd September – Paintings, Prints Miniatures & Sculpture 9th December – Part I - Fine Old Masters & 19th Century Paintings Part II – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk ARMS & ARMOUR 7th October Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 7th October Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk 20TH CENTURY DESIGN 21st October – 20th Century Design 25th November – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk SILVER 28th October – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 29th October Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 17th & 18th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk