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 19th February 2019

Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424505 446955

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

411854 339161 446974

JAPANESE ART Alex Aguilar Sarah Lopez-Ferreiro

424583 424591

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

424509 424598

MARKETING Sally Trench

446959

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike

424500

SALEROOM MANAGER David Jordan

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

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

424595 424504 424586

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Madeleine White

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE MANAGER Matt Hill CASTLE GATE RECEPTION Megan Corbett BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

Natalie Milsted FCCA Finance Director

424599

ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 â&#x20AC;¢ www.woolleyandwallis.co.uk

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

FINE PORCELAIN AND POTTERY

Tuesday 19th February 2019 at 10.30am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 16th February Monday 18th February Tuesday 19th February

10.00am – 1.00pm 10.00am – 4.30pm 9.00am – 10.30am

ENQUIRIES

Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults. COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Castle Gate office on Monday 25th February. If you are collecting items on or after this date please contact the department on 01722 424507. All accounts to be settled prior to collection. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT. TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 18th February. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 309 Back cover: Lot 257 detail Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Monday 18th February. Please note there is a 4.95% +VAT surcharge for using this service.

FINE PORCELAIN AND POTTERY

Tuesday 19th February 2019 at 10.30am

1. An early London delftware plate, c.1715-25, painted in blue, red and green with stylized floral sprays within a six-petal flowerhead, the rim with a continuous berried garland, 22.6cm. £100-200

2. A large London delftware charger, c.1720, painted in blue with travellers at rest beneath tall sponged trees, a church in the distance, 35cm. £400-600

3. A large delftware charger, c.1760, painted in blue with a Chinese figure standing behind an ornamental fence on which perches a tethered bird, the rim with floral motifs, some restoration to the rim, 34.7cm. £150-250

4. A delftware charger, c.1740, painted in polychrome enamels with a Chinese figure standing between large flowering plants, within a panelled rim or alternating stylized flowers, 30.8cm. £150-250

Each lot is subject to a Buyer’s Premium of 25% plus VAT

5. A large Delft flowerbrick, 18th century, the rectangular form painted in blue with a dense floral design beneath a geometric border, the top pierced with nine rows of three small holes, some glaze chipping, 16.8cm across. £300-500

6. A small delftware flower brick, c.1750, the rectangular form painted in blue with a stylized pagoda landscape, the top set with three rows of small holes around a central aperture, some glaze chipping, 12.7cm across. £300-500

7. A delftware flower brick, c.1750, the rectangular form painted in blue with sprays of Oriental flowers beside holey rockwork, the recessed top set with two square apertures between three rows of small holes, cracked, 15.5cm across. £150-250

8. A rare miniature delftware bottle vase, c.1720, possibly Bristol, painted in blue and managese with a Chinese figure seated in a landscape, painter’s numeral mark in manganese to the base, the neck restored, 8.5cm. £400-600

10. A Delft dry drug jar, mid 18th century, the cylindrical form painted in blue with peacocks flanking a basket of fruit above a cartouche inscribed ‘C. Rosar. Pall’, some glaze chipping to the rim and foot, 17cm. £300-400 Rosa Pallida (pale rose) had a variety of uses, but tended towards the cosmetic over the medicinal.

9. A Bristol delftware tile, c.1765, painted in polychrome enamels with a Chinese figure seated beneath a bare tree, within a biancosopra-bianco floral border, restored, 13.5cm. £200-300

11. A Delft dry drug jar, mid 18th century, painted in blue with peacocks flanking a basket of fruit above a cartouche inscribed ‘R Juniperin’, with a later metal cover, some rim chipping, 19.7cm. (2) £300-400 Juniper berries have been used as a purifying substance for centuries, and the ancient Greeks believed they increased stamina in their Olympian athletes. By the 17th century it was also in use as a powerful diuretic.

12. A large Delft dry drug jar or albarello, 18th century, the cylindrical form painted in blue and black with peacocks flanking a basket of fruit above a panel inscribed ‘Fl. Rosar: Rub:’, some glaze cracking and chipping, 20cm. £400-600

Each lot is subject to a Buyer’s Premium of 25% plus VAT

13. A large Portuguese faïence charger, late 17th century Lisbon, painted in blue and manganese with a stylized flower spray within concentric bands of flowerheads, two short rim cracks, 35.2cm. £300-500

14. A Brislington delftware plate, c.1710-20, painted in polychrome enamels with a hut beneath a pine tree and other tall bushes, the rim with a stylized design over a rich yellow band, 22.5cm. £200-300

15. A small Castelli maiolica plate, c.1740, painted with a dwarf reaching into the lap of a woman sleeping in a chair to take a letter from her hand, edged in ochre and blue, 19.6cm. £150-250

16. A large Irish delftware charger or meat dish, c.1760, the elongated octagonal form painted in blue with two birds in flight above a pagoda landscape scene, the rim with four peony sprays within a lattice border, the underside decorated with further stylized foliate sprays, 45.5cm. £200-300

17. A rare Nuremberg faïence metal-mounted jar, c.1720, reduced from a ewer, the spiral moulded form painted by Justus Alexander Ernest Glüer with figures holding children beneath a tall tree, in a panel flanked by putti holding cornucopia, large flowering branches extended over the rest of the body, signed ‘Glüer Nu nberg’ to the front, the screw-fit pewter lid mounted with a cherub finial, the handle lacking and neck reduced, 25.3cm. (2) £3,000-5,000 Provenance: purchased from Max Rosenheim in August 1894 and thence by descent. By repute, previously in a schloss in Bad Kissingen, Bavaria, occupied by Otto von Bismarck. Cf. The Metropolitan Museum, New York, Accession No. 1991.149.11 for a similar complete ewer.

Each lot is subject to a Buyer’s Premium of 25% plus VAT

18. A German faïence pewter-mounted jug, c.1761, the baluster form painted in manganese and yellow with figures in a Chinese landscape, the pewter mount applied with a copy of a Munster coin from 1761 with a portrait of Charlemagne within the inscription ‘S. Carolus. Magnus. Fundator’, painted M mark beneath the base, a repair to the handle, 26cm. £300-500

19. A Savona maiolica albarello, mid 18th century, the slender waisted form painted in blue with a boxing hare or rabbit between trees, restoration to the rim, 25.3cm. £200-300

20. A Talavera maiolica armorial albarello, early 18th century, the tall waisted form painted in polychrome enamels with a shield bearing a bishop’s mitre beneath a galero with nine tassels each side, possibly for a Pope’s Chaplain, two rim cracks, 24.5cm. £150-250

verso 21. Two Sicilian maiolica albarelli, 17th/18th century, Palermo, one painted with the heads and shoulders portrait of a bearded gentleman wearing a turban, the other with the portrait of a gentleman, each reverse with a mask and trophies, some damages, 26.5cm. (2) £400-600

22. A Westerwald stoneware jug and a cylindrical mug, c.171520, both initialled GR for George III, the jug within a sgraffito starburst design and large stylized tulips, the straight neck glazed in manganese and fitted with a pewter mount, the mug with stylized flower sprays within horizontal bands, 23.6cm max. (2) £400-600

23. An unusual Westerwald stoneware jar or albarello, mid 18th century, the bulbous octagonal body decorated with sgraffito motifs of stylized peacock heads beneath shells and between formal foliate designs, highlighted in a rich blue glaze, restored crack, 26cm. £300-500

24. A John Dwight (Fulham) brown stoneware flagon, c.1675-85, the globular body rising to a tall neck with a grooved loop handle, decorated in a deep brown mottled glaze, cleanly broken through the neck and restuck, 22.8cm. £1,000-1,500

25. A large Westerwald stoneware Royal jug, dated 1718, the globular body with a roundel bearing the initials GR, beneath a crown, within a sgraffito flowerhead design flanked by foliate scrolls, in grey on a blue ground, the straight neck glazed manganese and fitted with a hinged pewter cover inscribed ‘ALV 1718’, 32.6cm. £400-600

Each lot is subject to a Buyer’s Premium of 25% plus VAT

26. A Westerwald stoneware armorial jug, c.1680-1700, the globular form applied with the arms of Charles I, Landgrave of HesseKassel (1654-1730), within continuing stylized floral sprays in grey and manganese on a rich blue ground, 16cm. £400-600 Charles I married his first cousin, Maria Armalia of Courland, and had seventeen children, including Friedrich who went on to become King of Sweden, and Marie Louise who became Princess of Orange and ruled as Regent for both her son, William IV, and later her grandson, William V.

27. A Westerwald stoneware Royal jug, early 18th century, decorated with a central roundel including the initials AR beneath a crown, within bold stylized floral sprays, reserved on a rich blue ground, a small chip beneath the foot, 23cm. £1,000-1,500

28. A small Bellarmine jug, dated 1600, the squat globular form applied with a roundel containing a shield and initials ‘EB’ beneath the date, the neck with the mask of a bearded man, the handle a replacement, 16.8cm. £400-600

29. A Staffordshire slipware honey pot, c.1700, the globular form decorated in a dark cream glaze with brown spots, applied with a loop handle, 7cm rim crack, the cover lacking, 12.3cm. £400-600 Cf. Leslie B. Grigsby, The Longridge Collection, Vol. I, S46 for a similar example.

30. A Surrey whiteware pottery jug, probably late 14th century, probably Cheam, the narrow form with a wide neck rising from an angular body, traces of a green glaze to one side, and a lead-glazed English pottery porringer, of circular form with a fishtail handle, the interior glazed a pale cream, 18.7cm max. (2) £200-300

31. A Safavid ‘Kubachi’ dish, 16th century, decorated in rich underglaze blue with a stylized chrysanthemum spray, the cavetto with six similar sprigs, the rim with a continuous scrolling design, the exterior with a curvilinear band, some filled rim chips, 32cm. £500-800 Cf. Kjeld von Folsach, Art from the World of Islam in the David Collection, Copenhagen, 2001, no. 235 for a dish with an identical design to the cavetto.

Each lot is subject to a Buyer’s Premium of 25% plus VAT

32. An unusual Canakkale (Turkey) pottery aquamanile, 19th century, modelled as a mythical or Buddhistic lion dog, recumbent with its tail curled over its back to form a handle, decorated in a rich yellow glaze with splashes of green and cold gilt detailing, 17cm high. £300-500

33. A Canakkale (Turkey) pottery aquamanile, 19th century, modelled as a horse wearing a saddle and bridle, standing four square with ears erect, its mouth forming the spout, decorated in a treacle glaze with yellow splashes, 24cm. £300-500

34. Two Canakkale (Turkey) pottery aquamaniles, 19th century, one modelled as a camel with a saddle and bridle, the other as a mythical creature with a long tail, both decorated in treacle glazes with yellow splashes, some damages to the camel, 22cm high max. (2) £300-500

35. A pair of Samson Safavid-style porcelain vases, late 19th century, of flattened bottle flask form, painted in black with cranes, deer and mythical dragons amidst stylized foliage on a rich turquoise ground, black script marks, a rim chip to one, 35.5cm. (2) £1,200-1,500

36. A rare and impressive black basalt plaque, c.1856, H. Baggaley of Hanley, moulded with the Royal Coat of Arms for Great Britain surrounded by eighteen shields for other countries and titled ‘The Arms of All Nations’, incised registration diamond and signed ‘H Baggaley’ to the reverse, broken and restuck, 45.5cm. £400-600

37. Six Minton Majolica oyster plates, date codes for 1867, set with six shallow turquoise shells around a central well, separated with a design of further shells and seaweed, impressed marks, 23.5cm. (6) £300-500

Each lot is subject to a Buyer’s Premium of 25% plus VAT

38. A creamware jug and a large mug, c.1815-25, the jug by John Dawson & Co, Low Ford, printed and coloured with a ship in dry dock, inscribed with two lines beginning ‘May Carpenters Flourish & our Trade increase’, the mug glazed a rich yellow and printed in black with a ship at sail, some restoration to the jug, 15.2cm max. (2) £350-450 39. A green-glazed creamware teapot and cover, dated 1794, the ovoid body lightly impressed with horizontal bands, bearing a gilt inscription for ‘Eleanor Smith Wetheral 1794’, the reverse with a gilded flower spray, 21.5cm across. (2) £250-350

A note inside the teapot records it as being a wedding present to the great-great-grandmother of a Mrs J Hawks, having passed down the family for many generations, and that Eleanor Smith became Nicholson. Parish records show an Eleanor Smith marrying William Nicholson on 10th October 1802 in Wetheral, Cumbria, and giving birth to a son named John the following year. 40. Two Staffordshire salt-glazed stoneware dishes, c.1755-60, one oval and moulded with alternating diaper panels within rococo scrolls, the other eight-lobed with reticulated panels between basketwork and diaper decoration, each with a short rim crack, 28cm max. (2) £300-500 41. Two creamware dishes, c.1760-80, one oval with a scallop-edged reticulated rim, glazed a rich green, the other of Whieldon type and decorated with splashes of green on a mottled manganese ground, 26cm max. (2) £200-300

42. A rare Pratt ware figure group, c.1800, modelled with a couple watching a cock fight, the two birds head to head beneath a rocky stump on which stands a man before leafy bocage, his companion seated at his side and holding a chicken under her left arm, decorated in a typical palette of green, blue, yellow and ochre, a small amount of good restoration, 23cm. ÂŁ600-800

Each lot is subject to a Buyer’s Premium of 25% plus VAT

43. A pearlware Toby jug, c.1800, of Ordinary type, wearing an ochre coat over a star patterned waistcoat, holding a small jug of ale in his left hand, a replacement handle, 24.3cm. £200-300

44. A bear baiting advertising jar and cover, early 19th century, modelled as a large brown bear clutching a snarling dog between its forepaws, chained to a grassy base, a titled banner to one side inscribed ‘Bears Grease’ within a lustre edge, the head lifting as a cover, some good restoration, 28.6cm. (2) £800-1,200 Bear’s grease was a popular treatment for male hair loss from the mid 17th century. It was the specialism of perfume house, Atkinsons of London, founded in 1799, and it is possible that this jar relates to their advertising as their logo included a very similar banner.

