woolley & wallis

WOOLLEY &WALLISSALISBURY SALEROOMS

Fine Porcelain & PotteryTuesday 24th February 2015

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SUTel: 01722 424500 Fax: 01722 424508

Specialist DepartmentsPlease dial +44 (0)1722 followed by the number listed below

Members of The Society of Fine Art Auctioneers

20TH CENTURY DESIGN

Michael Jeffery — 424505Amanda Lawrence — 329477

ASIAN ART

John Axford MRICS ASFAV — 424506Sophie Lister — 424591Alex Aguilar Doméracki — 424583Freya Yuan — 424589

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS

Richard Price (Consultant) — 07741 242421Gemma Bush — 339752

ENGLISH & EUROPEAN CERAMICS & GLASS

Clare Durham — 424507Amanda Lawrence — 329477

FURNITURE

Mark Richards — 411854Jim Gale — 339161Anna Brown — 411854

JEWELLERY

Jonathan Edwards FGAA 424504Marielle Whiting FGA — 424595

PAINTINGS

Victor Fauvelle — 424503Jo Butler — 424592

SILVER

Rupert Slingsby — 424501Lucy Chalmers — 424594

TRIBAL ART & ANTIQUITIES

ARMS & ARMOUR

Will Hobbs — 339752Gemma Bush — 339752

VALUATIONS FOR INSURANCE & PROBATE

Paul Viney ASFAV — 424509Clive Stewart-Lockhart FRICS FRSA 424598

ACCOUNTS

Janice Clift (Office Manager) — 424500Ruth Pike 424599

MARKETING

Tamzin Corbett — 424590

GENERAL OFFICE

Linda Garthwaite — 424500Pauline WestSharon RingwoodNicola Young

SALEROOM MANAGER

David Jordan — 424500

BOARD OF DIRECTORS

Paul Viney ASFAV Chairman

John Axford MRICS ASFAVDeputy Chairman

Clive Stewart-Lockhart FRICS FRSAManaging Director

COMPANY SECRETARY

Jim Macarthur CA — 424599

ASSOCIATE DIRECTORS

Will HobbsMichael JefferyMark RichardsRupert SlingsbyJonathan Edwards FGAAJanice CliftClare Durham

Front cover: Lot 261Back cover: Lot 122Catalogue £12.00 (£15.00 by post)Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

FINE PORCELAIN & POTTERYTuesday 24th February 2015 at 11.00am

Viewing TimesSaturday 21st February 10.00am – 1.00pmMonday 23rd February 10.00am – 5.00pmTuesday 24th February 9.00am – 11.00am

LIVE BIDDING

Please register by 5pm Monday 23rd February. Please note there is a 3% surcharge for using this service.

ENQUIRIES

Clare Durham 01722 [email protected]

Amanda Lawrence 01722 [email protected]

CONDITION OF LOTSBuyers are advised to obtain a full conditionreport prior to bidding, as descriptions donot necessarily list all faults.

COLLECTION OF LOTSPlease note that all lots will be cleared fromour Castle Street saleroom to our Salt Laneoffice on Monday 2nd March. If you arecollecting items on or after this date pleasecontact the department on 01722 424507.

Lot 213

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1. A delftware teabowl, 18th century, painted in blue with flying insects around flowering peony sprays issuing from the rim, brown linerim, 7.2cm. £100-200

Provenance: from a private collection in the Cotswolds.

2. A London delftware teapot stand, c.1720, painted in blue with a small figure fishing from rocks in a river landscape, with small buildingson a rocky island, within a stiff leaf border, raised on three shaped feet, a little rim chipping, 13cm. £1,000-1,500

Cf. John C. Austin, British Delft at Williamsburg, p.115 for similar examples.

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3. A good Bristol delftware octagonal tea canister, c.1760, the wider concave sides painted in blue with a standing chinoiserie figurecarrying a scroll or vase, the narrower sides with rococo foliate scrolls, between flat diaper panels, 11cm. £1,500-2,000

Cf. Anthony Ray, English Delftware Pottery in the Robert Hall Warren Collection, pls.52 and 53 for similar examples with figural decoration.

4. A Brislington delftware plate, c.1670-80, painted with aChinese figure seated by a low table with bamboo beyond, a sectionof the rim broken out and restored, 21.8cm. £100-200

5. A large polychrome delftware charger, 18th century, paintedwith bamboo and peony issuing from holey rockwork, the rims withfurther sprays of Oriental flowers, some restored rim chips, 33.8cm.

£150-250

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8. A delftware polychrome charger, 18th century, painted in apalette of blue, green, red and yellow with a long-tailed parrotperched on a branch above rockwork beside sprays of floweringpeony, the rim with four floral sprays, 33cm. £150-250

9. A Delft figural dish, c.1700-20, painted in blue with thestanding figure of Venus holding a large conch shell between tallsponged trees, within a wide stylized border, the reverse decoratedin a buff glaze, 30.5cm. £150-250

6. A large English delftware charger, c.1730-40, painted in blueand red with a design of stylized peony sprays in and around acentral flowerhead with eight petals, reserved on a hatched redground, cracked, 36cm. £150-250

7. A good and early London delftware plate, c.1670-80, paintedin yellow and manganese with a Chinese figure seated in a gardenlandscape, the scene repeated twice to the wide rim, 22cm.

£800-1,200

Cf. Lipski and Archer, Dated English Delftware, nos. 138, 143 and 157for related examples.

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10. A large Bristol delftware punch bowl,c.1760, decorated to the exterior in blue andmanganese with pagodas on an island amidstpine, bamboo and willow, the interior with amanganese flower spray within bianco-sopra-bianco foliate scrolls, cracked, 26cm dia.

£150-250

Provenance: from a private collection in Surrey.

11. A pair of delftware octagonalplates, mid 18th century, painted in bluewith arrangements of Oriental flowersissuing from low censers, the rims withfour vignettes of further flowers andauspicious objects, some wear to theglaze, 22.8cm. (2) £150-250

12. A pair of Liverpool delftwarewoodblock printed tiles, c.1756, printed inblue by John Sadler, one with a man walking adog beside an English inn, the other with twofigures among Italianate ruins with a Classicalstatue, each within an octagonal panel edgedby foliate scrolls, the corners with floral monsmotifs, 13cm. (2) £300-500

Cf. Anthony Ray, English Delftware Tiles, no.618 for the former. See also Anthony Ray,Liverpool Printed Tiles, No. A5-6 for the latter.

