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 Copeland, Royal Doulton and Minton Figures and Busts

Monday, December 14th, 2009

Antique Copeland, Royal Doulton and Minton Figures and Busts

Samuel Alcock and Co. 1840-50.
A small and attractive pair of partan figure groups of fine quality, the intricacy of the modelling indicating that a large number of moult would have been employed, perhapsthirty to fifty for each figure. Obviously uncommon to find undamaged in any way. Their style harks back to 18th century figures, making them less desirable to the parian purist who would concentrate on obvious 19th century models.

Brownfield and Co. last quarter of the 19th century.
One of a pair of figures entitled Marna and Papa as children dressed in their parents’ clothes, the boy in top hat, boots and with an umbrella. Figures of sickening sentimentality relieved only by the interest of the contemporary clothing and as a comment on the attitude to the children of the time.

Chamberlain c.1827.
A very rare and fine set of the Tyrolese group of singers, the who toured England in 1827 and 1828.

Copeland 1860s. Impressed Copeland group of Florence Nightingale tending a wounded soldier, bon on her breast entitled Scutari. This example has broken hand stick accounting for the low price. In good condition original marble by T. Phyffers was exhibited at the Royal Academ 1857.

Copeland c 1865 Height lopins.
The famous Tinted Venus after John Gibson R.A. holding her golden apple. The original marble aroused a storm of protest as the sculptor lightly coloured her for the 1862 International Exhibition. It was issued by the Art Union of Great Britain.

Copeland and Garrett 1833-47.
An uncommon pair of ‘Felspar porcelain’ busts of Locke and Ben Johnson. Felspar porcelain was one of many new bodies produced between the beginning and middle of the 19th century. These busts are no great advertisement for the material, since they both display unfortunate blotchy discoloration.

Royal Crown Derby 1969
Height: 13.3cm. Printed factory marks and limitation number.
One of 250 red and gilt dragons made to commemorate the Investiture of the Prince of Wales at Caernarvon Castle.

Royal Doulton c.1920. Printed mark and painted title.
A typical Naughty Twenties figure of the Bather disrobing, the robe in brilliant purple with blue lining, uncovering her pink skin, her hair golden.
Incised names.

A rare and large parian bust of Dickens. Goss was only for a short time working with Peake, a roofing tile manufacturer. William Gallimore who modelled the bust and whose name is also incised on the back, left Goss to work at Belleek in 1863 along with several other workers but returned to continue with Goss. The over-large size of the bust has affected the price; it should, because of its rarity, fetch much more.

Copeland 1846. Impressed name, printed title.
An early parian figure of Narcissus after John Gibson, R.A. and entitled. It was modelled by E.B. Stephens for the Art Union of Lon as their first parian figure. Fifty copies were produced, all to be give prizes in their lottery.

Copeland 1862.
Victorian sculpture and parian figures are frequently distressingly sentimental to our eyes but can sometimes be quite charming like this group entitled on the base: Go to Sleep. After a model by J. Durham for the Art Union of London, both pieces of information cast into the base.

Copeland 1874.
Impressed name and date code
After the marble by Raphael Monti, with a moulded signature and the title, Nora Creena. Monti was a much lauded sculptor who showed at the major International Exhibitions, his special skill being the suggestion of features beneath gauze or drapery. Many of his busts and figures were transmuted into parian.

Copeland and Garrett 1833-47.
An uncommonly good pair of greyhounds coloured in grey and cream and brown, the base lime-green and gilt. In a completely different class from the more usual Staffordshire pottery examples and, due to their large size, highly decorative as well.

Royal Doulton 1920s
An amusing figure evocative of the period. The girl in fancy dress with bright red collar, polychrome interior to the cloak and black cat suit, entitled Marietta. Along with

Royal Worcester figures of this period, not yet greatly in demand.

Gossand Peake 1867.
A large parian bust of Dickens. Goss was only for a short time working with Peake, a roofing tile manufacturer. William Gallimore who modelled the bust and whose name is also incised on the back, left Goss to work at Belleek in 1863 along with several other workers but returned to continue with Goss. The over-large size of the bust has affected the price; it should, because of its rarity, fetch much more.

W.H. Goss c.1880
A FINE pair of figures with refined coloration and gilding, A high price as they are much sought after by Cosa collectors and parian figure collectors, as well as being suitable for THE decorator market.

H.T. & Co. mid 19th Century Incised H.T. & Co
A well cast group of Eliezer and Rebecca. A large number of Old Testament subjects were made in parian. The factory does not seem to be recorded.

J. Hadley and Sons 1903. Printed crowned circle.
A well modelled and coloured group in shot silk and gold by James Padley. The character on the left is not Alexander Solzhenitsyn but Paul Kreuger of South Africa, the other is

Neville Chamberlain. Other groups include other contemporary pohticians.
A pair of the same figures opposite, shown mounted as candlesticks with encrusted flowers and elaborate bases. Most early nineteenth century figures can be found with variations in casting, positioning.

An early parian figure following the tradition of the biscuit porcelain models. It was issued with a companion.

