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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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A PORCELAIN BOWL, Worcester, PORCELAIN FIGURES, Derby, Belleek
Friday, January 15th, 2010
A PORCELAIN BOWL, Worcester, PORCELAIN FIGURES, Derby, Belleek
A BROWN STONEWARE FLASK IN THE FORM OF A TIPSTAFF, Stephen Green, Lambeth, circa 1837, the cylindrical sides moulded in relief with a royal coat of arms and initialled ‘V R’, impressed Stephen Green, Imperial Potteries Lambeth, 28cm.; also a Group of four brown glazed Flasks, 20th Century, and a Model of a Salisbury Kettle (9).
A POTTERY VASE, Bretby, circa 1900, modelled with a stork before open bamboo shoots, all covered in a brown glaze, impressed factory mark, 29.25cm.;
cracks to stork’s leg.A PORCELAIN BOWL, Worcester, circa 1780, printed in blue with ‘The Argument’ pattern, printed disguised numeral, 25cm.; 97in. diam., small chip.
A TAZZA, Royal Worcester, circa 1865, the shallow bowl with pierced rim supported on a receded pedestal applied with a pair of cherubs, all raised on a circular base, with three scroll feet, details picked out in gilding, 16.5cm.; 6in., hair crack .
A PAIR OF POTTERY GREYHOUNDS, Staffordshire, late 19th Century, each modelled standing, one with a hare at its feet, the other with a hare in its mouth, 24cm,; 9in., minor flaking of enamels .
A PAIR OF ROYAL LANCASTRIAN
VASES, Pilkington’s, circa 1915, each ovoid
body covered in a blue glaze, impressed marks,
30.5cm.; 12in.; also another Royal Lancastrian
Vase; and a Chameleon ware Vase (4).A PORCELAIN FIGURE OF A LADY,
French, late 19th Century, standing holding
a fan, wearing a plumed hat, turquoise coat
and crinoline dress, raised on a scroll
moulded base, gold anchor mark, 25.5cm.;
small chips; also another porcelain
Figure of a lady wearing a green crinoline
dress (2).A FIGURE GROUP, German or
French, late 19th Century, modelled as a
young man at the side of his companion,
Cupid standing on his back, Harlequin
standing behind, raised on a shaped oval
base, 14cm.; 5in, high, some repair and chips.A FIGURE OF A YOUNG GIRL, Meissen, 19th Century, standing playing a tambourine, wearing a puce bodice and floral skirt, crossed swords mark in under glaze-blue, 12.5cm.; 47in, some damage; also a Continental porcelain Figure of a young girl with basket (2).
A STONE CHINA PART DINNER SERVICE, Spode and Copeland & Garrett, circa 1820 and later, painted with a ‘Japan’ pattern of groups of flowers painted in under glaze-blue, red and gilt, comprising: eighteen Dinner Plates, nine Soup Plates and fifteen Dessert Plates, impressed and printed marks, some chips and cracks (42) .
A SQUIRE’ POTTERY TOBY JUG, Staffordshire, mid-19th Century, of traditional form, seated holding a jug of ale wearing a blue coat, red waist jacket and yellow breeches, 28cm.; high, arm repaired; also a Staffordshire ‘Night watchman’ Toby Jug (2).
A PAIR OF PORCELAIN FIGURES OF MUSICIANS, Derby, circa 1830, a young man and companion standing wearing colourful costume, he blowing a pipe and beating a tambourine, the lady holding a triangle, each raised on a pierced scroll moulded base enriched in gilding, red painted marks, 20cm.; 77in,, chips and some repair.
A SHAMROCK BASKET, Belleek, Second Period, of trefoil form, with four strand base below pierced sides applied at the rim with three groups of flowers, impressed Belleek, Co. Fermanagh, Ireland, 13cm.; 5in. Wide.
AN ABERDEEN VASE, Belleek, Second Period, the squat body moulded with ovals below applied flowers, black printed mark, 15.25cm.; 6in. high, some chips and haircrack; also a Belleek Cup and Saucer (3) .
A SMALL BIRD’S NEST BASKET, Belleek, First Period, the three strand base and sides below a rim encrusted with flowers, impressed Belleek, Co. Fermanagh, 9.5cm.; 33in diam., small chips; also a later Belleek heart-shaped Basket applied with coloured flowers .
A SHAMROCK BASKET, Belleek, First Period, of trefoil form, with three strand base below pierced sides, the rope twist rim applied with three groups of flowers, impressed mark Belleek, Co. Fermanagh, 16cm.; 6in. divide, some damage .
A HENSHALL BASKET, Belleek, Second Period, of oval form, with four strand base beneath pierced sides set with entwined twig handle applied at the ends with groups of flowers, impressed mark Belleek, Co. Fermanagh, Ireland, 28cm.; 11in. long, very minor chips.
A PAIR OF POTTERY SPANIELS, Staffordshire, 2nd half 19th Century, each modelled seated, their fur with orange markings, 25.5cm.; Win.; and a Staffordshire pottery Spaniel with black markings; and a smaller example with copper lustre markings (4).
A PAIR OF POTTERY SPANIELS, Staffordshire, late 19th Century, modelled seated, their fur with copper lustre markings, 24cm.; 9in.; and a similar Pair (4) .