45. A Squire Toby jug, c.1810-20, seated on a corner chair and holding a small jug of ale and a long-stemmed clay pipe, wearing a blue jacket over red breeches, raised on a shaped base, the pipe a replacement, 29cm. £100-200

46. A Pratt ware Toby jug and cover, c.1790-1800, seated and resting a foaming jug of ale on his left knee, decorated in typical palette with a blue coat over an ochre waistcoat and yellow breeches, the crown of his hat forming a cup, some restoration, 24.5cm. (2) £300-400

47. A good Pratt ware Toby jug, c.1800, seated and resting a foaming jug of ale on his left knee, his clay pipe resting by his left foot, wearing a patterned and sponged coat over yellow breeches and a polka dot waistcoat, 24cm. £300-400

48. A small Oldfield & Co brown stoneware Toby jug, 19th century, modelled in traditional pose with an empty jug resting on his left knee, his clay pipe resting by his right foot, impressed Oldfield & Co Makers beneath the handle, 19.8cm. £150-200

50. A pearlware Toby jug, c.1790-1800, his small jug of ale decorated with a flower spray, decorated in Pratt type colours with a brown coat over an ochre waistcoat and olive breeches, the chamfered base decorated with a continuous husk garland, some good restoration to his hat, 23.5cm. £300-400

49. A Pratt ware Toby jug, c.1800, of Ordinary type, seated with a foaming jug of ale, wearing a sponged decorated coat over blue breeches, the chamfered base washed in green, some restoration to his hat, 24cm. £200-300

51. Two Toby jugs, 19th century, one salt-glazed of a snuff taker, raised on a circular base moulded with grapevine, with a hinged pewter cover, the other Delft of a Hearty Good Fellow, decorated in underglaze blue with a floral patterned jacket, raised on a sponged base, B.P mark to the latter, 28.2cm max. (2) £250-350

Each lot is subject to a Buyer’s Premium of 25% plus VAT

52. A Sailor Toby jug, c.1800-10, seated on his sea chest and holding a glass in his right hand, a blue patterned jug resting on the chest beside him, wearing a red jacket over a striped waistcoat, some good restoration to his hat brim, 29.5cm. £600-800

53. A Martha Gunn Toby jug, c.1810, after the Wood model, seated and holding a bottle and a gin glass, wearing a patterned dress and with a black hat bearing the Prince of Wales feathers resting on top of her head, the chamfered base with faux marble decoration, the handle restored, 28.2cm. £400-600 Martha Gunn (1726-1815) was described by the Morning Herald as “the Venerable Priestess of the Bath”, being the most famous of the operators of the bathing machines on Brighton beach. She was a favourite of the Prince of Wales, the future George IV.

54. A Drunken Parson Toby jug, c.1810, seated and pouring himself a cup of ale from a jug in his right hand, typically dressed in a black jacket and breeches over a striped waistcoat, 24.5cm. £300-400

55. A Ralph Wood Toby jug, c.1790, the foam of his ale spilling over the side of the rounded jug that rests on one knee, his long-stemmed clay pipe resting between his feet, wearing a brown coat over a blue waistcoat and breeches, raised on a chamfered green base, a small amount of restoration to his hat brim, 24.7cm. £600-800

56. A Ralph Wood type Toby jug, c.1790, his large jug of ale spilling over the side as it rests on his left knee, wearing a yellow coat and breeches, raised on a green chamfered base, some restoration to his hat, 24.6cm. £600-800

57. A Ralph Wood type Toby jug, c.1790-95, of Mould 51 type, seated and holding a cup of ale in his right hand, a large jug resting on his left knee, wearing a dark green coat over yellow breeches, restored cracks, 24.8cm. £400-600

58. A small Pratt ware Toby jug, c.1800, wearing a blue coat over ochre breeches with striped stockings, a spotted jug of ale resting on one knee, his cheeks and nose rouged, raised on a tall sponged base, 19cm. £200-300

Each lot is subject to a Buyer’s Premium of 25% plus VAT

59. A creamware figure of a bird, c.1770, modelled as a finch perched on a low stump, decorated with splashes of manganese and green, a chip to the base, 9cm. £100-200

60. A Pratt ware figure of a chicken, c.1790-1800, standing on a low base with upright neck, her plumage picked out in ochre and umber, 16cm. £250-350

61. A Staffordshire pearlware cow creamer and cover, late 18th/early 19th century, standing four square on a shaped flat green base, her coat decorated with manganese patches over cream and brown striations, some good restoration, 18.4cm. (2) £300-500 Paper label for the Captain Kidd Collection, No.561.

A PRIVATE COLLECTION OF STAFFORDSHIRE ANIMALS

62. A rare Brameld creamware model of a recumbent stag, c.1820, reclining on a grassy base, the head pierced with two square holes to receive metal antlers, and a small pearlware model of a deer, recumbent before leafy bocage and decorated with a spotted coat, the stag’s ears restored, 18cm across max. (2) £200-300

63. Two Staffordshire pearlware figures of sheep or lambs, early 19th century, recumbent on grassy bases with heads turned, the smaller before flowering bocage, the larger sheep with restoration to one ear, 10.2cm high max. (2) £150-250 Provenance: a private collection from Hampshire.

Cf. Alwyn and Angela Cox, Rockingham, p.115 for another Brameld example. Provenance: a private collection from Hampshire. The deer with a paper label for Jonathan Horne Antiques.

64. Three Staffordshire pearlware figures of rams, c.1800-20, two standing on tall bases with a recumbent lamb beside them, one with an applied mark for Salt, the other recumbent before flowering bocage, some restoration to the bocage, 13cm max. (3) £200-300 Provenance: a private collection from Hampshire.

65. A pearlware figure group of a sheep and its lamb, early 19th century, the mother standing four square and facing forwards, her lamb at her side, raised on a low shaped base glazed in green and edged in blue, a little good restoration to one ankle, 10cm high. £150-250

66. Two Staffordshire pearlware figures of dogs, c.1810-20, one of a pug seated on its haunches atop a rocky mound, the other of a working dog with its nose to the ground and tail erect, both before flowering bocage, impressed numeral mark to the latter, 14cm high max. (2) £250-350

Provenance: a private collection from Hampshire.

Provenance: a private collection from Hampshire. The pug with a paper label for Sampson & Horne Antiques.

Each lot is subject to a Buyer’s Premium of 25% plus VAT

67. An English porcelain lion and lamb group, c.1835, attributed to John and Rebecca Lloyd of Shelton, the lion recumbent with head turned to the left and its right paw curled under, the lamb recumbent before it, raised on a shaped base with gilt detailing, a small chip to the base, 9.5cm high. £150-250

68. A Pratt ware figure of a deer, c.1800, recumbent on a grassy base with her head turned back over one shoulder, her coat decorated in ochre patches and sponged blue, before flowering bocage, some restoration to her ears and the bocage, 9.5cm high. £100-200 Provenance: a private collection from Hampshire.

Cf. D.G. Rice, English Porcelain Animals of the 19th Century, fig.144, p.175. Provenance: a private collection from Hampshire.

69. A small creamware figure of a dog, early 19th century, recumbent with its head turned to look over its back, decorated in brown and russet patches, 6cm high. £100-200 Provenance: a private collection from Hampshire.

70. A creamware figure of a sheep or ram, c.1800-1810, recumbent on a shaped base with reeded sides, its head turned to the left, decorated in a buff glaze with brown and russet patches, some good restoration, 12cm across. £100-200 Provenance: a private collection from Hampshire.

71. A rare Staffordshire small figure of a dove, c.1820, sitting atop a grassy mound with wings partially outstretched, the mound applied with flowers, minor damages, 6.5cm. ÂŁ200-300 Provenance: a private collection from Hampshire. Paper label for Sampson & Horne Antiques.

72. A creamware figure of a bird, c.1790-1800, a yellow finch perched on a tall stump with its head turned to the left, a small chip to the base, 9.5cm. ÂŁ200-300 Provenance: a private collection from Hampshire.

73. A small Staffordshire porcelain figure of a parrot, c.1830-40, perched on a narrow stump and holding a nut or seed in its right foot, its plumage finely enamelled in green with polychrome highlights, raised on a square base applied with flowers and leaves, the bowl beside him largely lacking, 9cm. ÂŁ250-350 Provenance: a private collection from Hampshire.

END OF COLLECTION 22

Each lot is subject to a Buyer’s Premium of 25% plus VAT

74. Two English enamel etuis, c.1760-80, one of generous cylindrical form and painted with colourful flower sprays on a white ground, the other narrower and painted with figures in landscape vignettes on a moulded ground, together with a small enamel thimble painted with small polychrome flower sprays, 12.2cm max. (3) £250-350

75. Two Staffordshire enamel snuff boxes, c.1765-75, of rectangular form, one painted with a couple courting over a music score, within gilt scrolls on a dark blue ground, the sides with floral panels, the other painted with small landscape vignettes reserved on a pink ground with a raised white trellis design, 8cm max. (2) £400-600

76. A small English enamel patch box, c.1770, of rectangular form, finely painted with flower arrangements and single scattered sprigs, with gilt metal mounts and an internal hinged lid, minor damages, 5cm. £150-200 Provenance: the Watney Collection.

77. An English enamel snuff box, c.1770, of rectangular form, painted with butterflies around a tied bouquet to the cover, a single large butterfly to the base and single floral stems to the sides, some cracking, 6.5cm. £100-200

Provenance: the Watney Collection. Exhibited: the English Ceramic Circle, 1977, No. 238.

78. An English enamel snuff box, c.1760, the rectangular form printed in black with a Customs House at the water’s edge, the sides with similar scenes of formal buildings, the underside with a vase of flowers, 7.7cm across. £150-200 Provenance: the Watney Collection.

79. An English enamel snuff box, c.1770, probably Birmingham, finely decorated with a tied posy of flowers to the cover, the sides with butterflies between further flower sprays, the interior with a large butterfly and a single flower, with gilt metal mounts, some damages, 5.8cm. £100-200

Provenance: the Watney Collection.

80. A Birmingham enamel plaque or box lid, c.1760, finely painted with a large butterfly with wings outstretched, surrounded by further butterflies and damselflies in flight, and two green backed beetles, on a white ground, some cracking and chipping, 11.2cm. £100-200 Provenance: the Watney Collection. Exhibited: English Ceramic Circle, 1977, No. 240. Paper label for the same.

81. Two Birmingham or Liverpool enamel badges, c.1770 and later, one printed in black with elements from the arms of the Society of Bucks, one side with the Society’s emblems, the reverse with the fable of the Father, Son and Donkey, the other printed and coloured, to one side with the figure of Justice within a beaded border, the reverse with a profile portrait of a hooded, bearded man within the inscription ‘Lodge No 2 of Modern Druid’, ‘Established at Stockport 1818’, the latter cracked, 7.8cm overall. (2) £250-350 Provenance: the Watney Collection.

Cf. 18th Century English Transfer-Printed Porcelain and Enamels, The Joseph M. Handley Collection, p.286 for a similar example of the first badge.

82. A Liverpool enamel armorial plaque, late 18th/early 19th century, printed and coloured with the arms of the Masonic Grand Lodge of England above a banner titled ‘Faith’, ‘Hope’ and ‘Charity’, in a gilt metal mount with a suspension ring, some cracking, 8.2cm. £100-200 Provenance: the Watney Collection. Exhibited: ECC Exhibition, 2008, Armorials. Paper label for the same.

83. Two Battersea enamel portrait plaques, c.1753-56, of oval form, engraved by Ravenet and printed with profile portraits of George II in the Classical manner, each inscribed ‘Georgius II Rex’, mounted in gilt metal frames, some damages, 10.3cm overall. (2) £300-500 Provenance: the Watney Collection.

Each lot is subject to a Buyer’s Premium of 25% plus VAT

84. A rare Staffordshire enamel rectangular plaque, c.1770, printed in black with a Classical female figure perhaps emblematic of Intelligence, holding an armillary sphere aloft, a snake, a book and a scroll of papers at her feet, reserved in a dark blue border edged in gilt, a chip to one corner, 11cm. £300-400 Provenance: the Watney Collection.

