ALBERT AMOR LTD.
RECENT ACQUISITIONS
SUMMER 2014
www.albertamor.co.uk
37 Bury Street, St James’s, London SW1Y 6AU
Telephone: 0207 930 2444 Fax: 0207 930 9067
Back cover: No.50
ALBERT AMOR LTD.
SUMMER 2014
No.57 One from a fine pair of Birmingham enamel oval plaques.
FOREWORD
Our Summer Catalogue 2014 is one of the largest we have produced for many years, and features
pieces from many notable collections. We were delighted earlier this year to have the opportunity to
purchase, privately, further pieces from the collection of Mr and Mrs George Clarke of Luxembourg,
which had been retained by their family, prior to the selling exhibition we held of the majority of the
collection in 2006, and these feature here.
Amongst the small group of blue and white pieces in this catalogue, I very much wanted to feature
number 1, the previously unrecorded small coffee pot. This appeared from a modest source late
last year, having not been previously recorded, and is the most wonderful early piece of English
porcelain. Whether the product of the Lund’s factory in Bristol, or very early Worcester is still
debated by many in the porcelain world, but all who have handled it have agreed it is a glorious
object. It now resides in an important American private collection, but I felt it deserved a place in
this catalogue to record its passing through our hands.
Other blue and white includes the fine early Worcester mug, number 2, and the interesting pair of
Bow plates with botanical style painting.
In 2006 we exhibited at the Grosvenor House Art and Antiques Fair a group of Chelsea from the
celebrated collection of Theodore Barclay, and here we show further Chelsea from that source. By
reference to the privately printed family catalogue of the collection we can identify when these pieces
were acquired, many from auctions and dealers in London during the Second World War – an
extraordinary time to have the vision and confidence to be adding to your porcelain collection! The
two small Chelsea teabowls and saucers, numbers 6 and 7 display a rare combination of Chinese and
Japanese inspiration in their decoration, and the pair of dishes, number 10, feature a pattern rarely
seen on larger pieces.
From other sources, the early Chelsea figures, numbers 11 and 14 display well the quality of
modelling at the factory at this date, and number 20 shows the ambitious modelling of the later
Gold Anchor period.
It is some years since we have offered a group of early Chelsea and Charles Gouyn scent bottles,
during which time the old attribution to the ‘Girl in a Swing’ class of porcelains has been updated
with the recognition of the St James’s factory, very much in our part of London. The Chelsea scent
bottle depicting Gilles, after Watteau is large enough to display the qualities of a small figure, and
The Three Graces bottle is especially rare.
The Derby and Bow factories are represented by good pairs of figures, numbers 25 and 27, and by
the rare trembleuse cup and saucer, number 23. Albert Amor is always associated with the products
of the Bristol factory and our 1912 Exhibition of the Trapnell Collection, so we are pleased to offer
pieces by the factory here, including number 29, formerly in the Trapnell Collection.
A good group of polychrome Worcester includes the boldly painted small cream jug, number 35, the
fine pair of flower painted vases, number 36, and the superb pair of Giles decorated square dishes,
number 52, which have survived in immaculate condition. The very fine Worcester yellow ground
jug, number 50 has an impressive provenance from the Sidders Collection, and was retained by the
family when we sold the majority of the collection in October 1985. We offer it here for sale for the
first time in fifty years.
Another exciting re-discovery is the very rare Worcester mug, number 48, printed in brick red in
Liverpool with a portrait of George III. Always a very scare print, this mug also commemorates
Britain’s brief ownership of Cuba, and appears to be the only known example.
In our archive it is clear that throughout the 20th century Albert Amor sold many 18th century
English enamels alongside porcelain. In this catalogue I am pleased to re-enter this market with a
fine group of enamel plaques formerly in the collection of the late Miss Caroline Ellison, and acquired from celebrated sources such as The Ionides Collection. The plaques, some with printed
and some with painted decoration are jewel like objects, particularly numbers 57, 59 and 60.
Nineteenth century porcelains include the spectacular Coalport solitaire tea service, with the very
finest botanical painting, acquired from a long standing private collection, number 79, and the very
well painted Chamberlain’s Worcester chocolate cup, number 74.
Eighteenth century Continental porcelain in this catalogue is strengthened by a group of pieces from
an old European private collection, offered here for the first time, including the rare pair of Meissen
inkwells, number 90, and the dramatically modelled Meissen large vase and cover, number 89. Also
worthy of special note is the Meissen dish, number 88, with its superb naturalistic bird painting, and
the rare pieced Meissen basket, number 87.
Pottery perhaps shows the greatest variety here, ranging from the large and finely potted Savona
charger, number 102, to a group of early 20th century faience models of cats, dogs and parrots,
including the two rare Galle models, numbers 105 and 106.
I do hope that you will enjoy this catalogue, and that if you are in London this summer you will
visit the gallery in Bury Street. If I can provide any further information on any of the pieces we
show, please do contact me.
All exhibits are for sale from the publication of this catalogue.
Mark Law
London, May 2014
[email protected]
1.
An important Lund’s Bristol/early Worcester small
baluster shaped coffee pot and domed cover, with ‘S’ scroll
handle, brilliantly painted in underglaze blue in Chinese
style with the ‘Primitive Chinaman’ pattern, 5 1/2″ high,
circa 1751-2, no mark.
See Branyan, French and Sandon, I.A.1, for a similar
coffee pot, lacking its cover, in the Victoria and Albert
Museum.
In addition to the Victoria and Albert Museum coffee pot,
only a bowl and a coffee cup in this pattern are recorded.
The present coffee pot, previously unrecorded, is an
important addition to the known surviving pieces from
this early period.
2.