A STONEWARE VASE, Bernard Leach, circa 1950, of wasted cylindrical form, streaked in brown against a pale green ground, impressed St Ives and B L seals, 14.5cm.; 53in.
A BLUE JASPERWARE JARDINIERE, Wedgwood, early 19th century, the inverted bell-shape decorated in white relief with Classical Figures beneath swags of fruiting vines suspended from lion mask and ring handles, impressed WEDGWOOD, 23.5cm.; 9in.A GROUP OF FOUR POTTERY
FIGURES, Staffordshire, mid-19th Century,
comprising: a Group of a girl with a rabbit
before a hutch; an inkwell Figure of a Turk;
an inkwell Group of a girl and goat; and an
inkwell Group of a boy and dog, tallest 19cm.;
7in., minor damage and restoration (4). -
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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Antique Porcelain Vases: Minton Vases, Moore, Rockingham, Spode, Swansea and Royal Worcester Vase
Tuesday, December 15th, 2009
Antique Porcelain Vases: Minton Vases, Moore, Rockingham, Spode, Swansea and Royal Worcester Vase
Antique Minton Porcelain Vase 1871.
A good pair of vases with brightly enamelled birds. The blue ground is rather too dark resulting in an unfortunate drab appearance; a brighter blue or other colour could raise the price. The handles and borders gilt.
Impressed name and date code An important dock garniture in pate-sur-pate by M.L. Solon. Solon came to England from Sevres in 1870 and had this garniture ready for the 1871 London International Exhibition where it was shown on the stand of Thomas Goode. It was also illustrated in the Art Journal Catalogue. It is difficult to assess accurately pieces as important as this set, which had some damage to covers and opened firing faults, the price being dependent on so many factors.
One of the oriental-influenced wares of the 1870’s and 80’s which are underpriced. Well decorated and gilt but not popular. A pair would be much better, but still the price compares unfavourably with, for example, a pair of Royal Worcester vases with sheep. This shape with the small loop handles has been seen with the handles broken off, ground down and restored.
Antique Mintons Vase 1874.
A pale pink soft porcelain body with gilt-printed roundles. A plain but interesting moon flask from a design point of vicw. The fish are taken from the Chinese fish moulded in low relief on marriage ceremony dishes and the stylisation of the butterfly could suggest a 1920s date. The type of item that is unappreciated by all but a few enthusiasts for the history of ceramic design.
Mintons possibly 1875.
Printed name and retailer’s mark, blurred date code
This set of vases is very thinly potted and intricately pierced and therefore fragile. Few examples seem to have survived. The rose-pompadour ground has gilt-edged panels of putti resting on clouds. All of good quality and desirable.Minton c. 1880.
A dull pair of vases, the shoulders in simulated bronze and with silvered and gilt flowers on a pale lilac ground. The idea of the bronze bands is taken from Chinese porcelain of the same date where it is equally dreary.
A superb, coloured, pate-sur-pate vase by M.L. Solon, signed, with an elaborate design of putti being weighed. The borders in green, yellow, brown and gilding. The technique of pate-sur-pate was extremely slow and fraught with dangers of failure and, therefore, very expensive at the time. This particular vase is highly successful and the subject matter is easier to take than many of Solon’s designs.
The pate-sur-pate panel by T. Mellor, signed and inscribed ‘after A. Boullemier’. The body in page pink-red with blue ribbons, the white figures against midnight-blue. T. Mellor was one of Solon’s pupils and his work is rare; it is additionally unusual to have recorded the name of the artist after whom the design is taken.Mintons c.1890
Printed crown and globe, impressed name and retailer’s name.
A pate-sur-pate vase of fine quality but unfortunately unsigned. The body a deep sea-green and a very common shape for pate-sur-pate decoration. M.L. Solon who trained several apprentices to help in the work, was said to disapprove of anyone but himself signing their work, although after 1900 this became more common. The mark of retailer is often found on pieces such as this, in this case Thomas Goode.Minton Vase 1894
A rare M.L. Solon vase with a white figure in pate-sur-pate against the ‘artificial ruby’ ground which changes colour according to the light in which it is viewed. The combination of bichrome of potash and alumina changes from mushroom in daylight to deep-carmine in tungsten.
Blurred impressed marks.
One of an unusual pair of vases in that there are seven different colours of pate-sur-pate involved. The panels are by H. Hollins, signed, and the whole design is not particularly successful. The body is also too big for the foot. Hollins was one of Solon’s apprentices but by no means one of the best. Compare with the Solon vase .Mintons 1895-1900
Printed gilt crowned globe, date code.
A deep aquamarine body with white figures by M.L.Solon, signed. Typical subject and the usual good gilt borders. The standard of the pate-sur-pate is unusually crisp and clear and the price reflects this. The date codes on pate-sur-pate of this date are frequently blurred and difficult to decipher but one can usually make out enough of an outline to give bracket figures.
A pate-sur-pate vase by Alboine Birks with his monogram. The argument over whether Solon or his pupil Birks was the better pate-sur-pate artist ultimately rests on one’s own taste but certainly Birks’s handling of naturalistic foliage and flowers was streaks ahead of his master’s, while his putti appear to have taken weight-lifting courses.Moore 1873
A good quality vase in the form of a putto supporting a fan, hollow to form a vase. Like the Brown-Westhead, Moore example not a much collected style especially as the bird painting on the fan is beginning to reflect the Japanese taste with a resultant clash of cultures.Porcelain Moore Vase c.1895.
