LOT LISTING - COUNTRY HOUSE AUCTION 26th and 27th APRIL 2017
Lot No Description
Low
Estimate
High
Estimate
1
A Caughley toy teapot with cover painted in the Island pattern, circa 1780-92, 120
S mark, 7.2cm high Provenance: Wright Collection no.191, purchased in 1980
from Venners. The cover included with this pot was a gift to the collection's
owner, most likely intended for a coffee pot.
180
2
A Caughley toy teapot and cover transfer-printed in the Fisherman or
150
Pleasure Boat pattern, circa 1780-90, unmarked, 7.3cm high Provenance:
Wright Collection no.456, purchased from Simon Spero in 1994. Exhibited at
Stockspring October 2001, 'Caughley Toy Wares'.
A Caughley toy slop bowl painted in the Island pattern, circa 1785-95, painted 70
S mark, 7.1cm diameter, together with another in the same pattern, S mark,
(broken and re-glued) (2) Provenance: The undamaged piece is Wright
Collection no.982, purchased in 2015 from Martyn Edgell. This by its size and
thickness makes it later than the smaller, earlier and thinner version. The
second example is Wright Collection no.905, purchased in 2012 from D.
Waterhouse.
200
4
A Caughley toy cider jug painted with the Island pattern, circa 1780-90,
500
reversed S mark, 5.2cm high Provenance: Wright Collection no.417,
purchased in 1990 from Venners. Exhibited at Stockspring October 2001,
'Caughley Toy Wares'. Literature: 'A Bi-centenary Exhibition of Caughley
Porcelain c1772-1799' published by the Ironbridge Gorge Museum; no.314
(hereby referred to as 'Ironbridge 1999', and The Caughley Society, 'Caughley
Blue and White Patterns', p27.
700
5
A Caughley toy dinner plate painted with the Island pattern, circa 1780-90,
250
unmarked, 4.5cm diameter (has been broken in two), together with a
Caughley toy sparrow beak jug painted with the Island pattern, circa 1778-85,
painted S mark, 3.7cm high and a Caughley toy milk jug in the Island pattern,
circa 1786-93, unmarked, 3.9cm high (been in pieces, re-glued) (3)
Provenance: Wright Collection no. 338, purchased from Simon Spero in 1985,
exhibited at Stockspring October 2001, 'Caughley Toy Wares'. Wright
Collection no. 318 purchased from Geoffrey Godden in 1994. Wright
Collection no. 042 purchased from Simon Spero in 1994. Literature: See
Ironbridge 1999 no.310 and Ironbridge 1999 no. 318 and The Caughley Society,
Caughley Blue and White Patterns, p.27.
350
6
A very rare Caughley toy dinner service dish painted in the Island pattern,
circa 1780-90, with an associated segmented border, unmarked, 6.2cm
diameter Provenance: Wright Collection no. 402, purchased in 1988 from
Mansers. Ex Milburn Collection (writer of book on miniatures). Literature:
See Ironbridge 1999 no. 315.
150
3
100
100
7
A Caughley toy dinner service tureen and cover painted in the Island pattern,
circa 1780-90, unmarked, 7.8cm wide (cracked) Provenance: Wright
Collection no. 454, purchased from Simon Spero in 1994 and exhibited at
Stockspring October 2001, 'Caughley Toy Wares.' Literature: Ironbridge no.
312 and The Caughley Society, Caughley Blue and White Patterns, p.27.
250
300
8
A Caughley toy sucrier and cover transfer-printed in the Fisherman or
Pleasure Boat pattern, Sx mark, 6.6cm high (hairline) Provenance: Wright
Collection no. 486, purchased in 1995 from Jupiter Antiques. Exhibited at
Stockspring October 2001 'Caughley Toy Wares'. Literature: The Caughley
Society, 'Caughley Blue and White Patterns', p.27.
100
150
9
A Caughley toy coffee pot and cover transfer-printed in the Fisherman
120
pattern, S mark, 9cm high (internal hairline, small chips) Provenance: Wright
Collection no.599, purchased in 1999 from Rod Jellicoe. Exhibited at
Stockspring October 2001, 'Caughley Toy Wares'. Literature: The Caughley
Society, 'Caughley Blue and White Patterns', p.27.
180
10
A Caughley toy mug, circa 1780-90, painted with the Island pattern, S mark,
80
4cm high (has been in pieces) Provenance: Wright Collection no.316
purchased in 1988 from Simon Spero. Literature: See Ironbridge 1999 316
Stockspring 01 and The Caughley Society, Caughley Blue and White Patterns,
p.27. This is a rare example which was originally in the Gilbert Bradley
Collection, see also Godden PI IV.
120
11
A Caughley toy teabowl and saucer painted in the Island pattern, circa 1778- 100
85, C mark, bowl 3.8cm diameter, saucer 6.6cm diameter (2) Provenance:
Wright Collection no. 666. Purchased in 2005 from Peter Wilsons. Literature:
The Caughley Society, 'Caughley Blue and White Patterns', p.27. This tea
bowls and saucer are both of a very small size which most likely indicates an
early date.
150
12
A Caughley toy guglet or water bottle, painted in underglaze blue with the
800
Island miniature pattern with an associated segmented border around the
upper rim, circa 1780-90, painted S mark, 6.2cm high Provenance: Wright
Collection no. 443, purchased in 1993 from Rod Jellicoe. Exhibited
Stockspring 2001. Literature: Ironbridge 1999 no.313 and The Caughley
Society, Caughley Blue and White Patterns, p.27. This is a rare example
sourced from the USA. A miniature bowl would have been originally intended
to go with this guglet, a similar example sold for £1,920 including buyers'
premium at Bonhams on March 12th 2008.
1200
13
A Caughley toy coffee cup and saucer transfer-printed in underglaze blue
100
with the Fisherman or Pleasure Boat pattern, circa 1785-93, unmarked, cup
3.8cm high, saucer 7.4cm diameter (2) (glazed chip to rim of coffee cup, a
manufacturing flaw) Provenance: Wright Collection no. 528, purchased in
1997. Exhibited Stockspring 2001. Literature: The Caughley Society, Caughley
Blue and White Patterns, p. 27.
150
14
A Caughley toy sauceboat painted in underglaze blue with the Island pattern,
circa 1780-90, 5.8cm wide Provenance: Wright Collection no.379, purchased
in 1987 from Simon Spero. Exhibited at Stockspring 2001. Literature:
Ironbridge 1999 no.317 and The Caughley Society, Caughley Blue and White
Patterns, p.27.
400
600
15
A circular Caughley pot transfer-printed with the Full Nankin pattern, circa
200
1783-92, S mark, 10.8cm diameter Provenance: Wright Collection no.893
purchased in 2011 from Brightwells Auctioneers. Ex R. Sillito Collection. This
pot is of an unknown purpose and is the only example seen by Maurice
Wright.
300
16
A very rare and small Caughley vase painted with the Three Boats pattern,
1200
circa 1780-90, 10.8cm high (hairline crack) Provenance: Wright Collection
no.829, purchased from Rod Jellicoe. Literature: Caughley Society, Caughley
Blue and White Patterns, p.181 and The Caughley Society Newsletter 2009
No.40 p.22 (hereby referred to as 'Newsletter') This vase is the only example
known in this pattern and of this shape.
1800
17
A Caughley twin handled urn transfer-printed in the Pine Cone pattern, circa 120
1777-88, unmarked, 14.5cm diameter (cracked) Provenance: Wright
Collection no.414, purchased in 1990 from Bill Dickenson. Ex Geoffrey Godden
Collection. Literature: Ironbridge 1999 no.74. This is the only recorded
example.
180
18
A Caughley jardinière painted in the Salopian Sprig pattern with spreading
foot and shell topped lug handles, a saw tooth edge and blue border, circa
1783-95, 11.5cm high Provenance: Wright Collection no.415, purchased in
1990 from Venners. Ex Geoffrey Godden Collection. Literature: Ironbridge
1999 no.198.
120
180
19
A Caughley trumpet form vase transfer-printed with a Sliced Apple pattern,
circa 1778-86, with supplementary fruit and floral prints within associated
Nankin border, unmarked, 12.4cm high Provenance: Wright Collection no.
324, purchased in 1984 from Charnwood. Literature: Ironbridge 1999 no. 18,
originally one of a pair.
200
300
20
A Caughley vase transfer-printed with an Apple pattern, circa 1778-86, within 50
associated border, unmarked, 10.2cm high (in pieces, re-glued) Provenance:
Wright Collection no. 441, purchased in 1993 from Ravenscroft. Literature:
Ironbridge 1999, no. 19 and Newsletter November 2009, No.40 p.20. This vase
is an unusual form, which is best identified as Caughley when comparing with
the print on a known marked saucer.
80
21
A Caughley punch bowl transfer-printed with the Punch Bowl Sprays pattern 500
and the monogrammed initials 'E.H REA', unmarked, 26cm diameter (light
glaze craze to foot rim) Provenance: Wright Collection no.992, purchased in
2016 from D. Norley. Literature: Newsletter May 2016 no.66 p23. This is a very
interesting piece with three of the Punch bowl sprays (4, 5 & 6) round the
outside and several butterflies and insects, including a dragonfly. It also has
the Iris pattern which is part of the third Punch bowl spray and not strictly
speaking another pattern despite being including as such in the Caughley
Blue and White Patterns on the basis of a bowl in Shrewsbury Museum. The
border is the printed Peony one. Caughley did both painted and printed whilst
Worcester did only a painted version. So the join gives it away. The style of
lettering of the monogram matches of the examples illustrated page in The
Caughley Society, Caughley Blue and White Patterns, p233-236.
800
22
A Caughley wash stand bowl transfer-printed with the Pine Cone, Three
Flowers and Fat Pear pattern, circa 1775-78, S mark, 25.5cm diameter
Provenance: Wright Collection no.948, purchased in 2013 from a Beccles
Auction. Ex Geoffrey Godden Collection. Literature: Newsletter August 2014
No.59 pp.23-4. Though early washstand bowls of this date by Caughley were
normally smaller, the prints on this bowl unmistakably point to an early date
making this piece of significant interest.
600
23
A Caughley guglet and wash stand bowl transfer-printed in the Fisherman or 800
Pleasure Boat pattern, circa 1780-92, S mark, guglet 27.7cm high, bowl 29cm
diameter (guglet a.f) Provenance: Wright Collection nos. 595a and 595b; the
bowl purchased from N. Gent in 1998, the guglet from Ebay in 2006.
Literature: Newsletter May 2016 66 p.17.
1200
24
A Caughley ewer transfer-printed in underglaze blue with the Pleasure Boat
pattern, circa 1780-89, S mark, 23cm high Provenance: Wright Collection
no.145, purchased in 1977 from Bill Burchell, who purchased it from an
auction house in Much Wenlock. Literature: Caughley Newsletter May 2016
no.66 p16, this ewer formed part of a wash basin set.
150
400
100
25
A Caughley pounce pot transfer-printed with sprigs, circa 1776-85, C mark,
2500
7.9cm high Provenance: Wright Collection no.205, purchased from G. Brown,
Wem in 1980 - a house sale. The sellers are reported to have said, 'We don't
know where the salt pot is!' Literature: Ironbridge 1999 no.45 and Caughley
Society, Caughley Blue and White Patterns, p.214. 'Pounce' is a fine powder,
made predominantly from cuttlefish bone that was used to dry ink and make
rough surfaces suitable for writing on. After sprinkling the paper, 18th or 19th
century ink would generally take around ten seconds to dry before the paper
could safely be folded without the risk of blotting. The paper would be gently
shaken to avoid excess sticking to the paper, which could then be safely
discarded prior to this folding. Despite blotting paper being available since
Tudor times, this method of using 'pounce' or sand proliferated well into the
19th century.
3000
26
A very rare Caughley inkwell and liner transfer-printed in the Bell Toy
600
pattern, circa 1777-88, unmarked, 7.3cm high (chipped, cracked, repaired)
Provenance: Wright Collection no.459, purchased from Norley in 1994. Prior
to the widespread use of fountain pens in the 1800s, people would have to
carry ink with them if they wanted to write whilst out on the road. A large
number of inkwells were also made from various materials which were
intended to remain solely in situ on a desk. In this case, as with this example,
the use of decoration became more important than practicality. Generally,
records show that a large number of porcelain inkwells were made in
England intended either as souvenirs or for intended export to the USA.
However, due to the fragility of these objects, porcelain examples are rare
survivors and are sought after by collectors, particularly as the end of the
19th century saw the mass-market use of fountain pens which transformed
the inkwell from an much needed important, functional object to a purely
decorative one.
800
27
A Caughley ink pot transfer-printed with the Stalked Fruit pattern, lacking
cover, circa 1776-82, C mark, 5.5cm high Provenance: Wright Collection
no.198, purchased in 1980 from Lindum. Literature: See Ironbridge 1999
no.5 for a pounce pot in the same pattern. Otherwise this shape is
unrecorded, with an unglazed flat base. This is an unusual print which also
occurs on early tea ware and looks like a plum or similar with a stalk.
600
400
28
A rare Caughley eye bath painted in underglaze blue with Locre Sprigs, circa 600
1785-93, with a deep oval bowl and baluster stem moulded in relief with
scrollwork, supported by a reeded almost circular foot, 5.3cm high (hairline
and filled chip) Provenance: Wright Collection no. 207, purchased in 1980
from Vera Dunk/Pagoda. Another eyebath of this shape is illustrated
alongside two matching wasters from the factory site by Geoffrey Godden,
Caughley and Worcester Porcelains. The Locre Sprigs pattern also occurs on
butter boats, e.g collection no.426, but is still an uncommon pattern. These
eye baths were used to wash out people's eyes when they became infected.
Initially, in the 16th century people who were wealthy had eye baths made of
silver and it was not until the 18th century that they were made of
earthenware or porcelain and came into general use. The bath was filled with
a boric acid to wash out the eye and alleviate conjunctivitis.
800
29
A Caughley eye bath, transfer-printed in underglaze blue with a Sprig and
300
Cell Border, circa 1780-90, unmarked, 4.6cm high (glued repair) Provenance:
Wright Collection no.410, purchased in 1989 from Venners. Literature: The
Caughley Society, Caughley Blue and White Patterns, p.214.
500
30
A Caughley ice pail, cover and inner liner, circa 1786-93, painted with the
70
Dresden Flower pattern in underglaze blue with additional gilt overglaze
detail, S mark, 26cm high (has been broken into 17 pieces and re-glued)
Provenance: Purchased in 2007 from eBay. See Geoffrey Godden, Caughley &
Worcester Porcelains 1775-1800 (1969), pl. 114 where the author speculates
that the gilding was probably added by Chamberlain's of Worcester and p. 61
for the list of shapes. The first record of ice cream in this country is 1671 on
the menu of a feast for the Knights of the Garter held in St. George's Hall at
Windsor Castle. At this time it was considered such an exclusive dish that it
appeared only on the king's table. The earliest printed recipe appeared in Mrs
Eale's Receipts, a work on confectionary which was published in London,
1718. It was not until the second half of the 18th century that ices became
more readily available from confectioner's shops, and these pails were
commonly found on upper class homes' sideboards to be used for a dessert
of ice cream with cut fruit. If ice alone is used to fill the cover and the bucket,
the ice cream melts very quickly. Although there is nothing recorded in
literature, it is almost certain that a little salt was sprinkled on the ice.
Porcelain is the ideal material for ice cream pails as it is impervious to salt
which improves the refrigerant effect. Experiments has shown that ice cream
will remain in a frozen state for up to four hours in these ice pails if salt is
added to both containers. After a time, a small amount of ice eventually forms
on the exterior of the pail - usually causing condensation, and possible
adhesion to the table cloth. It is therefore likely that these early pails would
have been placed on a plate or stand. Later designs of these pails often had
feet to prevent them freezing to the table, and these objects were rarely
made beyond the year 1830.
100
31
A Caughley button, of small size, with flat face and thread hole to rear, glazed 80
and undecorated and unmarked, circa 1785-95, 1.5cm diameter Provenance:
Wright Collection no. 404, purchased in 1989 from Simon Spero. Found at the
Caughley site, Simon Spero's bill authenticates this (a photocopy of which
accompanies this lot). Literature: See Ironbridge 1999 no.802.
120
32
A Caughley spittoon or saffer pot transfer-printed in the Columbine and Ripe 400
Fruit pattern, circa 1778-85, C mark, 10.5cm high Provenance: Wright
Collection no. 159, purchased in 1978. The use of spittoons proliferated in
public areas such as banks, railways stations, taverns, brothels and other
places where large numbers of people (particularly men) gathered. Use of
spittoons was considered an advance of public manners and health, intended
to replace the previously common practice of spitting on floors, streets, and
sidewalks. Many places passed laws against spitting in public other than into
a spittoon, however from the 1800s onwards this was mainly discouraged in
England due to the idea that it would spread disease such as tuberculosis.
600
33
A very rare Caughley flower pot transfer-printed with the Pine Cone pattern,
circa 1780-90, unmarked, 12.2cm diameter Provenance: Wright Collection
no.917, purchased in 2012 from Ewbanks Auctioneers. Though sold by
Ewbanks as a 'Worcester cache pot', a piece marked C was sold by Christies
(12/10/81, lot 215) in the Gilbert Bradley Sale.
600
800
34
A Caughley moulded salad bowl painted with the Bright Sprigs pattern, circa 500
1780-90, 27.9cm wide (firing fault to the bottom of the dish) Provenance:
Wright Collection no. 996 purchased in 2016 from Arabatel Antiques. This is a
rare bowl more commonly found in the Pine Cone pattern, and occasionally
Fisherman. The delicate painting shows the moulding to the bowl very clearly.
700
35
A Caughley meat dish painted in the Salopian Sprigs pattern with a Règence 350
border, silver-shape form, impressed SALOPIAN mark, 47cm wide
Provenance: Wright Collection no. 413 purchased from Bill Dickenson in
1990. Ex Geoffrey Godden Collection. Literature: See Ironbridge 1999 no. 498.
450
36
37
38
A Caughley potted meat pot transfer-printed in the Pleasure Boat or
200
Fisherman pattern, circa 1780-90, S mark, 11.9cm wide Provenance: Wright
Collection no.869, purchased from J. Pinnick. The preservation of food such
as meat or cheese by 'potting' was an important process. It involved sealing
food in butter other fat to eliminate its exposure to air which would cause it to
go bad, and this process would mean that this food could be kept for weeks or
months at a time dependent on the storage conditions. By the 1600s, pots
were beginning to replace the heavy crusts which were initially used as a
method in this process of preserving meat. These crusts would be used in
place of a container to protect the food from the outside environment and
were not necessarily always consumed. In order to complete the potting
process the meat would be cut into pieces, baked with fresh butter or some
form of other fat and seasoned. After pounding with a mortar and pestle the
meat would then be stored into pots such as these when they were then
heated, cooled and sealed with a final layer of butter. An exception to this rule
would sometimes be small birds which could be found potted whole. 18th
century receipts show that potting was used for a large variety of meats such
as ox-tongue, eels, hare and rabbit. A cookery book by Hannah Glasse (1777
and 1787, therefore contemporary to this meat pot) showed that some cooks
often kept meat beyond its prime in a refusal to waste it. In which case the
meat would be removed from the pot, boiled and re-buttered in order to represerve it. Potted meals were prized by places such as Inns, as they provided
an easy and reliable source of food for their patrons and ships would maintain
a similar store of potted goods in order to facilitate long journeys. Prime cuts
of meat were often used and these meat pots were an important feature of
many a dinner table in the 18th century.
A Caughley potted meat pot transfer-printed in the Full Nankin pattern, circa 200
1782-92, with associated Fitzhugh border, S mark, 11.8cm wide Provenance:
Wright Collection no. 232, purchased in 1981 from Mercury. Literature:
Ironbridge 1999 no.291 and Newsletter May 2013 No.54 p.21
300
A Caughley salad bowl painted with the Bright Sprigs pattern, circa 1786-92, S 100
mark, 23.4cm wide (hairline) Provenance: Wright Collection no.355,
purchased in 1983 from R. Edmundson.
150
300
39
A Caughley dry mustard pot transfer-printed in the Travellers pattern, circa 400
1778-85, S mark, 9cm high (chip to rim) Provenance: Wright Collection
no.179, purchased in 1979 from Venners. Literature: Stockspring Paul Sandby
Exhibition, 2003 and Newsletter December 2003 No.16 p.14. Originally this
mustard pot came with an incorrect cover in the Three Flowers pattern. Just
prior to this mustard pot being returned after being on show in the Paul
Sandby Exhibition the dealer Rod Jellicoe contacted Maurice Wright saying
that he had recently obtained a dry mustard pot in the Three Flowers pattern.
Upon investigation, Wright found that Jellicoe's mustard pot also had the
incorrect cover. Somewhat remarkably, this incorrect cover was in the
Travellers print and a swap was therefore made. After 1720, the processing of
mustard seeds in a mill would result in a fine flour which came commercially
to be known as 'Durham mustard'. Mustard pots such as these would contain
either dry or prepared mustard and were considered by contemporary cooks
to be a valuable asset in the kitchen.
600
40
A Caughley wet mustard pot and cover transfer-printed with the Fence
pattern, circa 1778-88, within concentric double blue line border, 9.6cm high
Provenance: Wright Collection no. 602, purchased in 1999 from J. Wyatt.
Literature: Ironbridge 1999 no. 265.
200
300
41
A small Caughley pot transfer-printed in the Cottage pattern, circa 1783-98, 100
unmarked, 5.8cm high (three hairlines) and a Caughley taster transferprinted in the Fisherman or Pleasure Boat pattern, circa 1780-90, 5.4cm wide
(in pieces and re-glued) (2) Provenance: The Caughley pot is Wright
Collection no. 751 and was purchased from R. Hawker in 2006. This pot is a
most interesting shape, possibly having had a lid and is not dissimilar to a
custard cup though without a handle. The taster is collection no. 511 and was
purchased in 1996 from Peter Wilson's.
150
42
A Caughley tart or patty pan transfer-printed with the Fruit and Wreath
200
pattern, circa 1780-85, C mark, 10.3cm diameter Provenance: Wright
Collection no.518, purchased from Sadler in 1996. This pan is illustrated in
Godden pl.185 (left-hand side) where the same imperfection in the pattern
can be seen. Food historians suggest that tarts were introduced first in
Medieval Times. Unlike pies, these dishes were presented without a top crust
which gave the opportunity to create a variety of colourful dishes which could
be found either savoury or sweet. 18th century sources demonstrate the
large amount of recipes catered towards this popular dish, which could
contain anything from meat and vegetables to fruit or cheese. One source
addresses the use of these pans directly, saying, 'If you bake in tin Patties,
butter them, and you must put a little crust all over, because of the taking
them out. If in china, or glass, no crust but the top one. Lay fine sugar at the
bottom, then your plumbs, cherries, or any other sort of fruit, and sugar at
top; then put on your lid, and bake them in a slack oven.' --The Art of Cookery
Made Plain and Easy, Hannah Glasse, facsimile 1747 reprint [Prospect
Books:Devon] 1995 (p. 75)
300
43
A Caughley tart pan painted with the Rock Strata Island (Island Sampan)
pattern, circa 1777-84, C mark, 10.2cm diameter Provenance: Wright
Collection no. 183, purchased in 1979 from Fred Taylor. Literature: See
Ironbridge 1999 no.327.
150
200
44
A deep Caughley bowl painted with the very rare Rock and Willow pattern,
400
possibly a tart pan, circa 1778-85, C mark, 9.8cm diameter and 4.2cm high
(chip) Provenance: Wright Collection no. 694, purchased from a Mark Law
sale. Literatue: See Auction Cat. Lot 1050. Mark Law 20/5/03, Newsletter
Feb 2012 49 pp13-14 and N/L December 2003 No 16 p 12. This pan was
formerly in the Godden Collection Z3597 and that of Bill Dickenson. Originally
catalogued as Rock Strata Island pattern and as a rare Tart pan, though in
fact it is rather tall to be a Tart pan and the rim less thickened than standard.
In fact Godden's label says ''rare pattern'' which was misread as Tart pan.
The catalogue illustration did not show the pattern, only the shape so this
very rare item was a pleasant surprise to Maurice Wright when it arrived.
600
45
An oval Caughley baking dish transfer-printed in the Willow Nankin pattern,
circa 1783-90, unmarked, 22.3cm wide (star cracks) Provenance: Wright
Collection no.509, purchased in 1996 from Peter Wilsons and ex Godden
reference collection. Wright Collection no. 780, purchased from Halls in
2007. Literature: Ironbridge 1999 no.413 and Newsletter May 2013 No.54 pp
13-15.
100
70
46
A Caughley oval baking dish transfer-printed with the Pleasure Boat or
80
Fisherman pattern, circa 1780-90, unmarked, 26.7cm wide (chipped foot rim)
Provenance: Wright Collection no. 962, purchased from Robert Hawker at the
NEC in 2014. Literature: For a similar example see Godden, Geoffrey;
Caughley and Worcester Porcelain 1775-1800, Herbert Jenkins, 1969 plate 87
for a similar example from the author's collection and noted as being made in
several different sizes.
120
47
A Caughley oval butter dish and cover transfer-printed in the Pine Cone and
Three Flowers patterns, circa 1777-82, unmarked, 13.8cm wide (florets
missing, chip to cover) Provenance: Wright Collection no.971 in 2015 from
Bigwoods. Literature: Newsletter February 2016 No.65, p.21. The prints
around the side of the butter dish are the secondary print found on the Pine
Cone pattern salad dish. This use of the Pine Cone print on a butter dish has
otherwise not been recorded.
100
150
48
A Caughley oval butter dish, cover and stand transfer-printed in the Fence
250
pattern, circa 1777-80, C mark, stand 19cm wide, dish 8cm high (tiny chips to
two small florets) Provenance: Wright Collection no.968, purchased from
Ebay, Holland.
350
49
A Caughley oval butter dish, cover and stand transfer-printed in the Three
80
Flowers and Butterfly pattern, circa 1778-88, stand marked C, stand 19.5cm
wide (3) (base cracked, stand has been in two, cover chipped) Provenance:
Wright Collection no.416, purchased in 1990 from K&K. Literature: The
Caughley Society, Caughley Blue and White Patterns, p.106 for an illustration
of the stand.
120
50
A Caughley butter boat transfer-printed with the Fisherman or Pleasure Boat 120
pattern, circa 1793-97, with an unusual curled back handle not dissimilar to
blanc de chine examples, unmarked, 8.9cm long Provenance: Wright
Collection no. 662, purchased in 2011 from Aurea Carter. This butter boat
was originally in a Phillips London sale on 12th September with another
damaged example, catalogued as 'rare John or Seth Pennington', however
Maurice Hillis maintains they are not Liverpool.
180
51
A Caughley butter boat painted with Locre Sprigs, circa 1788-95, unmarked,
7.2cm long (glazed over chip) Provenance: Wright Collection no.426,
purchased in 1992 from Venners. This pattern is known in France as Decor à
la Brindille which translates literally as 'twig decoration'. This is an
uncommon pattern by Caughley which has only been encountered on few
pieces such as eye baths, coffee cans and butter boats, as presented here.
150
120
52
A Caughley butter boat painted with the Gillyflower 1 pattern, circa 1780,
unmarked, 7.2cm long Provenance: Wright Collection no.964, purchased in
2014 from Darling, NCS. This pattern is mainly found on tea wares, though
can appear on pickle leaf dishes, mugs, dessert plates, baskets and dishes.
Gillyflower I is a direct copy of the Worcester pattern of the same name
though the original inspiration is most likely from a French source.
250
300
53
Two Caughley butter boats painted with the Chantilly Sprigs pattern, circa
250
1785-95, unmarked, 8.7cm long and 7cm long (one handle crudely repaired)
(2) Provenance: The 8.7cm long example is Wright Collection no. 998 and
purchased in 2016 from Bulith Wells. This is the large version, and as such is
rare in this pattern. The second smaller example is Wright Collection no.980,
and was purchased from Mellors & Kirk in 2015 (Roger Edmundson sale).
350
54
A rare Caughley leaf dish butter boat painted in the Gooseberry pattern, circa 500
1776-80, S mark, 8.2cm wide and 7.5cm high Provenance: Wright Collection
no.433 purchased in 1993 from Venners. Literature: Ironbridge 1999 no.27,
The Caughley Society, Caughley Blue and White Patterns, p.126 and p.214,
further illustrated in Godden pl.286 and discussed in a Caughley Newsletter
2016.
700
55
A rare Caughley leaf dish butter boat painted in the Gooseberry pattern, circa 400
1776-80, with both disputed C and S mark, 8.9cm wide and 3.6cm high
Provenance: Wright Collection no. 981, purchased in 2015 from Mallams.
Literature: Newsletter 2016. Despite the disputed mark this is undoubtedly
Caughley with the very rare addition of the S, this possibly being the only
example known which such a double mark from the early years of Caughley's
production. Though described as a 'crack' in the Mallams auction catalogue,
the parting of the seam to the base is almost identical to that of the butter
boat in the preceding lot and is a manufacturing flaw.
600
56
A Caughley butter boat transfer-printed in the Pleasure Boat pattern, circa
1780-90, 9.5cm long Provenance: Wright Collection no.753, purchased in
2006 from Newark Antique Centre.
120
180
57
Two Caughley leaf dish butter boats together painted with Geranium Boat
150
Sprays, circa 1776-80, C mark to one, the other unmarked, 8.5cm long (one
broken in two pieces and re-glued) (2) Provenance: The damaged example is
Wright Collection no. 368 purchased in 1986 from Venners and the
undamaged example is no.309 purchased in 1983 from D. Clark. These boats
appear to have been sold as harlequin sets, similar to Worcester hors
d'ouerves sets.
200
58
A Caughley butter pot, stand and cover, transfer-printed in the Fence pattern, 150
circa 1778-88, the cover with elaborate relief floral terminal, C mark, 8cm
high and 11.3cm diameter (one handle re-stuck) (3) Provenance: The pot and
cover are Wright Collection no. 721 and were purchased in 2004 from Holland
and the stand, collection no.721b was purchased in 2007 from A. Carter.
200
59
A rare Caughley pickle leaf dish, an unrecorded shape transfer-printed in the 250
Fisherman or Pleasure Boat pattern, circa 1785-92, unmarked, 7.2cm long
(repaired, chipped) Provenance: Wright Collection no. 695, purchased from a
Mark Law sale (Lot 1059 20/5/03). Ex Bill Dickenson collection. This dish is a
cross between the butter boats with three small feet and the earlier
''geranium'' boats and is similar to Liverpool examples. Originally with heavy
restoration, the removal of this has revealed the true colour of both the
porcelain and the pattern. Literature: Newsletter December 2003 no.16 p.12
and Halliday, Richard, 'Pickle Dishes and Milseys' (2011). The term 'pickle' did
not necessarily mean the same thing in the 18th century as we associate with
it today. Rather than a gherkin, the historical term refers not only to an item
which has been pickled or preserved but also to sauces and relishes which
were intended to accompany a dish. 'Pickle', therefore could consist of
vegetable or fruit pieces within a sauce, perhaps either in combination or
alone. Ranging in sweet to savoury in flavour, the one distinguishing and
unchanging factor would be that they were always strong in taste with the
intent to either add to, or complement, the food it would be served alongside.
300
60
A large Caughley pickle leaf dish transfer-printed in the Pleasure Boat or
150
Fisherman pattern, S mark circa 1780-90, unmarked, 16.6cm wide
Provenance: Wright Collection no.672, purchased from Stockspring Antiques
in 2002.
250
61
A large Caughley pickle leaf dish printed with the Pickle Leaf Vine pattern,
circa 1778-85, 15.2cm wide (cracked and riveted) Provenance: Wright
Collection no. 851, purchased from Mellors and Kirk in 2010 (ex. 'Pickle Dish
Man' collection).
200
250
62
A large Caughley pickle leaf dish painted with the Chantilly Sprigs B pattern,
circa 1785-94, unmarked, 15.8cm wide (small chip) Provenance: Wright
Collection no.853 purchased from Mellors & Kirk in 2010 (ex. 'Pickle Dish
man' collection). Literature: Newsletter August 2010, no.43 p19f.
300
400
63
A Caughley pickle leaf dish with the very rare painted version of the Pickle
350
Leaf Vine pattern, circa 1778-85, C mark, 12cm wide (small chip to one
pointed edge) Provenance: Wright Collection no. 724, purchased from Wyatt
in 2004. Literature: The Caughley Society, Caughley Blue and White Patterns,
p.98 and Woolley & Wallis cat. No 534 30/11/04. The mark on this dish is an
interesting one, being different from most - looking almost like a mark one
would expect of Worcester with the addition of a serif. The shape, however,
confirms that this is indeed Caughley.
400
64
A very rare small Caughley pickle leaf dish painted with the Pickle Leaf Spray 150
pattern, circa 1777-84, unmarked, 9.5cm wide Provenance: Wright Collection
no.46, purchased in 1972. Literature: The Caughley Society, Caughley Blue
and White Patterns, p.97. Maurice Wright notes he has only seen a maximum
of three others in this pattern.
200
65
A Caughley pickle leaf dish painted with the Gillyflower I pattern, circa 177680, 12cm wide (minute chips to rim) Provenance: Wright Collection no.823,
purchased from Jupiter Antiques in 2009. It is unusual to find this pattern on
pickle leaf dishes.
250
350
66
A Caughley pickle leaf dish transfer-printed with the Pear pattern, circa 1780- 250
85, S mark, 9.6cm wide Provenance: Wright Collection no.850, purchased
from Mellors & Kirk in 2010 (ex 'Pickle dish man' collection). Literature:
Newsletter August 2010 No.43 p19f. Pear is one of the secondary patterns
associated with the Pine Cone print.
300
67
A Caughley pickle leaf dish transfer-printed with the rare Pickle Leaf Vine
pattern, circa 1778-82, C mark, 12.5cm wide (a.f) - Wright Collection no.706,
purchased from Halls in 2003, together with a further Caughley small pickle
leaf dish in the same pattern, 9cm wide (also a.f) - Wright Collection no. 423
purchased from Bill Dickenson in 1992. (2)
100
150
68
Three Caughley pickle leaf dishes transfer-printed with the Fisherman or
150
Pleasure Boat pattern, circa 1797-99 and 1780-90, 9.7cm wide and 11cm wide
(a.f, repaired, body cracks) (3) Provenance: Wright Collection no. 886,
purchased from Bonhams in 2011. Wright Collection no. 579 purchased in
1998 and Wright Collection no.684, purchased in 2002 from H&R. Cooke.
No.886, the smaller, paler leaf dish is ex Geoffrey Godden collection and a
late hard-paste example, it interesting to compare the differences between
this example and the other two in the lot.
200
69
A small Caughley pickle leaf dish painted with the Chantilly Sprig A pattern,
circa 1785-94, 9.6cm wide Provenance: Wright Collection no.854, purchased
in 2010 from Mellors & Kirk (ex. Pickle dish man collection). Literature:
Newsletter August 2010 No.43 p19f.
250
200
70
A large Caughley pickle leaf dish painted with the Salopian Sprig pattern,
circa 1785-95, unmarked, 12.7cm wide (small chip) Provenance: Wright
Collection no. 856, purchased from Mellors & Kirk in 2010 (ex. Pickle dish
man collection).
100
150
71
A Caughley artichoke ice cup, lacking cover, circa 1787-95, painted all around 400
with blue artichoke bracts, S mark, 6cm high (cracked and chipped), sold
together with the Chinese original from which this design was copied, circa
1770-85, also lacking cover, 6cm high (cracked) (2) Provenance: The Caughley
version is Wright Collection no. 446 and was purchased in 1994, the Chinese
example is no.659 and was purchased in 2001. Literature: Ironbridge 1999
no.228 and The Caughley Society, Caughley Blue and White Patterns, p.192.
600
72
A Caughley artichoke ice cup and cover transfer-printed with the Fisherman 300
or Pleasure Boat pattern, circa 1780-90, unmarked, 8cm high (firing flaw to
inside cover) Provenance: Wright Collection no.453, purchased from N. Gent
in 1994. Literature: See CP, page 7, no.71 for a similar ice cup described,
where the author notes, 'These pieces are more usually described as
Artichoke cups, but the Chamberlain accounts for 9th October, 1979, record
the purchase of 6 ice-cups and covers, Artichoke pattern, at 1/6, which would
seem to suggest that the use of 'Artichoke' in the context of these accounts
refers to the shape of these small vessels rather than the usage.
500
73
A Caughley radish dish transfer-printed with the Full Nankin pattern, circa
1784-92, unmarked, 29.5cm wide (chipped, stained) Provenance: Wright
Collection no.845, purchased in 2010 from Halls.
200
250
74
Two Caughley asparagus servers transfer-printed with the Fisherman or
200
Pleasure Boat patterns, circa 1780-90, Sx mark to one with further mark S to
the main body of the print, widest points 7cm across Provenance: Wright
Collection no. 714 with the sideways print was purchased in 2004 from M.
Edgell and no.238 with the S mark to the front in 1981 from Charnwood. This
rare feature of the S mark on the front of the server was caused by a fold in
the tissue when creating the transfer. Articles about pieces marked to the
front have appeared in Caughley Newsletters such as May 2014 No.58 and
June 2007 No. 30, p.17. Asparagus was first introduced by the Romans and
this young shoot from a cultivated plant of the lily family (and a distant cousin
of the onion!) came back to our shores in the reign of Henry VIII. Such was its
popularity that by the 18th century we grew more asparagus than any other
country, according to the compendium 'England in Particular'.
300
75
A Caughley punt-shaped radish dish painted in the Chantilly Sprig pattern,
200
circa 1787-95, with associated blue line to border, S mark, 30.5cm wide (chip
to foot) Provenance; Wright Collection no. 562, purchased in 1998 from Peter
Wilson. Literature: Ironbridge 1999 no. 468 and The Caughley Blue and White
Society, 'Caughley Blue and White Patterns', p.34, for a comparative
illustration of this dish and its Chantilly original. Though currently primarily
used as a garnish in today's society, radishes in the 18th century were often
eaten whole, including the leaves which contain a high amount of vitamin C.
For centuries, radishes were eaten as a cold remedy or to prevent scurvy.
Even earlier than this during the Middle Ages there are over twenty
references to the use of 'superne raedic' as a medicine or tonic, including the
rather dubious claim that it was 'effective in warding off a woman's chatter'.
300
76
A low Caughley egg cup painted with Chantilly Sprigs, S mark, 4.2cm high
500
(repaired chip) Provenance: Wright Collection no.547, purchased from N.
Gent. Literature: Newsletter August 2009 No 39 p.5. A similar example with a
hairline crack sold at Mellors & Kirk on 10th June 2015 for £650. Egg cups
were popularised in the 18th century by stories such as that of Louis XV, who
was reputed to be able to decapitate an egg with a single stroke. Produced
either in sets or towards the end of the 18th century as single examples,
these porcelain cups became an important part of upper class dining.
