STOCKSPRING ANTIQUES
&
ANDREW WILSON ANTIQUES
Exhibition and Sale
of
Fine Ceramics
c. 1680-1820
6th - 12th March
Sunday 6th: 2 pm - 5:00pm
Weekdays :10 am - 5:30 pm
Saturday 12th: 10 am - 1 pm
at
Andrew Wilson Antiques
520 Malvern Rd
Prahran
Vic 3161
(03)9510 5205
[email protected]
In association with
Felicity Marno, Stockspring Antiques
114 Kensington Church St
London W8 4BH
(44) (0)207 727 7995
[email protected]
www.antique-porcelain.co.uk
English Blue and White Porcelain
1. A Bow Sweetmeat Stand or Pickle formed of three scallop shells around the base and a fourth on a
central support which is covered with shells and corals, each well decorated with a dragon pursuing a
flaming pearl.
Ht: 13.5 cm
c. 1762-65
Ref: A. Gabszewicz, Bow Porcelain,
the Collection formed by Geoffrey Freeman,
nos 99 and 100 for the pattern.
2. A Bow Pickle of vine leaf form with moulded
veining to the underside, painted with a version
of the Pickle Leaf Vine design
L: 8.2 cm
c. 1760-65
3. A Rare Caughley Eyebath of baluster form
moulded with swags and gadroons, painted
with the à la brindille design after that found
on Tournai and other French porcelain.
Ht: 5 cm
c. 1785
Ref: G. Godden, Caughley and Worcester
Porcelains, pl. 121 for an example with the
Fisherman design.
7. A Worcester Cuspidor with a round bowl and
4. A Caughley Miniature Teabowl and Saucer,
C-scroll handle, printed with the Three Flowers
painted with the Island pattern of sampans in
pattern.
front of an island flanked by pagodas.
Ht: 11 cm
c.1770-75
Diam: 7.2 cm
c. 1785
5. A Pennington’s Liverpool Miniature Teabowl
and Saucer, painted in underglaze blue with
pagodas in a landscape.
Diam: 8.5 cm
c. 1780
8. A Worcester Sauceboat of shallow fluted form
painted with the Doughnut Tree design.
Mark: crescent
L. 17.8 cm
c. 1775-80
Ref: Branyan, French and Sandon, Blue and
White Worcester Porcelain 1751-90, I.D.9.
6. A Worcester Saucer of fluted form well painted
with the Prunus Root design.
Mark: Workman’s mark
Diam: 11.5 cm
c. 1758
English Polychrome Porcelain
Bow
9.
10. A Plate vibrantly painted in famille rose enamA Plate painted in a famille rose palette with a
els with bamboo and chrysanthemum issuing
striking design of a poppy, lily and aster, with
from blue hollow rocks, three lotus sprays
four sprays of peonies and other flowers around
around the rim.
the rim.
Diam: 23 cm
c.1755
Diam: 23.7 cm
c. 1755-8
Chelsea
Ref: P. Begg and B. Taylor, A Treasury of Bow,
no. 38.
11. A Rare Basket, of quatrelobe form, the exterior with ozier moulding, decorated in Kakiemon enamels
with the Red Tiger design.
W: 23.5 cm
c. 1750-52
This is probably the “Twisted Dragon pattern” referred to in the Chelsea Sale Catalogue of 1755. The
dragon in Japanese mythology is benign, representative of the celestial power and the emperor. The
tiger represents courage, and a red tiger is life giving.
Ref: A. Agnew and F. Marno, The Dragon and the Quail, nos. 83-85.
12. A Plate decorated in Kakiemon enamels with the Hob in the Well design within a foliate border.
Mark: red anchor
Diam: 24.4 cm
c. 1752-53
This is a very close copy of the original Japanese pattern. It depicts the story, popular in 17th Century
Japan, of the 11th Century Chinese statesman Sima Guang (Shiba Onko in Japan) who threw a rock at a
large jar in which his friend was drowning, so smashing the jar and allowing the water to drain out and
his friend to escape.