A pair of vases in the form of epiphyllum cacti, a favourite form, not only of Moore’s, but of several other factories of the last quarter of the 19th Century. The flowers pale yellow and with base gilt, on the poorly-moulded ground. These can be found in several sizes.Rockingham Vase 1826-42. Printed griffin in puce.
A small and not very attractive piece of porcelain painted with uninspired flowers on a blue ground. Without the factory mark this vase would fetch about 100. Although the shape is unique to the factory, an unmarked piece would fetch. A really well painted piece.
An attractively painted vase with typical early nineteenth century flowers including the popular ranunculus and passion flower reserved in a gilt panel on a green ground. The shape is common to many factories and a mark is vital for identification, but look out for added marks. Prices vary according to period and the decoration.Rockingham Porcelain Vase 1830-42.
One of the few vases of a type at one time always called Rockingham which actually is. The scene of a ruined abbey is rather mean in size but the bizarre stork-head handles help a great deal. The applied flowers of the best. Made in other sizes.Spode first quarter of the 19th century.
A typical Imari pattern of the period with the usual stylised flowers and fenced garden. Because they are not uncommon and not large enough to score on their decoration alone, vases such as these are not expensive.Antique Spode Vase c.1820-30
A fine pair of vases in neo-classical style and well painted with named scenes of mythological subjects. The handles gilt and all of high quality . Well painted figure subjects of this type are very saleable and considerably rarer than simple floral studies.Spode 1965
A limited edition covered vase of reasonable quality with a wealth of detail about Sir Winston Churchill’s life and honours. Like most commemorative wares liable to violent ups and downs in price but, being one of only 125, probably with a good chance of survival.Swansea Vase 1819.
A rare pair of spill vases entertainingly painted with oriental influenced deer in panels reserved on a flower-painted ground. These vases are of additional interest in that they bear the initials MM, probably those of the painter Mary Moggridge, and the date 1819. Without initials and date.Wedgwood 1920’s.
A pair of mottled pale blue-ground vases with gilt and mottled purple dragons above waves. Not being decorated with fairies, they are relatively inexpensive.Antique Wedgwood Vase 1920’s
A pair of vases with plum and gilt dragons against a pale runny blue ground. The pale ground make the dragons better delineated than usual with a higher price. Pairs of these are much less common than singles but, in contradiction to normal practice, little more expensive.Wedgwood Vase 1920’s
This print of a fairy is not common and when seen is rarely well coloured and registered. As can be seen her dress is blurred and the whole rather too dark. A good clear design could fetch.
A fine vase with good registration of the gilding over bright colours.
Printed vase and name.
An exceptionally large piece of Fairyland and with very bright coloration. This particular shape is rare.
A well-matched pair of fairyland vases with a complicated but accurately registered design of a snake round a tree and dreamlike happenings in bright enamels and gilding.Wedgwood c.1930.
Coloured butterflies against mottled blue ground. As with the dragons lustre not expensive compared with the Fairyland. Given the same size, any other form of vase with the same design would be about the same price.Worcester, Flight, Barr and Barr. 1820
A fine covered vase painted with shells on one side and flowers on the other, probably by Thomas Baxter. The ground deep blue with gilt scrolls and handles.Worcester, Flight, Barr and Barr.
A blue ground vase with a panel of Faith and with gilt details. The religious subject is against the piece making as much as a landscape. Pair of Faith and Hope . Pair with landscapes.Worcester, Flight, Barr and Barr Vase .
A vase and cover with gilt snake handles and a blue ground painted with a panel of an exotic bird in a landscape by ‘Dr.’ George Davis. Single with damaged handles. A clean break at the junction of socle and body is not uncommon and does not affect the price by more than about 10%.Worcester, Flight, Barr and Barr.
An urn with deep blue ground painted with a panel of flowers.Antique Worcester, Flight, Barr and Barr. 1830.
A vase and cover with a panel of Clio within a beaded border on a green ground supported on the heads of three gilt mermen, one of whom lacks wings. Perfect example. Without matching cover.Worcester Kerr and Birtns Vase 1858.
A high quality pair of vases painted in grey with tided portraits of classical authors, the rest with Tooled gilding. Kerr and Binns period Worcester is underpriced at the moment, probably because there is too little of it about to generate a strong market.Royal Worcester Porcelain 1862.
A pair of vases and covers painted in white enamel by Thomas Bott a turquoise ground. Lacking covers.Royal Worcester Vase 1863.
A rare parian piece with unusual pink, purple, brown and green coloration picked out in gilding. Good quality but not the most attractive of objects. Nor of a much collected period. A pair would be more desirable to the decorators.Royal Worcester 1866.
A fine Vase with a deep blue ground enamelled in white by Thomas Bott with putti in ‘Limoges Style*. Such pieces are rare and much sought after, his work being exhibited from 1851 to 1870 when he died. Not to be confused with his son, T.J. Bott, who also worked at Worcester c. 1870-1885 in the same style as his father.Royal Worcester 1867. Impressed and printed crowned circle, one with date code.