700
77
A Caughley egg cup transfer-printed in the Fisherman or Pleasure Boat
500
pattern, circa 1780-90, unmarked, 5.8cm high (restored chip) Provenance:
Wright Collection no.617, purchased in 1999 from Turner. Literature:
Godden, 'Caughley and Worcester Patterns', p.95 notes that 'When decorated
with the Fisherman or Pleasure Boat design, the price was 8d for the high
egg 'stand''. See also Ironbridge 1999 catalogue nos. 332 and 347 for very
similar pieces in the same pattern and The Caughley Society Newsletter,
February 2010, no. 41 which illustrates a similar example sold at Wright
Manley in December 2009. Further to this, a perfect example was sold in
these rooms in April 2015 for £880.
700
78
A Caughley egg drainer transfer-printed with the Pleasure Boat or Fisherman 40
pattern, circa 1780-90, with leaf shaped handle, unmarked, bowl 8.3cm
diameter (cracked) Provenance: Wright Collection no.849, purchased from
Horton in 2010. Contemporary porcelain factory documents call objects like
these 'egg drainers' when they have a small side handle. They were often
included in breakfast sets and one suggestion is that they were possibly used
to serve poached eggs. An article by Richard Halliday, 'Pickle Dishes and
Milseys', written for the Northern Ceramic Society investigated further the
use for these 'drainers'. The word 'milsey' comes from two middle English
words 'mylke syhe' which today mean 'milk sieve', which today has been
applied to pottery and porcelain strainers which may or may not have been
used to sieve hot milk. Halliday found that realistically when used for draining
eggs they proved to be neither practical nor necessarily functional, nor upon
investigation were they appropriate for draining tea. One conclusion Halliday
drew is that they were perhaps used to strain boiled milk which was
necessary to prevent it tasting somewhat sour in the pre-refrigeration days.
Indeed, Nelson's breakfast set supplied by Chamberlain's, Worcester in 1802
contained 'six egg cups and drainers.'
60
79
A Caughley egg drainer painted with the Island pattern, circa 1780-90, with an 100
associated segmented border, S mark, 8.2cm diameter (hairline) Provenance:
Wright Collection no. 244, purchased from K&K 1981. Literature: Ironbridge
1999 no.319 and The Caughley Society, Caughley Blue and White Patterns,
p.170. This pattern which is one more commonly found on toy wares, though
as demonstrated here it was, perhaps uncharacteristically, also used on full
sized drainers.
150
80
A Caughley egg drainer painted with the Locre Sprigs pattern, circa 1788-95,
8.1cm diameter (hairline) Provenance: Wright Collection no.424 purchased
from N. Gent in 1992. Literature: The Caughley Society, Caughley Blue and
White Patterns, p.1.
120
81
A Caughley spoon, circa 1776-80, printed with a floral roundel, 10cm long
400
Provenance: Wright Collection no. 887 purchased in 2011 from Aurea Carter.
Literature: Spoons such as this are extremely delicate and are therefore
relatively rare. The handle of one such spoon appears amongst wasters in
Godden pl.214. The design to the bowl of this spoon is also repeated on the
1776 mug within the V&A's collection and which is decorated with Bell Toy
below the handle; the usual design being a floret. See also Newsletter 2011
No.47 p15.
80
600
82
A rare Caughley mustard spoon printed in underglaze blue with a Floret
400
pattern, circa 1777-1782, with moulded bowl, 10cm long Provenance: Wright
Collection no.376, purchased in 1994 from Simon Spero. Literature: See
Ironbridge 1999 no. 43 and Newsletter 15th August, 2011 No.47.
600
83
A Caughley quadrant or sandwich dish, circa 1785-90, transfer-printed in
underglaze blue with a floral butterfly pattern between a Fitzhugh border,
34.7cm wide (restored), together with a further Caughley quadrant or
sandwich dish, circa 1785-93, transfer-printed in underglaze blue with the
Full Nankin pattern between a Fitzhugh border, the unglazed base with S
mark, 35.1cm wide (stapled repair) (2) Provenance: Wright Collection.
80
84
A Caughley ice or sorbet cup painted with Chantilly Sprigs A, circa 1785-92, S 600
mark, 6.4cm high Provenance: Wright Collection no.447, purchased in 1989
from K&K. Literature: See Halls sale, 28th April, 2010, lot 37 for a similar ice
cup in the same pattern and Godden's, 'Caughley and Worcester Patterns',
plate 120 for another example which the author refers to as an 'egg cup'.
800
85
A Caughley custard cup and cover transfer-printed with the rare Garden
300
Table pattern, circa 1778-92, S mark, 7.8cm high Provenance: Wright
Collection no. 546 purchased from N. Gent in 1997. Literature: See Ironbridge
1999 no.304 and Newsletter June 2008 No.34 p.7. This is a very rare pattern
which was previously unrecorded, with only two further examples having
arisen following the compilation of Maurice Wright's database. The Caughley
Society newsletter article titled 'Gardens, Tables and Vases' distinguishes
between the Garden Floral pattern which is 'painted and very rare' and The
Garden Table pattern which is printed. Sandon suggests in his book that
Caughley also made a painted copy of the Worcester equivalent, examples of
which could possibly be collection numbers 649 and 679. An example of the
Garden Table pattern was sold in these rooms on 25th May 2005, lot no. 33
500
86
A Caughley custard cup and cover transfer-printed in the Full Nankin pattern, 80
circa 1785-92, 8.3cm high (cover in two, chipped) Provenance: Wright
Collection no. 847, purchased in 2010.
120
87
A Caughley custard cup with cover transfer-printed in the Cottage pattern,
circa 1775-85, unmarked, 7.8cm high Provenance: Wright Collection no.469,
the base purchased in 1995, the cover in 1996.
250
300
88
A Caughley custard cup and cover transfer-printed with the Willow Nankin
pattern, circa 1784-92, unmarked, 8.7cm high (small chip to cover)
Provenance: Wright Collection no. 873, purchased in 2010 from Ebay.
200
300
60
89
A Caughley circular bon-bon dish, circa 1785-90, decorated in blue and gilt
150
with the Hoop and Chain pattern, Salopian mark, 9cm diameter (glued and
filled) Provenance: Wright Collection no.731, purchased from Ebay. This is a
rare form, a similar example of which was sold at Mark Law's Auction House
in 2005 for £800.
200
90
A Caughley dessert dish painted with the Salopian Sprigs pattern, circa 1785- 120
95, 22.5cm wide (two chips to the rim) Provenance: Wright Collection no. 997
purchased in 2016 from Reeman Dansie. This is a rare shape which matches
that used for the Tournai pattern with finger moulding to the exterior rim
however lacking the osier border. Literature: Caughley Newsletter February
2017 no.69 pp.15-16.
180
91
A lobed Caughley dessert plate painted with the Bright Sprigs pattern, circa
1784-92, impressed Salopian mark, 16.6cm diameter Provenance: Wright
Collection no.931, purchased in 2013 from Jupiter Antiques.
220
92
A Caughley dessert plate transfer-printed in the Temple pattern, circa 1784- 80
92, Sx mark, 20.2cm diameter (central star crack) Provenance: Wright
Collection no.696, purchased from a Mark Law sale in 2003, previously ex Bill
Dickenson Collection. Literature: The Caughley Society, 'Caughley Blue and
White Patterns', p.180 and Mark Law Auction Catalogue 20/5/03, lot 1072.
This tea ware pattern is rare to find on dessert wares.
120
93
A Caughley small dessert plate transfer-printed in the Willow Nankin pattern, 40
circa 1795, unmarked, 16.7cm diameter Provenance: Wright Collection
no.966, purchased from Halls in 2014. This plate is an unusual size for its
type.
60
94
A Caughley shell form dessert dish painted with the Dessert Festoons
60
pattern, circa 1780-88, impressed Salopian mark, 20cm wide (cracked)
Provenance: Wright Collection no. 601, purchased from S. Millington in 1999.
Literature: Ironbridge 1999 no. 515 and Newsletter August 2009 No.39, p.5
(publication prior to final fixation of pattern names)
80
95
A Caughley dessert tureen and cover with a matching ladle painted with the 800
Rock and House and Two Islands patterns, the fan panelled landscapes within
a powder blue ground, circa 1777-82, mock Chinese mark, 16cm wide (tiny
chip) Provenance: The tureen was Wright Collection no. 477, purchased in
1995 from Rod Jellicoe and the ladle is Wright Collection no. 476 and was also
purchased from Rod Jellicoe. Literature: See Ironbridge 1999 no.368. For all
powder blue wares, see the article in the Newsletter November 2009 No.40
p.3-9.
1000
180
96
A large Caughley tureen stand transfer-printed in the Full Nankin pattern,
200
circa 1782-90, unmarked, 35.5cm wide Provenance: Wright Collection no.
519 purchased in 1996 from Reed. Literature: Compare with that seen in
Godden, 'Caughley and Worcester Patterns', pl.116 on the bottom right for the
shape.
300
97
A very rare Caughley dessert tureen, cover and stand painted with the
700
Flowery Cartouche pattern, circa 1785-92, unmarked, tureen 14.5cm wide,
stand 23.2cm wide Provenance: Wright Collection no. 406 purchased from
Charnwood. Literature: See Ironbridge 1999 nos. 380 or 381 and The
Caughley Society, Caughley Blue and White Patterns, p.157 where the stand is
illustrated. Furthermore Geoffrey Godden wrote an article in the ECC journal
on a pair of these tureens, of which this is one. Godden goes on to say, 'Two
tureens with their stands are the only pieces known with this pattern, their
attribution as Caughley being based on their shape. This suggests that there
may have been a dessert service dating from the latter part of the 1780s,
which, if the tureens are anything to go by, would have been of excellent
quality'.
1000
98
A Caughley canted square dessert dish transfer-printed in the Pleasure Boat 100
or Fisherman pattern, impressed Salopian mark, 17cm wide Provenance:
Wright Collection no.240, purchased from McCartney's. This is an unusually
small size when compared with other examples of this shape.
150
99
A Caughley dessert plate painted in the Royal Lily pattern, circa 1785-92, the
reverse further painted with three foliage sprays, unmarked, 21cm diameter
Provenance: Wright Collection no.625, purchased in 2000. Literature:
Ironbridge 1999, no. 157.
70
100
100
A Caughley kidney shaped dessert dish painted in the Chantilly Sprigs pattern 70
within a fine basket weave border rim, circa 1785-92, unmarked, 27.2cm wide
(minute underchip), sold together with a comparison French dessert plate
painted in the Chantilly Sprig pattern, circa 1785-90, 16.3cm diameter (2)
Provenance: Caughley plate is Wright Collection no. 923, purchased in 2012,
the French comparative example is Wright Collection no. 955 and was
purchased in 2014.
100
101
A Caughley shell form dessert dish transfer-printed in the Gillyflower pattern 40
(section broken), C mark, 21cm wide and a Caughley kidney shaped dessert
dish transfer-printed in the Full Nankin pattern, unmarked, circa 1788-95,
27.3cm wide (fired badly, glaze imperfections) (2)
60
102
A Caughley kidney shaped dessert dish, circa 1788-93, transfer-printed in
300
underglaze blue with the Fisherman Landscape pattern, unmarked, 26.3cm
wide Provenance: Wright Collection no.807, purchased in 2008. Literature:
The Caughley Society, Caughley Blue and White Patterns, p.156 and
Newsletter August 2012 no.51, p.1. A unique and puzzling piece, this dish
demonstrates the lop-sided features typical of that of Caughley as opposed to
the uniformity of Worcester porcelain from the same period.
400
103
A Caughley square dessert dish painted with the Carnation pattern within a
100
basket weave border, circa 1788-1793, unmarked, 23.5cm wide (chipped)
Provenance: Wright Collection no.317, purchased from Roger Edmundson in
1983. Literature: Ironbridge 1999 no.124 and The Caughley Society, Caughley
Blue and White Patterns, p.72. This is a late shape, of which there was a
similar example in the Shrewsbury Exhibition. This shape is rarer than the
earlier square dish, with this pattern being repeated at both Derby and
Coalport
150
104
A rare shaped Caughley dessert dish, transfer-printed in the Full Nankin
pattern, circa 1785-93, unmarked, 22cm diameter Provenance: Wright
Collection no. 88, purchased in 1974. Originally one of a pair, the shape is
lobed and round anticipating Coalport of c1800, nowadays we would refer to
this shape as a pasta dish.
150
200
105
A Caughley dessert plate with a blue painted scene within a gilt spangled
border, circa 1785-93, impressed Salopian mark, 20.8cm diameter (gilding
rubbed) Provenance: Wright Collection no. 875, purchased in 2011. From the
Star and Spangles service, the painting on plate may be influenced by a
Continental or Fantasy scene. It was Gaye Blake Roberts who first shed
significant light on these designs in 1974 within an English Ceramic Circle
Transaction paper in which it was reported that the source of several scenes
from a Bright Landscapes dessert service were taken from Paul Sandby's
Virtouosis' Museum published in 1778. The Gold Star Border and Spangles
dessert service was first illustrated in 1969 by Godden. Research has shown
that there are at least two dessert services with this gilt design.
200
300
106
A Caughley dessert plate from the Arabesque Dessert Service, circa 1786-93, 100
painted in blue with a European Scene within elaborate gilt and cobalt border,
impressed Salopian mark, 22cm diameter (in half, re-stuck, chipped)
Provenance: Wright Collection no.764, purchased in 2011 from Chris Brown.
Literature: See Newsletter December 2006 No.28 p.28. This article deduces
that this is the previously missing plate from the Arabesque Service, see also
''Paul Sandby and Related Influences on Caughley Porcelain'' Holloway and
Marno, April 2003.
150
107
A Caughley circular butter pot and cover transfer-printed with the Gillyflower 300
II pattern, circa 1776-79, S mark, 10.7cm wide Provenance: Wright Collection
no. 439, purchased from Thrift Cottages in 1993. Literature: Ironbridge 1999
no. 143.
500
108
A circular Caughley basket transfer-printed in the Fisherman or Pleasure
200
Boat pattern, circa 1780-90, unmarked, 23.2cm diameter Provenance: Wright
Collection no. 791, purchased from Morphetts in Harrogate in 2008.
300
109
A pair of Caughley chestnut baskets, covers and stands painted with the
2000
Salopian Sprig pattern, circa 1780-90, stand 28cm wide, basket 20cm wide
(unmarked) (6) Provenance: Wright Collection nos.903, the first basket
purchased from Ute March in 2012 and the second basket not long
afterwards. Literature: Newsletter May 2016 66 p.19. Chestnuts have been
eaten since prehistoric times and were an important dietary staple since they
could be cooked and eaten fresh from September through November when
they were harvested. As recently as the 19th century, some Europeans
substituted chestnuts for grain products. Dried chestnuts were such a valued
staple in the Napoleonic era that the Italian government actually placed a tax
on them, while the chestnut trees were counted like residents in the official
census.
3000
110
A Caughley circular basket painted with the Salopian Sprigs pattern, circa
1785-92, S mark, 15.5cm diameter Provenance: Wright Collection no.418,
purchased from Carter in 1990. Literature: Ironbridge 1999 no.186.
250
300
111
A Caughley basket transfer-printed in the Pine Cone pattern, circa 1778-86, C 200
mark and impressed To mark, 18.7cm wide Provenance: Wright Collection
no. 811 purchased in 2008 from Ebay. This basket is significant because of its
comparatively small size.
300
112
A Caughley basket transfer-printed in the Pine Cone pattern, circa 1776-86,
unmarked, 22cm wide (firing crack to base) Provenance: Wright Collection
no.195, purchased from Halls in 2003. Originally purchased from John
Wheeler in 1980, then sold to Bill Dickenson to fund the purchase of new
pieces in the collection and then re-purchased at auction. Literature:
Newsletter 2004 September 19 p.18 where this basket is mentioned, and
noted as most likely a factory second which the factory still glazed as they
were an expensive item to produce and too much waste would have been
uneconomical.
300
250
113
A quatrefoil Caughley chestnut basket, cover and stand transfer-printed in
the Ripe Pomegranate pattern, circa 1780-90, basket 21cm wide, the stand
28cm wide Provenance: Wright Collection nos.707a + b. Literature: See
Newsletter May 2016 no.66 p.18. A similar basket was sold at Hartlebury in
the 1970s for about £27. This one probably came from Little Wenlock Hall,
like col. 703 & 704. See C & W P, plate 89 for a similar chestnut basket and
cover. Godden notes that this moulded form was also used at Lowestoft and
Worcester. See also CBE catalogue no. 191. The chestnuts intended to be
served in this basket would have been roasted and peeled, then eaten as you
would any other nut. The piercing to the basket is presumably functional,
allowing the escape of steam from the hot chestnuts.
800
1200
114
A Caughley oval basket painted with the Basket Moth and Rose pattern,
lacking handles, circa 1776-80, the side pierced in the form of interlocking
circles with flower heads applied to the exterior and picked out in blue, C
mark, 22cm wide Provenance: Wright Collection no. 629, purchased from R.
Sillito in 2000. Literature: Ironbridge 1999 no.110. Illustrated in The
Caughley Society, Caughley Blue and White Patterns, p.66.
200
300
115
A rare Caughley oval pierced basket transfer-printed with the Pine Cone
pattern, circa 1778-88, C mark, 22cm diameter (cracks) Provenance: Wright
Collection no. 719, purchased in 2004 from J&S Wyatt. Literature: See
Newsletter 2004 September no.19 p.16 for an illustration and discussion of
this basket and its possible usages.
400
600
116
A Caughley oval basket transfer-printed in the Pleasure Boat or Fisherman
pattern, circa 1780-90, unmarked, 22.5cm wide (hairline, handles missing)
Provenance: Wright Collection no.474, purchased in 1995 from Portobello
Road. A rare shape to be found in the Fisherman pattern. Geoffrey Godden is
quoted as saying, 'I have yet to find one of these oval baskets ... with blue
printed fisherman', in Caughley and Worcester Porcelains, p.29.
100
150
117
A Caughley oval basket transfer-printed in the Gillyflower 5 pattern, circa
100
1780-90, with twisted rope handles and applied moulded flowers to the
exterior, the flowers with a blue centre, unmarked, 21.5cm wide (cracked)
Provenance: Wright Collection no. 437, purchased in 1993 from the
McCartney Davenport House, Worfield sale. This basket came from Davenport
House, Worfield. The Davenport Greenshields were probably the original
purchasers as they have been continuous owners of the 18th century house.
The husband died in his 30s leaving a 4 year old heir. Literature: Ironbridge
1999 no. 133 and Newsletter February 2015 No.61 p. 32. Sold together with
purchase receipt and a copy of a related news article about the house sale.
150
118
A Caughley oval basket transfer-printed in the Gillyflower 5 pattern, circa
1780-90, 23.6cm wide (cracked) Provenance: Wright Collection no. 436,
purchased in 1993 from McCartneys Davenport House Sale. Literature: See
Ironbridge 1999 no.134. Sold together with purchase receipt and a copy of a
related news article about the house sale.
200
300
119
A Caughley oval basket painted in the Gillyflower I pattern, circa 1776-80, with 120
twisted rope handles and applied moulded flowers to the exterior, the flowers
with a blue centre, C mark, 21cm wide and 6.1cm high (cracked, handle
replaced) Provenance: Wright Collection no.438, purchased in 1993 from a
McCartney's Davenport House sale where it was listed as 'Worcester'. Sold
together with purchase receipt and a copy of a related news article about the
house sale. Literature: Ironbridge 1999 no.142.
180
120
A Caughley bell-shaped mug transfer-printed with the rare Natural Sprays
pattern, circa 1775-80, S mark, 9.2cm high (base and handle cracked)
Provenance: Wright Collection no. 941, purchased in 2013 from P. Hall.
Literature: Newsletter August 2014 No.59 p.20.
200
300
121
A Caughley bell-shaped mug transfer-printed with the Thorny Rose pattern,
circa 1776-80, S mark, 12cm high Provenance: Wright Collection no. 330,
purchased in 1984 from Pamela Rowan, Aldbury Antiques. Literature:
Ironbridge 1999 no. 36.
500
700
122
A Caughley mug painted with the Salopian Sprig pattern, circa 1783-88, S
mark, 10.6cm high (minute chip to base) Provenance: Wright Collection
no.908, purchased in 2012 from Mallams Auctioneers. This is an unusual
pattern to find on a mug and can be compared with the pattern in lot 123.
150
200
123
A Caughley mug painted with the Salopian Sprig and Salopian Peony patterns 150
and the monogram 'JJ', or possibly 'TT', S mark, circa 1788-94, 11.7cm high
(riveted repair with rivets now removed, cracked and hole to the base)
Provenance: Wright Collection no.702, purchased in part exchange in 2003
from J. Wyatt. Sold at Mark Law's Auctioneers 28/01/2003. Literature: See
The Caughley Society, Caughley Blue and White Patterns, p.110 and
Newsletter May 2011 No.46 p.26.
200
124
A Caughley porter mug transfer-printed with the Thorny Rose pattern, circa 300
1777-82, unmarked, 10.2cm high and 10.4cm diameter (faint star crack to
base) Provenance: Wright Collection no.457 purchased in 1998 from
Cambridge. Though unmarked and sold as 'Worcester' by the dealer, this is
undoubtedly a Caughley example. The pattern is exactly the same as
collection no. 339 (lot 121) which is marked, though this porter mug is a rarer
shape. Portering was hard work and porters needed a considerable amount
of carbohydrate as fuel - much of which they got from drinking. One estimate
is that 18th century manual workers were getting 2,000 calories a day from
beer. Pubs were used as fuelling stops: it was ''universal'' in the 18th century,
according to a writer in 1841, for public houses in London to have a bench
outside for porters to sit at and a board (that is, table) alongside it ''for
depositing their loads'' while they stopped for ''deep draughts of stout … such
as are idealised in Hogarth's Beer Street.'' That was ''stout'' as in stout
porter, of course: the strong, dark brew London's brewers developed out of
the brown beer they brewed at the beginning of the 18th century was just the
sort of refreshing, energising brew the porters wanted, and its popularity with
the portering class is why it was given their name.
500
125
A Caughley mug transfer-printed in the Fisherman and very rare Tiger
1000
pattern, named and dated 'James Bullock, 1779', S mark, 13.9cm high
Provenance: This mug was sold at Sotheby's (or Christies) in late 1992/early
1993 for £1,050. Wright Collection no.430, purchased in 1993 from Venners.
Literature: Ironbridge 1999 no.363 and Caughley Society, Caughley Blue and
White, p.204. See also Shipwrecks and Marriages Publication, ECC 2009 p.33.
This is the first known dated piece in the Fisherman pattern and is a relatively
early date. Sections of the pattern do not conform to the general rule, with
washing out to sections of the blue where there would normally be shading.
The border to this mug is also not associated with the normal Fisherman
pattern, rather being associated with the Sunflower pattern. Research by
Roger Edmundson found a James, son of Joseph and Elizabeth Bullock, was
baptised on the 19th of May 1757 in Kidderminster.
1500
126
A Caughley mug transfer-printed in the Bouquets pattern, circa 1778-83, C
100
mark, 9cm high (base crack) and a Caughley sparrow beak jug and cover in
the Three Flowers pattern, C mark, 130.3cm high (2) Provenance: The mug is
Wright Collection no. 940, purchased from Ebay in 2013. The jug is Wright
Collection no. 778, purchased in 2007 from MK (Holland).
150
127
A Caughley mug transfer-printed in the Bell Toy pattern, circa 1785-92, plain 250
cylindrical form with double indented strap handle, Sx mark, 12.1cm high
Provenance: Wright Collection no. 90, purchased for in 1974. Literature:
Ironbridge 1999 no. 424 and Caughley Newsletter November 2016 no.68, pp1314. There are only two mugs known is this pattern, the other of which is on
display in the V&A.
300
128
A Caughley mug transfer-printed in the La Peche and La Promenade
patterns, circa 1780-85, Sx mark, 13.9cm high (base and section where
handle is applied cracked), together with a further mug transfer-printed
singly in the La Peche pattern, circa 1780-85, unmarked, 14.3cm high (spiral
crack) (2) Provenance: Wright Collection no. 538, purchased in 1997 from
David Basford, and Wright Collection no. 900 purchased from Joanne
Coleman on Ebay.
120
129
A very rare Caughley mug transfer-printed with the Cabbage Rose Sprays
400
pattern, circa 1776-78,with an unglazed base, printed S mark, 8.9cm high
Provenance: Wright Collection no. 344 purchased in 1985 from a dealer in the
Nottinghamshire area. Literature: Ironbridge 1999 no. 29 and The Caughley
Society, Caughley Blue and White Patterns, p.71 (left hand side). These are
almost certainly Hancock prints which were used at Worcester at an earlier
date. This pattern should not be confused with the similar Thorny Rose
Sprays pattern, which is accompanied by other flowers.
500
130
A very rare Caughley mug transfer-printed with the Cabbage Rose Sprays
pattern, circa 1776-80, of bell-shaped form, unglazed base with S mark,
9.6cm high Provenance: Wright Collection no. 430, purchased in 1994 from
Geoffrey Godden. Literature: Ironbridge 1999 no. 28, The Caughley Society,
Caughley Blue and White Patterns, p.71 and the previous lot for a discussion
of the pattern.
400
500
131
A rare Caughley mug painted in the Bright Sprigs pattern, circa 1785-92, S
mark, 8.6cm high Provenance: Wright Collection no.407 purchased in 1988.
Literature: Ironbridge no. 492. This is the only one that Maurice Wright has
seen in this pattern.
500
700
132
A Caughley bell-shaped mug transfer-printed in the Bouquets pattern, circa 200
1776-80, indiscernible mark, 9.8cm high Provenance: Wright Collection no.
840, purchased in 2010 from Cathcart's Antiques. Literature: See Newsletter
February 2012 No 49 p.15
300
133
A rare Caughley dated mug painted with Fruit Sprays and the wedding
2000
inscription M. above R.E alongside the date 1776, S mark, labels including
ECC 2009 Exhibition label, 11.1cm high Provenance: Wright Collection no.728,
purchased from J. Wyatt in 2002. Literature: The Caughley Society, Caughley
Blue and White Patterns, p.235 shows a close-up of the initials and date. One
of a small group of Caughley mugs dated 1776, the earliest known date to be
inscribed on Caughley.
3000
80
134
A Caughley mug, circa 1780-90, transfer-printed in underglaze blue with the
Pleasure Boat pattern, S mark, 8.3cm high (faint star crack to base)
Provenance: Wright Collection no. 841, purchased at auction.
70
100
135
A Caughley mug, circa 1785-1792, transfer-printed in underglaze blue with
60
the Parrot Pecking Fruit pattern, unmarked, 13.5cm high (crack originating
from application of handle) Provenance: Wright Collection no. 608. Literature:
Ironbridge 1999 no. 101.
80
136
A Caughley mug, circa 1776-80, transfer-printed in underglaze blue with the 250
Natural Sprays Group, S mark, 14.4cm high (hairline to handle) Provenance:
Wright Collection no.429, purchased in 1993. Literature: Ironbridge 1999, no.
39 and The Caughley Society, Caughley Blue and White Patterns, p.94. This is
a rare print to be found on Caughley.
300
137
A Caughley mug painted in the Royal Lily pattern with added gilt, circa 1786- 100
94, S mark, 10.1cm high (foot rim chip), with a further smaller Caughley Royal
Lily pattern mug, 8.5cm high (cracked) and a Caughley mask-head baluster
jug in the Royal Lily pattern, circa 1786-1794, S mark,18.8cm high (cracked)
(3) Provenance: Wright Collection no's 794, 795 and 796 which were bought at
Halls. The S appears to be in the same hand, it is therefore possible that they
were part of a set, possibly 'his and hers'.
150
138
A Caughley mug transfer-printed in the Pleasure Boat pattern, circa 1784-91, 100
the mug with a rare Chinese-shaped handle, S mark, 14.7cm high (cracked
and firing fault) Provenance: Wright Collection no. 576, purchased in 1998
from Wyatt. Literature: Ironbridge 1999 361, see also Godden pl.259.
150
139
A Caughley porter mug transfer-printed in the Bouquets pattern, circa 1777- 80
82, C mark, 13.8cm high (cracks) Provenance: Wright Collection no. 891
purchased in 2011. Literature: Newsletter Februrary 2012 No 49 p 11. This is
an interesting mug with an unusual handle featuring a bottom curl, and
overall with a greater diameter than height.
120
140
A Caughley mug transfer-printed with Stalked Fruit and a Fox, circa 1776-80, 600
S mark, 10cm high and 12.5cm diameter Provenance: Wright Collection no.
631, purchased in 2000 from R. Sillito. Literature: Ironbridge 1997, no. 7 and
The Caughley Society, Caughley Blue and White Pattern, p.206. This is a very
early example which is slightly misshapen, with no glaze to the base and
featuring a fuzzy pattern as was sometimes the case with early pieces. Not
only is this print is the rarer, earlier version of the Stalked Fruit pattern but
the addition of the Fox is exceptionally rare with only four examples known.
800
141
A Caughley mug in the transfer-printed in underglaze blue with the
400
Bandstand pattern, circa 1785-90, unmarked, 17.3cm high and 13.2cm
diameter (crack across the tail of the handle) Provenance: Wright Collection
no. 733, purchased from Gorringes in 2005. Literature: The Caughley Society,
Caughley Blue and White Patterns, pgs. 8 and 138 and Newsletter August
2005. Possibly the largest mug made by Caughley, holding 3.25 pints.
600
142
A Caughley teapot, lacking cover, in the Mother and Child pattern
Provenance: Wright Collection no.593
A Caughley mask head cabbage leaf jug transfer-printed in the Bouquets
pattern, circa 1776-79, indistinct mark, 24.4cm high (cracked, also ground
before glazing due to firing imperfections) Provenance: Wright Collection
no.464, purchased in 1995 from Peter Whitelaw ex Bill Dickenson's shop in
Ironbridge. This is an early bulbous form with an uncharacteristically high,
domed foot rim more reminiscent of early Coalport.
100
150
150
200
144
A large Caughley mask head jug transfer-printed in the Fisherman or
Pleasure Boat pattern, circa 1783-93, Sx mark, 31.25cm high (riveted repair)
Provenance: Wright Collection no.779, purchased in 2007 from Bonhams.
300
500
145
Two Caughley mask head jugs, circa 1770-80, transfer-printed in the Fence
and Bouquets patterns, S and C mark, tallest 18.7cm high (2, both a.f)
Provenance: The Fence jug purchased for in 2008 from Halls. Ex Crisp and
JDM Collection, possibly for Commander J Mills (see acknowledgements in
list inside back cover of catalogue for 1972 exhibition). The Bouquets jug is
Wright Collection no.691, purchased from Woolley and Wallis in 2003, this is
an early shape of jug. Literature: The Fence jug is featured in the 1972 BiCentenary, no.43.
250
300
146
A Caughley mask head jug transfer printed with the Bouquets pattern, circa 150
1780-90, unmarked, 22cm high Provenance: Wright Collection no.766,
purchased from R. Hawker in 2007. Literature: Newsletter February 2012
No.49 p.12. This is also illustrated in The Caughley Society, Caughley Blue and
White Patterns, pp68-69.
200
147
A Caughley mask head jug transfer-printed with the Fisherman or Pleasure
Boat pattern, circa 1782-92, unmarked, 19.2cm high (hairline) Provenance:
Wright Collection no. 821, purchased in 2009 from J&S Wyatt.
100
150
148
A Caughley mask head jug transfer-printed with the Conversation pattern,
300
circa 1782-93, unmarked, 14.3cm high Provenance: Wright Collection no.577,
purchased in 1998 from Swift. The Conversation pattern is one of the rarer
landscape patterns, occurring occasionally on larger mask head jugs but only
very rarely on smaller ones. This is the only one that Maurice Wright has
seen. Literature: Ironbridge 1999 no.263.
500
143
149
A Caughley mask head jug transfer-printed with the Pine Cone pattern, circa 200
1785-92, S mark, 14.3cm high Provenance: Wright Collection no.581,
purchased in 1998 from A. Arthur. This size in the Pine Cone pattern is rare
and was originally one a pair, the other of which is now in the Ironbridge
Gorge Museum.
400
150
A Caughley mask-head jug, circa 1776-80, transfer-printed in underglaze
blue with the Bouquets pattern, C mark, 14.7cm high (small chip to the tip of
the spout) Provenance: Wright Collection no.365. Demonstrating rare
features with its low, settled shape, circular handle and a moulded border
round neck with a thicker than usual band, this jug is illustrated in the
Ironbridge 1999 Bicentenary, no. 224 and the Caughley Newsletter Feb 2012
No 49, p.12. Purchased in 1986. Maurice Wright has only seen two like this
jug.
200
151
An exceptionally important Caughley mask-head jug, printed in blue on both 3500
sides with a 'Severn Trow' passing underneath the Shropshire Ironbridge, an
angler in the foreground, dated 1790 and initialled JH or possibly IH, 18.5cm
high Provenance: Wright Collection no. 360, purchased in 1986 from HWO,
Shrewsbury. Speculatively, the initials may refer to John Hill, who was a
member of the Hill family of Hawkstone who was 21 in 1790. Col. John Hill
was born in 1769 and died in 1814, the son of John Hill, 3rd Baronet (17401824) and father of Rowland, the 1st Viscount, who never married, to his son
Rowland. The Hills of Hawkstone are well known as patrons of both Caughley
and Coalport Sir John Hill (3rd Baronet) was the one involved in the
celebratory Parliamentary scandal and unpleasant family row about the
result of the 1796 election. He commissioned the Coalport Election as a
protest at the result and a campaign to get the result overturned. Sir John
Hill had rejected a claimed family agreement that he would step aside for his
cousin, Sir Richard Hill of Attingham, and then lost by 44 votes.
4500
152
A Caughley mask-head baluster jug, circa 1776-79, transfer-printed in
underglaze blue with the Pine Cone group, including a rare spray from the
Thorny Rose group, C mark, 14cm high (restored spout) Provenance: Wright
Collection no. 461, purchased in 1994 from Phillips. Possibly ex. Geoffrey
Godden Collection. Literature: The Caughley Society, Caughley Blue and
White Patterns, p.116.
200
300
153
A Caughley mask-head baluster jug, circa 1778-88, transfer-printed in
underglaze blue with the Parrot Pecking Fruit pattern, C mark, 14.7cm high
(hairline to spout) Provenance: Wright Collection no. 515, purchased in 1996
from D. Turner. Note that Caughley produced two different parrot prints, of
which this is the smaller example. Literature: Ironbridge 1999, no. 106 and
The Caughley Society, Caughley Blue and White Patterns, p.48.
250
300
150
154
A Caughley mask-head baluster jug, circa 1776-80, the body of plain form
300
decorated in underglaze blue with the Thorny Rose pattern, with a very rare
shallow foot rim without glaze free edge and with sanding, S mark, 17.7cm
high (stress crack to the top of handle) Provenance: Wright Collection no. 339,
purchased in 1985 from Van Heln on Portobello Road. Literature: Ironbridge
1999, no. 37.
500
155
A Caughley mask-head jug printed with the Stalked Fruit pattern, circa 1785- 200
92, Sx mark. 21.5cm high (hole to base) Provenance: Wright Collection no.
333, purchased in 1984 from Worcester Antiques. This is a rare example of
the sliced apple print on a cabbage leaf jug with particularly fine moulding
and print quality. One of Maurice Wright's prize pieces. Literature: Ironbridge
1999 no.16.
300
156
A Caughley mask-head jug printed in the Birds in the Branches pattern, circa 800
1782-90, the blue and white pattern including a fine monogrammed set of WB
initials within cartouche, unmarked, 24cm high Provenance: Wright
Collection no.421, purchased in 1991 from Venners. Literature: Illustrated in
Bettenson's book.
1000
157
A Caughley mask-head jug printed in the Fisherman or Pleasure Boat
800
pattern, inscribed 'God Speed the Plough', circa 1780-1790, 23cm high
Provenance: Wright Collection no. 536, purchased in 1997 from Peter
Wilsons. Literature: Ironbridge 1999 no. 366, English Porcelain 1745-1850 ed.
Charleston Plate 39c. A similar jug, if not this one was in the collection of
Frank Barrett who contributed to chapter 7 of Charleston's book and who
sold his collection about at that time. He wrote the book on Caughley and
Coalport and lived in Church Stretton.
1200
158
A Caughley cabbage-leaf mask head jug, circa 1790-95, decorated with a
120
single-blue edged border, otherwise plain, S mark, 10.5cm high Provenance:
Wright Collection no.983, purchased in 2015. The large florid S marking to the
base most likely places this jug around 1790. This is the only mask head jug in
this pattern seen by Maurice Wright, though tea wares in this pattern are also
represented such as the early tray and the 24-reeded tea bowl also present in
this collection.
180
159
A Caughley mask-head jug, circa 1787-1792, painted with Salopian Rose
Sprays and monogrammed initials 'JB' (very speculatively James Bullock),
unmarked, 17.7cm high (filled chip to foot rim) - Provenance: Wright
Collection no.403, purchased from Simon Spero in 1989.
500
300
160
A Caughley mask-head jug, dated 1790 and initialled, painted with Salopian
Rose Sprays, S mark, 19cm high (cracked, partly from firing) Provenance:
Wright Collection no. 395, purchased from Simon Spero in 1988. Literature:
Ironbridge 1999 no.174 and The Caughley Society, Caughley Blue and White
Patterns, p.111. The monogram reads J, I or T H and 1790. If one could be
definite about the initials, both or either very speculatively may refer to a
member of the Hill family of Hawkstone who was 21 that year.
400
600
161
A Caughley mask-head baluster jug, circa 1780-1790, transfer-printed in
500
underglaze blue with the Bouquets pattern, C mark, 18.5cm high (tiny flake
off the tip of the spout) Provenance: Wright Collection no.890, purchased in
2011 from Tennants. This is a very interesting jug as it is rare to find the
Bouquets pattern on a mask head piece. Despite being sold as Worcester, the
sizing of the mask identifies it as Caughley.
700
162
A Caughley mask head cabbage leaf jug, circa 1796-99, transfer-printed in
100
underglaze blue with the Fisherman or Pleasure Boat pattern, unmarked,
19.3cm high Provenance: Wright Collection no.768, purchased on Ebay from
Indiana in 2006. A late example, probably using a 1796 mould, the pattern is a
light blue and the transfer has run. This running is most likely because of
both the factory cutting corners and the variability of availability of resources
in the late period.
150
163
A Caughley mask-head baluster jug, circa 1783-91, transfer-printed in
underglaze blue with the Fisherman or Pleasure boat pattern, fruit and
wreath type roundel with monogrammed initials JR, S mark, 19cm high
(restored, having been in pieces) Provenance: Wright Collection no. 904
purchased in 2012 from C. Brown.