The design was known in England as Hob in the Well as it was identified with the farce Flora, or Hob
in the Well by Colley Cibber. This was adapted in 1711 from an earlier play by Thomas Doggett and
continued in production as a repertoire staple throughout the 18th Century.
Such was the celebrity of the character Hob that there is evidence that scenes of his adventures, which
included having to be rescued from a well, were on the walls of some supper boxes at Vauxhall Pleasure
Gardens.
13. A Plate decorated in Kakiemon enamels with
flowering plants issuing from blue rockwork, a
butterfly overhead, the border with butterflies
and flower sprays within a brown line rim.
Mark: red anchor
Diam: 24 cm
c. 1755
This is very close to the Meissen plate,
Catalogue no. 33.
Chelsea Derby
14. A Plate brilliantly painted in Hans Sloane style
with an Arachidna quadrifolia and a white
trumpet shaped flower, probably a convolvulus, 15. A Toilet Pot and Cover of cylindrical form, the
also a butterfly and other winged insects.
lid with an artichoke moulded knop, the lid and
Mark: red anchor over 3
base each painted with bouquets of flowers in
Diam: 23 cm
c. 1755-57
two panels within a gold and vine border on a
deep blue ground.
The source for the Arachidna was Plantae et
Mark: anchor and D in gold
Papiliones Rariores, Tab V, by Georg Dionysius
Ht: 8.5 cm
c. 1775-80
Ehret, 1745, where it is described using the old
Latin nomenclature, Arachidna quadrifolia
Ref: J. Twitchett, Derby Porcelain 1748-1848,
villosa, flore luteo.
pl. 244 for a very similar example, described as
rare.
The modern Linnean name for the Arachidna is
Arachis hypogaea, it is commonly known as the
peanut.
Ref: S. Kevill-Davies, Sir Hans Sloane’s Plants
on Chelsea Porcelain, Elmhirst & Suttie, 2015,
for extensive coverage of this genre.
Derby
16. A Basket of small circular form with rope twist
handles, the intersections of the exterior
basketwork with applied florets, painted in the
18. A Mug of cylindrical form with angular handle,
well with a bouquet of flowers in green
superbly painted in sepia monochrome by John
camaieu, the florets in turquoise and with a pale
Brewer with a leaping stag, within a gold border
yellow wash to the footrim.
and with a gold meandering pattern on the rim
Diam: 12 cm
c. 1760-65
and footrim.
Mark: crown, crossed swords and D in puce
Ht: 8.2 cm
c. 1797-1800
17. A Trio painted by Zachariah Boreman each
piece magnificently decorated with a border of
pearls between gilt bands, a central scene of a
meandering river with a castle or village in the
distance and figures in the foreground within a
pearl and gilt border which is also on the
19. A Plate painted with the arms of Kemeys-Tynte
footrim, reserved on a bright yellow ground.
within a wide blue border with gilded foliate
Mark: crown, crossed batons and D in puce with
scrolls.
pattern number 124, gilder’s number 11 for
Mark: red crown, crossed batons and
William Taylor.
Diam: 25.3 cm
c. 1820
Diam: 13 cm
c. 1785-90
The Welsh motto Duw Dy Ras translates as God
Ref: J. Twitchett, Derby Porcelain, col. pl. 30
Thy Grace.
for a similar can and saucer by Boreman.
cont…..
The service was made on the marriage of
Charles John Kemeys-Tynte of Cefn Mably in
Glamorgan and Halsewell in Somerset to
Elizabeth, daughter and co-heiress of Thomas
Swinnerton of Butterton Hall, Staffordshire in
1820.
Liverpool
22. A Creamboat of hexagonal form and scroll
handle, the spout moulded with a geranium leaf,
the sides with rococo moulded borders painted
in famille rose style with flowering plants.