86. Theatrical interest: An English enamel patch box, c.17801800, the oval form printed in black to the cover with a head and shoulders portrait of R B Sheridan, titled, the sides and base enamelled in pink, a mirror fitted to the inside of the cover, some cracking and chipping, 4.7cm. £100-150 Provenance: the Watney Collection. Richard Brinsley Butler Sheridan (30 October 1751 - 7th July 1816) was an Irish, satirist, playwright and proprietor of The London Theatre Royal, Drury Lane. He was also a Whig MP between 1780 and 1812.

85. A Battersea enamel plaque, c.1753-56, the oval form printed in brown with a portrait of a Chancellor of the Exchequer, probably intended to be Henry Boyle, 1st Earl of Shannon, unmounted, 9cm. £400-600 Provenance: the Watney Collection The identity of the subject is discussed by Bernard Watney, ‘The Chancellor on a Battersea Enamel’, ECC Trans Vol 7, pt 1 (1968). W B Honey suggested that the print was the work of two hands, the head by Ravenet and the costume by Hancock. See The Connoisseur, Vol LXXIV, 1932. Watney concluded that the subject was perhaps Henry Pelham after an engraving by John Hinton; however, more recent suggestion has been made that the likeness more closely resembles Henry Boyle.

87. A Battersea enamel snuff box, c.1750-55, the rectangular form engraved by Ravenet, printed in puce to the top of the cover with Britannia Surrounded by the Arts and Sciences, the interior with a portrait of Frederick, Prince of Wales, the base with putti before a lion and a large flag, within a shaped cartouche, the sides with further putti emblematic of the Arts, with gilt metal mounts, some cracking, 9cm. £300-500 Provenance: the Watney Collection. Cf. Susan Benjamin, English Enamel Boxes, p.38, no. 2 for an identical example.

88. A Battersea enamel portrait plaque, c.1753-56, the oval form printed in puce with a profile portrait of Prince William Augustus, Duke of Cumberland, engraved by Ravenet, in a gilt metal frame, some repairs, 10.5cm overall. £400-600

89. A Birmingham enamel theatrical portrait plaque, c.1780-90, the oval form printed in manganese with a half-length portrait of Samuel Reddish in the role of Young Bevil, mounted in a gilt metal frame, some cracking, 8.2cm. £200-300

Provenance: the Cyril Cook Collection, no.236. The Watney Collection.

Provenance: the Watney Collection.

Cf. T and B Hughes, English Painted Enamels, p.18, fig.2 for a similar example.

The print is taken from a 1777 engraving in Bell’s British Theatre, signed I Roberts, of Mr Reddish in his role in The Conscious Lovers. Samuel Reddish (1735-85) was an actor and director from Frome, who played Macduff opposite Garrick’s Macbeth in 1767. In 1779 he began to show signs of forgetfulness, and in 1785 is recorded as dying in the York asylum as a lunatic.

90. A pair of Battersea enamel plaques, c.1753-56, the oval forms printed in manganese, one with a portrait of a Chancellor of the Exchequer, probably intended to be Henry Boyle, 1st Earl of Shannon, the other with a portrait of Elizabeth Gunning from a painting by Francis Cotes, each mounted in a black rectangular frame, the plaques 9cm. (2) £1,000-2,000 Elizabeth Gunning, later Duchess of Hamilton, Duchess of Argyll and 1st Baroness Hamilton of Hameldon, was an Irish beauty and younger sister of Maria Gunning, Countess of Coventry. See lot 85 for a discussion of the plaque of the Chancellor of the Exchequer.

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91. Literature: The Trapnell Collection, A Catalogue of Bristol and Plymouth Porcelain, edition 43 of 250 copies, another unnumbered edition, and Illustrations for the Catalogue of the Trapnell Collection of Bristol China. (3) £50-80

92. Literature: Chaffers, The New Keramic Gallery, Vols I and II; Adams and Redstone, Bow Porcelain; William Bemrose, Bow, Chelsea and Derby Porcelain; Anton Gabzsewicz, Made at New Canton; Isleworth Pottery and Porcelain, 2003 Exhibition Catalogue; and 29 other books and catalogues on pottery and porcelain. (34) £100-150

93. Literature: Dr Chris Girton, The Two Quail Pattern; Simon Spero, Lunds Bristol and Early Worcester Porcelain 1750-58; Stephen Hanscombe, Jefferyes Hamett O'Neale, China Painter and Illustrator; Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840; Aileen Dawson, The Art of Worcester Porcelain; and 19 other books and catalogues on English porcelain. (24) £80-120

94. Literature: Spero and Sandon, Worcester Porcelain - The Zorensky Collection; Edwards and Hampson, White Salt-Glazed Stoneware; Ulla Stafford, Custard Cups; Excavations in Southwark 1973-76 and Lambeth 1973-79; John Bedford, Talking About Teapots; and 31 other books, pamphlets and catalogues on pottery and porcelain. (36) £100-150

The Napoleonic Wars in the early 19th century provided ceramic manufacturers with a wealth of inspiration for commemorative pieces. News of Bonaparte’s invasion of Russia and subsequent defeat at the hands of the Russian army reached English shores in December 1812, and brought about an interest in all things Russian. Ceramic manufacturers made use of satirical prints published by Samuel Knight, and other Russian cartoons redrawn by George Cruikshank, including the below example in lot 98 of ‘Russian Chopping Blocks’, which was originally drawn by Terebenev and published in Russia in November 1812. George Cruikshank is also responsible for the print in lot 95 of Napoleon’s hurried return to the French capital – an event that was entirely imagined and over-dramatised by the contemporary press. Cf. David Drakard, Printed English Pottery, pp.226-240 for a discussion of these wares.

95. A rare pearlware Napoleonic jug, c.1813, printed and handcoloured 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 ‘Boney Sneaking into Paris at Midnight’, some good restoration, 14.2cm. £100-200

96. A Coalport Napoleonic mug, c.1813, printed and coloured with a Cossack and a French soldier duelling on horseback, titled in blue to the base with ‘Cossack Mode of Attack’, 10.2cm. £200-300

97. A Coalport Napoleonic mug, c.1813, the cylindrical body printed and hand coloured with a Russian soldier holding a rifle over his shoulder from which are suspended the corpses of five Frenchmen, titled in blue beneath the base with ‘Russian Boor’, a restored crack and filled rim chip, 8.5cm. £100-120

98. A Coalport Napoleonic mug, c.1813, printed and coloured with a scene of Napoleon being attacked by a Russian wielding an axe, above dismembered corpses of Frenchmen, titled in blue to the base with ‘Specimen of Russian Chopping Blocks’, a 6mm rim chip, 7.5cm. £150-200

This is an adaptation of a print by Samuel Knight that was published on 1st January 1813.

After a print by George Cruikshank.

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99. An English porcelain botanical part tea service, c.1840, each piece painted with a botanical specimen, the cups to the interiors, within leaf scroll borders in grey and salmon pink, painted pattern number 9822. Comprising: a slop bowl, a milk jug, eleven tea cups, eleven coffee cups and twelve saucers. (36) £150-200

100. A Derby part dessert service, c.1790, painted to the wells with a single spray of pink roses within narrow blue bands with gilt dash borders, blue crowned D marks. Comprising: an ice pail and cover, two sauce tureens with covers and stands, five square dishes in two sizes, three oval dishes in two sizes, and ten plates. (26) £500-800

101. A massive Ridgway ‘Granite China’ charger or meat dish, c.1830-40, printed in blue and coloured with the Oriental Birds pattern, the shaped rim embellished with small floral sprigs, printed pattern mark, 53.5cm. £300-400

102. A Derby botanical tazza and a dish, c.1790, boldly painted with floral specimens, titled in blue to the underside with ‘Gorteria Rigens’ and ‘Lilium Bulbiforum’, blue crowned crossed batons mark and pattern number 141, and a Derby dessert dish painted with a vignette of equestrian hunters, attributed to William Cotton, 30.5cm max. (3) £500-700

103. A large pair of Copeland Spode vases and covers, late 19th century, finely painted in the manner of Charles Ferdinand Hürten with panels of flowers including rose, dianthus and forget-me-not, within elaborate gilt borders on a rich green ground, the circular feet edged with a band of pink roses, the covers surmounted with putti finials, printed marks, minor faults, 46.5cm. (4) £1,000-1,500 Cf. Woolley and Wallis, 15th September 2015, lot 144 for a pair of bough pots with similar decoration.

104. A Flight Barr and Barr ice pail and cover with inner liner, c.1815-25, of campana shape, attributed to Samuel Astles, finely painted with floral arrangements including honeysuckle, rose, heartsease, poppy and convolvulus, the handles issuing from rams head masks, crowned FBB mark, the liner restored, 35.5cm. (3) £1,800-2,200

105. A composite garniture of three Coalport vases, c.1901-10, comprising a pair of vases and covers painted by Percy Simpson with scenes of ruins within elaborate gilt borders, signed ‘P. Simpson’, and a single bottle vase with similar decoration, all reserved on a mazarin blue ground, printed marks, a repair to the foot of the single vase, 36cm. (5) £500-700

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106. A Chamberlain Worcester part dessert service, c.1810, the wells finely painted with arrangements of fruit and flowers, the wide rims with panels of colourful birds, probably by George Davis, reserved on a pale blue ground, printed marks. Comprising: two kidney-shaped dishes, two handled dishes and eight plates. (12) £4,500-6,000

107. A Turner & Co stone china mug, c.1800, the cylindrical body finely painted with an arrangement of fruit on a stone ledge, within a gilt panel beneath a blue, red and gilt border, and a Coalport armorial saucer dish, painted with a shield of a wild man holding a club beneath a crest of an arm embowed, reserved on a yellow ground, 19.5cm max. (2) £150-250

108. An English porcelain botanical plate, c.1815, probably Londondecorated Coalport, finely painted with a passion flower to the well, the moulded rim with sprigs of flowers and fruit within a gilt dentil rim, titled ‘Passion Flower’ in red to the underside, 22cm. £200-300 The floral specimen appears to be taken from Sydenham Edwards’ drawings in The New Botanic Garden, 1812, pl.43. It seems likely that the decoration was done in the atelier of J Bradley & Co, who are known to have decorated a similar Swansea dessert service using the same print source.

109. An English porcelain inkstand, c.1810-20, the circular form painted in the Swansea manner with a continuous band of flowers and fruit, beneath a standing putto emptying a goblet into a large shell before him, a mythical dolphin beside him and an upturned shell forming a pen holder, one of the putto’s wings restored, 11.5cm. £150-250

110. A good coffee can and saucer, c.1815-25, possibly Swansea, painted by or in the manner of William Pollard with flowers including dog rose and forget-me-not, the can’s interior rim with a known Swansea gilt and green enamel border, 14.8cm. (2) £250-350

Provenance: the F E Andrews Collection, Cardiff.

111. A Nantgarw-style vase, 19th century, the slender form applied with swan handles, painted in the manner of William Pollard with moths in flight around a tilting basket of flowers, the reverse with a flower arrangement including rose, convolvulus and passion flower, raised on a square black hardstone base, 17.5cm. £100-200 Provenance: the F E Andrews Collection, Cardiff.

112. An interesting white-glazed porcelain vase, early 19th century, probably Swansea, the flared form finely applied with a band of biscuit flowers above mask heads with winged handles, raised on three paw feet, incised B mark, 17.2cm. £300-500 Provenance: from the F E Andrews Collection, Cardiff. Cf. Victoria & Albert Museum, Accession No. C.595-1935 for a decorated vase of the same shape. The biscuit decoration is attributed to James Goodsby who came to Swansea from Derby and operated principally during the Bevington era.

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113. A Paris porcelain two-handled cabinet cup and cover, 1st half 19th century, finely decorated in tooled gilding with pastoral scenes of figures and livestock reserved on a matt green ground, the cup applied with swan handles, some repairs to the cover, 14.8cm. (2) £250-350

114. A Sèvres two-handled vase, c.1790-95, the squat form painted with a continuous band of flowers reserved within gilt borders on a bleu celeste ground, blue Sèvres and RF painter’s mark for H G Boileau, 11.7cm high. £400-600 Provenance: the F E Andrews Collection, Cardiff.

Provenance: the F E Andrews Collection, Cardiff.

115. A large Sèvres circular tureen and cover, c.1793-1800, the generous form painted with a continuous garland of flowers and leaves reserved on a bleu celeste ground with tooled gilt floral designs, with Etruscan style reeded handles, marked Sèvres P7 in blue, the painter’s mark relating to Pierre le Jeune, 32cm dia. (2) £1,000-2,000 Provenance: the F E Andrews Collection, Cardiff.