100
150
164
A Caughley mask-head jug transfer-printed with the Fisherman or Pleasure
Boat pattern, circa 1785, S mark, 14.4cm high (firing crack, chipped spout)
Provenance: Wright Collection no.713 purchased in 2004 from Jean Barrett.
100
150
165
A Caughley chocolate cup and saucer painted with the Salopian Sprig pattern, 150
circa 1785-92, S mark, the cup 10.2cm diameter, saucer 15.4cm diameter
Provenance: Wright Collection no.279, purchased in 1982 from a Staffordshire
Fair. Literature: Ironbridge 1999 no.199. This is an uncommon pattern for
this shape. Hot chocolate saw a huge explosion in popularity in 18th century
England. The city of London had little tradition of hot drinks (coffee having
only arrived five years prior) and chocolate at this stage was associated with
the idleness of the Spanish and French, therefore a market had to be created.
The city was bombarded with a slew of leaflets detailing the beneficial
properties of chocolate and left contemporary sources such as Samuel Pepys
quoting its beneficial properties for relieving a hangover by alleviating his 'sad
head' and 'imbecilic stomach'. Such was that by the end of the 17th century,
and well into the 18th century, chocolate houses began to appear in England,
coming to serve as popular meeting places for lawyers, businessmen and
politicos alike. In London the principal chocolate houses were Ozinda's and
White's, both on St James's Street, and the Cocoa Tree on Pall Mall. 'Hell',
the inner gaming room at White's, is depicted in the sixth episode of
Hogarth's Rake's Progress in all its debauched glory (fittingly, it is also on
fire, though few customers seem to notice or care). At the Cocoa Tree, the
modern equivalent of £180,000 was placed on the roll of a single die. Whilst
this may appear to us purely nihilistic, in context this highlights an important
part of projection within an inherently status-dominated Georgian society; the
nobility of which would otherwise be living a somewhat idle existence and to
whom chocolate drinking was a highly important part. For those on the
outside such as Hogarth however, this was an easy group of the population to
heap scorn upon. Contrarily, within the the private domain chocolate was
A very rare Caughley barrel-form and relief moulded sparrow beak jug
400
printed with sprays, circa 1777-82, C mark, 7.8cm high Provenance: Wright
Collection no.331, purchased from Wolf in Droitwich in 1984. Literature:
Caughley Society, Caughley Blue and White Patterns, p.214, Caughley
Newsletter February 2010, no 41 and Ironbridge 199 no's 52 and 53.
250
167
A Caughley sparrow beak jug with a matched cover in the Three Flowers and
Fence patterns, circa 1775-80, S mark, 14.3cm high (chipped) Provenance:
Wright Collection no.970 purchased from EBay in 2015. Literature:
Newsletter February 2016 No.65 p.20.
80
120
168
A Caughley sparrow beak jug painted with the Bridge and Windmill pattern,
circa 1785-92, S mark, 9.4cm high (hairline to spout and repaired chip)
Provenance: Wright Collection no. 901, purchased in 2012 from Jupiter
Antiques. This jug was lent to the BBC show Antiques Mastermind and came
back damaged.
200
300
169
A Caughley sparrow beak milk jug painted in the Cannonball pattern, circa
1776-1782, with associated quatrefoil and line border inside rim, reversed C
mark, 9.8cm high Provenance: Wright Collection no. 377, purchased from
Mercury. Literature: See Ironbridge 1999 no.255. Though a common pattern
on Worcester, this is rare on Caughley.
200
300
166
600
170
A Caughley sparrow beak milk jug transfer-printed in the Birds in Branches 200
pattern, circa 1785, C mark, 9.5cm high (kiln mark) Provenance: Wright
Collection no. 960, purchased in 2014. Literature: Newsletter No.58 May 2014
pp 26-7 Fig 10 & 11, this jug features an interesting secondary pattern often
found on coffee cups.
300
171
A Caughley sparrow beak jug transfer-printed in the Bell Toy pattern, circa
300
1776-80, unmarked, 9.3cm high Provenance: Wright Collection no. 877,
purchased in 2011 from Bonhams Knowle. Literature: See Newsletter 2016
no.67 or 68. This is an interesting piece as Bell Toy is very rarely found on this
form by Caughley, these jugs more commonly having the Mother and Child
print.
500
172
A Caughley robins' beak milk jug painted with the Rock Strata Island pattern, 400
circa 1778-85, unmarked, 7.7cm high Provenance: Wright Collection no. 754,
purchased for in 2006 from Pat Moorehouse.
600
173
A Caughley sparrow beak milk jug transfer-printed in the Temple pattern,
100
circa 1785-90, 8.5cm high (tiny chip to rim), together with a tea bowl and
saucer in the same pattern (saucer cracked) (3) Provenance: The jug is Wright
Collection no.769 and was purchased from an American seller on Ebay in
2007. It is a rare, if unrecorded, shape with a Chinese shape handle which is
smooth rather than ribbed. The tea bowl and saucer are collection no.510 and
were purchased from Peter Wilson's and H&R. Cooke. Literature: See
Newsletter May 2016 No.66 p17. Unreeded pieces of Caughley in this pattern
are rarer than the standard reeded shapes.
150
174
A Caughley milk jug transfer-printed with the Apple and Damson pattern
300
within a cell border, circa 1778-85, S mark, 9.8cm high Provenance: Wright
Collection no. 782, purchased in 2008 from N. Gent. This is an unusual shape
for this pattern.
400
175
A Caughley ewer form milk jug transfer-printed with the Three Flowers and
Butterfly pattern, circa 1777-83, C mark, 14.5cm high Provenance: Wright
Collection no. 447, purchased from Aurea Carter in 1994. Literature: See
Ironbridge 1999 no.205.
120
150
176
A Caughley helmet form milk jug painted with the Ark pattern, circa 1787-94, 400
unmarked, 10cm high Provenance: Wright Collection no.526, purchased in
1996 from A. Arthur. Literature: Ironbridge 1999 no.231. This is one of only
three recorded pieces in this pattern.
600
177
A rare Caughley baluster jug, perhaps for milk, circa 1786-93, transfer300
printed in the Temple pattern with reeded body and ear-shaped handle, Sx
mark, 10.8cm high (crack to top of handle) Provenance: Wright Collection no.
701, purchased in 2003 from Mark Law. Literature: Auction Catalogue lot
1122. Mark Law 20/5/03 and newsletter December 2003 No 16 p 14. A rare
shape, this jug is both ex Godden and Bill Dickenson Collections.
400
178
A Caughley helmet form milk jug, circa 1785-94, transfer-printed in
120
underglaze blue with the Fisherman or Pleasure Boat pattern, raised double
indented handle with a kick terminal, 8cm high (chipped) Provenance: Wright
Collection no.527, purchased in 1997 from Nicholas Gent. Literature:
Ironbridge 1999 no.333. A rare shape which is rather like the coal scuttle type
jug usually in Pagoda but with a rather small spout and plain handle.
Apparently unrecorded, though see collection no.786 for a similar Caughley
jug in the Chantilly pattern.
180
179
Two Caughley reeded tea bowls with internal cell diaper borders, circa 1778- 80
85, one with C mark, the second unmarked though featuring a central Rose
Hip design, tallest 5cm high (one split in two and re-glued) (2) Provenance:
The taller, unmarked and re-glued bowl is Wright Collection no. 860 and was
purchased in 2010. This is the rarer version with a turned foot and internal hip
print. The second example is Wright Collection no. 350, purchased in 1985
from Venners and features a double blue line border near the foot rim.
120
180
A Caughley milk jug painted with the Gillyflower I pattern, circa 1775-80, C
mark, 9.1cm high (small repaired chip) Provenance: Wright Collection no.
914, purchased in 2012 from Jupiter Antiques. This is a rare shape which is
taller than the usual 'robins beak' jug.
400
600
181
A rare reeded Caughley milk jug and cover painted in the Gillyflower I pattern, 350
with 24 flutes and a double indented ear shaped handle, cover with flower
finial attached by a chain, S mark, circa 1776- 80,13.6cm high and a Caughley
fluted teacup painted painted with the Gillyflower I pattern, S mark, 8.6cm
diameter (2) Provenance: The milk jug is Wright Collection no.427, purchased
in 1993 from Thrift Cottages. Literature: Ironbridge 1999 no.145 and Godden's
Guide to English Blue and White Porcelain, pl.514. The teacup is Wright
Collection no. 750, purchased from Rod Jellicoe. This is rarer, with is 24
reeds and than the later one which is more commonly found in the Temple
pattern.
400
182
A fluted Caughley milk jug transfer-printed with the Temple pattern, circa
1786-92, So mark, 8cm high Provenance: Wright Collection no. 532,
purchased in 1997 from Peter W, ex Bill Dickenson's shop.
100
150
183
A Caughley milk jug printed in the rare Striped Temple pattern, circa 1785-93, 150
of bucket-shape with a plain loop handle, an associated Fitzhugh type border
to the inside edge, 7.3cm high Provenance: Wright Collection no.65,
purchased in 1973. Literature: Ironbridge 1999, no. 382. Originally gilded,
now rubbed.
250
184
No lot.
0
0
185
A Caughley milk jug painted in the Chantilly Sprig pattern, circa 1785-94, of
coal scuttle form, S mark, 8.4cm high, a Caughley robin's beak milk jug
transfer-printed with the Fruit and Wreath pattern, circa 1776-81, C mark,
8.3cm high, a Caughley sparrow beak jug transfer-printed with the Fence
pattern, circa 1778-85, 8.2cm high and a further Caughley sparrow beak jug
transfer-printed with the Fence and Houses pattern, 8.3cm high (4) (a.f)
Provenance: Assorted numbers from the Wright Collection.
100
150
186
A Caughley cream jug painted with sprigs, circa 1775-77,the body with fine
800
basket moulding, unmarked, 6.4cm high (chip or firing defect to foot rim)
Provenance: Wright Collection no. 937, purchased in 2013 from J. Wyatt. This
is a very rare shape hitherto unrecorded, originally from the Sillito collection
sold at Brightwells 2011. The basket moulding is reminiscent of the early jugs
found with prints of Fame, etc.
1200
187
A Caughley cream or gadroon boat transfer-printed with the Fence pattern,
circa 1780-90, 6.9cm high Provenance: Wright Collection no. 932, purchased
in 2013 from Jupiter Antiques.
120
180
188
A Caughley cream boat transfer-printed in the Fisherman or Pleasure Boat
pattern, circa 1780-88, S mark, 5cm high Provenance: Wright Collection
no.315, purchased from Simon Spero in 1983. Literature: Ironbridge 1999
no.362. This is an unusual form of boat with vertical reeds and a slightly
splayed foot. Illustrated in Nick Panes 'British Sauce boats of the 18th
century'' p.252.
400
500
189
A Caughley cream boat painted with the Rock House Island pattern, circa
1777-85, C mark, 5.6cm high Provenance: Wright Collection no. 106,
purchased from Venners in 1974. Literature: Ironbridge 1999 no.369 and
Newsletter November 2010 No.44 p.17.
300
400
190
A Caughley cream boat transfer-printed in underglaze blue with the Mother
and Child pattern, circa 1780, unmarked, 7.4cm high (broken in two and reglued), together with a Caughley bowl in both the Mother and Child and La
Terre patterns, perhaps a slop or finger bowl, C mark, 10.1cm diameter
(chipped) (2) Provenance: The cream boat is Wright Collection no.844,
purchased in 2010 and the bowl is Wright Collection no.513, purchased in
1996 from H&R Cooke. Literature: Newsletter November 2010 No.44 p.17.
The cream boat in this lot is the slightly larger version and lacks the
impressed star seen on the smaller example of the same shape.
80
120
191
A Caughley cream or sauce boat transfer-printed with the Fenced Garden
pattern, a very rare shape, circa 1780-90, 6.7cm high (firing fault to foot)
Provenance: Wright Collection no. 327 purchased in 1983 from Roger
Edmundson Literature: Ironbridge 1999 no.289 and Nick Panes 'British
Sauce Boats of the 18th Century', p.252.
400
600
192
A Caughley sucrier transfer-printed in the Fence pattern, circa 1776-86, C
150
mark, 13.5cm high overall height (twig on cover re-stuck) Provenance: Wright
Collection no. 711, purchased from Rod Jellicoe in 2004. Literature: See R.
Jellicoe's Exhib. June 2001 No 74 and Newsletter November 2012 No.52, p8.
250
193
A Caughley spoon tray painted in a bright blue with the Rose Festoons
180
pattern, circa 1785-90, painted S mark to the unglazed base, 17.2cm wide
(faint hairline to base) Provenance: Wright Collection no.857, also ex Grice
Collection. Literature: The Caughley Blue and White Society, Caughley Blue
and White Patterns, p.107. During the ceremony of tea, when you had enough
tea you placed the teaspoon in the spoon tray to signal you did not want to be
served any more.
220
194
A Caughley spoon tray transfer-printed with the Conversation pattern,
100
Salopian mark, 17.2cm wide (chipped) Provenance: Wright Collection no.956,
purchased in 2014 from W&W. Tea wares in the Conversation pattern are
rare.
150
195
A Caughley slop bowl transfer-printed with the Uninhabited Pagoda pattern
60
with additional gilding, circa 1785-93, unmarked, 15.1cm diameter
Provenance: Wright Collection no.650 purchased from R. Jellicoe. Literature:
R. Jellicoe selling exhibition, June 2001 no.121. This is unusual pattern and as
far as Maurice Wright knows, there are no other pieces in this pattern other
than slop bowls which is a slight mystery.
80
196
Three Caughley slop bowls transfer-printed with the Bell Toy and Mansfield 100
patterns, and a full version of the early Three Flowers pattern, circa 1775-83,
C and S marks, 15cm and 15.3cm diameter (cracked, chipped) (3) Provenance:
The Bell Toy bowl is Wright Collection no.958, purchased in 2014 from
Chiswick Auctions. The Mansfield pattern bowl is Wright Collection no. 775,
purchased in 2007 from S. Millington. The Three Flowers bowl is Wright
Collection no. 976, purchased in 2015 from Bullith. Literature: See Caughley
Newsletter 2016 on the Bell Toy pattern. This is an interesting display of this
pattern, the main section of the print lacking the two smaller pots, the vase
and large flower which are then broken up around the subsidiary sections of
the bowl.
150
197
A Caughley tea canister transfer-printed with the Conversation pattern,
lacking cover, circa 1782-90, S mark, 10.2cm high Provenance: Wright
Collection no.584, purchased in 1998 from H&R Cooke. This is a rare pattern
on tea wares.
100
150
198
A Caughley tea canister and cover transfer-printed with the Fenced Garden
100
pattern, circa 1786-90, unmarked, 12.4cm high Provenance: Wright Collection
no.771, purchased from the NEC in 2007.
150
199
A Caughley tea canister and cover transfer-printed in the Fence pattern, circa 100
1778-85, C mark, 13cm high Provenance: Wright Collection no. 927,
purchased in 2013 from Eastbourne Auctions. Literature: See Newsletter
November 2013 No.56 p 11f.
150
200
A rare and early Caughley tea canister painted in the Rock Willow pattern,
600
lacking cover, circa 1776-78, with a supplementary landscape and associated
border to the shoulder, unglazed base unmarked, 13.4cm high Provenance:
Wright Collection no. 467, purchased in 1995 from Phillips. Literature: See
Ironbridge 1999 no. 62, The Caughley Society, 'Caughley Blue and White
Patterns', p.6 of and Newsletter November 2008 No 36.
800
201
A reeded Caughley tea canister and cover painted with the Gillyflower I
pattern, circa 1776-80, C mark, 16.6cm high (cover repaired) Provenance:
Wright Collection no.428, purchased in 1993 from Thrift Cottage. Literature:
See Ironbridge 1999 no.132 and Godden's Guide to English Blue and White
Porcelain pl.514, illustration from Phillips' catalogue. This and the milk jug
and chained cover were from that service, some of which being Worcester
and the remainder being Caughley.
300
500
202
A Caughley caddy spoon transfer-printed in the Full Nankin pattern, with
shallow egg-shaped bowl, Fitzhugh type border and applied shell-shaped
handle, circa 1782-90, 10.5cm long Provenance: Wright Collection no.362,
purchased in 1986 from Charnwood. Literature: See Ironbridge 1999
catalogue nos. 247 and 248 for illustrations of similar caddy spoons.
Furthermore, a similar example sold in these rooms in 2015 for £820.
500
700
203
Two half-size Caughley tea bowls and saucers, transfer-printed in the
250
Fisherman and Three Flowers patterns, circa 1770-88, S marks, tea bowls
5.9cm and 6.2cm diameter, saucers 10.1cm and 11.1cm diameter (4)
Provenance: The Fisherman example is Wright Collection no. 442, purchased
in 1993 from Sadler, Portobello Road. Bears old retailers' label with
inscription, 'A set of 4 Salopian cups and saucers, £4 4s 0d' and the tea bowl
previously had a 'Gill and Reigate 73-85 Oxford Street' label. The Three
Flowers example is Wright Collection no.735, purchased in 2005 from M&K
Holland.
300
204
A reeded Caughley coffee cup and saucer transfer-printed with the Apple and 150
Damson pattern, S mark, cup 6.6cm high, saucer 13.2cm diameter (hairline to
cup) and an early Caughley small slop bowl in the Stalked Fruit pattern, S
mark, 11.5cm diameter (chipped) (3) Provenance: The cup and saucer are
Wright Collection no.590, purchased in 1998 from S. Millington. The bowl is
Wright Collection no.947, purchased in 2013 from Willingham Auctioneers.
Literature: See Newsletter August 2014 No.59 p.20. This is an early bowl.
200
205
A Caughley coffee cup and saucer painted with the Chantilly Sprigs A pattern, 100
circa 1788-94, S mark, cup 6.2cm high, saucer 12.5cm diameter (2)
Provenance: Wright Collection no.363, purchased in 1986 from Whittington.
Literature: Ironbridge 1999 no.459. A rare shape combination of cup and
saucer, the cup usually of bute form rather than having a foot rim.
150
206
A Caughley coffee pot and cover transfer-printed with the Gillyflower 5
pattern, circa 1773-78, C mark, 20.4cm high (cover chipped) Provenance:
Wright Collection no.981, purchased from Gent in 2015. It is rare to find this
pattern on a coffee pot.
180
220
207
A reeded Caughley coffee pot and cover painted with the Bright Sprigs
300
pattern, circa 1780-86, unmarked, 20.6cm high (repaired cover) The Bright
Sprigs pattern is derived from an unknown European source, perhaps
inspired by the Tournai porcelain factory in Belgium. As such, Caughley
tableware in this pattern can also be found in Continental form with rococo
style moulding. Provenance: Wright Collection no. 567, purchased in 1998
from N. Gent. Literature: Ironbridge 1999 no.489 and Newsletter August 2009
No.39 p.5.
400
208
A Caughley coffee pot and cover transfer-printed with the Bell Toy pattern,
250
circa 1780-89, unmarked, 24cm high (cracked) with a further Caughley coffee
pot, with matched Worcester cover, painted with the Cannonball pattern,
circa 1778-84, C mark, 23.5cm high (cracked, cover a.f) (2) Provenance: The
Bell Toy example Wright Collection no.150, purchased from Singing Bird in
1977. The Cannonball example Wright Collection no.494, purchased in 1995
from Peter Wilson's. Literature: Newsletter 2016 Waste not Want Not.
300
209
A Caughley coffee pot and cover transfer-printed with the Fisherman or
200
Pleasure Boat pattern, circa 1780-90, unmarked, 23cm high (cover broken
and re-glued) Provenance: Wright Collection no.516, purchased in 1996 from
Melbourne.
300
210
A Caughley coffee pot and cover transfer-printed with the Pagoda pattern,
circa 1784-91, unmarked, 25.5cm high (crack to body) Provenance: Wright
Collection no.482, purchased from R. Jellicoe in 1995.
120
180
211
A Caughley coffee cup and saucer painted with the Rose Festoon pattern
150
within gilt dentil rims, circa 1788-93, S mark, cup 5.8cm high, saucer 13.5cm
diameter (2) Provenance: Wright Collection no.167, purchased in 1978 from
David and Jane Wright. Literature: See Godden, pl.200, where this is referred
to as 'shanked'.
250
212
A Caughley coffee can painted with the Cannonball pattern, circa 1776-81,
internal painted blue border, C mark, 6.2cm high Provenance: Wright
Collection no.708, purchased in 2003 from Meer Antiques. Literature:
Newsletter May 2016 no.66 p.18.
200
150
213
A rare and early Caughley coffee can painted with the Mansfield pattern, circa 300
1776-79, associated border to inside rim, pot-hook style S mark, 6.3cm high
Provenance: Wright Collection no.483, purchased in 1995 from Venners.
Literature: Ironbridge 1999 no.171 and The Caughley Society, Caughley Blue
and White Patterns, p.93.
500
214
A Caughley coffee can painted with the Chantilly Sprigs pattern, circa 178592, S mark, 5.8cm high Provenance: Wright Collection no. 920, purchased
from Richard Winterton's in 2012. Literature: This is an interesting shape of
handle, compare with that of no.112 in Ironbridge 1999's Exhibition, that one
now being in the Ironbridge Gorge Museum. This is only one of three that
Maurice Wright has seen.
120
180
215
A Caughley coffee can transfer-printed in the Mansfield pattern, circa 1778- 200
85, C mark, the can with supplementary floral sprigs and associated painted
border to the inside of the rim, 6.8cm high Provenance: Wright Collection no.
286, purchased in 1982. Literature: Ironbridge 1999 no.171 and The Caughley
Society, Caughley Blue and White Patterns, p.93 (right hand side).
250
216
A rare Caughley coffee cup painted with the Gillyflower 1 pattern, circa 1775- 200
80, with straight 24-reeded body, associated blue line to edge, C mark, 6.7cm
high Provenance: Wright Collection no. 385, purchased in 1987 from Aurea
Carter. Literature: Ironbridge 1999 no.149.
250
217
A Caughley coffee cup painted with the Peony pattern, circa 1776-80, C mark, 180
6.8cm high Provenance: Wright Collection no.466, purchased in 1993 from
Swan Antiques. Literature: See Ironbridge 1999 no.175, and The Caughley
Society, Caughley Blue and White Patterns, p.96. It is unusual to find a
painted version of this pattern on Caughley.
220
218
A Caughley coffee can transfer-printed and painted with the very rare Ribbon 400
Spray pattern, circa 1785-92, within an associated criss-cross ground, a
rosebud and trailing leaves to the handle, unmarked, 6cm high Provenance:
Wright Collection no.431, purchased in 1993. Literature: See Ironbridge 1999
no.128, and The Caughley Society, Caughley Blue and White Patterns, p.104. A
Chinese equivalent of this mug also sold in Canada.
600
219
A Caughley coffee pot and cover, circa 1777-90, transfer-printed in
80
underglaze blue with the Fence pattern, the cover with three flowers, S mark,
24.5cm high (slight damage to twig and leaf, glaze run) Provenance: Wright
Collection no.986, purchased from Neales in 2015. Literature: See Caughley
Newsletter February 2016 no.65 p19.
120
220
A Caughley tea bowl and saucer transfer-printed with Chrysanthemum and
400
matching relief moulding, circa 1776-80, C mark, tea bowl 8cm diameter,
saucer 12.2cm diameter (2) Provenance: Wright Collection no.745, purchased
for £529.31 from Mellors and Kirk.
600
221
A Caughley tea bowl and saucer painted with the Girl with Parasol pattern,
circa 1788-85, S mark, bowl 8cm diameter, saucer 12.2cm diameter (2)
Provenance: Wright Collection no.632, purchased for in 2000 from R. Sillito.
Literature: Antique D & Col Guide, March 1974, possibly the very same
example.
400
600
222
A reeded Caughley tea bowl and saucer painted with the Bright Sprigs
pattern, circa 1785-92, S mark, tea bowl 7.9cm diameter and saucer 12.8cm
diameter Provenance: Wright Collection no.409 purchased in 1989 from
Venners. Literature: See Ironbridge 1999 no.493 and Geoffrey Godden,
'Caughley and Worcester Porcelain' pl.50.
200
300
223
A Caughley tea bowl and saucer painted with the Waiting Chinaman pattern, 200
circa 1776-80, S mark, tea bowl 7.9cm diameter and saucer 12.2cm diameter
(chipped saucer, very fine hairline to tea bowl) (2) Provenance: Wright
Collection no.245, purchased in 1981 from Venners. Literature: See
Ironbridge 1999 no.441.
300
224
A Caughley teapot transfer-printed with the early version of the Fruit pattern, 120
lacking cover, circa 1776-79, S mark, 8.7cm high Provenance: Wright
Collection no.460, purchased in 1994 from Phillips. Literature: See Ironbridge
1999 no.1. Ex. Geoffrey Godden Collection, referred to in Godden, 'Eighteenth
Century English Porcelain', p.226. See collection no.261 for the other
example.
180
225
A Caughley teapot stand painted with the Chantilly Sprigs A pattern, circa
1786-92, unglazed base with S mark, 17cm wide Provenance: Wright
Collection no.836, purchased in 2009. Originally found in a Ludlow charity
shop, being sold as 'Delft'!
150
200
226
A Caughley teapot and cover transfer-printed with the Pagoda pattern, circa
1785-95, S mark, 15cm high (chipped cover, repaired), a reeded Caughley
barrel-form teapot and cover in the Temple pattern 15cm high (cover
restored) and a Caughley Pagoda pattern sparrow beak milk jug and cover,
12.4cm high (firing fault and associated crack) (3) Provenance: Wright
Collection no.'s 872, 623 and 727.
200
300
227
A Caughley coffee cup transfer-printed in the Apple and Damson pattern,
70
circa 1778-85, C mark, 6.5cm high Provenance: The Apple and Damson cup is
Wright Collection no. 788 and was purchased in 1998 from Cavendish H. This
is one of the earlier prints, with a rare mark which looks like a crescent with
an added serif.
100
228
A Caughley tea cup and saucer painted with the Chantilly Sprig B pattern,
circa 1786-94, S mark, saucer 14cm diameter (sprung handle) Provenance:
Wright Collection no.882, purchased from EBay in 2011.
60
40
229
A Caughley tea bowl and saucer transfer-printed in the Striped Temple
150
pattern, circa 1785-90, unmarked, bowl 8.6cm diameter, saucer 13.cm
diameter (2) Provenance: Wright Collection nos. 783a + b, the saucer
purchased from Jeremy Holmes and the tea bowl from Newark Fair.
Literature: The Caughley Society, Caughley Blue and White Patterns, p.179
for an illustration of this saucer and Newsletter May 2016 66, p.19-20 for
further detail. Though purchased separately, these two items appear an
almost perfect match with the same gilders' initials to the foot ring and gilded
additional lines. The saucer in particular is a remarkably clear and attractive
print.
200
230
A Caughley tea bowl and saucer painted with the Gillyflower I pattern, circa
120
1778-82, C mark, 7.5cm diameter, together with a Worcester teacup in the
same pattern for comparison (teacup glued together) (3) Provenance: The tea
bowl is Wright Collection no.199 purchased from John Wyatt in 2003. See
Auction Cat. Lot 1086 Mark Law 20/5/03 and the saucer is collection no. 507
purchased in 1996 from N. Gent. The teacup is collection no. 512, and was
purchased from Stockspring Antiques in 1996. Literature: Ironbridge 1999
no.150.
180
231
A Caughley teacup and saucer painted with the Salopian Sprig pattern, circa
1786-94, S mark, cup 5.7cm high and saucer 13.8cm diameter (fault to the
base of handle on teacup) Provenance: Wright Collection no. 276, purchased
from Peter Whitelaw in 1998.
100
232
A Caughley teapot and cover painted with the Gillyflower I pattern, circa 1776- 400
80, inscribed 'Sar'h MITTON', of fluted barrel form with an ear-shaped handle
and flat cover, 11.5cm high (chips to cover and spout, restored tip of spout)
Provenance: Wright Collection no. 386, purchased in 1987 from Simon Spero.
Literature: Ironbridge 1999 no. 148 and The Caughley Society, Caughley Blue
and White Patterns, p. 236. A named teapot by Caughley is otherwise
unknown. This was possibly made in celebration of a marriage, William
Wilberforce is known to have bought a Caughley tea set for his sister as a
wedding present on her marriage to Rev. Dr. Thomas Clarke at Bakewell on
11/9/1790.
600
233
A rare black basalt teapot and cover, circa 1780-90, impressed Salopian
120
mark, 10.1cm high (repairs to cover and teapot) Provenance: Wright
Collection no.963, purchased in 2014 from EBay. Literature: Newsletter
January 2015 No.61 p.19f. There are probably no more than five or six pieces
of Salopian black basalt known, making this an incredibly rare piece.
Research indicates that this teapot could also possibly have been made by
Bradley and Co, Coalport, though it could also have possibly been made either
for, or by Thomas Turner.
180
70
234
A collection of Caughley tea and coffee wares transfer-printed in the Fruit
1000
and Wreath pattern, circa 1778-82, with additional gilding, comprising teapot
and cover, 12cm high, teapot stand, tea caddy and cover (restored), tea bowl,
coffee cup and saucer, milk jug, sucrier and cover, spoon tray, slop bowl and
a bread and butter plate, C mark (14) Provenance: Wright Collection no.610.
The majority of these pieces were purchased from a Phillips Sale on 15/9/99
as lot 198, 'From the collection of Lord Lilford', sale 30807 (illustrated in the
sale catalogue). This is a very interesting service as it is an example of the
earlier, twenty-four reeded shape. A comparison of the teapot in this lot can
be made between collection no. 386. The teapot in this is an early barrel
shape which is not as uniform in design as the later example. A similar teapot
also exists in the Shrewsbury Museum. Furthermore, the tea canister in this
lot was exhibited at Ironbridge 1999 no.67.
1500
235
A Caughley teapot and cover transfer-printed with the early version of the
250
Three Flowers and Butterfly pattern, circa 1776-80, S mark, 12.2cm high (chip
to cover) Provenance: Wright Collection no.451, purchased in 1994 from
Geoffrey Godden. Literature: See Ironbridge 1999 no.220 and The Caughley
Society, 'Caughley Blue and White Patterns' p. 117. Godden refers to this
teapot in 'Eighteenth Century English Porcelain', p.226.
350
236
A Caughley teapot painted with the very rare Bird in the Ring pattern, lacking 500
cover, circa 1776-79, S mark, 10.7cm high Provenance: Wright Collection no.
408 purchased in 1990. Literature: See Ironbridge 1999 no. 93 and The
Caughley Society, Caughley Blue and White Patterns, p.43. This is a copy of
the Worcester version of this pattern, and is the only Caughley example
known. It was discontinued at Worcester by 1775 so there is the possibility
that this was a replacement for an original piece, however the possibility of a
full service cannot be discounted.
700
237
A Caughley teapot and cover transfer-printed with the Birds in Branches
250
pattern, Sx mark, 14.4cm high (manufacturing eruptions) Provenance: Wright
Collection no.729, purchased in 2005 from Swain's of Grantham.
300
238
A Caughley tea bowl painted with the Blown Seed Head pattern, circa 1780,
300
underglaze blue painted S mark, 9cm diameter Literature: Godden, Geoffrey
'Caughley and Worcester Patterns', plate 29, p.183 illustrates a waster from
the factory, which appears to be a thickly potted saucer painted with this
Blown Seed Head pattern. See also Phillips London, The Watney Collection,
Part III, 1st November 2000, lot 1209, for two small bowls similarly decorated
in this pattern and Ironbridge 1999 no.111 where it states that these shapes
are influenced by the Chinese stem cup shape. Provenance: Originally
purchased in 1983 from Pat Ratcliffe, sold later Halls 28th April 2010.
500
239
A Caughley slop bowl transfer-printed in the Fruit and Wreath pattern, circa 250
1780-85, with 40 flutes, with supplementary fruit and floral prints and
associated, but seldom seen, large gooseberry print and associated border,
circa 1780-85, C mark, 15.2cm and a Caughley sucrier and cover transferprinted and gilded in the Pagoda pattern, circa 1784-90, unmarked, 10.5cm
high, a Caughley coffee cup and saucer with re-inforced rims transfer-printed
in the Temple pattern, saucer 14cm diameter and a Caughley tea-cup and
saucer transfer-printed with the Temple pattern, saucer 14cm diameter (7)
Provenance: Assorted Wright Collection numbers.
450
240
A Caughley teapot and cover, circa 1784-90, transfer-printed in underglaze
blue with the Fence and House pattern with additional gilding, S mark, 13cm
high (tiny chip to the cover, crack around handle) Provenance: Wright
Collection no.622, purchased in 2000.
120
180
241
A Caughley teapot and cover transfer-printed with the Sliced Apple pattern,
220
circa 1784-92, S mark, 13.5cm high (glaze flake to outside top rim of the
teapot) Provenance: Wright Collection no.561, purchased in 1998 from Wood.
280
242
A Caughley hexagonal teapot stand painted in the Tower pattern, circa 1788- 120
95, unmarked, 16.7cm wide Provenance: Wright Collection no. 600 purchased
in 2008. Literature: The Caughley Society, Caughley Blue and White
Patterns, p.182.
180
243
A very rare Caughley teapot stand painted in underglaze blue with the Banana 150
Tree pattern within a gilded rim, circa 1796-99, unmarked, 16.6cm wide
(chipped, cracked) Provenance: Wright Collection no.839, purchased in 2010.
This stand would have most likely been for a New Oval teapot with crinkles or
fluting
200
244
A very rare Caughley tea bowl in the 'Trench Mortar' pattern, circa 1790-98,
150
unmarked, 8cm diameter (hairline) Provenance: Wright Collection no.582
purchased 1998 from S. Millington. Literature: This is the only piece of
Caughley known to demonstrate this pattern, otherwise better known on hardpaste porcelain from the New Hall factory. A pull from a copper plate has
recently been found in the Coalport Rag Book, confirming a Shropshire origin.
The Rag Book is held at the Wedgwood Museum and contains patterns from
both the Caughley and Coalport factories. The paste of this bowl together with
the nature of the potting and the foot-rim suggest a Caughley rather than
Coalport origin, although some remain skeptical of this attribution.' The
Caughley Society, Caughley Blue and White Patterns, p.183 has a full page
illustration and discussion of this tea bowl.
200
245
A Caughley teapot and cover painted in blue and gilt with a star-like motif,
circa 1792-98, 11.5cm high (a.f) Provenance: Wright Collection no.668,
purchased in 2002 from a Mark Law Sale, 29/1/02 Lot 882. Literature: For a
similar teapot see Godden p.202.
300
200
246
A Caughley spiral reeded and 'shanked' tea bowl painted in the Tower
pattern, circa 1790-96, 8.9cm diameter Provenance: Wright Collection no.
222, purchased in 1981 from Vera Dunk. Literature: Ironbridge 1999 no.396.
An unusual form in underglaze blue, more commonly found in polychrome
though printed Striped Temple examples are also known.
100
150
247
A Caughley tea bowl and saucer painted with the Gillyflower I pattern, circa
1776-78, C mark, tea bowl 7.5cm diameter, saucer 12.5cm diameter (2)
Provenance: Wright Collection no.393, purchased in 1988 from Highgate
Antiques. Literature: See Ironbridge 1999 no.147.
150
200
248
A Caughley beaker transfer-printed in the Willow Nankin pattern, with
additional painted blue wash a painted concentric line towards the bottom
edge, unmarked, 7.7cm high (faint star crack to base) Provenance: Wright
Collection no. 388, purchased in 1988 from Portobello road. Literature:
Ironbridge 1999 no. 414.
150
200
249
A Caughley coffee cup and saucer with basket weave moulding, painted with 100
the Chantilly Sprigs B pattern, circa 1785-92, S mark, cup 5.8cm high and
saucer 10.7cm diameter (2) (firing fault at base of handle) Provenance:
Wright Collection no.479, purchased in 1995 from N. Gent and David Basford.
150
250
An important Caughley coffee cup transfer-printed with a Dragon, circa 1790- 300
96, unmarked, 6.9cm high Provenance: Wright Collection no.389, purchased
in 1987 from Simon Spero. Literature: See Ironbridge 1999 no.94, The
Caughley Society, Caughley Blue and White Patterns, p.46 and Newsletter
December 2004 No.20 p.14f. This is the only recorded definite piece in the
Dragon pattern by Caughley. The example recorded in an article by Clifton
Roberts was almost certainly Coalport instead. In 2014 Brightwells attributed
a bowl in this pattern as 'possibly Caughley', eventually selling for £1050.
500
251
A Caughley sucrier and cover transfer-printed in a rare underglaze blue
250
Three Flowers and Hips pattern, circa 1775-1783, S mark, 12.5cm high
Provenance: Wright Collection no.943, purchased in 2013 from Ebay.
Literature: Newsletter May 2014 No 58 pp 23-4, and The Caughley Society,
Caughley Blue and White Patterns, p.119 where it is noted that this pattern is
only known on sucriers, and may have been the standard pattern for sucriers
in tea services.
350
252
A Caughley spoon tray transfer-printed in the Temple pattern, circa 1784-92, 100
with an unglazed base, unmarked, 16cm wide Provenance: Wright Collection
no. 559, purchased in 1997 from H&R Cooke. This is a different form to that of
the usual Temple pattern spoon tray.
150
253
A Caughley coffee cup transfer-printed in the Birds in Branches pattern, circa 100
1780-85, unmarked, 6.9cm high, together with a Coalport saucer of the same
design, circa 1800-10, unmarked, 12.5cm diameter (2) Provenance: Wright
Collection no.'s 916 and 938. Literature: See Newsletter May 2014 No 58 pp.
26-7, this is a rare conjunction of print and border.
150
254
A Caughley coffee cup painted in the very rare 'Trailing Rose Sprays' pattern, 250
circa 1780-88, the strap loop handle with pronounced central seam,
associated border of a concentric line with rising and falling leaves and flower
heads, curtains border to inside edge, unmarked, 6.7cm high Provenance:
Wright Collection no.334 purchased in 1988 from McCartney's. Literature:
Ironbridge 1999 no.57, noted as 'Blue Posy' and The Caughley Society,
Caughley Blue and White Patterns, p.120 where it states that this pattern was
produced in both printed and painted versions, though only two coffee cups
and one tea bowl are known.
300
255
A small Caughley bowl painted with a Single Flowerheard, circa 1776-78, with 150
a dash and half filled oval border to inside rim, unmarked, 9.3cm diameter
and a Caughley coffee cup transfer-printed in underglaze blue with the Peony
pattern, circa 1780-85, C mark, 6.3cm high (2) Provenance: Wright Collection
no. 452, purchased in 1994 from J. Wyatt. Wright Collection no.228, purchased
in 1981. Literature: Ironbridge 1999 no.204. An unusual pattern for tea wares,
this design is normally seen on earlier pickle dishes from Caughley. See also
Ironbridge 1999 no.18. The coffee cup is also illustrated in The Caughley
Society, Caughley Blue and White Patterns, p.96.
