Murano glass

Murano glass - material distinguished and even a cult. What did not produced talented masters! Beads, cups and vases, dishes and glasses, and later - mirrors and decorated with garlands of glass chandeliers. All this struck by the amazing subtlety and virtuosity of technique, a variety of colors and techniques of jewelry products.

The history of Venetian glass is quite different from an artless tale of intricate national fisheries. Rather, it is full of passion drama, mixed with single-handed, creative self-love, on the insistence of the Venetians in whatever was to achieve a monopoly in the European glass production. First off their creations Venetian glassblowers yavili world nearly a thousand years ago. During the long ten centuries of existence of glassmaking in Venice experienced a fast evolution, loud glory, dark oblivion, and a bright new bloom …

And it all began for the blank walls of the monastery, where Benedictine monks a thousand years ago decided to make glass bottles of its famous liqueur. Their experiments on the melting of glass, rich in secrets of runaway Byzantine glassmakers, led to an unprecedented flourishing of crafts. Shelters glassmakers, Venice made the right decision. Products Venetian masters valued its weight in gold, and brought considerable income to the treasury.

First, workshops were in Venice itself, but because the city had a lot of wooden buildings, then all production related to the fire, constantly threatening to fire him. Therefore, in the XIII century, the government decided to move a glass workshop in a separate island - Murano. Since then, the Venetian glassmaking is inextricably linked with the island, and called Murano glass.

History is full of wonderful glass of drama. Venetian rulers with no one wanted to share the profits and imposed a monopoly on its production. In Europe, found a lot of hunters secrets. Masters of Murano lured to other countries, promising high wages. In Venice, for divulging the secret of its production relied death penalty, many masters who managed to escape from the island to other countries, is mysteriously killed on the road, taking with him to the grave the secrets of the craft.

The end of this “deadly” competition came to an edition of the book “The Art of Glass”, which fully describes the technology of its production. Now and throughout Europe became possible to produce products in the Venetian manner. Further history revealed that for the production of unique beauty product knowledge alone is not enough. Many know the notes, but only elected compose music. In the sculptures, vessels and platters, vases and goblets, lamps and table items, in elegant specimens of small plastic - beads and pins, so beloved by tourists all over the world, clearly show through the centuries-old artistic tradition, honed by many generations of craftsmanship, individual author’s handwriting.

Why do so prized Murano glass in ancient times and is valued in our time? Unique products is their unusual mode of production. Modern technology of glass manufacture in a simplified form as follows: fused silica sand poured on a layer of tin mirror smooth. The entire process from beginning to end is automated and takes place in a specially created conditions. The end result - perfectly smooth, familiar to our sight glass.

Murano glass, despite the development of technologies that are made exclusively by hand. Breathing - this is the component that animates it and gives a feeling of airiness and lightness. Master armed with an iron pipe, a third-covered tree (that do not burn) and equipped with a mouthpiece at one end, and on the other - pear-shaped thickening for scoring glass. Heated in the fire vyduvalnoy end of the tube dipped into the molten glass mass, which is easy to stick to the tube, forming a hot room. Quickly removing the tube from the furnace, the wizard immediately begins to blow into it at the opposite end. In a glass coma formed a hollow space, increases as the air blown into it … In this way produced any thing: and fine glassware, and large plate-glass windows. For two thousand years of iron pipe glassmakers have been no changes and has not been any improvements. Perhaps because so attractive, so emotional Murano creations of artists that each piece - trace the living human respiration. Hence the uniqueness and originality of the surface and shape of each product, and, moreover, a great variety of colors and techniques of glass decoration.

Slava murantsam brought, primarily glass twist (filigree). When finishing a glass vityu on product circumferential thin white threads of opal glass. Twisted helical filaments are infinitely varied plexus. Featured products and technology Murano millefiori (thousand flowers), where small plates, depicting the colorful flower zaplavlyalis in the outer surface of the glass. Production of this extraordinarily beautiful glass has been shrouded in mystery.

For manufacture of colored glass used oxide-ferrous metals. Green gives iron oxide, green or red tones - copper oxide. The blue color is obtained using cobalt, ruby hue gives a mixture of gold. Transparent Venetian glass, the famous cristallo, striking crystal iridescent play of light and a special ease. With tin oxide are opaque white milk glass shade. A wide variety of color and pattern characteristic of glass, agate, composed of variously situated and differently colored layers.

At the beginning of XVII century masters of the genus Miotti invented the glass on the polished surface of which twinkled innumerable bright points, producing either incomparable light effect. This glass became known as avanturine. It is obtained by adding to the glass mass copper, which crystallizes on cooling the glass. Emphasis is placed on products, decorated with a pattern, which is called “krakelazh. And make it like this: blown object, inside which is supported by a high temperature, immersed in cold water, from which the outer layer of glass is covered with fine cracks. The cracks remain on the surface, decorating products peculiar pattern.

Great impression vase, made in the technique of “pulegozo. If you load a red-hot glass in water and then immediately return it to the oven, inside the air bubbles formed. It seems that the rigid glass miraculously “boiled”.

The earliest extant products belong to the middle of the XV century. At this time we have very stable form of artistic glass vessels that have become standard for many generations of masters of Murano: large capacity bowls and dishes, standing on strong legs; ovoid jugs with a short neck and high, gracefully curved handle and receptacles for beverages that resemble Late cups, glasses having the form of a conical funnel at the lower leg. All this was manufactured in Murano in huge quantities. Objects made of transparent colorless glass as well as colored glassware, decorated usually tipped colorless or colored parts: sockets, masks, bulges in the form of drops and bubbles; edge of vessels were made wavy and distorted. Often, the role of bizarre and at the same time functional jewelry comply bird and animal tails, paws, wings and scallops …

In the XVI century the glory of Murano glass has become truly global. Products medieval craftsmen achieved incredible subtlety, sometimes confusing its weightlessness, and the mass of glass struck by the purity and transparency. In Russia, products from Murano glass appeared in pre-Petrine times. Glass containers and mirrors were in Russia in a big honor.

Today, like many years ago, on the island of Murano open new factories and workshops. There are many factories producing inexpensive souvenir little things that often are brought to us under the guise of exclusive Murano glass and are sold at insane prices. To avoid becoming a victim of fraud, you need to know that the exclusive glass is made only a few plants of the island (FORMIA, SEGUSO VIRO, etc.). All of Murano masters signed, numbered and supplied with a certificate. Prices for such items have no limit.

The sun and the sea brought the gift of Venetian glass, its brightness, brilliance, variable and unique shades. It carries a perpetual holiday atmosphere and is always a desirable acquisition for connoisseurs and collectors. In the modern interior design objects made by sorcerers of Murano, look messengers distant times, bringing to us the mysteries and charm of the past.

Antique Porcelain: Royal Crown Derby, Staffordshire, Royal Worcester, Bohemian, Royal Doulton Porcelain, Ceramics and Pottery

A SILVER-GILT MOUNTED GLASS INKWELL, LINER AND BOX, French, circa 1890, the square form with rounded shoulders and hobnail-cut base, mounted with two silver-gilt pierced scroll bands connected on the front and reverse by a winged female and each side with an elaborate swan-necked Aeolian harp, the neck with stamped silver-gilt hinged cover and small cylindrical liner, the silver excite French touch marks, 10cm.; 4in. high.

A GLASS DECANTER, Dutch, late 18th Century, the bulbous body applied with vertical pinched ribs over gilt vermicular ground, the tall cylindrical neck similarly decorated between applied loop handles, 25cm.; 9-in., some gilt rubbing, part of one rib lackin.