15. Two delftware deep pickle dishes, 2nd half 18th century, eachof leaf shape, painted in blue to the interior with pagodas beside acurved bridge, the rims with a hatched diaper band, 13.2cm max. (2)

£200-300

16. A pair of Delft shoes or clogs, one dated 1750, painted to thepointed toes each with a large yellow peony against blue and greenfoliage, with further floral motifs around the sides and beneath thetoe, one inscribed ‘1750’ in blue beside the low heel, small chips tothe toes, 13.5cm. (2) £500-700

13. A Portuguese faïence albarello, c.1640-50, the tall waistedbody painted in blue with a narrow banner inscribed ‘V.DESOP.SVC’reserved on a ground of overlapping palmettes, 19.5cm. £400-600

14. An English delftware bottle or guglet, mid 18th century,painted in blue with a continuous landscape scene of pagodasbeneath pine, plaintain and other trees before mountains, a singlefigure fishing from a small boat in the foreground, the tall neck withformal stiff leaf designs, a little restoration to the neck, 24.2cm.

£200-300

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19. An early English delftware bowl, c.1670, possibly London, theexterior painted in blue with three Chinese figures in a continuouslandscape, seated and standing amidst rocks and pine, the interiorwith two stylized figures, 20.7cm dia. £300-500

20. An English delftware food warmer base, c.1760-70, ofcylindrical form with a shaped opening beneath a moulded mask,painted in blue with leafy bamboo issuing from larger leaves at thesides of the opening, the reverse with peony and further bamboobeside rockwork, numeral mark to the interior, some damages,16cm. £200-300

Paper label relating the object to the Onians Collection.


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17. A rare London delftware bulb pot, c.1680-90, of inverted pearshape, painted in blue with butterflies in flight above Orientalflowers, between blue scroll bands, with large ropetwist handles, theneck pierced with six small holes, 21cm across. £1,500-2,000

18. A Dutch Delft model of a wild boar, probably 19th century,seated on an oval base with a stylized floral border, a geometric floralarrangement painted on his back with blue dots around, mark afterJacobus Halder, 16cm high. £100-200

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21. A large Porquier-Beau (Quimper) dish, c.1900, the squareform with a shaped rim, painted with a large botanical specimen offruiting blackberry, within a formal border of blue, yellow and ochre,the underside sponged in green and blue, PB monogram mark,30cm. £200-300

22. A rare Rouen faïence two-handled dish, 1st half 18th century,boldly decorated in the famille verte palette with two Chinesechildren clambering up the branches of a large peony spray, withbirds and moths in flight above, the octagonal form with two rope-twist handles, raised on three stilt feet, HV mark, 34.5cm. £250-350

23. A maiolica crespina, probably 18th century, moulded withpetals and painted in the Deruta manner with a putto holding a staffin his left hand, a snake entwined around the top, his right handpointing away, within a stylized border in blue, yellow and ochre,raised on a low circular foot, some chipping, 24.2cm. £100-200

24. A small Castelli maiolica plate, 18th century, painted withthree figures playing cards beneath a tree, with cattle and mountainsbeyond, edged in ochre, 17.2cm. £200-300

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25. Four post-medieval encaustic tiles, each decorated in inlaid pale slip with an antlered stag’s head within a hexagonal panel, a five-pointed star between the antlers, all within a square with a flowerhead in each corner, surface wear, 12.5cm. (4) £1,000-2,000

Provenance: from a private house in Dorchester.

26. Four post-medieval encaustic tiles, each decorated in inlaid pale slip with an antlered stag’s head within a hexagonal panel, a five-pointed star between the antlers, all within a square with a flowerhead in each corner, surface wear, 12.5cm. (4) £1,000-2,000

Provenance: from a private house in Dorchester.

27. Three tin-glazed earthenware eyebaths, probably 19thcentury, variously moulded with ribbed or fluted bowls raised on flaredfeet, two with additional fluting to the stems, some chipping, 5.1cmmax. (3) £150-250

28. An unusual tin-glazed eyebath, perhaps 18th century, themoulded bowl raised on a baluster stem above a square foot,restored through the stem, 7cm. £600-800

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29. A creamware eyebath, c.1790, the short stem raised on athick circular turned base, 5cm high. £300-400

30. Two pearlware eyebaths, 19th century, perhaps Spode, raisedon tall quatrefoil moulded stems, one restored, 7cm. (2) £150-250

31. An unusually large pearlware model of a pipe, early 19th century, the tall bowl lightly moulded and decorated in Portobello colours ofblue, red and green, the long stem hollow, a well restored break to the stem, 21cm. £250-350

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34. An unusual pair of pearlware circular plaques, late 18thcentury, each moulded with a central lion mask, with stylized panelsof stiff leaves around, highlighted in blue, the reverse of oneinscribed for ‘Samuel Rich’, 10cm. (2) £300-500

35. An unusual slipware model of a flat iron, 18th century,decorated in a treacle glaze with cream dots, a small opening to thereverse, 12cm. £200-300

32. A Whieldon creamware miniature canister and cover, c.1760-70, of cylindrical form, splashed in manganese, a Whieldon coffeecup applied with small formal fruit and flower sprigs, and a saucersplashed with green over the mottled manganese, restoration to thecover, 12.7cm max. (4) £300-500

Paper labels for the Harry Root Collection.

33. A rare Wedgwood pearlware pastille burner, c.1805, theshallow round bowl painted in red and black with a continuousscrolling floral band, raised on three dolphin supports on a triangularbase decorated in a pink lustre glaze, marked ‘Josiah Wedgwood Feb2. 1805’ in black script, impressed WEDGWOOD, some damages,the cover lacking, 11cm high. £100-200

Cf. The Victoria and Albert Museum, Accession No. C.183&A-1931.Also, ‘An explanation for the Wedgwood “2nd February 1805” mark’by David Pendergast in Ars Ceramica, no. 21, 2005, pp 6-11, whichrelates the mark to the death of the sculptor Thomas Banks.

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36. An English medieval slipware jug, c.13th/14th century, theround-bellied body decorated with pale yellow flowerheads withinradiating stripes on a dark treacle ground, beneath a tall incised neck,raised on a splayed pinched foot, some chipping to the foot, 15cm.

£500-700

37. An agateware chocolate pot and associated cover, c.1755,the traditional tapering form with striations of blue, brown andcream, the spout modelled as the head of a mythical creature, somefaults, the cover made up, 20cm. (2) £250-350

Paper label referencing the Edward Sheldon Collection.

38. A documentary Yorkshire slipware puzzle jug, dated 1817,decorated in a rich treacle glaze with a three line verse in cream slip,inscribed with the name ‘W W Gargrave’, the neck pierced with ageometric design, some damages, 16cm. £100-200

Gargrave is a village in North Yorkshire, not far from Skipton. It ispossible that the name on this jug relates to that place, but it is also aknown surname in Yorkshire so may relate to a person.