200
256
A Caughley reeded coffee pot painted in blue with the Gillyflower I pattern,
180
lacking cover, circa 1778-85, C mark, 14.5cm high and a Caughley milk jug
painted with the Gillyflower I pattern, with early 24-reed body, C mark, 9.6cm
high (the jug broken in pieces and re-glued) (2) Provenance: The coffee pot
Wright Collection no. 535, purchased from Gus Brain in 1997. Though the
mark is considerably nearer to the foot rim than other Caughley examples,
there is no mistaking the attribution of factory when considering the shape of
the handle. The milk jug is Wright Collection no. 328, purchased in 1984 from
Rod Jellicoe. See Plate 144 in Godden. This is slightly different with cell
border. It belongs to a family of early 24 reed pieces a number of which are in
the collection.
220
257
A Caughley coffee can and saucer painted with the Salopian Sprig pattern
with additional gilding, circa 1785-92, the can with S mark, saucer diameter
13cm (gilding rubbed) together with a further Caughley coffee can painted
with the Peony pattern, C mark, 7cm high (cracked) (3) Provenance: The
Salopian Sprig cup and saucer are Wright Collection no.648, purchased from
Peter Wilsons in 2001, and the Peony coffee cup is Wright Collection no.508
purchased in 1996.
200
150
258
A Caughley trio of coffee cup, tea bowl and saucer transfer-printed in the
150
Three Flowers and Butterfly pattern, circa 1776-80, S mark, cup 6.8cm high
and saucer 12.3cm diameter (3) Provenance: Wright Collection no.248
purchased in 1981 from Sewell. Literature: See Ironbridge 1999 no.216. This
is the early version of this print.
200
259
A small collection of Caughley blue edged border wares, circa 1776-80,
comprising a tea bowl, coffee cup, a saucer, a milk jug, a spoon tray, slop
bowl, sucrier and cover and tea caddy and cover. S mark (10) (assorted
collection numbers)
200
400
260
A Caughley coffee can transfer-printed in the Fence pattern, circa 1785-90,
120
6.5cm high Provenance: Wright Collection no. 915, purchased in 2012 from C.
Brown. Literature: Newsletter November 2012 No.52 p.3.
180
261
A Caughley coffee cup and saucer transfer-printed in the Apple and Damson
pattern, circa 1778-85, unmarked, cup 6.7cm high and saucer 12.4cm
diameter Provenance: Wright Collection no.737 purchased in 2005 from Tim
Olney. This cup and saucer date from the middle production of this print by
Caughley; it is therefore interesting to compare with collection number 818.
70
100
262
A Caughley twin handled cup transfer-printed in the Willow Nankin pattern,
circa 1783-90, unusual mark, 6.3cm high Provenance: Wright Collection
no.351, purchased in 1985 from Venners. Literature: Ironbridge 1999 no.415
and Caughley Society, 'Caughley Blue and White Patterns', p.188.
500
700
263
A Caughley tea bowl and sparrow beak jug transfer-printed in the Apple and 150
Damson patterns, circa 1778-85, unmarked, tea bowl 7.8cm diameter, jug
10.6cm high (chipped) (2) Provenance: The tea bowl is Wright Collection
no.949 and was purchased from Moore Allen & Innocent in 2013. The
extremely thin and fine potting of this piece suggests an early date,
somewhere along from the transition of Apple to Apple and Damson.
Compare this with the jug, collection no.475 which though is an unusual
shape, is potted much more thickly. This piece was purchased in 1995.
Literature: Ironbridge 1999 no.23 and Newsletter August 2014 No.59 p221f for
both pieces.
250
264
A half-fluted Caughley sauce boat transfer-printed with the Fisherman or
Pleasure Boat pattern, circa 1782-90, unmarked, 10.8cm high Provenance:
Wright Collection no.680, purchased in 2002 from 'JCB'.
150
100
265
A Caughley sauce boat transfer-printed with the Fruit and Wreath pattern,
200
circa 1777-85, 9.8cm high (cracked, chipped), a Caughley strap fluted sauce
boat painted with flowers, circa 1776-80, C mark, 9cm high and two
Worcester sauce boats with flowers (a.f) (4) Provenance: The Fruit and
Wreath sauce boat is Wright Collection no. 308 and was purchased in 1983,
the floral sauce boat is Wright Collection no.303 and was purchased in 1982
from 'White House'. Literature: The Fruit and Wreath sauce boat is
illustrated in Ironbridge 1999 no.66, and the floral sauce boat is illustrated in
Ironbridge 1999 no.56. Both Caughley sauce boats are further illustrated in
Nick Panes 'British Sauce Boats of the 18th century', p.246.
300
266
A Caughley sauce boat transfer-printed with the Gillyflower II pattern, circa
500
1776-80, unmarked, 9cm high (chipped) Provenance: Wright Collection no.
749b, purchased in 2006 from Holmes. Literature: Newsletter August 2012
No.51 p.4 (one of them). Bought as part of a pair, this sauce boat is
unrecorded except by a slide shown by Geoffrey Godden. The moulding is very
early sauce boat shapes and possibly reminiscent of Derby.
700
267
A Caughley sauce boat transfer-printed with the Birds in the Tree pattern,
200
circa 1777-82, unmarked, 8.5cm high (cracked) Provenance: Wright Collection
no.589, purchased in 1998 from S. Millington. Literature: Ironbridge 1999
no.90. This is a rare print to find on tableware. This is further illustrated in
Nick Pane's, 'British Porcelain Sauceboats of the 18th Century', p247.
300
268
A Caughley coffee cup transfer-printed in the Fence and House pattern, circa 100
1786-92, unmarked, 6.9cm high (chipped) and a Caughley coffee cup painted
in the Tower pattern, unmarked, 6.3cm high (a.f) (2) Provenance: The Fence
and Houses coffee cup is Wright Collection no. 720, purchased in 2004 from
Paul Johnson. This is a very rare piece, this French shape more commonly
being found in a painted sprig pattern. The Tower pattern cup is Wright
Collection no. 926, purchased in 2003. Literature: For the Fence and Houses
cup, see Newsletter June 2004 No 18 pg9.
150
269
A Caughley Chelsea ewer painted a Simple Posy pattern, circa 1786-1791,
80
with an associated blue line around the base, unmarked, 6.3cm high (hairline)
Provenance: Wright Collection no. 473, purchased in 1995. Literature: The
Caughley Society, 'Caughley Blue and White Patterns', p.113.
120
270
A Caughley low Chelsea ewer painted with the Chantilly Sprig pattern,
50
unmarked, 6cm high (a.f) Provenance: Wright Collection no.979, purchased in
2015 from Mellors and Kirk. Ex Roger Edmunson Collection and sale.
70
271
A Caughley Chelsea ewer painted with the rare Fruit Sprays pattern, circa
1778-88, unmarked, 6.9cm high (firing flaw and associated hairline)
Provenance: Wright Collection no. 514, purchasedin 1996 from Gus Brain.
Literature: Ironbridge 1999 no.13.
150
200
272
A Caughley tall Chelsea ewer painted with a rare Fruit Sprays pattern, circa 120
1776-80, C mark, 9.4cm high (a.f, glued together) Provenance: Wright
Collection no. 630, purchased in 2000 from J.Wyatt. Literature: The Caughley
Society, Caughley Blue and White Patterns, p.125 where it is noted that
though rare on Caughley, this pattern is not uncommon on Worcester
porcelain. Examples from the two factories are sufficiently similar within the
tolerances of painted patterns to make distinguishing them difficult when
unmarked.
180
273
A Coalport Chelsea ewer, circa 1799-1801, painted in polychrome with a rose 80
to the exterior and floral border to the interior, unmarked (chipped), 7cm high
and a Caughley Chelsea ewer in transfer-printed in underglaze blue with the
Bandstand pattern, circa 1794-1797, unmarked, 6.9cm high (hairlines) - (2)
Provenance: Wright Collection nos.971 and no.813, the latter purchased in
2008 from Wyatt. This Caughley boat is a late example with a blurry pattern,
the potting is generous with a thick glaze, however this piece does not
demonstrate the bright blue of the final run of Caughley pieces.
120
274
A Caughley/Coalport Chelsea ewer, circa 1797-1801, printed in the Birds in
50
Branches pattern, unmarked, 7cm high (hairline) Provenance: Wright
Collection no. 935, purchased from Woolley and Wallis in 2013. Literature:
Newsletter August 2013 No 55 pp 25. A hybrid hard paste porcelain, this ewer
is somewhat of a puzzle piece with the quality of the printing suggesting
production within the final few years of the Caughley factory when they had
trouble with consistency of paste and running of the prints.
70
275
A Caughley reeded sauce boat, transfer-printed in the Chrysanthemum
200
pattern, with splayed foot, kinked handle and curled thumb piece, circa 177883, unmarked, 7.4cm high Provenance: Wright Collection no. 320, purchased
in 1984. Literature: See Godden pl. 175; The Caughley Society, Caughley Blue
and White Patterns, p.74 and Newsletter November 2013 No.36. This print
was also used on tea wares (collection no.745) but was not recorded on sauce
boats. Worcester also used this pattern, though this was painted rather than
printed.
300
276
A Caughley sauce boat transfer-printed in the Apple and Damson pattern,
circa 1780-88, 5.8cm high, 17cm long (cracked, chipped) Provenance: Wright
Collection no.458, purchased in 1994 from Shrewsbury Antiques Market.
70
50
277
A Caughley dolphin ewer painted with Sprigs, circa 1780-85, C mark, 8.3cm
400
high (riveted repair) Provenance: Wright Collection no.934 purchased in 2013
from Woolley and Wallis (30/04/13, no.562). Careful comparison of this and
No.49 in the Ironbridge 1999 Exhibition which was sold at Halls April 2000
shows that it came out of the same mould.
600
278
A Caughley sauce boat transfer-printed with fruit, circa 1782-90, unmarked,
7.2cm high (firing fault inside foot) Provenance: Wright Collection no. 434.
Purchased in 1993 from Geoffrey Godden.
150
200
279
A very rare Caughley tall Chelsea ewer painted with a Single Flowerhead
400
pattern border, circa 1776-1778, S mark, 8.1cm high Provenance: Wright
Collection no. 722, purchased for in 2004 from J. Wyatt. Literature: The
Caughley Society, Caughley Blue and White Patterns, p.212 where it is noted
that this border is found on items where it may not have been possible to
paint the main pattern, such as this ewer because of the moulding. This is the
only one of this mould recorded.
600
280
A Caughley sauce boat painted with the rare Rose pattern, circa 1776-1779,
300
reversed C mark, 15cm wide (crack around lower section of handle)
Provenance: Wright Collection no.686, purchased from Rod Jellicoe in 2002.
Literature: The Caughley Society, Caughley Blue and White Patterns, pgs. 105
and 239. This pattern appears to have only been used on sauce boats of this
shape, but similar small rose patterns are found on other pieces. This is very
similar to the same pattern as produced by Worcester.
400
281
A Caughley Chelsea ewer painted with convolvulus, circa 1776-80, the
100
moulded handle with snakehead terminal, C mark, 6.7cm high (handle
repaired) Provenance: Wright Collection no. 270, purchased in 1982.
Literature: See Ironbridge 1999 no.126. Compare also with p.271 of Worcester
Blue & White by Geoffrey Godden. The Caughley example is taller, with
moulded leaves are narrower and more pointed. This early Caughley version
is different from the later and more typical ones.
150
282
A Caughley tall Chelsea ewer transfer-printed with the Fisherman or
120
Pleasure Boat pattern, circa 1782-1790, S mark, 9cm high Provenance:
Wright Collection no. 412, purchased in 1990 from Bill Dickenson. This is also
ex Geoffrey Godden collection and is a rarer version than the low Chelsea
ewer.
180
283
A Caughley two-handled cup painted with the Bright Sprigs pattern, circa
1785, with a single blue line to the upper rim, S mark, 7.4cm high
Provenance: Wright Collection no.967, purchased in 2014 from Halls.
350
250
284
A rare Caughley rice spoon painted with the Maltese Cross pattern, C mark,
13.5cm long Provenance: Wright Collection no. 683, purchased in 2002 from
Peter Wilsons (25/9/02 Lot 270) Literature: The Caughley Society, Caughley
Blue and White Patterns, p.92 and Newsletter September 2007 No.31 p.20.
1000
1500
285
A Caughley wine taster painted in the Chantilly Sprigs pattern within a
200
Salopian border, circa 1785-92, unmarked, 5cm diameter Provenance: Wright
Collection no. 634, purchased for in 2000 from R. Sillito. Literature:
Newsletter September 2003 No 15 p.10. The combination of Chantilly Sprigs
with this border is an unusual one.
300
286
A Caughley wine taster transfer-printed with a rare fruit pattern, circa 178085, with associated single blue line border, unmarked, bowl 5cm diameter
(faint hairline) Provenance: Wright Collection no.448, purchased for in 1994
from N. Gent. This is the only one recorded in this pattern. Literature: See
Ironbridge 1999 no.4 where this is catalogued as a 'scoop' and Newsletter
September 2003 No.15 p.10. Whilst catalogued as a wine taster in this
description, the actual function of these is still somewhat disputed. Ideas
ranging from caddy spoons to tasters have been put forth, however
realistically their actual use remains unknown beyond being intended to
serve a 'single' portion similar to asparagus servers and custard cups.
250
300
287
A rare Caughley salt painted with the Bright Sprigs pattern, circa 1782-90,
150
7.2cm at widest point (a.f) Provenance: Wright Collection no. 633, purchased
from R. Sillito in 2000. One set of three and a pair slightly different, of which
this is the right hand one, were illustrated by Gaye Blake Roberts in Antiques
Dealers & Collectors' Guide, March 1974. No 183 in the Shrewsbury Exhibition
belongs to the set of three.
200
288
A Caughley twin handled Caudle-style cup painted the Salopian Sprig pattern, 200
circa 1785-92, painted S mark, 8cm high Provenance: Wright Collection
no.419, purchased in 1991 from Whittington. Literature: The purpose of this
vessel is as yet unknown; though refer to Ironbridge 1999 no.190 for a twin
handled jug of the same shape and pattern with the addition of a spout.
300
289
A Caughley handled beaker painted with the Salopian Sprig pattern, circa
1785-92, S mark, 7.8cm high Provenance: Wright Collection no.164,
purchased in 1978 from Vera Dunk/Pagoda. Literature: Ironbridge 1999
no.195.
100
150
290
A large Caughley bowl transfer-printed with the Thorny Rose pattern, circa
1775-80, S mark, 23cm diameter Provenance: Wright Collection no.995,
purchased for in 2016 from Bellmans. Literature: Newsletter 2017 No.59
p15f. This is the only bowl recorded in this pattern.
400
600
291
A Caughley bowl transfer-printed with the Three Flower and Fox pattern,
circa 1776-80, S mark, 20.8cm diameter Provenance: Wright Collection
no.291 purchased in 1982 from Worcester Fair. Literature: Ironbridge 1999
no.217, Newsletter May 2014 No.58 p.25 and The Caughley Society, Caughley
Blue and White Patterns, p.200. A similar example features in the Winnipeg
Museum.
300
500
292
A Caughley octagonal soup dish, circa 1785-93, transfer-printed in
underglaze blue with the Full Nankin pattern, unmarked, 23cm diameter
Provenance: Wright Collection no. 326 purchased from Jenny Diss.
100
150
293
A rare and early Caughley fluted dish painted with a blue edge border, circa
300
1775-80, unmarked, 15.7cm wide, with an early Caughley blue-edged border
tea bowl, (include size), (2) Provenance: The fluted dish is Wright Collection
no. 974 and was purchased from Halls in 2015. A slight conundrum of a piece
which caused much debate when first sold in these rooms, a later date has
been suggested though the shape and size of this piece indicates it is early.
Intended use and mould origin are as yet unknown.
400
294
A rare Caughley dish or stand painted in the Garden Floral pattern, circa 1785- 300
92, the unglazed base unmarked, 23.7cm wide Provenance: Wright Collection
no. 435, purchased from Geoffrey Godden in 1993. Literature: See Ironbridge
1999 no. 303 and Newsletter 2008 no. 34, p.4. A rare and unrecorded pattern
from the Godden Reference Collection, of which there were two with the
other appearing in auction 20-21 May 2003 Lot 1085 at Mark Law's.
500
295
A Caughley dish or stand transfer-printed in underglaze blue in the Willow
40
Nankin pattern, circa 1787-1795, unglazed base unmarked, 24cm wide (chip
to rear) Provenance: Wright Collection no.781, purchased from Halls in 2007.
Literature: Newsletter May 2013 No 54 pp 13-15.
60
296
A Caughley bread and butter plate, or large saucer dish, transfer-printed in
underglaze blue with the Willow Nankin pattern embellished with gilding,
unmarked, 19.7cm diameter (gilding rubbed), sold together with a
comparison Chinese saucer dish in the same pattern, circa 1776-1780,
16.1cm diameter (cracked) (2) Provenance: The former is Wright Collection
no. 797, purchased in 2008 from Ebay, the latter no.868 purchased from
Robert Hawker.
80
297
A small pie-crust edge Caughley plate transfer-printed with the Gillyflower 4 70
pattern, circa 1776-80, partial S mark, 16.7cm diameter (small chip to
reverse) Provenance: Wright Collection no.832, purchased in 2009 from
Bonhams. Literature: The Caughley Society, Caughley Blue and White
Patterns, p.86 of CB&W; this is a fourth variation of Caughley's Gillyflower
pattern.
60
100
298
A small Caughley plate, circa 1778-86, transfer-printed in underglaze blue
with the Apple and Damson pattern within a cell diaper border, C mark,
16.3cm diameter Provenance: Wright Collection no. 501, purchased in 1996
from Jupiter Antiques, further bears Throphy 1977 collection label.
Literature: Ironbridge 1999 no.24, and The Caughley Society, Caughley Blue
and White Patterns, p.122 for the mark which is an interesting version
because of the distinctive round serif on the C.
150
200
299
A pie-crust edge Caughley plate painted with the Gillyflower I pattern, circa
100
1776-1780, C mark 19.8cm diameter (hairline) Provenance: Wright Collection
no.420, purchased in 1991. Literature: See Ironbridge 1999 no.144
150
300
A Caughley plate transfer-printed in the Gillyflower II pattern within a wavy
200
feathered rim border, circa 1776-79, partial S mark, 21.5cm diameter
(chipped) Provenance: Wright Collection no. 405 purchased in 1989 from
Venners. Literature: See Ironbridge 1999 no.151, and The Caughley Society,
Caughley Blue and White Patterns, p.84. A very rare plate, this is heavy and
has a thick edge more typical of Liverpool pottery plates painted with Chinese
scenes. The wavy feathered edge is almost of irregular type.
300
301
A Caughley dish transfer-printed with the Gillyflower III pattern, circa 1777- 400
80, C mark, 24.9cm wide Provenance: Wright Collection no.820, purchased
from Thompson in 2009. Literature: The Caughley Society, 'Caughley Blue and
White Patterns' (Llandysul, Gomer Press, 2012) p.85. There are only two
examples recorded of both this pattern and shape.
600
302
A Caughley dish or large Royal fluted dish transfer-printed with the Sliced
100
Apple pattern, circa 1785, 21.2cm diameter (manufacturing faults to foot rim)
Provenance: Wright Collection no. 959, purchased in 2014 from 'Tessadragon'
(Ebay), sold as Worcester. Too deep for a saucer dish, neither does the shape
of this dish match any of the salad bowls or dessert dishes in Geoffrey
Godden's Caughley and Worcester Pattern book. Furthermore, this print does
not usually appear on Royal flute.
150
303
A Caughley plate painted with the Bright Sprigs pattern, circa 1785-93, S
mark, 20.4cm diameter Provenance: Wright Collection no. 445, purchased in
1994 from N. Gent.
150
200
304
An unusually moulded Caughley plate transfer-printed with the Fisherman or 200
Pleasure Boat pattern, circa 1780-90, unmarked, 21cm diameter Provenance:
Wright Collection no.323 purchased in 1984 from R. Edmundson. Literature:
The Caughley Society, The Caughley Society, p156, Newsletter August 2012
No.51 p14 and further illustrated in Roberts Article PtII p.229 Plate XII,
Connoisseur, 1919.
300
305
A small lobed Caughley plate transfer-printed in the Pine Cone pattern, circa 100
1776-86, C mark, 16.5cm diameter Provenance: Wright Collection no.542,
purchased in 1997.
150
306
A Caughley plate painted with a fan-panelled landscape within powder blue
400
ground, circa 1777-85, impressed Salopian and painted faux Chinese mark,
20.2cm diameter Provenance: Wright Collection no. 566 purchased from
Phillips in 1998 from the Girling Collection Sale, originally purchased by
Girling in April, 1955. Literature: Ironbridge 1999 no.371 and Newsletter 2009
No.40 p.6.
500
307
A Caughley teacup transfer-printed in the Temple pattern, unmarked, 7.6cm
diameter (star crack), a Caughley trio of coffee cup, tea bowl and saucer
transfer-printed in the Pagoda pattern and a Chinese tea bowl, 18th century,
painted with a twisted ribbon border to the interior (also made at Caughley
and Coalport), 9cm diameter (5)
120
308
A Caughley porcelain soup plate painted décor au Ronda within a spiral fluted 250
and basket-weave border edge, circa 1788-93. unmarked, 21.5cm diameter
(central star crack and chips), together with a Tournai plate in the same
pattern, unmarked, 23.8cm diameter (2) Provenance: The Caughley example
is Wright Collection no. 013, purchased in 2003 from a Mark Law Sale.
Purchased originally from Lapwing Antiques in Manchester in 1971, the
pattern was at that time unrecorded until three further examples later
appeared in North Shropshire. The Tournai example is Wright Collection
no.765, purchased in 2006 from Ebay. Literature: The Caughley Society,
Caughley Blue and White Patterns, p.78 and Newsletter September 2003 No
16 p 10.
300
309
A lobed Caughley plate painted with the Scholar's Rock pattern within powder 250
blue border, circa 1776-82, impressed Salopian mark, 20cm diameter (chip to
foot rim) Provenance: Wright Collection no.283 purchased in 1982.
350
310
A Caughley plate painted with Sprigs, circa 1785-90, S mark, 21cm diameter 50
Provenance: Wright Collection no.1000.
A Caughley soup dish painted décor à la Mouche, circa 1789-94, S mark,
250
25.2cm diameter (chips to edge) and a Tournai plate of the same pattern,
circa 1790, 23.8cm diameter (2) Provenance: The Caughley dish is Wright
Collection no. 681, purchased from Sworders in 2002 and the Tournai plate is
collection no.690, purchased in 2003 from Vera. Literature: The Caughley
Society, Caughley Blue and White Patterns, p. 77, this pattern being
previously unrecorded.
70
311
80
300
312
A Caughley scallop shell dish transfer-printed with the Fisherman or
200
Pleasure Boat pattern, circa 1782-90, unmarked, 15cm wide (hairline) with a
small Caughley bowl with everted rim in the same pattern, unmarked, 8.9cm
diameter (chipped) (2) Provenance: The scallop shell dish is Wright Collection
no.470, purchased in 1995 from Wright. The bowl is Wright Collection no.122,
purchased from 'BD' in 1975. The bowl in particular is a very rare shape.
300
313
A diamond shaped Caughley dish with osier moulding border painted in the
100
Carnation pattern, circa 1785-92, impressed Salopian mark, 26.5cm wide
Provenance: Wright Collection no. 661 purchased in 2001 from Aurea Carter.
150
314
A Caughley moulded shell form dish painted with the Gillyflower I pattern,
circa 1776-78, 19.5cm wide (in two pieces with chips and ex rivets)
Provenance: Wright Collection no.704, purchased from Halls in 2003 (lot 46).
Literature: The Caughley Society, Caughley Blue and White Patterns, pg.83
and Newsletter December 2003 No.16 p.15, this being a hitherto unrecorded
shape.
400
500
315
A Caughley centre dish painted with the Weir pattern, circa 1785-90, painted 250
mark 'B' or '8', 32cm wide Provenance: Wright Collection no.433 purchased in
1997 from J. Gittins.
350
316
A Caughley circular tureen and cover painted with the Chantilly Sprig B
500
pattern, circa 1786-97, unmarked, 19cm overall width (chip to cover's edge
near notch) Provenance: Wright Collection no.789 purchased from Dreweatts
in 2008. Literature: See both Newsletters August 2009 No.39 p.5 and 2008
No.36 p.11. This is an unusual to find with the cover; a similar example
appearing in the 1999 Exhibition, no.465 without a cover where it is described
as a 'breakfast bowl'. A smaller one in the same exhibition, no.188 is
described as a 'broth bowl'. This example contains a notch for a spoon or a
ladle so the description of tureen seems a reasonable one.
600
317
A Caughley tureen stand painted in blue with the Chantilly Sprig pattern, circa 80
1785-92, S mark, 27.5cm diameter (filled chip) Provenance: Wright Collection
no. 144, purchased in 1977, an unrecorded shape.
120
318
A Caughley powder blue tureen painted in the Heart-Panelled Floral pattern, 400
lacking cover, circa 1776-80, C mark, 17cm wide Provenance: Wright
Collection no. 803, purchased from Brightwells in 2008. Literature: The
Caughley Society, Caughley Blue and White Patterns, p.89 and Newsletter
2009 No.40 p.9. This is the only recorded example in this pattern.
600
319
A Caughley powder blue tureen painted with a Heart-Panelled Landscape
250
pattern, lacking cover, circa 1776-80, C mark, 10.2cm wide (badly a.f),
together with a further Caughley tureen and cover, circa 1788-1795, painted
with the Carnation pattern, 14.5cm wide (chipped and cracked) (2)
Provenance: The heart panelled example is Wright Collection no.635,
purchased in 2000 from R. Sillito. This could be noted as a third powder blue
pattern by Caughley, distinguished by the shape of the panels and perhaps
the scenes within them. Furthermore, both the shape of the tureen and its
handles are of interest. This is the only example of the pattern. The Carnation
tureen is Wright Collection no.883, purchased from Bonhams in 2011. It is
also ex Godden Collection. For a discussion of powder blue wares, see
Newsletter November 2009 No.40. Literature: The Heart-panelled landscape
tureen is illustated in The Caughley Society, Caughley Blue and White
Patterns, p163.
350
320
A rare Caughley tureen, cover and stand transfer-printed in the Willow
400
Nankin pattern, circa 1790-97, unmarked, 20.6cm wide (3) Provenance:
Wright Collection no.928, purchased in 2013. Literature: Newsletter May 2013
No.54 p13. See also Geoffrey Godden's Coalport book plate 12 (alongside the
Chinese equivalent).
600
321
A very rare large Caughley tureen and cover printed in the Gillyflower 5
500
pattern, circa 1780-85, C mark, 37cm diameter (cover cracked, though some
from manufacture) Provenance: Wright Collection no.867, purchased in 2010
from Halls, known affectionately by Maurice and Janet as the 'monstrosity'.
This is a very heavy piece and any attempts to lift up the lid by the handle
would have undoubtedly led to breakages, making this a rare piece.
Literature: Newsletter February 2013 No.45 p.9
700
322
A Caughley breakfast saucer painted in the rare Vase and Lantern pattern,
circa 1785-95, unmarked, 15.7cm diameter Provenance: Wright Collection
no.679, purchased from Bonhams (7/5/03, Lot 232). Literature: See
Ironbridge 1999 no.32, The Caughley Society, Caughley Blue and White
patterns, p.82 of and Newsletter June 2008 No.34 p.9.
700
500
323
A Caughley tea bowl and saucer painted with the very rare Vase and Lantern 600
pattern, circa 1785-95, S mark to the bowl, tea bowl 9.2cm diameter, saucer
14cm diameter (small rim chip), sold together with a Chinese saucer in the
same pattern 12cm diameter (3) Provenance: The bowl is Wright Collection
no.649, purchased from Rod Jellicoe in 2001. The saucer is Wright Collection
no. 878, purchased in 2011 from N. Gent. Literature: The Caughley Society,
Caughley Blue and White Patterns, p.185 and Newsletter June 2008 No.34
p.9. Though purchased separately, distinct similarities can be seen in the
painting of these two pieces lending credit to the idea that they were most
likely by the same painter, with the sizing of each piece also appearing to
match.
800
324
A Caughley teapot, lacking cover, painted with a single flowerhead (Aster),
circa 1776-79, reversed S mark, 9.8cm high Provenance: Wright Collection
no. 638 purchased from Phillips in 2000. Ex Bernard Watney Collection.
250
300
325
A set of twelve lobed Caughley dessert plates transfer-printed in the Full
Nankin pattern and with additional gilding, circa 1780-99, S mark, 20.5cm
diameter
300
500
326
A Caughley waste or slop bowl printed with the Fruit and Wreath pattern,
circa 1775, C mark, 15.5cm diameter (chipped)
A Caughley coffee pot and cover painted in the rare Mansfield pattern, circa
1775-77, the cover with replacement metal knop, spurious mark, 24cm high
Provenance: Lot 25 in sale 29/07/2009 at Halls.
60
80
200
300
A Caughley mustard pot and cover transfer-printed with the Fence pattern,
circa 1775, C mark, 11cm high
A Caughley mustard spoon transfer-printed with a single floral sprig to the
bowl and with delicate relief-work moulding to the terminal, circa 1780-90,
unmarked, 10.5cm long (firing blemishes)
80
120
300
400
330
A very rare Caughley pounce pot, circa 1780-90, of distinctive 'Bobbin' form
with bulbous centre and spreading rim and foot, dished top pierced with
several holes, printed in blue with floral sprigs and hexagonal cell borders,
unglazed base with blue C with serif mark. 8.5cm high Provenance: Lot 173
at Halls on 08/10/14, sold for £3,100. Ex. Bernard Watney Collection label.
2500
3000
331
A Caughley oval butter tub and cover transfer-printed with Flowers and
Butterflies, circa 1775, C mark, 13.5cm wide (slight damage to cover and
hairline to one handle)
120
180
332
A Caughley oval baking dish transfer-printed in the Fisherman pattern, circa 120
1785-90, unmarked, 23.2cm wide Provenance: Lot 1 in Halls sale 28/10/2015.
180
327
328
329
333
A Caughley coffee can, tea bowl and coffee cup transfer-printed in underglaze 150
blue with the Birds in Branches pattern, circa 1775, and a further Caughley
coffee cup transfer-printed with the Fence pattern, C, S and unmarked,
tallest 6.8cm high (4)
200
334
A Caughley toy teapot and cover transfer-printed with the Fisherman pattern, 200
circa 1780, Sx mark, 8cm high Provenance: Mrs B.M Grove Collection.
300
335
A Caughley toy tea bowl and saucer painted in the Island pattern, circa 178590, unmarked, saucer 7cm diameter (2) Provenance: Mrs B.M Grove
Collection.
150
200
336
A Caughley custard cup and cover transfer-printed with the Cottage pattern,
circa 1780-85, S mark, 7.5cm high Provenance: Mrs BM Grove Collection,
paper BADA label to base.
200
300
337
A Caughley tureen ladle transfer-printed with the Pleasure Boat or the
200
Fisherman pattern, circa 1780, unmarked, 17.5cm long Provenance: Mrs B.M
Grove Collection.
300
338
A Caughley wine taster or scoop, circa 1785, transfer-printed with the
150
Fisherman or Pleasure Boat pattern, S mark, 5cm diameter Provenance: Mrs
B.M Grove Collection.
200
339
A Caughley dessert plate painted in the Weir pattern, circa 1775, unmarked,
20.5cm diameter Provenance: Mrs B.M Grove Collection.
A Caughley artichoke cup transfer-printed with the Fisherman pattern, circa
1775-80, lacking cover, X mark, 6.2cm high Provenance: Mrs B.M Grove
Collection.
80
120
120
180
341
A Caughley scallop form dish transfer-printed with the Fisherman pattern,
circa 1785, unmarked, 11cm wide Provenance: Mrs B.M Grove Collection.
80
120
342
A Caughley pickle leaf dish painted with a Single Flowerhead, circa 1780,
unmarked, overall width 7.5cm Provenance: Mrs B.M Grove Collection.
120
180
343
344
345
346
No lot.
0
No lot.
0
No lot.
0
A Caughley mug transfer-printed in the Fence and Garden pattern, circa 1775- 50
80, C mark, 5.8cm high (crack near handle) Provenance: Mrs B.M Grove
Collection.
0
0
0
70
347
A Caughley egg drainer, circa 1775-90, transfer-printed with the Fisherman
or Pleasure Boat pattern, unmarked, 8cm diameter Provenance: Mrs B.M
Grove Collection
50
80
348
A Caughley teapot stand painted in the Tower pattern within gilt lined rim,
circa 1780, unmarked, 15.5cm wide Provenance: Mrs B.M Grove Collection.
60
80
349
No lot
0
0
340
350
A small Caughley pickle leaf dish transfer-printed with the Pleasure Boat
70
pattern, circa 1780-85, unmarked, 8.4cm wide, a further Caughley pickle leaf
dish in the same pattern (small repair, hairline crack), 12cm wide and a
Caughley leaf form butter boat also in the Pleasure Boat pattern, unmarked,
(glued break), 9cm long (3) Provenance: Mrs B.M Grove Collection.
100
351
A Caughley robins' beak jug transfer-printed with the Fence pattern, circa
1780-85, C mark, 5.9cm high (hairline crack above handle) Provenance: Mrs
B.M Grove Collection.
50
70
352
A Caughley sparrow beak milk jug transfer-printed with the Fruit and Wreath 50
pattern, circa 1775, C mark, 9.1cm high Provenance: Mrs B.M Grove
Collection.
70
353
354
No lot.
0
A pair of Coalbrookdale porcelain vases, circa 1820, of cobalt floral encrusted 250
form, unmarked, 34cm high (2) Complete with newspaper article of
provenance, these vases were once on loan to the Shrewsbury Museum.
0
350
355
A Coalport porcelain dinner service, circa 1830, painted with flowers and blue 200
detailing, comprising tureens, covers and stands, platters in various sizes and
dishes (damages) (qty)
400
356
A Coalport Shrewsbury 1906 Election Jug for 'Sir Clement Lloyd Hill, K.C.B
K.C.MG 440 Majority', a Special Design reserved for Henry Wells, High St,
Shrewsbury, green printed factory mark, 20cm high (base cracked)
100
357
A Worcester mug transfer-printed in underglaze blue with the Parrot Pecking 200
Fruit pattern, circa 1770-75, hatched crescent mark, 14.5cm high
300
358
A Worcester coffee cup painted with flowers, circa 1770, 6.6cm high, together 80
with a Liverpool coffee cup, perhaps Chaffers also painted with flowers
(hairline) 6.8cm high (2)
120
359
A Worcester coffee cup painted in polychrome with Chinese Figures, circa
1765-75, 6.5cm high Provenance: Mrs B.M Grove Collection.
A Worcester tea bowl and saucer printed in black with Hancock's L'Amour
pattern, circa 1770, unmarked, bowl 7.1cm diameter, saucer 12cm diameter
(2)
100
150
80
120
361
A Worcester coffee cup and saucer painted with the Feather Mould Floral
pattern, circa 1765, workman's marks to coffee cup, saucer 12cm diameter
(2)
100
150
362
A late 19th/early 20th century Leeds revivalist creamware basket, the pierced 50
basket's exterior with relief work swags, 13.5cm wide
An English delft polychrome bowl, perhaps Bristol, 18th century, painted with 100
a pair of Chinese-style figures within landscape of trees and buildings,
interior with painted floral centre, 25cm diameter (cracked base)
360
363
70
80
150
364
A pair of early Derby sweetmeat figures, c.1757, modelled as a seated woman 600
with a shell-shaped dish resting in her lap, the interior and her skirt painted
with flowers; her male counterpart in a similar pose wearing puce jacket with
yellow lining, 15.5cm high (female base a.f) (2)
800
365
A Derby biscuit porcelain model of a young boy holding a hat of flowers
accentuated in blue, circa 1780, incised number 36 to base, 14.5cm high
80
120
366
A Bow porcelain figure of Columbine, c.1760-65, seated on a low stump and
playing the hurdy-gurdy, on a pink scrolled base, 15cm high and a further
Bow figure of a male gathering grapes, possibly representing Autumn from
the Four Seasons, on flat green and pink base, 13cm high (restored) (2)
120
180
367
An 19th century porcelain figure of Ceres representing 'Earth' from the Four
Elements Series, in yellow gown, holding a cornucopia and proffering a fruit,
a recumbent lion at her feet, on floral base, 19cm high (a.f)
120
180
368
A Chelsea porcelain figure of a female shepherdess, circa 1765, modelled
standing with a lamb at her feet, ex RFB collection label, 23.5cm high (a.f)
150
250
369
A Derby porcelain figure of a male Turk, circa 1770, standing wearing a
turban on a green and gilt lined base, unmarked, 21cm high (restored hand
and neck)
70
100
370
A pair of Chelsea-Derby bocage figural candlestick groups, circa 1765, the
female seated beside a lamp, the male beside a hound, both dressed in gilt
and hand painted attire with raised blue and gilt rococo scroll bases,
unmarked, 16cm high (2)
250
450
371
A Bow porcelain model of Columbine from the Commedia Dell'Arte series,
circa 1760, 13cm high (arm and hand restored)
A Bow porcelain figure of Neptune, emblematic of Water, circa 1760,
modelled standing holding a jar issuing water above a stylised dolphin, the
figure scantily clad on a rocky mound base, 20cm high (a.f)
150
200
150
200
373
A Derby porcelain figure of a seated lady holding sheet music, circa 1760-65,
13.5cm high, together with a Derby porcelain model of a red squirrel and a
Derby porcelain model of a lady holding flowers (3) (a.f)
100
150
374
A Derby figure of Aesculapius, master model probably modelled by John
150
Charles Felix Rossi (RA), c.1790, painted with enamels and gilded, of bearded
form, leaning on a club and with a scroll in his right hand, incised marks,
18cm high
250
375
A Bow porcelain figure of Columbine seated holding a basket of fruit, circa
1755, 13cm high (repaired, a.f)
A Plymouth porcelain figure of a girl holding a banjo, circa 1770, 17cm high
(head re-glued)
80
120
80
120
372
376
377
A Bow figure of a milkmaid, circa 1754 (damages, repairs) Provenance:
150
Original purchase price £85 in 1959, complete with original receipt from H.R.
Marden King of Winchester.
200
378
An early Derby porcelain figure of a girl draped with flowers, circa 1755/60,
paper label for H.R. Marden King of Kingsworthy, Winchester, 14.5cm high
200
300
379
A Chelsea-Derby porcelain figure of a woman with a basket of grapes, circa
1780, 17.5cm high (restored neck and fingers)
A pair of Staffordshire pearlware figure of Jobson and Nell, circa 1800-1820,
on marbled bases, 17.5cm high (minor damages)
No lot.
