Antique Porcelain

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

Friday, January 15th, 2010

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.

ANTIQUE PORCELAIN SERVICES: Mason’s ironstone Dessert Service, mid-19th Century, Spode New Stone part Dinner Service, English porcelain Tea Service

Thursday, January 7th, 2010

ANTIQUE PORCELAIN SERVICES: Mason’s ironstone Dessert Service, mid-19th Century, Spode New Stone part Dinner Service, English porcelain Tea Service

A Mason’s ironstone Dessert Service, mid-19th Century, each piece printed and enameled with a pair of comical birds amongst flowers growing from pierced rockwork within complex

floral and diaper border, comprising: large Comport, two Sauce Tureens, Covers and Stands, four two-handled oval Dishes, four two-handled square Dishes, four two-handled oval

Dishes and twenty-two Plates, minor damage, printed marks.

An ironstone Dinner Service, mid-19th Century, each piece printed in greenish-blue and brightly enameled with flowers in a fenced garden within floral border, comprising: six

graduated Meat Dishes, one tree and well Dish, Soup Tureen, Cover and Stand, Vegetable Tureen, Cover and Stand, Cheese Dish, two Sauce Tureens, Covers and Stands, twenty-six

Dinner Plates, seven Soup Plates and twenty Side Plates, some damage, printed and impressed marks, painted pattern.

A Wedgwood pearl ware part
Service, early 19th Century and later,
each piece molded as a shell, shaded in
tones of pink, comprising: four
cockle-shaped Plates, a similar later Plate
and a mussel-shaped Dish, chips,
impressed marks.

A Wedgwood pearl ware Dessert
Service, early 19th Century, each piece
finely enameled and printed with
oriental flowers in a ‘family-rose’-style
within trellised salmon borders
incorporating further flower sprays,
comprising: twenty Dessert Plates, four
square Dishes, two rectangular Dishes,
four oval Dishes, two large oval Dishes
and one footed oval Dish, impressed
marks.

A Spode New Stone part Dinner Service, 1820’s, each piece printed in black and enameled in ‘family-rose’-style with a central flower spray within a border of flowers on a whorl

diaper ground, comprising: five rectangular Dishes, Egg-Cup Stand, Sauce Tureen with gilt butterfly handles and three graduated Meat Plates, some damage, printed marks.

A Spode blue printed earthenware residue Dinner Service, late 1820’s, each decorated with a central basket of flowers within six radiating panels of flowers on the leaf-strewn

blue ground, comprising: nineteen Plates in three sizes (three Copeland replacements), two Meat Dishes, two Sauce Tureens, Covers and Stands, small Tureen and Soup Tureen and

Cover, some chips and cracks, impressed and printed marks.

A Collection of green glazed earthenware Dishes, 19th/20th Century, each molded with leaves, flowers or fruit, comprising: two footed Dishes, three double-handled rectangular

Dishes, six Plates, two leaf-shaped Dishes, three canted rectangular Dishes, five leaf-shaped Pickle Dishes and a small circular Dish, some damage, some impressed marks.

A Collection of green glazed leaf molded earthenware Plates, 19th/20fh Century, some damage.

A Worcester porcelain Dessert Service, circa 18, each piece enameled with wild flower sprays within a turquoise border picked out with husk and chain borders in raised gilding,

comprising: four high Tazze, four low Tazze and nine Plates, impressed marks, pattern No.

A Royal Crown Derby Cabaret Set, circa 1883, each piece brightly enameled and gilt with a Japan pattern, comprising: Tray, four Cups an Saucers, Teapot and Cover, Saucier and

Cover and a Jug, teapot spout repaired, iron-red printed marks .

An English porcelain Dessert Service, circa 1870, each piece painted with a landscape within a pink-ground border printed in brown with stylized flowers, comprising: two tall

Tazze, four low Tazze and twelve Plates, pattern.

An English porcelain Tea Service,
circa 10, each piece painted with two
dark-blue rocks in a fenced oriental
ardent, comprising: Teapot and Cover,
lop Bowl, Sugar Bowl, eleven Tea bowls
and twelve Saucers, staining and minor
cracks.

An English porcelain Tea Service,
circa 1810, each piece decorated with an
iron-red band gilt with leaves,
comprising: Teapot, Cover and Stand,
Saucier and Cover, Milk Jug, twelve
Coffee Cans, twelve Tea bowls, twelve
Saucers, two Saucer Dishes and a Slop
Bowl, some damage.

A Flight Barr & Barr Tea Service,
circa 1820, each piece decorated with a
pink band within a delicate gilt
scroll worked border and gadrooned rim,
comprising: thirteen Saucers, ten Tea
Cups, six Coffee Cups, two Bread and
Butter Plates, Slop Basin, Sugar Bowl
and Cream Jug, some damage, impressed
marks .

An English porcelain Tea Service,
circa 1820, each piece painted with a
Japan’ pattern of blue and iron-red
plants between quartered blue panels
under salmon-pink bands, comprising:
Teapot, Cover and Stand, Jug, Slop
Bowl, two Bread and Butter Plates,
Sucrier and Cover and thirteen Cups
and six Saucers, some damaged .

A Bloor Derby Dinner Service,
circa 1830, each piece enameled and gilt
with a band of roses and cornflowers
within a gadrooned rim, comprising:
Soup Tureen and Cover, two Vegetable
Tureens and Covers, one cover restored
and the other hair-cracked, Sauce Tureen,
Cover and Stand, tureen cracked, six
Dishes in sizes, four cracked, eight Soup
Plates, eight smaller Soup Plates, two
hair-cracked, twenty-four Dinner Plates,
two hair-cracked and sixteen smaller Plates
in two sizes, seven hair-cracked, printed
marks in red .

An English porcelain Dessert
Service, probably Coalport, circa 1840,
each piece enameled with a central
bouquet of flowers within a gilt enriched
grey Dorder, comprising: twelve Plates
and three shaped Dishes, some damage.

An English porcelain Tea
Service, circa 1840, each piece printed
and enameled with flowers amongst
scrolls, comprising: Teapot and Cover,
Cups and Saucers in sizes, Slop Bowl,
Jug and Bread and Butter Plates, some
damage .

A Staffordshire porcelain
Dessert Service, circa 1830, each piece
molded with long-tailed birds amongst
vines about brightly color end sprays of
roses enameled within a puce printed
outline, comprising: eight Dishes in sizes,
Comport and twelve Plates, seven
discolor end or damaged, painted pattern.

An attractive Spode and Copeland Garrett porcelain part Dessert Service, 1830’s, each piece enameled with a spray of flowers within a gross-bleu cavetto and a salmon-ground rim

enhanced in burnished gilding with foliate scrolls and passion flowers under molded vine clusters, comprising: Comport, Dish and twelve Plates, in iron-red and printed marks.

A part Dessert Service, circa
1820, each piece painted with flowers
within a molded border, comprising:
Sauce Tureen, Cover and two Stands,
four square Dishes, four oval Dishes,
four shell-shaped Dishes and seventeen
Dessert Plates, some staining.

An important Spode porcelain topographical Service, 1820’s, each piece painted with a British scene, titled on the reverse, within gilt foliate scroll borders and a gadrooned

rim, comprising: a large Comport: ‘Tewkesbury Church’, a Pair of shell-shaped Dishes:
‘Dropping Well, Knaresboro, Yorkshire’ and ‘Oxford Castle, Suffolk’, a Pair of oval Dishes: ‘Wide marsh Gate, Hereford’, riveted and ‘Fisher’s Gate, Sandwich’, a two-handled

Bowl: ‘. . . Bridge’, an oblong Dish: ‘Ethan Bridge, Kent’ and twelve Plates: ‘Teeny, South Wales’, ‘Yarmouth, Isle of Wight’, ‘Remains of Hospital, Audile Ed, Essex’,
‘Elizabeth Castle, Isle of Jersey’, ‘Fisher Gate, Sandwich, Kent’, ‘St. Mary’s Church, Dover’, ‘Hone Cross, Clearwell, Glostershire ‘(sic),
‘Athcarne Castle, County of Eastmeath’, ‘Ancient Gateway, St. Andrew’s’, ‘Waltham Abbey, Essex’, ‘Part of St. Augustine’s Chapel, Canterbury’ and
‘View on the Thames near Vauxhall’,
titles and ‘Spode’ in purple, impressed ‘6′ and
wheel marks.

ANTIQUE PORCELAIN FIGURES: Derby Figures, Bow Figure, Staffordshire Figures

Thursday, January 7th, 2010

ANTIQUE PORCELAIN FIGURES: Derby Figures, Bow Figure, Staffordshire Figures

A rare Bow Figure of a Thames
waterman, 1753—55, standing in
brown-trimmed yellow cap and coat over
floral waistcoat, his head turned to
sinister, his left arm outstretched before
a tree-stump, on a floral painted base,
cap chipped, left hand restored, 20cm.;

Until the construction of Westminster Bridge in 1750 the only two means of crossing the Thames on foot had been by London Bridge and at Kingston. To cross in the intervening gap

one would have to use the horse-ferry or one of the many Thames watermen, their numbers presumably remained much the same since the time of Pepys when about 4,000 were recorded.

Pepys allowed a regular waterman of his to grace his boat with his own coat-of-arms. Is it possible that such a ‘by appointment’ badge accounts for the coat-of-arms on the

waterman’s arm which differs from a similar figure illustrated by Elizabeth Adams and David Redstone, Bow Porcelain, plate 127. Although heraldically incorrect the present

figure’s badge is perhaps intended as the seal of the Navy Office.

