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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.
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CABINET PLATES, ‘Vienna’, ‘NAPLES’ SHAPED OVAL BOX AND COVER, 19th Century, TWO DELFT POLYCHROME CHARGERS, Dutch, 18th/19th Century
Friday, January 15th, 2010
CABINET PLATES, ‘Vienna’, ‘NAPLES’ SHAPED OVAL BOX AND COVER, 19th Century, TWO DELFT POLYCHROME CHARGERS, Dutch, 18th/19th Century
A PORCELAIN EQUESTRIAN GROUP, German, late 19th/20th Century, modelled with a figure wearing green military uniform riding a white horse, a black moor servant at his side, blue printed mark, 19cm.; 1in., small areas of restoration.
A PORCELAIN GROUP OF PUTT , German, late 19th Century, emblematic of the Four Seasons, each modelled holding appropriate attributes on an oval base, under glaze-blue mark, 16.5cm.; 6in., small chips and areas of restoration.
A PAIR OF PORCELAIN FIGURE GROUPS, German, late 19th/20th Century, each modelled as a gallant and companion seated on a scroll moulded base, crowned W mark in under glaze-blue, 11cm.; 4in.
A FLOWER-ENCRUSTED CUP AND SAUCER, Meissen, 19th Century, each piece of lobed form, encrusted and painted with colourful flowers and insects, gilt line rims, crossed swords in under glaze-blue, small chips to applied decoration {2) .
A PAIR OF PORCELAIN CENTREPIECES, Plauen, circa 1900, each pierced rose-encrusted bowl raised on a cornucopia supported by a winged cherub standing on a domed pierced base, coloured in tones of pastel pink and orange, cross mark in under glaze-blue, 22.25cm.; 83in.. minor chips (2).
AN OVAL PORCELAIN PLAQUE, Continental, late 19th Century, painted after A. Kauffman. with a ‘Yestalin’, 12.75 by 10cm.; 5 by 4in.. gilt wood frame.
AN OVAL PORCELAIN PLAQUE, Continental, 2nd half 19th Century, painted with a portrait of a fashionable woman, 12.25 by 9cm.: 4-A by 3in., gilt wood frame.
A POTTERY JAR, Continental, circa
1900, in the form of a Negro head, wearing a
pink striped turban and black jacket, impressed
numerals, 26cm.; 10in., chips, cover lacking.A LARGE POTTERY JARDINIERE
AND STAND, Continental, circa 1880, the
ovoid jardiniere raised on a tall pedestal
moulded in relief with acanthus scrolls and
stylised flowers, all covered in a pale blue and
ochre glaze, 136cm.; 53in., piece missing from
rim of jardiniere, area of restoration to pedestal.TWO CABINET PLATES, ‘Vienna’, circa 1850—70, one painted with a Bavarian interior scene and the other with a classical scene, each with shield mark in under glaze-blue and script titles, 25cm.; 97/dn. (2) .
A CABINET TRAY, ‘Sevres’, circa 1860, of shaped oval form, well painted after Boucher with a rectangular panel of children playing in a cart, reserved on a yellow cell-pattern ground, interlaced L’s in blue, 33.5cm.; 13in.A PORCELAIN PLAQUE, German, circa 1870, after Nicholas van Negre, painted with an elderly woman warming her hands by hot coals, the reverse with impressed numerals, 16cm by 12.5cm.; 6in by 47In, framed.
A PORCELAIN PART DESSERT SERVICE, Paris, circa 1870, transfer printed and coloured with groups of flowers against a green ground, comprising: three Stands, and fourteen Plates, minor damage (17) .
A MAJOLICA FLOWER HOLDER AND STAND, Continental, 2nd half 19th Century, the circular base modelled with an African figure accompanied by a large ostrich, before a palm tree supporting a cylindrical flower holder, all raised on a stepped circular base, impressed G&St., incised ,58.5cm.; 23in, overall, some chips and repair (2).
A RELIEF-MOULDED PANEL, Italian, mid-19th Century, in Delia Rubbia style, moulded in white with the Madonna and Child below cherubs and a crown, against a blue ground inside an arched frame moulded with flowers and oak leaves, the separate bone china panel moulded with a shield and cornucopia of flowers, main panel 88cm.; 34m. high, some repair (2) .
A ‘NAPLES’ SHAPED OVAL BOX AND COVER, 19th Century, relief moulded and brightly coloured with scenes of classical figures, the knops smoulder as an apple, crowned W in blue, 11cm.; 4in. Long.
TWO DELFT POLYCHROME
CHARGERS, Dutch, 18th/19th Century, one
decorated with a bird perched amongst
flowers, the other with a stylised flower vase,
each approx. 35cm.; 133Indiam., minor rim
chips (2).A PORCELAIN PLATE, ‘Vienna’, late
19th Century, printed with Royal portraits
against a richly gilt yellow, pink and maroon
ground, beehive mark in under glaze-blue,
impressed numerals, 24cm.; 9in. Diam.A PORCELAIN PLATE, ‘Vienna’, late
19th Century, printed with Royal portraits on
a richly gilt yellow, pink and maroon ground,
beehive mark in under glaze-blue, impressed
numerals, 24cm.; 9in.A PORCELAIN MODEL OF A MAGPIE, ‘Naples’, late 19th Century, the
black and white bird modelled perched on a flower encrusted stump, crowned ‘N’ mark in
under glaze-blue, 34cm.; 133In, very minor chips.A LARGE ‘BELLARMINE’ JUG, probably German, 18th Century, the bulbous body covered in a mottled brown glaze, a bearded face moulded in relief on the neck, 38cm.; 15in., cracked.
A TIN-GLAZED METAL-MOUNTED BOX AND COVER, Samson, late 19th Century, of rectangular form, the cover painted with a pastoral scene within a purple border, the base decorated with scattered flower sprays, painted ‘Sceaux’ and interlaced ‘S’ mark, 28.5cm.; long, repair to corner.
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TEA SERVICE, Staffordshire, circa 1900, TEA AND COFFEE SERVICE, Coal port, EARTHENWARE DINNER SERVICE, Copeland
Friday, January 15th, 2010
TEA SERVICE, Staffordshire, circa 1900, TEA AND COFFEE SERVICE, Coal port, EARTHENWARE DINNER SERVICE, Copeland
A POTTERY PART TEA SERVICE, Staffordshire, circa 1900, each piece painted with pink roses on a black ground, comprising: Jug, Sugar Bowl, two Sandwich Plates, ten Cups, ten Saucers and ten Plates, printed marks, hair cracks (34).