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39. A rare Whieldon creamware plaque, 2nd half 18th century, decorated in high relief with Christ on the cross between the two murderers,a grieving crowd gathered at his feet, splashed in manganese, black and green, pierced with two suspension holes, 16.5cm. £900-1,200

40. A dry-bodied stoneware stirrup cup, 19th century, modelledas the head of a dog in buff coloured clay, 10.5cm. £200-300

41. A good pearlware stirrup cup, late 18th century, modelled asthe head of a hare or rabbit, its fur detailed in black on russet brown,its ears curled up around the flared mouth, the interior rim with astylized puce border, wide strap handle, 14.5cm across. £600-800

42. An English redware teapot and cover, 18th century, theglobular stoneware body applied with a bird perched atop floweringbranches, the cover surmounted with a lion dog finial, the spout witha loose silver metal cap on a chain, minor damages, 21cm. (2)

£400-600

43. A pearlware jug, early 19th century, inscribed ‘Another Jug andWat than Another’, the reverse painted with a large pink tulip andother polychrome flowers, the rim with a continuous band above anarrow basket-weave border, 15cm. £100-200

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44. A large Staffordshire model of a cottage orné, c.1810-20,modelled with tall elaborate chimneys and dormer windows in theTudor style, the tracery highlighted in gilt, some restoration to thechimney, 23cm high. £250-350

45. A pearlware yellow-ground bowl, c.1810, painted with a bolddesign of continuous red flowers and large green leaves reserved ona bright canary yellow ground, brown line rim, some restoration,22.5cm. £150-250

46. A large Pratt ware moulded jug, c.1800, moulded with seatedtopers, smoking and drinking by leafy trees, reserved on an ochreground, between bands of corn ears, 22.5cm. £150-250

47. A good pearlware blue and white jug, late 18th century,perhaps Liverpool, boldly painted with a two-storeyed buildingbeside an elaborate fence beneath willow, 19cm. £100-200

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50. A rare and large Wedgwood & Co (Ferrybridge) pearlwarevase and cover commemorating the Treaty of Amiens, c.1802, therounded sides printed in sepia with roundels depicting three figuresrepresenting Britain, France and Peace, within hand-coloured floralgarlands, the flattened lid with an acorn finial, some damages to thecover, 38cm. (2) £300-500

The Treaty of Amiens was siged on 25th March 1802 and temporarilyended the war between Britain and France. The Peace of Amienslasted until May 1803 when hostilities were resumed, but representsthe only period of peace in the years 1793-1815.

51. A large pearlware yellow ground jug, 19th century, painted totwo sides with rural landscapes in puce monochrome, reserved on arich yellow gtround, the neck painted with a checked design in red,green and yellow, some restoration, 25cm. £450-600

48. A pearlware jug of impressive size, dated 1821, painted withlarge scenes of a hunt running across open fields and of a milkmaidcrossing a farmyard, the neck with a pale green glaze, beneath thespout inscribed ‘JA 1821’ in gilt, 31cm high. £300-500

49. A large commemorative Yorkshire pearlware loving cup,dated 1829, the statuesque piece advertising the wares ofEshaldwell Brewery with a four line verse between floral sprays, thereverse painted with a large barrel between a head of barley and alength of hops, damages, 35cm across. £150-250

Henry Bentley founded the Oulton Brewery in Woodlesford, Leeds in1828, changing the name to Eshaldwell Brewery the following year.This lasted until 1880 when the company went through variouschanges to become Bentley Yorkshire Breweries Ltd, eventuallybeing acquired by Whitbread & Co Ltd in 1968 and ceasing to brewin October 1972.

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52. A pearlware figural candlestick, early19th century, formed as a winged puttocarrying a flaming torch, the sconce issuingfrom the top of her head, raised on a squarebase, impressed S mark, some restoration,23.5cm. £150-250

53. A Staffordshire figure of a cat, 19thcentury, seated on its haunches with headturned to dexter, its coat decorated withpatches in black and ochre, raised on anoval base with gilt line, a little goodrestoration, 20.2cm. £400-500

54. A rare Staffordshire figure of a knifegrinder, 19th century, after a painting byDavid Teniers, standing at his wheel andwearing a plumed hat, 27cm high. £100-200

Cf. Woolley and Wallis, A private collectionof Victorian Staffordshire Figures, 20thSeptember 2006, lot 134.

55. A pearlware moulded rectangular plaque, c.1800, moulded with the Gretna Green scene of a young couple being married by ablacksmith who rests a Bible on his anvil, a horse being shod behind, within a yellow border, a corner broken off and restored, 23.4cm.

£200-300

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56. A Yorkshire Pratt ware cow group, c.1810, the large bovinestanding four square on an oval base with a dog recumbent by herside, the farmer wearing a top hat and with one hand in his pocket,the edges of the base decorated in mottled patches of blue, blackand ochre, some restoration, 14cm high. £300-500

57. A Wedgwood & Co (Ferrybridge)Pratt ware comport, c.1800, of navetteshape, the interior printed with two Classicalfigures in the Greek manner, the exterior andinterior border with a continuous garland ofyellow, blue and ochre flowers, impressedWedgwood & Co mark, 28.5cm. £150-250

58. A Yorkshire Pratt ware model of a ram, c.1810, recumbentwith head turned to dexter, his fleece finely detailed, raised on agrassy stump picked out in Pratt colours, good restoration to hishorns, 15cm across. £250-350

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59. A pearlware part tea service, late 18th/early19th century, with bands of turned fluting,decorated with washed stripes of green.Comprising: a milk jug, a sugar bowl and cover, anda bowl and cover in the Chinese manner with areticulated rim. (5) £150-250

60. A pair of Minton Majolica oyster plates,date codes for 1870, each modelled with nineshell-shaped indentations around a central well,enamelled in turquoise with small shell motifs incontrasting colours, impressed marks, 25.5cm.(2) £200-300

61. An unusual pair of insulated pearlwaresauceboats, early 19th century, moulded with afeathered rim enamelled in green, each handlewith a square aperture at the top, minor chips,21cm. (2) £150-250

The aperture on the handle accesses a hollow basebeneath the bowl into which hot water can bepoured to help keep the contents of the sauceboatwarm.

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62. An impressive pair of Minton Majolica stick stands, date codes for 1875, modelled as a heron and a stork, with a fish and a wrigglingelver trapped in their respective beaks, each standing on one leg before wide openings formed by tall bulrushes and reeds, impressed marks,shape numbers 1916 and 1917, small losses, 100cm high. (2) £5,000-8,000

Cf. Marilyn G. Karmason with Joan B. Stacke, Majolica, p.55 for a similar pair.

Provenance: the property of a nobleman.

63. A large salt-glazed stoneware sauceboat, c.1755-60,moulded with scrolling panels of basketweave, and diaper hatching,brightly enamelled with sprays of Oriental flowers in the famille rosepalette, 21cm. £250-350

Paper label for Garry Atkins.