A near Pair of Bow Figures, circa
1760, he wearing a pale-puce jacket and
knee-length breeches, finely enameled
in characteristic blue, puce and green
with flower sprays playing the recorder
with a dog at his feet, she striking a
dancing pose, her jacket finely
enameled with flowers over striped
apron and pale-yellow skirt, the scroll
molded base encrusted with flowers,
chip to her hat, restoration to his recorder and
hands, approx. 15.5cm.;

A Pair of Bow Busts, circa 1755,
representing ‘Spring’ and ‘Winter’, the
former modeled as a young woman
wearing flowers in her hair and draped
in a puce and yellow flowered robe on a
wasted marbled sole, the latter as a
bearded man wearing ermine-trimmed
yellow cloak on similar base, restored and
chipped, 13cm.;

A Bow Model of a Putt, circa 1760, standing garlanded in flowers, on circular base, restored, 13cm.; 5in.

A Pair of Derby Figures of street
vendors, 1760—65, the ‘Jewish peddler’
wearing a fur-lined cap and long green
coat over a long flower sprigged
waistcoat, a basket containing bottles
before him, his companion standing with
an open trinket box and wearing a short
red and green tunic over her purple
robe and yellow skirt, both on typical
Meissen-style bases encrusted with
color full flower sprays, damage to man’s
arms, head and coat, chips to woman’s clothes
and nose, approx. 18.5cm.; 73/sin., patch
marks .

A Pair of Derby Figures of a boy
and girl, circa 1765, each seated before
flowering or fruiting boscage, he with a
dog and gun by his side, chips, 11cm.; 5in.

A Pair of Derby Figures
representing ‘Autumn’ and ‘Winter’,
circa 1770, the former modeled as a
young grape harvester carrying a full
basket on his back wearing a puce jacket
and flower sprigged knee breeches, the
latter as a young girl with skates on her
feet and wrapped in a fur cape, both on
scroll molded bases, feathered in
turquoise green and picked out in
fielding, his arm glued, chips to both, approx.
3cm.;

Three Derby Figures representing
Continents, late 18th Century, ‘Africa’ of
dark complexion wearing an elephant
mask hat, ‘Asia’ standing by a camel,
‘Europe’ by a horse and with attributes
of the Fine Arts, all restored, approx.
13cm.;

A Pair of rare Derby ‘Mansion
House Dwarves’, early 19th Century,
each corpulent figure wearing an
extravagant hat and standing on a flower
encrusted green ground, hand glued to
one, approx. 17cm

A Derby biscuit Group, circa 10,
modeled as three Cupids beneath a tree
encrusted with leaves, the rocky base
with budding flowers, one arm missing,
27cm.

A Pair of Derby Figures of musicians, 1st quarter 19th Century, each seated on a chair, he playing tire flute, an instrument case and musical scores at his feet, she with a

mandolin and a small white dog on her lap, on canted rectangular bases edged in gilding, neck of mandolin broken, crazing, 16cm.;

A Stevenson &: Hancock Derby Figure of a cobbler, 2nd half 19th Century, seated with a shoe in his lap, his workbench on one side and looking up to the caged bird on the wall

behind him, 15.5cm.; 61Ain., crossed batons, ‘S’ and Win purple.

A Staffordshire Group of a girl
and swain with baskets, circa 10, of
clay, both seated before a tree with two yellow parrots among green and turquoise leaves, she wearing a turquoise bodice, her jacket outlined in dark-blue, on a rustic mound

dappled in brown, yellow and green, 20.4cm.;

A Pair of ormolu mounted
Minton porcelain candlestick Figures,
1830’s, modeled as an 18th Century
lady and gentleman seated in elaborate
18th Century costume, he holding a
basket of fruit, she a garland of flowers
beneath rococo scroll bower, 33cm.;

Antique Porcelain Pots, Pastille Burners and Pot-Pourri

Tuesday, December 15th, 2009

Antique Porcelain Pots, Pastille Burners and Pot-Pourri

As late AS the middle of the nineteenth Century, open sewers were still running through London and in The Great Stink’ of 1858, Parliament was obliged to rise, due to the smell from the Thames, which was practically a flood of untreated efficient. There was a certain amount of skill involved when building a house for the wealthy to ensure that the
Household waste could be flushed conveniently away into a nearby stream, while at the same time siting the main rooms so that the smell was wafted away from the front. A change in the wind direction or a long hot spell, however, would give high living a new, and less attractive, flavour. To counteract this, the middle and upper classes bumed incense in pastille burners or opened the lids of their pot-pourri to let out heavier and more pleasant aromas. They also carried small silver boxes with pierced inner lids containing a
sponge soaked in pungent liquid for use in their carnages or out Walking. All these were w real, practical use up to the 1870s when sewerage Systems began to cope satisfactorily.
The idea of having a smell of flowers in a room, especially in the winter, continued to be attractive and still does today, so that the pair of pot-pourri (Worcester, p.278) were by no means anachronistic throwbacks. Rose bowls were not, as many seem to think, bowls for displaying eut blooms, but for rose petals, dried to retain their perfume.
Burning pastilles is an Oriental habit which still continues, joss-sticks now being most favoured. Originally, a small pellet of inflammable intense was burned on a convenient surface, a saucer sufficed, sending out clouds of rich perfume. It was obviously a great deal more amusing to place a peilet in a miniature ho use and have it issue from the chimneys, although it invariably leaked through the Windows and door as well. The best examples are in two sections, the base having a small indentation for the pellet (p.287). Other more common examples simply have a hole at the back for the pastille. The style of building often reflects the interest of the time with Neo-Gothic follies, dinky flowered country cottages or Georgian mansions.

Brown-Westhead, Moore and Co.
A good pair of vases from an infrequently met-with factory in the fine porcelain field, although they did exhibit often, with much praise, through the second half of the century. The decoration is in thick gold, silver and black against a rose ground, the neck pierced for pot-pourri. The paste from this factory is very soft, prone to fine crazing and discoloration, although these particular vases show little sign of this.

Grainger & Co. circa 1840.
A rare miniature pot-pourri basket and cover. Well painted with a named view of Spetchley House on a yellow ground, gilt with scrolls. The yellow ground makes all the difference, a blue example would fetch 80-120.

Minton.
An attractively painted pot-pourri with a named scene of Buildwas Abbey, Salop., on one side, a bouquet of flowers on the other, surrounded by encrusted flowers. The mark on the bottom is that of the Meissen factories, underglaze-blue crossed swords. At this date many English factories were using the mark although the objects were not copied. The flowers on this example pretty much nibbled. Perfect 150-200.

Minton 1869.
A good pot-pourri, after a Sevres original. The well-painted figure subjects in tooled gilt panels reserved on the turquoise-blue ground. The large size and obvious decorative qualities makes this a very desirable.

Rockingham 1830-42
An unusual pastille burner with a small plate-like base with a slightly raised central pastille platform with a
perforated bulbous cover. The base and cover painted with floral sprays and gilt details. Some specimens are also encrusted with flowers.
A pot-pourri vase of campana shape, standing on acanthus feet and decorated with a landscape on one side and fruit and flowers on the other, enclosed by applied flower heads in white.
A pair of pastille burners of no great quality in the form of a perforated Grecian urn on a drum base decorated with gilding and applied with crudely moulded coloured flowers.
Complete burners of this type are very rare.
A rare shape for Rockingham with well modelled flowers left in the white and with touches of gilding on the handles and feet. The scenes of a standard best described as naive.
Better painting of the same scenes could send these to 500-800. Circular pot-pourri baskets occur in several sizes and are much less rare.

Spode c. 1825.
A miniature pot-pourri in the form of a basket and cover, the gros-bleu body painted with flowers on a gilt scale ground. Although unmarked, the pattern number 1166 is present which ties in with known specimens.

Worcester - Flight, Barr and Barr c. 1825.
An attractive night light and pastille burner in the form of a cottage detachable from the grassy base. The whole well painted in naturalistic colours.

Royal Worcester 1891.
An unusual garniture painted with flowers. The knop on the central vase is in fact conical; it was truncated in the photograph. Sets such as this have nearly always become separated and rarely appear complete.
A pot-pourri with pierced covcr and inner lid, painted gilding and gflt-printed outline. Not very good quality but helped by the deep colours rather than the washed out variety and with thick gilding. Without inner lid 20-30.
A Grainger shape painted by James Stinton, signed. The piercing not very well finished.
A good pot-pourri with crisp moulding coloured in shades of pink, green and orange with gilding. Others of smaller size, more frequently found, are less desirable, as are those with the Gothic scrolling blurred.

Royal Worcester 1924.
A large and decorative pot-pourri and cover painted by J. Stinton, signed, the pierced neck in bronzes and golds. The swags on this quite common pattem of pot-pourri are particulariy vulnerable to damage, and are often restored, as are the knops. With slight restoration 400-45O. It is interesting to realise that this shape is still made by Royal Worcester and a present day piece, fully decorated by hand with some such subject as fruit, would cost something like 600 which makes the price of earlier pieces cheap.
Unattributed first quarter of the 19th century Height 5V4 13.2cm. No mark very rare arbour group of a boy under a lilac trellis encrusted with wers and moss, the base with gilt line border. The lilac ground makes a great deal of difference here to the price as with pastille burners.
An amusing castle pastille burner coloured lilac and with coloured incrustation and gilding. The leaning tower is accidental, having occurred during firing, a thing the tree support on the right was supposed to have prevented, but here it merely adds to the charm of the piece.
A pastille burner with a basic lilac ground applied with coloured flowers and gilt. Other colours than lilac 50-80, piain white 35-50.
A pastille burner of reasonably good quality, with small flowers on a lavender ground, making this fairly expensive. As can be seen in the photograph the lid is chipped, a perfect example 60100. Note that such burners are usually sold as Rockingham which they are not. There is no evidence to suggest that the factory ever used the shredded clay technique as evidenced on this piece or on the sheep and dogs, similarly wrongly attributed.

Antique Porcelain Table Wares & Dinner Services: Coalport, Davenport, Royal Crown Derby, Minton, Rockingham.