A comparison showing the same shape treated in different ways. The example on the left with coloured flowers, gut borders, turquoise medallions and white beads, the other with pale apricot ground and gilt borders, much less desirable. It is worth comparing also the sharpness of the moulding on the example on the left with the other.Royal Worcester 1872 with printed crowned circle mark and dated 1872
A good pair of Japanese-taste vases after James Hadley with the portraits tinted against a bronzed ground by James Callowhill, the handles and feet also with bronzing and gilding. These and other vases in similar style were exhibited at the London International Exhibition of 1871-72 and were illustrated in the Art Journal Catalogue. The standard of production is very high and this, combined with their period interest, would seem to indicate a likely rapid increase in price.Royal Worcester Vase 1874.
One of Hadley’s Japanese series with ivory-tinted body and sombre but very well executed coloration. -
Antique Porcelain Jardinieres and Cabinet Objects
Monday, December 14th, 2009
Antique Porcelain Jardinieres and Cabinet Objects
The jardiniere is a bowl, usually with a flat base, in which to grow plants indoors, whereas a cache-pot is of a more fixed being a tapering cylinder in which to hide the common or garden earthenware flowerpot. TTiis enables one to have a succession of flowering plants ail the year round in the same decorative container. Both are found with stands.
A bowl, usually oval, with a wavy rim was either a glass cooler or has 1 its form from one. The set of glasses was inverted in the bowl of later, the stems resting in the notches, to chill before drinking k or other white wines. These are now more usually found described as jardinieres.Moore 1868-1875.
A well cast jardiniere with lilies against a turquoise ground, the neck with black and gilt key-fret. Much better quality than most of Moore’s production which tends to be left uncoloured, exposing a finely crackled creamy glaze. This example bears the retailer’s mark of Thomas Goode which may account for the higher standard.Swansea c 1820.
Although unmarked, the form, without the feet, is known. The decoration is loosely based on a Chinese original and is in a famille-rose palette.Royal Worcester 1901.
Another large cache-pot, printed and coloured with flowers on a yellowish ground, the shoulders with lightly moulded panels of masks and scrolls slightly gilt. A similar example entirely hand-painted with flowers would be 150-200 and with scenes by H. Stinton.Pseudo Sevres interlaced of a good pair of ormolu-mounted jardinieres, the bowl after Sevres original with well painted flowers reserved on a gilt-pebbled, sky-blue ground. There has been much inconclusive discussion on the factory(s) that produced this imitation Sevres. At one time it was ought to be original 18th century Sevres porcelain decorated in this country, though this now seems unlikely; certainly a great deal of old evres was redecorated in France. Otherwise it can be attributed tadeley, Minton, Coalport or several other possibilites, ail of which made similar pastes.
Samuel Alcock and Co.
Rare pair of busts of George IV and the Duke of Yo uncoloured and unglazed, but the plinths glazed and with matt gilt lin Busts of this quality at this date are not frequently met with and ai mainly collected by the devotees of portrait and commemorative wares. These would appeal also to those interested in ceramic history as they were recalled shortly after issue for ‘the infringement of certain rights’.John Bevington 1872-92: Painted in underglaze blue.
of the smaller factories that in the second half of the 19th century in good copies of other, earlier products, these being afi ruinais The figures well-modelled and coloured, and with gilt.
1899 Height llins:28cm. Printed globes and date code
A late flowering of the Japanese taste in the form of two vases attended by geishas, all in pale enamels and gilding. The standard of production is high and the subject is mildly amusing but Brownfield is not a highly ited or collected factory, although they were much praised in the Art tournais of the time.
This section includes ail the small pieces, usually of exceptional quality, which were never intended for use. It also includes items such as cups and saucers from services or
small vases and figures which have since become typical cabinet objects. The Derby miniatures are examples. There are devoted collectors of the small and the fine who are prepared to pay over the odds for good examples, and priees in this section may appear on the high side. It is arguable that many other pieces in the rest of the book could fall into this category and time will no doubt increase the numbers.
This section includes ail the small pieces, usually of exceptional quality, which were never intended for use. It also includes items such as cups and saucers from services or small vases and figures which have since become typical cabinet objects. The Derby miniatures are examples. There are devoted collectors of the small and the fine who are prepared to pay over the odds for good examples, and m priees in this section may appear on the high side. It is arguable that I many other pieces in the rest of the book could fall into this category and time will no doubt increase the numbers.Chamberlain & Co. c.1820
A good cup and saucer with a salmon ground enclosing scenes of Ullswater Lake and Tonbridge Castle, probably by Thomas Baxter.
Rubbed gildingwould reduce the price to 40-80.Royal Crown Derby C.1910-C.1920.
Great changes have been wrought in people’s collecting habits by their housing habits. Since the end of the first world war increasing numbers of people have taken to living in small flats and houses, restricting the space devotable to a collection. This has led to a miniaturization of taste and objects such as pot-lids, snuff bottles, hat pins, Goss porcelain have become very popular. The Derby Imari miniatures are now very collectable and becoming more expensive. Examples: scuttle; saucepan; caddy; casserole; jug; coffee-pot; teapot; milk churn; iron and stand; watering-can.G. Grainger & Co. c 1840
An uncommon biscuit porcelain bower, being decked with glazed and coloured flowers by cupids. Because of the delicate nature of the encrustation obviously difficult to find in good State. With a few leaves damaged 150-200, more damaged 80.Rockingham 1830-42.
