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Antique Porcelain: Royal Crown Derby, Staffordshire, Royal Worcester, Bohemian, Royal Doulton Porcelain, Ceramics and Pottery
Friday, January 15th, 2010
Antique Porcelain: Royal Crown Derby, Staffordshire, Royal Worcester, Bohemian, Royal Doulton Porcelain, Ceramics and Pottery
A SILVER-GILT MOUNTED GLASS INKWELL, LINER AND BOX, French, circa 1890, the square form with rounded shoulders and hobnail-cut base, mounted with two silver-gilt pierced scroll bands connected on the front and reverse by a winged female and each side with an elaborate swan-necked Aeolian harp, the neck with stamped silver-gilt hinged cover and small cylindrical liner, the silver excite French touch marks, 10cm.; 4in. high.
A GLASS DECANTER, Dutch, late 18th Century, the bulbous body applied with vertical pinched ribs over gilt vermicular ground, the tall cylindrical neck similarly decorated between applied loop handles, 25cm.; 9-in., some gilt rubbing, part of one rib lackin.
A PAIR OF BLUE OVERLAY GLASS
VASES, Bohemian, circa 1860, each of
slender baluster form, cut with elongated
arched panels and quatrefoil windows, gilt
rims, 28.5cm.; some gilt rubbing.A ‘POMEGRANATE’ TWO-
HANDLED VASE, Moorcroft, circa 1935,
tube-lined with a broad frieze in rich colours against a deep blue ground, impressed MOORCROFT, MADE IN ENGLAND and signed in blue WM, 12cm.; 4in .TWO LIBERTY & CO. ‘FLAMMINIAN’ VASES, Moorcroft, circa
1903-1913, each mallet form body with tall
neck, decorated with three stylised foliate
roundels, on a red ground, each with incised
signature, W Moorcroft and printed Liberty mark,
26cm.; 10in., chip to rim of one (2) .A TWO-HANDLED VASE, Royal Worcester, 1912, the slender ovoid body
painted by Harry Davis, signed, with three
sheep in a landscape, set with gilt loop
handles raised on a square base, puce printed
marks, shape 2063, 23cm.; 9in., damaged.A LARGE GLAZED EARTHENWARE
PLAQUE, Burma tofts, late 19th Century,
of circular form, moulded in relief with a pair of doves perched amongst blossoming branches, all covered in a dusky pink glaze. impressed BURMANTOFTS FAIENCE, 61cm.; 2in. diam., very minor rim chips .A PAIR OF OVOID VASES, Royal Crown Derby, circa 1893, each gilt with flower sprays on a pale lemon ground, gilt rims, orange printed marks, 18cm.; 7in., minor hair crash to neck (2).
A LARGE MAJOLICA JARDINIERE AND MATCHED STAND, probably Staffordshire, late 19th Century, the Jardiniere moulded with foliate scrolls picked out in green and yellow against a deep blue ground, the pedestal moulded with acanthus and glazed in brown and yellow, 110cm.; 43in., minor damage (2).
AN EARTHENWARE SPILL VASE GROUP, Staffordshire, mid-19th Century, modelled as ‘Rachel and Companion at the Well’, raised on an oval rocky mound base, 33cm.; 13in., minor chips; also an equestrian Figure of William I, King of Prussia
AN EQUESTRIAN FIGURE OF COLONEL PEARD, Staffordshire, circa 1864, seated on a horse facing left in plumed hat, tunic, breeches and knee boots, the oval base titled ‘C. Peard’ in raised capitals, 26cm.; 10in.; also three equestrian Groups; and a large Pair of Spaniels (6).
A PAIR OF EARTHENWARE FIGURES OF MILTON AND SHAKES¬PEARE, Staffordshire, mid-19th Century, each standing leaning against a pile of books raided on a pedestal, octagonal titled bases, 11m.. inner damage to Shakespeare; also two Equestrian Figures, one of Colonel Bur nab, the other of The Prince of Wales’ (4).
A LARGE STONEWARE VASE, Doulton, circa 1895. incised by Hannah Barlow, with a broad frieze of figures haymaking with horses and sheep between deep blue border* decorated with stylised leaves, mark. 44cm.; 17in., repair to rim.
A PAIR OF PIERCED VASES,
Grainger and Co., Worcester, circa 1890,
each of footed pear form, intricately pierced
with scrolling stylised foliage, brown printed
shield factory mark, 19.5cm.; 73In, necks
reduced (2).A PAIR OF ‘FLAMBE VEINED’
VASES, Royal Doulton, early 20th Century,
each of ovoid form, covered in a swirling
mottled red and blue glaze, black printed
marks, shape no. 1613, 16.5cm.; 6in.GREY WAGTAIL AND CELANDINE’. A BIRD MODEL, Royal Worcester, circa 1968, modelled by Dorothy Doughty, perched on a rock, mounted in a glass case, black printed marks and title, impressed numerals 59, 14.5cm.; 5in., some damage and restoration.
A SET OF ELEVEN BONE CHINA PLATES, Spode, circa 1890-1900, each printed in iron-red with fleur-de-lys and arrow heads within a pendant border, scalloped gilt line rim, green printed mark, red painted, 23cm.; 9in. diam. (11).