Tuesday, December 15th, 2009

Antique Porcelain Table Wares & Dinner Services: Coalport, Davenport, Royal Crown Derby, Minton, Rockingham.

This is a section devoted to the items which are used at table, with the exception of plates. The odds and ends of services that survived the violent hands of the under-the-stairs staff were offen kept for decoration and the tureens and dishes occasionally appear on the market separately. Their value now lies in their appeal as decoration -the larger and more elaborate they are, the better. Coats of arms of recognised families are a plus factor whereas monograms and, to a fesser cxtent, crcsts, detract from the price.
Dinner services are a strange market and the prices they fetch need so me explanation. Taking for example one of the thousands of ironstone services made by Mason and bis imitators in the first half of the nineteenth Century, one would find that an odd plate might fetch 50p. at an auctjon  suitable only for decoration. A set of a dozen plates would creep up to perhaps 1 a plate but no more since for use at table one needs all the tureens, vegetable dishes, side plates, etc. However, in services containing a dozen of
everything, tureens, etc., the total number would be around one hundred items and the price could have jumped to 123 a piece. The chance of someone coming a cross exactly the pattern for which he is looking in any one sale is extremely remote so that most services are bought by dealers who may have to hold them as stock for m any years before a purchaser buys them. The result is that to avoid tying up too much capital they do not spend as much on a service as it should warrant.

Belleek.
A pair of centrepieces from the service of a design ordered for the Prince of Wales, palely-coloured and nacreous-glazed. The prices of this
service seem to be more unpredictable than most Belleek, identical pat having fetched in one season between 150 and 1,200.

Belleek c.1880.
A fine uncoloured centrepiece, the good nacreous glaze showing off the sharp casting to the full. Typical sea-life influence with the figures from sea mythology, a young Triton, a mermaid and a hippogryph.

Coalport c. 1825.
A brightly decorated service of soup tureen and cover, two sauce tureens, covers and stands, nine meat dishes in sizes, fruit bowl, twenty-four dinner plates, ten soup plates and ten dessert plates, each painted with iron-red and gilt chrysanthemums. Single plates 812. This is the type of service which could well be split by a dealer after purchase to sell as individual or pairs of plates, as they are very attractive in small doses, a whole service being, perhaps, a little overpowering.

Coalport. 1830.
A fine service of a fruit stand, two sauce tureens, coven and stands, ur shell-shaped dishes, four lozenge-shaped dishes, two square dishes d eighteen plates. Each piece with a different landscape scene eluding figures within a bright gilt border. Single plates 1520. A nation in the border it known with the national emblems in gilding: is would raise the price to 25-30 a plate.

Coalport c. 1860.
A finely painted dessert service of twelve plates, two tall and four low stands, each with a different fruit within gilt and coloured border enclosing a crest of a squirrel. As with ail stands on feet, watch for restoration or signs of gluing at the junctions of foot and dish. The piece was made in two parts and stuck with slip before firing and this remains a weak point; the glaze often settles in a crackled ring here and the clear adhesive is almost invisible.

Davenport c. 1805-15. Longport in red Script.
Pierced dessert basket, painted with a Chinese garden scene in colourful enamels. Gilt twig handles. Early Davenport porcelain marked ‘Longport* is quite rare.
Basket and stand 50-80.

Davenport c. 1830-1840.
A good service of twelve soup plates, twenty-four dinner plates, twelve side plates, two sauce tureens and covers, two vegetable dishes and covers and nine meat plates, each piece well painted with sprays of flowers and with gilt border.
A fine botanical service with a different flower within scroll borders in blue and gilding. Comprising fruit stand, two sauce tureens, covers and Stands, four oval dishes, four rectangular dishes and twenty- four plates. This works out at about 2025 each for a plate, to 50 -80 for a tureen. If the flowers were named the price could be half as much again.

Davenport 1870-1886.
Davenport made both very high quality porcelain in the 1840s-1860s, often unmarked, and also mass produced wares for the lower end of the market. Tliis continued to the end of
the period but one meets less and less of the better items. Dessert service of a high tazza, two low tazze and twelve plates 200-300.
First quarter of the 19th century Painted crossed baton and crown
A good quality service with an attractive design of coloured roses and garlands of cornflowers and gilt leaves, the 1796 pattern. Price for soup tureen and cover, two sauce tureens with covers and stands, two vegetable dishes and covers, seven meat dishes in sizes, twelve soup plates, twenty-four dinner plates.
1220-1300 the service.

Royal Crown Derby 1882-95.
Printed crowned monogram and date codes.
A large composite service for dinner, dessert and tea: 12 soup plates, soup tureen and cover, 24 dinner plates, eight meat dishes in sizes, two sauce tureens, covers and stands, eighteen dessert plates, twelve pudding plates, twelve side plates, twelve cups and twelve saucers, two tazze, two lozenge dishes and two handled dishes. Large services of this type frequently have different date codes as the family added what they needed and included replacements. It is unlikely that another service would have the same composition as listed here but it does give a guide to a typical make-up.

Derby Crown Porcelain Company 1890. Printed monogram, retailer’s mark and date code.
A muffin dish and cover from a service of twelve large plates, side plates, cups and saucers and two serving dishes. Each piece has pastel-coloured and gilt wild flowers, grasses and butterflies by John Porter Wale and the monogram CHS. It is this last which resuit s in the low price of 100120 for the set. Collectors dislike anonymous monograms.

Hill Pottery, Burslem (S. Alcock) c.1840.
A good quality Service from an uncommon factory, which, despite the name, made some fine porcelain. The flowers in panels on a pink ground scattered with yellow flowers and gilt scrolls. Service of eighteen plates, three high and two low bowls.
A ’spot the deliberate error piece’. It is worth studying the proportions of this tureen, cover and stand as an object lesson to be on one’s guard when buying. If it looks a little uncomfortable, read no further. What has happened is that the body originally had a foot which has parted company, the edge has been ground down and now rests fairly happily on the (intentionally) detachable base. Still a good quality arid satisfactory object but liable to wild fluctuations in price, hence the wide quote.

A turquoise-ground salver painted with two fighting stags in the centre. A large decorative item and therefore popular for display. Both Coalport and Minton achieved great success with the turquoise glaze they were using in imitation of Sevres in the middle of the century, Minton’s being less prone to black firing specks.

Minton 1851. Impressed name and date code.
A clumsily-moulded figure holding a shell for use as a sweetmeat, or sait, uncoloured but for touches of celadon. Compare with the Worcester figure page 98. Pair with male.

Minton 1870
Impressed name, printed retailer’s mark, date code A fine quality service but not decorative enough for display and the crest makes it less desirable for table use. The borders are in turquoise with matt and burnished gilding. Service of twelve soup. dinner and dessert plates, soup tureen, cover, stand, two vegetable tureens. covers and stands, sauce tureen, cover and stand and six meat dishes in sizes, 100-200.

Rockingham 1830-42.
This type of C scroll moulding on the rims of plates and dishes is typical of late Rockingham but only by a careful study of the details of the scrolls can it be differentiated from the many other C scrolls of other factories. The part service comprising eight plates, one comport, two quatrefoil dishes and one tazza.
The service 400-1450.

Swansea c.1815-1817.
A fine service probably painted by D. Evans and in bright deep colors
Pair of sauce tureens, covers, stands 600-800.
Large centre dish.

Swansea.
A fine pierced fruit stand, the bowl and base both with cut lozenges and hoops, with fruit and flowers painted by David Evans and with good gilding. Altogether a rare and desirable piece.

Swansea Early 19th century.
An uncommon Swansea tureen of the same form as those illustrated in the service on page 308 on a pale green ground which adds considerably to the price. The scarcity of larger pieces from Swansea services generates much interest when they do appear on the market. It should be remembered that collectors display their collections in cabinets and need to break up rows of plates with more interesting shapes.

Worcester, Flight, Barr and Barr.
A sauce tureen, cover and stand with a rose within gilt scrolls on a green ground. Not a particularly exciting piece but the gilding is of good quality and green is a very saleable colour, blue ground 120-150, yellow 250-350.

Royal Worcester 1898.
Printed crowned circle, registration.
A game service of twelve plates, a large meat dish, two small dishes and a sauce tureen, cover and stand. Each piece with a printed outline brightly coloured and gilt, of a different game bird, the border sepia. Despite the partial mass-producfion a well produced service, odd plates.

Royal Worcester 1912.
A typical mass-produced service of the period and comparable to similar services made today. Printed basic variation of the Indian tree pattern with hand colouring. Price for twelve soup plates, twelve fish piales, twelve side plates, twelve dinner plates, soup tureen, cover anc stand, two vegetable tureens and covers, sauce tureen and cover and gravy boat, six meat dishes in sizes. 1150-1200 the service.

Unattributed 1850
Badly cracked through the base. An interesting piece for the registration of design mark on the base for 1850. indicating the style of the period, and for the technique of well printed puce outlines for the well coloured flowers. A high qualhy production altogethet. Perfect 70-90, 35-45 (damaged).

Antique Porcelain Tea and Coffee Services and Sets

Tuesday, December 15th, 2009

Antique Porcelain Tea and Coffee Services and Sets

The damage problem that dinner services suffer from applies also to lea and coffee services  incomplete sets are of little use unless of a very fine quality and highlydecorative. Since the teapot was the most complex article In a set and receivd the most use, it is most likely to be damaged or to be missing altogether. Teapots, in good condition,are scarce. The make-up of the service probably varied when it was bought, the customer ordering from a pattern book or samples, no doubt omitting the teapot if the family brewed in silver. The factories that employed date coding, when they made up orders, simply removed from stock shelves articles of the same pattern which might have been sitting there for a year or more, with the result that the codes vary. Again breakages could be replaced by quoting the pattern number but the replacement would have a later code. On usable services such as the Crown Derby Imari patterns this does not affect the value but on ejaborately hand-painted sets which have not been properly matched, the price would be lowered. Since tea plates were unknown until  the second half of the century many plates were made to match existing cups and saucers for services that were still in use at the introduction date, 1870-80. Weli-painted boxed coffee sets,  often with silver spoons, are a rising market, selling well to American buyers.