A PAIR OF BLUE OVERLAY GLASS
VASES, Bohemian, circa 1860, each of
slender baluster form, cut with elongated
arched panels and quatrefoil windows, gilt
rims, 28.5cm.; some gilt rubbing.

A ‘POMEGRANATE’ TWO-
HANDLED VASE, Moorcroft, circa 1935,
tube-lined with a broad frieze in rich colours against a deep blue ground, impressed MOORCROFT, MADE IN ENGLAND and signed in blue WM, 12cm.; 4in  .

TWO LIBERTY & CO. ‘FLAMMINIAN’ VASES, Moorcroft, circa
1903-1913, each mallet form body with tall
neck, decorated with three stylised foliate
roundels, on a red ground, each with incised
signature, W Moorcroft and printed Liberty mark,
26cm.; 10in., chip to rim of one (2) .

A TWO-HANDLED VASE, Royal Worcester, 1912, the slender ovoid body
painted by Harry Davis, signed, with three
sheep in a landscape, set with gilt loop
handles raised on a square base, puce printed
marks, shape 2063, 23cm.; 9in., damaged.

A LARGE GLAZED EARTHENWARE
PLAQUE, Burma tofts, late 19th Century,
of circular form, moulded in relief with a pair of doves perched amongst blossoming branches, all covered in a dusky pink glaze. impressed BURMANTOFTS FAIENCE, 61cm.; 2in. diam., very minor rim chips  .

A PAIR OF OVOID VASES, Royal Crown Derby, circa 1893, each gilt with flower sprays on a pale lemon ground, gilt rims, orange printed marks, 18cm.; 7in., minor hair crash to neck (2).

A LARGE MAJOLICA JARDINIERE AND MATCHED STAND, probably Staffordshire, late 19th Century, the Jardiniere moulded with foliate scrolls picked out in green and yellow against a deep blue ground, the pedestal moulded with acanthus and glazed in brown and yellow, 110cm.; 43in., minor damage (2).

AN EARTHENWARE SPILL VASE GROUP, Staffordshire, mid-19th Century, modelled as ‘Rachel and Companion at the Well’, raised on an oval rocky mound base, 33cm.; 13in., minor chips; also an equestrian Figure of William I, King of Prussia

AN EQUESTRIAN FIGURE OF COLONEL PEARD, Staffordshire, circa 1864, seated on a horse facing left in plumed hat, tunic, breeches and knee boots, the oval base titled ‘C. Peard’ in raised capitals, 26cm.; 10in.; also three equestrian Groups; and a large Pair of Spaniels (6).

A PAIR OF EARTHENWARE FIGURES OF MILTON AND SHAKES¬PEARE, Staffordshire, mid-19th Century, each standing leaning against a pile of books raided on a pedestal, octagonal titled bases, 11m.. inner damage to Shakespeare; also two Equestrian Figures, one of Colonel Bur nab, the other of The Prince of Wales’ (4).

A LARGE STONEWARE VASE, Doulton, circa 1895. incised by Hannah Barlow, with a broad frieze of figures haymaking with horses and sheep between deep blue border* decorated with stylised leaves, mark. 44cm.; 17in., repair to rim.

A PAIR OF PIERCED VASES,
Grainger and Co., Worcester, circa 1890,
each of footed pear form, intricately pierced
with scrolling stylised foliage, brown printed
shield factory mark, 19.5cm.; 73In, necks
reduced (2).

A PAIR OF ‘FLAMBE VEINED’
VASES, Royal Doulton, early 20th Century,
each of ovoid form, covered in a swirling
mottled red and blue glaze, black printed
marks, shape no. 1613, 16.5cm.; 6in.

GREY WAGTAIL AND CELANDINE’. A BIRD MODEL, Royal Worcester, circa 1968, modelled by Dorothy Doughty, perched on a rock, mounted in a glass case, black printed marks and title, impressed numerals 59, 14.5cm.; 5in., some damage and restoration.

A SET OF ELEVEN BONE CHINA PLATES, Spode, circa 1890-1900, each printed in iron-red with fleur-de-lys and arrow heads within a pendant border, scalloped gilt line rim, green printed mark, red painted, 23cm.; 9in. diam. (11).

A GROUP OF STONEWARES, Royal Doulton, early 20th Century, comprising; a Model of a cockerel, 26cm.; 10in., repaired; a natural foliage’ ware Vase and Bowl; and two Jam Pots and Covers in the form of an apple and a pear (7).200

A STONEWARE VASE,
Royal Doulton, circa 1905, the globular body
incised by Hannah Barlow, monogrammed, with
a frieze of cattle, impressed and incised marks,
14cm.; 5in.

A PAIR OF STONEWARE VASES,
Royal Doulton, circa 1905, each ovoid body
incised by Hannah Barlow, monogrammed, with
a frieze of ponies above a blue border,
impressed and incised marks, 18cm.; 7in.

A STONEWARE OVOID VASE, Doulton, circa 1886, incised by Hannah Barlow, monogrammed, with a frieze of horses against a buff ground between stylised leaf borders, impressed and incised marks, 46cm.; 18inn., chip to foot.

FACON DE VENISE FILIGREE BOWL, Lowlands, A GLASS EWER, 19th Century GILT AND ENAMEL BOWL

‘VOLUBILIS’: AN OPALESCENT GLASS BOWL, Lalique, circa 1930, the underside moulded with three leaves extending to form the feet, moulded mark R Lalique, 21.5cm.; 8in. diam.

A WINE BOTTLE, early 18th Century, of mallet form, the glass of olive green colour, 29cm.

AN ART DECO FROSTED GLASS CEILING LIGHT SHADE, 1920/30’s, of circular form, moulded with a design of radiating stylised leaves, 40cm.; 153Indiam., with original fittings.

A PAIR OF CUT GLASS SPIRIT DECANTERS AND STOPPERS, early 19th Century, each of oval section, cut with diamonds beneath a stepped shoulder, matching flattened circular stoppers with notched rims, 16.5cm.; 62in., chips (4).

A PAIR OF CUT GLASS SALTS, Irish, early 19th Century, each of boat shape, cut with groups of four diamonds, raised on domed bases, 13cm.; 5m. across, chips (2)    .

A GLASS EWER, 19th Century, the shield-shaped body etched and gilt with a formal pattern of medallions and swags, all between slender faceted neck and circular foot, 30cm.; small chip under foot.

A CUT GLASS JUG, 19th Century, the
ovoid body cut with panels of diamonds beneath a slice cut neck, raised on a deep circular foot and star cut base, 25.5cm.; 10in. high, small chips under foot .

A GILT GLASS HORS D’OEUVRES SET, 2nd half 19th Century, each piece gilt with a formal border of husks linking lion mask medallions, comprising: circular Tray fitted with six segmented Dishes about a central hexagonal Dish, 40cm.; 15in., chip (8)    .

A GROUP OF FIVE DECANTERS AND THREE STOPPERS, 19th Century, comprising: a Pair of Decanters cut with diamonds, a Ewer en suite; an engraved and polished Decanter; and a Continental gilt glass Decanter, tallest 35cm.; 13in., some chips (8).

A LARGE GLASS PIPE, ‘Nail sea-type’, late 19th Century, the opaque white glass streaked in pink, 68.5cm.; 27in., small chips.

A MOULDED ‘MALACHITE’ GLASS VASE, French, 20th Century, of baluster form, moulded in relief with a frieze of naked women dancing beneath grape vines, 12.5cm.; 5in.