64. A Staffordshire salt-glazed teapot and cover, c.1760, theglobular form brightly enamelled with large pink chrysanthemumblooms issuing from turquoise rockwork and further Orientalblooms, the spout and handle formed as gnarled branches, a littlerestoration, 18.5cm across. (2) £150-250

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65. A salt-glazed stoneware creamboat, c.1750, moulded withcattle to one side, the reverse with sheep grazing, the details pickedout in green, red and pink enamels, a crack to the base of the handle,11.7cm. £200-300

Paper label for Jonathan Horne.

66. A salt-glazed stoneware cream jug, c.1760, the finely pottedform brightly enamelled with a large peony spray beside a stripedzig-zag fence, the flared neck with an interior border in green andpink, 7.3cm. £250-350


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67. A creamware model of a plum, late 18th century, the smallfruit resting on a leaf on a low green base, decorated in the Whieldonpalette with washed green and manganese, some restoration, 9.5cmacross. £200-300

68. A Whieldon creamware model of a pug dog, c.1755-65,seated with head turned to sinister, with short curled tail, andwearing a studded collar, the body splashed with manganese andfaint traces of green, the low base with blue, some restoration to thebase, 8cm high. £200-300

Paper label for the Carter Collection.

Cf. Pat Halfpenny, English Earthenware Figures 1740-1840, p.47 for anear identical example, which is noted as matching exactly themoulding of a fragment found on the site of Thomas Whieldon’sfactory at Fenton Vivian.

69. A rare pearlware bonbonnière or snuff box, c.1800, modelledas the head of a pug dog, decorated in Portobello type colours witha pink muzzle, his fur striated in cream and black, the interiorinscribed ‘Rose’, with a pewter hinged lid and mount, 7cm.

£1,000-1,500

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70. A good Bilston enamel scent bottle, c.1760, emblematic ofthe Arts and Wisdom, one side painted with Mercury seated beforea stone pillar and scribing onto paper, the reverse with Minervaseated beside a stone urn, her shield by her side, wearing a plumedhelmet, within panels of raised gilt and white enamel jewelling, fittedwith a gilt metal shell-shaped stopper, 9cm. £300-500

Provenance: purchased from Lawrence Gould Antiques, 17thNovember 2002.

71. A Chamberlain’s Worcester spill vase, c.1805-10, finelypainted with a panel of colourful feathers reserved on a salmon pinkground with a formal gilt foliate design, script mark to the base,some restoration, 11.2cm. £300-400

72. An English porcelain commemorative beaker, probably early19th century, the flared form gilded with ‘Nelson 2nd August Baltic’around a fouled anchor, the reverse with ‘The Glorious 1st August’and ‘14th February’, all beneath a wide green and gilt oak and acornborder, a section broken out and restuck, 10cm. £100-200

The ‘Baltic’ Service was produced in creamware by David Wilson ofHanley, after the French porcelain originals made for Nelson himself.These rare bone china copies may have been bought by Nelson’scaptains or admirers.

75. An H & R Daniel comport or centrepiece,c.1823-25, painted by William Pollard with acentral arrangement of English flowers includingconvolvulus, foxglove and poppy, the shapedrim with long sprays of forget-me-not, dogrose and strawberry, similarly decorated to theunderside and foot, 35.5cm across. £200-300

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73. A pair of Spode vases, c.1820, withraised decoration of floral and fruit sprigs,brightly coloured, between white beadedbands, iron red factory marks and patternnumber 2910, a chip to one rim, 11.2cm. (2)

£150-250

74. A good pair of Spode pearlware plates,early 19th century, brightly painted in themanner of Worcester porcelain with large floralsprays and single scattered blooms, iron redmarks, 20cm. (2) £100-200

76. A New Hall tea service, c.1820, decorated in pattern 888 with Warburtons Patent gilt decoration of landscape scenes and figures withinwide foliate gilt and cobalt blue borders. Comprising: a teapot with cover and stand, a sugar bowl and cover, milk jug, slop bowl, two plates,twelve saucers, twelve tea cups and eight coffee cans. (41) £200-300

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77. A large Swansea-style porcelain vase, 19th century, theinverted pear-shaped body boldly painted with flowers includingrose, convolvulus and narcissus, with further pink roses in theBillingsley manner around the neck and square foot, the handlesissuing from lion masks and including the heads of helmetedcenturions, 28.5cm. £250-350

78. A Pinxton buttertub stand, c.1800, painted probably byWilliam Billingsley with a small building beneath tall trees in a rurallandscape scene, 15.3cm. £200-300

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79. A Spode botanical dessert service, c.1820-25, the wells finely painted in pattern 4373 with mixed specimens of native flowers reservedwithin café au lait borders with moulded detailing in gilt and white, printed marks. Comprising: an oval comport, four large oval dishes, twosmall oval dishes, three handles dishes and seven plates. (17) £1,000-1,500

80. A good Royal Worcester dessert service, date codes for 1897, the wells painted with arrangements of fruit, flowers and nuts withinpanels of colourful birds, butterflies and other insects, reserved on a pink ground with gilt grapevine, the rims with panels of diamond piercing,printed factory marks and retailer’s mark for Phillips of Mount Street. Comprising: two tazzae, two oval dishes, two square dishes and tenplates. (16) £3,000-5,000

81. A pair of Swansea plates, c.1815, London-decorated withsprays of flowers including tulip, rose, convolvulus and auricula,within wide gilt foliate borders with purple flower highlights, 20.5cm.(2) £250-350

82. A pair of Bloor Derby ornithological dessert dishes, c.1820,the shell shapes painted with exotic birds in branches, attributed toRichard Dodson, within wide foliate gilt borders, iron red marks,24.5cm. (2) £300-500

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83. A Coalport part dessert service, c.1815, decorated in Londonin the Marquis of Anglesey pattern, with colourful English flowersboldly painted on a gold ground, a single stem to the wells within achainlink border. Comprising: three lozenge-shaped dishes and twoshell-shaped dishes. (5) £150-250

Similar decoration is found on Swansea and Nantgarw wares, withthe pattern also being known on teawares produced by Davenportand Spode.

84. Two Paris porcelain plates decorated after Swansea andNantgarw porcelain, c.1820, one attributed to James Plant at theSims workshop and painted in sepia with cattle and sheep at awatering hole, the other attributed to Thomas Martin Randall anddecorated with a couple walking beside a river, within a widegeometric gilt border, 24cm max. (2) £200-300

Cf. A similar scene to the second plate is found on a Derby platebearing the monogram TMR and illustrated in Billingsley, Randall andRose, Welsh Ceramics in Context, Part I, fig 11.11, p 201.

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ENGLISH 18TH CENTURY PORCELAINS

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85. A pair of Worcester dessert plates,c.1770, each painted with three large panels offlower garlands within smaller cartouches ofsingle sprigs, reserved on a blue scale ground,script W marks, 21.2cm. (2) £250-350

86. A rare Worcester basket, c.1770, the well of the interiorpainted with the Pavilion pattern, the interior pierced sideswith Imari floral panels alternating with pink sinuous dragonsand further foliate sprays, the exterior applied with pinkflowerheads, 19.5cm across. £600-800

Exhibited: The International Ceramics Fair and Seminar 1999Loan Exhibition, no. 77.