Antique Belleek c 1870
Compare this witli the cup and saucer on page 320. This example . the earlier period, crisply moulded and well coloured under a nacreous glaze. Mille jug, sucrier or basin ; cake plate. The teapot is illustrated opposite.
Moulded and coloured grasses, ail with a lustrous glaze. Belleek teapots are not uncommon, large numbers must have been sold separately from the rest of the service for decoration, a reversal of most factories.
A good piece from the first period, all well coloured and gilt. The use sea motifs is the most obvious characteristic of Belleek, also the use nacreous (shell-like iridescent) glaze. It can be found with an elabo stand in the form of a dragon on four paw feet, but wa for matched-up sections of different dates.

Belleek c.1875. Printed crest and name.
A teapot and cover of unusual design under an iridescent pearl-like glaze. Ail of good quality. A similar example with the more common shiny glaze, coloured.
It is most important with Belleek that the mark should be the early dog, harp or tower and the name without the words ‘County Fermanagh, Ireland’ which indicates a date post 1891. La ter pieces which look much the same can be a quarter the price.
A really badly moulded cup and saucer with wishy-washy pink-tinged rims and of the post 1891 period. Thinly cast with shiny glaze. Also found with green and gilt rims. Plate E.J.D. Bodley 1876. Printed and impressed initials, registration
A cup and saucer from a minor factory which produced mainly useful wares. Thinly cast and moulded with sprigs of apple blossom coloured pink, gilt rim. Set of teapot and cover, sugar basin, milk jug, four cups and saucers and a tray.

Copeland 1833-1847. Printed wreath and crown, titled in red.
The reasonably well painted panels of English and Scottish views on this service are named on the bottom of each piece, adding a great deal of interest but not much value. The rest of the body with gilt scrolls on primrose yellow ground. Set of twelve coffee cups, twelve tea cups, twelve saucers, milk jug, two cake plates and a basin with teapot.
Davenport. 1850
Printed name and registration
A superbly rich tea service in orange and gilding. Service of twelve Я saucers and plates, milk jug, bowl and two cake plates.

Antique Porcelain Davenport.
Part of a service of eight cups, saucers and plates, two dishes, a bowl and a milk jug, each with iron-red, blue-green and gilt flowers. With teapot.

Davenport c. 1880.  Printed and impressed names, retailer’s mark.
Part of a service of six coffee cups and saucers, six tea cups and saucers, twelve plates and two cake plates. At first sight a Royal Crown Derby service in Imari style and in the same palette. Rarer than Crown Derby but less collected.

Bloor Derby 1825-1840.  Printed circle mark.
The shape of the milk jug or teapot or handle shape is nearly always the best give-away for an unmarked service. This set has the circular Bloor mark in red. Decorated in blue, iron-red and gilding. Comprising dish and cover, two pairs of dishes, bowl, milk jug, six egg cups, twelve breakfast cups, twelve tea cups, twelve plates and twelve saucers. It is worth pointing out that a comparable brand new service of this size could cost rather more.

Royal Crown Derby 1899.
A superb quality service of the ‘Brighton’ shape made to order with a red, green and gilt monogram within a gilt ‘rose pompadour’ border.
Cup and saucer. A service of this kind would probably never have had a teapot, sucrier or mille jug, these would have been silver.

Royal Crown Printed crowned monogram.
A cabaret service of’Dublin’ shape comprising teapot, milk jug, sucrier,tray and four each cups, saucers and plates ail with an Imari pattern number 2451. An additional two cups and saucers, bringing the total to a more usable six.

Royal Crown Derby 1922.
The famous Derby lmari pattern known to the cognoscenti as 1128 from the pattern number, not to be confused with the similar 2451 on the previous page. A service of twelve plates, cups and saucers, bowl, milk jug and two dishes. The actual date of manufacture matters little as long as it is post 1890, when the quality improved.
An attractively refined service of neo-classical form with a band of green and gilt oeil-de-perdrix. Price for teapot, cover and stand, sucrier and cover, milk jug, six cups and six saucers.
The borders in neo-classical style with gilt leaves berried in iron-red. Price for teapot, cover and stand, sucrier and cover, milk jug, two saucer dishes, a bowl and eight cups and eight saucers.

Rockingham 1826-30
Cup and saucer with moulded overlapping primrose leaves crudely coloured in yellow shading to green with gilt veins. Can be found wit” mark or puce griffin and even when unmarked, as is not infrequent, be positively attributed to factory, since no other used this mould.
This shape appears unique to the Rockingham factory, (he saucer having a very deep foot rim and the cup handle not having a precise counterpart in any other factory. The appearance of the floral bouquets on interiors only give a dull impression with a resulting low price.

Rockingham 1826-30.
A stylish Empire design with gilt bands that would not shame the 1930’s art deco period. The shape is very rare. The handles are in the form of a horse’s hoof with the upper portion representing a tail, which in a tea service is unique to the factory, no mark being necessary to provide attribution.
Trio as shown.

Rockingham Set 1826-42.
Although this shape of cup and saucer is typical of the teaware produced by Rockingham in the early period 1826-30, it was also made post 1830. It is virtually identical in mould with a Ridgway production and unmarked samples are difficult to attribute. This example is decorated with gilt scrolls and foliage on a gros-bleu ground, the larger leaves in apricot.
A late service, each piece in grey, outlined in gilding and with strawberries. Note the typical Rockingham crown knops. Service as shown with twelve tea cups, twelve coffee cups and twelve saucers and a basin.

Rockingham c.1835.
The crown knop is typical of post 1830 Rockingham but the flamboyant grey and gilt scrolls can be found on many factories of the period. Desirably there should also be a stand in the form of a plate with a depressed well. Neither stand nor pot is ever marked. Perfect example. Similar teapot but not Rockingham.
Well-painted roses in pink with gilt lining.

Spode C.1810.
An extremely rare set of tulip cups on a Spode pottery tray. All brightly coloured with coloured or gilt bases. A single cup. A perfectly matched set, since these cups do not all have the same decoration.
Painted by Pollard. A complete service would actually be extreme rare, one is much more likely to see the pieces sold separately examples. Cup and saucer; teapot.

Swansea. 1820.
Superb Swansea Cabaret set as illustrated. Each piece painted in ndon with various growing flowers and with gilt borden. All in Empire style. The Empire style was rarely reflected in porcelain in this country to so great an extent as displayed here. A single teapot would fetch.
Bone china cup and saucer, quite rare. Green cell diaper with printed figures, hand-coloured on top.

Antique Wedgwood Service 1878-1891.
A rare teapot of a design harking back to neo-classicism. The medallion bronzed and gilt, all of fine quality and very desirable for a Wedgwood collector.

Worcester, Barr, Flight and Barr c. 1810
A Barr, Flight and Barr set of tea cup, coffee can and saucer, each piece finely painted by Samuel Smith with Shells on a simulated marble ground.
A reasonably well painted service with coloured flowers, and a good buy for use, the sum total probably being less than the parts and considerably less than a comparable modern service. Teapot and cover, milk jug, basin, two cake plates and twelve cups, saucers and plates.

Royal Worcester 1890.
Not a particularly attractive coffee pot with ugly cover not helped by weak gilding and thin enamels on the ivory-coloured body. A service of twelve cups and saucers, cream jug, sucrier and coffee pot.
The mouth of each cup with a yellow band edged with raised gilt leaves, the interior of the cup as is usual, burnished gilt. The rather dull decoration of this set is helped by the art deco enamelled silver spoons which bear an import mark, indicating that they were made abroad. There is no need to worry about slight discrepancies in date codes on any sets of Royal Worcester or Crown Derby. The sets were made up from shelf stock and pieces might well not get used for a yeaT or two.
A boxed coffee service with silver spoons painted by James Stinion, signed, with pheasants, the interiors of the cups gilt. These sets are now very popular and can be found with fruit.

Royal Worcester 1929.
An uncommon form of decoration by Jack Stanley of hunting scenes. Much rarer than the Stintons’ work or fruit subjects, but fetching no more because the former are more desirable.
An interesting comparison of single cups and saucers, ignoring the spoons. a. Fruit by Townsend, signed, 1934,Powder-blue ground, gilt border, 1926.

Pheasants by James Stinton, signed. Transfer-printed roses, gilt-edged green scroll border, pierced silver mounts, 1905.

Mintons 1867.
An unusual design of matt and burnished acid-etched gilt borders and ovals against a mirror-black ground. A well-finished vase but not very desirable because of the colour. If found in another colour
The Aesthetic or Japanese Movement is now gathering its second impetus and prices have started to rise. Vases such as these which, apart from period interest are also decorative, seil as such. The bright turquoise ground with motifs on the feet and Shoulders based on oriental cloisonne.

Antique Porcelain Vases: Minton Vases, Moore, Rockingham, Spode, Swansea and Royal Worcester Vase

Tuesday, December 15th, 2009

Antique Porcelain Vases: Minton Vases, Moore, Rockingham, Spode, Swansea and Royal Worcester Vase

Antique Minton Porcelain Vase 1871.
A good pair of vases with brightly enamelled birds. The blue ground is rather too dark resulting in an unfortunate drab appearance; a brighter blue or other colour could raise the price. The handles and borders gilt.
Impressed name and date code An important dock garniture in pate-sur-pate by M.L. Solon. Solon came to England from Sevres in 1870 and had this garniture ready for the 1871 London International Exhibition where it was shown on the stand of Thomas Goode. It was also illustrated in the Art Journal Catalogue. It is difficult to assess accurately pieces as important as this set, which had some damage to covers and opened firing faults, the price being dependent on so many factors.
One of the oriental-influenced wares of the 1870’s and 80’s which are underpriced. Well decorated and gilt but not popular. A pair would be much better, but still the price compares unfavourably with, for example, a pair of Royal Worcester vases with sheep. This shape with the small loop handles has been seen with the handles broken off, ground down and restored.

