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.

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

Friday, January 15th, 2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

PORCELAIN MUGS, English, mid-19th Century, A PLATE, Derby, PORCELAIN DESSERT DISH, Ridgway, PORCELAIN FIGURE OF A YOUNG MAN, Derby

Sunday, January 10th, 2010

PORCELAIN MUGS, English, mid-19th Century, A PLATE, Derby, PORCELAIN DESSERT DISH, Ridgway, PORCELAIN FIGURE OF A YOUNG MAN, Derby

A GROUP OF FOUR PORCELAIN MUGS, English, mid-19th Century, comprising: a two-handled Mug painted with a panel of flowers against a puce ground named in gilt ‘Moses Yates

Darlaston 1864′; a two-handled Mug painted with flowers beneath a pink border named in gilt ‘William Perry June 6th 1850′; a smaller Mug painted with flowers within a gilt

border and a Mug painted with flowers and named in gilding ‘Sarah Emma Yates’, tallest Mug 13.5cm.; 5Vfdn., cracks.

A PAIR OF PORCELAIN VASES, Royal Crown Derby, circa 1890, each of bottle form, painted in Imari colours with a ‘Japan’ pattern number 2444′, orange printed marks, each approx.

16cm.; 6′Ain., rim chips; and a Pair of conical Vases, similarly decorated.

A SET OF TWELVE KIDNEY SHAPED DISHES, Royal Worcester, circa 1895, each printed and painted with flower sprays within a gilt rim, puce printed crowned circle mark, ‘Royal

Worcester Vitreous’, Henry Greene & Sons retailer’s mark, each approx. 21cm.; 8′Ain. across.

A BLUE AND WHITE EARTHENWARE OCTAGONAL MEAT DISH, probably Staffordshire, 19th Century, transfer printed with a Chinese family group of five figures on a small grassy mound,

printed mark ‘Mandarin Opaque China’, 48.5cm.; 19in., small restoration to rim; also a Fell blue and white printed oval Meat Dish.

A LARGE PAIR OF PORCELAIN
MUGS, Derby, circa 1820, each painted with
a ‘Japan’ pattern of flowers in underglaze-
blue, red, green and gilt, red painted crowned
‘D’ and crossed batons, 13cm.; 5′/dn., restoration
to one.

AN UNUSUAL PEARLWARE
PUZZLE JUG, early 19th Century, of
flattened circular form on a spreading foot,
the centre moulded with a sunburst face
within a pierced border, the handle in the
form of a Figure peering into the pierced
neck, 31.5cm.; 12Vsin., minor chips and
restoration.

A PLATE, Derby, circa 1810, painted probably by Robert Brewer, with a central hunting scene, ‘The Kill’, within a blue and gilt garland, the rim with gilt vermicule on a deep

blue ground reserved with an oval panel gilt with a rose, 24.5cm.; 9-Vstn., areas of gilding possibly retouched.

A PAIR OF PEARLWARE FIGURES OF VENUS AND FLORA, early 19th Century, each modelled standing on a square brown line base, wearing floral robes, Venus with a dove perched on her

hand and Flora with a cornucopia of flowers, tallest 27cm.; lOVsin., small chips and some enamel flaking.

A TRIO, Swansea, circa 1820, fluted Paris shape, each piece decorated with a band of gilt shells centring a boar’s head crest, red printed SWANSEA to coffee cup.

A PAIR OF SPILL VASES, Spode, circa 1820, each of cylindrical form on a drum-shaped base, painted en grisaille and picked out in gilding with a Chinoiserie bowl of fruit and

flower vase, gilt rims, red painted SPODE painted pattern no. 3778, 10.5cm.

A POWDER BLUE GROUND CANTED RECTANGULAR PLATE, Bow, circa 1765, with a central oval panel painted with a Chinoiserie riverscape incorporating a figure in a sampan and buildings

on rocky islands, surrounded by smaller alternating fan-shape and circular panels painted with similar subjects, painted pseudo-Chinese six character mark.

A PORCELAIN DESSERT DISH, Ridgway, circa 1810—15, of shaped circular form, the rim moulded with bunches of grapes in low relief, painted with a central circular landscape panel

reserved within a gilt frame against a pale blue marbled ground, gilt rim, painted pattern No. 562, 23cm.; 9in. across.