116. A pair of Sèvres cups and saucers, 2nd half 18th century, painted with garlands of flowers within a shaped cinquefoil panel on a green ground with gilt designs, some wear, 13.8cm. (4) £200-300

117. A St Cloud two-handled cup and trembleuse saucer, c.1745, heavily applied with fruiting grapevine suspended from tied ribbons, the cup’s handles formed as vine stalks, 12.8cm. (2) £600-800 Cf. Victoria & Albert Museum, Accession No. C.442 & A-1909 for an identical example.

118. A pair of Sèvres oval dishes, c.1760-70, painted with four panels of European flowers within gilt foliate borders reserved on a rich green ground, interlaced blue LL marks and puce B painter’s mark, 27.8cm. (2) £200-300

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119. A Tournai plate, c.1770, possibly outside decorated in the Sèvres manner with a central harbour scene, the rim with six panels of birds in purple monochrome, reserved on a blue and gilt diaper ground, crossed arrows mark, the mark ground, 24.5cm. £100-200

120. A St Cloud basket, c.1730-50, the flared lobed form moulded with basketweave effect and applied with ropetwist handles, raised on a pierced rocky base applied with a continuous fruiting spray, some chips to the base, 11.8cm high. £200-300

121. A pair of Italian porcelain custard cups and covers, c.1760-70, probably Cozzi or Doccia, the reeded forms left in the white and stopped with fruit finials, with flattened scroll handles, a chip to one cover, 8.3cm. (4) £150-250

122. A near pair of Vienna coffee cups and trembleuse saucers, c.1760-80, decorated in purpurmalerei with flower sprays and single scattered blooms, the saucers with a pierced gallery to the well, blue shield marks, 13.5cm. (4) £200-300

123. Two Chinese porcelain plates, 18th century, one Dutchdecorated with a cockerel pecking at rockwork beside tall sprays of Oriental plants, the other made for the export market and painted with a botanical specimen of auricula, some rim nibbles, 23.4cm max. (2) £400-600

124. A large Paris porcelain bough pot and cover, 19th century, the generous D-shape form painted with bold panels of flowers including poppy, rose and cornflower, within vertical gilt borders, the cover with five apertures, 30cm across. (2) £200-300

125. A Meissen inkstand or desk set, mid 18th century, the shaped tray set with panels painted with deutscheBlumen reserved on a textured gold ground, an inkwell, pounce pot and bell bearing similar decoration, blue crossed swords marks, some damages and restoration, 26.3cm overall. ÂŁ1,000-1,500

126. A Meissen sugar box and cover, c.1730-35, the oval form decorated in the Kakiemon palette with birds on and beside prunus branches issuing from a zigzag banded hedge, the sides with sprays of flowers, the cover surmounted with a crouching rabbit finial, blue crossed swords mark, 14.5cm across. (2) ÂŁ1,200-1,500 Provenance: from an English private collection, North London.

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127. A pair of German porcelain bough pots, mid 18th century, of demi lune form, the flared and fluted forms painted with small landscape panels within moulded and gilt rococo scroll panels, the tops pierced with three rows of small holes around a central half moon aperture, 19cm across. (2) £800-1,200

128. A Berlin cabinet plate, dated 1796, the well painted with an oval panel of Apollo in a horse-drawn chariot surrounded by maidens and headed by Cupid in flight with a flaming torch, the cavetto with a narrow band of faux marble, the rim with a gilt foliate design on a pale pink ground, blue sceptre mark, titled ‘Apollo’ in black to the underside, 24.2cm. £150-250

129. Two Russian porcelain Easter eggs, 20th century, one probably Imperial Factory St Petersburg, finely decorated with butterflies in a mosaic effect between gilt panels with stylized foliate designs, the other with formal gilt scrolls on alternating green and white stripes, with yellow suspension ribbons, the porcelain 7cm max. (2) £600-1,000 Provenance: from the collection of Dr Venetia Newall.

130. Two St Cloud cane handles, c.1730-40, the flared cylindrical forms swelling at the top, painted in the Kakiemon manner with Oriental plants and small flying insects, 5.5cm max. (2) £200-300

131. Two large St Cloud cane handles, c.1720, the lobed pommel forms rising to bulbous knops, painted in underglaze blue with formal lambrequin designs above a cell diaper border, the tops with an Oriental flower spray, 5.3cm max. (2) £200-300

132. A St Cloud cane handle, c.1730-50, of bec de corbin form, the tapering curved form painted in polychrome enamels with Chinese figures holding a parasol and and a pennant beneath a flowering prunus tree, the end painted with a mythical animal mask in yellow and red, some wear, 6cm. £300-400

133. A Mennecy cane handle, c.1740-50, modelled as the head of a smiling pug dog, left in the white, 4.5cm. £500-700

134. Two St Cloud cane handles, c.1710-30, of pommel form, the smaller painted in underglaze blue with three large sprays of flowering Oriental plants, the larger with a continuous flowering spray encircling the stem, the top of the knop with a single moth or butterfly, 5.5cm max. (2) £200-300

135. A Chantilly cane handle, c.1735, of bec de corbin form, the tapering curved form painted in the Kakiemon palette with a Chinese boy kneeling before another holding a parasol, beneath a spray of flowering prunus, 7.7cm £300-500

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136. A St Cloud cane handle, c.1700-20, rising to a bulbous knop, painted in underglaze blue with Chinese figures in a garden scene, the top of the handle with a further figure seated before an ornamental fence, 4.3cm. £150-250

137. A French porcelain cane handle, c.1720-40, St Cloud or Mennecy, of pommel form, moulded with spiralling, overlapping acanthus leaves rising to a smooth bulbous knop, left in the white, 5.5cm. £150-200

139. A St Cloud cane handle, c.1740, of ‘Tau’ shape, painted in a simple palette of red, green, yellow and blue with a Chinese figure holding a parasol between flowering plants, and with a small pagoda beneath a pine tree, the short sides with further flowering plants, 10.7cm across. £250-350

138. A long French porcelain cane handle, c.1720, St Cloud or Mennecy, of pommel form, the elongated form rising to a smooth bulbous knop, painted in a stylized Kakiemon palette with sprays of Oriental flowers and small pagoda vignettes, the top with a Chinese figure seated between flowering plants, 9cm. £300-500

140. A Mennecy silver-mounted snuff box, c.1740-50, modelled as a gallant reclining on a grassy mound with one arm round his dog, the hinged cover painted to both sides with polychrome flower sprays, 5cm. £800-1,000 Provenance: Elizabeth Parke Firestone Collection.

141. A pair of Herend figural bookends, modern, each modelled as an owl perched atop a low pile of books, decorated in red scale with their wings detailed in blue, pink and turquoise, and a small Herend model of two ducks, printed marks, 20.5cm max. (3) £300-500

142. A Herend animal group of two giraffes, modern, the pair with necks entwined in a mating ritual, their coats decorated in a green scale pattern, their hooves and noses detailed in gilt, printed marks, 19.5cm. £300-500

143. A Meissen figure of a parrot, 18th/19th century, perched on a tree stump applied with fungus and leaves, its head turned over one shoulder, blue crossed swords mark, the decoration probably later, 14cm. £200-300

144. A pair of Meissen figures of peacocks, 20th century, modelled with wings partially outstretched and heads turned, blue crossed swords marks, one lacking its crest, the other with a small chips to its beak, 14cm across. (2) £150-250

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145. Two Meissen figural candlesticks, 19th century, each modelled as two putti supporting a long thin fish issuing a candle sconce, raised on scrolled bases with gilt detailing, cancelled blue crossed swords marks, incised 1145, 25cm. (2) £400-600

146. A large pair of Naples porcelain figures of Classical maidens, 19th century, one of Juno, standing beside a peacock and holding a golden staff, the other of a lady draped in an ermine-lined robe, each on a rococo scrolled base with gilt detailing, gilt crowned N marks, some restoration, 38cm. (2) £200-300

147. A Vienna boar-hunting group, 2nd half 18th century, the unfortunate beast being set upon by three dogs beneath a tree, raised on a pierced scrolling base applied with flowers, blue shield mark, some restoration, 24.5cm. £300-500

148. A massive Continental biscuit porcelain figure of Count Bruhl’s Tailor, 19th century, riding a billy goat garlanded with flowers and fitted with gilt chain reins, all raised on an oval base applied with flowers and leaves, interlaced LL mark after Sèvres, some restorations, 48cm high. £600-800

149. A Russian porcelain figure of a glazier, c.1820-40, Gardner Porcelain Manufactory, wearing a white apron over a blue tunic, holding a wooden case of glass panels, some restoration, 18.5cm. £400-600 This figure was introduced by the Gardner factory in the 1820s, possibly as an additional to their popular street vendor series.

150. A Meissen nodding pagoda figure, 19th/early 20th century, typically modelled as a corpulent female seated cross-legged and wearing a robe decorated with indianische Blumen, with articulated head, tongue and hands, blue crossed swords mark, gilt number 20, 15cm high. £800-1,200

152. Three Continental porcelain white-glazed figures, 18th and 19th centuries, one a St Cloud figure of a shepherdess, standing beside a recumbent sheep, the other perhaps Mennecy and emblematic of Astronomy, modelled as a putto leaning on a globe and holding a telescope to one eye, the last a later Vienna figure of a girl carrying a basket of flowers, some damages, 16cm max. (3) £500-700 The St Cloud figure with a paper label relating it to the Wilfred J Sainsbury Collection.

151. A matched pair of Sèvres bisque porcelain figures of children, c.1760, modelled by Falconet after Boucher, one of Le Jeune Suppliant, a boy standing beside a basket of flowers with hands clasped, the other of La Petite Fille a la Cage, a young girl holding her apron in one hand, raised on rectangular bases, incised F marks, 21cm. (2) £1,200-1,500

153. Four miniature Meissen figures, 18th century, two of a Meissen hunter and his companion, each with a long-barrelled gun, she with a dog at her side, another figure of Cupid holding a tray with a covered cup on it, the last a figural needle or bodkin case, modelled as a gentleman wearing a long robe and holding a night cap in his left hand, with a metal screw-fitted base inscribed ‘Ne Puis Dormir Sans Toy’, faint blue crossed swords marks, some damages, 7.3cm max. (4) £800-1,200

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154. A Meissen allegorical figure group of the Broken Bridge, 19th/20th century, after the model by Acier, the lady tentatively stepping onto wooden planks that Cupid strews with roses, her companion urging her forward while a further putto pushes her on to womanhood from behind, blue crossed swords mark, incised F63, a small amount of restoration, 24.5cm. £400-600

155. A Meissen figure group, 19th century, modelled with a gallant standing on top of scrolled rockwork with a maiden appealing to him, a musician seated at his feet and playing the drums, cancelled crossed swords mark, incised 1484, small losses, 24.8cm. £300-500

156. A Frankenthal figure group of ‘Harmony in Marriage’, c.1765, modelled by Karl Gottlieb Lück, a young couple seated on a low tree and embracing, raised on a low scroll base, crowned CT mark and various monograms including AB for Adam Bergdoll, a few small chips, his sword lacking, 16.5cm high. £1,000-1,500 Cf. Friedrich Hofmann, Frankenthaler Porzellan, pl.103 no.431 for a similar example.

157. A Meissen chinoiserie figure group, 20th century, modelled with a lady carrying a tea tray in her right hand, holding a small boy by the hand, the boy with a colourful bird perched on the other hand, raised on a low base applied with flowers, blue crossed swords mark, impressed 2473, 13.5cm. £250-350 158. A Meissen chinoiserie figure group, 20th century, modelled as a mother and her two children, she standing and carrying a parrot on her right arm, one child teasing it with a large mushroom, the other knelt at her feet with a bowl of fruits, blue crossed swords mark, impressed 2678, a small chip to the plant, 16cm. £400-600

157

158 159. A Meissen chinoiserie figure of a man and dog, 20th century, the man seated and wearing a tied tunic over scarlet breeches, his left arm outstretched to capture the attention of a black and white spaniel seated on his lap, blue crossed swords mark, incised E35, 12.5cm. £250-350 160. A Meissen chinoiserie figure, 20th century, modelled as a Chinese figure seated beside a bucket of fish and holding a further pierced basket of fish in his right hand, beneath a bamboo parasol, raised on a low base with gilt scroll details, blue crossed swords mark, incised number 2652, 11.2cm high. £300-400

159

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161. A Meissen chinoiserie figure group, 20th century, modelled with a Chinese lady holding a large kettle and pouring milk into a cup held on a tray by a small child, a further child holding a basket of plums and kneeling at her feet, blue crossed swords mark, incised 2673, 15.7cm. £300-400 162. A Meissen chinoiserie figure group, 20th century, of a Chinese lady seated in a chair with a large basket of pears on her lap, a small child seated on the ground beside her, blue crossed swords mark, incised number 2645, 10.5cm. £250-350