A GROUP OF STONEWARES, Royal Doulton, early 20th Century, comprising; a Model of a cockerel, 26cm.; 10in., repaired; a natural foliage’ ware Vase and Bowl; and two Jam Pots and Covers in the form of an apple and a pear (7).200
A STONEWARE VASE,
Royal Doulton, circa 1905, the globular body
incised by Hannah Barlow, monogrammed, with
a frieze of cattle, impressed and incised marks,
14cm.; 5in.A PAIR OF STONEWARE VASES,
Royal Doulton, circa 1905, each ovoid body
incised by Hannah Barlow, monogrammed, with
a frieze of ponies above a blue border,
impressed and incised marks, 18cm.; 7in.A STONEWARE OVOID VASE, Doulton, circa 1886, incised by Hannah Barlow, monogrammed, with a frieze of horses against a buff ground between stylised leaf borders, impressed and incised marks, 46cm.; 18inn., chip to foot.
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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.
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PORCELAIN PART DESSERT SERVICE, Coalport, COFFEE SERVICE, Royal Crown Derby, PORCELAIN PLATES, Paris, 19th Century
Sunday, January 10th, 2010
PORCELAIN PART DESSERT SERVICE, Coalport, COFFEE SERVICE, Royal Crown Derby, PORCELAIN PLATES, Paris, 19th Century
A PORCELAIN PART DESSERT SERVICE, Coalport, circa 1825, painted in iron-red and gilt with scattered flowers inside a gadroon moulded rim, comprising: a Comport, two Sauce
Tureens, Covers and Stands, four square Dishes, three oval Dishes, a circular Dish and eighteen Plates, minor damage and some wear.
A COMPOSITE ‘ROYAL LILY’ PATTERN PART TEA SERVICE, Worcester, circa 1800, comprising: Teapot and Cover, Sugar Bowl and Cover, Milk Jug, two Plates, two Cups and two Saucers, a
Bowl and a large Saucer, one saucer repaired, chips to teapot.
A PART DESSERT SERVICE, Copelands China, circa 1923, each piece decorated with a wide underglaze-blue border, the rim moulded with flower heads picked out in gilding,
comprising: one shaped oval Dish, one shaped square Dish, one shaped circular Dish and six Plates, green printed marks SPODE COPELANDS CHINA, impressed COPELAND SPODE N/23,
painted pattern no. 9708.
A BONE CHINA PART TEA SERVICE, Copelands China, circa 1918, each piece of shaped square outline decorated u ith a band of gilt scales on a deep blue ground, all within a formal
gilt border, comprising: Jug, Sugar Bowl, Tea Plate, eleven Cups, ten Saucers and eleven Side Plates, green printed mark
SPODE COPELANDS CHINA ENGLAND, haircrack to jug and one plate.A PART TEA SERVICE, Royal Crown
Derby, 1920/30’s, each piece painted in Imari
colours with the ‘1128′Japan pattern,
comprising: six Cups, six Saucers, eight
shaped circular Side Plates and four circular
Side Plates, orange printed marks.A PART TEA SERVICE, Royal Crown Derby, 1920’s, each piece painted in Imari colours with the ‘1128′Japan pattern, comprising: Sugar Bowl, twelve Cups, twelve Saucers and twelve
Plates, orange printed marks, painted pattern no.
A COFFEE SERVICE, Royal Crown Derby, circa 1919, each piece painted in Imari colours with the ‘2451′ Japan pattern, comprising: Jug, Sugar Bowl, six Cups, six Saucers and six
Plates, orange printed marks.
A SET OF EIGHTEEN PORCELAIN PLATES, Paris, 19th Century, gilt with flower sprigs inside a green rope twist border, 23cm.; 9in., chips and some wear.
A STONE CHINA PART DINNER
SERVICE, Masons, 2nd quarter 19th
Century, printed and coloured with exotic
birds amongst flowering shrubs against a
deep blue ground, scattered with
chrysanthemum, comprising: two Soup
Tureens, two Covers and one Stand; Sauce
Tureen and Cover; and two large Meat
Dishes, puce printed mark, retailer’s mark Thomas
& Higginbotham of Dublin, one meat dish riveted,
chips to sauce tureen.A POTTERY PART DESSERT SERVICE, English, circa 1830, each piece printed in blue and painted in orange and gilding with a ‘Japan’ pattern, comprising: one tall Tazza, two shaped
oval Dishes, two shaped square Dishes, two heart-shaped Dishes and eleven Plates, painted pattern No. 327, small chips.
A’FELSPAR’PORCELAIN PART TEA SERVICE, Spode, circa 1830, the apricot borders gilt with foliate designs, comprising: Teapot, Cover and Stand, Sucrier and Cover, Cream Jug, twenty
Cups and ten Saucers, puce printed marks, pattern 4108′, some damage; also four similar Dessert Dishes.
A PORCELAIN PART TEA SERVICE, English, circa 1835-40, each piece painted with a wide pink ground band gilt with shells, all within foliate moulded gilt rims, comprising: Teapot
Cover and Stand, Sugar Bowl and Cover, Cream Jug, Slop Bowl, two Plates, five Coffee Cups, five Teacups and nine Saucers, gilt pattern no 1194, some damage.