A PAPERWEIGHT, Clichy, mid-19th Century, enclosing a sulphide portrait of Queen Victoria against a green ground, 6.5cm.; 2in. diam.; and a Baccarat butterfly and flower Paperweight, dated 1977.

A GROUP OF CUT GLASS BOWLS
AND PLATES, mostly early 19th Century,
comprising: a Pair of rectangular Salts and
Stands; an oval Bowl cut with fan shaped
panels; two circular Plates; and a square Bowl
with shaped corners, largest 22cm.; 85In
diam., minor chips.

A FACON DE VENISE FILIGREE BOWL, Lowlands, early 17th Century, in veto a rectory, the ribbed cup-shaped bowl with narrow conical foot and two scroll handles with pincer decoration, 21cm.; 8in., handles repaired.

A MINIATURE OPALESCENT EWER, Venice or Lowlands, late 16th Century, the vertically ribbed ovoid form with flared neck and vermicular collar, shell-mauled spout and double scroll handle with pincer decoration, small disc foot, 11cm.; 43In, handle chipped.

A GILT AND ENAMEL BOWL, possibly Venetian, 17th/18th Century, the flared sides painted with a border of white enamel dots above a gilt band of formal pendant flowers, narrow trailed foot ring, 11.5cm.; 4in., diameter, slight wear to enamels.

AN ENGRAVED ARMORIAL GOBLET, circa 1745, the flared funnel bowl with solid beaded base, engraved with the arms of Anne, daughter of George II, flanked by floral sprays, set on a tea red inverted baluster stem with wide domed foot, dealer’s paper label for Arthur Churchill, 17.5cm.; 6in.

A SWEETMEAT, German, possibly Silesian, circa 1750, the naturalistic shell-shaped bowl cut with polished circles and set on a faceted inverted baluster stem with basal collar and circular foot with rosette-cut base, 12.5cm.; 5m.

A GREEN-TINTED TWO-HANDLED BOWL, possibly Lowlands or German, 17th Century, of greenish straw-tint, the wasted cup-shaped bowl with spiral moulding, translucent blue-tinted trailed rim and two blue-tinted scroll handles, trailed foot ring and kick-in base, 7.7cm.; 3in. high, minute crack.

A PAIR OF OPALINE VASES, French, circa 1850, each of depressed globular form with reverted neck and rim, enamelled with sprays of summer flowers including foxgloves, dahlias and pansies, 20cm.; 77in., gilding rubbed.

A SET OF FIVE SCANDINAVIAN WINE FLUTES, possibly Norwegian, circa 1760, each with a conical bowl above a double-series opaque twist stem and wide conical foot, 21cm.; 8in., two with minor foot rim chips.

ANTIQUE RED, WHITE AND BLUE WHINE GLASSES

A PAIR OF GLASS DECANTERS
AND STOPPERS, circa 1840-60, each
shouldered cylindrical form cut with a row of
dottily lappets beneath a triple ring neck, the
stoppers of faceted cushion form, 21cm.;
8in. (4)    .

A ‘FACON DE VENISE’ WINE,
Lowlands, probably 17th Century, the cup-
shaped bowl with spreading reverted rim
raised on an upper blue glass knops sand
fluted triple knapped clear glass baluster
stem, plain foot, 11.5cm.; 4in.

A SWEETMEAT, 18th Century, the
ogee bowl raised on a pedestal stem with
basal triple ring knops sand domed folded foot,
17cm.; and a similar Wine with funnel
bowl (2).

A ‘PRIVATEER’-TYPE GLASS, 19th
Century, the bucket bowl engraved with a
sailing ship and inscribed above ‘Success to the
EAGLE FRIGATE Privateer’, raised on a
double series opaque-twist stem and plain
foot, 17cm.; 6dn; and a ‘Jacobite’-type Wine,
the engraved bowl raised on a double
knapped air twist stem (2).

A GROUP OF FIVE WINE
GLASSES, 18th/19th Century, comprising: a
baluster stemmed Wine with drawn trumpet
bowl; an air twist stem Wine; a drawn
trumpet Wine with plain stem enclosing an
elongated tear; an Ale Glass with short
incised stem; and a cordial Glass with
knapped stem and folded foot, tallest 19cm.;Thin. (5).

A GROUP OF TWELVE GLASSES,
19th/20th Century, including: a Tumbler
engraved with a Stag, two tall Wines, two
fluted Ale Glasses, a Rammer scratch
engraved ‘R Howarth’, and six other various Glasses (12).

A GROUP OF TWELVE PAPERWEIGHTS, English and Continental, 19th and 20th Century, including: a faceted ruby glass Weight, a sulphide Weight with a portrait of Buller, and various flower Weights (12)    .

A PAIR OF CUT
GLASS DECANTERS AND STOPPERS, late 19th Century, each cut with panels of diamonds beneath a faceted neck, matching stoppers, 38cm.; 15in., minor chips (4).

A PAIR OF CUT GLASS EWERS AND STOPPERS AND A MATCHED DECANTER AND STOPPER, circa 1900,
each ewer of slender ovoid form, cut with a pattern of stylised stars beneath notched
faceted neck, the decanter of pear form, similarly cut, ewer 44.5cm.; 17in., minor chips.

‘BLOIS’: A CLEAR GLASS
DECANTER AND STOPPER, Lalique,
1930’s, of almost cylindrical form, the base
and stopper moulded with rows of oval
cabochons, stencilled mark R. Lalique, 29cm.

A GROUP OF RUBY GLASS AND RUBY OVERLAY GLASS WARES, Continental, 2nd half 19th Century, comprising: a Pair of ruby glass table Lustres; a ruby overlay and gilt glass Scent Bottle and Stopper; a red overlay Inkwell; a ruby glass circular Tray gilt with flowers; and a white overlay ruby glass Vase, tallest piece 23cm.; 9in., some damage and repair (7) .

A BLUE GLASS SCENT FLASK, STOPPER AND LEATHER CASE, English, late 18th Century, of faceted arched rectangular form, gilt with a foliate spray, the reverse with a repeating pattern of arrowheads, 6.25cm.; 2in. long, lacking screw top (3).

A SMALL CAMEO GLASS VASE, Galle, early 20th Century, of low bodied form, decorated with berries and leaves on a shaded amber and yellow ground, cameo signature, applied paper label inscribed KUNSTGEWERBE-HAUS/GG LEYKAUFI NURNBERG, 13cm.; 5in.

A PAIR OF ENGRAVED GLASS GOBLETS, 19th Century, each of conical form engraved with a coat-of-arms flanked by the initials W.F. & V.R., raised on stepped bases; a glass Goblet engraved with a figure on a horse entitled Duke of Marlborough at Ramillies; and a Pair of Continental opaque twist Wines, chips (5).

A SET OF SIX RUMMERS, 19th Century, each fluted bowl raised on a squat stem and plain foot; a cut glass Jug; and a Rummer with fluted bucket bowl (8).

A PAIR OF OPALESCENT
DECANTERS AND STOPPERS, probably
Venetian, 19th Century; and a matching Pair
of Goblets; and a similar Pair of Beakers.

A SET OF ELEVEN CUT GLASS WINE COOLERS, 19th Century, decorated with a row of printers below a band of diamonds, some chips and cracks; and another wine glass Cooler (12).

A SET OF THREE ENGRAVED WINE FLUTES, circa 1765, each trumpet bowl engraved with flowers raised on a double series opaque twist stem, 18.5cm.;
chips and repair to one foot (3) .

A SUITE OF AMBER COLOURED
TABLE GLASS, Stuart, 1920’s, comprising:
nine Hock Glasses, eight Goblets and six Sherry Glasses, stencilled mark (23) .