A Worcester cylindrical mug, with slightly spreading foot, the strap loop handle with ‘kicked-out’
terminal, painted in underglaze blue with the Zig-Zag Fence pattern, in Chinese style, beneath a diaper
band, 3 1/2″ high, circa 1753-54, two incised lines beneath and workman’s mark in blue beneath the
handle.
Provenance : Wildish Collection.
3.
A Worcester teabowl and saucer, painted in
underglaze blue with figures and buildings in
Chinese river landscapes, within scroll moulded
cartouches, on a pleat moulded ground, circa
1755, workman’s marks.
The Fisherman and Willow Pavilion Pattern.
Provenance : Mr and Mrs George Clarke
Collection, Luxembourg.
4.
A Worcester teabowl and saucer, painted in
underglaze blue with the Eloping Bride pattern,
in Chinese style, circa 1765, pseudo Chinese
character marks in blue.
Provenance : Mr and Mrs George Clarke
Collection, Luxembourg, acquired from
Hoff Antiques London, 1977.
5.
A rare pair of Bow
small plates, each finely
painted in underglaze
blue with a spray of
flowers and leaves, in
‘Botanical’ style, the
border painted with
flower sprays and
butterflies, within a
simple moulded rim,
6 7/8″ diameter, circa
1770, no mark.
See Adams and
Redstone, Bow
Porcelain, figure 104,
for an octagonal plate
similarly decorated.
6.
A Chelsea small octagonal teabowl and saucer,
unusually painted in famille verte palette with
radiating panels of growing flowers and leaves,
alternating with iron red flowers and leaves,
within flower panelled turquoise diaper borders,
circa 1750, the saucer 4 1/4″ wide, no mark.
Provenance : Theodore Barclay Collection
(1906-1981), acquired from Tilley and Co,
February 1945.
7.
A Chelsea small octagonal teabowl and saucer,
unusually painted in famille verte palette with
radiating panels of growing flowers and leaves,
alternating with iron red flowers and leaves, the
teabowl with a flower panelled turquoise diaper
border, circa 1750, the saucer 4 1/4″ wide, with
raised anchor mark on a pad.
Provenance : Theodore Barclay Collection
(1906-1981), acquired from Tilley and Co,
February 1945.
8.
A Chelsea octagonal large teabowl and saucer,
boldly painted in Kakiemon style with flowers,
leaves and precious objects, alternating with iron
red and gilt flower head and scroll panels, circa
1750, stilt marks.
Provenance : Theodore Barclay Collection
(1906-1981), acquired by him from Messrs.
Filkins, London, June 1944.
9.
A Chelsea octagonal large teabowl and saucer,
finely painted in Kakiemon palette with growing
flowers and leaves, the centre of the saucer with
a flower head, within three iron red bands, the
saucer 5 3/8″ wide, circa 1750-52, no mark.
Provenance : Theodore Barclay Collection
(1906-1981).
10.
A pair of Chelsea fluted round dishes, each painted in Kakiemon style with a central flower head
medallion, within an iron red lobed band, the border boldly painted with trailing prunus, bamboo
and insects, 9 1/2″ diameter, circa 1754, red anchor marks.
Provenance : Theodore Barclay Collection (1906-1981), acquired by him at Sotheby’s London,
4th December 1962.
See F S Mackenna, Chelsea Red Anchor Wares, plate 4.
11.
A Chelsea large figure of a fruit
seller, in the white, modelled by
Joseph Willems, the young man
seated, wearing a wide brimmed
hat, his right arm outstretched, a
pierced round basket to his side, on
flower and leaf applied rocky
mound base, 9 1/4″ high, circa 1752,
no mark.
See Arthur Lane, English Porcelain
Figures of the Eighteenth Century,
figure 14, for a slightly later
coloured version of this figure, then
in the collection of Lord Fisher.
Another is in the Untermyer
Collection, Metropolitan Museum
of Art, New York.
12.
A Chelsea large baluster shaped
mug, with loop handle, finely painted
in coloured enamels with a spray of
flowers and leaves, and scattered
flowers, beneath a brown line rim,
5 1/2″ high, circa 1755-56, red
anchor mark.
13.
A rare Chelsea figure of the Ballad
Singer, the young woman seated on
an upturned basket, applied with
flower heads, with a young boy on
her knee, and sheet music in her right
hand and also resting on the basket
behind her, finely painted in a soft
palette, the young woman with black
bonnet, yellow lined puce cloak and
pink bodice, 6″ high, circa 1755,
red anchor mark.
See William King, English Porcelain
Figures of the 18th Century, London
1925, figure 25, for a similar figure
then in the collection of Alfred
Hutton.
14.
A rare Chelsea scent bottle and stopper, in the
form of Gilles; the young boy standing, wearing
a white suit with broad collar and a brimmed hat,
before a coloured tree-stump, the mound base
painted in coloured enamels with flowers, within
a gilt dog-tooth band, the neck with original chased
gold mounts, 3 5/8″ high, circa 1758, no mark.
See Yvonne Hackenbroch, Chelsea and Other
English Porcelain in the Irwin Untermyer
Collection, figure 163, for a similar scent bottle,
formerly in the Cahn-Speyer Collection, Vienna
and now in the Metropolitan Museum.
See E Bryant, The Chelsea Porcelain Toys, plate 9,
no 4, for a similar scent bottle.
This scent bottle is taken from the celebrated
painting ‘Gilles’ by Jean Antoine Watteau,
painted circa 1718-19, and now in the Louvre.
The painting was engraved by an unknown
contemporary engraver, an example of which
is in the Victoria and Albert Museum.
15.