Cf. Bonhams, The Zorensky Collection of Worcester PorcelainPart II, 23rd February 2005, lot 144 for an identical example.

Provenance: from the collection of Anthony Tuke.

87. A combined Worcester part tea service,c.1775, enamelled with panels of flowers andcorn stooks in the Kakiemon palette within giltpanels reserved on a blue scale ground, opencrescent or square seal marks. Comprising: asucrier and cover, a milk jug and a coffee cupand saucer. (5) £400-600


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89. A Worcester porcelain part tea service, c.1768, printed in purple with scenes of Classical ruins including The Two Bridges, Ruin by theCliff, Temple Ruin, The Draw Well, and a statue before the Temple of Peace. Comprising: a teapot and cover, a sucrier and cover, and a coffeecup and saucer. (6) £800-1,200

Cf. The Joseph M. Handley Collection, p.157 for the 1753 engraving by J.S.Muller, after Pannini, which provides the source for the print on thesaucer (Ruins of the Temple of Peace). Examples which use a different section of this engraving are known, but this print appears to be very rare.


88. A good Worcester soup tureen and cover, c.1772-75, the quatrefoil form painted with sprays of polychrome flowers, single sprigs andleaves, the handles and finial formed as stalks issuing oak leaves and acorns, 29.5cm. (2) £1,000-1,500

90. A Chelsea plate, c.1765, decorated in bright enamels with twobirds in a central roundel within wide flower arrangements andscattered sprigs of heartsease and fuchsia, gold anchor mark,23.3cm. £250-350

91. A rare Chelsea circular leaf dish, c.1760, moulded with sixlarge leaves with puce veining around a small well painted withcherries, an onion and a peapod, brown anchor mark, 19.8cm.

£300-500Provenance: from a private collection in Surrey.

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94. A good Worcester scallop-edged plate, c.1770, probably paintedby Fidelle Duvivier with a brightly-coloured bird beneath a leafy tree,another in flight above, within a gilt dentil rim, 18.7cm. £150-250

This manner of bird painting has long been attributed to the MonsSoqui painter, but recent comparisons have been made to thepainting of Fidelle Duvivier which may prompt a reattribution.

95. A Chelsea circular silver-shape dish, c.1754, finely paintedwith a floral arrangement including tulip and rose, with further singlesprigs, a large moth and a small purple caterpillar, brown line rim, redanchor mark, a riveted crack to the well, 22.5cm. £200-300

92. A Chelsea soup plate, c.1755, of Warren Hastings type, themoulded rim painted with three vignettes of traders in exoticharbours, the well with a flower spray and scattered single blooms,red anchor mark, a restored crack, 24cm. £300-500

Cf. F S Mackenna, Chelsea Porcelain, The Red Anchor Wares, pl.27,no. 54 for an oval dish from the author’s own collection with similardecoration.

93. A small Worcester scallop-edged plate, c.1775-80, paintedwith two dishevelled fancy birds perched on a grassy mound, afurther bird perched in a tree and another in flight above, within anosier-moulded rim, 20.5cm. £200-300

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96. A rare Worcester dessert dish, c.1765-75, of lozenge shape,the well painted with a scene of a ship firing a salute as she enters aforeign harbour, the wide rim with floral sprays and moths within acobalt blue and gilt rim, restored, 30cm. £100-200

97. A Chelsea leaf dish, c.1754-56, modelled as a large cos lettuceleaf with puce veining and green enamelled edges, painted with aspray of rose and tulip with other single blooms, red anchor mark,some faults, 27cm. £100-200

An old paper label to the reverse, hand-written with ‘Early red anchor,bought about 1905. This cost me 50 shillings’.


98. A Worcester heart-shaped dessert dish, c.1770, richlydecorated in the Kakiemon palette with the Phoenix pattern, two ofthe long-tailed mythical birds in flight or perched on corn stooks andamidst flowering chrysanthemum, within elaborate gilt and red chainand hatched borders, 26cm. £250-350


99. A Worcester lobed dessert dish, c.1780, the well painted witha fancy bird perched on a grassy mound with a further bird perchedin leafy branches behind, the fluted sides with gilt floral swagssuspended from a bright blue border, script W mark, 26.7cm.

£150-250


100. A pair of Chelsea silver-shaped dishes, c.1756, finely painted with floral posies in a muted palette, with single sprigs including bluebell,heartsease and fuchsia, brown line rims, red anchor marks, 24.5cm. (2) £500-800

Old paper label noting that they cost the collector thirty five shillings.


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101. A rare Longton Hall saucer or stand, c.1755, of hexafoilshape, moulded with six petals, the well painted in the Trembly Rosemanner with a delicate spray of flowers including pink rose andhoneysuckle, the rim with a border of flowerhead half mon andhatched panels in the famille rose palette, a puce flower spray to theunderside, some wear, 11.2cm. £450-650

102. A rare Derby basket or sweetmeat stand, c.1760-70, the ovalform applied with small yellow flowerheads beneath a line of blue,the rim pierced with a diamond design, raised on a low scrolled baseapplied with flowers and leaves, a little good restoration to the base,9.5cm dia. £400-600

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103. A good and rare Worcester partridgetureen and cover, c.1756, naturalisticallymodelled seated on a basket nest embellishedwith corn ears and colourful leaves, the plumagefinely detailed in brown and russet, the headappealingly turned, 18cm across. (2)

£1,800-2,200

Partridge tureens of this type were made in twosizes at Worcester, this being the larger and lesscommon, with the applied leaf modelling runningaround the bottom edge of the cover rather thannear the top of the base. Cf. Simon Spero andJohn Sandon, Worcester Porcelain 1751-1790,The Zorensky Collection, p.106 for an identicaltureen pictured with the more usual smallerexamples.

104. A good Chelsea scallop-edged plate,c.1752, painted in purple monochrome byJefferyes Hammet O’Neale with three figuresin Classical costume in discussion besideruined columns and arches, the border withsmall floral sprigs and a ladybird, red anchormark, 18.3cm. £1,100-1,500

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109. A Chelsea-Derby two-handled chocolate cup and stand,c.1775, the cup of flared form with entwined twist handles, withdeep trembleuse saucer, richly decorated with a gilt design ofoverlapping feathers beneath garlands of blue flowers andsuspended berried swags, gold anchor mark, the cover lacking,16.3cm. (2) £250-350

110. A good Worcester printed coffee cup, c.1760, decorated withLes Garçons Chinois pattern, one side with two Chinese figuresclambering on rococo scrollwork, the reverse with a figure similarlyseated with a hoop on a line, carefully hand-coloured, 5.8cm.