Antique Mintons Vase 1874.
A pale pink soft porcelain body with gilt-printed roundles. A plain but interesting moon flask from a design point of vicw. The fish are taken from the Chinese fish moulded in low relief on marriage ceremony dishes and the stylisation of the butterfly could suggest a 1920s date. The type of item that is unappreciated by all but a few enthusiasts for the history of ceramic design.

Mintons possibly 1875.
Printed name and retailer’s mark, blurred date code
This set of vases is very thinly potted and intricately pierced and therefore fragile. Few examples seem to have survived. The rose-pompadour ground has gilt-edged panels of putti resting on clouds. All of good quality and desirable.

Minton  c. 1880.
A dull pair of vases, the shoulders in simulated bronze and with silvered and gilt flowers on a pale lilac ground. The idea of the bronze bands is taken from Chinese porcelain of the same date where it is equally dreary.
A superb, coloured, pate-sur-pate vase by M.L. Solon, signed, with an elaborate design of putti being weighed. The borders in green, yellow, brown and gilding. The technique of pate-sur-pate was extremely slow and fraught with dangers of failure and, therefore, very expensive at the time. This particular vase is highly successful and the subject matter is easier to take  than many of Solon’s designs.
The pate-sur-pate panel by T. Mellor, signed and inscribed ‘after A. Boullemier’. The body in page pink-red with blue ribbons, the white figures against midnight-blue. T. Mellor was one of Solon’s pupils and his work is rare; it is additionally unusual to have recorded the name of the artist after whom the design is taken.

Mintons c.1890
Printed crown and globe, impressed name and retailer’s name.
A pate-sur-pate vase of fine quality but unfortunately unsigned. The body a deep sea-green and a very common shape for pate-sur-pate decoration. M.L. Solon who trained several apprentices to help in the work, was said to disapprove of anyone but himself signing their work,  although after 1900 this became more common. The mark of retailer is often found on pieces such as this, in this case Thomas Goode.

Minton Vase 1894
A rare M.L. Solon vase with a white figure in pate-sur-pate against the ‘artificial ruby’ ground which changes colour according to the light in which it is viewed. The combination of bichrome of potash and alumina changes from mushroom in daylight to deep-carmine in tungsten.
Blurred impressed marks.
One of an unusual pair of vases in that there are seven different colours of pate-sur-pate involved. The panels are by H. Hollins, signed, and the whole design is not particularly successful. The body is also too big for the foot. Hollins was one of Solon’s apprentices but by no means one of the best. Compare with the Solon vase .

Mintons 1895-1900
Printed gilt crowned globe, date code.
A deep aquamarine body with white figures by M.L.Solon, signed. Typical subject and the usual good gilt borders. The standard of the pate-sur-pate is unusually crisp and clear and the price reflects this. The date codes on pate-sur-pate of this date are frequently blurred and difficult to decipher but one can usually make out enough of an outline to give bracket figures.
A pate-sur-pate vase by Alboine Birks with his monogram. The argument over whether Solon or his pupil Birks was the better pate-sur-pate artist ultimately rests on one’s own taste but certainly Birks’s handling of naturalistic foliage and flowers was streaks ahead of his master’s, while his putti appear to have taken weight-lifting courses.

Moore 1873
A good quality vase in the form of a putto supporting a fan, hollow to form a vase. Like the Brown-Westhead, Moore example not a much collected style especially as the bird painting on the fan is beginning to reflect the Japanese taste with a resultant clash of cultures.

Porcelain Moore Vase c.1895.
A pair of vases in the form of epiphyllum cacti, a favourite form, not only of Moore’s, but of several other factories of the last quarter of the 19th Century. The flowers pale yellow and with base gilt, on the poorly-moulded ground. These can be found in several sizes.

Rockingham Vase 1826-42. Printed griffin in puce.
A small and not very attractive piece of porcelain painted with uninspired flowers on a blue ground. Without the factory mark this vase would fetch about 100. Although the shape is unique to the factory, an unmarked piece would fetch. A really well painted piece.
An attractively painted vase with typical early nineteenth century flowers including the popular ranunculus and passion flower reserved in a gilt panel on a green ground. The shape is common to many factories and a mark is vital for identification, but look out for added marks. Prices vary according to period and the decoration.

Rockingham Porcelain Vase 1830-42.
One of the few vases of a type at one time always called Rockingham which actually is. The scene of a ruined abbey is rather mean in size but the bizarre stork-head handles help a great deal. The applied flowers of the best. Made in other sizes.

Spode first quarter of the 19th century.
A typical Imari pattern of the period with the usual stylised flowers and fenced garden. Because they are not uncommon and not large enough to score on their decoration alone, vases such as these are not expensive.

Antique Spode Vase  c.1820-30
A fine pair of vases in neo-classical style and well painted with named scenes of mythological subjects. The handles gilt and all of high quality . Well  painted figure subjects of this type are very saleable and considerably rarer than simple floral studies.

Spode 1965
A limited edition covered vase of reasonable quality with a wealth of detail about Sir Winston Churchill’s life and honours. Like most commemorative wares liable to violent ups and downs in price but, being one of only 125, probably with a good chance of survival.

Swansea Vase 1819.
A rare pair of spill vases entertainingly painted with oriental influenced deer in panels reserved on a flower-painted ground. These vases are of additional interest in that they bear the initials MM, probably those of the painter Mary Moggridge, and the date 1819. Without initials and date.

Wedgwood 1920’s.
A pair of mottled pale blue-ground vases with gilt and mottled purple dragons above waves. Not being decorated with fairies, they are relatively inexpensive.

Antique Wedgwood Vase 1920’s
A pair of vases with plum and gilt dragons against a pale runny blue ground. The pale ground make the dragons better delineated than usual with a higher price. Pairs of these are much less common than singles but, in contradiction to normal practice, little more expensive.

Wedgwood Vase 1920’s
This print of a fairy is not common and when seen is rarely well coloured and registered. As can be seen her dress is blurred and the whole rather too dark. A good clear design could fetch.
A fine vase with good registration of the gilding over bright colours.
Printed vase and name.
An exceptionally large piece of Fairyland and with very bright coloration. This particular shape is rare.
A well-matched pair of fairyland vases with a complicated but accurately registered design of a snake round a tree and dreamlike happenings in bright enamels and gilding.

Wedgwood c.1930.
Coloured butterflies against mottled blue ground. As with the dragons lustre not expensive compared with the Fairyland. Given the same size, any other form of vase with the same design would be about the same price.

Worcester, Flight, Barr and Barr. 1820
A fine covered vase painted with shells on one side and flowers on the other, probably by Thomas Baxter. The ground deep blue with gilt scrolls and handles.

Worcester, Flight, Barr and Barr.
A blue ground vase with a panel of Faith and with gilt details. The religious subject is against the piece making as much as a landscape. Pair of Faith and Hope . Pair with landscapes.

Worcester, Flight, Barr and Barr Vase .
A vase and cover with gilt snake handles and a blue ground painted with a panel of an exotic bird in a landscape by ‘Dr.’ George Davis. Single with damaged handles. A clean break at the junction of socle and body is not uncommon and does not affect the price by more than about 10%.

Worcester, Flight, Barr and Barr.
An urn with deep blue ground painted with a panel of flowers.

Antique Worcester, Flight, Barr and Barr. 1830.
A vase and cover with a panel of Clio within a beaded border on a green ground supported on the heads of three gilt mermen, one of whom lacks wings. Perfect example. Without matching cover.

Worcester Kerr and Birtns Vase  1858.
A high quality pair of vases painted in grey with tided portraits of classical authors, the rest with Tooled gilding. Kerr and Binns period Worcester is underpriced at the moment, probably because there is too little of it about to generate a strong market.

Royal Worcester Porcelain 1862.
A pair of vases and covers painted in white enamel by Thomas Bott a turquoise ground. Lacking covers.

Royal Worcester Vase  1863.
A rare parian piece with unusual pink, purple, brown and green coloration picked out in gilding. Good quality but not the most attractive of objects. Nor of a much collected period. A pair would be more desirable to the decorators.

Royal Worcester 1866.
A fine Vase with a deep blue ground enamelled in white by Thomas Bott with putti in ‘Limoges Style*. Such pieces are rare and much sought after, his work being exhibited from 1851 to 1870 when he died. Not to be confused with his son, T.J. Bott, who also worked at Worcester c. 1870-1885 in the same style as his father.

Royal Worcester 1867. Impressed and printed crowned circle, one with date code.
A comparison showing the same shape treated in different ways. The example on the left with coloured flowers, gut borders, turquoise medallions and white beads, the other with pale apricot ground and gilt borders, much less desirable. It is worth comparing also the sharpness of the moulding on the example on the left with the other.

Royal Worcester 1872 with printed crowned circle mark and dated 1872
A good pair of Japanese-taste vases after James Hadley with the portraits tinted against a bronzed ground by James Callowhill, the handles and feet also with bronzing and gilding. These and other vases in similar style were exhibited at the London International Exhibition of 1871-72 and were illustrated in the Art Journal Catalogue. The standard of production is very high and this, combined with their period interest, would seem to indicate a likely rapid increase in price.

Royal Worcester Vase 1874.
One of Hadley’s Japanese series with ivory-tinted body and sombre but very well executed coloration.

Antique Porcelain Vases: Brownfield, Coalport, Copeland, Royal Crown Derby, Grainger and Co Vases.