Ht: 5.2 cm
c. 1758-60
As with Catalogue No. 21. the moulded scroll
borders to the panels are different on each side,
adding to the rococo interest and charm.
20. A Small Mug, Chaffers factory, painted in
famille rose enamels with a bird perched on a
fence beside a blue rock and a peony.
Ht: 6.2 cm
c. 1760
Ref: M. Hillis, Liverpool Porcelain, pl. 5.128
for similar small mugs or cans.
Worcester
23. A Coffee Cup printed over the glaze and
enamelled with coloured washes with a
chinoiserie scene, Les Garçons Chinois by
Hancock after Jean-Baptiste Pillement, of
whimsical Chinamen on rococo scrolls, a
riverscape with a tower in the distance.
Ht: 5.4 cm
c. 1760-65
21. A Sauceboat on a raised pedestal foot with
crisply moulded rococo panels, decorated in a
famille rose palette with a woman holding either
a fan or a leaf spray in a garden beside a pine
tree, a pagoda on a river bank in the distance.
L: 19.5 cm
c. 1754-55
26. A Coffee Cup decorated in a version of the
Scarlet Japan design with panels of iron red
with mons reserves and a gilt diaper pattern
alternating with panels of peony sprays in
famille rose enamels.
Ht: 6.3 cm
c. 1768
24. A Bowl, of small size, decorated in vivid
famille rose colours with the Honeysuckle
pattern of the eponymous flower, another flower
which is painted scrolling over the rim and into
the bowl, and a Buddhist scroll emblem.
Diam: 12 cm
c. 1760
27. A Teapot of spherical form and pointed knop,
decorated in a version of the Scarlet Japan
design with panels of iron red with mons
reserves and a gilt diaper pattern alternating with
panels of peony sprays in rose pink.
Ht: 13 cm
c. 1768
25. A Teapot Stand of hexagonal form unusually
decorated with reserves of finely painted famille
rose style sprays of flowers within simple gilt
borders on a blue scale ground.
Mark: square seal
W: 15 cm
c. 1765
28. A Bough Pot and Cover, Flight and Barr, of
demi-lune form with an arched foot, divided into
three by columns, the central panel painted with
a basket of flowers, the flankimg panels with
rose sprays on gold stippling, all on a yellow
ground, the rims highlighted with gilding.
Mark: script Flight and Barr Worcester Manuf
to their Majs:
L: 22.5 cm
c. 1797-1804
29. A Garniture, Barr, Flight and Barr, the centre vase on tripod dolphin supports, the lid with a flamiform
finial, the two side vases with ram’s horn handles and putti knops, all decorated with a band of flowers
on a pale yellow ground and with typical sumptuous gilding.
Marks: full script marks, the centre vase including Royal Porcelain Works
Ht: 18.5 cm (centre)
c. 1810
Ref: H. Sandon, Flight and Barr Worcester Porcelain, 1783-1840, col. pl. page 173.
Thomas Baxter senior was a porcelain decorator
with a workshop in Clerkenwell, London from
1797-1813. It was with him that his son, also
Thomas, learnt to paint and decorate china.
Thomas junior moved to Worcester in 1814 and
joined the FBB Worcester factory where he
modelled this medallion.
Baxter modelled four portrait medallions –
himself, his father, Admiral Nelson and the
Duke of Wellington. A similar example to this
one is in the Los Angeles Art Museum and is
signed Thomas Baxter jnr and inscribed as his
father aged 54.
Ill: G. Godden, Encyclopedia of British
Porcelain Manufacturers, fig. 52.
30. An Important Medallion, Flight, Barr and
Barr, modelled by Thomas Baxter of his father,
Thomas Baxter senior, shown in profile in
glazed biscuit, framed by a gilded moulding
within a border of a black enamel formal design
on an iron red ground.
Mark: incised on the truncation T B 1814
Diam: 9 cm
1814
31. A Miniature Taperstick, Flight, Barr and Barr,
painted with a view of Malvern Church on a
yellow ground, the rims highlighted with
gilding.