AN ENGRAVED WINE GLASS, Dutch or German, mid-18th Century, the faceted bowl engraved with panels of flowers, a dog and a deer, raised on a pedestal stem and folded foot, 21cm.; 8in.

A WINE GLASS, mid-18th Century, the drawn trumpet bowl raised on a multi-series air twist stem and plain foot, 18cm.; 7in.; also a Set of five saucer-topped Rummers engraved with flowers, chips.

A PORCELAIN BOWL, Worcester, PORCELAIN FIGURES, Derby, Belleek

A BROWN STONEWARE FLASK IN THE FORM OF A TIPSTAFF, Stephen Green, Lambeth, circa 1837, the cylindrical sides moulded in relief with a royal coat of arms and initialled ‘V R’, impressed Stephen Green, Imperial Potteries Lambeth, 28cm.; also a Group of four brown glazed Flasks, 20th Century, and a Model of a Salisbury Kettle (9).

A POTTERY VASE, Bretby, circa 1900, modelled with a stork before open bamboo shoots, all covered in a brown glaze, impressed factory mark, 29.25cm.;
cracks to stork’s leg.

A PORCELAIN BOWL, Worcester, circa 1780, printed in blue with ‘The Argument’ pattern, printed disguised numeral, 25cm.; 97in. diam., small chip.

A TAZZA, Royal Worcester, circa 1865, the shallow bowl with pierced rim supported on a receded pedestal applied with a pair of cherubs, all raised on a circular base, with three scroll feet, details picked out in gilding, 16.5cm.; 6in., hair crack .

A PAIR OF POTTERY GREYHOUNDS, Staffordshire, late 19th Century, each modelled standing, one with a hare at its feet, the other with a hare in its mouth, 24cm,; 9in., minor flaking of enamels .

A PAIR OF ROYAL LANCASTRIAN
VASES, Pilkington’s, circa 1915, each ovoid
body covered in a blue glaze, impressed marks,
30.5cm.; 12in.; also another Royal Lancastrian
Vase; and a Chameleon ware Vase (4).

A PORCELAIN FIGURE OF A LADY,
French, late 19th Century, standing holding
a fan, wearing a plumed hat, turquoise coat
and crinoline dress, raised on a scroll
moulded base, gold anchor mark, 25.5cm.;
small chips; also another porcelain
Figure of a lady wearing a green crinoline
dress (2).

A FIGURE GROUP, German or
French, late 19th Century, modelled as a
young man at the side of his companion,
Cupid standing on his back, Harlequin
standing behind, raised on a shaped oval
base, 14cm.; 5in, high, some repair and chips.

A FIGURE OF A YOUNG GIRL, Meissen, 19th Century, standing playing a tambourine, wearing a puce bodice and floral skirt, crossed swords mark in under glaze-blue, 12.5cm.; 47in, some damage; also a Continental porcelain Figure of a young girl with basket (2).

A STONE CHINA PART DINNER SERVICE, Spode and Copeland & Garrett, circa 1820 and later, painted with a ‘Japan’ pattern of groups of flowers painted in under glaze-blue, red and gilt, comprising: eighteen Dinner Plates, nine Soup Plates and fifteen Dessert Plates, impressed and printed marks, some chips and cracks (42)  .

A SQUIRE’ POTTERY TOBY JUG, Staffordshire, mid-19th Century, of traditional form, seated holding a jug of ale wearing a blue coat, red waist jacket and yellow breeches, 28cm.; high, arm repaired; also a Staffordshire ‘Night watchman’ Toby Jug (2).

A PAIR OF PORCELAIN FIGURES OF MUSICIANS, Derby, circa 1830, a young man and companion standing wearing colourful costume, he blowing a pipe and beating a tambourine, the lady holding a triangle, each raised on a pierced scroll moulded base enriched in gilding, red painted marks, 20cm.; 77in,, chips and some repair.

A SHAMROCK BASKET, Belleek, Second Period, of trefoil form, with four strand base below pierced sides applied at the rim with three groups of flowers, impressed Belleek, Co. Fermanagh, Ireland, 13cm.; 5in. Wide.

AN ABERDEEN VASE, Belleek, Second Period, the squat body moulded with ovals below applied flowers, black printed mark, 15.25cm.; 6in. high, some chips and haircrack; also a Belleek Cup and Saucer (3)   .

A SMALL BIRD’S NEST BASKET, Belleek, First Period, the three strand base and sides below a rim encrusted with flowers, impressed Belleek, Co. Fermanagh, 9.5cm.; 33in diam., small chips; also a later Belleek heart-shaped Basket applied with coloured flowers .

A SHAMROCK BASKET, Belleek, First Period, of trefoil form, with three strand base below pierced sides, the rope twist rim applied with three groups of flowers, impressed mark Belleek, Co. Fermanagh, 16cm.; 6in. divide, some damage .

A HENSHALL BASKET, Belleek, Second Period, of oval form, with four strand base beneath pierced sides set with entwined twig handle applied at the ends with groups of flowers, impressed mark Belleek, Co. Fermanagh, Ireland, 28cm.; 11in. long, very minor chips.

A PAIR OF POTTERY SPANIELS, Staffordshire, 2nd half 19th Century, each modelled seated, their fur with orange markings, 25.5cm.; Win.; and a Staffordshire pottery Spaniel with black markings; and a smaller example with copper lustre markings (4).

A PAIR OF POTTERY SPANIELS, Staffordshire, late 19th Century, modelled seated, their fur with copper lustre markings, 24cm.; 9in.; and a similar Pair (4) .

A STONEWARE VASE, Bernard Leach, circa 1950, of wasted cylindrical form, streaked in brown against a pale green ground, impressed St Ives and B L seals, 14.5cm.; 53in.
A BLUE JASPERWARE JARDINIERE, Wedgwood, early 19th century, the inverted bell-shape decorated in white relief with Classical Figures beneath swags of fruiting vines suspended from lion mask and ring handles, impressed WEDGWOOD, 23.5cm.; 9in.

A GROUP OF FOUR POTTERY
FIGURES, Staffordshire, mid-19th Century,
comprising: a Group of a girl with a rabbit
before a hutch; an inkwell Figure of a Turk;
an inkwell Group of a girl and goat; and an
inkwell Group of a boy and dog, tallest 19cm.;
7in., minor damage and restoration (4).

A POTTERY FIGURE, Staffordshire

A PARIAN GROUP OF UNA AND
THE LION, 2nd half 19th Century, the
semi-naked woman modelled seated on the back of the walking animal, all raised on a rectangular base, 26cm.; 10in.

A PAIR OF POTTERY FIGURES OF A SHEPHERD AND SHEPHERDESS, Staffordshire, late 19th Century, modelled standing holding either a lamb or a puppy on shaped grassy bases, each approx. 23.5cm.; 9in., some restoration.

A POTTERY UNIFORMED FIGURE, Staffordshire, 2nd half 19th Century, modelled kneeling wearing a pale blue jacket with black insignia, his peaked cap with a green band, 25.5cm.; Win., restoration to hands and knee.

A POTTERY FIGURE OF A HUNTSMAN, Staffordshire, 2nd half 19th Century, modelled standing before an open stump, a dog at his side, 30.5cm.; 12in.; also a Staffordshire Group of lovers; a Figure of a Scotsman and Dog; and a Figure of a Toper seated beside a barrel (4).

A PAIR OF FIGURES OF QUEEN VICTORIA AND PRINCE ALBERT, Staffordshire, mid-19th Century, each figure modelled seated on a mound base, he wearing an under glaze-blue jacket, she a puce blouse and under glaze-blue shirt, each approx. 11.5cm.; 4in., hair crack (2) .