Tuesday, December 15th, 2009

Antique Porcelain Vases: Brownfield, Coalport, Copeland, Royal Crown Derby, Grainger and Co Vases.

Antique porcelain vases were usually made purely for decoration and not to hold flowers. The price is now governed by the quality and decorative value. and, as always. by the  factory. There are quirks in this section as in the others. The Minton flower-encrusted vase was really quite cheap, because the heavy flower encrustation put off buyers who  feared damage and because of the impossibility of cleaning it.
Watch out for vases that have loti their covers; these arc often easily identifiable by the flange at the mouth to take the cover, or by an unglazed or ungilt rim, or simply as  a question of proportion. Occasionally. on later Worcester or Derby, the mouth is gilt under the cover and  can be missed .
Watch for replaced covers that do not quite fit. Check damage on handles, mouth, base, cover and knop - the most vulnerable points. Note  that a vase has been seen with the  handles broken off, the area where they were, ground down and then resprayed and gilded.
Worcester vases at the junction of socle and body were, between 1890 and 1920, very poorly joined with slip before firing. They break cleanly at this point and any restoration  is difficult to detect.
Signed paintings on vases are generally of greater interest than those unsigned and many artists are recorded with their dates in the standard reference books. We have never yet  seen a famous signature, such as Davis or Stinton, added to an anonymous vase, but no doubt that will come.

Belleek Vase third quarter of the 19th century.
A rare and desirable piece of Belleek, both for its large size and good coloration; it is also well moulded. An uncoloured example and a late piece with the added County
Fermanagh, Ireland to the crest.

Brownfield and Son c 1875. Printed globes mark.
A parian vase in the same matt coloration as the following piece, the body apricot and the leaves putty-coloured with white flowers.

Brown-Westhead Vase, Moore and Co.
A high quality piece from a factory little known for this type of ware, the white figure seated on gilt and apricot sheaths forming vases.

Brown-Westhead, Moore & Co.
A fine pair of vases with well painted classical scenes on an apple-green ground with flowers at the base and gilt handles. An uncommon factory for large pieces of this sort.

Coalport first quarter of the 19th century.
An attractive flower-painted vase in bright enamels, reserved on a pink ground with gilt borders. It is worth comparing this vase with the Rockingham vase on p.421 which,
although a little larger, is as well painted but without the coloured ground.

Coalport c.1840.
A sad example of the dying of a good vase. One handle has completely vanished, the other almost, and most of the flowers have been plucked. However the painting is good and the main body of the vase undamaged. With handles ground off, the flowers repaired where possible, or again ground off and restored, it will probably appear on the market at about.

Coalport Vase 1861.
A vcry good vase in a sorry state with several severe body cracks. An important vase, as it was shown at the 1862 Exhibition and was illustrated in Waring’s Masterpieces of the
1862 Exhibition. It was probably painted by R.F. Abrahams. A comparable perfect exarm.

Coalport c. 1861. CBD monogram.
A superb pair of rose-pompadour ground vases with brilliantly painted scenes after Boucher. The rope handles and other details picked out in gilding. The factory had a
reputation at the time for the success of its pink ground but the production of the body suffered at the junction with the foot, where it is likely to become detached. Such
damage does not greatly affect the price. The CBD monogram stands for Coalbrookdale.

Coalport c. 1861. Gilt ampersand.
A large and very high quality vase and cover. probably made for the 1862 Exhibition. The putti in clouds were probably painted by James Rouse who later became the star decorator
at Derby. The bleu-celeste ground is gilt with scroll work. It is highly unlikely that this vase ever had a companion, but a similar pair.

Coalport Vases 1897. Printed name, refailer’s name.
A large and well executed vase made to commemorate the 1897 Diamond Jubilee. The s mail medallions on one side show scenes of the time when the Queen came to the throne in 1837,
and on the other the same updated, Le. reaping by hand and then mechanically. Only 50 were made for Osler’s of Oxford St. One of the few exceptions to the rule that coronation
or commemorative wares are of little value.

Coalport 1898.
A small pair of vases with deep blue body painted with scenes within lemon-yellow panels. Rather too ‘dumpy’ both in form and decoration to be generally desirable but in this
case their small size brings them into the miniature category, of which there are many collectors.

Coalport c. 1900
A three-handled vase with good gilding on the dark-blue ground enclosing small landscapes. This example was sold with one damaged handle, which gives an idea of how very little
damage can dramatically reduce values.

Coalport c 1900
A vase painted with fruit and leaves in a gilt-edged panel on a blue ground. A popular type of vase which can fetch more than it possibly deserves.

Coalport c.1920. Printed name. retailer’s mark
A good pair of vases and covers with well painted fruit panels by F.H. Chivcrs, signed, on a royal-blue ground. Fine qualiry Coalport bas been rising quite fast recendy to bring
it more in line with the Royal Worcesiera and Derbys. A Single vase and cover.

Copeland 1862.
A fine vase, one of a pair, painted by CF. Hurten and exhibited at the 1862 Exhibition. The neck and foot with blue leaves and gilding on a pink ground, and ail of a high
standard. The knop in ormolu.

Copeland Vase 1870
HPrinted, WTC monogram and dated A damaged piece brilliantly painted by CF. Hurten, signed. It was executed for, and exhibited at, the 1871 Exhibition and is illustrated in the
catalogue. The initials are those of W.T. Copeland, the owner of the factory. A comparable perfect piece. Hurten was one of the best flower painters of the period, his work
appearing at the major exhibitions. A very large vase, possibly his masterpiece, is in the Victoria & Albert Museum.

Copeland 1874.
An amusing and well executed pair of vases, the nest turquoise and the rest with gilt lining.

Copeland 1891-1902. Printed name
The shoulders in apple-green and gilding above clear and naturalistic flowers, painting by F. Adams, signed. Copeland vases of this quality and date are not common and are
sought after. As always, single vases are much less expensive.

Copeland c.1900
A richly-decorated pair of vases with 18th century figure subjects by S., signed, the rest of the body deep-blue and gilt scrolled. Alcock was amongst the better late 19th
century painters and the large size of these makes them highly desirable. A damaged knop would reduce the price.

Copeland and Garrett 1833-47.
A dainty pair of spill vases with attractive painting and gilding. Less С than the flower-encrusted type and now more popular. Single

Davenport 1815-25.
Porcelain vase in the Paris Empire style. Decorated with raised and tooled gilt agricultural trophies on a matt blue ground. Handies in the form of female heads. Vases and
ornamental wares from ihis factory from before 1840 are very rare.

Derby Crown Porcelain Company Vase 1885
A superb quality vase, designed by H. Warrington Hogg, but lacking its cover, with very pale gold gilding on a cream ground with metallic red and green- flowers and with matt
and burnished gilt borders.

Royal Crown Derby 1889.
A washed-out yellow ground combined with appallingly insensitive gilding makes these amongst the least desirable wares from a much collected factory with a usually high
standard. There was a period in the 1880s when a lot of bad gilding was done.

Royal Crown Derby 1891. Printed crowned monogram and date code
A pair of eccentrically designed vases with gilt handles and decoration on a rose-pompadour ground. The painting is unfortunately not of the best, with a resulting lowish price.
Even slightly better decoration.

Royal Crown Derby 1892
A popular type of decoration with iron-red, underglaze-blue and gilt flowers, some outlined in relief gilding, but with an overall somewhat confused appearance.

Royal Crown Derby 1893.
Maroon ground vase with gilt hog-weed, overall a dull appearance.

Royal Crown Derby 1904 Height.
An exceptionally large vase painted by W. Mosley, signed, with flowers on a gros-bleu ground, gilt with scrolls. The large size and high standard makes this a particularly
desirable piece of Derby. The mark also has the Royal Coat of Arms.

Royal Crown Derby Vase 1910. Printed crowned monogram.
The flower painting by S. Hardy, signed and with good gilding on the gros-bleu ground. As always with Royal Crown Derby of this date a highly proficient production.

Doulton Late 19th century.
The roses against a deep-blue ground and with gilt leaves. Because Doulton produced so much interesting stoneware in the late 19th century its porcelain, which was never very
exciting, is largely unappreciated. The factory did not receive its ‘Royal’ title until 1901.
A garniture of vases with panels of flowers on a gros-bleu ground above gilt springing leaves..
Well pierced and gilt bodies painted with small panels of flowers, originally had covers.

Grainger and Co. 1870-89.
A well pierced vase and cover with simple gilt line details. The more elaborate the design of the piercing the more expensive the piece will be. A net has been defined as a lot
of holes held together by string and it appears that the more these wares resemble holes held together by porcelain the more they are appreciated.

Grainger and Co. 1870-89.
A pair of vases with a creamy matt ground with gilt-edged leaves and pink flowers. Rather too plain to attract a very high price, they also had covers originally. With covers
A moon flask decorated with printed outlines of coloured sprigs and a butterfly against a duck-egg blue ground. The sparse decoration relieved a little by the
gilt mask and snake handles.

Grainger and Co.
Moulded KL monogram.
A well-decorated pate-sur-pate vase, probably by one of the large family of Lockes whose initials appear on the base. Contemporary photographs show this shape as Grainger9 s,
where the father, Edward, worked for a time before he set up the short-lived Locke’s Worcester factory producing Royal Worcester style vases. Despite the high quality of the
decorations, as with many other pate-sur-pate artists, apart from Solon, the work is underrated.

Grainger and Co. 1890. Printed shield and registration
An amusingly conceived pair of vases with a little gilding and pierced bodies and necks. Grainger’s pierced work was of as high a standard as that of Royal Worcester, excluding
the individual work of George Owen
and the paste used is an attractive, slightly matt, ivory tint, more sympathetic than the Royal factory’s counterpart.
An attractive vase with pierced and gilt spirals. With all pierced wares of this type it is worth examining the piece with great care as it is possible to damage one small
scroll leaving an almost unnoticeable hole or hair crack.