A PORCELAIN PART TEA SERVICE, Ridgway, circa 1850-55, each piece moulded in relief with overlapping leaves and gilt with floral sprays and diaper panels, comprising: Jug, Tea
Plate, eleven Cups and twelve Saucers, red painted pattern no 511801, minor haircrack to one cup.
A PORCELAIN PART DESSERT SERVICE, Staffordshire, 2nd quarter 19th Century, each piece printed and coloured with groups of flowers inside a floral moulded border, comprising: a
Comport, a pair of shell-shaped Dishes, a rectangular Dish and five Plates, pattern 547, some staining and haircracks.
AN IRONSTONE CHINA PART DINNER SERVICE, Ashworths, early 20th Century, decorated in underglaze-blue, red and gilt with shaped panels of flowers, comprising: two oval Meat
Dishes, three oval Serving Dishes, two Vegetable Tureens and Covers, a Sauce Tureen, two Covers and two Stands, twelve Soup Plates, eighteen Dinner Plates and twelve Dessert
Plates, printed and impressed marks, some cracks and chips.
A PART TEA SERVICE, Chamberlains Worcester, circa 1797, each piece of sprial fluted form, painted in brown enamel and gilding with pattern no ‘64′, comprising: Teapot and Cover,
Sugar Bowl, Cover and Stand and two Saucers, the covers painted inside Chamberlains Worcester No 64, some restoration to sugar bowl and base of teapot, star crack to saucer;
also a Trio and a Teabowl circa 1795, painted with a similar pattern.
A NEW STONE’ PART DINNER SERVICE, Minton and Hollins, 1840’s, each piece printed and painted with peonies in chinoiserie style, comprising: Soup Tureen, Cover and Stand,
Circular Bowl, oval Serving Dish, Vegetable Dish Cover, two Sauce Tureen Stands, four graduated Meat Dishes, three Side Plates, four Soup Bowls and eighteen Dinner Plates,
printed cartouche mark, painted pattern no 6034, impressed BB New Stone, some cracks and chips.
A PORCELAIN PART TEA SERVICE, Staffordshire, circa 1840, of roccoco form, gilt with flowers on a deep ro: pink ground, comprising: Teapot and Cover. Sucrier and Cover, Milk Jug,
Slop Bowl, two Cake Plates, a circular Stand, twelve Cups and nine Saucers, pattern 7146, some chips and cracks.
A BONE CHINA PART TEA
SERVICE, Copeland, circa 1883, each piece
moulded with a gilt fish scale pattern inside a
deep blue border, gilt with diamonds
jewelled’ with flowers, comprising: Teapot
and Cover, Milk Jug, Sugar Bowl, Slop Bowl,
two Cake Plates, ten Cups, twelve Saucers
and twelve Tea Plates, printed mark, impressed
registration lozenge, some cracks and chips.A FELSPAR PORCELAIN PART
DESSERT SERVICE, Copeland & Garrett,
circa 1835, each piece painted with named
botanical studies inside a turquoise border
edged in gilding, comprising: a Sauce
Tureen, Cover and Stand; two shaped oval
Dishes; a shell-shaped Dish; a rectangular
Dish and six Plates, green printed mark, pattern
5263, some damage. -
POTTERY AND PORCELAIN PLATES, English, 19th Century, TEABOWLS AND SAUCERS, Worcester, CABINET CUP AND SAUCER, Spode
Sunday, January 10th, 2010
POTTERY AND PORCELAIN PLATES, English, 19th Century, TEABOWLS AND SAUCERS, Worcester, CABINET CUP AND SAUCER, Spode
A PEARLWARE GROUP OF ‘THE SAILORS FAREWELL’, Staffordshire, early 19th Century, the two figures on a grassy mound, all raised on a canted rectangular base, he wearing a dark
blue suit, his companion a cream dress trimmed with a purple scarf, 23cm.; 9in, firing crack across his arm.
A TWO-HANDLED VASE, Derby, circa 1820, of shield shape beneath a waisted neck, painted with a panel of fruit gilt famed against a richly gilt deep blue ground, all raised on a
waisted foot and square base, red painted crowned crossed batons and D, 29cm.
A SPARROW BEAK CREAM JUG,
Worcester, circa 1775-85, printed in blue
with the ‘Fisherman and Cormorant’ pattern,
hatched crescent mark, 9cm.; 3in., small chip to
spout; a pair of Worcester Asparagus Servers,
similarly decorated, and a Saucer, printed
with the ‘Birds in Branches’ pattern.A PAIR OF OLIVE GREEN GROUND PATE-SUR-PATE VASES, English, 2nd half 19th Century, each of tall flattened rectangular form, decorated in white with classical maidens, one amongst
fruit trees, the other holding a bird in a nest, gilt pattern no 5632, 23.5cm.; 9′Ain., one damaged and repaired.