Printed griffin in puce.An example of a bottle with well executed relief flowers, and made in other sizes and shapes.
Swansea early 19th Century.
A very rare cabinet cup painted by Thomas Baxter with a named view of Beaufort Cottage which was next to a Quaker meeting house. Despite damage and restoration to the scroll handle and the.naive (bad) painting of the scene, this is a very desirable cup because of its factory and association value.Royal Worcester 1878 Diameter of saucer.
A Japanese taste cup and saucer probably not made as a cabinet item but now rarely found in services. The handle as a chocolate and gilt dragon.Royal Worcester 1881/2. Elaborate printed mark including crowned circle and registration exceptionally rare teapot poking fun at the Aesthetic movemei and based on costumes from the Gilbert and Sullivan opera Patience. The cover in the form of two heads, one female, one male. The pot h unusually thinly cast and is of a high technical standard, the delicacy oi the whole probably contributive to its scarcity. A badly damage< example sold in 1973 for 230.
Royal Worcester 1890.
A well-pierced vase by George Owen but lacking his signature. Had been incised on the base, 250-300.Royal Worcester 1907. Printed crowned circle, date code.
A rare pierced slipper by George Owen and signed on the base, the cutting is exceptionally sharp and the gilding, composed of minute dots, very fine. An ideal cabinet object.Royal Worcester 1924 Printed crowned circle and date code
A good pierced cup and saucer by George Owen, the double-walled cup with his incised signature. The gilding, as always on Owen pieces, of good quality. A box and coyer with piercing similar to Owen’s work has been seen with a printed gilt signature but the authenticity of the piece is open to some doubt. -
Antique Porcelain Jugs, Mugs and Ewers
Monday, December 14th, 2009
Antique Porcelain Jugs, Mugs and Ewers
The material for the body was by no means fixed and one design can be found in soft earthenware, stoneware and parian; in fact, it is occasionally difficult to decide between the last two, the body looking like a fine stoneware or a proto-parian body. Those illustrated on p. 146 could be examples of these and the price would be about the same for each assuming the quality of casting was constant. An earthenware example would be considerably less, mainly due to the lack of definition. Colouring was occasionally
undertaken, either self-colour in sage, pale blue or buff, or enamelled over the design, often to the detriment of the piece, but superb examples do tum up and are unlikely to fetch as much as they should. Indeed, the whole of the moulded jug market is in need of more serious consideration. One could predict that there would shortly be a sharp rise in price for good examples.
Also neglected are the porcelain jugs and mugs produced as gifts for retiring mine owners, christening presents, records of marriages or dedications of the heart with appropriate gilt script, messages, bright flowers and occasional emblems. The factories that produced them remain anonymous, as do the decorators, but a collection of the different types of person to whom and by whom they were given would show a fascinating cross section of Victorian sentiment. Most important of ail, they are nearly always dated.
Large ewers from washing sets are not common in porcelain, most being made of earthenware. Those that do occur are rarely of much value since little regard was paid to them.
They are, however, very good for flower decoration. Jugs from tea and coffee services are dealt with under that heading.
Samuel Alcock.
Samuel Alcock made a large number of classically-influenced wares from the 1840s-60s. The majority of the products were in stoneware and will be dealt with in the forthcoming.
Price Guide to 19th Century English Pottery. The colours used here are a typical royal-blue ground and a transfer-printed black outline, peach and orange coloured. One of the problems that Alcock’s porcelain suffers from is visible in the photograj| - the ground colour is too thin and soft with the result that it wears badly.W. Brownfield 1863
Elaborate moulded mark and registration.
A crisply moulded parian jug commemorating the marriage of Albert Edward, later Edward VII, to Princess Alexandra of Denmark. A well designed piece possibly by W. Harry Rogers,
It is less commonly found with the background enamelled, usually in buff or chocoiate, badly applied and fired, but a superb example has been noted raising the price to ?15—?20.
The price differential should be greater. Further moulded commemorative jugs will be found in the forthcoming Price Guide to Commemorative Pottery.Caughley/Coalport first quarter of the 19th century.
A rare pair of jugs with good flower painting and a gilt JH in a wreath, the bodies cabbage-leaf moulded, probably from 18th century moulds, and with gilt mask spouts. The Caughley factory sold out to Coalport 1799.Chinese decorated E & С Challinor 1862-80.
An English Staffordshire porcelain jug decorated in Canton. It is almost impossible to explain the reason for its existence possibly it was a sample sent from England to test the possibility о utilising the cheap labour for decorating in China, or it may have been sent by a member of a ship’s company on the spot. It is probably the only example, but even so, not of much value.
Coalport first half of the 19th century.
A quite well moulded and painted jug but difficult to display. Good flowers. Originally from a bedroom washing set.Copeland mid-19th Century. Impressed name and C.P. Art Union
An exceptionally high quality parian goblet with matt and burnished decoration. With the interest in parian being revived, at the present mainly in busts and figures, it will probably not be long before really good wares such as this rise fast in price.Possibly Davenport с.1835.
A hand-painted mug with pink cabbage roses and gilt leaves. Attractive but not sought after.
Doulton 1897. Printed green rosette.