Grainger & Co. 1891.
With deep blue body with gilt and grey-blue hops.
1891-1900. Printed shield An extraordinarily dcsigned pair of vases with the form based on die Chinese ku of a Shang dynasty bronze and the pierced scrolling
both indian and Moorish influenced. The result is not aitogether comfortabie especially as the casting is rather heavily executed and unrelieved by gilding. Examples may be
found decorated with gilding.

Grainger and Co. 1900.
A little more unusual in form than most Grainger’s and with an obviously J. Stinton-influenced design of Highland cattle on a peachy-yellowy ground, but unsigned.

J. Hadley & Sons 1900 Vase.
A tag with coloured slip decoration and painted orchids, gilt details, like most of Hadley’s products,of good quality and unusual coloration.

George Jones 1874-91.
A pate-sur-pate vase decorated by F. Schenk, signed, against a deep green body, the ring handles gilt. Schenk was a competent artist in the medium but his work has not been much
collected, possibly partry due to the dumpy shape supplied by George Jones and the uninteresting gilding Prices have risen sharply over the last year.
A porcellanous tour-de*force, but despite the brilliance of the painting of the figure scenes and the richness and high standard of the flower-encrustation, the price is
affected by as mundane a reason as the difficulty of cleaning it without pieces breaking off. Because of this such vases are rarely found perfect; it is indeed unlikely that
they ever left the factory without some restoration and a certain amount is  there- fore acceptable. As it is almost impossible to display safely unless under a glass dome, the
price is again affected adversely. Despite the lack of mark the shape is known and illustrated as the *Very large Dresden vase* number 230 in the 1840 Min ton design book. It is
interesting that the cost of the vase included antique for the figure painting and S/* for the floral bouquet on the cover.

Minton 1845. A fine vase after a Sevres original, well painted with exotic birds and with blue, pink and gilt borders and handles. The type is known as Sneyn from the design
record books and was on view at the 1849  Birmingham Exhibition.

Minton 1862 Vase.
With better moulding these could have been quite attractive vases, the body pale and the leaves dark green and with white lily of the valley flowers. This pair are in reasonable
condition, most of the flowers intact. Any damage would reduce the price.

Minton 1862
Well painted in bright enamels, the blue-celeste ground with fine tooled gilding. The dancing maidens not a highly desirable subject.
These vases were shown at the 1862 Exhibition in London and bear the puce ermine mark used only on those pieces.

Antique Porcelain Decorative Plates

Monday, December 14th, 2009

Antique Porcelain Decorative Plates

Plates have always been found a useful base for displays of ; proficiency and have therefore becn frcquently used for decorative rather than utilitarian purposes.
Although single plates from rare or highly decorated eighteenth Century services can justify a single lot at auction, only plates from a few special services or faetones of the early nineteenth cenury warrant this (reatment. Single plates otherwise are generally in the region, unless they have been produced in fairly limited numbers.

Derby football plate. These were never intended for use, the plate being only a suitable canvas for the decoration.
Rates are nearly always prets moulded by machine. A sheet of clay is stamped top and bottom into a mould. abowed to dry, cleaned upglazed and fired. Mass production techniques have, to a greater or la sser, degree been in use since the beginning of the nineteenth century* Methods of decoration include the use of transfers, usually in one colour, as a basis for added coloration by hand, a technique still used and still  cheaper and more efficient today than a machine. The design is sometimes *tied together* after colouhng by a further transfer in gilding from the same engraved plate as the first outline, as in Falryland Lustre Signed plates were entirely hand enamelled but executed to a fairly set formula.
Dessert as eaten during the nineteenth Century has vanished from the dining table and with it the usefulness of the numerous services from  which  it was eaten. The result is that, unless of extremely high decorative quality suitable for filling a corner cabinet, they are very cheap.
One of a set of sixteen game plates in a fltted box, each well painted with a different named bird or beast by J. Birbeck, signed. The rim royal blue with gilt scrolls. The set fetched 1,000 at auction because of their fine condition and decorative qualities. Cauldon produced little of such a high Standard and there is no strong Jemand from collectors. The factory is therefore not a price factor and would be much the same for any other minor factory.

Coalport Decorative Plate 1808 and 1809.
Two extraordinarily rare plates, their interest lying in the fine painting by Thomas Baxter and in the fact that they are signed and dated by him. Only a few others are known.
As can be seen in the photograph, pey both have some wear to the wide gilt borders. A really immaculate example could fetch.

Coalport с. 1850.
A well painted plate with panels on a gilt and pink border, with four low and a high tazza.

Coalport 1861-65.
The grey monochrome painting of Sarpedon borne by figures symbolic of Sleep and Death by R.F. Abraham. Red and gilt border. R.F. Abraham 1827-1895 worked at Coalport from 1850-1865 and was described in the Art Journal as the principal painter of the day. This dish would fetch more with a less mournful subject.

Copeland Decorative Plate. 1860.
A gill border enclosing a weJJ painted border of bright summer flowers but let down by the sparsely decorated centre. Signs of wear on a plate of this type would reduce the price. Service of twelve plates, four shaped dishes and a tazza. Had the centre been painted with a larger display.

Copeland and Garrett c.1840.
Typical of thousands of odd plates left over from services and now lurking unloved in antique shops all over the country. The wavy ribbon favourite mot: from the 1830s to 50ft. This example with hand coloured flowers over a puce outline against a lime green ground. The pnce given is for a perfect example, the one illustrated is worn, making it almost valueless. Service of twelve plates, tazza and four dishes.

Davenport Decorative Plate 1856.
An attractive um painted plate from a service of two tall iazza, two low tazze, and eight plates, each with a different named fruit, the border puce and gilt. Wear on a plate of this type is vcry disfiguring and can halve the price.

Derby c.1810.
A finely painted pair of plates titled on the reverse. A Wreck and the borders in gilding with rich scrolls, the left plate wom at the bottom.

Royal Crown Derby Decorative Plate 1878. Printed crowned monogram.
A rich, relief-gilt decoration in burnished gold and silver and with touches of enamel on an ivory ground combined with the Derby name makes this a desirable plate. The gold on
these plates being both soft and in slight relief make it unlikely that they were ever intended for we; if they have been, the gilding is invariably scratched, reducing the price to perhaps. Service of twelve plates, four low and one high.

Derby Crown Porcelain Company 1884
Impressed and printed monogrom and cruwn, data code An unusual plate from a dessert service, designed by John Joseph Btownswonl who was Principal or Hull Art School, with transferprinted scenes of children inspired by the book illustrator Kate Greenaway. The border claret. Service of twllvo plates, four low and two high tazze.

Derby Decorative Plate 1891. Impressed name, printed monogram and crown including code.
One of a well-known series of plates painted by James Rouse, senior, 1802-1888, signed on the reverse. The flowers in bright enamels and well painted. It is not recorded how many were painted and they turn up infrequently in the sale rooms. Rouse created a new style of flower punting and worked at all three Derby factories. His work Is very desirable.

Royal Crown Derby 1893. Printed crown and cypher, registration and date code.
A very rare and finely decorated plate painted by P. Taillandier, sigrted, with a portrait within a candy-pink border. The rim pierced and gilt, tlie whole extremely thinly potted and known as ‘eggshell’ porcelain. Little is known about Taillandier except that he was the grandson of a Sevres painter, his work is very scarce, the only other example having come on the market in recent years was in the same sale and was painted with cupids and did not have the pierced border.

Royal Crown Derby 1913.
An uninteresting dish, sparsely painted, with flower sprays within a dark blue and gilt rim. Service of four dishes and twelve plates *80-?l20. Because of the lack of suitability for decoration due to the ехсеss of white ground a service of this type is not very saleable.

Royal Crown Derby 1946.
An interesting commemorative plate for the 1946 Cup Final at Wembley with the Derby Coat of Arms and an inscription on the reverse. One of a limited number made for the players and officials and commemorating Derby’s win.

Royal Doulton Decorative Plate c 1910. Printed crown and lion.
A good quality plate with gilt work in relief, the border pale pink.
Doulton still produce plates of comparable quality.

Royal Doulton
Printed lion and crown.
The flower panels by C. Hart, signed, within gilt and claret panels, the rim acid-etched. Royal Doulton was producing very fine porcelain at the turn of the century including non-functional plates such as this and the example on page 219.

Minton 1872. Printed and impressed name, date code A well painted plate by Henry Mitchell, signed with initials with a pomeranian within a pierced gilt border and turquoise band.
A dessert plate well painted with fruit. The border in etched matt and burnished. Set of twelve plates, four high and four low tazze.

Mintons Decorative Plate 1878. Impressed name and printed Paris Exhibition mark
A well-painted plate with a scene of French soldiers drilling on a quay within a brilliant turquoise border gilt with scrolls and oak leaves. A signature would add.

Mintons 1880. Gilt printed and i m presse d crown and globe, date code
A well painted plate by Marc Louis Solon, signed and dated 1880, with an unusual number of colours. The girl in sepia with cream-bordered drapery, chocolate scarf, pink hearts, pale blue thread, green cacti and an olive-blue ground, the border eau-de-nil and gilt. Apart from the large number of colours Solon did not execute many plates, making this rare  item.

Minton 1881-1882. Impressed Minton, retailer’s mark.
One from a set of nine plates which fetched at auction. Each well painted by Anton Boullemier, signed, with a different girl in contemporary costume in various settings, the rim gilt. This type of decoration with scenes which could be taken from popular novels of die period have only recently jumped the hurdle from being objectionably Victorian to being interestingly nineteenth century. Three years ago it is unlikely that the set would have fetched.
Impressed name and date code, printed Phillips of Oxford St. retailer’s mark
A superb quality service to which the photograph could not do justice. A deep blue ground with vcry finely gilt leaves and flowers in grey and white. Price given for twelve plates, two low and one high tazza. Asyet this type of highly refined service is not appreciated as it should be. Odd plate.