A Chelsea scent bottle and stopper, in the form of
lady seated, and holding aloft flowers in her left hand,
and embracing a young boy who is trying to retrieve
his tricorn hat, finely painted in coloured enamels,
on green glazed mound base painted in gilt to the
underside with a flower spray, and with gold
mounted rim, 3 1/4″ high, circa 1760.
See Yvonne Hackenbroch, Chelsea and Other English
Porcelain in the Irwin Untermyer Collection, figure
175, for a similar scent bottle.
16.
A rare Charles Gouyn St James’s scent bottle and
stopper, finely modelled as a young couple embracing
before a rose and leaf modelled stump, and painted
in coloured enamels, the stopper in the form of a
butterfly, the mound base painted to the underside
with a rose and inscribed in black ‘Le Moien De
Parvenir’, 4 1/8″ high, circa 1755.
See E Bryant, The Chelsea Porcelain Toys, plate 26,
no 5, for a similar bottle in the British Museum.
17.
A Charles Gouyn St James scent bottle, in the
form of cupid, seated on a marbled plinth, and
holding a globe, before a rose and leaf modelled
tree stump, and painted in coloured enamels on
green glazed mound base painted to the underside
with a pink rose, 2 3/4″ high, circa 1755.
See Yvonne Hackenbroch, Chelsea and Other
English Porcelain in the Irwin Untermyer
Collection, figure 131, for a similar scent bottle.
See E Bryant, The Chelsea Porcelain Toys,
plate 22, no 1, for a similar scent bottle.
18.
A very rare Charles Gouyn St James’s scent bottle
and stopper, in the form of The Three Graces,
standing arm in arm, with flowing robes finely
painted in coloured enamels with flowers and leaves,
on flower painted mound base, and with gold
mounted foot and rim, 4″ high, circa 1750-55.
A related scent bottle, formerly in the Mrs Derek
Fitzgerald Collection, is now in the Irwin Untermyer
Collection, Metropolitan Museum of Art.
See E Bryant, The Chelsea Porcelain Toys, plate 23,
no 5, for a similar scent bottle.
19.
A rare pair of
Chelsea basket
moulded round
stands, each painted
in coloured enamels
with a spray of
flowers and leaves,
and moulded and
painted with six
radiating leaves,
within a pierced
border and brown
line rim, 8 3/4″
diameter, circa 1760,
brown anchor marks.
20.
A Chelsea large figure of a reaper,
standing before a tree-stump, holding a
sheaf of corn, another behind him, and
wearing a blue hat, white shirt and gilt
patterned puce breeches, and flanked by
floral bocage, a small barrel at his bare
feet, on scroll moulded mound base
picked out in gilt, 12 1/2″ high, circa
1760-65, gold anchor mark.
Provenance :
Mr and Mrs J H Marlow Collection.
Exhibited : Albert Amor Ltd, Birds in
Branches Exhibition, 2000, number 4.
Another example of this model is the
Victoria and Albert Museum, catalogue
number 196
21.
A rare Chelsea Derby artichoke
moulded teabowl, coffee cup and
saucer, brightly painted in coloured
enamels with sprays of flowers and
leaves, and scattered flowers, within
turquoise and gilt scroll borders,
circa 1765-70, gold anchor marks.
22.
A rare Chelsea Derby round bowl,
the artichoke moulded exterior
brightly painted in coloured
enamels with sprays of flowers
and leaves, and scattered flowers,
below a turquoise and gilt scroll
border, 6 1/2″ diameter, circa
1765-70, gold anchor mark.
23.
A rare Derby shallow round
cup and trembleuse saucer, the
cup with two scroll handles,
finely painted in coloured
enamels with sprays of flowers
and leaves and scattered
flowers, within brown line
rims, the saucer with pierced
cage work, applied with flower
heads, 5 1/2″ diameter, circa
1758-60, no mark.
See F A Barratt and A L
Thorpe, Derby Porcelain,
figure 33, for a similar cup and
saucer in the collection of
Derby Museum.
24.
A Derby figure of Neptune, astride
a dolphin, decorated in coloured
enamels, the pierced mound base
modelled with seashells, seaweed and
coral, picked out in colours, 9″ high,
circa 1760, patch marks.
25.
A pair of Derby figures of David Garrick as
Tancred and Susannah Cibber as a vivandiere,
from the production of Tancred and Sigismunda
by James Thomson; both standing, he wearing a
tasselled hat and braided tunic, and she carrying
a basket of bottles, and each finely decorated in
coloured enamels, on flower applied and scroll
moulded mound base picked out in gilt, 10 1/2″
high, circa 1765, patch marks.
Provenance : The Museum of New York.
See Peter Bradshaw, Derby Porcelain Figures,
page 84, for details of these models.
26.
Two Derby small figures of a child Harlequin
and Columbine, each standing, wearing a brightly
chequered costume, and holding a slapstick, on
flower and leaf applied mound base, 4 3/4″ high,
circa 1760, patch marks.
Provenanc : English Private Collection.
27.
A pair of Bow figures of
a Boy Shepherd Piper and a
Dancing Shepherdess, in the
white, he playing a pipe, and
with a hound at his feet, and
she dancing, with a lamb at
her feet, each on flower
applied mound base, 6 1/4″
high, circa 1754-55, she
with a large incised X mark
beneath, and he with an
impressed H.
Provenance :
Caldwell Collection.
See Peter Bradshaw, Bow
Porcelain Figures, colour plate
X, for a coloured pair of these
figures in the author’s
collection.
28.
A pair of Bow scroll moulded
vases, each with two female
mask handles, picked out in
puce, blue and yellow and
containing a tall arrangement
of coloured flowers and
leaves, on spirally fluted base,
7″ high, circa 1762, no marks.
29.