Mark: full script mark and the view named.
Diam: 7.2 cm
c. 1820-30
The scene is taken from Nash’s History of
Worcestershire 1781.
33. A Plate decorated in Kakiemon enamels with
flowering plants issuing from blue rocks, a butterfly overhead, the border with butterflies and
flower sprays within a brown line rim.
Mark: crossed swords in underglaze blue
Diam: 22.2 cm
c. 1730-35
Ref: the Chelsea plate, Catalogue No. 13.
Continental Porcelain
Meissen
32. A Böttger Hausmaler Teabowl moulded on the
exterior with fluted bands, gilded in Augsburg
by the Seuter workshop with a bird perched on a
branch on the inside, the bands with alternating
decoration of a solid band, scrollwork and dots,
the rim with an elaborate C-scroll border.
Mark: incised I to footrim.
Diam: 7.8 cm
c. 1725
34 A Dish, of wrythen lobed form, painted blue
and white in the centre with a phoenix amidst
lotus plants, the border with panels of monkeys
in trees alternating with flower sprays.
Mark: crossed swords and 5. in underglaze blue
within a double circle, pressnummer 32.
Diam: 24 cm
c. 1740
This is a very close copy of a Chinese Kangxi
dish – see Catalogue No. 59.
ombrierte scrolling foliage border, on a
turquoise ground, both with a Gitterwerk rim
design.
Marks: crossed swords in underglaze blue, 80 in
gilt and pressnummer 6 on the saucer.
Diam: 13.5 cm
c. 1740
Ref: Rainer Rückert, op.cit, nos. 382 and 440.
35. A Hot-Milk Jug and Cover of baluster form
with a wishbone handle with an acanthus
thumbpiece, the knop with artichoke moulding,
each side painted with a harbour scene surrounded by an ombrierte gilt quatrefoil cartouche, the cover similarly decorated, on a
turquoise ground, the spout, rims and handle
mouldings gilded.
Marks: crossed swords and dot below the handle in underglaze blue on jug, 63 in gold on jug
and cover.
Ht: 15.3 cm
c. 1738-40
Ref: Rainer Rückert. Meissener Porzellan, no.
440 for the form and decoration.
37. A Cup and Saucer, the painting attributed to
Johann Georg Heintze, the saucer with a scene
of Moritzburg Castle on the Elbe river, the cup
with another substantial building and castle on a
river – probably inspired by a view of Dresden.
Marks: crossed swords in underglaze blue,
pressnummers 17 and 66.
Diam: 13.7 cm
c.1740-45
The source for these scenes on the Elbe river
were the engravings of Johann Alexander
Thiele, published in 1727.
Ref: The Cummer Gallery of Art, The Wark Collection of Early Meissen Porcelain, col. pls 35
and 47 for examples of Heintze’s work and a
discussion of his style.
36. A Cup and Saucer, the cup with an elaborate
scroll handle, each painted with figures in a
landscape, the cup’s within an ombrierte gilt
quatrefoil cartouche, the saucer’s within an
Pieter de Jode I and II, father and son, were 17th
38. A Toilet Pot and Cover of cylindrical form with
C Flemish Baroque painters and engravers.
an artichoke finial painted with Holzschnitt Blumen, the rims gilded.
St Cloud
Mark: crossed swords in underglaze blue,
Dreher’s mark of D.
Ht: 8 cm
c. 1740-50
39. A Dish, moulded as two overlapping leaves and
decorated with naturalistic sprays of European
flowers and other scattered sprigs.
Mark: crossed swords in underglaze blue and
K.P.C. for Königliche Pillnitzer Conditorei –
Royal Pillnitz Confectionary.
L: 27 cm
c. 1750
41. A Parasol Handle decorated in underglaze
blue with a design after Jean Bérain.
Ht: 3.6 cm
c. 1710-20
Ref: C. Lahaussois, Porcelaines de St Cloud,
page 186 for similar examples.