A GROUP OF TEN POTTERY AND PORCELAIN PLATES, English, 19th Century, comprising: a Copeland and Garrett Dessert Plate decorated in Chinoiserie style, a Coalport Dessert Plate
with relief moulded flowers, a Coalport Plate painted with a bird, a pair of English blue ground Dessert Plates, a Worcester Plate with a floral spray, an English porcelain
Plate with a central landscape, a Bloor Derby landscape Plate, a Coalport Plate with a border of roses, and a Derby named botanical Plate, various marks, some rubbing (10)
A PAIR OF TWO-HANDLED VASES AND COVERS, Royal Crown Derby, circa 1900, each of ovoid form supported on a narrow foot, painted with a ‘Japan’ pattern in Imari colours, unmarked,red painted pattern no. 1300/1128, 19cm.; 7′Ain., covers repaired.
A PEARLWARE MODEL OF A RAM,
Staffordshire, early 19th Century, standing
on a grassy base, its back painted with the
initials P.B., 7cm.; 23Ain., bocage missing; also a
Staffordshire porcellaneous model of a
Shephered boy seated on a mossy bank, a
Pearlware copper lustre Jug, and a porcelain
Jug.A GROUP OF PORCELAIN,
comprising: an English Jug, possibly Derby, a
New Hall Jug, a Davenport Jug, a Chinese
Jug and Cover and matching Coffee Cup,
and a German Saucer, various marks, some gilt
rubbing.A SPARROW BEAK CREAM JUG, Worcester, circa 1770, printed and painted with Chinoiserie figures, 8cm.; 3′Mn., spout restored; also a Lowestoft example painted with a Japan’
pattern, and a smaller Chinese example.
A PAIR OF TEABOWLS AND SAUCERS, Worcester, circa 1770-80, each printed in underglaze blue with the ‘Fence’ pattern, hatched and open crescent marks, small chips to teabowls;
also a Coalport ‘Cabbage Leaf Jug, printed in blue with the ‘Pine Cone’ pattern.
A GROUP OF TWENTY ADVERTISING POT LIDS, comprising: a ‘J.J.Matthias Unrivalled Cherry Toothpaste’ Lid (Dale no T522), and various other Toothpaste Lids, some damage, also four
bases.
A GROUP OF TWENTY SIX ADVERTISING POT LIDS, variously advertising Bears Grease, Shaving Soap, Shaving Cream, Ointment, Lip Salve and other products, some damage.
A PORCELAIN CHAMBERSTICK,
Bloor Derby, circa 1825-40, painted with a
Japan’ pattern in Imari colours and gilding,
red printed crowned D, 13cm.; 5′/sin. diam.,
minor haircrack, some gilt rubbing.A SQUARE SECTION BOWL, Flight, Barr and Barr, circa 1830, painted with sprays of peonies in Imari colours within a gilt rim, impressed crown EBB, 27cm.
A THREE-HANDLED BONE CHINA LOVING CUP, Coalport, circa 1900, the fluted bell shaped bowl painted with three small oval landscape panels on a richly gilded pale yellow and blue
ground, raised on a tall knopped pedstal foot, green printed mark, 22.5cm.; 83Ain., repairs to stem and one handle.
A GROUP OF FOUR POTTERY ANIMAL MODELS, probably English, early 20th Century, comprising: two models of Deer reclining amongst foliage, a group of a Deer and Fawn and a model of
a Donkey, painted initials D.M.W. to the base of the donkey, tallest 14cm.; 5′fan., some repair.
A MINIATURE CABINET CUP AND SAUCER, Spode, circa 1820, the cup of footed form with a high gilt loop handle, painted with a basket of flowers against a brown ground, the matching
saucer similarly decorated, black painted ‘Spode’, height of cup 6cm.
A STONE CHINA PUNCH BOWL Hicks & Meigh, circa 1835, printed and coloured in underglaze blue, red and gilt with vases amongst scattered flowers beneath a scalloped rim, blue
printed mark.
AN IRONSTONE PART TOILET SET, Masons, 19th Century, each piece printed and coloured with a bird beside a vase of flowers, comprising: an hexagonal Jug, a Basin and two Chamber
Pots, printed mark Masons Patent Ironstone China, handle of jug repaired.
A LARGE SLIPWARE BAKING DISH, probably Staffordshire, 18th/early 19th Century, of oval form, the brown ground with a central motif in combed cream slip, 41cm.
A MINIATURE TEAPOT AND
COVER, Minton, circa 1830-40, of low
bodied form, encrusted with colourful
flowers, within gilt rims, the spout and
handle picked out in green enamel, crossed
swords mark in underglaze blue, 5cm.; 2in. high,
small chips to flowers, chip under rim of cover. -
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 Table Wares & Dinner Services: Coalport, Davenport, Royal Crown Derby, Minton, Rockingham.
Tuesday, December 15th, 2009
Antique Porcelain Table Wares & Dinner Services: Coalport, Davenport, Royal Crown Derby, Minton, Rockingham.
This is a section devoted to the items which are used at table, with the exception of plates. The odds and ends of services that survived the violent hands of the under-the-stairs staff were offen kept for decoration and the tureens and dishes occasionally appear on the market separately. Their value now lies in their appeal as decoration -the larger and more elaborate they are, the better. Coats of arms of recognised families are a plus factor whereas monograms and, to a fesser cxtent, crcsts, detract from the price.