Steam Train Interest; A Staffordshire blue and white earthenware mug
transfer-printed with the steam train 'Jaco' pulling two carriages and a
flatback truck, circa 1850-60, 10.5cm high
50
70
100
150
0
70
0
100
380
381
382
383
A prattware figure emblematic of 'Winter', circa 1800, 21cm high (base
100
repaired) Literature: Similar piece illustrated page 257, 'Pratt Ware', by J & G
Lewis.
150
384
385
A Staffordshire pearlware figure of Venus, circa 1810, 22cm high
60
A Staffordshire figural group of 'Contest', early 19th century, 18cm high (a.f, 50
restored/repainted base) Literature: Myrna Schkolne, 'People, Passions,
Pastimes and Pleasures. Staffordshire Figures 1810-35' references the figure
on page 10, the inspiration for 'Contest' perhaps being an European source.
These figures were perhaps sold as a set of 'Friendship, Tenderness, Contest,
Scuffle', though they are often sold individually.
80
70
386
A Staffordshire pearlware figural group of 'Friendship' attributed to Ralph
50
Wood, circa 1800, titled to the base, 18cm high (bocage repaired) Literature:
A similar illustrated at The Miriam and Ira D. Wallach Division of Art, Prints
and Photographs: Art & Architecture Collection, The New York Public Library.
''154. Ralph Wood group, two boys hand in hand; on front of base
''Friendship'' in red letters. H. 6''; 158. (New York Public Library Digital
Collections)
70
387
A Staffordshire pearlware 'Sherratt-type' figure of the 'Reading Maiden', circa 100
1820, 23.5cm high (bocage missing), together with a further smaller mid-late
19th century example of a similar subject, 8cm high (2) An initiative at the
forefront of English society at this time was the idea of education and
introducing literacy 'to the masses'. As such, a range of figures were
produced which depicted people reading, as demonstrated here.
150
388
A prattware 'Bracket Clock' watch holder, circa 1820, 17.5cm high (chipped,
finial restored)
Two Staffordshire bocage models of sheep, circa 1800-1820, the taller ewe
model also with a young lamb on a rocky base and impressed 'Walton' to
verso, 16.5cm and 12cm high (2)
60
80
100
150
389
390
60
80
60
80
60
80
50
80
120
180
395
A pair of mid-19th century Staffordshire pottery jugs, perhaps Elsmore and
100
Forster, transfer-printed in black all around with assorted figures fighting
and celebrating, unmarked, tallest 14.5cm high and a similarly decorated twin
handled frog mug with two frogs, 12cm high (3)
150
396
A 19th century rectangular Prattware plaque decorated in relief with pair of
mythical creatures or satyrs sat with a hunting spear, unmarked, 13.5cm
wide
80
120
397
An early 19th century oval Prattware plaque decorated in relief with a
brunette maiden holding a green laurel within a brown and green sawtooth
border, unmarked, 12cm wide
70
200
398
A rectangular Prattware plaque depicting Prometheus chained to a rock
being attacked by an eagle, circa 1800, unmarked, 19cm wide
A pair of Staffordshire spill vase groups as male and female milking cows,
19th century, 16cm high and another slightly taller example as a female
milking a cow, unmarked, 18cm high (3)
150
250
60
80
391
392
393
394
399
An English creamware model of a recumbent lamb, circa 1760-80, 13cm wide
(professionally restored)
A Staffordshire bocage model of St. Matthew, circa 1820, standing holding a
halberd, titled base, 19cm high (restored)
A titled Staffordshire pearlware figural group of 'Pastime' musicians, circa
1800, 18.5cm high
A Staffordshire model of two Royal Children, 19th century, each holding flags
on raised base, 15.5cm high
Two late 18th century green glazed child's cradles, 13cm and 13.5cm long,
with a further polychrome child's cradle with sleeping child, 8.5cm long (3)
Models of empty cradles of this kind were often given as wedding gifts,
hinting that the newly weds were expected to fill it in due course.
400
A Staffordshire model of Chang and Eng Bunker the Chinese Siamese Twins 80
below an arbour, circa 1860, (arbour re-stuck), 29cm high Chang and Eng
Bunker, conjoined twins from Siam (now Thailand), came to the U.S. in 1829
and toured the nation and the world over the next four decades. Born in 1811
of Chinese parents, the twins were successful entrepreneurs in Siam before
the Scottish merchant Robert Hunter took them on a world tour. The figure
is a slight curiosity; though definitively described as being the Bunker twins,
the figures in this group are almost certainly female when the twins were
most definitely male! The figure clad in what appears to be tartan is also
holding some form of instrument, which is more suggestive of a circus than a
'freak show' environment. Not only this, but on their tours the twins were
dressed in simple loin cloths so as to 'show off' their deformities, so to see
them fully dressed in female clothing would be quite an anomaly. A
'blackface' version of this figure also exists which further adds to confusion.
Literature: Illustrated in Gordon Pugh's Staffordshire Portrait Figures in Fig.
58.
120
401
A Derbyshire salt glazed stoneware flatback model of a recumbent lion, circa 70
1830-50, 11.5cm high and a Derbyshire salt glazed pale brown inkwell with
applied relief floral sprigs, circa 1820-40, 7.5cm diameter (2)
100
402
A Sunderland 'Sailor's Return' pink lustre earthenware jug, circa 1854-56, the 70
enamelled print flanked by a maritime verse, unmarked, 13.5cm high Images
of 'the Sailor's Farewell and Happy Return', popular from the mid-18th
Century in engravings or on ceramic plaques as well as on jugs and bowls,
were used as a mark of patriotism during the Crimean War. A contemporary
account records that 'The Sailor's Farewell', hung on the wall when the sailor
left shore, would be swapped for 'Return' when he came safely home.
100
403
An early 19th century prattware jug painted with simple ochre, green and
blue banding, 12.5cm high
A Leeds creamware hunting jug, late 18th/early 19th century decorated in
relief with figures, impressed Leeds Pottery, 14cm high (base crack)
60
80
50
70
405
A Sunderland Crimean War related mug, 'The Flag That's Braved a Thousand 60
Years, The Battle and the Breeze', 19th century, 8.5cm high, together with the
source print by J. Fairburn of London, 110 Minories Street, (framed), 27cm x
22cm (2)
80
406
Three English pearlware silver lustre jugs, early 19th century, one named and 100
dated 'Hannah Ivens, 1813' and decorated with birds, the second two with
flowers, tallest 13.5cm high (one foliate example chipped, cracked) (3)
150
404
407
Three mid-19th century English pearlware jugs, the first enamelled with
parrots within silver lustre decoration, 14.5cm high, the second a similar
example with additional bright enamels, 13.6cm high and the third transferprinted in yellow chinoiserie against a brown ground (alternatively known as
'Portobello' ware), 14.5cm high (3)
80
120
408
A 19th century English creamware mug enalled with the verse, 'All true
lovers of the Barrel Drink your ale and never quarrel', 12.5cm high and a
further 19th century Staffordshire frog mug transfer-printed and enamelled
with a scene of fruit picking and young ladies on a swing within garden
setting, 10.5cm high (the frog's head raised to create a gurgling sound when
the drink was almost finished) (2)
70
100
409
A prattware stag spill vase group, naively modelled, circa 1800, 11.5cm high
(left hand branch repaired) Provenance: Sampson and Horne paper labels.
120
180
410
A Staffordshire spill vase model group of a boy seated in front of a tree trunk, 100
circa 1830, featuring a bird atop of the branches and a hound by his feet,
20.5cm high (restored)
150
411
Two early 19th century Sunderland lustre religious plaques, 'God is Love' and 70
'Prepare to Meet Thy God', 22cm and 24cm wide
An early 19th century pearlware toby jug, typically modelled (repaired chip to 100
hat), a late 19th century Staffordshire Policeman pepperpot, 15.5cm high and
a further Victorian Staffordshire model of a snuff taker, 13cm high (3)
100
413
Maritime interest; A creamware frog mug, circa 1820, decorated in
polychrome with a vessel flanked by male and female figures, 14.5cm high
120
180
414
A pair of Staffordshire milkmaid cow creamers, circa 1860, lacking stoppers, 150
13cm high (2)
A mid 19th Century Elsmore and Forster puzzle jug decorated with scenes of 80
Grimaldi the Clown and cock fighting scenes each titled beneath - A Set Too,
A Knock down Blow and The Death with A. Griffiths, 18764 in puce script
below the spout, unmarked, height 22cm
200
A 19th century Staffordshire canary yellow spill vase painted with flowers,
50
12cm high
A 19th century Nottingham salt glazed stoneware jug with an armorial coat of 70
arms, 15.5cm high and a brown salt glazed stoneware tureen and cover,
16cm wide (2)
80
A Minton part topopgraphical dessert service, circa 1874, the landscape
150
vignettes within turquoise and gilt borders, comprising comport, 12.3cm high
(now in two pieces) and five dessert plates, painted pattern number G1849
and impressed marks, 24cm diameter (6)
250
412
415
416
417
418
150
120
100
419
A Copeland Spode child's tea service in an animal pattern, comprising six
cups, six saucers, six side plates, teapot and cover, slop bowl, a pair of cake
plates, cream jug and teapot and cover (25)
150
200
420
A framed rectangular Wedgwood black jasperware plaque decorated with
four putto seated beside a tree, 19th century, overall size including frame
38.5cm wide x 29.5cm
80
120
421
A pair of monumental twin handled Copeland and Garrett vases painted with
an assembly of flowers against a yellow ground, circa 1840, brown printed
mark, 44cm high (2)
2500
3000
422
A pair of Minton porcelain plaques signed L.G. Boullemier, painted in pale
enamels with frolicking putto, one with caduceus scattering cards, the other
playing pan-pipes to birds, framed, 19cm max. approx. (2)
850
900
423
A pair of Derby porcelain mansion house dwarves, 19th century, painted red
mark, 16.5cm high (2)
A Derby porter mug painted with a rectangular named view titled 'In Italy'
within floral gilt reserves, circa 1800-15, possibly painted by George
Robinson, painted iron red mark, 14cm diameter and 13.5cm high See The
V&A's Collection number C.226-1986 for a similar plate titled with the same
name also attributed to Robinson.
180
200
160
180
425
A rare and unique Coalport teaplate circa 1926, of simple white fluted form
200
with important documentary inscription of it being the very last tea plate to be
fired at the Coalport factory kiln, inscribed 'Bisque Foreman W.H Owen, Glaze
Foreman E. Oakes, Made by W. Wotton, last 7'' plate Made at Coalport
24:4:26', green printed mark, 19cm diameter
250
426
A Minton porcelain floral and apple green dessert service, pattern 5329, mid- 80
20th century, comprising a pair of rectangular dishes, pair of oval dishes and
twelve plates, printed mark (16)
120
427
A Coalport cabinet plate of 'Loch Lummel' painted by E. O Ball within a canary 60
yellow and relief work gilt rim, signed, titled to verso, printed factory mark,
indistinct pattern number, 22.5cm diameter
80
428
A part service of five John Rose, Coalport 'Improved Felt Spar' porcelain
250
plates and a matching rectangular dish painted with flowers and gilded
sprays within moulded grape and vine edges, printed red Society of Arts
Mark, the plates 20.5cm diameter, the dish 24cm wide (some wear to gilding)
300
429
A set of twelve Coalport cobalt blue and florally painted dessert plates with
250
three Coalport blue batwing twin-handled dishes, printed marks, late
19th/early 20th century, the plates 22.5cm diameter, the twin handled dishes
27.5cm diameter, the dessert plates pattern X2219 (15)
300
424
430
A pair of Flight Barr & Barr (Worcester) porcelain 'Warwick' vases, circa 1825, 10000
with gilt handles and stylised foliate terminals and encircling band of beading
beneath the enamelled rectangular panels depicting a group of peacocks to
one side and landscapes to the other, each titled, reserved against a claret
ground, full script mark and captions, 32cm high (2)
12000
431
A mythological Berlin (KPM) rectangular porcelain plaque depicting Apollo
and 'Galathe' (sic), 19th century, framed, plaque size 30cm x 23cm high,
impressed mark and title verso, overall size including frame 45cm wide x
38.5cm high
2000
432
A late 19th century Vienna enamel and ebonised miniature table cabinet, with 300
bronze mounts, the pair of doors decorated with 18th century style male and
female figures, enclosing two drawers with further painted landscape panels,
similar decoration to further panels all around, 15.5cm high, 12cm wide and
10cm deep (one rear enamel panel damaged)
500
433
A Vienna porcelain cabaret coffee service painted with Greek Classical
1500
scenes, each piece individually tited, 19th century, comprising large oval tray,
two coffee cans and saucers, sucrier and cover, milk jug and cover and hot
water jug and cover, printed beehive mark (11)
2000
434
A Meissen style model of a Turkish Musician, 19th century, after a figure
60
modelled by Peter Reinecke in 1745, modelled standing holding a guitar
beneath his arm and wearing a turban, a white jacket over gilt tunic and black
trousers, unmarked, 17cm high (restored) The figure of the Turk is based
upon the engraving of 'Le Turc Amoureux' by Georg Friedrich Schmidt (171275), after a painting of around 1730 by Nicholas Lancret (1690-1743). The
Meissen model is illustrated in R. Rückert, Meissener Porzellan (1966), no.
956, where he mentions that it was first referred to in the Meissen records in
1744.
80
435
A Zurich porcelain Peasant model group, circa 1780-1800, depicting an
elderly female nurse cradling a young child, seated upon a green barrel,
unmarked, probable mark a faint incised Z, 8.5cm high (foot repaired, hand
broken, top of cap repainted) Provenance: Sold together with the original
purchase receipt for £26 in 1958 from H.R Marden King of Winchester.
150
436
A Samson porcelain figure of America, 19th century and after Derby,
60
modelled as an adult female stood upon a caiman or alligator with one hand
aloft, a dagger in the opposing hand, mark in red, 19cm high (one of the Four
Quarters of the Globe series) A series of adult models of the Four Quarters of
the Globe was first created by Kändler at Meissen around 1745.
80
437
A large Gien polychrome faience vase decorated in the Renaissance manner, 250
signed, 71cm high
350
1500
100
438
A Meissen porcelain cup and saucer commemorating the wedding of Prince
Albert and Queen Victoria, underglaze blue crossed swords mark, cup 10cm
high, saucer 17.5cm diameter (2) (cup chipped)
300
500
439
A Meissen style model of a guinea fowl, probably Paris, 19th century, crossed 700
sword marks in blue to the rear of the naturalistic base, 39cm high
800
440
A large and impressive Meissen porcelain clock & stand, of bombe outline
applied with Diana and cupids beneath a vase finial, the whole painted and
encrusted with applied flowers, blue crosses swords mark
6500
7000
441
A pair of Vienna porcelain ice pails, covers and liners, early 19th century,
painted with decoration of cornflowers and trailing green vine, the bowl
supported by three paw feet, underglaze blue shield mark, overall height
44cm (2)
2200
2500
442
A large pair of Berlin porcelain vases and covers, 19th century, of two handled 2000
urn form decorated with vignettes of dancing figures in landscapes floral
spray verso, with a moulded serpent border to the base and richly gilded
fluted feet and shoulders, domed covers with bud finials, red printed KPM
with orb and underglaze blue sceptre marks, 43cm high (2)
2200
443
A KPM Berlin porcelain oval plaque painted with two young girls in white
1200
dresses with multicoloured sashes, 19th century, impressed letters KPM
below sceptre mark verso, 21cm high x 16.5cm wide, in a Florentine giltwood
frame, overall height 40cm
1500
444
A Samson figure of Mars, circa 1900, modelled in traditional pose with a
shield and holding the hilt of his sword, on naturalistic green base, factory
mark in red, 18cm high
60
80
445
A pair of Meissen figural four-branch candelabra modelled by E.A. Leuteritz,
19th century, with scantily clad putti emblematic of Spring and Summer and
of Autumn and Winter respectively, both on flower encrusted scrolling
supports on four feet
1600
1800
446
A Sitzendorf porcelain figure of a female flower seller, underglaze blue
factory mark, 19th century, 34cm high
A pair of Meissen candelabra, 19th century, each with three branches and a
central sconce supported by figures depicting the Four Seasons, underglaze
blue factory marks, incised 128 and 129, 49cm high
70
100
600
800
448
A Vienna porcelain cabinet plate, circa 1900, entitled 'Hector' verso, painted
with a scene of Hector, Helen and Paris, blue printed beehive mark, 24cm
diameter
100
150
449
John Skeaping for Wedgwood, a moonstone white model of a standing duiker 60
(or deer), a later reissue model, 21cm high
447
80
450
A Shelley (late Foley) 'Intarsio' design mantel clock designed by Frederick
Rhead, circa 1900-1910, 24.5cm high (cracked), and a pair of Shelley (late
Foley) 'Intarsio' design twin handled vases, 19cm high (handles repaired) (3)
100
150
451
A Royal Doulton flambe fox and a Royal Doulton flambe fish, printed factory
marks, tallest 32cm high
A pair of Royal Worcester vases painted with a banding of fruit by F. Roberts,
shape H302, signed, printed marks, 17cm high (2)
A Royal Worcester fruit-painted pot pourri jar and cover painted by Leaman,
signed, shape 1286, signed, printed factory mark in black, 18.5cm high (2)
200
300
200
300
150
200
454
A pair of Royal Worcester fruit-painted vases with reticulated upper rims,
shape G42, signed in green, black printed marks, 14.5cm high (2)
200
300
455
A Wedgwood 'Dragon Lustre' vase, circa 1915, pattern Z4829, printed mark,
23cm high
A Moorcroft Macintyre florian ware teapot, cover and stand tubelined with
blue poppies, printed marks, 13.5cm high overall
A Moorcroft Macintyre Florian ware hot water jug and coffee pot with cover,
tubelined with decoration of blue poppies, printed marks including retailers
mark 'Made for Twiss Bros, Ilfracombe', 15.5cm high (slight restoration) (2)
100
150
250
350
200
300
458
A Charles Noke and F. Allen for Royal Doulton 'Sung' high shouldered flambe 200
vase, circa 1920-30, printed mark, signed, 17.5cm high
300
459
A Royal Crown Derby 'Asian Rose' service, pattern number 8687 (factory
seconds) and a Royal Crown Derby Imari cake stand in original box
200
250
460
A Goldscheider polychrome earthenware figure designed by Lorenzl, circa
1930, printed marks and number 6693, 228 and 6, 19.5cm high (very small
surface chips)
200
250
461
A large Martin Brothers stoneware gourd vase by Edwin & Walter Martin,
dated 1898, shouldered form, painted black spots on a pale grey ground,
signed Martin Bros, London, 28cm. high
1200
1800
452
453
456
457
462
A Minton secessionist vase designed by Léon Solon and John Wadsworth,
80
circa 1900, tubelined in light brown and turquoise, printed marks including
'No.42', 13cm high Anglosia or Secessionist ware as it came to be known was
a widely produced type of pottery which falls under the loose descriptive term
of 'Art Nouveau'. An exhibition of the Secession had been held in Vienna in
1898, and Minton's own bold adoption of the name came as part of a move to
be identified in the public mind as a part of this progressive European
movement of design. Ironically, Minton's 'Secessionist' ware follows little in
form from its European counterparts. Instead, an influence from the Glasgow
School of Arts and Arts and Crafts takes precedence beyond the continental
Art Nouveau from which they took their name.
100
463
A Moorcroft green ground vase in the 'Anemone' pattern, circa 1953-78,
paper label and impressed marks alongside painted signature, 19.5cm high
80
120
464
465
A very large Doulton Lambeth chemical storage jar and cover
A cased Royal Worcester tea service comprising six cups and six saucers
decorated with a single green band and gilt scrolling foliage, dated 1911,
pattern C4522
40
60
60
80
466
A Wedgwood black basalt bowl designed by Keith Murray, red printed and
impressed marks, 16.5cm diameter (water staining around the upper rim)
100
150
467
A Royal Worcester ewer painted with a central circular panel of fruits within a 450
pale enamel and magnolia ground, the panel signed H. Price, dated 1918,
shape 2711, printed factory mark, 25cm high
500
468
A Royal Worcester bowl painted with flowering blackberries by Kitty Blake,
signed, printed factory mark, 23cm diameter
A Royal Worcester figure of 'The Bather Surprised', gilded and with deep blue
drapery, shape 486, dated 1921, 37.5cm high
A Royal Worcester twin handled vase painted with Hadley style roses signed
by M.E Eaton, shape H/193, 19.5cm high
A small pair of Royal Worcester powder blue vases painted with panels of
fruit, shape 2491, one signed D. Cresse, dated 1938, printed mark, 10cm high
(2)
450
500
750
800
450
500
400
450
472
A Royal Worcester porcelain powder bowl & cover, signed R. Sebright,
painted with fruit within a bright green border gilded with foliate palmette,
shape no. 2513, puce mark and date code for 1913, 15cm diameter
650
700
473
A Royal Worcester teapot and cover painted with South African Flowers,
signed K.A, printed factory mark, titled 'Erica Plukenetii', 11.5cm high
250
300
474
A Royal Worcester fruit painted teapot and cover signed P. Platt, pale yellow
ground and floral blossom finial to the cover, gold printed mark, 15cm high
380
420
469
470
471
475
A Royal Worcester pot pourri vase and cover painted with Hadley roses by J. 500
Lander, shape 1286, printed factory mark, 20cm high
A Christian Dior Dinner 'Gaudron Malachite Green' service, comprising coffee 1200
cups, saucers, side plates, soup bowls, dinner plates and two tureens and
covers (sample pictured)
500
477
A pair of Royal Worcester vases and covers painted with central panels of
fruit by E. Townsend and C. Geese against powder blue grounds, printed
factory marks, 21cm high (one restored)
650
700
478
A Royal Worcester pot pourri vase and cover painted with Hadley style roses, 350
shape H219, 16cm high
A rare Royal Worcester porcelain pot pourri vase and cover, signed H.George, 700
unusually decorated with a figure in a Mediterranean lake landscape with
mountains beyond in bright enamels, shape no H291, 16cm high
400
Three Coalport porcelain cane handles and a Coalport porcelain knife grip,
100
late 19th century
A collection of miniature cups and saucers including Indian Tree and a larger 100
Coalport claret batwing coffee cup and saucer (25) (sample pictured)
150
482
A Moorcroft vase in the Strawberry Thief pattern designed by Rachel Bishop
in 1996, printed factory mark, 7/7'', boxed Original purchase price £199.
80
120
483
A Moorcroft Mamoura pattern plate designed by Sally Tuffin in 1997, a
numbered edition of which this is 86, printed factory mark, 8/6'', boxed
Original purchase price £121.
50
80
484
A Moorcroft Martinique pattern vase designed by Jeanne McDougal in 1998, a 150
numbered edition of which this is 86, 8/6'', boxed Original purchase price was
£410.
200
485
A Moorcroft Wisteria pattern vase designed by Philip Gibson, only available to 80
members of the Moorcroft Collectors' Club, a numbered edition of which this
is 153,
120
486
A Moorcroft Flame of the Forest vase designed by Philip Gibson in 1999,
102/5'', boxed Original purchase price £243
A Moorcroft vase in the Woodside Farm pattern designed by Anji Davenport in
2000, 102/5'', boxed Original purchase price £256.
No lot.
A Moorcroft ginger jar and cover in the Anna Lily pattern designed by Nicola
Slaney in 2000, 796/6'', boxed
A Moorcroft Cavendish pattern ginger jar and cover designed by Philip Gibson
in 2002, produced for the Moorcroft Collectors' Club event at Chatsworth in
2001, a limited edition of just 300 of which is this 56, 769/6'', boxed original
purchase price was £310.
80
120
150
200
0
100
0
150
100
150
A Moorcroft vase in the Savannah pattern designed by Emma Bossons in
2002, a limited edition 54 of 500, 120/9'', boxed
80
120
476
479
480
481
487
488
489
490
491
1500
900
150
492
A Moorcroft ginger jar and cover in the Poinsettia pattern designed by Sandra 70
Dance in 2002, produced for the Collectors' Club Christmas Weekend, 796/4'',
boxed
100
493
A Moorcroft ginger jar and cover in the Othello pattern designed by Rachel
Bishop in 2005, a limited edition 234 of 250, the design produced exclusively
for B&W Thornton of Stratford upon Avon, as part of the Shakespeare range,
769/6'', boxed Original purchase price was £395.
200
494
A Moorcroft coaster in the Evening Sky pattern designed by Emma Bossons in 40
2006, 780/4'', boxed
A Moorcroft vase in the Juneberry pattern designed by Anji Davenport in 2009, 50
32/5'', boxed Original purchase price of £135.
A collection of Moorcroft catalogues, greetings cards and Moorcroft books,
50
including catalogues 1999-2009 and price lists, 2011 catalogue, 1999 enamels
catalogue, 2010/11 and 2011/12 lamp catalogues (15 total), Circle of Life 2011
and 2012 Second Chance Catalogues, a quantity of leaflets, 63 blank cards
with envelopes, various designs, four boxes containing one card example of
Moorcroft Christmas cards, a quantity of other cards, Collectors' Club
membership cards, 'The Phoenix Years' by Fraser Street, 1997 and 'Winds of
Change' by Fraser Street etc (qty)
60
497
A ceramic poppy designed by Paul Cummins for the Tower of London display, 80
with a certificate of authenticity and original box, together with a Special
Forces print (In the Mouth of Hell) with certificate of authenticity, numbered
36/350
120
498
A Shelley lustre vase in the Mikado pattern vase by Walter Slater, circa 1920,
printed factory mark and facsimile signature, 37.5cm high
600
800
499
A Shelley lustre bowl designed by Walter Slater, circa 1920, printed factory
mark and facsimile signature, 30.5cm diameter
A Martin Brothers stoneware four-sided leaf vase, indistinctly dated, incised
signature, 23.5cm high
A group of three Wedgwood lustre decorative wares comprising a mother of
pearl ground 'Butterfly' vase, 22.5cm high, a similar octagonal bowl, pattern
Z4832, 18.5cm diameter and a mottled blue and green dragon lustre
miniature bowl, 7.2cm diameter, printed marks (3)
100
150
300
400
200
300
A Royal Copenhagen model of a lioness, model number 804, printed factory
mark, 31cm long
An Art Deco Susie Cooper for Gray's Pottery coffee service hand-painted in
vibrant colours and Art Deco shapes, comprising coffee pot and cover, squat
cream jug, sugar bowl, six coffee cans and six saucers, printed factory mark
(16) (coffee pot cover damaged)
150
250
600
800
495
496
500
501
502
503
150
80
70
504
A collection of Royal Copenhagen comprising a Fawn on a pedestal with a
250
Squirrel, model 456, 22cm high, a pair of models of a Fawn and a Rabbit and a
Fawn and a Goat, models 439 and 498, 14cm high, a model of a Pheasant,
model number, 1888, 19.5cm high, a small vase and a pair of pin dishes (7)
350
505
A collection of four assorted Victorian glass rolling pins, including two white
decalomania examples with assorted coloured prints, the longest example
41cm overall (4)
70
100
506
A group of four assorted late 19th century glass rolling pins decorated in red
and blue, longest 39cm
Nine assorted Nailsea and other glass rolling pins, including splatter glass
and a 'Forget-Me-Not' example, longest 47cm
Two contemporary Lalique amber crystal figures depicting a squirrel and a
rabbit (Cesar), circa 1993, (Cesar), etched Lalique, France marks, the tallest
13cm high (2)
100
150
300
500
80
120
509
A Ysart Scottish glass paperweight decorated with four flowers in yellow,
orange, pink and white against a green ground, circa 1930-40, 7cm diameter
100
150
510
A pair of Victorian clear glass table lustres, each with cut decoration and
shaped feet, 19.5cm high
A Baccarat close millefiori mushroom paperweight, 19th century, starcut
base, 7.6cm diameter
A Ioan Nemtoi hand-blown glass vase (Botosani, Romania, Contemporary),
the red and green vase with a marbled effect created using layers of molten
glass, signed 'Nemtoi', 25cm high
100
150
200
300
100
150
A group of four Nailsea tear drop glass flasks, 19th century, the longest 32cm 150
overall (4)
Four 19th century Nailsea lamp work glass frigates, under glass domes, one 200
with most unusual glass sails (4)
Two green trailed glass decanters, perhaps Webb or Stevens and Williams,
70
each with Birmingham silver collars dated 1907, tallest 21.5cm (lacking
stoppers) (2)
200
516
517
518
519
520
No lot.
No lot.
No lot.
No lot
A large South East Asian glazed stoneware storage jar, 15th/16th Century, of
ovoid form with loops applied to the shoulder and incised with bands of wavy
lines under a green glaze, 54cm high.
0
0
0
0
100
0
0
0
0
200
521
A Chinese Longquan celadon vase, probably Ming Dynasty, of ovoid form with 400
everted rim, incised with scrolling flowers and foliage and covered in a sea
green glaze, 36cm high.
600
507
508
511
512
513
514
515
300
100
522
A Chinese blue and white dish, early 19th Century, of circular shape and
decorated with Shou Lao and other immortals within a repeating border of
bats, 25cm dia., together with a teapot and cover of cylindrical shape and
decorate with figures in a garden, 12.5cm high. Provenance: Dr H.A.Fawcett
collection, thence by descent to the vendor. (See lot 601 for further details)
100
150
523
A large pair of Chinese blue and white jars and covers, 20th Century, of ovoid 600
form, the domed covers surmounted with dogs of Fo, decorated in the Ming
style with fish swimming amid marine foliage, 60cm high.
800
524
A large pair of Chinese blue and white vases and covers, 20th Century, of
baluster form, the domed covers with lion dog finials, decorated with
scattered precious objects and taoist symbols, 55cm high.
200
300
525
A Chinese blue and white ginger jar, 18th Century, of typical ovoid form and
decorated with stylised flowers and scrolling foliage, replacement turned
wood cover, 19cm high.
80
120
526
A Chinese blue and white vase, possibly Kangxi, of ovoid form and decorated
with figures at leisure in a landscape, 19cm high.
A Chinese blue and white bottle vase, Yongzheng six-character but 20th
Century, decorated with a repeating pattern of lotus, peaches and bats,
25.5cm high.
150
200
80
120
528
Two Chinese blue and white dishes, Qianlong, of canted oblong shape, each
decorated with a similar riverscape and bridge pattern, 24.5 and 25.5cm
across (2)
80
120
529
A Chinese blue and white punch bowl, Qianlong, of plain rounded form and
decorated with birds amid flowering prunus and leafy bamboo branches,
conforming decoration inside, 30.4cm dia. (repaired).
150
250
530
A Chinese blue and white bowl, Ming Dynasty, of inverted bell form raised on
a slightly tapering foot ring, decorated with flowers and scrolling foliage,
15cm diam.
80
120
531
A Chinese blue and white jar, 19th Century, of typical ovoid form and
decorated with a wrythen five-clawed dragon chasing a flaming pearl amid
clouds, 25cm high (lacking cover).
200
400
532
Two Chinese blue and white vases and covers, 19th Century, of similar ovoid
form with domed covers surmounted by lion-dogs, each decorated with a
version of the prunus pattern, both with Kangxi four-character marks, 37cm
high.
200
300
533
A pair of Chinese blue and white guan-type vases, late Qing Dynasty, of
100
baluster form with mask handles, decorated with a scene of two figures in
combat with swords between faux bronze bands, all over a fine crackle glaze,
24.5cm high.
150
527
534
A pair of Chinese blue and white moon flasks, 19th Century, of typical form
with dragon handles at the shoulder, decorated with lion-dogs chasing balls
and ribbons, 14.5cm high (one at fault).
100
535
A Chinese blue and white bowl, Qing Dynasty, of plain rounded form raised on 80
a straight foot ring, decorated with auspicious flowers amid scrolling lotus
foliage, 20cm dia.
120
536
A Chinese blue and white Rouleau vase, 20th Century, decorated with
pheasants on a rocky outcrop with other birds in flight around flowering
branches, 46cm high.
150
200
537
A large Chinese famille verte bottle vase, Qinalong four-character mark but
probably later, of pear form with slender drawn neck, decorated in colours
with dragons and kylin against a ground of iron red waves between complex
cell borders, 61cm high.
3000
5000
538
A pair of Chinese Canton famille rose vases, 19th Century, of ovoid form with 300
lobed everted rims, twin lion dog handles and applied dragons to the
shoulders picked out in gilt, the bodies decorated with panels of dignitaries
and attendants in palace interiors, surrounded by flowers, foliage and
auspicious objects, 43cm high.
500
539
A pair of Chinese famille rose export dishes, early 19th Century, of ogee
150
profile and painted in colours with a scene of high-born figures at leisure
within 'oeil de perdrix' and flower panel borders, 21.5cm dia. (2) Provenance:
Dr H.A.Fawcett collection, thence by descent to the vendor.
250
540
A Chinese porcelain brush pot, four-character Qianlong mark but later, of
cylindrical form and painted in muted colours with Shou Lao with attendant
figures and symbols of immortality, 12.5cm high (hairline). Provenance: Dr
H.A.Fawcett collection, thence by descent to the vendor.
200
300
541
A large Chinese famille rose coral-red ground vase, 19th Century, of baluster 500
form with lobed rim, twin lion-dog handles and applied lizards to the
shoulder, finely painted with lotus flowers issuing scrolling foliage, peaches
and bats with shou symbols against a coral red ground above a lappet basal
border, 62.5cm high.
700
542
A pair of Chinese Canton famille rose chargers, 19th Century, finely painted in 300
colours with scenes of courtly figures in a palace, the rims with tigers,
dragons, flowers and auspicious objects, 37cm dia. (2)
400
543
A Chinese powder blue ground famille rose vase, Qianlong seal mark but
700
later, of ovoid form and finely painted in colours with Guanyin amid lotus
plants, she pours healing water from a small vase and holds a sheaf of rice in
her other hand while an acolyte watches, all against a powder blue ground,
the interior and base in turquoise, 36cm high.
1000
544
A pair of Chinese famille rose plates, Qianlong, of plain circular shape and
painted in colours with peonies and other wild flowers, 23.5cm diam. (2)
120
80
150
545
A Chinese famille rose porcelain 'Chicken' cup, Qianlong seal mark and
800
probably of the period, of inverted bell form and painted in colours with a boy
in a rocky garden feeding a chicken, a seventeen line inscription to the
reverse, 8.7cm high. Footnote: Bearing a gummed paper label for Eskenazi,
London.
1200
546
A large Chinese Canton famille rose punch bowl, 19th Century, of rounded
form with turned-out rim, painted in colours with courtly figures in a palace
and gardens, the rim with bats, peaches, flowers and birds, 45.5cm dia.
1000
1500
547
A pair of Chinese Canton famille rose bottle vases, 19th Century, decorated
with typical scenes of figures in interiors, 24.5cm high.
A large Chinese celadon famille rose vase, 19th Century, of ovoid form with
everted rim and twin gilt crane bird handles, painted in colours with profuse
lotus and other flowers, auspicious objects and mythical beasts all against a
celadon green glaze, 59.5cm high (restored).
80
120
200
300
549
A Chinese soft paste famille verte style vase, late Qing/early Republic period, 150
of amphora shape and decorated with birds amid rocks and flowering
branches, over a fine crackle glaze, 42.5cm high.
250
550
A very large Chinese famille rose vase, Qianlong seal mark but Republic
200
period, of Gu form with twin scroll and ring handles, painted in colours with
shaped panels of figures in landscapes against a red brocade style ground of
flowers and foliage, the shoulder with a frieze phoenix birds amid clouds on a
turquoise ground, 43cm high.
400
551
A Chinese iron red dragon vase, Daoguang seal mark but probably later, of
globular form and decorated in iron red and gilt with dragons chasing a
flaming pearl amid clouds, 12.5cm high, 20cm diam.
150
250
552
A Chinese famille rose bottle vase, Qianlong seal mark but Republic period,
500
finely painted in puce raised enamels with scrolling lotus flowers and foliage
between leaf, key and lappet borders against a delicate pink ground incised
with scrolling graviata, 24.5cm high.
700
553
A Chinese armorial bowl, Qianlong, of rounded form raised on a slightly
700
tapered foot ring, painted in colours and gilt with the Anti-Gallican Society
arms to each side bearing the motto 'For Our Country', with flower sprays
between and a further flower spray to the interior, 19.5cm dia. Footnote: A
nearly identical bowl was sold at Bonhams New York rooms as part of the
Wannamaker-De Heeren Family Collection, 22 October 2008, lot 2111. The
Anti-Gallican society was formed in 1745 to promote British interests against
the influx of French goods and culture.
1000
554
A Chinese famille verte style rouleau vase, Kangxi mark but 19th Century,
200
decorated with a panel of an immortal seated on a rock with further shaped
panels of flora and fauna surrounded by flowers, foliage and butterflies, 44cm
high.
300
548
555
A Chinese famille rose 'chicken' cup and saucer, 19th Century, of fluted form 150
and painted in colours in the Yongzheng manner with a rooster amid peonies
and other flowers and foliage, cup 4cm high, saucer 11cm diam.
180
556
A Chinese famille rose teabowl and saucer, Qianlong, of plain rounded form, 80
painted in colours with flower sprays within gilt scroll borders, cup 5cm high,
saucer 14cm diam.
120
557
A Chinese Imari chocolate cup and cover, Qianlong, of beaker form, the
domed cover with cone finial, decorated in underglaze blue and enamel
colours with panels of flowers and foliage, 12cm high.
80
120
558
A pair of Chinese Canton famille rose vases, 19th Century, of lozenge form
with twin lion-dog handles, painted in colours with scenes of figures in
domestic settings within gilt fret borders and surrounded by scattered
precious objects, 31.5cm high.
680
720
559
A Chinese famille rose vase, late Qing Dynasty, of baluster form with mask
50
handles, painted in colours with scenes of martial arts contests, between faux
bronze bands against a guan-type crackle glaze, 23.5cm high.
80
560
A Chinese Canton famille rose vase, 19th Century, of ovoid form with everted 200
rim and twin gilt lion-dog handles, painted in colours with shaped panels of
courtly figures in interiors surounded by precious objects and auspicious
symbols, 34.5cm high.
300
561
A Chinese famille rose coral ground brush washer, Hongxian four-character 80
mark and of the period, of lobed square form raised on four bracket feet,
painted in colours with dragons and phoenix birds amid clouds against a coral
ground, 12.5cm across.
120
562
A Chinese famille rose porcelain tea caddy, Qianlong, of ovoid form raised on 50
a scroll moulded foot, painted in colours with figures at leisure within formal
gardens between puce diaper and panel borders, 10.5cm (lacking cover).
80
563
A large Chinese celadon famille rose vase, late Qing Dynasty, of pear form
100
and painted in colours with the eight taoist immortals amid clouds and waves,
against a sea-green celadon glaze, 42.5cm high.