Prov: Frederick Augustus II, Elector of Saxony
and King of Poland.
Vienna
40. A Cup and Saucer, the cup of ogival form with 42. A Set of Six Knives the hafts of cannon form,
double twist handle, decorated in a faux bois dedecorated with a Bérainesque design in undersign by Lorenze Kastner with a trompe l’oeil
glaze blue and enamelled with the arms of the
landscape print on each piece, one inscribed ‘AlBagliotti and Tartagini families, with silver ferlaine Sc’ and ‘no 9’, the other ‘Abel del’ and ‘P
rules and cap finials, the blades steel.
Jode Sc’, the rims gilt.
L: 10 cm (to ferrule)
c. 1725
Marks: shield mark in underglaze blue, imRef: C. Lahaussois, ibid., no. 230 for a similar
pressed 84, painter’s number 31 to saucer.
armorial example.
Diam: 13 cm
c. 1784
L: 7.5 cm (to ferrule)
Chantilly
c. 1740
Ref: A. Dawson, French Porcelain in the British
Museum, pl. 52 for a very similar example with
the enamel mark DV.
Genevièvre Le Duc attributes pieces with an
enamelled DV to Villeroy, and an incised DV to
the succeeding Mennecy factory.
Sèvres
43. A Mortier of small size with a shaped everted
rim, decorated in Kakiemon colours with designs after Jean-Antoine Fraisse of children at
play, a fence, plants and a bird, the border with
trailing floral spays within a brown line rim.
Ht: 5.6 cm
c. 1735
Ill: A. Agnew and F. Marno, The Dragon and
the Quail exhibition catalogue, Stockspring Antiques, 2000, no. 21.
The form is Japanese in origin and was used by
Chantilly in several sizes.
Villeroy
45. An Eggcup, Coquetier, on a flared foot painted
by Louis-Jean Thévenet with circular laurel medallions each on a stippled gilt ground, and rose
pendants, beneath a blue border with gilt detail.
Mark: red enamelled interlaced L’s, date code R
and painter’s mark.
Ht: 4.2 cm
1770
Figures
Bow
44. A Set of Six Knives, the hafts of cannon form,
painted with whimsical Chinoiserie figures,
plants and pagodas in Kakiemon colours, with
silver ferrules and French steel blades marked
Tetar.
46. A Pair of Finches, each perched alertly on a
tree stump entwined with foliage, their plumage
subtly moulded, in the white.
Ht: 10.8 cm
c. 1750-52
This rare pair does not appear to be recorded in
the literature.
Derby
47. A Lion and Lioness, each naturalistically
coloured and standing in front of flowering bocage on a low base with scrolls highlighted in
puce.
L: 5 cm
c. 1765
Ref: A. Gabszewicz, Bow Porcelain in the
Collection of Geoffrey Freeman, no. 262 for a
pair without bocage.
Lowestoft
49. A Squirrel modelled seated and holding a nut
between his paws, wearing a collar.
Mark: incised 2, painter’s no. 34.
Ht: 8 cm
c. 1780-1800
Meissen
48. A Rare Pair of Pugs, seated on low mound
bases with their heads turned and tails curled
over their backs, sponged in manganese with the
collars enriched with blue
Ht: 9 cm
c. 1780
Ref: G. Godden, The Illustrated Guide to
Lowestoft Porcelain, pl. 134 for a pair in
Worthing Museum and Art Gallery.
50. A Swan, modelled by Johann Joachim Kaendler and Peter Reinicke with great movement
with wings outstretched and neck craning to
look behind, on a naturalistic base.
Mark: crossed swords
Ht: 7 cm
c. 1747-50
The 1753 inventory of Count von Brühl’s Konditorei includes: ‘4 Kleine dgl. (Schwane) und 5
ganz kleine dgle’. (4 small similar (swans) and 5
very small similar).