Dinner services are a strange market and the prices they fetch need so me explanation. Taking for example one of the thousands of ironstone services made by Mason and bis imitators in the first half of the nineteenth Century, one would find that an odd plate might fetch 50p. at an auctjon suitable only for decoration. A set of a dozen plates would creep up to perhaps 1 a plate but no more since for use at table one needs all the tureens, vegetable dishes, side plates, etc. However, in services containing a dozen of
everything, tureens, etc., the total number would be around one hundred items and the price could have jumped to 123 a piece. The chance of someone coming a cross exactly the pattern for which he is looking in any one sale is extremely remote so that most services are bought by dealers who may have to hold them as stock for m any years before a purchaser buys them. The result is that to avoid tying up too much capital they do not spend as much on a service as it should warrant.Belleek.
A pair of centrepieces from the service of a design ordered for the Prince of Wales, palely-coloured and nacreous-glazed. The prices of this
service seem to be more unpredictable than most Belleek, identical pat having fetched in one season between 150 and 1,200.Belleek c.1880.
A fine uncoloured centrepiece, the good nacreous glaze showing off the sharp casting to the full. Typical sea-life influence with the figures from sea mythology, a young Triton, a mermaid and a hippogryph.Coalport c. 1825.
A brightly decorated service of soup tureen and cover, two sauce tureens, covers and stands, nine meat dishes in sizes, fruit bowl, twenty-four dinner plates, ten soup plates and ten dessert plates, each painted with iron-red and gilt chrysanthemums. Single plates 812. This is the type of service which could well be split by a dealer after purchase to sell as individual or pairs of plates, as they are very attractive in small doses, a whole service being, perhaps, a little overpowering.Coalport. 1830.
A fine service of a fruit stand, two sauce tureens, coven and stands, ur shell-shaped dishes, four lozenge-shaped dishes, two square dishes d eighteen plates. Each piece with a different landscape scene eluding figures within a bright gilt border. Single plates 1520. A nation in the border it known with the national emblems in gilding: is would raise the price to 25-30 a plate.Coalport c. 1860.
A finely painted dessert service of twelve plates, two tall and four low stands, each with a different fruit within gilt and coloured border enclosing a crest of a squirrel. As with ail stands on feet, watch for restoration or signs of gluing at the junctions of foot and dish. The piece was made in two parts and stuck with slip before firing and this remains a weak point; the glaze often settles in a crackled ring here and the clear adhesive is almost invisible.Davenport c. 1805-15. Longport in red Script.
Pierced dessert basket, painted with a Chinese garden scene in colourful enamels. Gilt twig handles. Early Davenport porcelain marked ‘Longport* is quite rare.
Basket and stand 50-80.
Davenport c. 1830-1840.
A good service of twelve soup plates, twenty-four dinner plates, twelve side plates, two sauce tureens and covers, two vegetable dishes and covers and nine meat plates, each piece well painted with sprays of flowers and with gilt border.
A fine botanical service with a different flower within scroll borders in blue and gilding. Comprising fruit stand, two sauce tureens, covers and Stands, four oval dishes, four rectangular dishes and twenty- four plates. This works out at about 2025 each for a plate, to 50 -80 for a tureen. If the flowers were named the price could be half as much again.Davenport 1870-1886.
Davenport made both very high quality porcelain in the 1840s-1860s, often unmarked, and also mass produced wares for the lower end of the market. Tliis continued to the end of
the period but one meets less and less of the better items. Dessert service of a high tazza, two low tazze and twelve plates 200-300.
First quarter of the 19th century Painted crossed baton and crown
A good quality service with an attractive design of coloured roses and garlands of cornflowers and gilt leaves, the 1796 pattern. Price for soup tureen and cover, two sauce tureens with covers and stands, two vegetable dishes and covers, seven meat dishes in sizes, twelve soup plates, twenty-four dinner plates.
1220-1300 the service.Royal Crown Derby 1882-95.
Printed crowned monogram and date codes.
A large composite service for dinner, dessert and tea: 12 soup plates, soup tureen and cover, 24 dinner plates, eight meat dishes in sizes, two sauce tureens, covers and stands, eighteen dessert plates, twelve pudding plates, twelve side plates, twelve cups and twelve saucers, two tazze, two lozenge dishes and two handled dishes. Large services of this type frequently have different date codes as the family added what they needed and included replacements. It is unlikely that another service would have the same composition as listed here but it does give a guide to a typical make-up.
Derby Crown Porcelain Company 1890. Printed monogram, retailer’s mark and date code.
A muffin dish and cover from a service of twelve large plates, side plates, cups and saucers and two serving dishes. Each piece has pastel-coloured and gilt wild flowers, grasses and butterflies by John Porter Wale and the monogram CHS. It is this last which resuit s in the low price of 100120 for the set. Collectors dislike anonymous monograms.Hill Pottery, Burslem (S. Alcock) c.1840.
A good quality Service from an uncommon factory, which, despite the name, made some fine porcelain. The flowers in panels on a pink ground scattered with yellow flowers and gilt scrolls. Service of eighteen plates, three high and two low bowls.