150
564
A Chinese celadon glazed square vase, Cong, modelled after the archaic form 300
with ribs at each corner, all under a pale sea-green glaze stopping just short
of the foot rim, 26.5cm high.
500
565
A group of Chinese monochromes, Qing Dynasty, including a claire-de-lune
150
glazed ovoid vase, 13.5cm, a copper red glazed bottle vase, Xuande mark but
later, 13cm high, a fahua type turquoise glaze bottle vase, 19cm high, a small
celadon glazed bowl, 7cm diam. and a powder blue Gu vase, 11.5cm high. (5)
180
566
A Chinese miniature Guan-type vase, Qianlong seal mark and probably of the 300
period, of ovoid form with everted rim, covered with a very pale sea green
glaze suffused with a fine 'iron wire' crackle, 5.5cm high.
400
567
A pair of Chinese turquoise glazed guardian lions, Republic period, modelled 150
seated on plinth bases, one with front paw resting on a ball, the other resting
on a lion cub, 27.5cm high.
180
568
A Chinese powder blue vase, Qianlong seal mark but 20th Century, of gourd
shape and decorated with an all-over dark blue glaze, 24cm high.
200
300
569
A Chinese Yixing pottery figure, late Qing Dynasty, modelled as a Confucian
boy seated on a snarling lion-dog, 20cm high. Footnote: A Yixing figural
censer depicting a similar figure was sold in these rooms as part of The
Scholar's Table, 11 May 2016, lot 10.
150
180
570
571
572
573
574
575
No lot
No lot
No lot
No lot
No lot
A Chinese carved agate figure of a crane bird, Qing Dynasty, modelled
standing with head turned backwards, clutching a lingzhi mushroom in its
beak, set on a carved hardwood stand, 11cm high. Provenance: Dr
H.A.Fawcett collection, thence by descent to the vendor.
0
0
0
0
0
100
0
0
0
0
0
200
576
A Chinese deep green jade pendant, late Qing/Republic period, carved as a
peach, 4cm, together with a jade pendant of similar hue, carved in low relief
with a dragon, 3.5cm. (2)
80
120
577
A Chinese ink cake, of rectangular stick form, moulded to one side with a
figure of a monk, inscribed to the other with a six-character motto, possibly
translating as 'Build the Truth of the Page', 8.3cm.
60
80
578
A Chinese pale green and brown jade fish pendant, possibly Ming Dynasty,
300
modelled as a carp, 8cm long Provenance: Receipt from the China Trading
Company, Raffles Hotel, Singapore, dated 1991. Footnote: For a similar Ming
Dynasty jade carving of a carp, see Oscar Luzzatto-Bilitz Antique Jade, p.100,
fig.47
500
579
A Chinese mottled pale green jadeite pendant, Qing Dynasty, modelled as a
cluster of lotus pods and flowers with a frog nestling, 5cm.
500
700
580
A large mottled green and white jade vase, late Qing Dynasty, of ovoid form
200
with twin dragon handles, the body carved in relief with a dragon amid clouds
to one side and a phoenix bird amid clouds to the other, 33cm high.
300
581
A pair of Chinese brown-veined pale green jade ceremonial axes, 20th
300
Century, 23cm long.
A Chinese grey-green jade libation cup, Qing Dynasty, carved as a lotus flower 250
with buds and tendrils, with associated carved hardwood stand, 14cm across.
400
582
350
583
A Chinese jade figure of Shou Lao, late Qing/early Republic, modelled
250
standing and holding his staff and a peach, with carved hardwood stand, 19cm
high (22cm including stand).
350
584
A Chinese celadon jade vase and cover, late Qing Dynasty, of flattened ovoid
400
form with twin loop-and-ring handles, carved to each side with a dragon amid
clouds within a fret border, with hardwood stand, 23cm high (25.5cm
including stand).
600
585
A Chinese carved agate vase and cover, late Qing Dynasty, the grey-brown
stone of ovoid form and incised with archaistic forms, the back and sides
carved in relief with a deer and crane bird amid pine branches and lingzhi
mushrooms, set on a green agate rocky base, 22cm high.
300
400
586
A Chinese celadon jade archaistic beaker vase, Gu, late Qing Dynasty, of
compressed hexagonal section, incised with taoist symbols, the six edges
with crisply carved flanges, 18cm high.
300
400
587
A Chinese celadon green jade figure of Guanyin, late Qing/Republic period,
modelled standing and holding a lotus flower, a young deer behind her,
19.5cm high.
150
200
588
A Chinese pale celadon jade carving, late Qing Dynasty, modelled as a scholar 150
seated in a rocky mountain retreat, with carved hardwood base, 7.5cm (9.5cm
including stand).
200
589
A Chinese celadon jade figure of Guanyin, late Qing/Republic period, modelled 150
standing, 12cm high, together with a jadeite dog of Fo with carved hardwood
stand, 4cm high (6cm with stand).
200
590
A pair of Chinese jadeite vases and covers, late Qing/Republic period, of
200
compressed ovoid form and carved with exotic birds and flowering branches,
the covers surmounted with Buddhist boys, with associated hardwood stands,
14cm high (17.5cm including stands).
300
591
A near white celadon jade and hardwood table screen, 20th Century, of
200
rectangular form, the panel carved with two dragons chasing a flaming pearl,
set in an openwork hardwood frame and stand, 33cm high x 37cm wide.
300
592
A Chinese mottled green jadeite carving of cockerels, late 20th Century, the
birds carved one above the other perched on a rock with flowers and foliage,
set on a hardwood stand, 17cm high.
100
200
593
A mottled green jadeite boulder carving, late 20th Century, of square section
and carved with two figures of ancients approaching a mountain village amid
rocks and trees, set on a black painted wood stand, 18cm high.
200
300
594
A Chinese pale green russet veined jade pendant, Qing Dynasty, carved as a
cluster of lotus flowers and foliage, 6cm. Footnote: Property of Doris
Hansford, wife of the late Professor Sydney Howard Hansford, thence by
descent to the vendor. Hansford was a noted authority on Chinese Art and
Archaeology and author of several books on the study of Jade including
'Jade: Essence of Hills and Streams'.
200
300
595
A Chinese amethyst pendant, Qing Dynasty, carved as a peach supported by a 200
knotty branch, the associated silk knotted string with seed pearl and cloudy
amethyst bead decorations, 3.5cm. Footnote: Property of Doris Hansford,
wife of the late Professor Sydney Howard Hansford, thence by descent to the
vendor.
300
596
A pair of Chinese carved black mineral vases, Qing Dynasty, possibly slate, of 100
square section and worked with panels of lotus scrolls, raised on shaped
bracket feet, 19cm high.
150
597
A Chinese near white jade buckle, Qing Dynasty, of rectangular form with
slightly rounded ends, carved in relief with a dragon beneath a toatie mask,
5.5cm.
200
300
598
A Chinese dark green jade brush washer, Qing Dynasty, in the form of a lotus 200
flower with trailing buds, with carved hardwood stand, 10cm across, together
with a grey-green jade pebble, 5cm. (2)
300
599
A Chinese dark mottled green jade pendant, late Qing Dynasty, carved as a
200
bear climbing over clustered peony flower pods with a lingzhi branch tied with
coins to the reverse, 8cm.
300
600
A Chinese bronze tripod censer with silver wire inlay, Qing Dynasty, in the
form of a ding, with three straight legs supporting a globular body applied
with rams head bosses and inlaid with archaistic motifs, with carved
hardwood openwork cover, 18cm high.
800
600
601
A large Chinese silver-inlaid bronze figure of Guanyin, late Qing Dynasty, four- 4000
character Shisou mark, modelled standing in flowing robes atop a cloud,
inlaid with silver wire and beads and inscribed Wu Jin Shisou, 49cm high.
Provenance: Dr H.A.Fawcett collection, thence by descent to the vendor.
Footnote: Dr Hugh Alderson Fawcett (1891-1982) was a prominent physician,
collector, archaeologist and author who travelled extensively in China, the
Middle East and Europe, paying particular attention to Macedonia which was
the subject of a book he wrote with A.Goff, published in 1921. Between 1928
and 1930 he worked as a Medical Officer in Hong Kong, during which time he
amassed a fine collection of Chinese works of art. Writing in Fawcett's
obituary, Nicholas Thomas wrote ''Having an excellent eye for fine and
beautiful things, his period of work in Hong Kong introduced him to the arts
and crafts of ancient China and he acquired some exceptional bronzes, jades
and lacquer, to which he added distinguished bronzes from Luristan.'' The
bulk of his archaeological collection of over 7000 objects was sold to Bristol
City Museum in 1979 where it remains on display, other objects were
bequeathed to his family. Compare a similar figure sold at Bonhams New
Bond Street rooms, 7 November 2013, lot 280.
6000
602
A Chinese bronze censer, six-character Xuande mark and possibly of the
800
period, of bellied form with twin lion dog head handles, raised on a spreading
foot ring, 6cm high, 11.5cm dia. Provenance: Dr H.A.Fawcett collection,
thence by descent to the vendor.
1200
603
A Chinese bronze figure of a Dog of Fo, Qing Dynasty, modelled in typical
seated pose with left paw resting on a ball, 6cm high. Provenance: Dr
H.A.Fawcett collection, thence by descent to the vendor.
120
604
A Chinese bronze figure of a Buddhistic lion, Qing, 19th Century, modelled
150
snarling and with hind quarters raised, probably the finial to a vase or censer
cover, 8cm high. Provenance: Dr H.A.Fawcett collection, thence by descent to
the vendor.
250
605
Two Chinese enamel boxes, late Qing Dynasty, the first of lobed rectangular 200
form and painted with figures in a garden, Qianlong mark, 9cm across, the
second rectangular and painted with peaches, flowers and butterflies on a
pink ground, 8.5cm across, together with a Chinese cloisonne box and hinged
cover, worked with peonies and foliage, 8.5cm across. (3) Provenance: Dr
H.A.Fawcett collection, thence by descent to the vendor.
300
606
A Sino-Tibetan bronze figure of a protector god, Qing Dynasty, possibly
Vajrapani, modelled standing with left hand raised to his head, set on a
crescent-shape base, 26cm high.
150
200
607
A gilt metal figure of Guanyin, late Qing Dynasty, modelled standing, with
later wood stand, 19.5cm high (cracked)
80
120
80
608
A Sino-Tinetan bronze head of Buddha, Qing Dynasty, modelled in the 12th
150
Century Nepalese Pala style with broad forehead, tightly curled hair and long
earlobes, 11cm high.
250
609
A Chinese bronze vase, Qing Dynasty, of baluster form with everted rim,
100
double-knopped neck and spreading foot, 15cm high.
A Nepalese gilt bronze figure of the Green Tara, late Qing Dynasty, seated in 200
lalitasana on a shaped double lotus stand, her right foot resting on a lotus
flower, her right hand resting on her knee in varada mudra, the left in vitarka
mudra, a flowering utpala to her left shoulder enamelled in red and blue,
32cm high.
200
611
A Sino-Tibetan parcel gilt bronze figure of Buddha, late Qing Dynasty,
modelled seated in satvasana on a throne, flanked by lions and elephants
above a pedestal base with further beasts, 27.5cm high.
100
200
612
A Chinese bronze figure of a Kylin, Qianlong six-character mark but later,
modelled seated with head raised, set on a rectangular moulded base, 16cm
high.
200
300
613
A Chinese bronze tripod censer, Qing Dynasty, of Ding form with twin high
handles and raised on three cylindrical supports, the sides cast with toatie
masks, 30cm high.
400
500
614
A pair of Chinese bronze figures of deer, late Qing Dynasty, modelled in
opposing recumbent poses with heads turned back, 27cm long.
A Chinese bronze vase, Qing Dynasty, of ovoid form with everted rim, cast
with bands of archaistic birds and masks and six taotie handles supporting
loose rings, seal script twelve-character mark, 36cm high.
100
200
200
400
616
A pair of large Chinese cloisonne vases, Qing, 19th Century, of baluster form
and worked with lotuses and other flowers with scrolling foliage, bands of
shaped panels, geometric forms and symbols in colours against a blue
ground, 39.5cm high. (2)
1200
1500
617
A pair of Chinese cloisonne vases, late Qing Dynasty, of lobed ovoid form with 80
garlic necks, worked with trailing lotus flowers and scrolling foliage against a
dark blue ground between lappet and ruyi borders, 23cm high.
120
618
A small Chinese cloisonne vase, late Qing Dynasty, of annular ovoid form and 60
worked with crane birds amid flowers and foliage, 13cm high.
80
619
A Chinese silver figural condiment set by Zee Wo, Shanghai 1875-1925,
100
modelled as a street vendor pushing a cart containing an open salt in the
form of a bamboo basket, a mustard pot in the form of a pumpkin and a
pepper pot in the form of a Chinese asparagus, impressed mark both in
English and Chinese characters, 'ZEEWO', 15cm long, weight 6.7oz. Footnote:
A similar condiment by the same maker was sold in these rooms, 10 July
2013, lot 108
150
610
615
300
620
The Governor's Cup: A superb Chinese silver bowl by Wang Hing & Co, dated 8000
1897, of rounded form and raised on three wrythen dragon feet, the openwork
sides tooled and chased with multiple dragons in flight amid roiling clouds, a
central flaming pearl cartouche inscribed 'Lagos (West Africa) Races 1897
Governor's Cup, Presented by His Excellency Lt.Col. H.E.McCallum R.E.
C.M.G., won by E.Shepherd on Kitty', set on a carved hardwood stand applied
with a further silver plaque inscribed as above, stamped WH with threecharacter mark, total height 25cm (17cm excluding stand), 29cm dia., 54oz
(1520g) of silver. Provenance: Won by Egbert Shepherd (pictured standing far
left) in 1897, thence by descent to the vendor Footnote: This stunning bowl
was presented as a racing trophy to Egbert Shepherd, grandfather of the
current vendor. The inscriptions on the bowl and stand reference Lt.Col.
Henry Edward McCallum (1852-1919) who was Governor of Lagos between
1897 and 1899, this lot, therefore, being commissioned in his inaugural year.
Since then it has remained in the Shepherd family and is presented here at
auction for the first time. Compare also a near identical bowl by the same
maker, Sotheby's Arts of Europe, 12 May 2015, lot 158.
12000
621
A Chinese silver bowl by Guang Li, Shanghai, dated 1910, of rounded form
300
with reeded rim and chased with chrysanthemums and foliage around a
vacant cartouche, the spreading foot ring inscribed 'TEUTOINA (sic) CLUB
MEISTERSCHAFT WETTEGELN 1910', with carved hardwood stand, 10.5cm
high (16cm high with stand), 19cm diam., weight 16oz. Footnote: There have
been a number of 'Tutonia' clubs, established to provide ex-pat Germans and
German speakers a social and entertainment outlet in foreign climes. It is
possible that this bowl was made for the Liedertafel Klub of Singapore which
was established in 1856, changing its name to Tutoinia Club in circa 1900.
500
622
A Chinese cinnabar lacquer dish, Qianlong seal mark but later, of barbed
120
form and worked with figures crossing a bridge in a rocky village, the rim with
a trailing lotus border, 20cm diam.
150
623
A Chinese mother of pearl and jade inlaid rosewood hexagonal treasure box, 1200
Qing Dynasty, the moulded cover with a central nephrite jade bell form finial
finely carved with bats, dragons, flowers and foliage, surrounded by four
mother-of-pearl bats within a meandering flower border, each of the five
sides inlaid with mother-of-pearl birds and insects in branches and lines of
script within fret and flower borders, the interior with lift-out tray, 30cm high,
30cm across. Footnote: A comparative treasure box can be found in the
collection of the National Palace Museum, Beijing, inset with a jade bi disc
and made in the Qianlong reign. See Maxwell K. Hearn, 'Splendors of
Imperial China', pp.140-141.
1500
624
Seven various Chinese carved hardwood vase stands.
150
100
625
A Chinese carved bamboo brush pot, bitong, 19th Century, carved in relief
with scholars at leisure in a mountain village amid pine, bamboo and willow
trees, 18cm high.
200
300
626
A Chinese carved hardwood brush pot, bitong, late Qing Dynasty, carved in
high relief with cranes amid rocks and pine trees, 20cm high.
200
300
627
A group of twenty-four various Chinese carved hardwood vase and figure
stands.
A large Chinese carved hardwood vase stand, late Qing Dynasty, the circular
top raised on five scroll supports carved with flowers and foliage with a
conforming openwork frieze, 22cm high, top inner diameter 17.5cm.
150
180
80
120
628
629
A Chinese Canton carved ivory reticulated tusk vase, Qing Dynasty, worked in 200
high relief with a phoenix bird amid flowering peonies to a shaped panel and
dragons amid formalised clouds against a reticulated ground, with associated
carved hardwood stand, 22.5cm high.
300
630
A Chinese Canton carved ivory brooch, 19th Century, of oval form and carved
with roses and other flowers and foliage, set in a white metal bezel, 5cm.
60
80
631
A Chinese Canton carved ivory card case, 18th/19th Century, of barbed
rectangular form, the front carved in high relief with a group of figures
around a table to a panel within profuse flowers and foliage, to the reverse
with a populated village around a vacant oval cartouche, 10.5x7.5cm.
400
600
632
A Chinese Canton carved ivory box cover, 18th/19th Century, of rectangular
form and carved in low relief with scholars and labourers in a meandering
village amid rocks and trees around an elaborate oval cartouche inscribed
with the initials MA, 17.5x6cm.
100
150
633
A Chinese Canton carved bone etui, 19th Century, of cylindrical form and
carved with wrythen dragons and birds amid roiling clouds, 16cm long.
80
120
634
Two Chinese ivory carvings, 19th Century, the first of a river boat with carved 80
hardwood base, 10cm long, the second possibly a bird cage fitting and carved
with flora and fauna, 6.5cm high.
120
635
A Chinese ivory brise fan, 19th Century, the guards carved with meandering
flowers and foliage, the leaves with conforming openwork carving around a
central shield cartouche finely painted to one side with a bird amid flowering
roses and to the other with a rose spray, 26cm.
150
250
636
A Chinese reverse painting on glass, Qing Dynasty, depicting a maiden
500
wearing patterned robes and playing a flute as she stands at a formal balcony
or veranda, with hardwood frame, 65x45cm.
700
637
Manner of Shen Zhen (1814-1856) exotic birds in fruiting peach branches, ink 200
and colour on textile, later mounted and framed, 75x39cm. Provenance: Dr
H.A.Fawcett collection, thence by descent to the vendor.
300
638
Three Chinese paintings on pith paper, 19th Century, painted in colours with
scenes from the textile industry, 16x10cm and 20x14cm, together with
another depicting a martial arts contest, 17x29cm. (4)
70
100
639
Chinese school, 19th Century, a fortified palace in a lake amid a rocky
landscape with mountains beyond, ink and watercolour on silk, 58x86cm.
200
400
640
A pair of Chinese silk sleeve ornaments, 19th Century, of narrow rectangular 150
form, the dark turquoise fabric worked in gold thread with densely packed
peonies and foliage, framed, 60x9cm. (2)
180
641
A Chinese or East Asian silk ceremonial robe, 19th Century, the dark brown
200
silk box style jacket with square sleeves and an embroidered gold silk collar
frontice, the robe further embroidered with birds amid lotus flowers, together
with a velour pillar box hat and a recent Japanese style silk kimono.
300
642
A Chinese patterened silk panel, late Qing Dynasty, probably a scarf,
200
decorated with a repeating pattern of galloping horses within a black and gold
geometric border, framed, 57x89cm.
400
643
A Chinese opera doll, late Qing/Republic, painted carved wood and silk,
modelled as a female with elaborate headdress and embroidered robes,
26cm high.
80
120
644
Two Chinese glass scroll weights, Republic, of globe form and internally
painted with horsemen, suspended on silk tassels, 4cm dia. Provenance: Dr
H.A. Fawcett collection, thence by descent to the vendor.
80
120
645
A pair of Chinese Canton carved ivory picture frames, late Qing Dynasty, of
oval shape and carved with roses and other flowers and foliage, 9.5cm.
180
220
646
647
648
649
650
No lot
No lot
No lot
No lot
A large pair of Japanese Imari vases, early Meiji period, of baluster form with 700
domed covers, relief moulded and painted in typical colours with flowering
plants by a garden fence between ruyi and lappet borders, 46cm high.
651
A large Japanese Kutani vase, Meiji period, of pear form with fluted trumpet
rim, painted in colours with shaped panels of high born figures in interiors
and smaller landscape panels above, surrounded by flowers, pomegranates
and butterflies, 70.5cm high.
200
1000
300
652
A Japanese Imari charger, Meiji period, of plain circular form and decorated
in typical colours with shaped panels of landscapes with rocks and birds
around a central phoenix bird roundel, 54cm diam.
300
500
653
A Japanese Imari bowl, Meiji period, of fluted form and decorated with
80
alternating panels of stylised flowers and foliage around a central roundel of
feathers and butterflies, 25cm diam.
120
654
A Japanese Imari punch bowl, Meiji period, of inverted bell form and
decorated with ruyi shaped panels of phoenix birds and dragons around a
central flower roundel, the outside with phoenix medallions and trailing
foliage, 34.5cm diam.
80
120
655
A pair of Japanese Imari dishes, Meiji period, of plain circular form and
decorated with panels of dragons, phoenix birds and landscapes around a
central landscape panel, 39.5cm diam.
120
150
656
A Japanese Imari punch bowl, Meiji period, of rounded form with lobed and
barbed rim, decorated inside and out with dense shaped panels of flowers
and fanciful birds, 32cm diam.
100
150
657
A Japanese Imari vase and covers, Meiji/Taisho period, of lobed ovoid form
with 'French hat' outer cover and plain inner cover, decorated with stylised
flowers and foliage beneath a lobed border inset with scrolls, 27cm high.
100
150
658
A Japanese Imari charger, Meiji period, of plain circular shape and decorated 120
with shaped panels of figures in landscapes around a central phoenix bird
roundel, 46cm diam.
180
659
A Japanese Imari jardiniere, Meiji/Taisho period, of reeded form with everted 80
rim, decorated with shaped panels of fenced garden scenes surrounded by
flowers and foliage, 19.5cm high, 26cm diam.
120
660
A Japanese Satsuma tea caddy and cover by Senzan, Meiji period, of lobed
bell form with floret cover, decorated with shaped reserves of figures at
leisure against alternating bands of flowers and butterflies, 11cm high.
200
300
661
A Japanese Satsuma card tray by Senzan, Meiji period, of lobed rectangular
form and decorated with a scene of maidens and children at a river within a
flower panel border, 18.5cm across.
150
250
662
A Japanese Satsuma box and cover, possibly by Shozan, Meiji/Taisho period, 200
of rectangular outline with canted corners, decorated with a scene of figures
at a river within a complex cell border, 11cm across, together with a small
Satsuma circular box and cover, 8cm dia. (2)
300
663
Two Japanese porcelain dishes, 20th Century, the first of lobed form and
decorated in colours and gilt with fish amid water plants, 21cm diam., the
second of plain circular shape and decorated with scattered insects, 22cm
dia, both with gilt seal marks. (2)
50
80
664
A Japanese Hirado blue and white brush washer, Meiji/Taisho period, of
domed form and decorated with five figures at rest beneath a pine tree, seal
mark, 7.5cm high.
80
120
665
A Japanese bronze figure of a tiger by Genkokusai, Meiji period,
naturalistically modelled stalking over a 'fallen tree' rootwood stand, cast
with textured markings, signed to the underside, 50cm long (stand 62cm
long).
2000
3000
666
A Japanese bronze figure of a Yokai, Meiji period, possibly depicting a kappa
or water god, modelled standing on a rocky outcrop, his robes draped with
foliage, conversing with a large frog, 22cm high.
150
200
667
A Japanese cloisonne teapot and cover, Meiji period, of ovoid shape and
300
worked with scattered circular panels of flowers and foliage against a dense
scroll ground, 8.7cm high. Provenance: Dr H.A.Fawcett collection, thence by
descent to the vendor.
500
668
A Japanese cloisonne vase, Meiji period, of lobed ovoid shape with everted
80
rim, worked in silver wire with panels of flowers and foliage reserved on a
dark blue ground within complex borders, two character mark reading Dai
Yho, 15cm high. Provenance: Dr H.A.Fawcett collection, thence by descent to
the vendor.
120
669
A Japanese ivory okimono of street entertainers, Meiji period, modelled as a
man standing as a dragon emerges from a magic pot while a bijin sits at his
feet holding a shamisen, 17cm high, signed.
100
200
670
A Japanese ivory okimono of a farmer, Meiji period, modelled standing and
holding a bail of wheat on which sits a butterfly while a bird pecks at fallen
sheafs below, set on an ovoid base, signed,17.5cm high.
200
300
671
A Japanese marine ivory figure group of Guanyin and a boy, Meiji period, the 100
main figure modelled standing and holding a bottle, the boy at her feet
holding a lotus flower, with carved hardwood base, apparently signed Otsuki,
26.5cm high (31cm high including base)
180
672
A Japanese marine ivory figure group of a farmer and two boys, Meiji period, 200
the main figure modelled standing on a rock, his two boys below, an eagle
above them grasping a captured hare, with carved hardwood base, 30cm high
(34cm high with base)
300
673
A Japanese ivory figure group of Benzaiten and attendant, Meiji period, the
main figure modelled standing and holding a fan, a turtle at her feet, while a
boy sits beside her with arms raised, apparently signed Kunsan to a red
tablet, with carved hardwood base, 25cm high (27.5cm including base)
200
300
674
Two Japanese ivory okimono, Meiji period, the first modelled as a monk,
standing and holding a string of beads, 17cm high, the second probably
Guanyin, modelled standing and holding a fan and a lotus flower, 18cm high,
both with carved hardwood bases.
150
250
675
A good Japanese ivory figure of a peasant by Sosei, Meiji period, modelled as
an aged man with walking staff carrying a bundle of faggots on his back, set
on an ovoid base, signed in seal characters to a gilt tablet, 16cm high.
500
800
676
A Japanese ivory okimono of a huntsman, Meiji period, modelled standing and 100
holding a rifle and a downed hare, 16.5cm high, together with a sectional
wood and marine ivory okimono of a street artisan, 9.5cm high. (2)
150
677
A Japanese lacquered ivory card case, Meiji period, of rectangular form with 150
rounded corners, decorated with takamki-e lacquer with a scene of a farmer
and bear beside a rocky waterfall to one side and a parrot in a pine tree to the
other, 10cm.
250
678
Two Japanese ivory netsuke, Meiji period, the first carved as two figures
80
opening a scroll while seated on a ginat carp, 5cm, the second as a rat seated
on a cluster of shells, 5.5cm (2).
120
679
Three Japanese ivory netsuke, Meiji/Taisho period, a seated street performer 80
wearing a mask and carrying two fans, 3.5cm, a seated figure holding a fan,
2.7cm and a mask of the god Ebisu, 3.3cm.
120
680
A Japanese ivory lotus flower votive, Meiji period, of ovoid form, the outside
80
carved as a closed lotus, opening to two halves hiding a figure of Guanyin with
lotus flowers and foliage, 6cm high.
120
681
Three Japanese sectional ivory figures, Meiji period, a guard with spear and
horn, a peasant with gourd and staff and a warrior with spear and cockerel,
20cm high. (3)
200
300
682
Two Japanese ivory netsuke, Meiji period, the first modelled as three
immortals, signed Yoshiyuki, 4cm, the second modelled as two street
performers wearing masks with one playing a drum, signed, 4cm. (2)
80
120
683
A Japanese ivory figure group of horses, Meiji/Taisho period, carved as six
galloping horses, the lead beast ridden by a man in European style jockey
garb, with carved hardwood base, signed, 36cm long (base 52cm long).
200
250
684
A pair of Japanese shibayama plaques, Meiji/Taisho period, of circular form, 100
inlaid with mother-of-pearl, bone and wood and worked in high relief with
scenes of birds of prey perched in flowering branches against a black ground,
the rims with painted blossums against a dark red ground, 46cm dia.
200
685
A pair of Japanese inlaid lacquer panels, Meiji period, of rectangular outline,
inlaid and finely worked with ivory and bone studies of birds of prey perched
in leafy branches, poised to snatch smaller birds, on a mid-blue lacquer
ground, each with artists kakihan, 76x45cm.
700
686
A very good Japanese inlaid and lacquered rosewood panel by Mitsuaki, Meiji 3000
period, of rectangular form and inlaid with ivory, jade and mother of pearl and
worked in takamakie with a scene of the Yamabushi samurai Benkei reading
the Kwan-jin-cho scroll while protecting the barrier of Ataka, the border
worked with further takamakie dragons, flowers and foliage, 88x70cm.
500
5000
687
A Japanese inlaid lacquer box, Taisho period, of rectangular form with hinged 80
cover, inlaid with ivory and lacquered in gold with birds in flowering branches
against a dark red ground, 23cm across. Provenance: Dr H.A.Fawcett
collection, thence by descent to the vendor.
120
688
A Japanese inlaid lacquer hardwood panel, Meiji period, of rectangular form,
inlaid with ivory, wood and mother of pearl and gold takamakie with a scene
of a warrior kneeling in a landscape as birds swoop in leafy branches above,
46x35cm. Provenance: Dr H.A.Fawcett collection, thence by descent to the
vendor.
300
500
689
A Japanese lacquer fan, Meiji period, the leaves worked in gold harimakie
with fruiting vines over diaper trellis, twin foliate roundels flanking a central
shield cartouche inscribed with initials MM, conforming decoration to the
guards, 22.5cm.
100
150
690
Kawase Husai (1883-1957), a woodblock print entitled Hiejin Shrine in Snow;
and five other woodblock prints including Kunio Kaneko (1947-) Tabi
(matsuri); Toshusai Sharaku (act. circa 1794), Actor with Sword; Ono Bakufu
(1888-1976) Two Hawks in Flight; and two other unidentified nature studies.
(6)
150
200
691
Yoshijiro Urushibara (1888-1953), a woodblock print entitled 'Small Peonies',
signed in pencil lower right, 29x22cm.
A pair of Japanese shunga woodblock prints, late 19th Century, each interior
scene depicting three couples in acts of lovemaking, 12x29cm each.
120
180
80
120
692
693
A Japanese woodblock triptych, circa 1889, three of aiban depicting the
300
promulgation of the constitution of the Empire of Japan, the emperor Meiji in
his throne room surrounded by his family and a host of ministers, governors
and heads of prefectures as he hands the constitution scroll to Prime
Minister Kuroda Kiyotaka, framed.
500
694
695
No lot
0
A South East Asian bronze figure of Buddha sheltered by Muchalinda, 19th
150
Century, the figure modelled seated on the curled tail of the serpent king, its
seven heads rising above to form a canopy, 32cm high. Footnote: During a
storm, Buddha is said to have been sheltered by the serpent-like naga king
Muchalinda. A similar example was sold at Christie's South Kensignton, 15
January 2004, lot 141.
0
200
696
An Egyptian lustre pottery vase, possibly 13th Century, the frit body of ovoid
form and decorated with beaver-tailed birds amid flowers and foliage on a
white slip ground, 15cm high (rim reduced).
80
120
697
Two Persian pottery tea caddies, probably 19th Century, of rectangular form
with cylindrical necks, the first painted in colours with a nobleman amid
flowers and foliage, the second with birds in flowering branches, 16cm high.
100
200
698
A group of Indian works of art, 19th Century, including an ivory elephant
80
diorama mounted on a teak frame, 17x13cm, a carved ivory oxen group, 5cm,
a carved ivory Buddha, 6.5cm and an ivory inlaid carved coromandel box, 6cm.
120
699
An Indian silver necklace, 19th/20th Century, formed from a collarette of links 200
supporting rows of masks, pendants, crescents and mythical beasts, 43cm
(17''), weight 12oz, together with another necklace comprising two enamelled
lozenges supporting five strands of floret links, approx. 60cm, weight 8oz.
250
700
An Indian portrait miniature of Shri Maharaja Rai Singhji of Bikaner
700
(attributed), circa 1800, standing in a landscape and holding a jewelled staff,
gouache on paper, 24x15cm. Provenance: Ex. collection of Maharaja Bikaner,
accession no.5504, with palace stamp dated 1964.
1000
701
An Indian portrait miniature of Bhati Jujhar Singhji of Mohi, Mewar, second
half 19th Century, depicted standing with a sword, dagger and shield,
gouache and gold on paper, 28x21cm.
700
1000
702
Ramu Ramdev (Indian b.1966), a miniature painting 'Smiling Elephant',
gouache on paper, signed and dated 1999 lower right, 17x21cm.
200
400
703
A Hoshiapur type ivory inlaid wood occasional table, circa 1900, the octagonal 300
top with central star motif surrounded by foliate sprays within trailing vine
and floret borders, the folding legs with openwork niche panels, 51cm wide x
52cm high.
500
704
A Chinese hardwood low table, Kang, Qing Dynasty, the rectangular paneled
top set into a mortice and tenon frame above a u-shaped apron bisected by
square section supports joined by paired transverse stretchers, 58cm high,
96cm wide, 69cm deep.
100
150
705
A Chinese hardwood marble inlaid urn stand, 19th Century, the lobed circular 200
top with beaded edge inset with pink-veined marble, above an openwork
apron carved with prunus blossum, raised on four cabriole supports carved
with taotie masks and terminating in ball and claw feet, united by square
section stretchers, 44cm wide x 46cm high.
400
706
A Chinese brass bound rosewood trunk on stand, late Qing Dynasty, of
500
rectangular outline, the corners with brass ruyi-shape mounts, a brass lock
plate and padlock, well carved throughout with dragons, bats and shou
symbols on a diaper ground, the stand with conforming carving to the shaped
apron, raised on square-section supports, 81cm high, 51.5cm deep, 84cm
wide. Provenance: Dr H.A.Fawcett collection, thence by descent to the
vendor. A gummed paper label to the underside is ascribed to Dr Fawcett by
White & Co. furniture depositories, Winchester. Footnote: The colour and
grain of the wood to the trunk differs from that of the stand, although the
carving conforms exactly, suggesting that the stand is contemporaneous but
was possibly made to order.
800
707
A Chinese carved hardwood folio stand, 19th Century, of A-frame form, the
400
openwork front panel carved as two wrythen dragons supporting a shou disk
between their heads, united by panel stretchers carved with conforming shou
symbols and supporting two hinged guards similarly carved, 122cm high x
50cm wide.
500
708
A rare Chinese cinnabar lacquer vase stand, late Qing Dynasty, the near
1500
square lobed top carved with three dragons chasing a flaming pearl amid
roiling clouds, supported on a waist decorated with cell and lappet borders,
above a shaped apron and four tapering cabriole legs, all carved with
conforming dragons chasing flaming pearls, terminating in a low base formed
by four shaped stretchers, 89cm high, 46cm wide and 39 deep. Footnote: A
pair of similar lacquer stands were sold at Christie's Paris, 21-22 June 2016,
lot 127.
2500
709
A Chinese rug, 20th Century, a central medallion of shou symbol, bats and
lotus flowers on a jade green field with scattered precious objects and shou
spandrels, within multiple borders of auspicious flowers, 306cm x 242cm.
150
250
710
A library of Asian art reference works including: Cecile and Michel Beurdeley, 400
'A Connoisseur's Guide to Chinese Ceramics', Harper & Row, 1985;
R.L.Hobson, 'Chinese Porcelain & Wedgwood Pottery', Batsford, 1928;
Herbert, Peter and Nancy Schiffer, 'Chinese Export Porcelain', Schiffer
Publishing, 1975; Elinor Gordon, 'Collecting Chinese Export Porcelain', John
Murray, 1978; Rosemary Scott et al, 'Qingbai Ware', Percival David
Foundation, 2002 (with slip case); T.Misugi, 'Chinese Porcelain Collections in
the Near East', 3 vols., Hong Kong University Press, 1981; Michael Butler et
al, 'Shunzhi Porcelain, Treasures from an Unknown Reign', Art Services
International, 2002; J.A.Lloyd Hyde, 'Oriental Lowestoft Chinese Export
Porcelain', The Ceramic Book Co., 1954; Liu Liying (transl.), 'The Complete
Collection of Porcelain of Jiangxi Province', Morning Glory, 2005 (with slip
case); Transactions of the Oriental Ceramic Society 1990-91 and 1991-92; and
five other volumes.
500
711
No Lot
0
0
712
713
714
No Lot
No Lot
A late 19th century bronze figure of a seated classical female musician,
holding a lyre, seated on a classical X frame chair, the rectangular base with
concave front (unsigned), 31cm high
0
0
200
0
0
300
715
Franz Bergman foundry, Austrian, (1861-1936). cold painted bronze figure of 300
a standing Moorish warrior circa 1900 (lacking spear) impressed M mark to
the body and foundry mark, 23.5cm high
500
716
After Cirus Edwin Dallin, a mid brown patinated unsigned bronze figure group 500
''Appeal to the Great Spirit'', 74cm high
A dark brown patinated bronze figure of a child playing the pipes cast after a 400
model by Amedeo Gennarelli (1881-1943) 33.5cm high
Walenty Pytel ( Polish. B. 1941- ) A light green patinated bronze of a Siamese 400
cat , limited edition 100/100, 44cm high overall Walenty Pytel is best known
for the Jubilee sculpture standing in New Palace Yard, Westminster, outside
the Houses of Parliament, the 20ft high sculpture was commissioned by the
Department of the Environment and members of Parliament to
commemorate the 1977 Jubilee year of Her Majesty the Queen, it was
unveiled by Her Majesty. Other commissions of note include a unicorn
commissioned as a gift by Her Royal Highness Princess Anne to the
Portuguese government and a large metal sculpture for J. C. Bamford
Company's factory in Staffordshire which at the time at 45ft high was the
largest metal sculpture in Europe circa 1970, the sculpture is recognised
throughout the world of art and a large number of sculptures are owned by
private collectors, mostly stylised birds and animals in both steel and bronze
700
719
Reneé Paul Marquet (French,1875 - 1939), a gilt bronze and ivory figure of a
Spanish dancer signed 'Marquet', No. 4389, standing on a green onyx base,
30cm high
1500
720
A bronze sculpture of a female torso after the antique, British School, 20th
300
century, 68cm high (not including stand), together with a stone sculpture by a
different hand (2)
500
721
Roy Leadbeater (British/Canadian, b.1928) Ocean series sculpture, mid200
green patinated, signed limited edition 1/8, 18cm wide, 17cm high, 8cm deep
Born in Ashbourne, Derbyshire 1928, he continued the tradition of his
ancestors, his grandmother was Mad Louisa Wedgwood of Northwood,
Hanley, Stoke on Trent, her father Josiah Wedgwood. Emigrated to Canada in
1953, studied drawing at the University of Alberta.