£350-450

105. A Worcester coffee cup and saucer, c.1765, painted with apanelled Japan pattern with wide bands of Kakiemon flowersbetween narrow stripes of flower mons on a dark blue ground,square seal marks, 12.8cm. (2) £100-150

106. An unusual Worcester coffee cup, c.1770, with atelierdecoration of a simple flower spray and scattered sprigs in a mutedpalette, turquoise line rim, 6.5cm. £100-150

107. A Worcester two-handled chocolate cup and saucer, c.1775,the ogee forms decorated in a London atelier in the manner of JamesGiles with shaped panels of fruit and flowers reserved on a paleturquoise ground, within gilt dentil rims, 14.5cm. (2) £300-400

Paper label for the Jacobs Collection.

Cf. Gerald Coke, In Search of James Giles, col. pl. VII for a cup andsaucer with similar decoration from the Giles workshop.

108. A rare Worcester teabowl and saucer, c.1765, painted inoverglaze enamels with pink peony issuing from grey holeyrockwork, within a turquoise hatched border, 12cm. (2) £400-600

Paper label for Albert Amor Ltd.


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111. A Worcester bowl, c.1758-65, decorated outside of the factorywith a large colourful butterfly and small ladybird, the reverse with afloral arrangement, the interior with a pink rose spray, 17.8cm.

£150-250

112. A pair of Chelsea dessert dishes,c.1760, the lobed oval forms painted with fruitsincluding pears, cherries and gooseberries,with colourful butterflies around, brown linerims, brown anchor marks, a rim chip to one,25cm. (2) £300-500

113. A pair of small Worcester scallop-edged plates, c.1770, printed in black with afigure fishing before a ruined archway andstone obelisk, a church with a spire visible inthe distance, the rims with finely printed floralarrangements, 17.8cm. £250-350

Provenance: from the collection of AnthonyTuke.

114. A large Bow punch bowl, c.1754, decorated in the famille rosepalette with large pink peony blooms and blue chrysanthemumbefore pale pink rockwork, the interior with a border of hatchedgreen diaper and semi flowerhead panels, 20.2cm dia. £300-500

115. A Worcester tapering cylindrical mug, c.1768, printed andhand coloured with a milking scene and Rural Lovers, the straphandle with puce detailing, 12cm. £400-600

Paper label for the Wallace Elliott Collection.


116. A tall Plymouth cylindrical mug, c.1770, painted with smallfloral arrangements and single scattered sprigs in polychromeenamels, the grooved handle with a puce foliate motif, a littlerestoration to the top of the handle, 13.5cm. £300-400

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117. A Worcester small bowl, c.1760, finely printed in black withthree ornithological vignettes, including a kingfisher, a dove and asparrow each perched on a leafy branch, the interior with a singlebird in flight, broken and cleanly repaired, 10.5cm dia. £150-250

Provenance: Phillips, The Norman Stretton Collection, 21st February2001, lot 65.

118. A rare and interesting Derbyshire porcelain teapot, c.1760-70, perhaps Wirksworth, finely painted with puce lotus-shaped panelsin the manner of the Queen’s pattern, containing green monochromeflower sprays, the cover lacking, 17.2cm across. £100-150

Paper label for the Geoffrey Godden Reference Collection, noting itsacquisition from Mercury Antiques.

Cf. Gaye Blake Roberts, Wirksworth - The Elusive Factory in TheJournal of the Derby Porcelain International Society, No. 6 (2009), fig.5 for a similarly decorated teabowl and saucer.

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119. A large Bow sauceboat, c.1750-55, ofsilver shape, raised on three paw feet issuingfrom lion masks, painted in the famille rosepalette with large peony sprays before holeyrockwork, some damages, 23cm. £150-250

120. A pair of Longton Hall rococo-mouldedvases, c.1758, the exuberant asymmetricforms picked out with purple detailing, paintedwith small arrangements of rose and otherflowers, the covers lacking, some goodrestoration, 11.5cm. (2) £200-300

121. A Chelsea sauceboat, c.1755, the lightlylobed form painted with sprays of flowersincluding rose, poppy and forget-me-not,brown line rim, faint star crack to the base,20cm. £300-500

122. A rare Bow moulded sauceboat, c.1750, the silver shape moulded with garlands of flowers and decorated with gilt peony sprays, raisedon a circular foot moulded with further flowers, the handle formed as a scaly dragon with ears pricked and mouth agape to reveal his tongueand fangs, his narrow wings gripping the rim of the sauceboat, a chip to the end of his tail, a little restoration to the rim, 20cm across.

£1,000-1,500

Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, p.41 for a plain example, which references a gilded example illustrated in FrankHurlbutt, Bow Porcelain, pl.5. In her article for the Smithsonian Museum catalogue of 2008, Sarah D Coffin illustrated an identical sauceboatalongside a silver sauceboat with dragon handle dated 1742 and designed by Charles Freidrich Kändler who, it has been suggested, could bethe brother of the Meissen modeller, Johann Joachim Kändler.

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123. A large and rare Worcester blue and whitesauceboat, c.1755, painted with the Fishermanon a Towering Rock pattern, the angler with rodfurled and heading inland on his tall promontory,the reverse with a figure in a small boat beforeanother crossing a bridge, raised on a tall foot,workman’s mark beneath the handle, 23.2cm.

£300-500

Illustrated: Nicholas Panes, British PorcelainSauceboats of the 18th Century, fig.205.

124. A large Worcester blue and whitesauceboat, c.1765-68, painted with the Man witha Bomb pattern, a solitary Chinese figure holdinghis charge, the reverse with a fisherman, withinmoulded panels, crescent mark, 20cm. £400-600

Paper labels for the Zorensky Collection (Y.330)and the Nicholas Panes Collection.

Illustrated: Nicholas Panes, British PorcelainSauceboats of the 18th Century, fig.220.

125. A Worcester blue and white sauceboat,c.1755, painted with the Moored Boat pattern, afigure fishing beneath willow, the reverse with afurther figure beside a small pagoda, withinmoulded floral cartouches, workman’s mark, asmall rim chip, 18.4cm. £200-300

Paper label for the Nicholas Panes Collection.

Illustrated: Nicholas Panes, British PorcelainSauceboats of the 18th Century, fig. 214.

Cf. Branyan, French and Sandon, Worcester Blueand White Porcelain, p. 116, I.B.22A.

126. A very rare Samuel Gilbody (Liverpool) sauceboat, c.1758-60, the unusually rounded body decorated in underglaze blue with a two-storeyedpagoda beside a small bridge linking rocky islands, with later gilt decoration of scrolled borders, and inscribed ‘E + N Norwich 1766’, 18cm.

£1,000-1,500

Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, figs.303 and 304, also in Maurice Hillis, Liverpool Porcelain 1756-1804, fig.7.58.