A PORCELAIN PART TEA AND COFFEE SERVICE, Coal port , circa 1840, of neo-rococo form, each piece decorated with a grey ground border gilt with vine, comprising: Teapot, Cover and Stand, Jug, Slop Bowl, Sugar Box and Cover, two Plates, eight Coffee Cups, ten Teacups and eleven Saucers, gilt pattern , , some cracks and chips (38).
A PORCELAIN PART TEA AND COFFEE SERVICE, English, circa 1820, each piece painted with an Imari-type pattern incorporating large pink and orange flowers, comprising: Sugar Box and Cover, Jug, Slop Bowl, two Plates, six Teacups, eight Coffee Cups and eleven Saucers, red painted pattern, some damage and discoloration.
A CHILD’S PORCELAIN TEA AND COFFEE SERVICE, Wedgwood, 1st quarter
19th Century, each piece decorated with a border of gilt vine, comprising: Kettle and
Cover, Teapot and Cover, Coffee Pot and Cover, Tea Canister and Cover, Jug, three
Teacups, six Coffee Cups and five Saucers, red printed WEDGWOOD, painted pattern no.
541, some damage and repair (23).A PORCELAIN PART TEA SERVICE, Minton, circa 1840, printed
and coloured with panels of flowers against a
maroon ground picked out in gilding
comprising: Teapot and Cover, Sucrier and
Cover, Milk Jug, Slop Bowl, two Cake Plates,
six Coffee Cups, six Tea Cups and twelve
Saucers, painted pattern, minor
wear .A BONE CHINA PART DINNER
SERVICE, Spode, 20th Century, each piece
printed and coloured with flower studies
inside a gilt line rim, comprising: three
Sauceboats and two Stands, three Vegetable
Dishes, three graduated Serving Dishes,
twelve two-handled Bowls and twelve Stands,
twelve Soup Bowls, twelve Dessert Plates,
twelve Side Plates and four small Dishes,
green printed marks, minor damage .A PORCELAIN PART
TEA SERVICE, Ridgway, circa 1820,
decorated with white and blue flowers
enriched in gilding against an apricot
ground, comprising: Teapot, Cover and
Stand, Sucrier and Cover, Milk Jug, Slop
Bowl, two Plates, eighteen Cups and nine
Saucers, some damage.AN EARTHENWARE DINNER
SERVICE, Copeland, late Spode, circa 1847-
67, each piece printed and hand coloured in
an Imari palette with a central spray of
flowers within a formal floral and diaper cell
border, comprising: one large Soup Tureen
and Cover, one large Vegetable Tureen and
Cover, three low Vegetable Tureens and
Covers, three Sauce Tureens, Stands and two
Covers, one rectangular Meat Dish, two small
rectangular Meat Dishes, two small
rectangular Serving Dishes, six Soup Plates
and twenty-six Dinner Plates, blue printed
mark, impressed crown mark and red painted
pattern number 8748, the soup tureen 28cm.;
high, some staining, chips and cracks.A PORCELAIN PART TEA SERVICE, English, circa 1835-40, each piece painted with a wide pink ground band gilt with shells, all within foliate moulded gilt rims, comprising: Teapot Cover and Stand, Sugar Bowl and Cover, Cream Jug, Slop Bowl, two Plates, five Coffee Cups, five Teacups and nine Saucers, gilt some damage (27).
A PART TEA SERVICE, Royal Crown Derby, 1920’s, each piece painted in Imari colours with the ‘1128′Japan pattern, comprising: Sugar Bowl, twelve Cups, twelve Saucers and twelve Plates, orange printed marks, painted.
A PART TEA SERVICE, Royal Crown Derby, 1920/30’s, each piece painted in Imari colours with the ‘1128′Japan pattern, comprising: six Cups, six Saucers, eight shaped circular Side Plates and four circular Side Plates, orange printed marks.
A PORCELAIN PART DINNER SERVICE, Chamberlains Worcester, circa 1840, each piece painted in under glaze-blue, iron-red and gilding with a ‘Japan’ pattern, comprising: oval Meat Dish, six Dinner Plates, six Dessert Plates and six Soup Plates, red printed address mark for 155 New Bond St., minor chips .
A PORCELAIN PART DESSERT SERVICE, Samuel Alcock, 1840’s, the centres painted with bouquets of flowers inside pierced blue and yellow borders enriched in gilding, comprising: four circular Dishes, two oval Dishes, a square Dish, and fourteen Plates, some damage .
Antique and Decorative Furniture.
Antique and Modern Silver and Plate.A SET OF FOUR FRENCH TABLE
CANDLESTICKS, mid 19th Century,
circular bases, with mask, leaf and swag
electrotyped flared stems, urn shaped sconces
and base domes, 11 an.ASSORTED PLATE, comprising: two Entree Dishes, oval and octagonal; Siphon Stand; three Salvers, sizes between 9 and 12in; pair of Table Candlesticks; Teapot; Caster; Toast rack; Sauce Boat; Bottle Stand; Cruet Frame, (bottles wanting); Coffee Tray; Cocktail Shaker; three piece Tea Set and a small quantity of Flatware.
ASSORTED PLATE, comprising: Wine Cooler, company shaped, loop handles above a spreading foot, gadroon rim, 9in; Rose Bowl, girdle moulded hemispherical, lion mask and drop ring handles, waved rim above a spreading foot, 9in; Biscuit Box, plain cylindrical; and a Chamber stick, circular, later nozzle and extinguisher.
TWO TEA TRAYS, one armorial engraved oblong, gadroon borders with foliate shell clusters at the angles, the other crest and scroll band engraved shaped oval, beaded border, both with loop handles, 28 and 30in.
AN 80 PIECE CANTEEN, husk bordered pointed terminals, twelve place setting, including knives, incomplete, (wood case); and twelve Fish Knives with eleven Forks, Old English pattern, (case).
TWO PAIRS OF ENTREE DISHES, oval, beaded borders, ring handles; circular example with receded leaf borders; and a Dessert Basket, vine embossed and pierced circular, (liner).
ASSORTED PLATE, comprising: oval Basket, pale pierced, gadroon border, 11 in; another, compressed circular, palmettos border, angled handles, 11m; Entree Dish, part fluted, gadroon borders, oval Entree Dish; Bowl, pierced circular, wire handle; Bottle Holder; cased flatware sets, comprising: three pairs of Fish Servers, six pairs of Fish Knives and Forks, with mother o’ pearl handles and twelve pairs of Fish Knives and Forks, engraved blades and bone handles.