A POTTERY COW CREAMER AND COVER WITH MILKMAID,
probably Scottish, circa 1800, sponged in
raspberry, green and brown, 13cm.; 5′Ain.,
small chips; also a Staffordshire pottery
Cottage.

A GROUP OF SEVEN POT LIDS AND TWO BASES, comprising: ‘The Allied Generals’ (No 168), ‘Albert Edward, Prince of Wales, and Princess Alexandra on their Wredding in 1863′

(Nol57-early edition), ‘Landing the Catch’ (No55), ‘The Meeting of Garibaldi and Victor Emmanuel’ (No211), ‘The Farriers’ (No324), ‘The Flute Player’ (No337) and ‘The Picnic’

(No354), some chips.

A BLUE AND WHITE DELFTWARE BOTTLE, probably Liverpool, circa 1760, painted with baskets of flowers beneath a garlic neck, 23cm.; 9in.

A PORCELAIN FIGURE OF A YOUNG MAN, Derby, circa 1775, standing in 18th Century costume, holding a flower posy in his left hand, grassy mound base, 16cm.; 6′Ain., some

restoration and small.

A PAIR OF BLUE AND WHITE OVAL SAUCEBOATS, Lowestoft, circa 1770, painted with panels of a fenced garden enclosing flowers and a willow tree inside moulded flower cartouches,

16cm.; 6′Ain. long, some damage.

A COW CREAMER AND COVER, circa 1770-90, covered in a mottled brown glaze and standing four-square upon a green glazed rectangular base, 19cm.; 7′Ain long, restored.

A ‘FLORIAN WARE’ VASE, Moorcroft, circa 1902, of waisted form, decorated with the ‘Daisy” pattern in shades of blue and green, green painted signature ‘W Moorcroft Des’, 12cm.:

43Ain., restored.

A PORCELAIN SAUCEBOAT, Lowestoft, circa 1765-70, painted in underglaze-blue with panels of chinoiserie landscape within floral borders moulded in low relief, painted numeral

‘5′, 16cm.; 6′Ain. across, small chip.

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

Thursday, January 7th, 2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tazze, four low Tazze and twelve Plates, pattern.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Antique Porcelain Decorative Plates

Monday, December 14th, 2009

Antique Porcelain Decorative Plates

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Antique 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 BOWLS: WEDGEWOOD, BELLEEK, ROCKINGHAM, ROYAL CROWN DERBY BOWLS

Monday, December 14th, 2009

ANTIQUE PORCELAIN BOWLS: WEDGEWOOD, BELLEEK, ROCKINGHAM, ROYAL CROWN DERBY BOWLS

In the eighteenth century, tea was drunk from antique bowls without handles, and at the end of the century, from cups. The only bowls from tea services represented on the following pages are slop bowls, used for emptying the dregs from one cup prior to a refill. This bowl is often confused with the sugar bowl or basin which should be of smaller size. When supplied with a cover, it becomes a sucrier. A single bowl from a service would have little value unless of superb quality. For prices and patterns, see the tea services section.
Large bowls are frequently one half of washing ewer and bowl sets made for masonic or other institutions but, in the first instance, they are infrequent in porcelain and, in the second, very uncommon in the teenth century. Bowls were also used for pot pourri and rose pet al s ind for fruit, although at table the tazza or fruit dish took over, see table wares and plates.
It is a useful, but by no means infallible, test to support a bowl by ils foot on one hand and ;ping’ it with a knuckle of the other to discover whether it is cracked. It should
ring true if perfect, produce a dull *donk if restored or a double ring if cracked. However, this is not an absolutely reliable test. A bowl which has had a semi-circular piece knocked from the rim can still ring and, if well restored, can still one to believe it is undamaged. Conversely, some of the moulded bowls from services of the first half of the century are of a very soft paste and sound dead even if perfect. As aiways, examine everything carefully before buying.
Bowls are among the most difficult of objects for a collector t display. Since the exterior usually bears most of the decoration, they have to be placed at, or above, eye level to be seen effectively.

Antique Copeland bowl c. 1870. Printed name.
A good centrepiece in turquoise and gilding, stylistically interesting and well moulded. It has the disadvantage of being Copeland, a neglected factory, except for the parian figures, and of being rather large, more suitable for use than pure decoration.