A Bristol small oval sauceboat, finely
moulded in relief with garlands of flowers
and leaves, and painted in coloured enamels
with flower garlands, above a stiff leaf
moulded band, the scroll handle picked out
in puce, 6 1/2″ long, circa 1775, no mark.
Provenance : Alfred Trapnell Collection.
Exhibited : Albert Amor Ltd, The Trapnell
Collection, number.
See F S Mackenna, Champion’s Bristol
Porcelain, figure 30, for a similar sauceboat.
30.
A rare Bristol teabowl and saucer, of simple
fluted form, painted in coloured enamels with
sprays of flowers and leaves, and scattered
flowers, within puce line and pendant borders,
circa 1775, no mark.
This form does not appear to be recorded in
the Trapnell Collection.
31.
A rare Bristol teabowl and saucer, very finely
moulded with spirally fluted bands, and painted
in coloured enamels with scattered flowers and
leaves, within scroll moulded borders with gilt
line rims, circa 1772, blue painted X marks and
numeral 7 in gilt.
Provenance; E L Bristoll Collection.
See Albert Amor Ltd, The Trapnell Collection,
number 326, for a similar teabowl and saucer
of this rare form.
32.
A Bristol fluted barrel
shaped teapot and cover,
with laurel moulded loop
handle and ball knop,
painted in green camaieu
with garlands of flowers
and leaves, suspended from
green loops, within brown
line rims, 5 1/8″ high, circa
1775, blue painted X mark.
33.
A Bristol saucer dish, painted in green camaieu
and black with garlands of flowers and leaves,
suspended from green loops, the fluted border
with brown line rim, 7 1/4″ diameter, circa 1775,
blue painted B mark.
34.
A Bristol fluted ogee shaped coffee cup and
saucer, the cup with laurel moulded loop handle,
painted in green camaieu and black with
garlands of flowers and leaves, suspended from
green loops, within brown line rims, circa 1775,
blue painted B marks.
35.
A Worcester cream jug, of reeded lobed form, with elaborate moulded scroll handle, finely painted
in puce, green, orange and chocolate brown with a long tailed bird perched on a flowering branch,
in Chinese style, delicately picked out in gilt, and with numerous insects in flight, 3 3/4″ high, circa
1754-55, an incised line inside the footrim.
See Albert Amor Ltd, The Cohen
Collection, 1992, number 36, for a
coffee cup similarly decorated, and
also Albert Amor Ltd, Worcester
Porcelain, The First Decade, 1981,
figure 42, for a bowl with a variant
of this pattern featuring a pencilled
butterfly.
36.
A pair of Worcester lobed baluster
shaped vases, each with flared neck
and two green glazed loop handles,
finely painted in coloured enamels
with a bold spray of European flowers
and leaves, and scattered flowers, 6 1/2″
high, circa 1758-60, no marks.
See Worcester Porcelain, The
Zorensky Collection, figure 79,
for a single vase of this form.
37.
A Worcester cabbage leaf shaped dish, finely
painted in Chinese famille rose style with the
‘Magician’ pattern, within an iron red and gilt
loop and dot border, 8 1/4″ wide, circa 1760,
no mark.
See Albert Amor Ltd, 18th Century English
Chinoiserie Porcelain Exhibition, 1990,
number 83 for a similar dish, the current
example incorporating an additional
butterfly in flight.
38.
A Worcester round sucrier and domed cover, with
flower knop, finely painted in coloured enamels
with trailing flowers and leaves, scattered flowers
and a ladybird, within gilt line borders, 4 5/8″ high,
circa 1765, no mark.
See Worcester Porcelain, The Zorensky Collection,
figure 200, for a facetted sucrier and cover painted
in this uncommon naturalistic style.
39.
A Worcester facetted teabowl and
saucer, painted in kakiemon palette
with the Two Quail pattern, within
iron red and gilt flower head and leaf
scroll bands, circa 1768-70, no mark.
Provenance : Mr and Mrs George
Clarke Collection, Luxembourg.
40.
A Worcester teabowl and saucer, finely painted
in Chinese famille rose palette with the Stag
Hunt pattern, within scroll moulded cartouches,
and with smaller panels of flowers, on a pleat
moulded ground with puce scroll borders, circa
1755-56, no mark.
Provenance; Mr and Mrs George Clarke
Collection, Luxembourg, acquired from
Albert Amor Ltd in 1977.
42.
A Worcester globular teapot and cover,
with loop handle and turned knop, ‘pencilled’
in black with the ‘Boy on a Buffalo’ pattern,
in Chinese style, 5 1/2″ high, circa 1755, an
incised line and V beneath, and workmen’s
marks in black inside the cover and beneath
the handle.
The workman’s mark beneath the handle
(initial P) is unusual.
Provenance :
Vincent Townrow Collection.
Mr and Mrs George Clarke Collection,
Luxembourg.
Exhibited : Albert Amor Ltd, The Vincent
Townrow Collection, 1998, number 20.
41.
A Worcester coffee can, with everted rim and
notched loop handle, finely painted in Chinese
famille rose palette with the Stag Hunt pattern,
within scroll moulded cartouches, and with a
smaller panel of flowers, on a pleat moulded
ground, the interior with a puce scroll band,
2 3/8″ high, circa 1755, no mark.
Provenance; Mr and Mrs George Clarke
Collection, Luxembourg.
43.
A Worcester teabowl and saucer, ‘pencilled’ in
black with the ‘Boy on a Buffalo’ pattern, in
Chinese style, circa 1756-58, the teabowl with
workman’s mark (initial P) in black.
It is interesting that both the teapot (number 42)
and this teabowl bear the same workman’s mark.
Provenance; Mr and Mrs George Clarke
Collection, Luxembourg.
44.