Exhibited: English Ceramics Circle Exhibition, 2006, no.120.

Paper labels for the Watney Collection and the Nicholas Panes Collection.

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127. A Flight Worcester sauce tureen and cover with stand and ladle, c.1790, richly decorated in the Royal Lily pattern with stylized floralpanels in blue, the fluted ladle shaped for pouring, crescent marks to the tureen and stand, a small chip to the stand, 17.5cm. (4) £400-600

Illustrated: Nicholas Panes, British Porcelain Sauceboats of the 18th Century, fig. 27. Pictured without the stand.

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128. An early Lowestoft blue and white bell-shaped mug, c.1765-68, painted with a three-storeyedpagoda among tall trees and large pierced rocks, beneath a berry border to the rim, the inside rim with ascrolling border, painter’s numeral 3 to the inside footrim, perhaps for Richard Phillips, a 4.5cm rim crack,12.2cm. £1,000-1,500

Paper labels for the Susi and Ian Sutherland Collection, the Godden Reference Collection and the NicholasPanes Collection.

129. A Lowestoft blue and white teabowl and saucer, c.1765-70,painted with a low bridge linking small islands with huts and talltrees, within a hatched diaper border, workman’s mark to theteabowl, a faint crack, 12.2cm. (2) £100-200

130. A rare Isleworth blue and white saucer, c.1770-80, printedwith the Fence pattern, two birds in flight above flowering peonyissuing from behind a zig-zag fence, possible painter’s mark to theunderside, some faults, 12.2cm. £300-500

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131. A Lowestoft blue and white teabowl, c.1775, painted with anunusual large rose spray with a small flying insect above, the interiorwith a formal floral border, 7.5cm dia. £150-250

132. A Worcester blue and white egg cup, c.1758-60, painted withnarrow floral sprays beneath a wide shaped diaper border, thecircular foot with further floral sprays, workman’s mark, 3cm rimcrack, 6.8cm. £250-350

133. A matched Worcester blue and white trio, c.1760-70, comprising a teabowl, coffee cup and saucer painted with the Cannonball pattern,open crescent marks to the cup and saucer, script W to the teabowl, 12.2cm. (3) £100-200

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134. A rare Vauxhall blue and whitesauceboat, c.1760, of strap-fluted form, thecrabstock handle enwtined with a snake, theexterior painted with a stylized floral design ona rich blue ground, some good restoration,19cm. £200-300

Cf. Winnipeg Art Gallery, Accession No. 2000-236, for a similar example acquired from thecollection of Dr Bernard Watney.

135. A large Lowestoft blue and whitepunchbowl, c.1770, painted with the Mansfieldpattern in a heavy cobalt blue, open crescentmark, 21.3cm. £150-250

136. A Lowestoft blue and white basket,c.1775-80, after Worcester, printed with thePinecone pattern beneath a scrolling borderand a band of stylized flowerheads, theropetwist handles issuing from applied flowersand leaves, the reticulated sides applied withfurther flowerheads, 23cm across. £200-300

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137. A good West Pans blue and white teapot, c.1764-77, the globular body incised with a wide band of fine ribbing, the shoulder paintedwith a scrolling leaf band echoed to the top of the cover, 21cm. (2) £1,500-2,000

138. A Bow blue and white bowl, c.1770, painted with a smalldwelling in an Oriental landscape with weeping willow and flocks ofbirds in flight, the inner rim with a band of flowerhead mons andhatched diaper panels, painter’s numeral 7, a short crack, 15cm dia.

£150-250

139. A Worcester blue and white leaf dish, c.1758-60, modelled asa cabbage leaf painted with the Leaf Dish Floral Sprays, the stemcurving to form the handle, workman’s mark, 21.5cm. £150-250

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143. A Richard Chaffers (Liverpool) hexagonal flared blue andwhite beaker and saucer, c.1760, painted with the Jumping Boypattern of a young Chinese boy in a garden beside a maiden seatedbeneath a tree, four character script marks, 11.8cm. (2) £300-500

Paper label for the Lloyd Collection, No.141.

144. A Longton Hall blue and white mug, c.1755, the barrel-shaped body painted with small dwellings on rocky promontoriesbeneath a tall tree, well restored crack, 9.8cm. £300-500

140. An English porcelain blue and whiteovoid vase, c.1765-75, probably Derby,printed with the Natural Sprays pattern afterWorcester, with large loose blooms ofsunflower, rose and chrysanthemum, thecover lacking, 20cm. £250-350

Provenance: Phillips, The Watney CollectionPart I, 22nd September 1999, lot 376.

141. An unfinished Worcester coffee potand cover, c.1765-70, reserved with largefan panels amidst smaller circular panels ona blue ground, the panels left blank, 21.5cm.(2) £200-300

It is believed that an independent decoratorpurchased a large number of undecoratedblue ground wares from the factory c.1770,some of which have come onto the marketwith simpler decoration than that offered bythe factory. It is possible that this was amongthat purchase and never finished, or that theslight colour difference between the coverand pot meant it was discarded as a second.Either way it is remarkable that it hassurvived in this unusually plain state.

Paper label for W T Deacon, St Louis.

142. A good and large Caughley blue andwhite mug, c.1770-75, finely printed withthe rare Natural Sprays pattern of loosesunflowers, chrysanthemum heads androses with large moths between, printed C mark, 14cm high. £500-700

Cf. The Caughley Society, Caughley Blue andWhite Patterns, no.C28.

145. A Caughley blue and white eyebath, c.1775, printed withexcerpts from the Fisherman and Cormorant pattern, the rim with acell diaper and spearhead border, 5cm. £800-1,200

146. A rare Lowestoft blue and white eyebath, c.1765, moulded tothe bowl and foot with small floral and scroll panels, simply paintedwith an Oriental flower spray to each side, the interior with acrowsfoot rim, a little staining, 5.3cm. £1,500-2,000

Cf. Bonhams, The Billie Pain Collection, 26th November 2003, lot 231for a similar example.