Wedgwood bowl. 1920. Printed vase and name.
A common little bowl of a not very high standard of printing. These dragon and butterfly subjects are often erroneously referred to as ‘Fairyland’, which they are not.

A rare bowl and cover with a fairyland subject. The printing of the gilding is not as sharp as it could be but the rarity of the piece will outweigh any slight production faults.

Wedgwood 1920s bowl. Printed vase and name.
Despite the lack of fairies this is a desirable bowl as fish are rare on these lustres. The background is mottled blue with the fish coloured and gilt.
Wedgwood 1920s Diameter: 16.5cm. Printed vase and name
Uncommon, as this bowl has a red-gold ground exterior with the fairies etc., in yellow-gold and tangerine enamel. The interior in blue on a pearl lustre ground. Although uncommon and generally expensive, this type is given to great fluctuations in price.

Antique Wedgwood bowl. 1930. Printed vase and name.
A gold lustre exterior with gilt and coral fairyland scenes, the whole rather ill-defined and weak but the interior with a pearl lustre ground and a good ‘art deco’ roundel and border.

Royal Worcester 1905 bowl. Printed crowned circle and date code.
A rather dreadful bowl with bad gilding and somewhat dirty-coloured autumn leaves and berries. Produced by any factory without the magic Worcester name, a similar bowl would be lucky to fetch only 1015.

Belleek bowl. 1870. Impressed name.
A masterpiece of clay latticework producing a basket and cover and further encrusted with flowers and crabstock handles, all under a shiny glaze. Very fragile and useless, the handles are uncomfortably rough and the flowers sharply moulded enough to lacerate oneself, but a decorative and interesting item.

Copeland and Garrett Gilt printed bowl.
A well decorated cup with Continental scenes within gilt scrolls on a turquoise ground. Originally part of a coffee service. The gilding tooled and of good quality, the scenes typical of the period and reflecting still ‘le Grand Tour interest.

Royal Crown Derby 1912. Printed crowned monogram and date code.
This table bell is not a common item and has the 1128 Imari pattern,the flowers in iron-red, blue, green and gilding.  Miniature about the same.

Antique Rockingham 1830-42 bowl. Griffin in puce.
A rare patch-box, the lid moulded in the shape of a butterfly and natural colours. The box in azure blue, edged in gilt.

Rockingham 1830-42. Printed griffin in puce
A miniature teapot with a rustic green handle and applied with coloured sprays of flowers. An uncommon object which with the magic Rockingham name and mark results in a high price, despite the almost inevitable nibbling of the flowers.

Royal Worcester possibly 1876. Printed with illegible code.
Good quality decoration in bright enamels and gilding; obvious, but adulterated Japanese influence. Typically underpriced. The type of teapot that would have stood on the tray

Royal Worcester Impressed crowned circle.
A double-walled cup and saucer, honeycomb pierced, enamelled and gilt and applied with turquoise beads. First exhibited at the 1851 exhibition by Chamberlain. A tea service of this pattern was given to Jenny Lind after her concert for the benefit of the Worcester workers. She refuse d it on the grounds that she could receive no payment for a charity performance. Probably the type of object that George Owen started on when he began at the factory.

Royal Worcester bowl late 19th century. Impressed crowned circle
A double-walled pierced teapot by George Owen but not signed, and with turquoise and white beading on coloured grounds and additional gilt details. Although of good quality, the
Lack of Owen’s signature makes ail the difference to the price.

Royal Worcester 1903. Printed crowned circle, date code
A poor photograph of a good box by George Owen. Although not signed, the piece bears ail the evidence of his hand, with crisp honeycomb piercing and good gilding. The feet are four masks and shields.

Royal Worcester 1919
Printed gilt mark and date code.
A very elaborate box and cover by George Owen and with his incised signature on the base. Despite the fact that the knop on this particular example had been broken off and stuck back, it fetched 650 in a sale in 1973. A perfect example would fetch nearer the upper limit given.

Royal Worcester Modern bowl and 1939 Jug Printed crowned circles and date codes.
Worcester miniatures are popular and less common than Royal Crown Derby, although, generally speaking, of a lower standard of production. The jug is by William Powell. An older thimble with a ied scene by a good artist.