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163. A Meissen chinoiserie figure group, 20th century, of a Chinese lady and her young son fishing from a small boat with the help of a crane that stands beside her, the woman holding a long paddle, the boy a small fish, blue crossed swords mark, impressed number 2466, 15.5cm high. £300-400 164. A Meissen chinoiserie figure group, 20th century, of lovers seated at a tea table, he holding a mandolin, she a wide teabowl, both leaning in for a kiss, blue crossed swords mark, incised 610X, 10.5cm high. £300-400 165. A Meissen chinoiserie arbour figure group, 20th century, modelled as a Chinese couple seated beneath a pierced rococo scrolled arbour applied with flowers, holding a book, blue crossed swords mark, impressed 2653, 20.2cm. £400-600

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166. A Meissen chinoiserie figure group, 20th century, modelled as a lady seated on a chair with her right foot raised on a low stool, a chicken standing and feeding from a tray resting on her lap, a young girl standing beside her, cancelled blue crossed swords mark, incised E541, 15cm. £200-300 167. Three Meissen chinoiserie figures, 20th century, one of a lady feeding a bird perched on her right hand, one of a gentleman playing a drum, the last of a gentleman holding a furled parasol, blue crossed swords marks, one cancelled, incised E31, E44 and E30, 13cm. (3) £300-500

167

168. A good pair of Meissen figures of snipe, 20th century, the two wading birds naturalistically modelled with heads turned, standing before low stumps, blue crossed swords marks, incised 77186 and 77187, one beak restored, 19.5cm. (2) £600-800

169. A pair of Meissen figures of cockatoos, 19th century, after the models by J J Kändler, naturalistically modelled with crests raised, one with wings partly outstretched, each raised on a tall stump, blue crossed swords marks, incised 57, some restoration to one crest, 25.5cm. (2) £600-800

170. A large pair of Berlin models of magpies, 19th/early 20th century, perched on tall stumps with beaks agape, one bird regarding a large snail that creeps up towards it, blue sceptre marks, 27.5cm. (2) £400-600

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171. Two Meissen ormolu-mounted animal figures, mid 18th century, of a cow recumbent with her head turned to the left, her coat decorated with rust patches, and of a billy goat standing four square and facing forward, his shaggy coat patched with brown, both raised on scrolled ormolu bases, some damages, the ormolu probably later, 11.2cm high max. (2) £600-1,000

172. A large Meissen figure of a shepherdess, mid 18th century, holding a lamb on her left hip, a small posy of flowers in her right hand, raised on a tall scrolled base with puce detailing, blue crossed swords mark to the back of the base, some good restoration, 29.5cm. £600-800 Provenance: from a private collection in Northamptonshire. Cf. R Rückert, Meissener Porzellan 1710-1810, no. 1006 for a similar example.

173. A large Meissen figure of a shepherd, mid 18th century, modelled by J J Kändler, the young boy standing and turning to his dog as it jumps up beside him, taking a pastry from a satchel by his left leg, a recumbent sheep resting on the scrolled base, blue crossed swords mark to the back of the base, good restoration, 29.5cm. £1,000-1,500 Provenance: from a private collection in Northamptonshire.

174. A set of ormolu-mounted Meissen figures of the Four Seasons, c.1760, each modelled as a Classical figure with varying attributes, Winter with an ermine cloak and a brazier, Spring with an urn of flowers, Summer with a sheaf of corn, and Autumn with grapevine and a cup of wine, each mounted on a scrolled ormolu base, blue crossed swords marks, some restoration, the mounts possibly later, 25.5cm. (4) £6,000-10,000 Provenance: from a private collection in Northamptonshire. Paper labels for the Shaw Collection.

175. A Meissen figure of a musical shepherdess, mid 18th century, playing the clarinet or recorder and wearing a black headscarf, a recumbent sheep at her feet, some restoration, 24.5cm. £500-800

176. A Meissen figure of Il Capitano from the Duke of Weissenfels series, c.1745, modelled by Peter Reinicke after the Commedia dell’Arte, the Captain standing with the back of his left hand resting on his hip, his right hand behind his back, with head turned, wearing a lilac coat over a long pink waistcoat, blue crossed swords mark to the back of the base, small restorations, 14cm. £1,000-1,500 Provenance: from a private collection in Northamptonshire. Cf. Len and Yvonne Adams, Meissen Portrait Figures, p.213.

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177. A Derby group of sheep, c.1760, modelled with a horned sheep or ram standing above a recumbent lamb, both with heads turned, the flat base applied with flowers and leaves and painted with a butterfly or moth, a small amount of restoration, 12.6cm high. £200-300

178. A rare Derby biscuit porcelain group of sheep, c.1765-75, modelled with a horned ram standing over a recumbent lamb, his head turned over one shoulder, and a glazed porcelain figure of a sheep standing before flowering bocage and raised on a low base applied with flowers and leaves, small damages, some restoration to the latter, 14.5cm max. (2) £450-650

179. A matched pair of Bow white-glazed models of finches, c.1755, each perched on a low stump on a circular base with head turned, one tail lacking, one broken and restuck, 10.2cm high. (2) £500-700

180. A Derby cow creamer and cover, 19th century, standing four square on a fluted base edged in gilt, her coat decorated with russet patches, a chip to the cover’s flange, 15cm across. (2) £400-600

181. A set of four Derby figures from the French Seasons series, c.1810, modelled as children emblematic of Spring, Summer, Autumn and Winter, with various attributes, raised on circular bases with a gilt band, each incised No.123 to the base, some restorations, 18.5cm. (4) £600-800

182. A Derby group of four putti, c.1775, one clambering up a tree to reach birds nesting, two others removing chicks from a nest to a wooden cage, raised on a rocky stump applied with flowers and leaves, incised No 234 and with the letters G and J, small losses, 30cm. £400-500

183. A very rare Derby figure of a Russian Shepherdess, c.1790, leaning on a tree stump and holding a fringed shawl around her, raised on a circular base edged in gilt, incised No. 393 to the base, some good restoration, 27.5cm. £900-1,100 Cf. Peter Bradshaw, Derby Porcelain Figures, p.396, which shows the larger group after Le Prince’s Les Bergers Russes, from which this figure comes. Examples of this single figure are scarce, but have also been recorded in biscuit.

184. A Derby model of the Four Seasons, c.1765-70, personified as four figures gathered around a central obelisk, holding attributes of corn, fruit and flowers, Winter wearing a fur-lined coat and holding a gun, all raised on a rocky base applied with flowers and leaves, some restoration, 24.5cm. £500-700

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185. A rare set of Derby figures of the Four Seasons, c.1765-70, modelled as children in animated poses with varying attributes, Spring garlanded in flowers, Summer holding a large sheaf of corn, Autumn with a large basket of grapes strapped to his back, and Winter carrying a basket containing a goose and fastening a fur-lined cloak about her shoulders, raised on low scrolled bases, some good restoration, 25cm max. (4) ÂŁ800-1,200

186. A rare Derby set of the Four Seasons, c.1765, modelled as Spring, Summer, Autumn and Winter, standing and seated with various attributes including flowers, corn and grapes, raised on pierced scrolled bases detailed in gilt, small damages, 15.2cm. (4) ÂŁ1,200-1,500

THE ROY HOGARTH COLLECTION OF FIGURES

187. A London-decorated figured of a nun, c.1755-60, after Chelsea or Bow in imitation of Meissen, seated and reading from a bible or prayer book, wearing a puce mantle over a flowered robe, 12.8cm. £500-800 Provenance: the Roy Hogarth Collection. The Stephen Hanscombe Collection. Exhibited: Stockspring Antiques, June 2008, Early James Giles, No. 80. The steatic soft-paste porcelain of this model has been previously attributed to Vauxhall and may possibly be linked to a short-lived concern at Kentish Town under the direction of John Bolton.

188. A Bow figure of a female lutenist, c.1753-55, after a Meissen figure by J F Eberlein, standing and holding her instrument close to her chest, her skirts swaying, raised on a low pad base applied with a single flower, a black painter’s mark to the reverse, a little good restoration to the lute handle, her right arm restuck, 16.5cm. £1,000-1,500 Provenance: the Roy Hogarth Collection.

189. A Derby ‘Pale Family’ figure of a musician, c.1756, seated and playing the flute, his open score applied to the base beneath his legs, wearing a flowered jacket and waistcoat over pink patterned breeches, his left foot resting on a scroll at the front of the base, a small amount of restoration to the flute, 13.6cm. £1,000-1,500 Provenance: the Roy Hogarth Collection. Paper label for Klaber & Klaber.

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190. A porcelain figure of Ceres attributed to Samuel Gilbody (Liverpool), c.1758-60, after Longton Hall, standing and holding a sheaf of corn and a sickle in her right hand, wearing a flowered robe in the Classical manner, a putto reaching up towards her on her left side, raised on a domed green base, some good restoration, 15.4cm. £800-1,200 Provenance: the Roy Hogarth Collection. Bonhams, 13th December 2006, lot 172. Cf. Maurice Hillis, Liverpool Porcelain, p.310, fig. 7.75.

191. A rare figure of Venus and Cupid attributed to Samuel Gilbody (Liverpool), c.1758-60, the goddess with her right arm raised to chastise the mischievous putto she restrains with her left hand, raised on a low pad base applied with flowers, red anchor mark, good restoration, 13.5cm. £700-900 Provenance: the Roy Hogarth Collection. This model is also known at Derby.

192. A Bow figure of a lady falconer, c.1755-6, after a Meissen model by J J Eberlein, standing and holding a bird aloft in her left hand, a dog recumbent beneath her skirts, raised on a low pad base applied with flowers, some restoration to the left shoulder, 17.1cm. £1,200-1,500 Provenance: the Roy Hogarth Collection. Exhibited: Simon Spero, Fifteen Years Among Furnaces, April 2012, no.38

193. A Bow figure of a woodsman, c.1755, a bundle of faggots suspended by a rope from a staff held over his left shoulder, wearing a flowered jacket over yellow breeches, raised on a flat square base, some good restoration, 17.6cm. £600-1,000 Provenance: the Roy Hogarth Collection.

194. An early Bow white-glazed figure of a huntsman, c.1752-53, seated on a low stump and filling the powder flask held in his left hand, his dog seated by his right knee, raised on a square base, a chip to the base, the end of his gun lacking, 12.7cm. £1,000-1,500 Provenance: the Roy Hogarth Collection.

195. A Chelsea figure of a dancing Dutch peasant, c.1752-53, after a Meissen model by J J Kändler, standing with his right foot raised and both arms outstretched, wearing a wide brimmed hat and a happy smile, the low base applied with flowers and leaves, some good restoration, 15.8cm. £2,000-2,500 Provenance: the Roy Hogarth Collection. Exhibited: Simon Spero, October 2010, no.31.

END OF COLLECTION

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196. A rare Bow candlestick figure group, c.1760, emblematic of Summer, of Venus and Cupid, the goddess holding a sheaf of corn and wearing a patterned robe, the putto reclining before her and resting his head on a further sheaf, standing before a candle sconce and drip pan raised on a scrolled stem, above a footed base picked out in gilt and turquoise, rare blue crescent mark, 29.5cm. £450-600

197. A large Bow figure of Air, c.1760, modelled as a Classical maiden holding a billowing robe above her head, standing beside a large eagle, raised on a tall and elaborately scrolled base with gilt detailing, 29.5cm. £500-800

198. A small Bow candlestick figure of Africa, c.1765, modelled as a female blackamoor standing before a recumbent lion and wearing an elephant headdress, her left arm outstretched, raised on a three footed scroll base, the sconce and drip pan picked out in puce and turquoise, an impressed T mark to the underside of the drip pan, a repair to her left arm, 19.7cm. £400-600

199. A rare set of Derby figures of the Infant Seasons, c.1765, modelled as seated putti with varying attributes for Spring, Summer, Autumn and Winter, raised on plain domed bases applied with flowers and leaves, minor faults, 15cm. (4) £1,000-1,200

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200. A pair of Derby figures of the Dresden Shepherds c.1760, he holding a basket of fruit and proffering a single apple in his right hand, his dog seated at his feet, his companion with an apron full of flowers, a lamb recumbent before her, both raised on scrolled bases, some good restoration, 21.5cm. (2) £200-300 201. A pair of Derby figures of musicians, c.1765-70, each standing beside flowering branches, he playing the flageolet and tabor, his companion playing the triangle, both raised on pierced scrolled bases highlighted in gilt and turquoise, some restorations, 21.5cm. (2) £500-700

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202. Two Chelsea figures of maidens, c.1760, one of a shepherdess standing beside a recumbent lamb, holding the edge of her apron full of flowers, the other standing before flowering bocage, a tied bundle beside her feet, gold anchor marks, some damages and repairs, 19.8cm max. (2) £350-450 203. Two Derby figures, c.1760-65, one of Europe, holding an orb and surrounded by attributes of the Arts and Science, the other of David Garrick as Tancred, raised on a scroll base applied with flowers, some damages and restoration, 21.8cm max. (2) £400-500

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204. A pair of Derby biscuit porcelain figures of Mars and Venus, c.1790, the god of war wearing battledress and standing before a shield and spear, Venus holding Cupid by the forearm and rising her right hand to chastise him, and a similar Derby figure of Juno standing before a peacock, all raised on square bases, incised numbers and crowned crossed batons marks, Juno with a star mark for the repairer Isaac Farnsworth, some repairs, 16.5cm. (3) £600-700

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205. A rare Richard Chaffers (Liverpool) white-glazed figure of a nun, c.1756-58, seated and reading from a bible or prayer £1,000-1,500 book, 12.2cm.