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MODEL OF A SWAN, Meissen, PORCELAIN PART DINNER SERVICE, Sevres’, circa 1900, POTTERY PART TEA SERVICE, Staffordshire, DINNER SERVICE, Chamberlains Worcester
Sunday, January 10th, 2010
MODEL OF A SWAN, Meissen, PORCELAIN PART DINNER SERVICE, Sevres’, circa 1900, POTTERY PART TEA SERVICE, Staffordshire, DINNER SERVICE, Chamberlains Worcester
A PORCELAIN LIGHT BOWL AND GILT METAL FITTINGS, French, late 19th Century, the exterior painted with three gilt framed royal portraits, flanked bv flower garlands, 29.5cm.; 775
sin. diam.
A PORCELAIN MODEL OF A SWAN, Meissen, 20th Century, the white bird with black features modelled perched amongst reeds picked out in turquoise enamel, crossed su’ords in
underglaze blue, impressed 1069. 22.75cm.
A PAIR OF OVAL PORCELAIN PLAQUES, German, late 19th Century, each painted with a portrait of a young woman in medieval-style costume, each approx 13.5 by 11cm; 5′A by 4′Ain.;
with gilt wood frames.
TWO SIMILAR MAIOLICA ARMORIAL VASES, probably Abruzzi, 18th Century, of slightly tapered cylindrical form and painted with a crest against a cream ground, 27cm.; 10′Ain.
A FAIENCE JAR AND COVER, possibly French, 19th Century, the cylindrical sides painted in blue with a girl beside a tree, 27cm.; 10′Ain., chip to rim; also a tin glazedearthenware blue and white Bottle Vase; and an octagonal Dish.
A ‘VIENNA’-STYLE PART FISH SERVICE, Continental, early 20th Century, each piece printed with a different fish subject within a purple ground border reserved with vignettes of
figures in eighteenth century costume, comprising: large oval serving Dish, five Plates and six kidney shaped Dishes, printed beehive mark, green printed factory mark, gilt
decorators mark, minor gilt rubbing.
A BLUE AND WHITE PART TEA SERVICE, German, late 19th Century, painted in underglaze-blue with flower sprigs, comprising: Teapot and Cover, Hot Water Jug and Cover, Milk Jug,
Sugar Bowl and Cover, six Cups and six Saucers, repair to handle of teapot.
A PORCELAIN PART DINNER SERVICE, Sevres’, circa 1900, each piece gilt with a crest, gilt line rims, comprising: twenty six Dinner Plates, seven Soup Bowls and four Saucers, some
damage.
A PORCELAIN PART SERVICE, Derby, 19th Century, each piece painted with scattered flower sprigs in blue, pink and gilding, comprising: four lozenge shaped Dishes, four
quatrelobed Dishes, two shaped oval Dishes, a kidney shaped Dish, two shallow circular Bowls, a Muffin Dish Cover, a slop Bowl, two Sauce Tureens and Covers, twelve Plates, two
large Cups, seven large Saucers, seven Coffee Cups and eight Saucers, some damage.
A PART TEA AND COFFEE SERVICE, Derby, circa 1820, each piece painted with puce and gilt scrolls, comprising: Teapot, Cover and Stand, Slop Bowl, two Sandwich Plates, nine
Teacups, six Coffee Cans and six Saucers, red painted crowned crossed batons and D, some damage and repair; also a part Tea Service decorated with the same pattern, late 19th
Century, comprising: Muffin Dish and Cover, Jug, four Sandwich Plates, two Teacups, twelve Saucers and eleven Side Plates.
A PORCELAIN COMMEMORATIVE
PART TEA SERVICE, circa 1845, each
piece printed in puce with named figures of
Albert and Victoria, the teapot cover with the
Princess Royal and Prince of Wales,
comprising Teapot and Cover; Teacup and
Saucer and a Plate, some repair and cracks.A PORCELAIN PART TEA SERVICE, Staffordshire, circa 1840, each painted with landscape vignettes inside a maroon and gilt border, comprising: a Milk Jug, six Cups, six Saucers,
six Tea Plates and a Cake Plate.
A CHILD’S POTTERY PART TEA SERVICE, Staffordshire, mid 19th Century, each piece printed and colured with an Imari pattern, comprising: Teapot and Cover, Sugar Bowl and Cover,
Jug, three Cups and three Saucers, brown printed scroll mark, painted pattern no H99, some chips.
A TEA SERVICE, Royal Crown Derby, circa 1899 and later, each piece printed in blue with the ‘Mikado’ pattern within gilt rims, comprising: Sandwich Plate, six Cups, six Saucers
and six Side Plates, also a Jug and Sugar Basin, similarly decorated, without gilt rims, green printed factory marks.
A PART TEA SERVICE, Royal Crown Derby, circa 1906, each piece printed in blue with sailing boats, comprising: six Cups, six Saucers and six Plates, green printed factory mark,
painted pattern no 4613.
A BONE CHINA TEA SERVICE, Shelley, circa 1930, ‘Mode’ shape, each piece of conical form with solid triangular handles, decorated with a block motif in black and orange enamel,
comprising: Jug. Sugar Bowl. Teaplate, six Cups, six Saucers and six Side Plates, green printed factory mark, Rd 756533, painted pattern no. R 11792, some haircracks.
A BONE-CHINA DESSERT SERVICE, Coalport, circa 1900, each centre painted with a titled landscape inside cream and deep blue borders enriched in gilding comprising: two square
Dishes, two circular Dishes, two oval Dishes and twelve Plates, printed factory mark, pattern XI995′, two dishes cracked.
A PORCELAIN PART DINNER SERVICE, Chamberlains Worcester, circa 1840, each piece painted in underglaze-blue, iron-red and gilding with a ‘Japan’ pattern, comprising: oval Meat
Dish, six Dinner Plates, six Dessert Plates and six Soup Plates, red printed address mark for 155 New Bond St., minor chips.
A PORCELAIN PART COFFEE SERVICE, French, circa 1900, each piece moulded and printed with poppies within gilt rims, comprising: Coffee Pot and Cover, Sugar Bowl and Cover, four
Cups and four Saucers, gilt pattern no. 5516/23, knop repaired, minor chips and hairc racks.
A PORCELAIN PART DESSERT SERVICE, Paris, Lahoche & Pannier, L’Escalier de Cristal, circa 1854-74, each piece painted with a central fruit or flower spray within a purple border
gilt with a monogram, comprising: one large tall Tazza, two smaller tall Tazze, four low Tazze, a Sauce Tureen and Cover, and a shaped oval Stand, red painted and gilt
decorator’s marks Lahoche and Pannier, chips.