Mintons Decorative Plate c 1895. Printed crowned globe.
An unusual plate with white decoration on a black ground, the rim in Imon pink and gilding. Marc Louis Solon, who executed this dish,as always, Solon which has led to a great deal of confuaon. as his son, who also worked as an artist for Minton in pate-sur-pate, though not of this type, was called Leon Solon. While in Paris where started inpate-sur-pate M.L. Solon signed Miks, from his initials. ;suh pieces being executed on hard paste porcelain.
A fine plate in pate-sur-pate, but unsigned, with an amusing subject against a pale grey-blue ground. The impressed date codes of the late 19th and early 20th century on Minton pieces are often badly.
A pate-sur-pate plate by Alboine Birks, signed, with Venus and cupids against a pale blue ground. Well executed, but the scenes on too small a scale to be very exciting. The influence of the teaching of Solon on Birks is obvious in the subject matter chosen - cupids subjected to various tortures such as whipping, washing and roasting.

Antique Porcelain Jugs, Mugs and Ewers

Monday, December 14th, 2009

Antique Porcelain Jugs, Mugs and Ewers

The material for the body was by no means fixed and one design can be found in soft earthenware, stoneware and parian; in fact, it is occasionally difficult to decide between the last two, the body looking like a fine stoneware or a proto-parian body. Those illustrated on p. 146 could be examples of these and the price would be about the same for each assuming the quality of casting was constant. An earthenware example would be considerably less, mainly due to the lack of definition. Colouring was occasionally
undertaken, either self-colour in sage, pale blue or buff, or enamelled over the design, often to the detriment of the piece, but superb examples do tum up and are unlikely to fetch as much as they should. Indeed, the whole of the moulded jug market is in need of more serious consideration. One could predict that there would shortly be a sharp rise in price for good examples.
Also neglected are the porcelain jugs and mugs produced as gifts for retiring mine owners, christening presents, records of marriages or dedications of the heart with appropriate gilt script, messages, bright flowers and occasional emblems. The factories that produced them remain anonymous, as do the decorators, but a collection of the different types of person to whom and by whom they were given would show a fascinating cross section of Victorian sentiment. Most important of ail, they are nearly always dated.
Large ewers from washing sets are not common in porcelain, most being made of earthenware. Those that do occur are rarely of much value since little regard was paid to them.
They are, however, very good for flower decoration. Jugs from tea and coffee services are dealt with under that heading.
Samuel Alcock.
Samuel Alcock made a large number of classically-influenced wares from the 1840s-60s. The majority of the products were in stoneware and will be dealt with in the forthcoming.
Price Guide to 19th Century English Pottery. The colours used here are a typical royal-blue ground and a transfer-printed black outline, peach and orange coloured. One of the problems that Alcock’s porcelain suffers from is visible in the photograj| - the ground colour is too thin and soft with the result that it wears badly.

W. Brownfield 1863
Elaborate moulded mark and registration.
A crisply moulded parian jug commemorating the marriage of Albert Edward, later Edward VII, to Princess Alexandra of Denmark. A well designed piece possibly by W. Harry Rogers,
It is less commonly found with the background enamelled, usually in buff or chocoiate, badly applied and fired, but a superb example has been noted raising the price to ?15—?20.
The price differential should be greater. Further moulded commemorative jugs will be found in the forthcoming Price Guide to Commemorative Pottery.

Caughley/Coalport first quarter of the 19th century.
A rare pair of jugs with good flower painting and a gilt JH in a wreath, the bodies cabbage-leaf moulded, probably from 18th century moulds, and with gilt mask spouts. The Caughley factory sold out to Coalport 1799.

Chinese decorated E & С Challinor 1862-80.

An English Staffordshire porcelain jug decorated in Canton. It is almost impossible to explain the reason for its existence possibly it was a sample sent from England to test the possibility о utilising the cheap labour for decorating in China, or it may have been sent by a member of a ship’s company on the spot. It is probably the only example, but even so, not of much value.

Coalport first half of the 19th century.
A quite well moulded and painted jug but difficult to display. Good flowers. Originally from a bedroom washing set.

Copeland mid-19th Century. Impressed name and C.P. Art Union
An exceptionally high quality parian goblet with matt and burnished decoration. With the interest in parian being revived, at the present mainly in busts and figures, it will probably not be long before really good wares such as this rise fast in price.

Possibly Davenport с.1835.

A hand-painted mug with pink cabbage roses and gilt leaves. Attractive but not sought after.

Doulton 1897. Printed green rosette.
A good quality Diamond Jubilee piece with the additional interest of an inscription on the side recording its presentation to J.C. Bailey from Sir Heniy Doulton. Had the mug been anything but commemorative, but with the same dedication, it would probably have fetched more.

Аn interesting jug with a black transferred view of the 1851 Exhibition building (the Crystal Palace) from pot-lids, the Exhibition wares are strangely unappreciated.

Much rare thing coronation commemoratives and mostly of better quality. Should be more expensive!

A ‘Gothic’ jug moulded in stoneware and therefore not strictly entitled to appear in this book at all but it serves to show how similar these jugs are to the parian examples. The price of a similar example in parian would be about the same but less sharp moulding could reduce the price to 12.

Described in the Minton shape book as a “Sevres Ewer” since the shape is based on a Sevres original, this jug is well nioulded and gilt but of an unappreciated period and not flamboyant enough to fetch a high price.

Paragon 1937. Elaborate gilt mark including name.
A well-printed  coloured   design  commemorating the non-event Coronation of Edward VIII. This is a limited edition of five hundred numbered on the base and in a fitted box.
Most commemorative wares since 1902 were issued in vast quantities, often given to school children as souvenirs along with the one-day holiday. These were cherished by their owners and have entered the family folk history usually on the theme that only three were made, one of which is in a museum, one in America and theirs is the other. The truth is that they survive in quantity and are usually sold for between.

Rockingham 1830-42. Printed griffin in puce.
The handle of this mug is in the unusual form of a horse’s hoof and the upper part a horse’s tail, which is unique to Rockingham. Many such mugs occur unmarked but can be differentiated from almost identical Derby mugs, in that the latter do not have the upper part of the handle as a tail, i.e. moulded to simulate hair, but are quite smooth.
The mug illustrated is very rare and extremely well painted with a portrait of the Duke of Wellington in a gilt panel on a claret ground. Altogether the quality, subject matter,
factory and condition add up to an expensive piece of porcelain. A crack would reduce the price to a

Royal Worcester at its bizarre best. A rose-water sprinkler, vaguely Persian-influenced. The gilt ground painted with squirrels and birds and all of high quality.

Royal Worcester 1887. Printed crowned circle, date code.
The dragon handle is loosely based on the chih-lung that crawls round the shoulders of Chinese Canton-decorated vases of the 1860s on. Not a particularly good example with heavy-handed gilding on brown leaves.

Royal Worcester 1889
A neauy and attractively painted pair of jugs with named views of the Rhine and Black Mountain NA, framed by gilt leaves. The upper handle terminal is in the form of a dolphinesque bird’s head. Touches of this sort add to the desirability of what could have been a simple loop handle.

Royal Worcester 1890. Printed crowned circle, registration, date code.
A rather ugly jug, printed and coloured with an epiphyllum flower.

Royal Worcester 1892. Printed crowned circle, date code A good ewer of Persian inspiration, having an ivory body with pale whip-lash floral enamelling. The neck and cover are pierced and the spout removable.

Royal Worcester 1894. Printed crowned circle, registration, date code.
Typical of numerous shapes of jugs or ewers produced by the factory in the last quarter of the 19th century and continuing the shapes well into the 20th. The decoration coloured and printed in gilding on apricot, shading to yellow, bodies.

Royal Worcester 1902. Printed crowned circle, date code
A very good little ewer with fine landscape painting by Harry Davis, signed. The rest of the body a clear apple green, making this a most desirable piece.

Royal Worcester 1907. Printed crowned circle, date code
A well cast ewer with bronzed borders and a scene of sheep by Harry Davis, signed. Davis was known for his sheep, which fetch high prices. His less common landscapes, see p. 147, are painted with greater care but are not much more expensive.

Royal Worcester 1915. Printed crowned circle, date code
A pair of ewers of extreme ugliness, the pierced spouts and over-ornate handles doing nothing to help. The paintings by John Stinton, signed, are of his usual standard and his usual Highland cattle.

An attractive ewer, well printed and painted with flowers, but not collectable item. Originally made with matching basin for use as a washing set in bedrooms before plumbing. In the early 19th century these sets were often of good quality for use by the gentlemen and ladies of the household, but by the middle of the century the gentry were usually ‘on tap’ and only poor quality sets were made for the use of the servants in their garret rooms. They can be found as late as the first world war. Although very good for floral
arrangements the ewers are still poor sellers.

Unattributed mid-19th century. No mark large and decorative tankard transfer-printed with a puce outline and brightly enamelled design of a highly degenerate but amusing variation of the 18th century quail pattern originally itself based on the Chinese. The ground is also reminiscent of the Companie-des-Indes porcelain exported to this country from Canton.

Unattributed c. 1850. Moulded registration.
A well known parian jug with a cleverly thought-out ans wer to the handle problem, usually a dissatisfactory element in the design of these jugs. This example is cast in self-colour sage green, but can be foundin other pastel tones or white. It is also known in stoneware at roughly the same price, or crude pottery and worth only. The scene, entitled “The Gamekeeper” was issued in biscuit and porcelain by Minton and it is possible that this jug is also from the factory although the standard is not as high as usual.

Moulded registration
A parian jug with the attractive decoration well set off by the coloured ground which has, in this case, been well applied and fired. The exterior has a matt finish whilst the interior is glazed.