206. A Derby figure of Summer, c.1756-58, modelled as a young boy seated on a low stump and holding stems of corn and flowers, a sickle and further corn ears surrounding his feet, wearing a flowered jacket and a corn diadem, raised on a low scrolled base, a small amount of restoration £400-600 to his fingers, 12cm.

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207. Two Derby figures of Cupid in Disguise, c.1765-70, one of the putto as a magic lantern operator, carrying the box on his back and wearing a large black hat and boots, the other of Cupid disguised as a gallant, carrying his hat and wearing a powdered wig and pink tunic, raised on low scrolled bases, some repairs and restoration, £300-400 13cm max. (2)

208. A Bow white-glazed figure of Autumn, c.1754, modelled as a man seated on an upturned basket of grapes, holding a bunch of grapes in his right hand and squeezing them into a bowl in his left, a bottle lying on its side between his feet, a £500-700 few small chips, 13.5cm.

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209. A Bow figure of a monk, c.1760, seated on a low stool and reading from a large book inscribed ‘Omnia Vanitas’, raised on a low pad base painted with puce scrolls, a small section of his robe broken and £300-400 restuck, 11.2cm. Provenance: the Barbara Leake Collection.

210. Two Bow religious figures, c.1755-60, one of a novice nun standing with hands together in prayer or supplication, raised on a low pad base applied with leaves, the other of a tonsured monk reading from a bible or prayer book, raised on a tall pierced base picked out in puce and turquoise, some £400-500 restoration, 14.8cm max. (2)

211. A Derby figure of St Thomas, c.175658, probably modelled by Agostino Carlini, drawing a green cloak around his shoulders, raised on a scrolled base picked out in polychrome enamels, 24cm £400-600

212. A rare Derby figure of St Philip, c.1758-60, probably modelled by Agostino Carlini, standing before an upturned basket of fruit and holding a large model of a crucifix in his right hand, his left raised in blessing, barefoot and dressed in rags, with a long beard, the scrolled base picked out in puce, green and gilt, a small amount of restoration, 26.8cm. £600-800

213. A large Derby figure of an Abyssinian Archeress, c.1765, wearing a patterned robe and holding arrow flights aloft in her right hand, raised on a scrolled base applied with flowers, with a later wooden base, some restoration, 33cm overall. (2) £500-800

Provenance: from a private collection in Northamptonshire.

214. A Derby Pale Family figure of a girl, c.1756-59, seated with her right foot raised and leaning over a large pink hat resting in her lap, a small posy of flowers held in her left hand, some chipping, 10.7cm. £350-450

215. A rare Bow figure of a lady, c.1755, seated with a bird’s nest resting on her lap, holding a single small bird aloft in her left hand, some restoration, 12cm. £500-700 Cf. English Ceramic Circle Transactions, Vol. 13, Part 3, pl.181 for the same figure in white, believed to be the only other recorded example.

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216. A Derby dry-edge figure of Pluto, c.1753-55, modelled by Agostino Carlini, probably allegorical of Earth, looking down and drawing his left arm across his body, Cerberus crouched behind him, the back of the base modelled with the mask of a satyr, some restoration, 17.5cm. £400-600

217. A Bow figure of Water, c.1756-58, from the Elements series, modelled as Neptune standing before a large dolphin and holding an upturned urn of flowing water in his left hand, a little restoration to the dolphin’s tail, 19.5cm. £500-700

218. A Bow figure of Bacchus, c.1760, standing before a large urn garlanded in grapevine, holding a goblet of wine in his right hand, raised on a scrolled base with puce detailing, some restoration to his satchel and goblet, 24.6cm. £200-300

219. Two small Chelsea Classical figures, c.1755-60, one of a faun draped in a leopard skin and wearing a diadem of grapvine, red anchor mark, the other of Hercules holding a club and wearing a bear skin, gold anchor mark, some damages and repairs, 13cm. (2) £600-800

220. An early pair of Derby figures of dancers, c.1755-58, he wearing a pierrot costume with his right arm outstretched, his companion holding one corner of her apron and raising her left arm, both raised on low domed bases painted with flowers, some good restoration, 14.5cm. (2) £400-600

221. A pair of Derby figures of children, c.1756-59, emblematic of Spring and Summer, seated on low stumps, she wearing a floral diadem and holding further blooms in her left hand, he surrounded by ears of corn, both raised on low scrolled bases picked out in gilt and turquoise, some restoration to Summer, 10.6cm. (2) £600-800

222. Three Chelsea figures of Cupid in Disguise, c.1760, one as a musician, playing a drum and wearing a pink tricorn hat, another holding a scythe over one shoulder and wearing an open green tunic, the last holding a basket in both hands, his quiver of arrows slung over one shoulder, gold anchor marks to two, some damages, 12.5cm max. (3) £600-800

223. A pair of Derby candlestick figures of musical shepherds, c.1765, both standing before flowering bocage, he playing the flageolet and with a dog at his feet, his companion with an apron full of flowers, a lamb looking up at her, small restorations, 29.5cm. (2) £300-500

224. A pair of Derby candlestick figures of the Italian Farmers, c.1765, he standing and holding a cockerel, his wife with a hen, each dressed in elaborately patterned costume and standing before tall flowering bocage beneath pierced candle sconces and drip pans, raised on scrolled bases picked out in turquoise and gilt, small restorations, 33.5cm. (2) £500-700 The Italian Farmers were so called because it was believed they were copied from Doccia originals. However, both the Doccia examples and the Derby derive from a model made at Meissen.

Paper label for the Leo and Doris Hodroff Collection.

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225. 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 inscribed ‘Bill of Rights’, draped in a long pink cloak, 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, the putto’s right foot lacking, 31.2cm. £450-650

226. A Bow figure of Flora, c.1760, standing beside a vase of flowers raised on a scrolled plinth, wearing a floral robe and with further flowers in her hair, raised on a scrolled base with puce highlights, a few small chips, 23.8cm. £450-600

229. A pair of Derby chamberstick figures, c.1760-65, each modelled as a putto wearing a floral diadem and holding a small posy in one hand, the other supporting a candle sconce, raised on scroll bases picked out in gilt and turquoise, some restoration, 14.5cm. (2) £350-450

227. An unusual Derby figure of the Abyssinian Archer, c.1765, wearing a long flowered robe and holding a clutch of short arrows in his right hand, a quiver and bow slung behind his back, raised on a low scrolled base applied with flowers and leaves, minor losses and restoration, 28.2cm. £400-600 This figure and its companion are usually depicted with the black skin more commonly associated with Abyssinia (see lot 213).

228. A large and rare Chelsea figure of a shepherdess, c.1760-65, standing beside a sheep that bleats up at its lamb held in her left hand, wearing a patterned robe and a hat adorned with flowers, raised on a scrolling base applied with flowers and leaves, gold anchor mark, some restoration, 28.8cm. £600-800 Cf. Metropolitan Museum, New York, Accession number 64.101.518, for a similar example from the collection of Irwin Untermeyer.

230. A matched pair of Derby candlestick figures, c.1760-65, each modelled as a kneeling Cupid, one pointing towards a heart hidden among the flowers beside him, the other stringing an arrow in his bow, each before flowering bocage beneath a pierced candle sconce, the scrolled bases picked out in puce and gilt, some restoration, 24cm. (2) £350-450

231. A rare pair of Derby figures of Juno and Jupiter, c.1760, each seated in a wheeled chariot, Juno with a peacock perched behind her, Jupiter with a large eagle beside him and holding a thunderbolt in his left hand, raised on scrolled bases to simulate waves, some restoration, 26.4cm. (2) £800-1,200

232. A rare Derby figure group of Isabella with a Gallant and Jester, c.1765, after a Meissen group of The Hypochondriac by J J Kändler, the young lovers canoodling before flowering bocage, attended by a subservient Harlequin proffering chocolate cups on a small tray, some good restoration, 27.5cm. £2,000-3,000 Cf., Len and Yvonne Adams, Meissen Portrait Figures, p 190, for the original group, which includes a fourth figure behind the couple.

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233. A rare set of Derby figures from the Four Quarters of the Globe series, c.1760, emblematic of Asia, Africa, America and Europe, each with varying attributes of their Continent, raised on low bases applied with flowers, leaves and other attributes, some good restoration, 26.8cm. (4) £2,000-3,000 Provenance: from a private collection in Northamptonshire. A series of adult models of the Four Quarters of the Globe was first created by Kändler at Meissen around 1745, and adapted a few years later by Meyer using children instead. Meyer’s series was copied at Chelsea, and it is likely that this Derby series derives from Chelsea rather than the German originals.

234. An early Derby figure of a female musician, c.1756-58, possibly emblematic of Hearing, seated and playing the mandolin, wearing a deep puce robe over a flowered skirt, raised on a low base with shell scroll motif, a small amount of restoration, the decoration possible a little later, 12.8cm. £700-900

235. A rare Chelsea chinoiserie flower holder figure, c.1762, modelled as a Chinaman seated beside a large urn pierced with seven small holes to the top, his right arm outstretched and holding an orb, raised on a scrolled base applied with flowers, gold anchor mark, some damages, 17.5cm. £800-1,200

Cf. Peter Bradshaw, Derby Porcelain Figures, no. B34, which records similar figures of Taste and Smell. The close comparison would suggest that this belongs to that series.

Cf. Woolley and Wallis, 13th September 2011, lot 390 for a similar figure with his pair.

236. An early pair of Bow figures of Liberty and Matrimony, c.1750-52, modelled as a gentleman holding a small bird aloft in his right hand, his companion holding a bird cage on one hip, each with a recumbent sheep beside them and raised on scrolled bases, some damages and restoration, 26cm. (2) ÂŁ800-1,200 Cf. Simon Spero, Fifteen Years Among Furnaces: Bow Porcelain from a Private Collection, April 2012, p.52 for a figure of David Garrick with similar decoration.

237. A pair of Bow figures of the New Dancers, c.1765, the young couple standing in typical animated poses, wearing brightly patterned clothes and raised on tall scrolled bases before flowering bocage, red anchor and dagger marks, and blue dagger marks, some restoration, 23cm. (2) ÂŁ300-500

238. A good pair of Derby figures of Shakespeare and Milton, c.1815, each poet standing and leaning on a moulded plinth, holding a scroll inscribed with verses from The Tempest and Paradise Lost respectively, raised on chamfered bases and highlighted in pink and gilt, iron red crowned crossed batons marks, 25.5cm. (2) ÂŁ400-500

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239. A rare Bow figure of a musician, c.1760, possibly after the Meissen figure from the Gallant Orchestra, seated and playing the cello, wearing a pink jacket over flowered breeches, raised on a four-footed base with puce detailing, some restoration, 17.8cm. £400-600

240. A Bow figure of Ceres, c.1760-65, emblematic of Earth from the Four Elements, standing before a recumbent lion, holding a cornucopia of fruit and flowers, with a single fruit in her extended left hand, raised on a tall scrolled base picked out in puce and gilt, minor chipping, 23.4cm. £400-500

242. A Bow figure group of children, c.1765, dressed as Turks and standing side by side before flowering bocage, raised on a tall footed base picked out in turquoise and gilt, rare blue crescent mark, small losses and repairs, 21.3cm. £400-600

241. A large Bow figure of a bagpiper, c.1760, after a Meissen model by J J Kändler, standing with his pipes tucked under his left arm, a sheep grazing by his side, his recumbent dog gazing up at him, raised on a scrolled footed base picked out in puce, blue and gilt, some damage and restoration to his pipes, 26.5cm. £600-800

243. A rare and large Derby allegorical figure of Smell, c.1765, modelled as young boy seated on a flower-encrusted stump beside a basket of further flowers, holding a small posy to his nose, his left hand reaching out to the dog at his side, a small amount of good restoration, 26.5cm. £700-900

244. A rare Bow figure of a lady, c.1760, holding her skirts as seven yellow chicks peck around her feet, her head bent down to watch them, raised on a low rococo scrolled base, some good restoration, 13cm. £300-500

245. A rare Derby biscuit porcelain figure of Harlequin c.1785, standing in exaggerated pose and wearing a half mask with a large moustache, holding a long slapstick, incised No.199 and crowned crossed batons mark, 15.2cm. £800-1,200

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246. A Bow figure of a boy, c.1756, possibly emblematic of Autumn, standing barefoot and holding a short length of fruiting grapevine, raised on a low base with scrolls picked out in puce enamel, a few small chips, 13.7cm. £400-600

247. A Derby figure of a shepherdess, c.1765-68, standing and draping a garland of flowers around the neck of a lamb jumping up at her side, raised on a low pad base applied with flowers and leaves, minor faults, 15.5cm. £300-400

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248. A Bow figure of a Levantine lady, c.1765, after a Meissen original, standing and lifting her veil away from her face with her right hand, the edge of her yellow tunic held in her left hand, raised on a pierced scrolling base picked out in green, blue and gilt, blue cross mark, 18.8cm. £600-800

249. A Bow figure of a blackamoor Levantine lady, c.1760, standing and holding a basket of fruit, her left hand sweeping her veil away from her face, raised on a footed base, some chips and losses, 18.9cm. £600-800 This figure copies a Meissen model by Kändler and Reinicke, and derived from plates in the Comte de Ferriol and Le Hay’s ‘Receuil de cent estampes représentant différentes nations du Levant’, published in Paris in 1714 with a smaller German edition published by Christoph Weigel at Nüremberg in 1719 and 1721. This figure was based on pl. 43 of Vol. II of the German edition or pl. 91 of the first edition of 1714. It was widely copied at both Bow and Chelsea.