A ’spot the deliberate error piece’. It is worth studying the proportions of this tureen, cover and stand as an object lesson to be on one’s guard when buying. If it looks a little uncomfortable, read no further. What has happened is that the body originally had a foot which has parted company, the edge has been ground down and now rests fairly happily on the (intentionally) detachable base. Still a good quality arid satisfactory object but liable to wild fluctuations in price, hence the wide quote.A turquoise-ground salver painted with two fighting stags in the centre. A large decorative item and therefore popular for display. Both Coalport and Minton achieved great success with the turquoise glaze they were using in imitation of Sevres in the middle of the century, Minton’s being less prone to black firing specks.
Minton 1851. Impressed name and date code.
A clumsily-moulded figure holding a shell for use as a sweetmeat, or sait, uncoloured but for touches of celadon. Compare with the Worcester figure page 98. Pair with male.Minton 1870
Impressed name, printed retailer’s mark, date code A fine quality service but not decorative enough for display and the crest makes it less desirable for table use. The borders are in turquoise with matt and burnished gilding. Service of twelve soup. dinner and dessert plates, soup tureen, cover, stand, two vegetable tureens. covers and stands, sauce tureen, cover and stand and six meat dishes in sizes, 100-200.Rockingham 1830-42.
This type of C scroll moulding on the rims of plates and dishes is typical of late Rockingham but only by a careful study of the details of the scrolls can it be differentiated from the many other C scrolls of other factories. The part service comprising eight plates, one comport, two quatrefoil dishes and one tazza.
The service 400-1450.Swansea c.1815-1817.
A fine service probably painted by D. Evans and in bright deep colors
Pair of sauce tureens, covers, stands 600-800.
Large centre dish.Swansea.
A fine pierced fruit stand, the bowl and base both with cut lozenges and hoops, with fruit and flowers painted by David Evans and with good gilding. Altogether a rare and desirable piece.Swansea Early 19th century.
An uncommon Swansea tureen of the same form as those illustrated in the service on page 308 on a pale green ground which adds considerably to the price. The scarcity of larger pieces from Swansea services generates much interest when they do appear on the market. It should be remembered that collectors display their collections in cabinets and need to break up rows of plates with more interesting shapes.Worcester, Flight, Barr and Barr.
A sauce tureen, cover and stand with a rose within gilt scrolls on a green ground. Not a particularly exciting piece but the gilding is of good quality and green is a very saleable colour, blue ground 120-150, yellow 250-350.Royal Worcester 1898.
Printed crowned circle, registration.
A game service of twelve plates, a large meat dish, two small dishes and a sauce tureen, cover and stand. Each piece with a printed outline brightly coloured and gilt, of a different game bird, the border sepia. Despite the partial mass-producfion a well produced service, odd plates.Royal Worcester 1912.
A typical mass-produced service of the period and comparable to similar services made today. Printed basic variation of the Indian tree pattern with hand colouring. Price for twelve soup plates, twelve fish piales, twelve side plates, twelve dinner plates, soup tureen, cover anc stand, two vegetable tureens and covers, sauce tureen and cover and gravy boat, six meat dishes in sizes. 1150-1200 the service.Unattributed 1850
Badly cracked through the base. An interesting piece for the registration of design mark on the base for 1850. indicating the style of the period, and for the technique of well printed puce outlines for the well coloured flowers. A high qualhy production altogethet. Perfect 70-90, 35-45 (damaged). -
Antique Porcelain Vases: Brownfield, Coalport, Copeland, Royal Crown Derby, Grainger and Co Vases.
Tuesday, December 15th, 2009
Antique Porcelain Vases: Brownfield, Coalport, Copeland, Royal Crown Derby, Grainger and Co Vases.
Antique porcelain vases were usually made purely for decoration and not to hold flowers. The price is now governed by the quality and decorative value. and, as always. by the factory. There are quirks in this section as in the others. The Minton flower-encrusted vase was really quite cheap, because the heavy flower encrustation put off buyers who feared damage and because of the impossibility of cleaning it.
Watch out for vases that have loti their covers; these arc often easily identifiable by the flange at the mouth to take the cover, or by an unglazed or ungilt rim, or simply as a question of proportion. Occasionally. on later Worcester or Derby, the mouth is gilt under the cover and can be missed .
Watch for replaced covers that do not quite fit. Check damage on handles, mouth, base, cover and knop - the most vulnerable points. Note that a vase has been seen with the handles broken off, the area where they were, ground down and then resprayed and gilded.
Worcester vases at the junction of socle and body were, between 1890 and 1920, very poorly joined with slip before firing. They break cleanly at this point and any restoration is difficult to detect.
Signed paintings on vases are generally of greater interest than those unsigned and many artists are recorded with their dates in the standard reference books. We have never yet seen a famous signature, such as Davis or Stinton, added to an anonymous vase, but no doubt that will come.Belleek Vase third quarter of the 19th century.
A rare and desirable piece of Belleek, both for its large size and good coloration; it is also well moulded. An uncoloured example and a late piece with the added County
Fermanagh, Ireland to the crest.Brownfield and Son c 1875. Printed globes mark.
A parian vase in the same matt coloration as the following piece, the body apricot and the leaves putty-coloured with white flowers.Brown-Westhead Vase, Moore and Co.
A high quality piece from a factory little known for this type of ware, the white figure seated on gilt and apricot sheaths forming vases.
Brown-Westhead, Moore & Co.