A SET OF TWELVE DESSERT
PLATES, Wedgwood, circa 1881, each well
painted with a different orchid subject by
T. Dean, signed and dated ‘81, against a pale
blue ground within a narrow gilt rim, each
titled on the reverse, impressed WEDGWOOD,
gilt pattern no. X415, painted titles, each
23.25cm. -
PORCELAIN PART DESSERT SERVICE, Coalport, COFFEE SERVICE, Royal Crown Derby, PORCELAIN PLATES, Paris, 19th Century
Sunday, January 10th, 2010
PORCELAIN PART DESSERT SERVICE, Coalport, COFFEE SERVICE, Royal Crown Derby, PORCELAIN PLATES, Paris, 19th Century
A PORCELAIN PART DESSERT SERVICE, Coalport, circa 1825, painted in iron-red and gilt with scattered flowers inside a gadroon moulded rim, comprising: a Comport, two Sauce
Tureens, Covers and Stands, four square Dishes, three oval Dishes, a circular Dish and eighteen Plates, minor damage and some wear.
A COMPOSITE ‘ROYAL LILY’ PATTERN PART TEA SERVICE, Worcester, circa 1800, comprising: Teapot and Cover, Sugar Bowl and Cover, Milk Jug, two Plates, two Cups and two Saucers, a
Bowl and a large Saucer, one saucer repaired, chips to teapot.
A PART DESSERT SERVICE, Copelands China, circa 1923, each piece decorated with a wide underglaze-blue border, the rim moulded with flower heads picked out in gilding,
comprising: one shaped oval Dish, one shaped square Dish, one shaped circular Dish and six Plates, green printed marks SPODE COPELANDS CHINA, impressed COPELAND SPODE N/23,
painted pattern no. 9708.
A BONE CHINA PART TEA SERVICE, Copelands China, circa 1918, each piece of shaped square outline decorated u ith a band of gilt scales on a deep blue ground, all within a formal
gilt border, comprising: Jug, Sugar Bowl, Tea Plate, eleven Cups, ten Saucers and eleven Side Plates, green printed mark
SPODE COPELANDS CHINA ENGLAND, haircrack to jug and one plate.A PART TEA SERVICE, Royal Crown
Derby, 1920/30’s, each piece painted in Imari
colours with the ‘1128′Japan pattern,
comprising: six Cups, six Saucers, eight
shaped circular Side Plates and four circular
Side Plates, orange printed marks.A PART TEA SERVICE, Royal Crown Derby, 1920’s, each piece painted in Imari colours with the ‘1128′Japan pattern, comprising: Sugar Bowl, twelve Cups, twelve Saucers and twelve
Plates, orange printed marks, painted pattern no.
A COFFEE SERVICE, Royal Crown Derby, circa 1919, each piece painted in Imari colours with the ‘2451′ Japan pattern, comprising: Jug, Sugar Bowl, six Cups, six Saucers and six
Plates, orange printed marks.
A SET OF EIGHTEEN PORCELAIN PLATES, Paris, 19th Century, gilt with flower sprigs inside a green rope twist border, 23cm.; 9in., chips and some wear.
A STONE CHINA PART DINNER
SERVICE, Masons, 2nd quarter 19th
Century, printed and coloured with exotic
birds amongst flowering shrubs against a
deep blue ground, scattered with
chrysanthemum, comprising: two Soup
Tureens, two Covers and one Stand; Sauce
Tureen and Cover; and two large Meat
Dishes, puce printed mark, retailer’s mark Thomas
& Higginbotham of Dublin, one meat dish riveted,
chips to sauce tureen.A POTTERY PART DESSERT SERVICE, English, circa 1830, each piece printed in blue and painted in orange and gilding with a ‘Japan’ pattern, comprising: one tall Tazza, two shaped
oval Dishes, two shaped square Dishes, two heart-shaped Dishes and eleven Plates, painted pattern No. 327, small chips.
A’FELSPAR’PORCELAIN PART TEA SERVICE, Spode, circa 1830, the apricot borders gilt with foliate designs, comprising: Teapot, Cover and Stand, Sucrier and Cover, Cream Jug, twenty
Cups and ten Saucers, puce printed marks, pattern 4108′, some damage; also four similar Dessert Dishes.
A PORCELAIN PART TEA SERVICE, English, circa 1835-40, each piece painted with a wide pink ground band gilt with shells, all within foliate moulded gilt rims, comprising: Teapot
Cover and Stand, Sugar Bowl and Cover, Cream Jug, Slop Bowl, two Plates, five Coffee Cups, five Teacups and nine Saucers, gilt pattern no 1194, some damage.
A PORCELAIN PART TEA SERVICE, Ridgway, circa 1850-55, each piece moulded in relief with overlapping leaves and gilt with floral sprays and diaper panels, comprising: Jug, Tea
Plate, eleven Cups and twelve Saucers, red painted pattern no 511801, minor haircrack to one cup.
A PORCELAIN PART DESSERT SERVICE, Staffordshire, 2nd quarter 19th Century, each piece printed and coloured with groups of flowers inside a floral moulded border, comprising: a
Comport, a pair of shell-shaped Dishes, a rectangular Dish and five Plates, pattern 547, some staining and haircracks.
AN IRONSTONE CHINA PART DINNER SERVICE, Ashworths, early 20th Century, decorated in underglaze-blue, red and gilt with shaped panels of flowers, comprising: two oval Meat
Dishes, three oval Serving Dishes, two Vegetable Tureens and Covers, a Sauce Tureen, two Covers and two Stands, twelve Soup Plates, eighteen Dinner Plates and twelve Dessert
Plates, printed and impressed marks, some cracks and chips.
A PART TEA SERVICE, Chamberlains Worcester, circa 1797, each piece of sprial fluted form, painted in brown enamel and gilding with pattern no ‘64′, comprising: Teapot and Cover,
Sugar Bowl, Cover and Stand and two Saucers, the covers painted inside Chamberlains Worcester No 64, some restoration to sugar bowl and base of teapot, star crack to saucer;
also a Trio and a Teabowl circa 1795, painted with a similar pattern.