300
722
A modern bronze figure group of huntsman and hound on a black marble
base, 44cm high overall
250
717
718
1000
150
500
600
723
A terracotta bust of Anne Boleyn signed Mark Jones 76, 25cm high along with 60
an oak framed table top display case, 35cm wide Mark Jones born in Chester
1960 studied BA Fine Art (Sculpture) at Loughborough College of Art and
Design followed by an MA in Art and Design (Painting) at Leeds Metropolitan
University. Artist Resale Rights apply
80
724
A late 19th century two tone Florentine alabaster bust of a young woman the
rectangular base indistinctly signed to the reverse, P.Ba**einti, 22cm wide,
29.5cm high, 12.5cm deep
500
725
Pierre Jules Mene (French 1810 - 1879), a bronze sculpture of an Arab Mare 4000
signed PJ Mene to the naturalistic base, inscribed 'F.Barbedienne' (foundry
mark) to the base, titled in bronze sculpture of Les Animaliers by Jane
Horswell, page 148 as Mare, Jument Normande Seule, model 1868. No. 33 in
Mene's catalogue, 42.5cm high, 51cm long Note: One of the most prolific and
successful sculptors of the Animalier School as a result of the reputation he
made for himself, examples are now in the Louve and the Ashmolian. Mene's
animals are often individual portraits with personalities, in many cases the
actual name is known. Mene's catalogue was issued from No. 9 Rue L
Entrepot where he lived from 1857 onwards.
6000
726
David Goode (British 1966-present) 'Caught in the Act' Bronze, variegated
2000
brown patination, signed, dated 2003, numbered 38/175, approximately 60cm
high Note: David Goode attended the Sir Henry Doulton School of Sculpture
of Stoke on Trent and specialised in portrait and figurative works. In 1988 he
started work as a portrait sculptor at Madame Tussaud's in London. From
1994 Goode became a freelance sculptor and started exhibiting his own work.
In 1995 Goode introduced part of his goblin collection at the Chelsea Flower
Show.
4000
727
David Goode (British 1966-present) 'Pots of Gold' Bronze, variegated brown
2000
patination, signed, dated 2000, numbered 54/190, approximately 50cm high
Note: David Goode attended the Sir Henry Doulton School of Sculpture of
Stoke on Trent and specialised in portrait and figurative works. In 1988 he
started work as a portrait sculptor at Madame Tussards in London. From
1994 Goode became a freelance sculptor and started exhibiting his own work.
In 1995 Goode introduced part of his goblin collection at the Chelsea Flower
Show.
4000
728
David Goode (1966- present) Leafy Head, signed, dated 2000, numbered
228/500, Bronze, variegated green and brown patina, approximately 24 x
9cm
300
500
729
Curtis Jere, Wire wall hanging with purple emulsion finish, 171cm wide
200
300
730
Attributed to John Jones, stone sculpture of a face, 43cm high
70
100
300
731
A pair of mid 20th century railway advertising posters titled 'Devon' and
'Cornwall', each trimmed and in a later oak frame with ivorine label, 83 X
63cm (2)
100
150
732
Two ammonite fossils mounted on copper rods set into hewn stone blocks, 42 100
and 34cm high overall, 14 and 13.5 cm diameter overall
A British manufactured Stroviols phono-fiddle, the concert model NO. 57720*, 50
89cm long
A Victorian Arts and Crafts oak framed embroidered panel, depicting floral
60
and leaf motifs in colours wools and threads, worked on linen, 55cm x 60cm
150
735
A dappled grey rocking horse, on a pine swing action rocking base, with later 300
tack and refurbished ironwork, 101cm high to the head, 77cm high to the
saddle, approximately 124cm long overall
500
736
A Victorian wool and silk work framed study of a Mother and Child, the faces 100
and hands painted on silk
A 19th century Dieppe carved bone triptych of spherical form, 4.5cm diameter 100
150
738
A group of eight 19th century Viennese enamel plaques in gilt metal
surrounds each showing classical figures within a wooded landscape
(possibly formerly from an exhibition clock), two of tapering out swept form
20.5cm wide, 11cm high, two of rectangular form 9.75cm wide, 6.5cm high
and two smaller rectangular examples, 7cm wide, 6.5cm high (8)
200
300
739
A 15th/16th century double sided illuminated sheet of music, black and red
ink on vellum, six lines with Latin rendered in Gothic letter, later glazed and
framed to each side, 29.5cm wide, 41cm high, 40cm by 51cm overall
60
80
740
An Egyptian faience ushabti of the Priest Horudja, Late Dynastic period,
turquoise glaze and showing signs of burial on a later black plinth, 10.5cm
high
250
350
741
An Etruscan terracotta votive head, probably 4th century BC, on a later black 150
plinth, 11.5cm high
A 19th century tortoiseshell card case, together with a tortoiseshell, mother 80
of pearl and abalone card case (2)
A 19th century mother of pearl, abalone shell and white metal mounted card 70
case, together with a further mother of pearl mounted card case (at fault) (2)
200
A late 19th century ivory bound leather purse/notelet, the front inset with
reverse printed scene of the Louvre
A Burmese bronze head of Buddha, 19th century, depicted with a serene
expression, elongated earlobes, finialled head dress, dark brown patination,
traces of gilding on a later ebonised plinth, 8cm high
50
70
80
120
733
734
737
742
743
744
745
70
90
200
120
100
746
Montgomery of Alamein, signed photograph taken in September 1947.
Together with a photograph of an aeroplane signed by Louis Mountbatten,
and a signed photograph of Ernest Bevin, accompanied by a letter from his
private secretary dated 1951. Provenance: From the estate of the late
Corporal William Alan Turner, Air Quartermaster, 24 Squadron (Transport
Command)
747
Churchill, Winston Spencer. A half smoked cigar, 10cm long, retaining it's
1500
original red and gold 'Winston Churchill band' together with a photograph
taken on 11th May 1947 at Le Bourget Airport, Paris, of Churchill smoking the
actual cigar, the photograph subsequently signed by Churchill, and a letter
from Churchill's secretary on House of Commons notepaper returning the
photograph. Together with three album pages containing fourteen
photographs recording Churchill's visit to Paris on May 9th, 10th and 11th
1947. Provenance: From the estate of the late Corporal William Alan
Turner, Air Quartermaster, 24 Squadron (Transport Command). Corporal
Turner was part of the cabin crew that flew Churchill and his wife from RAF
Northholt to Le Bourget Airport, Paris, on 9th May 1947 and back again two
days later, Churchill went to the Palais des Invalides where he was awarded
France's highest military honour the Medaille Militare by the Prime Minister,
Monsieur Ramadier. The signed photograph was taken form the doorway of
the Avro York MW 101 just before Churchill boarded. Corporal Turner has
written on the mount, 'He stood there his cigar in an ashtray when he came
aboard, and I took the remains into protective custody.'
2500
748
A Narwhal (Monodon monoceros) tusk late 19th century, 114cm long with
Article 10 sales certificate issue by CITES The Animal and Plant Health
Agency,certificate NO.550564/01
1000
1500
749
A Victorian shell sculpture forming a basket of summer blooms, standing on
an ebonised base with glass dome, 40cm high
A group of three late period Egyptian shabti figures 6-8cm high (all at fault)
80
120
200
300
A late period Egyptian shabti figure, 9.5cm high
A late period Egyptian scarab pendant, 4.5 x 3cm along with a rectangular
cross hatched bead/pendant 4cm long (2)
A late Victorian table top case of taxidermy birds, the four birds within a
naturalistic setting, the case with canted sides and ebonised show frame,
42cm wide, 33.5cm high, 16cm deep
100
80
150
120
70
90
A German mid brown patinated bronze cased, cast metal sculpture, of two
foundry workers, title to the base 'Gelsenkirchener gussstahl u eisenwerke
vormalsmunscheid u.Co gelsenkirchen, 13cm high, 23cm long
180
220
750
751
752
753
754
80
120
755
A group of three 18th/early 19th century horn cups, probably North European, 180
engraved and enamelled in cloisonné style, with stylised flower heads and
leaves, one example showing two figures, diameters 7.5cm, 7.2cm and 6cm,
height 5.5cm, 5.5cm and 4.75cm (3)
220
756
A 17th century dark brown patinated bronze two handled cauldron on three
splay legs, the flared rim over a sectional baluster body, 30cm diameter,
28cm high
300
500
757
An early Victorian rosewood tabletop collectors cabinet the two single arch
panel doors opening to reveal an arrangement of nine graduated satin birch
veneered drawers, the top six of which are fitted with clean divisions, the
lower three with vacant interiors. The cabinet on four compressed bun feet
(at fault). 41cm wide, 34cm high, 20cm deep
100
200
758
A Victorian mahogany miniature cabinet on chest, the canted corners over
150
two single panel cabinet doors, revealing a semi-fitted interior with two short
drawers over four long drawers to the base, overall decorated with dot and
line inlays, the four drawers with bone escutcheons and part fitted with
turned bone handles (at fault). 31cm wide, 56cm high, 16cm deep
250
759
A late 17th century Indo-Portuguese rosewood ivory inlaid cabinet of one long 400
drawer over a central short deep drawer, flanked by two short drawers to
either side, over two short drawers below; each drawer front geometrically
moulded around ebony stringing and a rectangular ivory panel with dot and
circle decoration with centred turned ivory knob handle (lacking one
handle)(at fault). 39cm wide, 24.5cm high, 27cm deep
500
760
A mid 19th century coromandel dressing box, the hinged lid opening to reveal 80
a partially fitted interior with plated mounts over a sprung secret jewellery
drawer (at fault), 30.5cm wide, 16.5cm high, 22cm deep
120
761
762
A boxed bottle of Glenmorangie Millennium malt 70cl
A group of cameras and accessories including a Leica D.R.P. No. 463810
camera body, fitted with a Taylor-Hobson Anastigmat 2 IN/CH/2 No. 329251
lens, in a distressed leather case along with a Leica D.R.P. body No. 20*695
together with an Reid leather case, together with an English exposure photo
metre, a Leltz lens No. 414124 F=9cm and a Leitz 1.28/50 1.35/50 lens No.
1454273, also a Zeiss lens No. 2759816 Biotar 1.1.5 F=7.5cm and sundry
accessories
80
200
120
250
763
764
765
Two late period Egyptian shabti figures (2) 5 and 6cm high
A late period Egyptian shabti figure 9cm high
A string of Egyptian beads possibly Ptolemaic approx. 64cm long
100
100
200
150
150
250
766
A group of three iron rush nips, one on an iron tripod base terminating in pad 80
feet, 23.5cm high, another table top example with twisted stem and tapering
nozzle on a split elm base, 26.5cm high and a floor standing example on a
square chamfered base with twist column, 74cm high (3)
120
767
A Victorian figured walnut desk stand, with lancet shaped hinged lid
100
stationary box over two inkwells and pen tray, with single drawer to the base,
27cm wide, 25cm high, 24cm deep
150
768
A Victorian leather bound scrap book containing fifteen double sided pages of 100
cut-out prints, laid out in a decoupage style including figures, animals,
historical scenes, etc. 40cm wide, 48cm high, along with an unbound
collection of volumes from the Illustrated London News, circa 1845
150
769
Carlo Bugatti (1856-1940), a vellum and sheet copper framed circular,
2000
bevelled wall mirror, circa 1900-1905, signed 'Bugatti', the circular mirror
plate within a hand decorated vellum and pierced hand beaten sheet copper
covered frame, with triple red line vellum covered winged mouldings (lacking
ropes), overall diameter 52cm, overall width 80cm
3000
770
A mid 19th century Swiss burr wood rectangular musical snuff box, the centre 200
of the lid inlaid with a shield shaped abalone cartouche, opening to reveal a
tortoiseshell interior, the movement untested (at fault) 8.7cm wide, 2.5cm
high, 6.2cm deep
400
771
A parcel gilt and polychrome carved soft wood figure of St George, late
15th/early 16th century, south German or Tyrolean, 59cm high
A polychrome decorated carved wood figure of the Virgin Mary holding the
Christ child, late 17th/18th century, 40cm high
A Victorian coromandel table top writing slope, the serpentine fall with
central gilt metal plaque engraved C.R. 1870., opening to reveal a tooled
leather skiver under an hinged compartment containing two inkwells, three
lidded recesses and pen tray, 33cm wide, 12cm high, 26cm deep
700
1000
300
500
250
300
A late 18th/early 19th century primitive bowl of circular flared rim form, 46cm 80
diameter, 8.5cm high
A Staunton type chess set by Jaques, the boxwood and ebony figures with
200
weighted bases and felt protectors, Kings 8.75cm high, Queen 7.25cm high,
Bishop 6cm high, Knight 5.5cm high, Castle 5cm high, Pawn 4.75cm high (32)
120
A 19th century rosewood, ivory and ebony satinwood banded folding games
150
box, the chequerboard exterior opening to reveal a gaming interior along with
a set of ivory and stained ivory draught pieces, fourteen stained red, thirteen
natural and one matched ebony piece, 3.5cm diameter, the gaming box
45.5cm wide, 9cm high, 26.5cm deep ()45cm x 4.5cm x 53cm()
200
772
773
774
775
776
400
777
A quantity of ephemera to include fan club literature and signatures relating 500
to the Beatles, Rolling Stones, the Kinks, Donovan, Manfred Man, the Pretty
Things to include two sets of Rolling Stones signatures, a Beatles calendar, a
large quantity of 1960s press cuttings 5-30 Rolling Stones magazine, seven
the Beatles book, Rolling Stones stamps, record sleeves (Qty) Also to include
an Arthur Ransom signed postcard and thirteen Arthur Ransom books and
various miscellaneous books in a cream leather suitcase (a lot)
1000
778
An early 19th century Blue John (feldspar) goblet, the bowl on a triple knop
stem and circular spreading foot (at fault). 9.25cm diameter, 20.5cm high
500
700
779
A mahogany cased Willcox and Gibbs sewing machine, patented in Great
Britain, the USA and France, the sewing machine 29cm long, in its original
carry case with brass swing handle
80
120
780
A Victorian sampler, circa 1870, depicting a country house with birds and
insects above within a band of stylised flowers and leaves in a rosewood
veneered cushion moulded frame, 79cm x 75cm overall
150
200
781
A 19th century polished steel Serpentine footman with pierced top and frieze 60
on two front cabriole legs terminating in a pad foot, 31cm wide, 34cm high,
32cm deep
90
782
A 19th century polished steel and brass footman the rectangular top over a
80
false drawer front and scroll cut apron on cabriole front legs terminating in a
pad foot, 42cm wide, 34cm high, 33cm deep
120
783
Two similar 19th century brass and steel money 'Bank boxes', each titled
'Bank' and with twin lamp post to the fore, 18cm high (2)
Three 19th century 'Bank' money boxes, brass and steel, two with lamp post
to the fore, both labelled 'Bank', the third untitled, 19.5, 19cm and 17.5cm
high (3)
60
80
70
90
785
A Victorian walnut and specimen wood campaign style writing slope, with
zigzag pattern cross banding and flush mounted side brass swing handles,
35.5cm wide, 17cm high, 25.5cm deep
80
120
786
A 19th century mahogany empire style pocket watch tower, with hinged lid,
80
1.75 inch pocket watch aperture, on a stepped base and four compressed bun
feet, 18.5cm wide, 29.5cm high, 9.5cm deep
120
787
A 19th century mahogany table top miniature chest of three long drawers,
fitted with turned wooden handles, raised on tall bracket feet flanking a
shaped apron, 26cm wide, 24cm high, 12.5cm deep
100
150
788
A late 19th / early 20th century diorama of a shell clad castle, with painted
100
peg soldiers in a rectangular glass fronted ebonised case, 54cm wide, 37.5cm
high, 27cm deep
150
789
A late 19th / early 20th century century diorama of a Gothic castle, with
150
central clock tower and painted peg guards, in a dark stained wooden cabinet
with glazed front and exposed corner dove tails, under a pointed pediment,
54cm wide, 68cm high overall, 27cm deep
250
784
790
A late 19th / early 20th century Passerine of taxidermy, to include a
hummingbird, indigo bunting, plum head parrots, blue jay, night jay and
others, all in a stained oak frame display cabinet, 85.5cm wide, 118cm high,
42.5cm deep
200
400
791
A 19th century Scottish mitre plane by Stuart Spiers of Ayr with rosewood
infill, stamped C.G. Pritchard, the sneck iron by Ward, the brass clamp
stamped Spiers Ayr, 26cm long, 32.5cm long overall Stuart Spiers was a
cabinet maker and innovator for whom plane making became a full time
occupation circa 1864 but he did not described himself as an iron plane
maker until 1871
500
700
792
A group of eleven small moulding planes, ten of which are stamped I.R.
Gough, one indistinctly stamped along with two scribes both stamped I.R.
Gough (13)
150
200
793
794
An 18th century style tea caddy in the form of a melon, 17cm high
70
A primitive oak ecclesiastical five division box with swivel lid and canted side, 60
21.5cm wide, 8.5cm high, 28cm deep
A George III mahogany crossbanded satinwood knife box, the interior now
60
converted to a stationary rack, the lid with inlaid panel depicting a bird on a
branch, 22cm wide, 37.5cm high, 30cm deep
100
80
796
A Louis XV style miniature jewellery chest, the crossbanded serpentine top
100
over three drawers fitted with gilt metal handles, with printed porcelain back
plaques between canted corners with gilt metal mouldings, on short bracket
feet, 24cm wide, 21.5cm high, 17cm deep
150
797
A George III mahogany Hepplewhite style miniature chest of two drawers
150
fitted with turned wooden knob handles, raised on pointed bracket feet, 28cm
wide, 26cm high, 25cm deep
250
798
A late 19th / early 20th century Grand Tour style gilt metal oval jewellery
casket, with hinged lid, overall decorated with scrolling leaves and oval
printed panels depicting monuments of note, 14.5cm wide, 10cm high, 13cm
deep (a/f)
60
80
799
An Australian carved hard wood boomerang the decoration to one side only
depicting two emus and a snake, 59cm long
A First World War polished brass shell case gong, circa 1917, indistinctly
marked and with later hanging ring and short cloth bound gong strike,
23.5cm diameter overall, 23.5cm high
150
200
100
150
795
800
801
An 18th century style fruitwood tea caddy in the form of an apple the hinge lid 70
opening to reveal a silvered interior, 11cm high, 10cm diameter
80
100
802
A signed Churchill letter dated 4th April 1950 on 28 Hyde Park Gate, London, 250
S.W.7. headed note paper, typed date and salutation, Dear Miss Schier, then
printed, I have been informed of the assistance you rendered in the general
election campaign, for which I thank you. We have every reason to be
gratified with the result, but at this critical time we cannot tell when another
election will come and we must not relinquish our efforts. We must even
further improve our organisation and prepare to achieve an even greater
victory for our cause. Yours sincerely, signed in blue ink Winston S. Churchill
Also included in this lot are two black and white photographs of Miss Schier
and an unrelated invitation to John from Mr and Mrs Schier at the coming of
age of their daughter Barbara, dated 15th September 1951, RSVP address 128
Maybank Road, South Woodford, E.18
350
803
A horse's hoof inkwell, with silver mounts, hallmarks for London 1901, the
hinged lid with presentation engraving 'Gauntlet', 1896-1901, opening to
reveal a silver rimmed glass inkwell, 9.5cm high
100
150
804
A Victorian ceremonial constabulary truncheon, polychrome decorated and
personalised Wm Thirkettle Constable, Cantley and dated 1844, 48cm long
150
250
805
A pair of 20th century metal Empire style two light wall appliques, 64cm high 70
(2)
A late Victorian silver plated oil lamp, by Hawksworth Eyre and Co. with clear 100
glass reservoir (lacking chimney and shade), approximately 45cm high Note:
Sheffield and London based manufacturers of silver and plate, Charles
Hawksworth and John Eyre set up the firm in 1852, marks registered in 1862,
1900 and 1912.
100
807
A Victorian sample book of labels, titled to the cover 'Starch labels Prescott
and Co. 63 Corporation Street, Manchester', with leather spine and securing
buckles opening to reveal a volume of Starch related labels, under various
brands but all stating 'Made in Belgium', 31cm wide, 41.5cm
60
90
808
Seven carved dogon grain doors, 32-24cm wide, along with a carved wooden
mask and a cast brass horse and rider and other carved figures.
200
300
809
A late 18th / early 19th century continental variegated faux marble terracotta 600
low campana urn, 44cm diameter, 31cm high
A pair of French ormolu and white marble three light candelabra of Louis XVI 1500
style, 19th century, each of ovoid form mounted with two rams head masks,
the neck issuing three branches with scrolling leaves, on a stepped marble
base, approximately 45cm high overall
800
A 19th century cello with two piece back and scroll carved pin box with turned 200
wooded pins, 123cm high
400
806
810
811
150
2000
812
A modern oak finished and pine table top book rest/slip case containing four
volumes of the commemorative facsimile edition of Darwin's The Zoology of
the Voyage of HMS Beagle
100
150
813
814
815
816
No lot.
No lot.
No lot.
A Victorian oak crossbanded mahogany eight day longcase clock the 14 inch
arch enamel dial signed CR Matthews, Oswestry with centred subsidiary
seconds dial and a date aperture under a rolling moon, the hood with swan
neck pediment and reeded front corner hood pilasters over a short
crossbanded trunk door with central conch shell inlay on a box base and
short bracket feet, 240cm high
0
0
0
300
0
0
0
500
817
A late 19th century oak cased time recorder the 6.5 inch dial with ring of
Roman numerals, title to the centre 'International Time Recording Co. Ltd.
London, with am/pm subsidiary centred dial, the rectangular oak case with
large cast iron numbered wheel 1/149 to the outer ring the odd numbers,
2/150 the even numbers to the inner ring, 89cm high overall, the cast iron
ring 76cm diameter
200
300
818
An 18th century oak eight day longcase clock, the 12 inch square brass dial
400
signed Tho Baker, Portsmouth, with centred subsidiary seconds dial and date
aperture within a ring of Arabic and Roman numerals and coronet spandrels,
the hood with turned front corner pilasters over a long trunk door on a box
base with cut out plinth, 198cm high
600
819
A silvered brass carriage clock, the 2.5 inch dial with ring of Roman
numerals, retailed by Garrard and Co. London, WI, the eight day movement
striking on a single bell, 17.5cm high overall, 13.5cm high
200
300
820
A twin fusee brass lantern style mantel clock, the 6.25 inch brass dial signed
to the centre 'Rich Raymont, Bury', the back plate stamped 'Payne and Co.
163 New Bond Street, London, 5046' (incomplete), 26.5cm high
350
450
821
A late 19th / early 20th century French boulle style mantel clock, the 3.5 inch 200
dial with chaptering of enamel cabochons, the eight day drum movement
stamped 'Ad.Mougin', striking on a single coiled gong and with sunburst
pendulum, the case with gilt metal mounts, urn finial and pendulum window,
on four short scroll feet
300
822
A brass carriage clock, the 2.5 inch white enamel dial with ring of Roman
100
numerals over a subsidiary alarm dial, striking on a single bell, the case with
reeded swing handle over reeded three-quater pilasters, raised on four
compressed bun feet, 17cm high overall
150
823
An early 19th century oak eight day longcase clock, the 14 inch arch enamel 250
dial signed W Devey, Dudley with centred subsidiary seconds dial within a ring
of Roman numerals, the arch painted with a hunting scene, the hood with
swan neck pediment over reeded front corner hood pilasters, above a full
length crossbanded arch trunk door and circular crossbanded box base,
raised on short bracket feet, 216cm high
350
824
An 18th century black Japanned eight day longcase clock, the 12 inch square 1000
brass dial signed to the chapter ring, Joseph Davis, Wapping Dock with
centred subsidiary seconds dial and date aperture within a inner ring of
Roman numerals, outer ring of Arabic numerals and cherub and scrolling leaf
pierced spandrels, the hood with pierced fret frieze over three-quarter turned
hood pilasters, a long chinoiserie style door decorated with pagodas on a
boxed base and later stepped plinth, 240cm high overall
1500
825
A Victorian oak eight day longcase clock, the 14 inch square enamel dial
signed Ellen Rogers Llangerniw with centred seconds subsidiary dial, the
chapter ring spelling out Homas. Rogers, the spandrels depicting biblical
scenes, the hood with swan neck pediment over rectangular reeded front
corner hood pilasters, above a short trunk door and single panel box base,
210cm high
200
400
826
A George III oak crossbanded mahogany eight day longcase clock, the 13 inch 300
square brass dial signed Gillette and Heeley, Manchester with centred
subsidiary seconds dial, within an inner ring of Roman numerals, an outer
ring of Arabic numerals and scrolling leaf pierced spandrels, the eight day
four pillar movement striking on single bell, the hood with reeded front
corner pilasters over a long trunk door between quarter pilasters on a
crossbanded base with canted front corners on short bracket feet, 211cm
high
500
827
An early 19th century oak crossbanded mahogany eight day longcase clock,
300
the 12 inch arch enamelled dial signed H. Johnson. Broadway with figure
painted to the arch, the hood with swan neck pediment over turned and
tapering front corner hood pilasters with a short crossbanded trunk door on a
bullseye crossbanded box base and short bracket feet, 218cm high
500
828
A Louis XV style late 19th century polychrome decorated mantel clock, the
120
3.25 inch enamel dial with inner ring of Roman numerals and outer ring of
Arabic numerals, the balloon case with gilt metal mounts and front facing
polychrome decoration, depicting a single bird within summer blooms, the
sides decorated with summer blooms, under a floral basket finial, on four gilt
metal scroll feet, the eight day movement striking on a single bell No. 3077,
33cm high
180
829
A 20th century clock garniture, the 3.5 inch dial with ring of Arabic numerals 300
centred by a printed scene of putti and motif for the arts, with twin winding
holes for the eight day French drum movement striking on a single coiled
gong, the back plate stamped '5597 46 made in Paris', the champlevé enamel
style case with printed porcelain panels along with two urns ensuite, clock
37cm high, urns 28.5cm high
500
830
A Louis XV style ormolu mantel clock with 3.5 inch dial, signed to the centre
'Journeux A Paris', within a ring of Roman numeral enamel cabochons, the
case leaf moulded and with vines, with two figural mounts and a goat on a
pierced scrolling leaf base, 43cm high
200
400
831
A late 19th century Louis XV style ormolu mantel clock, the 3.5 inch dial of
Roman numerals in a drum case with summer bloom finial over scrolling
leaves with young boy and goat seated on a scrolling leaf flared base, the
eight day drum movement striking on a single bell, 48cm high
250
350
832
An early 19th century oak crossbanded mahogany thirty hour longcase clock, 200
the 12 inch arch enamel dial with centred date aperture within a ring of
Roman numerals, the arch painted with extensive rural landscape, the hood
with swan neck pediment over reeded turned front corner hood pilasters
above a lozenge inlaid short trunk door and crossbanded box base, 213cm
high
400
833
A late 19th century French boulle style mantel timepiece, the 3.25 inch dial
with ring of enamel Roman numeral cabochons, under a gilt metal finial and
front facing Louis XV style case with ebonised sides, the drum movement
stamped 'BTG 29881', 29.5cm high
200
250
834
A Regency mahogany brass inlaid boxwood strung lancet bracket clock, the 8 400
inch convex dial signed Plowman Chichester within a ring of Roman
numerals, the case with gilt metal pineapple finial over side ring handles and
fish scale grills on four gilt metal ball feet, 50.5cm high
600
835
A late 19th century stained oak cuckoo mantel / bracket clock, the 6 inch dial 200
with ring of Gothic Roman numerals under a pointed pediment leaf carved
spandrels and pierced leaf gallery on a cut out base with scroll cut apron,
53cm high
300
836
A George III mahogany eight day longcase clock, the 12.5 inch arched brass
500
dial signed Burgess Liverpool with centred subsidiary seconds dial, date
aperture within a ring of Arabic and Roman numerals under a rolling moon to
the arch, the hood with swan neck pediment over square reeded front corner
hood pilasters above a Gothic arch trunk door on a crossbanded based with
canted corners and short bracket feet, 227cm high
700
837
An 18th century oak thirty hour longcase clock, the 11 inch dial with ring of
200
Roman numerals, the hood with turned front corner pilasters over a
crossbanded long trunk door and boarded base, raised on short bracket feet,
222cm high
300
838
A Victorian brass single fusee skeleton timepiece the 5.5 inch chapter ring of 300
Roman numerals on a skeleton frame with six joining pillars on four bell
shaped brass feet and a white marble base, presentation plaque dated
October 25th 1864, presented to Mr Joseph Lear by the teachers and scholars
of the Primitive Methodist Sunday School, Tunstall as a small token of respect
for his long and valuable services as treasurer and officer, the timepiece in a
mahogany four glass case, 32.5cm high, 42.5cm high overall
400
839
An Edwardian mahogany boxwood strung lancet shape mantel clock the 6
inch convex dial with ring of Arabic numerals and twin winding holes, the
eight day movement striking on a single coil gong, 37cm high
100
150
840
A late 19th century Aesthetic black slate and rouge marble clock garniture,
150
the 5 inch white enamel dial with centred exposed escapement within a ring
of Roman numerals the stepped case with pyramid end finials, 39cm high, the
black slate and rouge marble tazzas ensuite, 25.5cm high (3)
250
841
A large giltwood cartel type wall clock, the eight day movement striking on a 200
single bell, the back plate stamped DRP No 171059, the 10 inch dial with ring
of Arabic numerals between dolphin mouldings under a lyre pediment over an
exposed pendulum apron, 89cm wide
300
842
843
844
845
846
No lot.
No lot.
No lot.
No lot.
A Regency mahogany drop leaf dining table in the manner of Gillows,
Lancaster. The rectangular top with moulded edge and rounded corners,
standing on five slender reeded tapering legs terminating in brass castors,
132cm wide, 194cm long, 73.5cm high
0
0
0
0
400
0
0
0
0
500
847
A George III and later oak mule chest the rectangular top with moulded edge 200
over an arrangement of eight drawers fitted with brass swan neck handles
raised on plain bracket feet, 124cm wide, 104cm high, 52cm deep
400
848
A nest of three Galle workshop Art Deco occasional tables, each of
rectangular form the tops veneered with specimen woods in an abstract
pattern, each table top with the inlaid Galle signature with double stepped
ends, the plain rectangular legs with scroll capitol and foot, 69.5cm, 43cm
and 34cm wide, 44.5cm, 42.5cm and 41cm high, 39.5cm, 38cm and 36.5cm
deep
1500
1000
849
An early 20th century mahogany triptych dressing mirror of country house
proportion the central swing mirror with bevelled plate and pointed arch
frame between spiral turned uprights, with pin hinged conforming side
mirrors on a two drawer base and short ogee moulded bracket feet, 94cm
wide overall, 101cm high, 25cm deep
200
400
850
A William IV mahogany bow front chest of two short over three long
200
graduated cockbeaded drawers fitted with pressed brass knob handles under
two secret frieze drawers raised on narrow bracket feet, 115cm wide, 113cm
high, 54cm deep
300
851
A 19th century mahogany apothecary chest of eighteen short drawers, each
fitted with a clear glass knob handle and bevelled name plaque, 111cm wide,
55cm high, 21.5cm deep
300
400
852
A Regency rosewood veneered low floor standing bookcase the two later
glazed doors revealing two adjustable shelves raised on a skirting plinth,
111cm wide, 104.5cm high, 38cm deep
250
350
853
A 19th century and later giltwood and gesso overmantel the ribbon and trophy 200
pierced pediment over an arched mirror plate between spiral ribbon moulded
uprights and rope twist beading, 110cm wide, 151cm high overall
400
854
A 20th century Empire style painted and gilt highlighted lamp standard of
tapering form on tripod base (unfitted for electricity), 173cm high overall
150
855
A 20th century Louis XV style giltwood urn stand with 22cm square white
80
veined marble insert to the the top on four well shaped legs united by a shelf
stretcher, 109cm high
120
856
A pair of mid 18th century style camel back sofas, each on well shaped short
cabriole front legs with leaf mouldings covered in a claret and gold leaf
pattern material with button back and scroll arms, each 133cm wide overall,
with a 54cm deep seat pad and 90cm high to the back (2)
800
1200
857
Two closely matched Victorian giltwood frames with later bevelled mirror
inserts the frames are rectangular form with pierced leaf scrolling frames,
143.5cm x 120cm
300
500
858
A 19th century Gothic revival overmantel in the manner of Pugin, the cornice 1000
and top spandrels with carved giltwood leaves and flower heads on a cobalt
blue ground, over a pointed arched mirror plate between plain canted
pilasters and scrolling leaf carved moulding to the base, 170cm wide overall,
191cm high
1500
859
A 20th century mahogany veneered Chippendale style chest of three long
300
graduated cockbeaded drawers fitted with leaf moulded swing handles, the
quarter veneered top with crossbanded border and blind fret edge over a
dragooned apron on four channel moulded slender legs united by a pierced H
stretcher, 83.5cm wide, 86.5cm high, 50cm deep
400
100
860
A modern Rococo style pier mirror, the giltwood framed heavily carved with 300
scrolling leaves, 112cm wide, 226cm high
A William IV mahogany double scroll end chaise longue/day bed later covered 250
in a gold Damask style fabric on four short turned legs terminating in brown
salt glazed castors, 194cm wide, 89cm high, 64cm deep
400
A modern ebonised chinoiserie style urn stand on four well shaped supports
and shelf base stretcher, 51cm wide, 86cm high, 42cm deep
An early 19th century mahogany satinwood banded serpentine sideboard, of
small proportions, the top with demi lune flame veneered panel, within
boxwood stringing and chevron banding, the centre section of two short
drawers flanked by a deep cellerette drawer and single cabinet door on
square tapering front legs terminating in a spade foot, 148cm wide, 86cm
high, 64cm deep
70
100
400
600
864
A George III oak crossbanded mahogany fall front bureau, the fall with stellar 200
inlays opening to reveal a serpentine interior of short drawers and pigeon
holes over two short drawer lopers, a central frieze drawer over two short
and two long drawers fitted with brass swing handles raised on plain bracket
feet, 97cm wide, 112cm high, 52.5cm deep
400
865
An 18th century style mahogany and giltwood landscape mirror, with swan300
neck pediment and central conch shell inlay, over three bevelled mirror
plates, with in a well shaped surround with scrolling leaves and flower heads,
153cm wide, 85.5cm high
400
866
A William and Mary boarded oak sloping table top desk, fitted with iron
200
butterfly hinges opening to reveal two short drawers, dated 1691 to the frieze,
carved with the initials 'EB', over scrolling leaves, the fall front with chip
carved edges, 70.5cm wide, 30cm high, 49.5cm deep
400
867
An early 18th century style oak single drawer side table, on block and heavy
baluster turned supports united by conforming stretchers, raised on short
turned feet, 88.5cm wide, 72cm high, 54cm deep
250
350
868
A mid 19th century mahogany cabinet bookcase, of narrow slender form, the
bookcase top with half bobbin turned mouldings and C scrolls, on two door
cabinet base and skirting plinth, 80cm wide, 208cm high, 37cm deep
300
400
869
A George III oak wall hanging straight front corner cabinet, with swan-neck
250
pediment over a feather carved cornice above two twin panel doors, between
canted blind fret front corners opening to reveal two serpentine shelves,
82cm wide, 119cm high, 44cm deep to the corner
350
870
An 18th century Japanned bowfront wall hanging corner cabinet, decorated in 200
a Chinese taste with birds and pagodas, 57cm wide, 87cm high, 38.5cm deep
300
861
862
863
350
871
A Regency mahogany boxwood line strung bowfronted wall hanging corner
cabinet, fitted with brass H hinges and each door with central conch shell
inlay, 68cm wide, 100cm high, 48cm deep to the corner
120
180
872
A Regency mahogany rosewood crossbanded sofa table, the two true drawers 400
opposed by false drawer fronts, the drop leaves with rounded corners, on a
short pedestal and four down-swept legs terminating in brass cups and
castors, 101cm wide close, 72cm high, 103cm deep
600
873
An early 20th century mahogany marquetry and ivorine strung breakfront
300
side cabinet by Edwards and Roberts, the top with glazed display section
flanked by bevelled mirrors over a central cabinet door and open shelf to the
base flanked by a single short drawer and an astragal glazed cabinet door to
each side raised on short turned legs, 136.5cm wide, 203cm high, 43cm deep
500
874
A stained oak side cabinet, 17th century and later, the three plank top over
400
two geometrically moulded panelled cabinet doors, flanking a conforming
fixed central panel between four matched caryatid between fielded panel
ends on an open boarded base with four tapering front supports, 214cm wide,
132cm high, 47cm deep
600
875
A pair of Edwardian oak winged armchairs, with swing out arms secured with 400
brass catches, one chair on substantial brass castors, its companion on small
later castors, both with folding adjustable footrests which slide into the base
frame (2)
600
876
Two Empire style mid brown stained carved short pedestals, one with the
200
grey veined marble inset top, 44cm diameter overall, 59cm high, its
companion with boarded wooden top, on scroll moulded short feet, 53cm high
400
877
A mid 18th century oak lowboy the rectangular plank top over an
300
arrangement of three short drawers and scroll cut apron on four slender
cabriole legs terminating in a pad foot, 83.5cm wide, 70.5cm high, 45cm deep
500
878
A George III oak dresser base, the rectangular top over three short
crossbanded drawers fitted with brass Chippendale style handles, on four
slender cabriole legs, terminating in a pointed toe, 182.5cm wide, 76.5cm
high, 48cm deep
400
600
879
Two closely matching 19th century low ash and elm Windsors each with a
pierced back splat over a saddle seat on tripie ring turned and tapering
baluster front legs, united by a crinoline stretcher (2) 56 and 59cm wide
overall
200
300
880
A pair of 19th century teak boxwood line strung campaign style chests of
drawers, one with fitted secretaire drawer over three long drawers, it's
companion with two short over three long drawers all fitted with brass
Chippendale style handles with side brass carry handles raised on a cut out
skirting plinth, 82cm wide, 95cm high, 46cm deep
1500
2500
881
A Victorian ebonised and walnut banded pier cabinet, the two glazed doors
100
revealing two fixed shelves on a cut out skirting base, 92cm wide, 110cm high,
35cm deep
120
882
A Regency mahogany ebony strung rectangular tilt top breakfast table the
rectangular top with ebony strung and satinwood crossbanded border on a
short tapering turned column and four reeded down swept legs terminating
in brass caps and castors, 136cm long, 96.5cm wide
300
400
883
A mid Victorian mahogany barrel top pedestal desk, the three quarter gallery 200
over a single piece barrel front opening to reveal a pull out interior with
pigeon holes and short drawers on two three drawer pedestals fitted with
turned knob handles, 121cm wide, 117cm high, 76cm deep
400
884
A Victorian ebonised amboyna banded breakfront credenza, the central
glazed cabinet revealing two fixed shelves flanked by a single door to each
side with blue jasper cameo panel and marquetry bell flower decoration in
the Aesthetic taste, 172cm wide, 105cm high, 46cm deep
300
400
885
A 19th century rosewood three section breaktop bookcase cabinet with gilt
metal gallery, the centre section with three open shelves flanked by a single
cabinet to each side with gilt brass grill door, on a skirting plinth, 190.5cm
wide, 123cm high, 38cm deep
400
600
886
A late 17th century joined oak court cupboard the upper section with two
lozenge carved cabinet doors flanking a fixed central panel between heavy
front baluster supports over two carved four panel doors fitted with
blacksmith made shaped iron H hinges between line moulded stile end
supports, 156.5cm wide, 181cm high, 60.5cm deep
400
600
887
A reproduction Multiyork oak refectory type dining table with cleated ends on 600
two heavy square baluster supports united by a plain central stretcher,
229cm long, 99cm wide, 76cm high along with a set of ten Multiyork high back
padded dining chairs (1+10)
900
888
A mahogany Chippendale style straight front corner cabinet on stand the
400
pierced architectural pediment over a fluted frieze and single astragal glazed
door opening to reveal three fixed shelves between fluted pilasters on an
open stand with leaf carved apron standing on reeded pad feet, 91cm wide,
218cm high
600
889
An early 18th century joined oak back stool the shaped top rail over a lozenge 70
carved panel and boarded seat on block and baluster front supports united by
a double turned front baluster stretcher
90
890
A George III oak livery cupboard the ogee moulded corners over a fixed
fielded arch, central panel flanked by fielded arch panel cabinet door to each
side on a five panel base with three short drawers below and replacement
feet, 145cm wide, 184cm high, 53cm deep
400
200
891
A mid 18th century mahogany drop-leaf dining table the oval top on four
turned and tapering legs terminating in a pad foot, 149cm long, 72cm high,
56.5cm deep ()
200
400
892
A pair of giltwood Empire style sofas each covered in a deep blue Damask
style fabric on channel moulded down swept front and back legs terminating
in a claw foot, 140cm wide (2)
800
1200
893
A 19th century oak settle the five panel back carved by Edwin Ridgeway
300
between open down-swept arms on short turned front legs, 170cm wide A
collection of oak furniture carved by Edwin Ridgeway. Born in Ashley,
Cheshire in 1858 of farming stock and grew up at Lower House Farm,
Mobberley and then Brookside Farm, Ashley. The then Lady Egerton, whilst
Ridgeway was still a boy, employed teachers for the young of Rostherne at the
local school, in order to help them possibly gain a trade when they grew up.