Belleek 1870-1880. Printed symbol and name.
A good cache-pot with crisply modelled flowers at the mouth, the side with moulded prunus blossom. Several petals are missing from thi xample as is almost inevitable .

Minton 1850 . No mark.
A jardiniere with rather stiff exotic birds within gilt borders on the bleu-de-roi ground. Loosely based on an 18th century Sevres original. The attribution to Minton is founded on the style of bird painting which is known on marked examples from this factory.

Rockingham c. 1830-42. Printed griffin in puce.

A very rare pair of cache-pots attractively painted with panels of flowers. The rest of the body deep blue and gilt. Quite apart from the attractive painting of these cache-pots making them desirable, the factory made very few of them.

Royal Worcester 1899. Printed crowned circle, registration and date code.
A large cache-pot with well cast high relief green and brown lion masks and scrolls against the usual yellow/apricot ground. Size is of major importance in the price of jardinieres.

Royal Worcester 1903. Printed, crowned circle registration and date code.
A fine pair of cache-pots with apple-green rims and bases. The too small panels by Harry Davis, signed. Had the panels been larger they would fetch considerably more.

Belleek 1869 Impressed name, moulded registration.

A rare and early piece of Belleek, the lily buds and leaves tinted in pale colours.

Rockingham 1830-42. Printed griffin in puce
A superb painting of Wentworth House, seat of the Earl Fitzwilliam, the patron of the Rockingham factory, within a burnished gilt band and white floral encrustation. The association of the subject makes this a great deal more expensive than would be an unidentified church. Several sizes are known and with less interesting flower painting can range from 120-200.

Wedgwood 1920s dish with flared sides decorated on the interior with complex fairyland scenes.
A typical fairyland bowl with panels of brightly-coloured and gilt dream folk and landscapes, the borders with gilt pebbles on a black ground. It is vital to check very carefully for restoration on fairyland lustre as the complexity of the design means that re-painting is easy to hide. A bowl has corne to notice that had a triangular piece of the rim about the size of a lOp piece that had been restored but which still rang true when struck.

Wedgwood 1920s.
Although not a particularly exciting or brilliantly coloured bowl, this is unusual in that it has the designer’s, J. Makeig-Jones’s, monogram incorporated in the design, raising the price from about 250-350.

Wedgwood 1920 bowl. Printed vase and name.
A rare Persian-influenced pattern of birds and animals in trees against I the Rhages pattern.

Royal Worcester 1905. Printed crowned circle and date code.
Typical of a lot of reasonable quality but boring mass-produced wares which could have been made by many factories around the turn of the century. This is a salad bowl which would originally have had electro-plated porcelain-handled servers with it.

ROYAL CROWN DERBY VASE - A STAFFORDSHIRE BLUE AND WHITE TWO-HANDLED VASE - A MEISSEN FIGURE GROUP - A SITZENDORF FIGURE OF A BALLERINA - AN ORIENTAL CARVED IVORY FIGURE

Sunday, December 6th, 2009

ROYAL CROWN DERBY VASE - A STAFFORDSHIRE BLUE AND WHITE TWO-HANDLED VASE - A MEISSEN FIGURE GROUP - A SITZENDORF FIGURE OF A BALLERINA - AN ORIENTAL CARVED IVORY FIGURE

A PAIR OF ROYAL CROWN DERBY VASES
The main ivory ground globular form with elongated navy blue necks, painted and printed with loose sprays of flowers under scroll moulded sections, printed iron red factory marks, date codes for 1894

A PAIR OF SATSUMA VASES
The baluster form with flared rim each decorated with two similar Japanese scenes, to one side a Japanese gentleman serenades a young lady and to the other a wise mail writes in a manuscript while holding aloft a large bowl.
A FAMILLE ROSE INCENSE BURNER
The bowl on spreading circular base with attached cast iron loop handles to either side and detachable lid with similar handles, painted to bowl and lid with Oriental warrior figures and fantastical beasts in rural landscapes, with a border of floral sprigs to base, badly cracked and restored, 9/4in. (23.5cm) diam.; and an Imari patterned fruit bowl, painted with flowers and birds, chipped and scored to rim

A LARGE FAMILLE VERTE VASE The baluster shaped form decorated on either side with a cartouche depicting Oriental ceremonial figures against a background of vibrant yellow and white and pink chrysanthemum flowers.