A NEW STONE’ PART DINNER SERVICE, Minton and Hollins, 1840’s, each piece printed and painted with peonies in chinoiserie style, comprising: Soup Tureen, Cover and Stand,
Circular Bowl, oval Serving Dish, Vegetable Dish Cover, two Sauce Tureen Stands, four graduated Meat Dishes, three Side Plates, four Soup Bowls and eighteen Dinner Plates,
printed cartouche mark, painted pattern no 6034, impressed BB New Stone, some cracks and chips.
A PORCELAIN PART TEA SERVICE, Staffordshire, circa 1840, of roccoco form, gilt with flowers on a deep ro: pink ground, comprising: Teapot and Cover. Sucrier and Cover, Milk Jug,
Slop Bowl, two Cake Plates, a circular Stand, twelve Cups and nine Saucers, pattern 7146, some chips and cracks.
A BONE CHINA PART TEA
SERVICE, Copeland, circa 1883, each piece
moulded with a gilt fish scale pattern inside a
deep blue border, gilt with diamonds
jewelled’ with flowers, comprising: Teapot
and Cover, Milk Jug, Sugar Bowl, Slop Bowl,
two Cake Plates, ten Cups, twelve Saucers
and twelve Tea Plates, printed mark, impressed
registration lozenge, some cracks and chips.A FELSPAR PORCELAIN PART
DESSERT SERVICE, Copeland & Garrett,
circa 1835, each piece painted with named
botanical studies inside a turquoise border
edged in gilding, comprising: a Sauce
Tureen, Cover and Stand; two shaped oval
Dishes; a shell-shaped Dish; a rectangular
Dish and six Plates, green printed mark, pattern
5263, some damage. -
A SAUCEBOAT, Worcester, GINGER JARS AND COVERS, Royal Crown Derby, POTTERY GREYHOUNDS, Staffordshire, PORCELAIN PLATE, Mintons
Sunday, January 10th, 2010
A SAUCEBOAT, Worcester, GINGER JARS AND COVERS, Royal Crown Derby, POTTERY GREYHOUNDS, Staffordshire, PORCELAIN PLATE, Mintons
A SAUCEBOAT, Worcester, circa 1765, painted with panels of exotic birds within scroll moulded panels picked out in puce and gilding against a basket weave ground, scroll handle,
20cm.; 8in. diam., areas of restoration to rim and spout, small chip to spout.
A PEARLWARE BLUE AND WHITE OVAL STAND, Ridgway or Davenport, 1st half 19th Century, set with four fan-shaped dishes, printed with a chinoiserie ruins pattern, 18cm.; Jin. high,
some repair and chips: also a pearlware blue and white Plate and Caster.
A POTTERY COW CREAMER AND COVER, possibly Swansea, circa 1830, splashed in blue and red, green oval base, 14cm.; 5′Ain., some damage; also two other Cow Creamers.
A GROUP OF THREE MODELS OF GREYHOUNDS, Staffordshire, late 19th Century, two modelled standing, the other seated, tallest 20.5cm.; 8in., crack to one leg.
A POTTERY SPILL VASE, Staffordshire, 2nd half 19th Century, modelled as a baby elephant standing before a tree, 15cm.
A PAIR OF EQUESTRIAN FIGURES OF PRUSSIAN GENERALS, Staffordshire, circa 1870, each seated bare-headed in orange military uniform, 30.5cm.; 12in., one repaired; also a similar
Figure.
A PAIR OF BONE CHINA GINGER JARS AND COVERS, Royal Crown Derby, Modern, each decorated with the 1128′Japan pattern, red printed marks, 18cm.
A PAIR OF GINGER JARS AND COVERS, Royal Crown Derby, Modern, decorated with the “1128′Japan pattern, red printed marks, 11cm.
A GROUP OF BONE CHINA, Royal Crown Derby, 1911 and later, comprising: a Pair of’1128′ pattern Candle Extinguishers; two ‘1128′ pattern Vases: two “1128″ pattern small Dishes;
and a Pair of Japan pattern Salt Scuttles, red printed marks.
A GROUP OF BONE CHINA PLATES, Royal Crown Derby, various dates, each painted with a Japan pattern, red printed marks, each approx. 22cm.; 8Vsin.; also a Set of five ‘1128′
pattern Tea Plates.
A FIGURE OF SHAKESPEARE,
Derby, circa 1765, leaning on a pile of books
and an unfurled scroll inscribed with lines
from The Tempest, raised on a scroll moulded
base, picked out in turquoise and gilt,
30.5cm.; 12in., some chips.A BLUE AND WHITE BOWL, Worcester, circa 1770, painted in underglaze-blue with ‘The Precipice’ pattern, crescent mark, 21cm.
A PORCELAIN ICE PAIL, COVER AND LINER, possibly Chamberlains Worcester, circa 1800, the body gilt with oval leaf medallions beneath a deep blue border gilt with sprigs, the
cover moulded and gilt with a band of leaves below a pine cone finial, 28cm.; llin., some damage.
A STUDIO POTTERY DISH, St. Ives, possibly by Bernard Leach, of shallow circular form painted with a wavy brown line and pale blue stripes on an oatmeal ground, impressed St.
Ives seal, 28cm.
A PAIR OF POTTERY GREYHOUNDS, Staffordshire, late 19th Century, each animal seated with a hare at its feet, raised on oval base, 21cm.; 8′Ain. high; also a Staffordshire
Watchstand modelled with three young women.
A PORCELAIN PLATE, Mintons, circa 1901, well painted with a woman and child in 18th Century costume serenaded by musicians, within a deep blue ground border gilt with laurel
swags, puce printed globe mark, impressed MINTONS and year cypher, 26cm.
A TEAPOT AND COVER, Belleek, 2nd Period, of shell form, raised on two shell feet, the cover with shell finial, all covered in a pearly glaze, details picked out in pink enamel,
black printed mark, 13.25cm.; 5′Ain., finial glued.
A POTTERY FIGURE OF THE
PRINCE OF WALES, Staffordshire, 1870’s,
modelled standing on a grassy base beside a
column draped with an orange cloak, 44cm.;
17′Ain., some discolouration.A POTTERY FIGURE OF
GARIBALDI, Staffordshire, 2nd half 19th
Century, modelled standing beside a marbled
column wearing an orange shirt and white
breeches, the base titled in gilt script, 47cm.;
18′Ain., some flaking of orange enamel.A SMALL POT POURRI BASKET
AND COVER, Rockingham, circa 1830-40,
of waisted form, painted with two landscape
panels beneath a flower encrusted rim and
loop handle, pierced cover, faint printed mark,
5cm.; 2in. high, minor chips to applied flowers. -
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 19th Century Porcelain
Wednesday, October 14th, 2009
XIX Century European, American and Japanese Porcelain
During the early decades of the 19th century, the entire porcelain of Europe was dominated by the prolific output of British porcelain, porcelain and bone-china.