A POTTERY JARDINIERE AND
STAND, Staffordshire, 20th Century, in Art
Nouveau style, moulded in low relief with
stylised flowers and printed in blue with
female heads and orchids, 84cm.; 33in.; and a
Set of three Chargers, printed with a similar
subject (5).

A ‘GOLDSTONE’ SINGLE-HANDLED
ISIS JUG, Clarice Cliff, circa 1933, the
ribbed body covered in a textured speckled
brown glaze and enamelled with diagonal
bands in blue, green black and white, black
printed and painted mark, 18cm.; 7in.

TWO PAIRS OF POTTERY COW CREAMERS, Staffordshire, late 19th Century, each printed with the ‘Willow’ pattern in blue, each approx. 13cm.; 5in. high, minor chips and cracks (8).

A POTTERY FIGURE OF THE ‘PRINCE OF WALES’, Staffordshire, 2nd half 19th Century, standing wearing a sailor suit, both hands in his pockets, 30.5cm.; 12in., some restoration; also a Group of ‘The Wounded Soldier’, restored; a Figure of ‘Miss F Nightingale’, restored; and a Figure of ‘Field Marshal Roberts’ (4).

A POTTERY FIGURE OF LORD BYRON, Staffordshire, circa 1848, seated in bluejacket and trousers, an orange cloak draped over his shoulders, raised on a canted square base titled in gilt, 19cm.; 7in.

A PAIR OF POTTERY COW AND ATTENDANT GROUPS, Staffordshire, late 19th Century, modelled as a youth and milkmaid standing before a brown and white cow raised on oval base, 26cm.; 10in. high, some restoration; also a smaller Pair of cow and calf Groups (4)    .

A PAIR OF POTTERY COW CREAMERS AND COVERS, Staffordshire, 19th Century, each cow modelled standing on a shaped base, its coat splashed with pink lustre, a milkmaid by its side, 13cm.; 5in., tail repaired, minor enamel flaking (4) .

A PORCELLANEOUS GROUP OF AN OLD WOMAN AND CHILD, Staffordshire, mid-19th Century, modelled as an old woman standing with her arm around the shoulder of a young boy, 18cm.; 7in., minor damage; also a Staffordshire Figure of a young man with his arm around
a young lady (2).

A PAIR OF POTTERY FIGURES OF A SHEPHERD AND SHEPHERDESS, Staffordshire, mid-19th Century, modelled as a Highlander and companion standing on a rocky mound above lambs, 27cm.; 10in., minor damage; also a Staffordshire Group of a young man and companion; a Figure of ‘Red Riding Hood’; and a Figure of ‘Mother Hubbard’ (5)    .

A POTTERY SPILL VASE GROUP, Staffordshire, mid-19th Century, modelled as a young man seated in a boat on water below a twin turreted castle, 17cm.; 63Inhigh, some repair; also two Staffordshire pottery Cottages; and a Hen Basket and Cover (5).

FOUR POTTERY FIGURE GROUPS,
Staffordshire, 2nd half 19th Century, each
raised on titled bases, comprising: ‘Fortune
Teller’, ‘Tarn O’Shanter and Sooter Johnny’,
‘Darby and Joan’ and ‘Fortune Teller’, various
sizes (4).

A POTTERY FIGURE OF GARIBALDI, Staffordshire, late 19th Century, standing before a horse wearing an orange shirt and white trousers raised on a grassy oval base, 23cm.; 9in. high, restored; also a Staffordshire Figure of ‘Garibaldi at Home’; and two Figures of ‘Will Watch’ and ‘Rob Roy’(4).

TWO POTTERY EQUESTRIAN FIGURES OF TOM KING’ AND ‘DICK TURPIN’, Staffordshire, 2nd half 19th Century, each seated on a horse facing to the left or right on an oval titled base, 28cm.;
1 lin., minor restoration (2).

A PAIR OF POTTERY SPANIELS,
Staffordshire, mid-19th Century, each brown
and white animal seated wearing a black
chain and gilt collar, 22cm.; 83In(2).

A PAIR OF POTTERY CATS, Staffordshire, circa 1890, each black and white animal seated on a brown and green tasselled cushion, 19cm.; 7in., chips; also a Pair of Staffordshire zebras (4) .

A PEARL WARE GROUP OF A EWE AND LAMB, circa 1820, the lamb standing before a flowering tree, its back painted with the initials ‘RW, oval base, 13cm.; 5in. high, restored; also a pearl ware Figure of Elijah and the Raven (2).

TWO SIMILAR PORCELAIN PLATES, Staffordshire, circa 1840, each painted with flower studies inside a cream and green border enriched in gilding, 23cm.; 9in. (2).

PORCELAIN BASKET, English, FIGURE CANDLESTICK, Royal Worcester, late 19th Century, RECTANGULAR TRAY, Royal Crown Derby, circa 1900

A PAIR OF PEARLWARE FIGURES OF ANTHONY AND CLEOPATRA, probably Wood & Caldwell, circa 1815, each well coloured and modelled reclining on a shaped oval grassy mound base, 30cm.; long, one arm restored, snake’s head restored, minor chips (2).

A SMALL FOOTED JARDINIERE, Walter Moorcroft, 1960’s, decorated with large pink flowers on a deep blue ground, applied paper label, impressed MOORCROFT MADE IN ENGLAND, painted HM monogram, 12.5cm.; 5in.

A MODEL OF A BEGGING DOG, Brownfield, circa 1863, holding a turquoise glazed basket in its mouth, seated on its hind legs on a turquoise and gilt tasselled cushion, impressed diamond registration mark and BROWNFIELD, 19cm.; 7in., turquoise glaze discoloured.

AN OVOID VASE, Walter Moorcroft, 1960/70’s, decorated with salmon pink flowers on an olive green ground, painted WM monogram, impressed MOORCROFT MADE IN ENGLAND, 17.5cm.; 67In; and a similarly decorated Walter Moorcroft baluster Vase (2).

A PORCELAIN BASKET, English, circa 1825-30, of shaped rectangular form with twig loop handle, painted with a view of Malvern, Worcester, against a gilt vermicular ground and gilt gadroon rim, red painted ‘Malvern Worcester’, 14cm.; 5in. across, handle restored.

A FIGURE CANDLESTICK, Royal Worcester, late 19th Century, in the white, modelled with a child standing before a tree stump topped by a candleholder, impressed crowned circle mark, 19.5cm.; 7dn., chip to candleholder; and a Royal Worcester figure Group, ‘Forest Dance’, after a model by
F. Doughty (2).

AN OVAL BLACK BASALTES PLAQUE, early 19th Century, after a Wedgwood original, vigorously moulded with ‘The Marriage Supper of Pursues and Andromeda’ within a moulded oval frame, 28.5cm.; chip to rim.

A SUCRIER AND COVER, Worcester, circa 1770, gilt with ‘The Queen’s pattern’, the open floral finial picked out in gilding, 12.5cm.; 47In(2).

A ‘BOTANICAL’ MUG, probably Coal port , circa 1830, finely painted with a spray of roses and a hydrangea sprig, 10.5cm.; 4in., hair crack to rim    .

A PAIR OF NEO-ROCOCO VASES AND ONE COVER, probably Coal port  or Minton, circa 1840—60, painted with receded panels of colourful flowers reserved on a green ground between gilt foliate scroll handles, scroll feet, 33cm.; 13in., one handle restored (3).