The girls were taught needlework, and the boys woodcarving. Young Edwin
took to wood carving as a natural, and was eventually to be asked to go to
Manchester Art College as a wood carving instructor.
500
894
A 19th century oak wall hanging straight front corner cabinet, the four panels 100
carved by Edwin Ridgeway, 95cm wide, 77cn high A collection of oak
furniture carved by Edwin Ridgeway. Born in Ashley, Cheshire in 1858 of
farming stock and grew up at Lower House Farm, Mobberley and then
Brookside Farm, Ashley. The then Lady Egerton, whilst Ridgeway was still a
boy, employed teachers for the young of Rostherne at the local school, in
order to help them possibly gain a trade when they grew up. The girls were
taught needlework, and the boys woodcarving. Young Edwin took to wood
carving as a natural, and was eventually to be asked to go to Manchester Art
College as a wood carving instructor.
150
895
A Victorian oak Aesthetic three section room divider, the eight carved panels 400
by Edwin Ridgeway, under a pointed arch pediment, 182cm wide, 185cm high
A collection of oak furniture carved by Edwin Ridgeway. Born in Ashley,
Cheshire in 1858 of farming stock and grew up at Lower House Farm,
Mobberley and then Brookside Farm, Ashley. The then Lady Egerton, whilst
Ridgeway was still a boy, employed teachers for the young of Rostherne at the
local school, in order to help them possibly gain a trade when they grew up.
The girls were taught needlework, and the boys woodcarving. Young Edwin
took to wood carving as a natural, and was eventually to be asked to go to
Manchester Art College as a wood carving instructor.
600
896
A Victorian oak framed wall mirror, carved with acanthus leaves by Edwin
100
Ridgeway, 93cm wide, 104cm high A collection of oak furniture carved by
Edwin Ridgeway. Born in Ashley, Cheshire in 1858 of farming stock and grew
up at Lower House Farm, Mobberley and then Brookside Farm, Ashley. The
then Lady Egerton, whilst Ridgeway was still a boy, employed teachers for the
young of Rostherne at the local school, in order to help them possibly gain a
trade when they grew up. The girls were taught needlework, and the boys
woodcarving. Young Edwin took to wood carving as a natural, and was
eventually to be asked to go to Manchester Art College as a wood carving
instructor.
150
897
Two 19th century oak Arts and Crafts panel each of leaf and berry design,
80
48.5cm x 35.5cm along with three 19th century oak frame mirrors of small
proportions and a single cartouche and flower carved panel (6) A collection of
oak furniture carved by Edwin Ridgeway. Born in Ashley, Cheshire in 1858 of
farming stock and grew up at Lower House Farm, Mobberley and then
Brookside Farm, Ashley. The then Lady Egerton, whilst Ridgeway was still a
boy, employed teachers for the young of Rostherne at the local school, in
order to help them possibly gain a trade when they grew up. The girls were
taught needlework, and the boys woodcarving. Young Edwin took to wood
carving as a natural, and was eventually to be asked to go to Manchester Art
College as a wood carving instructor.
120
898
A 19th century elm and fruit wood farmhouse table the boarded top with
cleated ends, moulded edge and rounded corners on four square tapering
legs, 181cm long, 83.5cm wide, 74cm high
300
500
899
A mahogany folio / book trough, circa 1900, the shelf top over a five division
trough on slender ring turned supports united by a conforming X stretcher
terminating in pad feet, 92cm wide, 85cm high, 33cm deep
200
400
900
A 20th century black Japanned chinoiserie style bedroom suite comprising of 1200
triple wardrobe tallboy, kneehole dressing table, three quarter cheval type
dressing mirror, bedroom chair and double headboard (6)
1800
901
A George III crossbanded mahogany serpentine front sideboard late 18th/
300
early 19th century, the bowed central cockbeaded drawer flanked by two deep
drawers disguised as four drawers and raised on six square tapering legs and
spade feet, 153cm wide, 73cm deep, 91cm high
500
902
A mid Victorian figured and burr walnut pedestal work table the quarter
veneered top over a single frieze drawer and pull out basket on a short
column and four down swept legs terminating in scroll feet and white salt
glazed castors, 58cm wide, 72.5cm high, 46cm deep
250
150
903
An 18th century style oak lowboy, the three plank top with moulded edge over 300
three short drawers and pierced apron, on four well shaped slender cabriole
legs terminating in a pointed toe, 82cm wide, 71cm high, 53cm deep
400
904
A matched set of ten Victorian mahogany dining chairs each with a shaped top 300
rail above an overstuffed seat pad on turned and tapering front legs
400
905
A George III oak crossbanded mahogany three drawer dresser base the two
plank top over three short drawers fitted with brass swing handles and
conforming escutcheons on well shaped cabriole front legs terminating in a
pad foot, 166cm wide, 79cm high, 49cm deep
500
700
906
A William IV mahogany bow front chest of two short over two long cockbeaded 200
drawers fitted with brass knob handles raised on short turned front feet,
86cm wide, 99cm high, 55cm deep
400
907
A Regency style mahogany twin pillar dining table with one additional leaf on
short columns, tripod supports terminating claw feet and brass castors,
22cm long, 117cm wide, 74cm high
400
600
908
A 19th century giltwood and gesso pier mirror, the rectangular mirror plate in 200
a bell flower and swag moulded frame (at fault), 126.5cm wide, 153cm high
300
909
A William and Mary and later oak chest of three long drawers, the two plank
top over three geometrically moulded drawer fronts fitted with brass drop
handles raised on later bracket feet, 91cm wide, 88cm high, 54cm deep
300
500
910
A late 17th century turners mural glass cupboard, the rectangular two plank 300
top over a central door and single plank base, 107cm wide, 37.5cm high, 25cm
deep
500
911
A mid 19th century mahogany coopered cellarette, brass bound with end lion 200
ring handles (lacking liner), 66cm long, 21cm high
An Arts and Crafts oak stool on four square tapering legs the overstuffed seat 100
pad recovered in a kilim fabric along with an Empire style dressing stool with
kilim covered seat pad (2)
400
913
A Louis XV style kingwood and marquetry veneered fold-over card table, on
four slender fluted legs united by an X stretcher, on four short turned feet,
62cm wide, 76.5cm high, 42cm deep
200
400
914
A George III oak and elm cricket table the circular three plank top on
400
chamfered out-swept legs united by a shelf stretcher, 70.5cm diameter, 67cm
high
600
915
A 19th century walnut Italian style centre/library table the rectangular top
300
with moulded edge over a plain frieze with central rosette on scroll carved in
supports and short bracket feet, united by a box section central stretcher,
192cm wide, 82cm high, 96cm deep
500
916
A George III oak cricket table, the circular three plank top on three out-swept 600
legs united by a boarded shelf stretcher, 65.5cm diameter, 65cm high
800
912
150
917
A 20th century Gothic style nest of oak occasional tables, the main
250
rectangular table with rounded corners and moulded edge, with open
bookshelf to one end and boarded opposing end, accommodating two
Sutherland style drop leaf occasional tables, with pierced trefoil ends, 79.5cm
wide, 57cm high, 40cm deep
350
918
A George III oak crossbanded North Wales mural cabinet, the door with
arched fielded panel with typical star inlay and shaped brass escutcheon,
opening to reveal a well fitted interior of pigeon holes and one long narrow
drawer over an arched recess, 59cm wide, 66cm high, 26cm deep
500
700
919
A 19th century rosewood boxwood strung Pembroke / writing / work table,
with two true opposing two false drawers, on four slender square tapering
legs terminating in brass castors, 51cm wide, 74cm high, 49.5cm deep
300
500
920
A George III mahogany urn table, the oval galleried top over a pull-out slide
on four slender tapering legs united by an X stretcher terminating in brass
castors, 36.5cm wide, 70cm high, 28cm deep
200
400
921
An Art Deco burr maple veneered circular occasional table, on U support and 150
circular base, 66cm diameter, 52cm high
A modern lacquered brass and metal club fender, with antiqued leather seat 200
pad on square supports, above a shaped curb, 156cm wide, 50cm high, 54cm
deep
250
923
A 19th century primitive four leg stool, the rectangular oak seat with pierced
centre (one leg replaced), 46cm wide, 31cm high, 26.5cm deep
90
924
925
An 18th century and later walnut scroll-cut mirror, 49.5cm x 43cm
100
A George III oak Montgomery three drawer dresser base, the triple pointed
500
arch apron on four slender baluster turned front supports, united by an open
potboard, 183cm wide, 81cm high, 43.5cm deep
200
700
926
A late 17th century joined oak coffer, the three panel lid over a three panel
lozenge carved front raised on stile end supports, 126cm wide, 65cm high,
51.5cm deep
150
250
927
A joined oak two panel settle, elements 18th century, the fielded panels
200
crossbanded between open down-swept arms on slender baluster supports
with boarded seat and plain front uprights, 99cm wide, 97cm high, 49cm deep
400
928
An early 18th century oak gate-leg dining table, the oval top reduced in
diameter on slender baluster and bobbin turned supports united by plain
stretchers raised on replacement short feet, 145cm wide open, 68.5cm high,
129cm deep
200
400
929
A set of six William IV mahogany bar back and saber leg dining chairs
including one carver (1+5)
A George III mahogany tilt top supper table, the circular top on a cup and
cover column and tripod base, 87.5cm diameter, 70cm high
250
350
100
200
922
930
60
400
931
An early 20th century Louis XV style figured walnut serpentine fold-over card 150
table, on four well shaped cabriole legs terminating in a scroll foot, 86cm
wide, 72.5cm high, 42cm deep
250
932
A Victorian walnut pedestal occasional table, with galleried rotating shelf, on
tripod base terminating in brass feet, the top 37cm diameter, 70cm high
120
933
An Edwardian mahogany serpentine sofa, in the Adam style with oval padded 150
swag moulded back, on short cabriole front legs, 141cm wide
A George III elm wall hanging mural cabinet, of rectangular form with single 70
fielded panel door opening to reveal a single shelf, 38cm wide, 45.5cm high,
26cm deep
250
935
A 17th century style oak fire surround and overmantel the rectangular mirror 200
over a lunette carved frieze, between two carved panels and uprights to each
side, over a rope twist carved bordered mantel and conforming uprights with
figural mounts, 131cm wide, 213cm high overall
400
936
A William IV mahogany and rosewood crossbanded circular centre / dining
300
table, the top with radiating veneers over a plain frieze with half bobbin
turned moulding, on a tripartite tapering column and base, standing on three
heavy scroll feet, 127cm diameter, 71cm high
500
937
A George III painted bow front wall hanging corner cabinet, the two doors
painted with a judgemental scene with ebonised top and painted interior,
58cm wide, 114cm high
200
300
938
A late 17th century joined oak coffer the hinged three panel lid over a lunette 200
carved frieze and two lozenge carved panels between channel moulded stile
and supports, 91cm wide, 59cm high, 48cm deep
300
939
A William IV mahogany sideboard the low shelf back over a concave central
200
short drawer flanked by a cockbeaded deep drawer to the right hand side and
cabinet door to the left on slender reeded tapering front legs, 136cm wide,
59cm deep, 102cm high overall
400
940
A 19th century satinwood bonheur du jour the back superstructure with
600
central conch shell inlaid cabinet door flanked by two narrow deep drawers
and three short drawers to each side over a fold out writing surface and long
frieze drawer with arched central apron and short drawer to either side
raised on slender square tapering legs fitted with ring turned gilt metal
handles, 78cm wide, 116cm high, 38cm deep
800
941
A 19th century elm strongbox, the rectangular hinged lid opening to reveal an 100
open topped candle tray standing on a cut-out plinth, 66cm wide, 28cm high,
33cm deep
150
942
A Regency rosewood brass inlaid pedestal centre / dining table, the circular
top with crossbanded and inlaid border on a short leaf moulded column and
four down-swept legs, terminating in brass caps and castors, 130.5cm
diameter, 72cm high
1000
934
80
700
100
943
944
A set of six mid Victorian walnut balloon back salon side chairs on cabriole
front legs terminating in a pointed toe (6)
A Victorian Louis XVI style three piece salon suite with gilt metal mounts and
carved ribbon mouldings, recovered in a Damask style fabric, comprising of
oval padded back sofa on four short turned and fluted front legs along with a
pair of open armchairs en-suite also included and ebonised abalone and
brass inlaid centre table on four slender fluted tapering legs united by a
turned and bowed H stretcher, 124 cm wide, 74.5cm high, 68.5cm deep (4)
100
150
1200
1500
945
A George IV style mahogany tilt top pedestal gaming table, the top with inset 600
tan tooled leather and seven wells on a short column and four lined moulded
down swept legs terminating in brass caps and castors, 146cm diameter,
72cm high
800
946
A Victorian oak Gothic revival country house library bookcase, the upper
section with four pierced pointed arches over adjustable shelves on a four
door base and skirting plinth, 300cm wide, 240cm high, 60cm deep
2500
947
A late Victorian mahogany floor standing retailers display cabinet, the
300
rectangular section cabinet with two access doors, on an open stand with four
heavy turned and tapering legs, 179cm wide, 193cm high, 82cm deep
400
948
A Victorian walnut and crossbanded oval pedestal occasional table on slender 200
tapering column and tripod base terminating in leaf carved scroll feet, 76.5cm
wide, 78cm high, 69cm deep
300
949
A Regency rosewood circular centre/breakfast table on a reeded tapering
column and tripartite platform, raised on heavy claw feet, 130cm diameter,
72.5cm high
400
500
950
A set of six late 19th century mahogany Louis XV style salon side chairs with
shell moulded back stretcher, overstuffed seats on slender cabriole front
legs terminating in a pointed toe (6)
300
500
951
An Edwardian mahogany satinwood banded Sutherland type occasional table, 80
with pierced lattice ends on short splay legs, 61cm long, 61.5cm high, 18.5cm
deep closed
120
952
An Edwardian mahogany ebony and boxwood line strung trefoil bijouterie
table, on three slender tapering supports united by slender concave
stretchers, 44cm wide, 70.5cm high, 42cm deep
120
953
A 19th century mahogany three division Canterbury, with short frieze drawer 150
on four short turned tapering legs terminating in brass castors, 51.5cm wide,
61.5cm high, 37cm deep
200
954
An 18th century style mahogany scroll cut mirror with phoenix carved
pediment over a rectangular mirror plate, 47cm wide, 92.5cm high
A 19th century hardwood and brass studded Zanzibar strongbox, the hinged
lid opening to reveal a segmented tray, the box with side carry handles
(lacking lock), 61cm wide, 24cm high, 37.5cm deep
70
90
100
150
955
2000
80
956
A Louis XV style serpentine bedside chest of two drawers, late 19th / early
80
20th century, the serpentine top over two serpentine drawers fitted with gilt
metal handles with printed porcelain oval back plates, raised on four slender
tapering legs terminating in gilt metal feet, 39cm wide, 73.5cm high, 31cm
deep
120
957
An Edwardian mahogany satinwood banded bijouterie / display cabinet, in the 200
18th century style, the dentil inlaid cornice over two astragal glazed doors
opening to reveal two fixed shelves on a table cabinet base, on four slender
line strung tapering legs, 79.5cm wide, 173cm high, 52.5cm deep
300
958
A George III oak single drawer side table, with rectangular two plank top on
four straight chamfered legs, fitted with brass Chippendale style handles,
83.5cm wide, 73.5cm high, 45cm deep
150
250
959
A 17th century style oak single drawer side table, the rectangular top over a 150
geometrically moulded drawer front with brass drop handles, on short bobbin
turned supports united by plain side stretchers raised on short turned feet,
74cm wide, 73.5cm high, 51cm deep
250
960
A Gordon Russell oak refectory table, the rectangular top on six turned
600
pilasters on three sleigh supports united by central plain stretchers, paper
label to the underside 'This piece of furniture was made throughout by
Gordon Russell Ltd. at Broadway, Worcs. Design number X33/3213. Designer
Gordon Russell. Foreman F. Shilton, Cabinet Maker W. Monks and A.E.
Hughes. Timber used English oak Date 1.8.30'. Also stencilled to the
underside 10.7, 302cm long, 77.5cm wide, 76cm high Provenance: Main Hall,
Birmingham University NOTES: 1929/30 was an important period in the
time line of Gordon Russell furniture, with the newly formed company
'Gordon Russell Ltd' founded in September 1929, changed from the former
'The Russell Workshops' which was synonymous with handmade low volume
production. The company was expanding quickly with only twenty employees
rising to two hundred in only a few years. The speedy expansion can be
attributed to the newly emerging contract market with schools and
universities buying Russell furniture, Professor Attenborough of Leicester
University was one of the early customers with Birmingham University closely
following with orders for the Great Hall. Broadway was also attracting
prestigious visitors which included Henry Ford and the Queen Mother whose
aunt Lady Maud Bowes-Lyon lived in Broadway, combined with the company's
first London Showroom opening in October 1929 at 28 Wigmore Street the
stage was set for Gordon Russell to be a household name.
800
961
A Gordon Russell oak refectory table, the rectangular top on six turned
600
pilasters on three sleigh supports united by central plain stretchers, paper
label to the underside 'This piece of furniture was made throughout by
Gordon Russell Ltd. at Broadway, Worcs. Design number X33/3214. Designer
Gordon Russell. Foreman F. Shilton, Cabinet Maker W. Monks and A.E.
Hughes. Timber used English oak Date 1.8.30'. Also stencilled to the
underside 10.8, 302cm long, 77.5cm wide, 76cm high Provenance: Main Hall,
Birmingham University NOTE: 1929/30 was an important period in the time
line of Gordon Russell furniture, with the newly formed company 'Gordon
Russell Ltd' founded in September 1929, changed from the former 'The
Russell Workshops' which was synonymous with handmade low volume
production. The company was expanding quickly with only twenty employees
rising to two hundred in only a few years. The speedy expansion can be
attributed to the newly emerging contract market with schools and
university's buying Russell furniture, Professor Attenborough of Leicester
University was one of the early customers with Birmingham University closely
following with orders for the Great Hall. Broadway was also attracting
prestigious visitors which included Henry Ford and the Queen Mother whose
aunt Lady Maud Bowes-Lyon lived in Broadway, combined with the company's
first London Showroom opening in October 1929 at 28 Wigmore Street the
stage was set for Gordon Russell to be a household name.
800
962
A Gordon Russell oak refectory table, the rectangular top on six turned
600
pilasters on three sleigh supports united by central plain stretchers, paper
label to the underside incomplete Also stencilled to the underside 10.9,
323cm long, 77.5cm wide, 76cm high Provenance: Main Hall, Birmingham
University NOTE: 1929/30 was an important period in the time line of Gordon
Russell furniture, with the newly formed company 'Gordon Russell Ltd'
founded in September 1929, changed from the former 'The Russell
Workshops' which was synonymous with handmade low volume production.
The company was expanding quickly with only twenty employees rising to two
hundred in only a few years. The speedy expansion can be attributed to the
newly emerging contract market with schools and university's buying Russell
furniture, Professor Attenborough of Leicester University was one of the early
customers with Birmingham University closely following with orders for the
Great Hall. Broadway was also attracting prestigious visitors which included
Henry Ford and the Queen Mother whose aunt Lady Maud Bowes-Lyon lived
in Broadway, combined with the company's first London Showroom opening
in October 1929 at 28 Wigmore Street the stage was set for Gordon Russell to
be a household name.
800
963
A George III and later oak winged elbow chair, the fielded back panel flanked
by two wings above bowed arms on slender baluster front supports over a
fielded box base (later short front legs), 71cm wide, 115cm high, 48cm deep
100
150
964
A Victorian Coalbrookdale fern pattern garden bench with later slatted seat,
143cm wide
A large staddle stone, with tapering base, approximately 92cm diameter,
52cm high
No Lot
No Lot
A large model steam plant of unknown manufacture on a base measuring
46cm x 68cm featuring a separate water tank with external pump feeding a
vertical boiler fitted with multiple steam outlets one driving a horizontal
cylinder with 9.5cm 6 spoke flywheel, the other a vertical cylinder with 6cm
solid flywheel
500
700
150
250
0
0
300
0
0
500
969
A model steam plant of unknown manufacture mounted on a base 41cm x
39cm featuring a boiler 11cm x 8cm driving a horizontal cylinder with 9cm
solid fly wheel
200
300
970
A 5 inch gauge coal fired steam model of an 0-6-0 tank locomotive the 'Eva
1500
May' in GWR green with brass edging. Built to a high standard from an LBSC
design dating from the 1930s currently without a boiler certificate. Overall
length 91cm, height 36cm. The model comes with a plinth and a quantity of
track
2500
971
A 5 inch gauge model of a third class passenger coach in the brown and
cream livery of GWR, the coach with obscured window glazing is fitted with
Spring buffers and a pedal foot brake to one bogie. Overall length 1.56
metres, height 35cm
300
500
972
A collection of 0 Gauge items to include 2 Hornby Private Owner wagons in
the liveries of Fyffes and Carrs Biscuits, 2 Shell Oil tank wagons and a prewar Castrol tank wagon, also to include a part No. 201 set together with a
part disassembled Bing clockwork 4-4-2 locomotive in the livery of L and
NWR railway (working motor)
100
150
973
A collection of 24 original car brochures dating from the 1960s British models 150
include E Type and Mark Ten Jaguar, Zodiac and Zephyr, Ford Executive,
Rover P5, Singer, Bond and Triumph European models include Alfa-Romeo,
Lancia, Citroen DS19, Volvo, VW and Glas. USA models include a 1967 range
catalogue and a Nash Rambler brochure
250
974
A Bing 0 Gauge clockwork locomotive and tender 'The Royal Scot' 4-6-0 loco
in lined LMS livery with matching tender (note middle wheels removed to
navigate curves) also to include a Bing 5 plank G.W. wagon and Hornby
container wagon with 12 pieces of curved track.
250
965
966
967
968
150
975
A model motor launch circa 1930s finished in stained varnished wood with
fore and aft cockpits with working clockwork motor with stop/go lever and
adjustable rudder, all fittings in brass, overall length 51cm
100
150
976
A bisque doll, the head impressed Porzellanfabrik Burggrub, 169, 6, Germany 100
with sleeping brown eyes, open mouth revealing two upper front teeth and
tongue on composition body with original fair hair, overall length 60cms
150
977
A bisque headed doll by Heubach hoppelsdorf, the head impressed 320-6 1/2
Germany, the head with sleeping blue eyes and open mouth revealing two
upper teeth on composition body with original wig, overall length 62cm
100
150
978
A bisque headed doll by C.M. Bergmann of Walterhausen, the head impressed 100
1916 6 1/2a Germany with sleeping blue eyes and open mouth revealing four
upper teeth on composition, wooden jointed body, overall length 60cm
150
979
A bisque headed doll by Armand Marseille, the head impressed 390, 72, the
head with sleeping blue eyes and open mouth revealing four upper teeth on
composition wooden jointed body with fair wig
100
150
980
A large Marklin table top steam plant, early 20th century, mounted on a base 300
of 35cm, fitted with whistle, adjustable safety valve, steam control, overflow
valve, driving a single reciprocating piston fitted to a 15cm 6 spoke flywheel,
the model mainly in black and red with cream pinstriping to the housing in
contemporary fitted pine box.
500
981
A half sized model Series 1 Land Rover and trailer built from a Toylander kit 1000
with modifications by the owner. The model finished in Land Rover green is
fitted with a factory electric motor and gearbox with twin batteries. Other
features include a folding windscreen, working indicators, headlights and
wing mirrors. Overall length is 160cm x 90cm x 76cm, trailer length is 87cm,
supplied with instruction building guide and spares listing.
1500
982
A Victorian rifle regiment officer's sword with wire bound fish skin grip and
open hilt with bugle motif, the engraved steel blade marked '23 Derbyshire
Rifle Volunteers', 82 cm blade, 97 cm overall, in a polished steel scabbard
with two suspension loops
100
200
983
An American Civil War period officer's sword with wire wrapped leather grip
and brass two bar open guard and pommel, the pommel stamped ' A1255',
the blade with retailer's mark for Mansfield & Lamb and stamped 'US GWC
1865', the blade 88cm and 104cm overall length
100
200
984
A three band percussion musket, 19th century, the brass butt plate stamped
'VM43 and 4', barrel badly pitted, 140cm long
Holland and Holland; 12 bore side by side ejector shotgun, serial no. 26480,
No 1, side lock, florally engraved, 28 ins barrels, walnut stock, extended
114cm overall SHOTGUN CERTIFICATE REQUIRED
100
200
1500
2500
985
986
Parker Hale Ltd; 12 bore side by side ejector shotgun, serial no. 175065, box 200
lock, florally engraved, 28 ins barrels, walnut stock, 114cm overall SHOTGUN
CERTIFICATE REQUIRED
300
987
William Powell and Son; 12 bore side by side ejector shotgun, serial no.
10839, side lock, engraved borders, doll's head extension, 30 ins barrels,
walnut stock, extended, 118cm overall SHOTGUN CERTIFICATE REQUIRED
150
200
988
A Victorian Officers' Dress Sword, the blade by Hawkes and Co. of London, the 100
three bar hilt with crown over VR cypher, blade etched with similar devices
and foliate decoration, within brown leather scabbard, blade length 82cm,
overall length 97cm
150
989
An R.A.F photograph album compiled by L.A.C G. Clarke 1087391 of 5025
70
Squadron, stationed RAF Hong Kong, dated July 7th-December 30th 1945,
stations include Pearl Harbour, the album containing photographic postcards,
squadron photographs, scenes of France and Belgium, Shanghai and
Honololu The final page is noted in ink with a complete list of stations (194145) (B.L.A and S.E.A.A.F) including Abberville, Normandy, Gelderm and more.
100
990
A Japanese katana, indistinctly signed, 20th century, overall length 87cm
50
70
991
A Zulu hide shield and two late 19th/early 20th spears, possibly Masai (3)
80
120
992
A Gordon Highlanders uniform, including sporran, kilt, hose, socks, gloves,
cap, shoes, apron and belt
A George IV Officers' Dress Sword and scabbard, the pipe-backed blade by J.
Ash of London and etched with royal cypher, blade length 87cm, overall
length 101cm, together with a red sash (2)
70
100
120
180
993
994
A collection of items owned by Major Dr. J.K Bowker of the Royal Army Dental 150
Corps, no.22185 comprising tunic, trousers, Sam Browne belt, cloth titles,
field service and winter great coat, a small quantity of black and white
photocopied photographs documenting his service, and a quantity of
paperwork and letters detailing his history. Bowker joined in January of 1942
as a Lieutenant, being quickly promoted to a Captain. He served at various
Army Dental Centres such as Cambridge Hospital (Lincolnshire) and
Aldershot (Chesterfield). In early March 1945 he was posted to Middle East
Command for service in Egypt, and was later Commander in Chief of No.38
Field Centre at El Daba, this centre having gone through the Western Desert
Campaign prior to this. On his promotion to Major Commanding of No.1 Field
Dental Laboratory he was responsible for the No.1 Maxillo Facial Unit at the
63rd General Hospital, Cairo which include dental care for the German
Prisoner of War Camp. Later, he was awarded the Honorary Life Rank of
Major A.D Corps by the Army Council. In 2010 whilst abroad he stopped at
Alamein and was asked to lay the wreath in memory of Remembrance Day at
the Memorial
250
995
Two spears and a blowpipe, obtained by Sgt. Bustard whilst posted to Ecuador 40
on The Expedicion Los Tayos to explore Las Cuevas de Los Tayos (''Caves of
the Oil Birds'') With accompanying photocopied newspaper article illustrating
the blowpipe. Lots 1003 and 1007 also relate to items collected by Sgt.
Bustard.
60
996
997
998
999
1000
1001
1002
1003
No lot.
No lot.
No lot.
No lot.
No lot.
No lot.
No lot.
ARMSTRONG, Neil (1930-2012) Astronaut, autograph on graph paper.
Obtained by the vendor in July 1976 when he was catering manager on the
Expedition Los Tayos to explore caves in Ecuador. Neil Armstrong joined the
expedition for a day and night as its honorary president.
0
0
0
0
0
0
0
200
0
0
0
0
0
0
0
300
1004
FIELDING, Henry, Works. 12 vols. Archibald Constable & Co. 1898-99. One of 350
750 sets. In a fine binding of half plum crushed morocco, raised bands gilt,
top edge gilt, by Baynton Riviere. (12)
450
1005
HRH THE DUCHESS OF CAMBRIDGE VISITING BOOK, 2 vols, tall narrow folio. 200
First volume lists her visitors in Florence, Naples and Rome 1840-41. Second
volume lists visitors to her home in Kew from 1855-73. Including a wide
variety of the nobility and gentry: Viscount and Viscountess Palmerston; The
Maharaja Duleep Singh; Earl of Onslow and Lady Onslow; Duke of Devonshire;
Countess of Newburgh; Lord John Russell; Duke and Duchess of
Northumberland etc., Half black morocco (2) Footnote: The Duchess of
Cambridge these books relate to is Princess Augusta Wilhelmina Louisa
(1797-1889), who married the Duke of Cambridge in 1818.
300
1006
MERCURY, Freddie (1946-1991) singer songwriter, 8 x 10 inches photograph
of the rock band Queen signed by Freddie Mercury. The photograph was
given to the vendor on his 21st birthday in 1981.
500
800
1007
ARMSTRONG, Neil (1930-2012) Astronaut, autograph signed on lined
notepaper 'To Neil and Deborah, All good wishes, Neil Armstrong'. Obtained
by the vendor in July 1976 when he was catering manager on the expedition
Los Tayos to explore caves in Ecuador. Neil Armstrong joined the expedition
for a day and night as its honorary president.
300
500
1008
BARKER, Samuel, Journal of a Tour from Mesopotamia to the Holy Land and 300
Back. Baghdad 1853. Unpublished carbon copy typescript. 4to, 412 pages.
Typed and bound in the early 20th Century. Bound in buckram with red title
label gilt, top edge gilt. Footnote: Samuel Barker was born in December
1826, the fourth child of Samuel and Jane Barker, nee Daniell, and christened
on 3 January 1827 at St Mary's, Lambeth. He died on 13 January 1866 in
Funchal, Madeira aged 39. He was unmarried. His father Samuel was born in
1791 and was an iron merchant at 3 Philpot Lane, Fenchurch Street, London
from 1820, having previously lived in Bovey Tracey, Devon.
500
1009
DISRAELI, Benjamin (1804-81) autograph letter signed on Hughenden Manor 200
notepaper, dated September 7 1859, to W.P.Brookes. He regrets that there
are no library editions of his works to be obtained and continues ''I did not like
to offer to your Institution a railway edition of any of my books''. 3 pages, 4th
side stuck to album page. Footnote: William Penny Brookes of Much Wenlock
was the founder of the Wenlock Olympics, forerunner to the modern Olympic
Games. He also established the Agricultural Reading Society in 1841 for the
better education of farm workers. He solicited donations of books from
authors and this is the reply to one such letter.
300
1010
1011
No lot.
0
British school, early 20th century Plough team, indistinctly signed and
50
inscribed with title 'October', etching, 18 x 26cm (PL)
British school, late 19th/early 20th century, Rural cottage beside a woodland 50
track, oil on canvas, 55 x 65cm
0
70
1012
70
1013
Continental school, 20th century Belgian yacht, oil on canvas, 59 x 89cm
100
150
1014
British School, 20th century Three masted clipper, oil on canvas on board,
60 x 90cm
Continental school, late 19th century Dutch city river scene, oil on canvas,
45 x 72cm
British School, early 20th century Man surprised by mule, oil on board, 42 x
35cm
English School, late 19th/early 20th century Farm labourer with an axe and
cut reeds, oil on canvas, 30 x 19cm
English school, late 19th/early 20th century, Donkey race, oil on canvas, 29 x
45cm
English school, 19th century, Country house facade made with straw, in a
burr maple frame, 46 x 60cm
English school, 19th century Cart horses, coloured sands, 42 x 56cm
British school, early 20th century Royal Navy cruiser, tapestry, 32 x 43cm
80
120
70
100
60
80
60
80
60
80
100
200
100
60
200
80
A collection of three 19th and early 20th century framed tapestries and
samplers (3)
D.Croxton (British school, early 20th century) Still life with fruit and a carafe
of wine signed lower left and dated 1906 oil on canvas 76 x 30cm
70
100
50
70
Manner of Sir William Orpen Figure beside a windmill, bears signature lower
right, pen and ink, watercolour, 27 x 23cm
Fred Yates (1912-2008) Woodland cottage beside a stream, signed lower
right, oil on board, 60 x 88cm
Mary McCrossan (1865-1934) Garden at Port St Mary, Isle of Man, signed
lower right, watercolour, 23.5 x 20cm
Circle of David Cox (1783-1859) River landscape with stone bridge,
watercolour, 52 x 70cm
British school, 20th century Morning Mist, River Thames, indistinctly signed
lower right, oil on board, 22.5 x 33cm
After J Speed The Countie Pallatine of Lancaster described and divided into
hundreds, engraving, 39 x 50cm (PL)
Cecil A Wallinger A pair of highland landscapes, oil on board, signed lower
left, each 39 x 54cm, together with an oil on canvas loch scene, unsigned, by
a different hand (3)
70
100
250
350
100
200
150
250
70
100
100
200
50
70
1031
After Ralph Steadman (B.1936) The Blotted Smut, signed in ink lower right,
numbered 1/10, Photographic reproduction print, 58 x 40cm (SH)
100
150
1032
Claude H Rowbotham (1864-1949) A pair of marine scenes, both signed,
watercolours, each 17.5 x 11.5cm (2)
British school , late 19th century Interior scene with gentleman reading a
paper, oil on canvas, 18 x 22cm together with an oil on canvas of a
gentleman smoking a pipe by the same hand (2)
70
100
70
100
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1033
1034
J Campbell (British school, late 19th century) Fisherman and child, Fishing
boats by the shore, a pair, oil on board, each 29 x 23cm (2)
British school, 20th century Boy in pastures, indistinctly signed on the
reverse and inscribed with title, oil on panel, 37 x 24cm
E.F.Phear Edwardian station platform scene, signed and dated 1897 lower
right, watercolour, 25.5 x 38cm
Keith Noble RSMA (B.1949) Midday Sennen Cove, signed lower right,
watercolour heightened with white, 25 x 35cm
Warren Williams (1863-1918) Cemaes Bay, Anglesey, signed lower left,
watercolour, 19 x 29cm
British school, late 19th/early 20th century Portrait of a gentleman wearing a
white stock and black coat, oil on canvas, 60 x 50cm
Attributed to Roy Turner Durrant (1925-1998) Abstract, bears signature lower
left, mixed media, 30 x 41cm
William Morris 'Honeysuckle chintz' printed by Thomas Wardle of Leek in
1876 15 x 65cm (framed) Notes: This piece of cloth was gifted by lady Rosalie
Mander of Wightwick Manor to the present owners father in June 1981.
80
120
70
100
100
200
200
300
150
250
50
70
150
250
300
500
1042
Francis Rudolph (1921-2005) Old man reading a paper with a snow drop
button hole, signed lower left, dated '73, oil on canvas, 69 x 76cm
200
300
1043
J.Elliott (British school, 19th century) Herring fishing at the Mewstone, Nr
Plymouth, signed and dated 1874 lower right, watercolour, 29 x 52cm
80
120
1044
Karel Lek (B.1929) Clown, signed lower right and dated 9.4.2010, mixed
80
media, 17.5 x 14cm
Aled Pritchard-Jones Llanddwyn, Windy Day, signed with initials lower right, 100
pastel and chalk, 35 x 53cm
British school, late 19th century Portrait of a lady, oil on canvas, 77 x 63cm 50
together with a family portrait, oil on canvas and a still life, oil on canvas, by
different hands (3)
120
Joseph Kirkpatrick (Exh. 1891-1928) Carsphairn Galloway, signed lower left,
watercolour, 25 x 35cm
Samuel T G Evans (1829-1904) Richmond, Yorkshire, signed and dated '66
lower left, watercolour, 22.5 x 33cm
British school, early 19th century A pair of tapestries depicting rural scenes
in the style of George Morland, both with decorative gilt composite frames,
each 43 x 36cm, (frames 63 x 55cm) (2)
150
250
100
200
300
500
British school, early 20th century A set of three stevengraphs depicting fox
hunting contained in one frame, each approximately 5 x 16cm
50
70
1035
1036
1037
1038
1039
1040
1041
1045
1046
1047
1048
1049
1050
200
70