John Rose, who had established a factory mainly devoted to the manufacture of porcelain at Coalport, Shropshire, in about 1797, was to flourish and in turn absorb the concerns of neighbouring Caughley (1799) and later two Welsh factories, Nantgarw and Swansea (c.1820). Coalport is now part of the Wedgwood Group and is still in operation in Staffordshire.
There is still a little confusion concerning the wares made at Caughley by Thomas Turner between 1796-99 and those made by John Rose, who after his purchase continued in production until about 1815, when he transferred the entire manufacture to Coalport. Further difficulties also arise because quite a lot of Turner’s Caughley wares were decorated independently by Robert Chamberlain at Worcester. Also, in the early 19th century John Rose was supplying the London decorator Thomas Baxter with ‘Coalport White China’. Therefore, attribution is usually best verified by form rather than decoration.
Most early Coalport porcelain is unmarked, but pattern numbers can be a useful guide. Progressive numbers 1-1,000 were used from about 1805-24, after which fractions were used. This resulted in 2/1-2/999 being applied to wares made between 1824-38, reaching as high as 8/18/1000. The later numbers are usually accompanied with a recorded and datable factory-mark. During the middle of the 19th century Coalport produced some fine quality reproductions of Sevres porcelain, sometimes complete with mark !
It had long been the ambition of the painter William Billingsley to produce a fine porcelain. He left Derby in 1796 to establish a factory at nearby Pinxton, financed by John Coke. The limited production consisted primarily of tablewares, very much in the same styles as those of Derby. Sometimes they were decorated with pleasing landscapes by Billingsley himself, in the manner of Zachariah Boreman of Derby. Due to lack of expected profits, Billingsley moved on in 1799 to become an independent decorator, but Pinxton continued in a modest way until 1813. Pinxton used some distinctive handles on their vessels and cups, which are a useful identification aid to the collector.
Having found a new financial backer, Billingsley started to produce a 19th-century ‘Etruria’ teapot produced by Wedgwood.
beautiful, but costly, soft-paste porcelain at Nantgarw, near Cardiff in South Wales, in 1814. However, within the same year he was compelled to transfer the manufacture to the Swansea porcelain of L. W. Dillwyn. There, Billingsley and his son-in-law, Samuel Walker, were forced to make a more stable porcelain, with a so-called ‘duck-egg’ translucency. In 1817 they returned to Nantgarw to restart their original factory. Stylistically, the early wares of Billingsley had much in common with French porcelain of the Empire Period, but a large amount of Nantgarw porcelain was ruined by the over ornate decoration added in London by the decorators employed by the china dealers Mortlocks of Oxford Street.
Josiah Spode was born in 1733 and at the age of 16 years he was apprenticed to Thomas Whieldon. In 1770 he was sufficiently experienced to take over the porcelain of William Banks, for whom he had previously worked. He became a Master Potter, establishing a major porcelain factory, which has flourished to the present day. The son, Josiah Spode II, first produced bone-china in about 1800, taking William Copeland into partnership in 1805. William Spode, the grandson of the founder, died in 1829, and in 1833 William Taylor Copeland and Thomas Garrett became joint proprietors until 1847. From that time the company has been associated with the Copeland family, although now part of the Carborundum group of companies.
The name of Spode is probably best known among collectors for the large production of earthenware decorated with underglaze-blue transfer prints, often illustrating subjects taken from published engravings. Josiah Spode II used fine bone-china to produce a wide range of tea and dessert services and many good quality decorative wares. He managed to survive trading difficulties resulting from the Napoleonic Wars better than many of his rivals. It has been suggested that Spode’s stone-china was being made as early as 1805, after he had acquired the patent from W. & J. Turner, but factory records indicate the material was not introduced until about 1813.
A further important name in the field of 19th century English porcelain is that of Thomas Minton, born in Shrewsbury in 1765. Minton was first apprenticed to Thomas Turner at Caughley, to learn the art of engraving copper-plates for the making of transfer-prints. It is said that he was involved in the early version of the so-called ‘Willow’ pattern, as seen on Caughley. He later worked as an engraver in London and after marrying returned to Stoke where he engraved plates for other potters, including Spode.
Minton’s business flourished and in 1793, at the age of 28, he became a partner in a porcelain. By 1796 he had built his own factory, where he first appears to have concentrated on the manufacture of blue-printed earthenware, soon to be followed by cream-coloured earthenwares of the Wedgwood type and bone-china. By 1810 Thomas Minton was producing wares in almost the entire range of porcelain bodies being made in Staffordshire at that time, although the production of bone-china was halted between 1810-24.
Recently, identification of many of Minton’s unmarked wares made between 1810-24 has been made easier for the collector through the surviving pattern-books. These show not only the form, but a wide variety of original printed, painted and gilt designs, in addition to many patterns which would normally be associated with such contemporary potteries as Spode, Miles Mason, New Hall and Pinxton.
Many bone-china figures and ornamental wares previously considered to be the work of Coalport, Derby or Rockingham, have been confirmed by the pattern-books to have been made by Thomas Minton and his son Herbert, who was in control from 1836. Herbert Minton took John Boyle into partnership from 1836-42, after which he was joined by Daintry Hollins and Colin Minton Campbell in 1842 and 1849 respectively. Herbert Minton died in 1858, by which time the company had 1,500 employees. Today, Minton continues in production as part of the Royal Doulton Tableware Group.
A wide range of commonplace earthenware had been produced at Swinton, Yorkshire, from the mid-18th century, but the Rockingham factory is best known today for the fine porcelain made by the Brameld family from 1826. Many so-called Rockingham porcelains were beautiful. However, they were so expensively decorated that profits were small and despite financial aid from Earl Fitzwilliam closure became necessary in 1842.
For many years a large number of bone-china figures, tablewares and decorative pieces have been attributed to this factory, without the benefit of any evidence. But recent research has enabled present-day attributions to be more accurate. It has, for example, been proved beyond all reasonable doubt that Rockingham made no figures of small ’shaggy’ poodles or pastille-burners in the form of little cottages or other buildings. The adopted ‘griffin’ mark (in red enamel from 1826-30, and in puce from 1830-42), was not used consistently and sometimes is seen only on a single item of a service. The collector should note that any pattern number exceeding about 1570 definitely indicates the work of another factory making similar wares, such as Ridgways.