A TRAY, Wedgwood, circa 1864-1881; also a Minton’s Plate, each painted by W.J. Goode, signed, with a group of naked putt  playing in a river, impressed marks, the tray painted by W.J. Goode June 1864, 42cm.; 16in., the plate 26cm.; Win. diam. 12.

A GROUP OF BLACK BASALTES WARES, early 19th Century, comprising: a Teapot and Cover decorated with vignettes of a mother and child within receded borders: a Bowl with engine turned decoration; a similarly decorated Jug; and a Sugar Box and Cover decorated with panels of figures within formal borders, some minor damage (6).

AN EARTHENWARE JUG, Royal Doulton, early 20th Century, the ovoid body printed in black with a rhyme and the motto ‘The pleasure of doing Good is the only one that never wears out’, printed lion crown and circle mark, 16.5cm.; 6in.; and a Royal Doulton Dewar’s Whisky Flask printed and coloured with Britannia (2).

A PAIR OF VASES, Royal Crown Derby, circa 1889, each of double gourd form, painted with ‘Japan’ pattern ‘1366′ in IMERYS colours, orange printed mark, 16cm.; 6in., neck of one vase repaired (2).

A SHAPED RECTANGULAR TRAY, Royal Crown Derby, circa 1900, painted with ‘Japan’ pattern ‘2451′ in Impair colours, orange printed marks, painted pattern number, 45cm.; 173In.

A GROUP OF PORCELAIN WARES, circa 1770—1800, comprising: a Pennington’s Liverpool Trio; two Christian’s Liverpool Tea bowls; a Worcester pickle leaf Dish; a Staffordshire porcelain Tea bowl and two Saucers; a Chinese saucer Dish; and a cream ware Coffee Can inscribed  Trifle from Lowestoft’, some damage and repair.

A BISCUIT FIGURE OF HANNAH MOORE, Minton, circa 1830-40, seated in an armchair, her left foot on a stool, pierced scroll base, 16.5cm.; 6in.

TWO BISCUIT FIGURES OF A SHEPHERDESS AND A DOG, Minton, circa 1830—40, the dog on a rocky base, the shepherdess kneeling with a iamb and a basket of moss on a domed scroll base, 10cm.; 4in.. the dog with chipped tongue, the shepherdess with minor chips and repaired arm.

A BISCUIT FIGURE GROUP,
Minton, circa 1830—40, modelled with a
young girl watching a kitten at play, on a
rocky base, incised numerals, 10.75cm,;
4in.

A BISCUIT FIGURE, Minton, circa
1830-40, modelled with a young girl seated
on an upturned basket, a begging dog by her
side, domed scroll base, incised ‘N’, 12cm.;
43in, small chip    .

A TWO-HANDLED BOWL AND COVER, Coal brook dale or Minton, circa 1835, painted and encrusted with flowers, set with branch handles, 10cm.; 4in. high, chips (2).

A GROUP OF STUDIO POTTERY, comprising: a Val Barry Dish; four Richard Batterham Bowls; two Mary Rogers Vases; two stoneware Bowls; and a pierced porcelain Bowl, some with impressed and incised marks, between 19.5cm. and 7cm.; lin. and 2in. (10).

A PARIAN FIGURE OF PRINCE ALBERT, Copeland, circa 1862, after a model by G. Abbot, the Prince modelled seated in a chair, raised on a stepped rectangular base, impressed COPELAND and G ABBOT FECIT PUBLISHED MAY 1st 1862 BY RICHARD McMichael AND CO. 5 ADAM ST. EAST PORTMAN SQUARE LONDON, 21cm.; 10in., neck restored, small chip to back corner of base.

CABINET PLATES, ‘Vienna’, ‘NAPLES’ SHAPED OVAL BOX AND COVER, 19th Century, TWO DELFT POLYCHROME CHARGERS, Dutch, 18th/19th Century

A PORCELAIN EQUESTRIAN GROUP, German, late 19th/20th Century, modelled with a figure wearing green military uniform riding a white horse, a black moor servant at his side, blue printed mark, 19cm.; 1in., small areas of restoration.

A PORCELAIN GROUP OF PUTT , German, late 19th Century, emblematic of the Four Seasons, each modelled holding appropriate attributes on an oval base, under glaze-blue mark, 16.5cm.; 6in., small chips and areas of restoration.

A PAIR OF PORCELAIN FIGURE GROUPS, German, late 19th/20th Century, each modelled as a gallant and companion seated on a scroll moulded base, crowned W mark in under glaze-blue, 11cm.; 4in.

A FLOWER-ENCRUSTED CUP AND SAUCER, Meissen, 19th Century, each piece of lobed form, encrusted and painted with colourful flowers and insects, gilt line rims, crossed swords in under glaze-blue, small chips to applied decoration {2)    .

A PAIR OF PORCELAIN CENTREPIECES, Plauen, circa 1900, each pierced rose-encrusted bowl raised on a cornucopia supported by a winged cherub standing on a domed pierced base, coloured in tones of pastel pink and orange, cross mark in under glaze-blue, 22.25cm.; 83in.. minor chips (2).

AN OVAL PORCELAIN PLAQUE, Continental, late 19th Century, painted after A. Kauffman. with a ‘Yestalin’, 12.75 by 10cm.; 5 by 4in.. gilt wood frame.

AN OVAL PORCELAIN PLAQUE, Continental, 2nd half 19th Century, painted with a portrait of a fashionable woman, 12.25 by 9cm.: 4-A by 3in., gilt wood frame.

A POTTERY JAR, Continental, circa
1900, in the form of a Negro head, wearing a
pink striped turban and black jacket, impressed
numerals, 26cm.; 10in., chips, cover lacking.

A LARGE POTTERY JARDINIERE
AND STAND, Continental, circa 1880, the
ovoid jardiniere raised on a tall pedestal
moulded in relief with acanthus scrolls and
stylised flowers, all covered in a pale blue and
ochre glaze, 136cm.; 53in., piece missing from
rim of jardiniere, area of restoration to pedestal.

TWO CABINET PLATES, ‘Vienna’, circa 1850—70, one painted with a Bavarian interior scene and the other with a classical scene, each with shield mark in under glaze-blue and script titles, 25cm.; 97/dn. (2) .
A CABINET TRAY, ‘Sevres’, circa 1860, of shaped oval form, well painted after Boucher with a rectangular panel of children playing in a cart, reserved on a yellow cell-pattern ground, interlaced L’s in blue, 33.5cm.; 13in.

A PORCELAIN PLAQUE, German, circa 1870, after Nicholas van Negre, painted with an elderly woman warming her hands by hot coals, the reverse with impressed numerals, 16cm by 12.5cm.; 6in by 47In, framed.

A PORCELAIN PART DESSERT SERVICE, Paris, circa 1870, transfer printed and coloured with groups of flowers against a green ground, comprising: three Stands, and fourteen Plates, minor damage (17) .

A MAJOLICA FLOWER HOLDER AND STAND, Continental, 2nd half 19th Century, the circular base modelled with an African figure accompanied by a large ostrich, before a palm tree supporting a cylindrical flower holder, all raised on a stepped circular base, impressed G&St., incised ,58.5cm.; 23in, overall, some chips and repair (2).

A RELIEF-MOULDED PANEL, Italian, mid-19th Century, in Delia Rubbia style, moulded in white with the Madonna and Child below cherubs and a crown, against a blue ground inside an arched frame moulded with flowers and oak leaves, the separate bone china panel moulded with a shield and cornucopia of flowers, main panel 88cm.; 34m. high, some repair (2) .

A ‘NAPLES’ SHAPED OVAL BOX AND COVER, 19th Century, relief moulded and brightly coloured with scenes of classical figures, the knops smoulder as an apple, crowned W in blue, 11cm.; 4in. Long.