A STAFFORDSHIRE BLUE AND WHITE TWO-HANDLED VASE
The faceted baluster form on spreading circular foot and decorated throughout with transfer-printed floral and Italianate landscapes, lacking cover, impressed mark Rogers to base; and two ironstone ashets, transfer-printed with exotic birds and foliage and the other similarly decorated.

A DERBY STYLE TWO-HANDLED ICE PAIL
The waisted squat form, on spreading square base with moulded entwined handles and vine leaves to rim and moulded fruiting vine to cover, the main body decorated with weaving floral sprigs around waist with central floral themes to either side and under handles, which continue to base, gilt handles rubbed.

A CUT GLASS COMPORT
The circular stepped bowl, with fan cut rim, on a hexagonal knopped stem and with a spreading circular base, chips throughout.

THREE CANTON FAMILLE ROSE JARS AND COVERS
Each decorated with stylised flowers and insects, with moulded bamboo style handle to cover and fixtures enclosing loop handles to either side, badly cracked and repaired throughout.

A COLLECTION OF CHINESE FIGURES OF DIGNITARIES
The main couple painted in blue, green and yellow and standing on oval bases, cracked, 12in. (30cm) high; another two depicted standing on two branches of a tree; and another three similar.

A MEISSEN FIGURE GROUP EMBLEMATIC OF THE ARTS
Three winged putti each depicted being inspired by an element of the Arts, one holding a bound book while leaning overlooking the easel where another paints using a pallet and a box of paints, the third seated on the base pointing to the picture, the putti draped with blue and pink material, on a shaped base decorated with laurel swags, slightly chipped to base, with painted crossed swords mark and inscribed.

A MEISSEN FIGURE GROUP OF A GALLANT AND HIS COMPANION
The female figure modelled standing with an arm covering her face and the other around the shoulders of her suitor kneeling before her, wrapped in a garland of flowers, with cupid leaning on the couple at the back and another putti laying flowers at their feet, resting on an oval base, with painted crossed swords mark.

A SITZENDORF FIGURE OF A BALLERINA
Modelled bending to lift the frill of her full lace skirt, encrusted with sprigs of flowers throughout, blue painted mark to base; a continental figure modelled as a swordsman holding shield, with sword hilt in right hand, on moulded shaped square base, sword broken; and another continental figure modelled as a gallant, dressed with long cape and beret and standing on a blue circular base, blue painted mark to base.

A COALPORT PART TEA SERVICE
Each piece moulded and decorated with Deutscheblumen and painted with bands of gilt and dove grey, comprising;
•    large tea pot
•    two-handled sugar bowl with cover
•    cream jug
Twelve cups
Twelve saucers
Two sandwich plates
Twelve side plates
Two egg cups
Two small saucers
with printed mark to base.

A STAFFORDSHIRE POTTERY SPILL VASE
Modelled as ‘Little Red Riding Hood’, the girl on one side of the tree trunk and a wolf on the other, damages; and another Staffordshire pottery flatback figure of two ‘Wally’ Dogs, one depicted seated on a barrel.

A COLLECTION OF CABINET TEA CUPS AND SAUCERS Comprising; a Davenport tea cup and saucer in the Imari pattern; a Zetland tea cup and saucer and another similar; an oriental style tea bowl and saucer and another teacup and saucer similar; an oriental style teacup and saucer decorated with oriental figures and foliage and another similar; another pair of teacups and saucers; a teacup and saucer with floral sprigged decoration and a matching gravy boat and side plate; a transfer printed water jug and similar saucer; a teapot and matching side plate; and another three various saucers.

A SATSUMA TAPERING VASE
The main body decorated with quails amongst flowering chrysathemums on a blue background, the elongated neck painted with geometrical motifs.

A PAIR OF CLOISONNE ENAMEL VASES
Each decorated on a dull yellow background and depicting birds in flight with flowering chrysanthemums and cherry blossom.

AN ORIENTAL CARVED IVORY FIGURE
Modelled as a fisherman, with basket of fish and spear another modelled as a street entertainer with a monkey on his shoulder and a young boy wrapped around his knees, damages; and another netsuke.