Ref: U. Pietsch, Schwanen Service, Meissener
Porzellan für Heinrich Graf von Brühl, for a detailed history of this subject.
52. A European Bison, modelled by P. Reinicke
with his head lowered, coloured grey, on a low
mound base with flowers and foliage.
Mark: crossed swords
W: 23 cm
c. 1750-60
Ref: See notes for the previous entry. This is the
pendant for the previous model.
51. A European Bison, modelled by P. Reinicke,
modelled with his head raised, with dark brown
colouring, on a low mound base with flowers
and foliage.
Mark: crossed swords
W: 23 cm
c. 1750-60
Reinicke recorded in his work book in Oct.
1746, “started to model 2 bisons in clay”.
The European bison was often known as the
auroch in the 18th C, although this species had
actually become extinct in the mid 17th c.
Frederick William I of Prussia had presented a
bison to Augustus the Strong of Meissen, and
also to George II of England, and it could be
viewed by the public in a park in London, on
Sundays.
Ref: von Rainer Rückert, op. cit., no. 1152.
M. Cassidy-Geiger, Fragile Diplomacy, Meissen
Porcelain for European Courts ca. 1710-63,
page 90.
53. A Dalmatian, modelled by J. J. Kaendler and P. Reinicke, shown vigorously leaping forward with
paws outstretched, naturalistically coloured, supported on a stump on a low mound base with flowers.
Mark: crossed swords
L: 11.6 cm
c. 1760
Ref: Rainer Rückert, op. cit., no. 1178 for an identical model.
Vincennes
54. The Bird Catcher, Le Chasseur D’Oiseaux,
55. The Hare Catcher, Le Chasseur de Lièvre,
modelled as a man stretched out in front of rushmodelled as a man reclining against a bank holdes reaching for a duck, his robe billowing behind
ing a hare and patting a dog which is beside him,
him, in the white, on a naturalistic base.
in the white, on a naturalistic base.
L: 22.9 cm
c. 1750-52
L: 20.3 cm
c. 1749-52
Prov: The Property of a Nobleman, Christies
London, October 1963
Sir John H. Plumb Collection, Cambridge.
In the factory records for 1752 there are twenty
three examples listed for this model, of which
there were two versions.
Ref: J. Gwilt, Vincennes and Early Sèvres Porcelain from the Belvedere Collection, no. 166.
Prov: Sir John H. Plumb Collection, Cambridge.
The Bird Catcher and The Hare Catcher are
paired in the factory records, although it is the
alternative version of the Bird Catcher which
makes a more symmetrical pendant to the Hare
Catcher.
Ref: J. Gwilt, ibid., no. 165.
Japanese Porcelain
Ht: 8 cm
c. 1680-1700
Prov: Augustus the Strong, Elector of Saxony
Ref: Ayres, Impey and Mallet, Porcelain for
Palaces, no. 103 for an example in the Victoria
and Albert Museum.
56. A Teapot, Arita, Kakiemon, of decagonallylobed form with a budding flower knop decorated with prunus growing from rocks and cloud
scrolls on both body and lid, a ruyi border
around the shoulder, karakusa scrolls on the
spout and handle.
Mark: incised Johanneum mark for the Japanese
Palace, Dresden.
57. A Dish, Arita, Kakiemon, octagonal-lobed form
with a central chrysanthemum motif, the border
with peonies and pomegranates growing from
blue rocks, the reverse with a floral meander,
four concentric circles and stilt marks.
Mark: six character Chenghua
Diam: 20.8 cm
c. 1700
Chinese
Ref: O. Impey, Japanese Export Porcelain, nos.
170 and 174.
59. A Dish, of wrythen lobed form, painted in blue
and white, in the centre with a phoenix amidst
lotus plants, the border with panels of monkeys
in trees alternating with flower sprays, the reverse with stylised peonies on the rim and a
flower head within concentric circles to the
centre.