America
During the first half of the 19th century various types of earthenware were being produced by several potters in the Philadelphia and Trenton areas. These included some admirably printed wares of English type, made by the American porcelain Company of Jersey City. Jugs of ‘Parian’ type porcelain, with moulded relief decoration and patterns ‘pirated’ from the English manufacturers, were in great demand. They are known to have been made by the United States porcelain at Bennington, Vermont, and E. & W. Bennett of Baltimore, Maryland.
Also popular during the mid-19th century were vessels with a richdark-brown glaze, so called ‘Rockingham’, a fashion catered for by many American factories. The American ‘Rockingham’ glaze differs from that associated with the English factory at Swinton, Yorkshire, by having a thicker and mottled appearance. These American Rockingham wares had much in common with maiolica ware. This was popular both in America and England. Glazes coloured with high-temperature oxides were applied to wares moulded in relief. The colours usually included 19th century pinks and crimsons derived from chrome.
From about 1826 some very good quality hard-paste porcelain was made in Philadelphia by William Ellis Tucker and his various partners. Jugs, or pitchers, tea sets and dinner services were well decorated with flower paintings and monochrome landscapes, together with fine gilding. Many such pieces have so much in common with the contemporary French porcelains, that positive attributions can only be made by reference to pattern-books preserved in the Philadelphia Museum.
Art porcelain did not really become popular in the United States until after the 1876 Centennial Celebration, from which time Cincinnati, Ohio, became the centre for this new taste. This attracted many art potteries, including the Rookwood porcelain, which was the only one to survive beyond 1890. Mrs Maria Longworth Nichols, a well-to-do Cincinnati socialite, was primarily interested in the creation of finely designed wares, rather than establishing a commercial success. Aided by friends skilled in the appropriate arts, Mrs Nichols succeeded in producing a wide variety of most interesting effects on wares. These wares were in great demand from 1880, when the first kiln-firing took place, until 1941, when the firm became bankrupt. The early years were very unprofitable, but by 1889 Rookwood porcelain was well established and a wide range of artistic wares was being produced. These included some original underglaze painting, under the direction of William Watts Taylor, who moved the production to large premises in 1892. By 1900 the Rookwood porcelain was the foremost American art porcelain.
Zanesville, Ohio, was also a popular centre for the manufacture of art porcelain. The foremost concern was the Lonhuda porcelain, originally located at Steubenville and purchased by Samuel Weller of Zanesville as an addition to his existing factory. Their wares had a great similarity to those of Rockwood and included various fruit, flowers and figures
Principal handle-types on pre-Nippon porcelain teapots, sugar bowls, creamers and other pieces. The handle, centre, top row, was used on chocolate pots.
ainted in coloured slips on a dark ground and covered with a brilliant glaze. Some of their pieces were painted with characters from the works of Charles Dickens, the English author. However, such ill-fitting decoration under a matt glaze cannot be considered too successful.
There is great similarity in some of the matt-glazed forms made by the Grueby Faience Company of Boston, Massachusetts, and those of the Martin brothers, working in London at about the same time. They both seemed to be inspired by the leaf forms, which played such a large part in Art Nouveau in many European countries.
Japan
The years 1868-90 saw the growth in Japan of pre-Nippon porcelain wares. These export wares represent a transition period in Japanese porcelain and while the form and decoration show Western influences they still retain their Japanese heritage. Most pieces have no mark or when they do it is usually the potter’s name. Characteristically the wares are extremely individual and exhibit a high standard of workmanship.
By the 1870s the kilns of Arita and Seto were producing these wares in large quantities but the blandness that accompanies true mass production is happily absent. The new occidental form is particularly noticeable in the handles and spouts of these pieces. Handles on teapots and chocolate pots were often in underglaze blue and elaborately painted, while the spouts were short and pointed and did not pour well, for the Japanese concept of a teapot was rather different from the Western designs they were trying to imitate. The join of the handle to the body was often quite intricate and pieces of this period can be dated from these handles, later examples showing a clumsiness in design and workmanship.
Many of the pieces were footed and the number of feet – usually three, five or seven – is typical of the Japanese predilection for irregularity in design. Small pieces were made with solid, curved feet and large wares with hollow ones ; the feet for large pieces were made in a drain mould and had a small hole on the inside to prevent the build-up of pressure during firing.
Ornamental vases are a perfect example of the blending of East and West, for the true Japanese vase was made to hold flowers and therefore be as unobtrusive as possible. Ornamental vases were made entirely for export. The decoration on these vases was often highly detailed and intricate and often had as many as four kinds of coralene beading on one piece, with the beading on the front differing from that on the back. The beading can be a help when estimating the age of a piece, complex beading rather. than the impression of complex beading indicating pre-Nippon wares as opposed to later imitations. Beading on smaller ware is also indicative of this period.
Roses and chrysanthemums are the principally used floral decoration and these are all painstakingly painted, unlike the wares of later periods which use blobs of colour surrounded by the appropriate outline. Floral designs on the front of a piece were usually different from those on the back – often fewer flowers and a different arrangement of colours.
The Artist–porcelain Movement
During the late decades of the 19th century most major industrial potteries were influenced by Japanese taste. Thereafter, designers turned Vase made at the Rookwood porcelain, 1890.
to either the old traditional patterns in vogue during the earlier years of the century, or the simple functional designs made in Berlin, Vienna, Paris, Milan, the various Scandinavian factories and especially England. In Great Britain, the ideas of Keith Murry are seen on Wedgwood wares of the 1930s, clearly indicating that formerly the designer was an architect working with a rule and compass.
It is fortunate that during this same period many skilled potters preferred to use clays as a new means of expressing personal feelings towards their craft. Today, many artist-potters are creating wares destined to be the antiques of the future.
The earliest evidence of the artist-potter obviously under the influence of the Near and Far Eastern potter was seen in the work of the Frenchman Th6odore Deck (d.1891), who opened a studio in Paris in 1856 and continued to produce beautiful painted earthenwares in the Islamic manner until he became Director of Sevres art department in 1887. While Deck is best known for his painting, Ernest Chaplet, who was working at Bourg-la-Refine in the 1870s, later specialized in glaze techniques and produced a wide range of unique effects on both stoneware and porcelain. They often equalled the glazes of the Chinese potter. Similar beautifully glazed stoneware was made in France by Adrien Dalpuyrat during the last decade of the 19th century. His contemporary, Auguste Delaherche, who produced some fine glazed stonewares, sometimes decorated in the sgraffiato technique.