A Worcester small baluster shaped sparrow beak cream jug, with notched loop handle, printed in black
with two confronting birds in a landscape, and a bird in flight, the interior with a black line rim, 2 3/4″
high, circa 1755, no mark.
Provenance : Mr and Mrs George Clarke Collection, Luxembourg.
45.
A Worcester coffee cup, with notched loop handle, printed in brown with the Milkmaid at the Gate,
the reverse with a milking scene, the interior with a brown band, 2 1/4″ high, circa 1756-58, no mark.
46.
A Worcester teabowl and saucer, printed in black with The Wheatear and Thrush, within black line
borders, circa 1758, no marks.
47.
A Worcester coffee cup, with notched loop handle, printed in sepia in the Liverpool workshop of John
Sadler with Commedia dell’ Arte figures, 2 1/2″ high, circa 1762-65, no mark.
48.
An important Worcester small cylindrical mug,
with notched loop handle, printed in Liverpool in
brick red with a head and shoulders portrait of
‘George III King of Great Britain’, titled on a ribbon
and flanked by ‘C’ scrolls, flags, a cannon and a map
of ’ I.CUBA ‘and ‘Havannah’ on a titled scroll,
3 1/4″ high, circa 1762-63, no mark.
Provenance : The Museum of New York.
A few months after the Coronation of George III
in September 1761, the Seven Years’ War, which had
started in 1754, spread to the West Indies, and after
Spain’s alliance with the French, a British expedition
of five warships and 4,000 troops set out in 1762
from Portsmouth to capture Cuba. The British
arrived in June, and by August Havannah
had surrendered. The Admiral of the Fleet, George
Keppel, 3rd Earl of Albermarle, entered the city as
a conquering new governor and took control of the
whole western part of the island, opening up trade
with the Colonies. However, the Treaty of Paris was
signed in February 1763, and Spain, to secure the
return of Havannah, ceded its territory of La Florida
to the British.
This mug records the capture of Cuba in 1762,
shown by the small scroll shaped cartouche with
the inscription ‘I.CUBA’ and ‘Havannah’ showing
the position of the island and a map.
No comparable mug appears to be recorded.
See 18th Century English Transfer-Printed Porcelain
and Enamels, The Joseph M Handley Collection,
No.1.15, for a bowl printed with George III and a
view of Havannah, there listed as Worcester but now
classified as Derby.
49.
A Worcester lozenge shaped spoon tray,
painted in coloured enamels with exotic
birds in wooded landscapes, within gilt
cartouches, and with smaller panels of
insects, on a blue scale ground, 5 3/4″
long, circa 1770, blue fret mark.
Provenance :
Macdonald Collection.
English Private Collection.
50.
A very fine Worcester large cabbage leaf moulded mask jug, with flattened ‘C’ scroll handle, brilliantly
painted in carmine pink with Chinese river landscapes, within three large purple and gilt bordered
quatrefoil panels, on a lemon yellow ground painted in Kakiemon palette with sprays of flowers and
leaves, beneath an orange and gilt scroll and flower head band, and stiff leaf moulded rim picked out
in coloured enamels, 8 3/4″ high, circa 1760-65, no mark.
Provenance : Mr and Mrs Douglas Sidders Collection, and by family descent.
See Albert Amor Ltd, 18th century English Porcelain from Renowned Collections, number 18,
for a similar jug.
51.
A Worcester plate, finely painted in coloured
enamels in the London atelier of James Giles
with ‘windblown’ flowers, the indented border
with gilt line rim, 8 3/4″ diameter, circa 1768,
no mark.
Provenance :
Mr and Mrs Douglas Sidders Collection.
Exhibited : Albert Amor Ltd, The Sidders
Collection, 1985, number 62.
52.
A superb pair of Worcester cushion shaped
dishes, each finely painted in coloured enamels
in the London atelier of James Giles with a
central roundel of flowers, the border with exotic
birds in wooded landscapes, within four gilt
cartouches, on a blue scale ground, 9 1/4″ wide,
circa 1770, blue fret and crescent marks.
The Lady Mary Wortley Montagu Pattern,
Version Two.
See Gerald Coke, In Search of James Giles,
figure 38b, for a lozenge shaped dish in this
pattern.
53.
A pair of Longton Hall plates, each finely painted in coloured enamels in ‘Trembly Rose’ style with
sprays of flowers and leaves and scattered flowers, the cabbage leaf and strawberry moulded border
picked out in orange, turquoise, puce and green, 9 1/4″ diameter, circa 1755, no marks.
54.
A South Staffordshire enamel round bonbonniere, the brass mounted hinged cover painted in coloured
enamels with a figure and boats in a coastal landscape, the base painted with flowers, and the
underside with an insect, 2 3/8″ diameter, circa 1760.
55.
A South Staffordshire enamel yellow ground round bonbonniere, the brass mounted hinged cover
painted in puce with a shepherd and his flock in a wooded landscape, 1 1/2″ diameter, circa 1770.
Provenance : Miss Caroline Ellison Collection.
56.
A Birmingham enamel oval plaque, printed in
black with Les Amourette, 4″ wide, circa 1775, in
contemporary gilt metal frame with suspension
ring.
Provenance; Miss Caroline Ellison Collection.
See Cyril Cook, The Life and Work of Robert
Hancock, item 122 and Schreiber Collection
number 133 for similar prints.
57.
A fine pair of Birmingham enamel oval
plaques, each very well painted in coloured
enamels after Watteau with elegant figures in
garden landscapes, with fountains, monuments
and houses beyond, 4 1/2″ wide, circa 1760-65,
in contemporary gilt metal frames with
suspension rings.
Provenance : The Hon Mrs Nellie Ionides,
her sale Sotheby’s London,
9th October 1967, lot 89.