A fine pair of vases with well painted classical scenes on an apple-green ground with flowers at the base and gilt handles. An uncommon factory for large pieces of this sort.Coalport first quarter of the 19th century.
An attractive flower-painted vase in bright enamels, reserved on a pink ground with gilt borders. It is worth comparing this vase with the Rockingham vase on p.421 which,
although a little larger, is as well painted but without the coloured ground.Coalport c.1840.
A sad example of the dying of a good vase. One handle has completely vanished, the other almost, and most of the flowers have been plucked. However the painting is good and the main body of the vase undamaged. With handles ground off, the flowers repaired where possible, or again ground off and restored, it will probably appear on the market at about.Coalport Vase 1861.
A vcry good vase in a sorry state with several severe body cracks. An important vase, as it was shown at the 1862 Exhibition and was illustrated in Waring’s Masterpieces of the
1862 Exhibition. It was probably painted by R.F. Abrahams. A comparable perfect exarm.Coalport c. 1861. CBD monogram.
A superb pair of rose-pompadour ground vases with brilliantly painted scenes after Boucher. The rope handles and other details picked out in gilding. The factory had a
reputation at the time for the success of its pink ground but the production of the body suffered at the junction with the foot, where it is likely to become detached. Such
damage does not greatly affect the price. The CBD monogram stands for Coalbrookdale.Coalport c. 1861. Gilt ampersand.
A large and very high quality vase and cover. probably made for the 1862 Exhibition. The putti in clouds were probably painted by James Rouse who later became the star decorator
at Derby. The bleu-celeste ground is gilt with scroll work. It is highly unlikely that this vase ever had a companion, but a similar pair.Coalport Vases 1897. Printed name, refailer’s name.
A large and well executed vase made to commemorate the 1897 Diamond Jubilee. The s mail medallions on one side show scenes of the time when the Queen came to the throne in 1837,
and on the other the same updated, Le. reaping by hand and then mechanically. Only 50 were made for Osler’s of Oxford St. One of the few exceptions to the rule that coronation
or commemorative wares are of little value.Coalport 1898.
A small pair of vases with deep blue body painted with scenes within lemon-yellow panels. Rather too ‘dumpy’ both in form and decoration to be generally desirable but in this
case their small size brings them into the miniature category, of which there are many collectors.Coalport c. 1900
A three-handled vase with good gilding on the dark-blue ground enclosing small landscapes. This example was sold with one damaged handle, which gives an idea of how very little
damage can dramatically reduce values.Coalport c 1900
A vase painted with fruit and leaves in a gilt-edged panel on a blue ground. A popular type of vase which can fetch more than it possibly deserves.Coalport c.1920. Printed name. retailer’s mark
A good pair of vases and covers with well painted fruit panels by F.H. Chivcrs, signed, on a royal-blue ground. Fine qualiry Coalport bas been rising quite fast recendy to bring
it more in line with the Royal Worcesiera and Derbys. A Single vase and cover.Copeland 1862.
A fine vase, one of a pair, painted by CF. Hurten and exhibited at the 1862 Exhibition. The neck and foot with blue leaves and gilding on a pink ground, and ail of a high
standard. The knop in ormolu.Copeland Vase 1870
HPrinted, WTC monogram and dated A damaged piece brilliantly painted by CF. Hurten, signed. It was executed for, and exhibited at, the 1871 Exhibition and is illustrated in the
catalogue. The initials are those of W.T. Copeland, the owner of the factory. A comparable perfect piece. Hurten was one of the best flower painters of the period, his work
appearing at the major exhibitions. A very large vase, possibly his masterpiece, is in the Victoria & Albert Museum.Copeland 1874.
An amusing and well executed pair of vases, the nest turquoise and the rest with gilt lining.Copeland 1891-1902. Printed name
The shoulders in apple-green and gilding above clear and naturalistic flowers, painting by F. Adams, signed. Copeland vases of this quality and date are not common and are
sought after. As always, single vases are much less expensive.Copeland c.1900
A richly-decorated pair of vases with 18th century figure subjects by S., signed, the rest of the body deep-blue and gilt scrolled. Alcock was amongst the better late 19th
century painters and the large size of these makes them highly desirable. A damaged knop would reduce the price.Copeland and Garrett 1833-47.
A dainty pair of spill vases with attractive painting and gilding. Less С than the flower-encrusted type and now more popular. SingleDavenport 1815-25.
Porcelain vase in the Paris Empire style. Decorated with raised and tooled gilt agricultural trophies on a matt blue ground. Handies in the form of female heads. Vases and
ornamental wares from ihis factory from before 1840 are very rare.Derby Crown Porcelain Company Vase 1885
A superb quality vase, designed by H. Warrington Hogg, but lacking its cover, with very pale gold gilding on a cream ground with metallic red and green- flowers and with matt
and burnished gilt borders.Royal Crown Derby 1889.
A washed-out yellow ground combined with appallingly insensitive gilding makes these amongst the least desirable wares from a much collected factory with a usually high
standard. There was a period in the 1880s when a lot of bad gilding was done.Royal Crown Derby 1891. Printed crowned monogram and date code
A pair of eccentrically designed vases with gilt handles and decoration on a rose-pompadour ground. The painting is unfortunately not of the best, with a resulting lowish price.
Even slightly better decoration.