The French artist-porcelain movement was particularly evident during the 1920s and 1930s, when many original and interesting wares were produced by George Serre, Jean Besnard, Jean Mayoden, Rene Buthaud and Paul Beyer, the latter reviving the technique of salt-glazed stonewares.
The vogue for artist-porcelain was soon to be seen in other European countries, especially Germany, where some interesting shapes and techniques were produced around the turn of the century by such potters as Herman Mutz of Altona. He was strongly influenced by Japanese porcelain and his son Richard also made some interesting stonewares in Berlin, often decorated with attractive ‘flowing’ glazes. These glazes appear to be suddenly ‘frozen’ from their liquid state. They were also very successfully applied by Julius Scharvogel, who was working in Munich in about 1900.
Following the First World War, there was a revived interest in Germany and the works of many potters active during the 1920s are to be seen in public and private collections. Foremost of this school was Bontjes van Beeck, a naturalized German of Dutch descent, who was extremely successful with his finely glazed stonewares in the styles of the Chinese Sung period. Since 1946, artist-potters have been working in both East and West Germany. The work of Ingeborg and Bruno Ahoff, working in Bochum in the 1960s, was highly original. They produced many simple shapes as a ground for ‘bubbly’ glazes.
The artist-porcelain movement in Scandinavia was quite strong by the 1880s, when Thorwald Bindesboll was creating decorative earthenware in Denmark. Most Scandinavian potters of the earlier period seemingly preferred the lower-fired earthenwares to stoneware, and often relied more upon applied decoration than original glaze effects. This was certainly so with Herman A. Kahler of Naestved, Denmark, who had great success with metallic lustres.
The division between the artist-potter and the porcelain industry is not so marked in Scandinavia, due to many factories providing the facilities for the artist-potter to experiment and create individual work. This was in addition to using his talents in designing for a greater production of wares made industrially. This practice has been a great asset to such fine potters as Axel Salto at the Royal Copenhagen Porcelain Factory, Stig Lindberg at Gustaysberg, Harry Stalhane at R6rstrand and Toini Muona at the Arabia factory, Helsinki, Finland.
The first wares which may well be termed artist-porcelain in England were similarly sponsored by industry. The factory at Doulton, in Lambeth, London, had been in production since 1815 and their wares consisted of domestic and industrial salt-glazed stonewares. In 1871, students of the Lambeth School of Art were invited to work at the factory to choose jugs and vases to the shape required and to apply their original decoration. This was usually incised, carved or applied in a range of browns, blues and greys. The artists were then required to sign their work. Today, the individual work of such former students as Hannah Barlow, George Tinworth and Frank Butler is in great demand.
Salt-glaze stoneware was also the preference for the now famous Martin brothers, who from 1873 were working at Fulham, London. Later they moved to Southall on the western outskirts of London. Walter and Edwin Martin were trained at the Doulton studios, but much of their work was decorated with floral forms inspired by Japanese taste which enjoyed much popularity following the London International Exhibition of 1862.
It was in 1872 that William de Morgan started a workshop in Chelsea, London, where he specialized in the painting of tiles and porcelain in lustres of the greens and blues seen on so much Persian porcelain of the 15th-19th centuries. De Morgan’s work was quickly appreciated and it became necessary for him to employ more staff, including the painters Charles and Fred Passenger and Frank Iles. Due to the founder’s ill health the factory closed in 1907.
In 1905 the Moore brothers’ porcelain factory at Longton was sold and Bernard Moore started his own business in Stoke. Moore had experimented with flambe glazes and now made decorative flambe ware using such artists as Hilda Beardmore, Dora Billington and John Adams. Flambee ware was also made by two of Moore’s pupils, E. R. Wilkes and J. Howson under their own names. G. L. Ashworth & Bros. of Hanley were also making flambe glazed porcelain at this time.
The now much collected Ruskin porcelain was the achievement of William Howson Taylor, the son of the headmaster of the Birmingham Art School. In 1898 he built his own porcelain at Smethwick and began experiments with high temperature glazes with the assistance of some craftsmen from Wedgwoods. His experiments were highly successful and he went on to produce a range of high temperature glaze effects, lustres and monochromes, calling the latter ’souffle glazes.
Few of these early artist-potters were completely responsible from start to finish for the work they were involved with. Possibly the first true artist-potter was the world renowned Bernard Leach, who was initially trained at the Slade School of Art to be a teacher of drawing and etching. Leach then spent about 11 years in Japan where he received training as a potter under a Japanese master. He then returned to England accompanied by a Japanese potter, Shoji Hamada. Together they established a porcelain at St Ives in Cornwall. Leach and Hamada worked together, using all locally obtained materials, from which they produced a wide variety of wares, including Japanese style stonewares and traditional English slip-trailed earthenwares.
Many now-famous English potters worked at some period during their training at St Ives, where Leach ran his porcelain on a community basis. This enabled them to produce many modestly priced and readily saleable wares, while allowing them to create original and personal work. Michael Cardew, Nora Braden and Katherine Pleydell-Bouverie all owe a great deal of their success to the knowledge gained from the master, Bernard Leach.
Hamada returned to Japan in 1924 and has worked there ever since. His style carries the influence of Japanese folk porcelain, English slipware and Y1 Dynasty Korean porcelain. All of Hamada’s work in high-fired stoneware is intended for domestic use including plates, bowls, teapots, bottles, jars and flower vases. This stoneware has a rough texture which contrasts well with the wood-ash and milky feldspar glazes he uses.
Nippon Wares
Nippon wares are those which bear the name ‘Nippon’ and appeared in the years 1891-1921. The McKinley Tariff Act of 1890 decreed that all articles imported into the United States should bear the name of the country of origin in English. Nippon being the Japanese name for their country this name was used on porcelain from 1891 until 1921 when the U.S. treasury ruled that ‘Japan’ should be used instead since Nippon was a Japanese word.
Early Nippon period wares still showed the blend of East and West characteristic of the pre-Nippon porcelain, while the later pieces become more and more Westernized; handles in particular show Western influence and feet are reduced to small balls of clay. Early Nippon wares still bear the hand of the individual potter but from about 1915 mass production had taken hold and the same moulds tended to be used repeatedly. Also in this period the use of the jigger gradually took hold as a result of which the wares became less attractive. The most characteristic wares of this period were chocolate sets and while the moulds used were almost identical, the quality of the porcelain varies enormously. The finest 19th century porcelain is that bearing the Rising Sun symbol.