Miss Caroline Ellison Collection.
One plaque depicts La Cascade, after Watteau,
engraved by Cochin, for the other see the
catalogue of the Schreiber Collection, part III,
no 326, plate 38, for an oval plaque displaying
the majority of this scene.
58.
A Birmingham enamel oval plaque, printed
in black with a shepherd and shepherdess with
a basket of flowers in a landscape with cattle,
sheep and a cottage, 4 1/2″ wide, circa 1770,
in contemporary gilt metal frame with
suspension ring.
Provenance : With D M and P Manheim.
Miss Caroline Ellison Collection.
A similar plaque was formerly in the Collection
of Sir William Mullens, sold Sotheby’s London,
February 1977, lot 211.
59.
A fine South Staffordshire enamel rectangular
plaque, very well painted in coloured enamels
with the Fountain of Love, after Boucher, and
titled on a monument within the plaque, 3 1/2″
wide, circa 1765, in contemporary gilt metal
frame with suspension ring.
Provenance : With Stoner and Evans Ltd,
3 King Street, St James’s.
Miss Caroline Ellison Collection.
An enamel box also depicting the figures within
this scene was in the Collection of The Hon Mrs
Nellie Ionides, her sale Sotheby’s London,
27th May 1963, lot 158.
60.
A fine South Staffordshire enamel rectangular
plaque, very well painted in coloured enamels
with L’Amour au Theatre Francais, after
Watteau, 3 1/4″ wide, circa 1765, in contemporary
gilt metal frame with suspension ring.
Provenance : With Stoner and Evans Ltd,
3 King Street, St James’s.
Miss Caroline Ellison Collection.
For another version of this scene, from the
Collection of The Hon Mrs Nellie Ionides,
see her sale, Sotheby’s London, 27th May 1963,
lot 167 (colour frontispiece).
61.
A South Staffordshire enamel rectangular
plaque, finely painted in coloured enamels
with the Crucifixion, 4 3/8″ wide, circa 1765-70,
in contemporary gilt metal frame with
suspension ring.
Provenance : Miss Caroline Ellison Collection.
62.
A South Staffordshire enamel oval plaque,
painted in coloured enamels with a young man
offering a basket of flowers to a seated young
girl, a small dog at her feet, in an elegant garden
setting, 4 7/8″ high, circa 1760-65, in later gilt
metal frame with suspension ring.
Provenance : The Hon Mrs Nellie Ionides,
her sale Sotheby’s London,
9th October 1967, lot 80.
Miss Caroline Ellison Collection.
63.
A Birmingham enamel rectangular plaque,
printed in black with a lady seated, playing
a lute, a cupid at her side, in a mountainous
wooded landscape, 4 3/4″ wide, circa 1775,
in contemporary mahogany frame with
metal suspension ring
Provenance; Miss Caroline Ellison Collection.
A Liverpool Delft tile printed with this design
was in the Collection of Sir William Mullens,
his sale Sotheby’s London, 22nd February 1977,
lot 14.
64.
A South Staffordshire enamel round plaque,
painted in coloured enamels with a young couple
seated in a landscape, she with flowers in her
apron, 3″ diameter, circa 1775, in contemporary
gilt metal frame with suspension ring.
Provenance : Miss Caroline Ellison Collection.
65.
A Birmingham enamel oval plaque, printed in puce with a young couple walking in an extensive
landscape, with figures and buildings beyond, 3″ wide, circa 1765-70, in contemporary gilt metal
frame with suspension ring.
Provenance : Miss Caroline Ellison Collection.
This print is adapted from La Cascade, after Watteau.
66.
A Birmingham enamel oval plaque, printed in purple with a gentleman offering flowers to a lady
on a terrace, 2 3/4″ wide, circa 1765, in contemporary gilt metal frame with suspension ring.
Provenance : Miss Caroline Ellison Collection.
67.
A Birmingham or South Staffordshire enamel bonbonniere, modelled as a preening goldfinch, its
head partially covered by its left wing, the plumage picked out in brown, black, red and yellow, the
brass mounted hinged cover painted with a similar bird
in a tree, 2 7/8″ long, circa 1760-70.
For another example of this form, from the Ionides Collection, see Therle and Bernard Hughes,
English Painted Enamels, page 141, figure 77.
68.
A pair of Birmingham enamel oval plaques, printed in black with an elegant couple in a garden and
three elegant figures on a terrace with sculpture beyond, 3 1/4″ wide, circa 1765-70, in contemporary
gilt metal mounts each with suspension ring.
See the Schreiber Collection, plate 38, number 324.
69.
A Flight and Barr Worcester
flared chocolate cup and
trembleuse saucer, the cup
with two angular loop
handles, finely painted in
coloured enamels with a
naturalistic peony, bud and
leaves, within a gilt oval
panel, on a salmon and gilt
trellis ground, with gilt line
borders, 4 1/8″ high, circa
1800, painted crown and
script marks in puce and
‘Manuf….to Their Majesties’.
70.
A Derby pastille burner
and cover, in the form of a
thatched cottage, the red and
yellow ‘brick’ building with
gilt framed windows and
applied with fruiting vines,
on flower applied green
glazed mound base, 4 1/4″
high, circa 1815-20, no mark.
Although produced in large
numbers by most early 19th
century English porcelain
factories, Derby cottage
shaped pastille burners
are very rare.
71.
A Flight, Barr and Barr Worcester
small rectangular dish, the two gilt
loop handles with leaf moulded
terminals, finely painted in coloured
enamels with seashells, on an apple
green ground, within a gilt gadrooned
border, 5 1/4″ wide, circa 1815,
printed mark in iron red.
72.