Diam: 21.4 cm
Kangxi, c. 1700-22
Prov: Mottahedah Collection
58. A Dish, Arita, of fluted form, decorated in the
Kakiemon palette with three asymmetric
medallions of which two are overlapping, of a
dragon, a red tiger amid bamboo and a spray of
prunus blossom.
Diam: 22.9 cm
c. 1700
This is the probable inspiration for the Meissen
dish, no. 34 in this catalogue.
Ref: O. Impey. op. cit., nos 181 and 223 for
related form and decoration.
60. A Teapot, decorated in London with a print of a
seated shepherd, with a green wash.
Ht: 11.5 cm
c. 1754-55
Prov: Geoffrey Godden
Godden has speculated that this was printed at
the Battersea enamel works.
Ref: Vctoria and Albert Museum, c.122-1997
for a lidless example.
Pottery
63. A Liverpool Delft Tile, printed by Sadler with
Mr Lee Lewes as Harlequin.
W: 12.8 cm
c. 1777-80
61. A Liverpool Delft Theatrical Tile, printed in
red by Sadler with Mrs Yates as Jane Shore,
from the print by Collyer after Dodd, with an
original copy of the play.
W: 12.9 cm
c. 1777-80
64. A Liverpool Delft Tile, printed by Sadler with
Mr Lewis as Douglas from a print by Goldar
after Dodd, with an original copy of the play.
W: 12.8 cm
c. 1777-80
62. A Liverpool Theatrical Delft Tile, printed by
Sadler with Mr Garrick as Abel Drugger in the
play The Alchemist by Ben Johnson, from an
engraving by John Dixon after Zoffany.
W: 12.8 cm
c. 1777-80
65. A Liverpool Delft Tile, printed by Sadler with
Mr Moody as Simon in Harlequin’s Invasion by
Garrick.
W: 12.8 cm
c. 1777-80
68. A Creamware Plate, with a hexafoil lobed rim,
subtly painted in puce with a lily, an anemone
and a bud.
Diam: 24 cm
c. 1775
The style of flower painting is very reminiscent
of James Bakewell at Wedgwood.
66. An English Delft Sweetmeat Stand, probably
Liverpool, of three lobed sections each with a
landscape, within patterned borders.
Diam: 16.5 cm
c.1760
69. A Rare Creamware Commemorative Mug of
cylindrical form and loop handle printed with a
figure of Britannia seated holding a shield with
the Royal Arms of George III, the British lion
67. A Pair of Creamware Shell Dishes of deep
beside her.
asymmetric form, the centre of one side scrolled
Ht: 12 cm
c. 1801
to form a handle, with blue enamel rims, on two
In the Acts of Union of 1800, effective from
shell feet.
1801, the Kingdom of Great Britain and the
Mark: impressed Wedgwood
Kingdom of Ireland were united into the United
L. 17.5 cm
c.1775
Kingdom of Great Britain and Ireland. George
These dishes typify the Rococo love of asymmeIII used this event to renounce his title of King
try and marine forms.
of France.
Consequently the Royal Arms of Britain were
altered and the fleur de lys of France which had
been in the 2nd quarter was replace by the lion
rampant of Scotland, the leopards of England
being in the 1st and 4th quarters and the lyre of
Ireland in the 3rd. The escutcheon of Hanover
was in the centre surmounted by the electoral
bonnet of the Holy Roman Empire, which was
replaced in 1816 by a royal crown when Hanover became a kingdom.
This mug commemorates the Acts of Union as
represented by the new Royal Arms.
71. A Wedgwood Sprig Mould, rectangular with
an intaglio design of leaves.
Mark: impressed 12 on the face, WEDGWOOD
and LH on the side
L: 8 cm
18th/19th C
70. A Wedgwood Tea Canister, in blue jasper, of
cylindrical form with bands of engine turning
around the base and neck and on the lid, with an
applied frieze of boys at various pursuits in the
style of Lady Diana Beauclerk.
Mark: impressed WEDGWOOD.
Ht: 14.8 cm
c. 1785