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250. A Derby figure of a musician, c.1756-59, modelled as a young boy playing the violin, wearing a pink jacket over a flowered tunic and breeches, standing on a low leaf-scrolled base with green and puce detailing, restoration, 14.8cm. £450-550

251. A small Bow figure of a female musician, c.1755, seated and playing the flageolet, her head turned to the right, wearing a flowered tunic over a blue skirt, a small amount of restoration, 9.8cm. £400-600

252. A miniature Bow figure of a Classical maiden, c.1760, standing and holding a covered urn, wearing a yellow robe edged in pink and puce, one foot resting on a circular cushion, impressed ladder mark, some good restoration, 9.8cm. £300-400

ENGLISH PORCELAIN FROM THE COLLECTION OF NIGEL MORGAN OAM (PART II)

253. A Chelsea figural pot pourri vase, c.1759, the lobed baluster vase flanked by three figures dancing and playing a hurdy-gurdy, the vase painted and applied with flowers beneath a reticulated rim, one handle restored, 18cm. £600-800 Exhibited: Loan Exhibition of Tournai and Chelsea Porcelain, 5th June - 4th July 1953, The Belgian Institute, London, catalogue p.43, no.119. Cf. C B Lippert, Eighteenth Century English Porcelain in the Collection of the Indianapolis Museum of Art, pp.80-82, no.9, and John Mallet, Chelsea Gold Anchor Vases 1: the Forms’, ECC Transactions, 1999, pp.126-161, pl.38.

255. A Chelsea figure of a Levantine lady, c.1755, modelled by Joseph Willems after Peter Reinicke at Meissen, holding the edge of her headdress in her right hand, her left clutching the edge of her yellow coat, raised on a pad base applied with flowers and leaves, 15.8cm. £800-1,200 Cf. John C Austin, Chelsea Porcelain at Williamsburg, p.130, no.118 for a similar example.

254. A pair of Bow figures of Harlequin and Columbine, c.1758, modelled in typical extravagant poses and wearing bright chequered costumes, each holding a slapstick, raised on low bases applied with flowers and leaves, impressed To marks to the bases, 16.3cm. (2) £800-1,200 Exhibited: Ceramics and Glass Circle of Australia, 7th August 2000 8th April 2001, The Gold Treasury, Melbourne, Ballarat and Hamilton Art Galleries.

256. A Chelsea model of a flycatcher, c.1750-52, after a print by George Edwards, perched on a stump painted with pink rose and other flowers, the bird's plumage brightly enamelled, its head turned slightly to the left, raised red anchor mark, the floral decoration added by a London atelier, some restoration to the beak, a repair at the top of the stump, 10.5cm. £600-800 Paper label for the Lady Ludlow Collection, No. 110. Cf. Paul Crane, 'Nature, Porcelain and Enlightenment: George Edwards and the Chelsea Porcelain Birds', ECC Transactions, Vol. 28, p.55, figs. 59 and 60 for the original print and an example in porcelain. The floral decoration is similar to that found on pieces from Charles Gouyn's Girl on a Swing factory, but is less common on Chelsea examples.

Each lot is subject to a Buyer’s Premium of 25% plus VAT

257. A Chelsea figure group of the Peasants' Supper, c.17456-58, modelled by Joseph Willems after Meissen, a couple either side of a lidded barrel, spooning stew from a patterned bowl, he sitting on an upturned basket of flowers, his companion standing and leaning over the bowl, minor faults, 13cm high. £1,000-1,500 Exhibited: National Gallery of Victoria, November 1984 - February 1985, and illustrated in the catalogue, Flowers and Fables; A Survey of Chelsea Porcelain 1745-69, p.37, no.73.

258. A Chelsea May Blossom bowl with cover and stand, c.1760, after Meissen, applied with a dense ground of small yellow flowerheads with pink detailing, the bowl’s interior and the stand’s well with a flower spray, the cover’s finial modelled as a divergent tulip, gold anchor marks, some cracking and restoration to the cover, 24cm. (3) £800-1,200

259. A rare Chelsea sunflower pot with cover and stand, c.1755, naturalistically modelled, the small pot with a wide rim of yellow petals above sides moulded with green sepals, the cover formed as the seedhead, the stand or dish with a large single bloom issuing from two leaves, with a stalk handle, the cover restored, 22.5cm. (3) £1,000-1,500

Illustrated: Flowers and Fables: A Survey of Chelsea Porcelain 174569, no. 167.

Illustrated: Flowers and Fables: A Survey of Chelsea Porcelain 174569, nos. 98 and 99.

END OF COLLECTION

260. A rare pair of Chelsea pot pourri vases and covers, c.1760, painted with heart-shaped panels of lovers after François Boucher, seated in garden settings, the reverses with panels of flowers, reserved on a blue ground with gilded moths and other flying insects, the sides applied with flowering branches beneath reticulated necks and covers, gold anchor marks, some damages and repairs, 22.5cm. (4) £2,000-2,500 Cf. Victoria & Albert Museum, Accession No. 828-1882 for a similar vase from the John Jones collection, and Mallet, J.V.G., Chelsea Gold Anchor Vases, I: The Forms, English Ceramic Circle Transactions, Vol.17, Part 1, 1999, p. 149. fig. 40.

261. A Chelsea plate, c.1760, painted with an exotic bird standing before leafy branches, with flying insects around, within a shaped yellow rim edged with gilt foliate scrolls, puce anchor mark, some wear to the gilt rim, 20.5cm. £200-300 Provenance: F S Mackenna Collection. Cf. Victoria & Albert Museum, Accession No. C.103-1957 for a plate from the same service.

262. A tall Chelsea-Derby vase, c.1760-65, the slender hexafoil form painted to one side with a maiden reclining against rocks and attended by a putto with grapevine, the reverse with a panel of flowers, applied with two scroll handles issuing from applied flowers and leaves, some restoration, 29.5cm. £300-400

263. A Chelsea plate, c.1755-58, of Warren Hastings type, the well painted with a colourful moth or butterfly, the rim with landscape panels within scrolling borders, red anchor mark, 24.4cm. £100-200

Each lot is subject to a Buyer’s Premium of 25% plus VAT

264. A pair of Chelsea small silver-shape dishes, c.1758-60, painted with colourful birds perched on branches bearing fruit and berries, the scrolled edges picked out in blue and gilt, brown anchor marks, a small restored rim section, 21cm. (2) £300-500

265. An early Bow octagonal plate, c.1755, boldly painted in the famille rose palette with an insect in flight above a large peony spray and holey rockwork, the rim with three further peony sprays, numeral 8 mark to inside footrim, 23cm. £200-300

264

Paper labels for the E & J Handley Collection, and the Mrs D MacCallum Collection.

266. A Bow white-glazed plate, c.1752-55, the rim crisply applied with five sprigs of flowering prunus, two restored footrim chips, 22.7cm. £300-400

267. An early Bow sauceboat, c.1752-55, the flat-bottomed form painted in the famille rose palette with peony sprays issuing from holey rockwork, the wide interior rim with stylized floral panels reserved on a turquoise trellis ground, 15.8cm. £200-300

268. A Bristol milk jug and a sugar bowl, c.1775, the jug painted with small puce flower sprigs beneath a continuous formal foliate border, with a large crabstock handle, the bowl of slight ogee form and painted with polychrome flower sprays beneath a simple puce border, some wear, the covers lacking, 11cm max. (2) £200-300

265

266

The bowl with a paper label for the McShane Stephens Collection, No. 49.

267

268

269. A Worcester dessert plate, c.1790, decorated in blue and gilt with the Prince’s Feathers pattern, the five feathers encircled with leaf sprays within a swag garland border, open crescent mark, 22cm.£100-200

270. A Liverpool milk jug, c.1770, probably Seth Pennington, painted in polychrome enamels with peony and other Oriental flowers issuing from blue holey rockwork, the rim with an enamelled lattice border, a tiny nick to the end of the spout, 9.4cm. £150-250

269

270

271. A Worcester coffee cup and saucer, c.1760-70, the fluted forms painted with small sprays of spotted fruit, the rim with panels of bright moths or butterflies within a turquoise line rim, and a Worcester hexagonal teapot stand decorated in blue, gilt and turquoise with a stylized sunburst design, 14.9cm max. (3) £200-300

272. A Philip Christian (Liverpool) spoon tray, c.1768-72, of shaped scallop form, painted with panels of polychrome flowers reserved on a gros bleu ground, 15.2cm. £100-200

273. Two Worcester Warmstry fluted cups and saucers, c.1760-70, one decorated with the Dragons in Compartments pattern, the other with alternating panels of polychrome flowers and narrow blue panels with gilt foliate designs, square seal marks, 3cm max. (4) £200-300

274. A Lowestoft milk jug, c.1765-70, painted in polychrome enamels with a bold flower spray beneath a red crowsfoot border, 8.5cm. £100-200

Each lot is subject to a Buyer’s Premium of 25% plus VAT

275. A Vauxhall teabowl and saucer, c.1760, decorated in the Imari palette with a Chinese figure crossing a low bridge between tall plants, the rim with a lattice panel border, 12.1cm. (2) £150-250

276. A Plymouth shell salt, c.1768-70, left in the white, the large shell supported on a base of further smaller shells and coral, two small restored sections, 12.8cm across. £400-600 Cf. F Severne Mackenna, Cookworthy’s Plymouth and Bristol Porcelain, pl. 35, fig. 57 for an enamelled pair of the same form.

277. A small Worcester circular basket, c.1760, painted to the interior well with a polychrome spray of flowers including pink and yellow roses, the sides formed of interlocking circles and applied to the exterior with small red and yellow flowerheads, 13cm dia. £350-450

278. A Worcester circular basket, c.1760-65, decorated in a London atelier, possibly by James Giles, with a large rose and other flowers to the inside well, the interior rim with a stylized foliate border in puce, a small restored rim section, 20.2cm dia. £300-400

Provenance: the Miles Collection.

279. An early Worcester octagonal teabowl and saucer, c.1754, painted in the Kakiemon manner with bamboo issuing from behind an ornamental fence, beside a banded hedge and further Oriental plants, the saucer of a deep octagonal form, a small nick to the teabowl’s rim, 11.6cm. (2) £2,500-3,000 Provenance: the Miles collection.

280. An early Worcester quatrefoil vase, c.1753-55, the lobed baluster shape painted with a floral arrangement to one side amidst scattered leaves and other flower sprigs, applied with shaped handles either side of the neck, cracked, 16.7cm. £300-400 Paper label for The Amos Collection, W25. Cf. Simon Spero, Lund’s Bristol and Early Worcester Porcelain 1750-58, p.222 for the shape, which was loosely derived from Chinese porcelain.

281. A Worcester mug, c.1756-58, the slightly tapering cylindrical form painted with the Beckoning Chinaman pattern, the standing figure gesturing towards a colourful bird in flight above rockwork, the reverse with a colourful flowering branch, a small footrim chip, 8.5cm. £350-450 Provenance: the Raymond Dennis Collection, Woolley and Wallis, 25th February 2014, lot 74. Purchased by Mr Dennis from Tilley & Co. on 25th February 1972.

282. A small Worcester baluster vase, c.1758-60, finely painted in polychrome enamels with butterflies and other flying insects around a loose flower spray and single scattered blooms, 13.2cm high. £400-600 Provenance: the Gwen and Ronald McKnight Melvin Collection.

Each lot is subject to a Buyer’s Premium of 25% plus VAT

283. A Worcester circular yellow-ground basket, c.1765-70, painted to the interior with colourful flower sprays and small sprigs, the exterior with three small sprays reserved on a yellow ground, 20.5cm dia. £400-600

284. A good Worcester printed punch bowl, c.1770-75, the exterior printed in black with a continuous scene of the The Fox Hunt after a painting by James Seymour, the interior with After the Hunt and four vignettes of hounds with their spoils, a little wear to the interior, 28cm. £800-1,200 Cf. Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamels from the Joseph M. Handley Collection, p.104-105 for a similar example.