A Flight, Barr and Barr Worcester cabinet
plate, finely painted in coloured enamels with a
named view of ‘Waterfall and Bridge at Rydal
Yorkshire’, the bright green ground border with
a raised paste gilt band, entwined with festoons
of coloured flowers and leaves, gilt gadrooned
rim, 9 1/2″ diameter, circa 1815, printed mark
in brown and titled verso.
73.
An unusual pair of
Flight, Barr and Barr
Worcester round dishes,
each moulded in ‘Blind
Earl’ style with rose
buds and leaves, picked
out en grisaille, and
painted with butterflies
and insects, on a bright
green ground, the
scalloped border with
gilt line rim, 8 1/2″ wide,
circa 1815-20, no marks.
74.
A Chamberlain’s Worcester flared
chocolate cup, cover and stand, with two
ring handles and loop knop, finely painted
in coloured enamels with a ‘Striped
Headed Manakin’ perched on a branch,
in a river landscape, within a gilt
rectangular panel, and with gilt roundel
and dentil bands, 4 3/4″ high, circa 1800,
script mark in iron red.
75.
A pair of Chamberlain’s Worcester fruit coolers, covers and liners, each with two gilt shell handles,
pierced gallery and dolphin knop, painted in coloured enamels with an eagle crest and gilt fruiting
garlands, within blue ground bands decorated in gilt with vines, the liners marbled in black, 11 3/4″
high, circa 1800-10, script mark in brown.
76.
A Chamberlain’s Worcester miniature
round chamber candlestick, with loop
handle, applied with coloured seashells
and seaweed, within a pierced border,
the detachable conical extinguisher
striped in gilt, 2 1/2″ diameter overall,
circa 1830-40, no mark.
Provenance : English Private
Collection.
77.
A pair of George Grainger ‘Brunswick
Shape’ oval two handled dishes, each
very well painted in coloured enamels
with a botanical specimen, within
a scroll moulded border picked out
in blue and gilt, 11 1/4″ wide, circa
1835-40, printed mark in black.
See H and J Sandon, Grainger’s
Worcester Porcelain, figure 66, for
similarly decorated pieces of this form.
78.
A pair of George Grainger ‘Brunswick
Shape’ shell shaped dishes, each very
well painted in coloured enamels with
a botanical specimen, within a scroll
moulded border picked out in blue and
gilt, 8 3/4″ wide, circa 1835-40, pattern
number 723 in gilt.
See H and J Sandon, Grainger’s Worcester
Porcelain, figure 66, for similarly decorated
pieces of this form.
79.
A fine Coalport solitaire tea service, in
Empire style, each piece brilliantly painted
in coloured enamels with botanical
specimens, within pale blue and gilt ‘pearl’
borders, comprising; an oval teapot and
cover, with eagle handle, fruit knop and
hound mask spout, a two handled sucrier
and cover, a milk jug and a London shape
teacup and saucer and an oval tray with
two laurel and ribbon moulded handles,
the tray 16 1/2″ wide, circa 1810-15, each
piece titled beneath.
Provenance : English Private Collection.
See Michael Messenger, Coalport, colour
plates 8 and 9, for a part service of this
form, painted with animals.
80.
A Spode flared chocolate cup, cover and saucer, with two scroll handles and ball knop, painted in
coloured enamels in Kakiemon style with flowering trees, within flower panelled orange and gilt
flower head bands, 5″ high, circa 1800-10, pattern number 282 in gilt.
81.
A rare Rockingham small
inkwell, in the form of an
elephant, wearing a puce and
gilt saddle cloth, supporting
a four turreted castle, on oval
shell moulded base, 3 1/2″
high, circa 1830, printed
mark in red and painted
number CL.3.
See D G Rice, Rockingham
Ornamental Porcelain, plate
125, for a similar example in
the collection of Weston
Park Museum, Sheffield.
82.
A Minton ornithological dessert service, each piece finely painted in black with a named bird,
in a shaded orange landscape with buildings and trees, gilt line borders, comprising;
Eighteen plates
Six leaf shaped dishes in two sizes
An oval centre dish, with scroll handles
A pair of pierced oval two handles baskets and stands
circa 1800-10, pattern number 500 and each piece titled in black verso
83.
A pair of Coalport lobed ovoid vases and covers,
in Sevres style, each slender neck with two gilt
ribbon handles, well painted in coloured enamels
with sprays of flowers and leaves, within oval gilt
oak leaf and acorn cartouches, on a pale turquoise
and blue oeil de perdrix ground, and stepped
round base, 15 1/4″ high, circa 1830-40, no marks.
84.
A pair of Royal Worcester moon flask shaped
two handled vases, after Chinese originals, each
finely painted in coloured enamels and gilt to
imitate cloisonne enamel, on a pale blue ground,
within ruyi head and geometric bands, on gilt
scroll moulded base, 8″ high, printed marks
in green for 1875.
85.
An extraordinary Royal Worcester candlestick,
in the form of a kneeling Chinese man, holding
a fan and balancing on his head an hexagonal
tray and a vase entwined with a salamander, the
matt ivory glaze picked out in brown and gilt,
on pierced and Greek key bordered hexagonal
base, 13 1/2″ high, circa 1875, impressed and
printed marks.
86.
A pair of Chantilly lobed baluster shaped
vases, each with two scroll moulded loop
handles, painted in coloured enamels with
garlands of flowers and leaves, and single
flowers, beneath a puce feuille de choux
border, 7 7/8″ high, circa 1760, no marks.
87.
A rare Meissen canted rectangular pierced basket, finely painted in coloured enamels with scattered
flowers and leaves, within gilt borders, the two loop handles with gilt trellis and star bands, the exterior
and underside with basket moulded panels, 11 3/4″ wide overall, circa 1750, blue crossed swords mark.