Royal Crown Derby 1892
A popular type of decoration with iron-red, underglaze-blue and gilt flowers, some outlined in relief gilding, but with an overall somewhat confused appearance.Royal Crown Derby 1893.
Maroon ground vase with gilt hog-weed, overall a dull appearance.Royal Crown Derby 1904 Height.
An exceptionally large vase painted by W. Mosley, signed, with flowers on a gros-bleu ground, gilt with scrolls. The large size and high standard makes this a particularly
desirable piece of Derby. The mark also has the Royal Coat of Arms.Royal Crown Derby Vase 1910. Printed crowned monogram.
The flower painting by S. Hardy, signed and with good gilding on the gros-bleu ground. As always with Royal Crown Derby of this date a highly proficient production.Doulton Late 19th century.
The roses against a deep-blue ground and with gilt leaves. Because Doulton produced so much interesting stoneware in the late 19th century its porcelain, which was never very
exciting, is largely unappreciated. The factory did not receive its ‘Royal’ title until 1901.
A garniture of vases with panels of flowers on a gros-bleu ground above gilt springing leaves..
Well pierced and gilt bodies painted with small panels of flowers, originally had covers.Grainger and Co. 1870-89.
A well pierced vase and cover with simple gilt line details. The more elaborate the design of the piercing the more expensive the piece will be. A net has been defined as a lot
of holes held together by string and it appears that the more these wares resemble holes held together by porcelain the more they are appreciated.Grainger and Co. 1870-89.
A pair of vases with a creamy matt ground with gilt-edged leaves and pink flowers. Rather too plain to attract a very high price, they also had covers originally. With covers
A moon flask decorated with printed outlines of coloured sprigs and a butterfly against a duck-egg blue ground. The sparse decoration relieved a little by the
gilt mask and snake handles.Grainger and Co.
Moulded KL monogram.
A well-decorated pate-sur-pate vase, probably by one of the large family of Lockes whose initials appear on the base. Contemporary photographs show this shape as Grainger9 s,
where the father, Edward, worked for a time before he set up the short-lived Locke’s Worcester factory producing Royal Worcester style vases. Despite the high quality of the
decorations, as with many other pate-sur-pate artists, apart from Solon, the work is underrated.Grainger and Co. 1890. Printed shield and registration
An amusingly conceived pair of vases with a little gilding and pierced bodies and necks. Grainger’s pierced work was of as high a standard as that of Royal Worcester, excluding
the individual work of George Owen
and the paste used is an attractive, slightly matt, ivory tint, more sympathetic than the Royal factory’s counterpart.
An attractive vase with pierced and gilt spirals. With all pierced wares of this type it is worth examining the piece with great care as it is possible to damage one small
scroll leaving an almost unnoticeable hole or hair crack.Grainger & Co. 1891.
With deep blue body with gilt and grey-blue hops.
1891-1900. Printed shield An extraordinarily dcsigned pair of vases with the form based on die Chinese ku of a Shang dynasty bronze and the pierced scrolling
both indian and Moorish influenced. The result is not aitogether comfortabie especially as the casting is rather heavily executed and unrelieved by gilding. Examples may be
found decorated with gilding.Grainger and Co. 1900.
A little more unusual in form than most Grainger’s and with an obviously J. Stinton-influenced design of Highland cattle on a peachy-yellowy ground, but unsigned.J. Hadley & Sons 1900 Vase.
A tag with coloured slip decoration and painted orchids, gilt details, like most of Hadley’s products,of good quality and unusual coloration.George Jones 1874-91.
A pate-sur-pate vase decorated by F. Schenk, signed, against a deep green body, the ring handles gilt. Schenk was a competent artist in the medium but his work has not been much
collected, possibly partry due to the dumpy shape supplied by George Jones and the uninteresting gilding Prices have risen sharply over the last year.
A porcellanous tour-de*force, but despite the brilliance of the painting of the figure scenes and the richness and high standard of the flower-encrustation, the price is
affected by as mundane a reason as the difficulty of cleaning it without pieces breaking off. Because of this such vases are rarely found perfect; it is indeed unlikely that
they ever left the factory without some restoration and a certain amount is there- fore acceptable. As it is almost impossible to display safely unless under a glass dome, the
price is again affected adversely. Despite the lack of mark the shape is known and illustrated as the *Very large Dresden vase* number 230 in the 1840 Min ton design book. It is
interesting that the cost of the vase included antique for the figure painting and S/* for the floral bouquet on the cover.Minton 1845. A fine vase after a Sevres original, well painted with exotic birds and with blue, pink and gilt borders and handles. The type is known as Sneyn from the design
record books and was on view at the 1849 Birmingham Exhibition.Minton 1862 Vase.
With better moulding these could have been quite attractive vases, the body pale and the leaves dark green and with white lily of the valley flowers. This pair are in reasonable
condition, most of the flowers intact. Any damage would reduce the price.Minton 1862
Well painted in bright enamels, the blue-celeste ground with fine tooled gilding. The dancing maidens not a highly desirable subject.
These vases were shown at the 1862 Exhibition in London and bear the puce ermine mark used only on those pieces. -
Antique 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 withRoyal 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 isNeville 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 trayRoyal 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.