285. A small Worcester teapot and cover, c.1756-60, the baluster body printed in black with the Tea Party No 3 pattern, a couple seated at a table in a garden and taking tea, the reverse with the Maid and Page print, the faceted spout and handle with pencilled motifs, a few tiny nibbles to the floral finial, 15.5cm across. (2) £500-700 Cf. The Joseph M Handley Collection, 18th Century English Transfer-Printed Porcelain and Enamels, p.62 for a mug bearing the same prints.

286

287 286. A Worcester blue and white Scratch Cross bowl, c.1755, painted with the Zig Zag Fence pattern to the exterior, the interior rim with a continuous geometric border, workman’s mark and incised scratch mark, a small filled rim chip, 15.5cm dia. £200-300 287. A large Worcester blue and white sauceboat, c.1755, the high-footed body moulded with foliate cartouches and painted with the Fisherman on a Towering Rock pattern, the interior with a similar scene of a fisherman in a pagoda landscape, with flowering prunus branches to the rim, workman’s mark, a small rim chip, 23.6cm. £250-350 Paper label for the Simon Spero Collection.

288 288. A Worcester blue and white fingerbowl stand, c.1758, painted with the Cormorant pattern, the eponymous bird perched atop a holey rock beside a small fisherman and flowering branches, workman’s mark, 15.3cm. £300-400

289

290. A Richard Chaffers (Liverpool) blue and white teabowl and saucer, c.1760, painted with the Triffid pattern, a figure in a boat beside a large lumpy rock and a small pagoda, 12.2cm. (2) £250-350

290

291

289. A Worcester blue and white jug, c.1758, well painted with the Walk in the Garden pattern, a long Eliza figure with a small boy holding a stick with a bird perched on one end, a gnarled prunus tree to the reverse, workman’s mark, a small nick to the end of the spout, 14.5cm. £200-300

291. A large Worcester blue and white shell pickle dish, c.1758, the scallop shell form painted with the Two Peony Rock Bird pattern, a small bird perched on holey rockwork beneath flowering branches and a flying insect, workman’s mark, 10.8cm. £300-400

Each lot is subject to a Buyer’s Premium of 25% plus VAT

292. A pair of Worcester blue and white chestnut baskets with covers and stands, c.1765-75, printed with the Ripe Pomegranate group, one stand with a floral arrangement, the sides moulded with formal flowerhead panels and applied with large flowers and leaves, crescent marks, some restoration, 25.5cm. (6) £500-800

293. A pair of Bow blue and white octagonal soup plates, c.1770, painted with large chrysanthemum blooms beneath willow, before vases and other auspicious objects, within a Fitzhugh type border, small damages, 22.5cm. (2) £250-350

294. A Bow blue and white elongated octagonal dish, c.1760, painted with a fan-panelled pattern of landscape vignettes and small floral panels reserved on a powder blue ground, pseudo six character script mark, 32.2cm. £200-300

295. A Lowestoft blue and white coffee pot and cover, c.1765, decorated with shaped panels containing two Chinese figures similar to Worcester’s Two Porter Landscape, beneath floral panels, reserved on a powder blue ground, 23cm. (2) £600-1,000 Cf. Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, Vol 1, no.121.

296. A Richard Chaffers (Liverpool) blue and white coffee pot and cover, c.1760, the baluster form crisply moulded with flowering branches, the rim painted with a cell diaper border, the finial restored, 23.5cm. (2) £400-500 Provenance: the Ron Sparrow Collection.

297. A Bow blue and white tiered pickle or sweetmeat stand, c.1760, formed as three joined scallop shells, a circular dish rising from a central pillar, each decorated with a zigzag fence pattern within cell diaper borders, raised on three peg feet, one shell repaired, 12.6cm high. £400-600

Each lot is subject to a Buyer’s Premium of 25% plus VAT

298. A Bow blue and white sweetmeat stand, c.1760, of three shell dishes around a central tall circular dish, all painted with grapevine to the wells, the raised pillar encrusted with smaller shells and seaweed, raised on three short feet, 12.8cm. £600-800

299. A rare Lowestoft blue and white tea canister, c.1775, the ovoid form printed with the Three Flowers pattern, the reverse with moths and small flower sprays, hatched crescent mark, 14.9cm high. £300-500 Cf. Geoffrey Godden, Lowestoft Porcelains, p.215 for a discussion of this rare shape. Also Bonhams, 2nd May 2018, lot 404 for a similar example in the Fence pattern.

300. A Lowestoft blue and white hot water jug and cover, c.1770, painted with the Mansfield pattern beneath an elaborate formal border, open crescent mark, 12.8cm. (2) £250-350

301. A Bow blue and white bowl, c.1765, painted with a fan-panelled landscape pattern, the shaped cartouches enclosing small pagoda landscapes reserved on a powder blue ground, the interior with a single stylized flower spray, a small rim chip, 15.6cm dia. £150-250

302. A pair of Lowestoft blue and white creamboats, c.1770-75, of low Chelsea ewer form, each painted with a flower spray above moulded leaves, the interior rims with foliate sprays, 9.5cm. (2) £300-500

303. A Lowestoft blue and white patty pan, c.1770-75, the flared sides painted with sprays of flowers, a large moth to the well, within a husk or berry border, 8.7cm. £100-200

304. A Vauxhall blue and white saucer, c.1755-60, painted in a deep blue with pagodas beneath willow in a Chinese island landscape, 11.5cm. £100-150

305. A small Bow blue and white octagonal plate, c.1760, painted with a fan panelled landscape design of a figure in a boat before island pagodas, the rim with panels of a similar landscape and small floral sprigs, pseudo Chinese script mark, 20.5cm. £200-300

306. A Bow blue and white octagonal plate, c.1750, painted with the Broken Scroll pattern, the unfurled manuscript decorated with peony and holey rockwork, flanked by further tied scrolls, 20.7cm. £100-200

Each lot is subject to a Buyer’s Premium of 25% plus VAT

307. A Limehouse blue and white pickle dish, c.1746-48, the scallop shell form painted with a figure seated beneath a tall tree in a European landscape and fishing before a small island, the sides with fern leaf motifs, the underside with faint prunus sprigs, 11.2cm. £800-1,200 Cf. Bonhams, The Liane Richards Collection, 14th April 2016, lot 90 for a dish in the same design.

308. A rare Isleworth blue and white spoon tray, c.1770-80, the oval fluted form printed to the well with an ornamental fence pattern, the cavetto with two flower sprays over-printed with a cell diaper border, some rim chips, 15.5cm. £300-400 Provenance: the Gilbert Bradley Collection.

309. An important and previously unrecorded American porcelain teabowl and saucer attributed to John Bartlam (Cain Hoy, South Carolina), c.1765-69, printed in underglaze blue with the Man on the Bridge pattern, a solitary figure standing on a small bridge linking pagoda islands, within a triple trellis border, the teabowlâ&#x20AC;&#x2122;s interior with a small vignette of a hut beside a tree, 11.7cm. (2) Estimate on request With paper collection labels for the Erik Hancock Collection, P.65 and P.66. Exhibited: Chinese and English Decorated Ceramics 1600-1850 AD, Herbert Art Gallery & Museum, Coventry, December 1962 - March 1963. The saucer illustrated in the catalogue of the exhibition, no.103. These pieces have only recently been identified as early American porcelain, believed to be part of a matched tea service that reached England in in the late 1760s or 1770s. They are only the eighth and ninth recorded pieces of Bartlam porcelain, and relate to a teapot sold at these salerooms in February 2018. The Man on the Bridge pattern featured on the reverse of the teapot and is recorded at several English factories. The pattern here most closely resembles that of the London factories and, given the skill of the engraver, it is likely that Bartlam had employed an English decorator who had previously worked for one of these concerns. Analysis of both the glaze and the porcelain body place the teabowl and saucer within the ranges of the teapot and of sherds excavated at the site of Bartlamâ&#x20AC;&#x2122;s factory in Cain Hoy. Little is known of John Bartlam before he travelled to America. The UK Register of Duties Paid of Apprentice's Indentures, 1710-1811 has a record of a payment made on 30th May 1761 when one Simon Chawner is apprenticed to John Bartlam, Potter of Lane Delph, Staffordshire. Lane Delph was one of the principal areas of the ceramics industry and Bartlam would have been one of a growing number producing creamware, pearlware and other earthenwares. He left England around 1763, possibly in some debt, to settle in South Carolina and set up business as a potter, establishing himself first in Cain Hoy around 1765. The move was a canny one - South Carolina was at the time one of the wealthiest and most fashionable, with residents vying to have the latest and finest ceramics shipped over from England. South Carolina was also part of the lucrative kaolin belt, which shipped Cherokee clay by the ton over to potters in the UK, including Josiah Wedgwood. In a letter to his partner, Thomas Bentley, in May 1767 Wedgwood writes, "I am informed they have the Cherok[ee clay] to a Pottwork at Charles Town"; the potter in question undoubtedly being John Bartlam. The proximity of a supply of kaolin, the wealthy local clientele and his clear entrepreneurial spirit meant it was inevitable that Bartlam tried his hand at making porcelain to rival that being imported from England at great expense. It is almost certain that he had help from someone with knowledge of the porcelain industry, perhaps a fellow Brit from one of the London factories, since not only is the Bartlam body extremely close to several of the London concerns, the decoration also bears similarities to some established patterns at both Bow and Isleworth. As early as 1766, Josiah Wedgwood writes again (this time to his patron Sir William Meredith), "[we] have at this time among us an agent hiring a number of our hands for establishing new Pottworks in South Carolina: having one of our insolvent Master Potters there to conduct them". By 1768 it appears that once again Bartlam was having some financial difficulties and, based on a newspaper advertisement of the time, was looking to relocate his manufactory to Charlestown itself. This he seems to have achieved by the end of 1770, but the Charleston pottery failed and closed in 1772. Bartlam relocated further inland to Camden, backed by a man called Joseph Kershaw, and continued to produce pottery there until his death in 1781.

verso

Each lot is subject to a Buyer’s Premium of 25% plus VAT

Further Reading Cinda K Baldwin, A Great and Noble Jar: Traditional Stoneware of South Carolina, pp.8-9 for an account of Bartlam's financial backers and various concerns.

Steven Goss, British Blue and White Saucers 1745-1795, pp.244-245 for a discussion on a John Bartlam saucer. Robert Hunter, ‘John Bartlam: America's First Porcelain Manufacturer’, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 193-195. Stanley South ‘John Bartlam's Porcelain at Cain Hoy, 1765-1770’, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 196-202. Lisa R. Hudgins, ‘John Bartlam's Porcelain at Cain Hoy, A Closer Look’, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 203-208. J. Victor Owen, ‘Geochemistry of High-Fired Bartlam Ceramics’, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 209-219. Robert Hunter, ‘A newly discovered eighteenth-century American porcelain teabowl’, The Magazine Antiques, January/February 2011, pp. 254-257. Jonathan Gray, ‘American Porcelain in 1764 English Newspapers – A Reassessment’, ECC Transactions, Vol. 22, 2011, pp.173-177.

CLARICE CLIFF, ART DECO & DESIGN Wednesday 20th March 2019 ENQUIRIES Michael Jeffery | Tel: +44 (0)1722 424505 | mj@woolleyandwallis.co.uk

Two Goldscheider Pottery figures designed by Josef Lorenzl. Estimates: £1,000-2,000 and £2,000-3,000

ARTS & CRAFTS

Wednesday 19th June 2019 Closing date for entries 25th April

A William De Morgan triple lustre tile, decorated with a Hoopoe. Estimate: ÂŁ1,500-2,000

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

MEDALS & COINS, ARMS & ARMOUR Wednesday 1st May 2019

A scarce 16th century gun shield, 51cm diameter.

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

TRIBAL ART & ANTIQUITIES

Wednesday 20th February 2019

An Egyptian wood shabti New Kingdom, 26.5cm high. Provenance: The Gunn family, Stirling, Scotland. Estimate: £800 - £1,200

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

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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 €10,000. 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 Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. 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 Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 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 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 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.

10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions.

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

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a ‡ symbol are potentially subject to the levy.

PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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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.

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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.

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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.

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

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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.

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

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29

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

WOO L LE Y & WA L LI S Absentee Bid Form Fine Porcelain and Pottey

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 19th Februry 2019 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. ID is required for all first time bidders.

Signature

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

www.woolleyandwallis.co.uk

Auction Calendar FURNITURE, WORKS OF ART & CLOCKS 3rd April 2019 3rd July 2019 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk Jim Gale +44 (0) 1722 339161 • jg@woolleyandwallis.co.uk SILVER 16th & 17th April 2019 – Fine Silver & Objects of Vertu 16th & 17th July 2019 – Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 18th April 2019 – Fine Jewellery 18th July 2019 – Jewellery Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 30th April 2019 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th February 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk PAINTINGS 6th March 2019 – Old Masters, British & European Paintings 5th June 2019 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 446961 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 446962 • jb@woolleyandwallis.co.uk 20TH CENTURY DESIGN 20th March 2019 – Clarice Cliff, Art Deco & Design 19th June 2019 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 1st May 2019 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 21st & 22nd May 2019 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar +44 (0) 1722 424583 • aa@woolleyandwallis.co.uk