Provenance : English Private Collection.
88.
A Meissen oval dish, the
two twig loop handles with
applied flower and leaf
terminals, finely painted in
coloured enamels with two
Blue Tits pecking at nuts
and a cut melon, and
another bird swooping, and
with numerous butterflies
and insects, within a fluted
and basket moulded border
and gilt line rim, 12 1/4″
wide overall, circa 1750,
blue crossed swords mark.
89.
A Meissen large baluster shaped pot pourri vase
and pierced domed cover, with flower knop,
painted in coloured enamels with sprays of
flowers and leaves, and applied at the neck in
bold relief with trailing fruits and flowers, the
two loop handles flanked by figures of a young
boy and girl with flowers, emblematic of Summer,
on scroll moulded domed foot, 16 1/2″ high, circa
1750, blue crossed swords mark.
Provenance : European family collection,
and by descent.
See Christies, London, 28th March, 1977, lot 107,
for a similar vase.
90.
A rare pair of Meissen large inkstands, in the form of Mars and Minerva, each seated before a
scrolling tree trunk, applied with flowers and leaves, and supporting five candle sconces, on base with
two petal shaped recesses, one retaining the original flower head shaped inkwell and sander, 12 3/4″
high, circa 1755, no marks
Provenance : European family collection, and by descent.
91.
A documentary German porcelain watch stand, in the
form of Old Father Time standing beside a draped
monument, surmounted by a putto holding an oval
medallion depicting a profile of a negress, a young
woman with a book reclining, scantily draped, at the
foot, on rockwork mound base modelled with gold coins
and with applied granitic decoration, 12 1/2″ high, the
monument with monogram B M P, the open book
inscribed in gilt and dated 8th Aug; 1785.
Provenance : European family collection, and by descent.
92.
A German porcelain scent bottle and stopper, after a Chelsea original, in the form of a shepherd and
shepherdess, with lamb and dog, before a flower applied tree stump, decorated in coloured enamels,
on green glazed mound base, the underside painted in gilt with flowers, 2 3/4″ high, impressed 40.
93.
A Cozzi lobed oval small sucrier and domed cover, with fruit and leaf knop, boldly painted in puce
with a fantastic animal, and in coloured enamels with growing flowers and leaves, within gilt line
borders, 3 1/2″ high, circa 1775, red painted anchor mark.
94.
A pair of Paris
porcelain flared
round jardinières
and stands, each
with two gilt fixed
ring handles, finely
painted in coloured
enamels with bands
of flowers and
leaves, within gilt
line borders, 7″ high,
circa 1800-10, no
marks.
95.
A pair of Meissen shell shaped dishes, each finely painted in coloured enamels with clusters of fruits
and flowers, within a border of garlands of flowers suspended from blue ribbon ties, and gilt dentil
rim, 8 3/4″ wide, circa 1775, blue crossed swords marks.
96.
A pair of German porcelain table ornaments, in the white, each in the form of a camel, with two
wicker panniers, on oval rocky mound base, 8 3/4″ high, circa 1880, pseudo Meissen marks in blue.
97.
An unusual creamware plate, particularly finely painted in coloured enamels with a brightly plumaged
bird perched on a tree stump, the indented border with a continuous band of exotic birds on a flower
garland, 8″ diameter, circa 1770, no mark.
98.
A creamware cylindrical
mug, the loop handle with
leaf terminals, unusually
printed in brick red with
harlequin encouraging two
dogs to leap through a hoop,
within an oval leaf bordered
panel, and titled beneath
‘Dancing Dogs’, 4 5/8″ high,
circa 1780, no mark.
Provenance :
The Museum of New York.
99.
A rare Wedgwood pearlware
dessert service, each leaf
moulded piece picked out in
pale green, yellow and pink,
comprising;
22 plates
4 oval dishes
A pair of leaf shaped dishes
A long leaf shaped dish
circa 1800, impressed marks
100.
A black basalt bust of Sir Isaac Newton, in classical style, on tapering socle, 9 1/4″ high, circa 1830-40,
no mark.
101.
A Wedgwood black basalt bust of Lord Byron, on waisted round socle, 9 1/2″ high, circa 1910,
impressed marks.
102.
A rare Savona large round
faience charger, after a
metalware form, finely
painted in underglaze blue
with a young man and a
dog, a Chinese figure, a dog
beneath a tree, a bird in
flight, buildings, flowers
and leaves, within a spirally
moulded cavetto and fluted
and beaded border, 17″
diameter, painted mark in
blue traditionally ascribed
to Levantino, circa 1700.
103.
A Mosanic faience model of a
parrot, with glass eyes, decorated
in coloured enamels and perched
on a tree stump, 10″ high, circa
1900-10, painted mark in blue.
104.
A Mosanic faience model of
a seated cat, with glass eyes,
painted in blue with hearts,
roundels and rabbits, on a bright
yellow ground, 13 3/4″ high,
circa 1900-10, no mark.
105.
A Galle faience model of a seated pug, with glass eyes, naturalistically painted in brown, and wearing
an orange and yellow collar inscribed ‘Pyxie’, 12 1/2″ high, circa 1900, mark in red E. Galle, Nancy.
106.
A Galle faience model of a seated tabby cat, with glass eyes, finely painted in brown, 12 1/2″ high, circa
1900, mark in red E. Galle, Nancy.
107.
A Chinese famille rose garniture, comprising three
baluster shaped vases and domed covers and a pair
of waisted beaker vases, each finely painted with
figures and children in fenced gardens, with
flowering peony, rockwork and cloud scrolls,
14 1/4″ high overall, Qianlong.
Provenance : European family collection,
and by descent.