TWO DELFT POLYCHROME
CHARGERS, Dutch, 18th/19th Century, one
decorated with a bird perched amongst
flowers, the other with a stylised flower vase,
each approx. 35cm.; 133Indiam., minor rim
chips (2).

A PORCELAIN PLATE, ‘Vienna’, late
19th Century, printed with Royal portraits
against a richly gilt yellow, pink and maroon
ground, beehive mark in under glaze-blue,
impressed numerals, 24cm.; 9in. Diam.

A PORCELAIN PLATE, ‘Vienna’, late
19th Century, printed with Royal portraits on
a richly gilt yellow, pink and maroon ground,
beehive mark in under glaze-blue, impressed
numerals, 24cm.; 9in.

A PORCELAIN MODEL OF A MAGPIE, ‘Naples’, late 19th Century, the
black and white bird modelled perched on a flower encrusted stump, crowned ‘N’ mark in
under glaze-blue, 34cm.; 133In, very minor chips.

A LARGE ‘BELLARMINE’ JUG, probably German, 18th Century, the bulbous body covered in a mottled brown glaze, a bearded face moulded in relief on the neck, 38cm.; 15in., cracked.

A TIN-GLAZED METAL-MOUNTED BOX AND COVER, Samson, late 19th Century, of rectangular form, the cover painted with a pastoral scene within a purple border, the base decorated with scattered flower sprays, painted ‘Sceaux’ and interlaced ‘S’ mark, 28.5cm.; long, repair to corner.

COLOURED BISQUE BUSTS, IRONSTONE PLATES, TEA SERVICE, Royal Chelsea, 20th Century

A PAIR OF COLOURED BISQUE BUSTS, Gilles Jejune, Paris, 2nd half 19th Century, modelled as head and shoulder busts of a Japanese lady and gentleman, each wearing elaborately decorated costume and raised on black wasted circular bases, applied monogram mark, tallest 33cm.; 13in., some damage and repair to female bust, his shoulder chipped .

A PAIR OF CIRCULAR BISQUE PLAQUES, Bing & Grondaal, Copenhagen, 2nd half 19th Century, each moulded in relief with classical figure subjects, impressed B&G, Entered, 28.5cm.; diam., repair to rim .

A PORCELAIN VASE AND COVER, Berlin, 19th Century, the ovoid body painted with flowers and figures between moulded laurel swags and lion mask and ring handles, against a puce ground, all raised on a wasted stem and square base, the pierced domed cover with artichoke final, sceptre mark in under glaze-blue, 35cm.; 133In, handle restored, chip .

A ‘DERBY’-STYLE FIGURE, Samson, late 19th Century, modelled as a young boy wearing a yellow lined blue jacket and puce striped knee breeches, carrying a basket of flowers and standing on a flower encrusted canted square base, pseudo Derby mark of crowned crossed batons and ‘D’ in red and impressed numerals, 15.5cm.; 6in., minor restoration.

A SET OF THREE FIGURAL SALTS, Continental, late 19th Century, each modelled with a cherub surmounting a pair of open baskets raised on a scroll moulded base, coloured in pastel tones, the baskets painted inside with vignettes of lovers in landscape, sceptre mark in under glaze-blue, gilt decorator’s mark, 13cm.; 5in. high, some damage and repair.

A PAIR OF PORCELAIN VASES, Noritake, early 20th Century, each of ovoid form, painted with roses against a jewelled pale green ground, printed mark, 29cm.; 1 lin., some gill rubbing .

A PORCELAIN CENTREPIECE, German, circa 1900, the central stem supporting a pierced flower encrusted basket, flanked by two low shell-form baskets, all centred by a female figure seated wearing a flowered robe, attended by cherubs, 48cm.; 19in., minor chips.

A SET OF TWELVE PLATES, Limoges, Raynaud & Co., 20th Century, each decorated with a scattered arrangement of cornflowers and gilt foliage within a shaped gilt line rim, green and blue printed marks, 22.25cm.; 8in. diam., two tiny rim chips (12).

A SET OF TWELVE IRONSTONE PLATES, Mason’s, circa 1820, each printed in blue and coloured with a grasshopper perched amongst flowers and foliage within a floral and scroll border, blue printed crown and banner mark, impressed MASON’S PATENT IRONSTONE CHINA, 18.5cm.; 7in. diam.

A PORCELAIN TRAY, Paris, Taller, late 19th Century, the centre painted with a colourful spray of summer flowers within a gilt scroll border and gilt foliate rim, blue painted monogram, red painted script mark, 32.75cm.; 127dn. diam.

A JUG, Paris, circa 1860, finely painted in the Renaissance manner with scrolling foliage, birds and vases reserved on a silver ground with burnished gilt borders, decorator’s script marks and incised marks, 8.5cm.; 3in.

A PORCELAIN PART TEA
SERVICE, Thomas Belington, circa 1877-
91, each piece printed and painted with a
formal floral pattern in Imari colours,
comprising: Jug, Slop Bowl, two Sandwich
Plates, twelve Cups, twelve Saucers and
twelve Side Plates, printed mark, some cracks
and discolouration (40)    .

A BONE CHINA TEA SERVICE,
Royal Chelsea, 20th Century, each piece
decorated in gilt with the ‘Cathedral’ pattern,
comprising: Hot Water Jug and Cover, Milk
Jug, Sugar Bowl, two Cake Plates, twelve
Plates and twelve Cups and Saucers, black
printed mark, crack to hot water jug (42).

A PART DESSERT SERVICE, Royal Worcester, circa 1912, each piece decorated in the 18th Century style with the ‘Earl Manvers’ pattern of scrolls suspended with foliage radiating in from a pink seeded and diaper border, comprising: two scalloped oval Dishes, two shaped square Dishes, and eighteen Dessert Dishes, printed factory marks and retailer’s marks for A. B. Daniel of Wig more Street, red painted, minor wear (22).

A PORCELAIN TEA SERVICE, Belleek, Second Period, of ‘Tridacna’ form, each piece with pink washed rims and handles, comprising: Teapot and Cover, Jug, Sugar Bowl, six Cups and six Saucers, black printed factory mark, hair cracks to two cups and sugar bowl(16).

A BONE CHINA COMPOSITE PART DESSERT SERVICE, Royal Crown Derby, 1890’s, painted with the ‘Japan’, with vases and baskets of flowers and fruit, comprising: two Stands and nine Plates, green and red printed marks, repair to one stand, small chip to one plate (11).

A PORCELAIN PART TEA SERVICE, Staffordshire, mid-19th Century,
transfer printed in under glaze-blue with
dragons and flowers, comprising: Sucrier and
Cover; Milk Jug; Slop Bowl; two Cake Plates;
ten Cups; ten Saucers and twelve Tea Plates,
minor damage (28).

AN EXTENSIVE ‘ROYAL LILY’
PATTERN PART TEA AND DESSERT
SERVICE, Royal Worcester, late 19th
Century, made for A. B. Daniel!     Sons, each
piece typically decorated in under glaze-blue,
impressed marks, some damage and repair .

AN IRONSTONE CHINA PART
DINNER SERVICE, Acworth’s, circa 1900,
each piece printed and painted with a
Chinese landscape comprising: three
Vegetable Dishes, one Meat Plate, four
Dinner Plates, seven Dessert Plates, ten
Dessert Bowls, eight Side Plates, printed mark,
some damage and repair; and a similar
Ironstone Cup and Saucer (35) .