A rare pair of figures forming candie snuffers, their clothes brightly painted and gilt. These were also made to fit on the base of an elaborate ‘bower’ candlestick. With the candlesticks. Very infrequently found in good condition due to the softness of the body.

A well-decorated figure of a guitar player seated, rather oddly, on a copy of a Chinese garden|seat. All well enamelled and gilt. Pair with dancer.

Minton с. 1840.
A richly decorated and well modelled pair of sweetmeat figures on gilt rococo bases. The Minton painting on figures of this date was second to none in elaboration and they are last gasp of the 18th century figure tradition.
An early group of good quality representing Naoml and her daughters-in-law, which was shown as the 1851 Exhibition. Large models of this type in good condition are beginning to be sought after. Damage affects the price dramatically.

Minton 1858. Impressed marks and date cypher
Another MacBride figure; this of Sir Henry Havelock, 1795-1857, who figures largely in the Indian Mutiny with Sir Colin Campbell. With the rise in interest in Staffordshire portrait figures and the belated appreciation of parian as a material, these portrait figures are rising in price.

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.

A Doulton Vase - A Goldscheider pottery Model of a Borzoi - Coalport Cup and Saucer

Wednesday, December 2nd, 2009

A Doulton Vase - A Goldscheider pottery Model of a Borzoi - Coalport Cup and Saucer

A Group of six Staffordshire ‘Toby’ Cruets; three small Jugs; and a Toby Teapot and Cover, some chips and restoration.
An Elton Jug and Cover, 1890’s, the baluster body decorated in blue, green and buff slips with stylised flowers, the cover with frilled finial.
A porcelain Vase, late 19th Century, in,,, the form of a shell applied with a bead encrusted bird beside berries and leaves, chips and repair.
A Charles Vyse circular Dish, 1932, of low squat form, with green and brown mottled glaze, 15cm.; 6in. diam., incised mark
A Doulton Burslem. Vase, circa 1900, of egg shape, painted in blue with spray of flowers between gilt line rim and foot, 21 cm.; 81/4in., brown printed factory mark,ainted and impressed numbers
A British porcelain Cup and Saucer, possibly Coalport, early 19th Century, each  with roses and pansies between painted piece high loop handle, hair-cracks
A German oval porcelain Plaque, late 19th Century, painted with a half-length portrait of a youth playing the recorde in ornate leafage carved frame
An Italian (Milan) porcelain toy Teaset, late 19th Century, each piece encrusted with flowers and painted with insects and flower sprays, comprising: Tray, Teapot and Cover, Jug and Cover, sugar Box an
two Cups and two Saucers, minor chips, factory mark in blue
A Berlin porcelain rectangular Plaque, 2nd half 19th Century, painted after Rembrandt with a portrait of the artist’s mother, impressed K.P.M. and sceptre
A Galle-style tin-glazed Model of a cat, early 20th Century, modelled seated with self-satisfied expression, its yellow coat decorated with blue hearts and spots, glass bead eyes, one leg repaired, minor restorations,
signed JR and the Cross of Lorraine
Three Jon Douglas plaster face Masks: `Marguerite’, the stylised head of a young woman wearing a green striped hat, chips to enamel, incised marks, ‘Vicky Lesli’, a young woman with long golden hair and wearing a hat, 33cm.; 13in., incised marks, and ‘Madonna’, a young woman with hands to her face, wearing a green headscarf, finger glued., incised marks.
A Continental porcelain flower Vase, late 19th/early 20th Century, the exterior moulded with four classical maidens and a stag, on a scroll moulded base, small chips and repair.
A Westerwald stoneware Flask, 18th Century, the flattened ovoid body incised with two stylised birds and a stag amongst foliage, against a cobalt blue ground.
A German porcelain Plaque, 2nd half 19th Century, painted after Murillo with two urchins eating fruit by Decklemann, Munchen, signed.
A Goldscheider Model of a spaniel, modern, the animal in standing pose, its coat spotted in dark-brown, 34.5cm.; 131/tin. long, black printed mark and impressed numbers
A Goldscheider pottery Model of a Borzoi, 20th Century, after Beaume, signed, standing with one forepaw raised upon an elliptical base, stress crack in forepaw;
impressed and printed marks
A large French porcelain Plaque, late 19th Century, painted with a full-length portrait of a gipsy girl looking out to sea holding a mandolin in her hands, indistinct inscription to back
A Westerwald stoneware quart Mug, early 19th Century, the ribbed cylindrical body incised with a band of scrolling foliage framing a cypher GR picked out in cobalt blue
A Westerwald stoneware Mug, late 18th/19th Century, the globular body incised with foliate motifs framing a crowned cypher GR picked out in cobalt blue under a cylindrical ribbed neck.
A Mettlach stoneware Ewer, circa 1887, the cylindrical sides incised and coloured with three hunting scenes, signed Worth, between oak leaf moulded borders and branch handle, restored, impressed marks
A German porcelain eight-piece frog Band, circa 1900, each ‘musician’ seated on a tree-stump wearing colourful attire, some damage, 12.5cm.; 5in., painted and impressed numbers