A good quality Diamond Jubilee piece with the additional interest of an inscription on the side recording its presentation to J.C. Bailey from Sir Heniy Doulton. Had the mug been anything but commemorative, but with the same dedication, it would probably have fetched more.Аn interesting jug with a black transferred view of the 1851 Exhibition building (the Crystal Palace) from pot-lids, the Exhibition wares are strangely unappreciated.
Much rare thing coronation commemoratives and mostly of better quality. Should be more expensive!
A ‘Gothic’ jug moulded in stoneware and therefore not strictly entitled to appear in this book at all but it serves to show how similar these jugs are to the parian examples. The price of a similar example in parian would be about the same but less sharp moulding could reduce the price to 12.
Described in the Minton shape book as a “Sevres Ewer” since the shape is based on a Sevres original, this jug is well nioulded and gilt but of an unappreciated period and not flamboyant enough to fetch a high price.
Paragon 1937. Elaborate gilt mark including name.
A well-printed coloured design commemorating the non-event Coronation of Edward VIII. This is a limited edition of five hundred numbered on the base and in a fitted box.
Most commemorative wares since 1902 were issued in vast quantities, often given to school children as souvenirs along with the one-day holiday. These were cherished by their owners and have entered the family folk history usually on the theme that only three were made, one of which is in a museum, one in America and theirs is the other. The truth is that they survive in quantity and are usually sold for between.Rockingham 1830-42. Printed griffin in puce.
The handle of this mug is in the unusual form of a horse’s hoof and the upper part a horse’s tail, which is unique to Rockingham. Many such mugs occur unmarked but can be differentiated from almost identical Derby mugs, in that the latter do not have the upper part of the handle as a tail, i.e. moulded to simulate hair, but are quite smooth.
The mug illustrated is very rare and extremely well painted with a portrait of the Duke of Wellington in a gilt panel on a claret ground. Altogether the quality, subject matter,
factory and condition add up to an expensive piece of porcelain. A crack would reduce the price to aRoyal Worcester at its bizarre best. A rose-water sprinkler, vaguely Persian-influenced. The gilt ground painted with squirrels and birds and all of high quality.
Royal Worcester 1887. Printed crowned circle, date code.
The dragon handle is loosely based on the chih-lung that crawls round the shoulders of Chinese Canton-decorated vases of the 1860s on. Not a particularly good example with heavy-handed gilding on brown leaves.Royal Worcester 1889
A neauy and attractively painted pair of jugs with named views of the Rhine and Black Mountain NA, framed by gilt leaves. The upper handle terminal is in the form of a dolphinesque bird’s head. Touches of this sort add to the desirability of what could have been a simple loop handle.Royal Worcester 1890. Printed crowned circle, registration, date code.
A rather ugly jug, printed and coloured with an epiphyllum flower.Royal Worcester 1892. Printed crowned circle, date code A good ewer of Persian inspiration, having an ivory body with pale whip-lash floral enamelling. The neck and cover are pierced and the spout removable.
Royal Worcester 1894. Printed crowned circle, registration, date code.
Typical of numerous shapes of jugs or ewers produced by the factory in the last quarter of the 19th century and continuing the shapes well into the 20th. The decoration coloured and printed in gilding on apricot, shading to yellow, bodies.Royal Worcester 1902. Printed crowned circle, date code
A very good little ewer with fine landscape painting by Harry Davis, signed. The rest of the body a clear apple green, making this a most desirable piece.Royal Worcester 1907. Printed crowned circle, date code
A well cast ewer with bronzed borders and a scene of sheep by Harry Davis, signed. Davis was known for his sheep, which fetch high prices. His less common landscapes, see p. 147, are painted with greater care but are not much more expensive.Royal Worcester 1915. Printed crowned circle, date code
A pair of ewers of extreme ugliness, the pierced spouts and over-ornate handles doing nothing to help. The paintings by John Stinton, signed, are of his usual standard and his usual Highland cattle.An attractive ewer, well printed and painted with flowers, but not collectable item. Originally made with matching basin for use as a washing set in bedrooms before plumbing. In the early 19th century these sets were often of good quality for use by the gentlemen and ladies of the household, but by the middle of the century the gentry were usually ‘on tap’ and only poor quality sets were made for the use of the servants in their garret rooms. They can be found as late as the first world war. Although very good for floral
arrangements the ewers are still poor sellers.Unattributed mid-19th century. No mark large and decorative tankard transfer-printed with a puce outline and brightly enamelled design of a highly degenerate but amusing variation of the 18th century quail pattern originally itself based on the Chinese. The ground is also reminiscent of the Companie-des-Indes porcelain exported to this country from Canton.
Unattributed c. 1850. Moulded registration.