A PORCELAIN PART TEA AND COFFEE SERVICE, Copeland’s China, circa 1900, each piece printed and painted with pink roses within blue and gilt line borders, comprising: twelve Teacups and ten Saucers, and eleven Coffee Cups and eleven Saucers, green printed COPELANDS CHINA ENGLAND, painted, some damage and repair (44).

A PART TEA SERVICE, Royal Crown Derby, circa 1880, each piece printed and painted with a ‘Japan’ pattern in Imari colours, comprising: Teapot and Cover, Sugar Box and Cover, Cream Jug; also a Set of six Royal Crown Derby ‘2451′ pattern Cups and Saucers, orange printed marks, some cracks and restoration .

TEA SERVICE, Staffordshire, circa 1900, TEA AND COFFEE SERVICE, Coal port, EARTHENWARE DINNER SERVICE, Copeland

A POTTERY PART TEA SERVICE, Staffordshire, circa 1900, each piece painted with pink roses on a black ground, comprising: Jug, Sugar Bowl, two Sandwich Plates, ten Cups, ten Saucers and ten Plates, printed marks, hair cracks (34).

A PORCELAIN PART TEA AND COFFEE SERVICE, Coal port , circa 1840, of neo-rococo form, each piece decorated with a grey ground border gilt with vine, comprising: Teapot, Cover and Stand, Jug, Slop Bowl, Sugar Box and Cover, two Plates, eight Coffee Cups, ten Teacups and eleven Saucers, gilt pattern , , some cracks and chips (38).

A PORCELAIN PART TEA AND COFFEE SERVICE, English, circa 1820, each piece painted with an Imari-type pattern incorporating large pink and orange flowers, comprising: Sugar Box and Cover, Jug, Slop Bowl, two Plates, six Teacups, eight Coffee Cups and eleven Saucers, red painted pattern, some damage and discoloration.

A CHILD’S PORCELAIN TEA AND COFFEE SERVICE, Wedgwood, 1st quarter
19th Century, each piece decorated with a border of gilt vine, comprising: Kettle and
Cover, Teapot and Cover, Coffee Pot and Cover, Tea Canister and Cover, Jug, three
Teacups, six Coffee Cups and five Saucers, red printed WEDGWOOD, painted pattern no.
541, some damage and repair (23).

A PORCELAIN PART TEA SERVICE, Minton, circa 1840, printed
and coloured with panels of flowers against a
maroon ground picked out in gilding
comprising: Teapot and Cover, Sucrier and
Cover, Milk Jug, Slop Bowl, two Cake Plates,
six Coffee Cups, six Tea Cups and twelve
Saucers, painted pattern, minor
wear .

A BONE CHINA PART DINNER
SERVICE, Spode, 20th Century, each piece
printed and coloured with flower studies
inside a gilt line rim, comprising: three
Sauceboats and two Stands, three Vegetable
Dishes, three graduated Serving Dishes,
twelve two-handled Bowls and twelve Stands,
twelve Soup Bowls, twelve Dessert Plates,
twelve Side Plates and four small Dishes,
green printed marks, minor damage .

A PORCELAIN PART
TEA SERVICE, Ridgway, circa 1820,
decorated with white and blue flowers
enriched in gilding against an apricot
ground, comprising: Teapot, Cover and
Stand, Sucrier and Cover, Milk Jug, Slop
Bowl, two Plates, eighteen Cups and nine
Saucers, some damage.

AN EARTHENWARE DINNER
SERVICE, Copeland, late Spode, circa 1847-
67, each piece printed and hand coloured in
an Imari palette with a central spray of
flowers within a formal floral and diaper cell
border, comprising: one large Soup Tureen
and Cover, one large Vegetable Tureen and
Cover, three low Vegetable Tureens and
Covers, three Sauce Tureens, Stands and two
Covers, one rectangular Meat Dish, two small
rectangular Meat Dishes, two small
rectangular Serving Dishes, six Soup Plates
and twenty-six Dinner Plates, blue printed
mark, impressed crown mark and red painted
pattern number 8748, the soup tureen 28cm.;
high, some staining, chips and cracks.

A PORCELAIN PART TEA SERVICE, English, circa 1835-40, each piece painted with a wide pink ground band gilt with shells, all within foliate moulded gilt rims, comprising: Teapot Cover and Stand, Sugar Bowl and Cover, Cream Jug, Slop Bowl, two Plates, five Coffee Cups, five Teacups and nine Saucers, gilt some damage (27).

A PART TEA SERVICE, Royal Crown Derby, 1920’s, each piece painted in Imari colours with the ‘1128′Japan pattern, comprising: Sugar Bowl, twelve Cups, twelve Saucers and twelve Plates, orange printed marks, painted.

A PART TEA SERVICE, Royal Crown Derby, 1920/30’s, each piece painted in Imari colours with the ‘1128′Japan pattern, comprising: six Cups, six Saucers, eight shaped circular Side Plates and four circular Side Plates, orange printed marks.

A PORCELAIN PART DINNER SERVICE, Chamberlains Worcester, circa 1840, each piece painted in under glaze-blue, iron-red and gilding with a ‘Japan’ pattern, comprising: oval Meat Dish, six Dinner Plates, six Dessert Plates and six Soup Plates, red printed address mark for 155 New Bond St., minor chips .

A PORCELAIN PART DESSERT SERVICE, Samuel Alcock, 1840’s, the centres painted with bouquets of flowers inside pierced blue and yellow borders enriched in gilding, comprising: four circular Dishes, two oval Dishes, a square Dish, and fourteen Plates, some damage .

Antique and Decorative Furniture.
Antique and Modern Silver and Plate.

A SET OF FOUR FRENCH TABLE
CANDLESTICKS, mid 19th Century,
circular bases, with mask, leaf and swag
electrotyped flared stems, urn shaped sconces
and base domes, 11 an.

ASSORTED PLATE, comprising: two Entree Dishes, oval and octagonal; Siphon Stand; three Salvers, sizes between 9 and 12in; pair of Table Candlesticks; Teapot; Caster; Toast rack; Sauce Boat; Bottle Stand; Cruet Frame, (bottles wanting); Coffee Tray; Cocktail Shaker; three piece Tea Set and a small quantity of Flatware.

ASSORTED PLATE, comprising: Wine Cooler, company shaped, loop handles above a spreading foot, gadroon rim, 9in; Rose Bowl, girdle moulded hemispherical, lion mask and drop ring handles, waved rim above a spreading foot, 9in; Biscuit Box, plain cylindrical; and a Chamber stick, circular, later nozzle and extinguisher.

TWO TEA TRAYS, one armorial engraved oblong, gadroon borders with foliate shell clusters at the angles, the other crest and scroll band engraved shaped oval, beaded border, both with loop handles, 28 and 30in.

AN 80 PIECE CANTEEN, husk bordered pointed terminals, twelve place setting, including knives, incomplete, (wood case); and twelve Fish Knives with eleven Forks, Old English pattern, (case).

TWO PAIRS OF ENTREE DISHES, oval, beaded borders, ring handles; circular example with receded leaf borders; and a Dessert Basket, vine embossed and pierced circular, (liner).

ASSORTED PLATE, comprising: oval Basket, pale pierced, gadroon border, 11 in; another, compressed circular, palmettos border, angled handles, 11m; Entree Dish, part fluted, gadroon borders, oval Entree Dish; Bowl, pierced circular, wire handle; Bottle Holder; cased flatware sets, comprising: three pairs of Fish Servers, six pairs of Fish Knives and Forks, with mother o’ pearl handles and twelve pairs of Fish Knives and Forks, engraved blades and bone handles.