A well known parian jug with a cleverly thought-out ans wer to the handle problem, usually a dissatisfactory element in the design of these jugs. This example is cast in self-colour sage green, but can be foundin other pastel tones or white. It is also known in stoneware at roughly the same price, or crude pottery and worth only. The scene, entitled “The Gamekeeper” was issued in biscuit and porcelain by Minton and it is possible that this jug is also from the factory although the standard is not as high as usual.Moulded registration
A parian jug with the attractive decoration well set off by the coloured ground which has, in this case, been well applied and fired. The exterior has a matt finish whilst the interior is glazed. -
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. -
A Bloor Derby Figure of a boy - A Chelsea Derby Teabowl - English breakfast Cups and Saucers - A Doulton stoneware Jug - Two Royal Worcester oyster Plates
Wednesday, December 2nd, 2009
A Bloor Derby Figure of a boy - A Chelsea Derby Teabowl - English breakfast Cups and Saucers - A Doulton stoneware Jug - Two Royal Worcester oyster Plates
A Chelsea Derby Teabowl and Stand, circa 1770, each piece of spiral moulded form and painted with flower sprigs in green and gilt with black outlines, anchor and D mark in puce, painted Nos. 102 and 144; together
with four Derby Teabowls; two Cups and four Saucers; and a Cup and Saucer painted with a band of acorns and leaves, some restoration and damage
A Derby Trio, each spiral and acanthus mouldedlece painted with gilt flower sprigs beneath due and gilt borders, crowned batons; and a Derby coffee Can and Saucer, each piece painted ‘in’,It with the initial S within a surround of gilt sprigs,’It stars and green dots, crowned batons
A large oval meat Dish, attributed to Derby, circa 1800, decorated in blue with the `Chantilly’ pattern, pseudo Chinese seal mark in blue; together with an Oude Loosdrecht (Holland) oval Dish, painted with flower sprigs, restored
A Group of four silver mounted glass Toilet Jars, circa 1928, each inset with Royal Worcester panels by H. Stinton of two
Highland cattle in a landscape, one broken jar, various shapes and sizes, painted signatures and hallmarked Birmingham, 1928
A Bloor Derby Figure of a boy flower seller, 1820’s, seated holding a hatful of flowers on his lap, on a scroll moulded base, some damage, blue crossed swords mark, incised No. 8; together with a Pair of Chelsea red
anchor floral painted Pots, restored, 6cm.; 21/4in.; and a Coalport-type pot pourn Basket and Cover
Two large Worcester cabbage leaf moulded jugs, circa 1775, one printed with the ‘Pine Cone Group’ pattern, the other printed with the ‘Gilliflower Print’ pattern, both chipped and restored, hatched crescent mark in
underglaze-blue
A Pair of Derby ice Pails, Covers and one Liner, early 19th Century, the sides painted with French flower sprigs in gilt, blue, green and puce, acorn finials, some damage, red painted marks; also another ice pail Cover
A Parian figure Group titled ‘Power of Love’, late 19th Century, after I. M. Mohr, modelled as Cupid trying to wrest his quiver of arrows from the mouth of a reclining lion, on oval baseM. Mohr Sc.; also another Parian
Group bearing the same title, modelled as Cupid riding on the back of a lion, sow damage
A Royal Worcester Model of a green budgerigar, 20th Century, seated on a floral and gilt tree-stump, 17.5cm; and a Royal Copenhagen bearded white Budgerigar, repaired, printed marks
A Collection of five large earthenware English breakfast Cups and Saucers, 19th Century, comprising: a Pair of blue and white pearlware Cups and Saucers with floral panel decoration, one with a Japan’ pattern
decoration, one printed in blue with the `Willow’ pattern and one other with floral and gilt decoration
A Worcester polychrome Mug, circa 1770, the bell-shaped body painted with sprays of flowers, loop handle, some wear.
A Staffordshire pottery cottage money Box, 19th Century, the front inscribed Saving Bank below a blue washed roof, the door, windows and roof outlined in ochre, each side moulded and coloured with trees, cracked
A Group of English Creamwares, early 19th Century, comprising: a lozenge-shaped Dish painted in purple lustre with oak leaves, a Pair of Wedgwood basket moulded Plates with pierced borders, two fan-shaped supper
Dishes and Covers, a Wedgwood Plate with brown painted leaf border and a Wedgwood pearlware Plate
A Set of three George Jones & Sons porcelain Plates, circa 1880, each printed and coloured with two figures engage is within gilt lined rims, pursuits marks, painted No. 5441
Royal Worcester ‘Stuart’ rose Jar, Lid and Cover, 1892, the lobed ovoid body decorated with flowers against a shaded apricot ground, domed and pierced cover,
chip to finial, 28cm.,- 11 in.,Pure printed marks, ‘The Stuart’, Manufactured Specially for Stonier & Co., Liverpool, Shape No. 1312
Two Royal Worcester oyster Plates, 1893/94, each of ivory colour with gilt outlines, moulded with seven shell-shaped recesses on a basketwork ground, puce printed marksA Pair of Wedgwood & Co. ‘Imperial porcelain’
Plates, 1950’s, each decorated in the centre with paintings after Landseer, ‘Dignity and Impudence’ and ‘Busy Bodies and Busy Bees’, printed and impressed marks, framed and glazed
A Doulton stoneware Jug, 1890’s, the shouldered sides decorated with Coptic motifs, 18cm.; 7in.; a miniature hunting subject Bowl; and a red Wemyss Basket
A Royal Worcester candle snuffer Figure of a Monk, 1911, the peach coloured body standing reading an open book picked out in gilding; and a smaller Royal Worcester candle snuffer Figure of a Nun, 1917
A large Thomas Parr pottery Figure of Little Red Riding Hood, 1860’s, the girl wearing red cloak and carrying a basket under her arm, modelled seated with a wolf at her side, on oval grassy base, restored, An English pottery relish Pot, mid-19th Century, of churn shape, with a polychrome print of a fish market scene, in the style of F. & R. Pratt,.; a pearlware Mug, printed with a polychrome oriental scene, restored; and a
maiolica-type Jug, chipped
A Minton’s majolica, 1873, of bell form, the body moulded and painted with white flowers against a deep blue ground, raised on three scrolled supports and circular base, cracks to bowl, impressed marks,
Shape No. 1076 -
Staffordshire earthenware Jugs - A Pair of Coalport Ewers - A Copeland Parian Figure seated woman
Wednesday, December 2nd, 2009
Staffordshire earthenware Jugs - A Pair of Coalport Ewers - A Copeland Parian Figure seated woman
A Group of David Leach Tableware, 1970’s, comprising: soup Bowl and Cover, two small Bowls and a Plate, various sizes, impressed marks; together with a Michael Cardew miniature Vase; two James Welford celadon
glazed Vases; and a Bowl
A Staffordshire ironstone yellow ground Vase and Cover, possibly Ashworths, 2nd half 19th Century, of broad baluster form, the body moulded and applied in high relief with Chinoiserie decoration including figures, trees and fences, moulded branch handle, minor damage
A Group of Staffordshire blue and white Wares, late 19th/20th Century, comprising: a Wedgwood ‘Ferrara’ pattern Jug, Chamber Pot and a small Vase, a Copeland Spodes ‘Italian’ Bowl and pair of
Vases, some damage, printed and impressed marks
A Set of six Aynsley bone-china coffee Cups, Saucers and silver Holders, circa 1900, printed in green with swags of husks with rims, green printed marks, silver hallmarks for 1909
A blue jasper dip cheese Bell and Stand, late 19th Century, the sides sprigged in fruiting with a frieze of animals between rulti ng vine borders, chip to stand
Three Staffordshire blue printed meat Dishes, circa 1820, comprising: a ‘tree and well’ decorated with a bridge over a river, framed by wild flowers on a blue border, 52.3cm., a patent ironstone china Dish, chips, and a meat Dish with a Chinoiserie landscape
A Pair of Royal Worcester bottle Vases, early 20th Century, each compressed body reeded beneath a shoulder decorated in enamels and gilding rising to gilt hoop handles and an elongated trumpet neck, 16.5cm.;
printed marks; and a Crown Derby Japan’ pattern Vase, circa 1885, painted in Imari colours with oriental flowers, chip to rim, red factory mark, year cypher and numbers
A Pair of Coalport Ewers, circa 1905, each ovoid body painted with panels of fruit with an oval gilt scrolled frame against a deep blue ground,gilt acanthus moulded handles, green printed and gilt painted marks
A Bloor Derby Ewer, circa 1820, the slender ovoid body decorated in gilt with two Chinese figures in a garden against a deep blue ground, the loop handle with mask head terminal, some damage, 21.5cm.;
crowned D mark in red; together with a Coalport Cup and Saucer; and a Crown Staffordshire Cup and Saucer
A Pair of earthenware ‘Present from Newbury’ spill Vases, 19th Century, one printed in black with a view of Donnington Castle, the other printed with Castle Highclere, chips, 11 cm.; 41/4in., black printed marks J.Davies, China Rooms
A commemorative pottery jug, mid-19th Century, moulded in relief and painted in blue and copper lustre with portraits of f Sir C. Campbell and Sir H. Havelock, together with a Crimean War frog Mug; a blue printedand coloured mask Jug; and a pearlware Jug painted with flowers
A Staffordshire pearlware Figure of James Quinn as Falstaff, early 19th Century, the portly bearded actor standing in traditional pose carrying a sword and a shield, on a scroll moulded and square base, some
restoration and chips.
Three Staffordshire earthenware jugs, 19th Century, comprising: a lustre Jug, moulded and coloured with leaves and berries in purple lustre, green and red, restored; a pearlware Jug moulded and coloured with rows
of lozenges in yellow and red; and a silver lustre Jug
A small English pearlware cylindrical Mug, early 19th Century, inscribed More Friends and Lefs Need of Them, within a frame of leaves and berries, hair-crack; together with a creamware Jug, each side printed in black with a Masonic verse and emblems, cracked, handle restored.
Four Staffordshire earthenware Jugs, 19th Century, including: a canary ground Jug, printed on one side with a verse Success to the Fleece. . ., the reverse printed with Industry Produceth Wealth within silver lustre
borders, chips and crack, 11.5cm.; 41/2in., a silver resist, Jug decorated with scrolling foliage, 13cm.; 51n., and two blue printed and coloured Jugs
A Holdcroftma . H garden Seat, circa 1870, of simulated bamboo design with dark-blue ground relief moulded with leaves and flowers, impressed mark
A Set of six Spode Plates, circa 1810, bat printed with sporting birds and animals within plain gilt border, one cracked, some rubbing to gilding, red painted mark and pattern No. 1222
An Adams blue jasper stilton Dish, circa 1890, with acorn banding and applied cherub decoration, 28cm.
A Copeland Parian Figure of a seated naked classical woman, circa 1870, wearing laurel wreath, her arm resting on a lyre with a dolphin at her feet, damaged, impressed mark