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147. An English porcelain blue and white eyebath, c.1775-80,probably Worcester or Caughley, painted with simple flower sprigs tothe boat-shaped bowl and plain flared stem, the foot broken andrestuck, 4.5cm. £300-400

148. A Caughley blue and white eyebath, c.1775, printed withexcerpts from the Fisherman and Cormorant pattern, raised on amoulded baluster stem above a lightly fluted foot, some restoration,5.2cm. £600-800

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149. A Worcester blue and white pickle leaf dish, c.1756, paintedwith the Two Peony Rock Bird pattern, and a Bow pickle leaf dishpainted with a large spray of fruiting grapevine within a shapedserrated edge, the undersides moulded with veins, 11cm max. (2)

£200-300


150. Two Worcester blue and white butterboats, c.1760-70, onemoulded with geranium leaves and painted to the interior with theButterboat Mansfield pattern, the other of a deep leaf shape, paintedwith the Butterboat Floral pattern, 8.6cm max. (2) £200-300


151. A Bow blue and white teabowl and saucer, c.1760, paintedwith willow and peony issuing from large leaves, the interior rim witha hatched diaper band, 13cm. (2) £100-150


152. A Worcester blue and white spoon and a knife handle,c.1760-70, the spoon of Chinese shape and decorated with theMaltese Cross Flower pattern, script W mark, the knife handle ofpistol-grip shape and painted with the Knife Handle Formal Daisypattern, the 19th century blade impressed ‘Lund 57 Cornhill’, the endof the spoon handle lacking, 25cm max. (2) £100-200


A PRIVATE COLLECTION OF ENGLISH BLUE & WHITE PORCELAIN

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155. A Seth Pennington (Liverpool) blue and white pickle dish,c.1780-90, modelled as a deep scallop shell, printed with a thornyrose spray and blown tulips within a blue dash rim, raised on threeshort feet, some restoration to the feet, 11.2cm. £100-200


156. A Worcester blue and white shell salt or sweetmeat dish,c.1765-70, printed with the Primula pattern, a large spray of theeponymous plant to the interior, hatched crescent mark, a shortcrack, 13cm. £100-150


157. Two small Lowestoft bowls, c.1775, one printed with a version of the Three Flowers pattern after Worcester, open crescent mark, theother painted with peony issuing from rockwork, 10.8cm max. (2) £100-200


153. A Liverpool porcelain blue and white teabowl and saucer,c.1770-80, with a band of fine fluting within a formal foliate border,workman's marks, and a Worcester feather-moulded milk jug,painted with sprays of Oriental flowers, the interior rim with acontinuous border, 12cm. (3) £100-150


154. A miniature Caughley blue and white teabowl and saucer,c.1770, and a slightly larger U-shaped bowl, painted with the Islandpattern, the bowl broken and restuck, 8.2cm. (3) £100-200


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158. A Bow blue and white sauceboat,c.1752-55, the flat-bottomed form painted in abright blue with the Desirable Residencepattern of small pagodas amidst tall trees andflowering shrubs, the interior with a tied scrollmotif, a few small rim chips, 18cm. £200-300

Provenance: from a private collection in theCotswolds.

159. A Bow blue and white sauceboat,c.1765, painted with rose sprays withinmoulded floral panels, the interior rim with aformal and hatched diaper band, 20cm across.

£100-200


160. A large Derby blue and white sauceboat,c.1765-70, printed with fishermen in smallChinese landscape scenes within mouldedcartouches, the interior with sprays ofchrysanthemum and other Oriental flowers,21cm. £150-250

Cf. Geoffrey Godden, English Blue and WhitePorcelain, p.213 for a similar example.


162. Two Bow octagonal blue and whiteplates, c.1755-60, both decorated witharrangements of bamboo, peony and millet,one with peony and other flower sprays to theborder, the other with stylized floral panelsreserved on a hatched diaper ground, starmark to the latter, 22.5cm max. (2) £200-300


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164. A Worcester blue and white feather-moulded teapot andcover, c.1760, painted with the Feather-Moulded Floral pattern,and a plate in the same pattern, workman’s marks, 20cm max. (3)

£200-300


161. A small Bow elongated octagonal dish, c.1760, the centralrectangular panel painted with a figure in a boat, the rim with fan-shaped landscape panels and small floral roundels, reserved on apowder blue ground, pseudo script mark, a short crack, 8.2cm.

£100-200


163. A Bow blue and white plate, c.1750,painted with the Broken Scroll pattern, theunfurled manuscript depicting flowering peonyissuing from holey rockwork, and a Dublindelftware plate decorated with the samedesign, the latter cracked, 22.5cm. (2)

£150-250

Cf. Peter Francis, Irish Delftware, pl.12 andpp.105-106 for a discussion on the influence ofBow porcelain on Dublin delftware.


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165. A large Bow blue and white basket, c.1770, the flared piercedsides painted with blue flowerheads to the exterior and with shortsprigs to the interior, the interior base with large chrysanthemum andpeony sprays, 22.3cm. £250-350


166. A Worcester blue and white sauceboat, c.1765, painted withthe Man with a Bomb pattern, the eponymous figure within a strap-moulded cartouche, the reverse painted with a fisherman, opencrescent mark, 17.5cm across. £250-350


167. Two Lowestoft blue and white bowls, c.1770, one painted with a version of the Cannonball pattern with pagoda-like buildings besidean elaborate fence with characteristic round rocks, the other with bamboo and flowering peony beside a hatched fence, a little nibbling to therim, 12.4cm max. (2) £250-350


168. Two Bow blue and white sauceboats, c.1760, the larger painted with rose sprays within moulded panels, the smaller fluted and paintedwith the Desirable Residence pattern, minor faults, 20cm max. (2) £200-300


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169. A large Bow blue and white octagonal dish, c.1752-55, painted with a figure in a sampan beside a bridge linking pagodas and smallislands issuing chrysanthemum, prunus and pine, the rim with Oriental flower sprays within a narrow hatched diaper band, some damages,33cm. £150-250


170. A Worcester blue and white spittoon, c.1770, printed with theThree Flowers pattern of loose floral arrangements between mothsin flight, hatched crescent mark, 11cm high. £200-300


171. A Bow blue and white sweetmeat or pickle stand, c.1755,formed as three deep scallop shells raised on moulded rockworkapplied with shells and seaweed, painted to the interiors withstylized cloud scrolls, the rims with ruyi heads, some damages, 22cmacross. £250-350


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A PRIVATE COLLECTION OF LIVERPOOL BLUE & WHITE PORCELAIN

172. A Liverpool blue and white slop bowl, c.1760, painted with afigure fishing from a small promontory beside a flowering bush anda building with a domed roof, 15.7cm. £200-300


173. A rare Philip Christian (Liverpool) blue and white punch bowl,c.1770-75, printed with a rare version of the Rural Lovers within anoctagonal panel, repeated to the interior, the other side with a sceneof a figure before Classical ruins, between floral swags, 20.7cm.

£200-300

Of the three version of the Rural Lovers print seen at Liverpool, this isthe most rare and also follows most closely the Vivares engraving.See lot 181 for examples of the other two versions.


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174. A Liverpool blue and white slop bowl, c.1780-90, Philip Christian or Seth Pennington, printed with the Mother and Child and ManFishing pattern after Worcester, and a Worcester slop bowl printed with the Fence pattern, hatched crescent mark to the latter, minor damages,16.2cm max. (2) £100-200


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175. A John or Jane Pennington (Liverpool) blue and white dish, c.1780, the elongated octagonal form printed with the Stag at Bay pattern, twoChinese figures approaching a stag while a further figure watches from a pagoda behind, within a border of tied scrolls and peony motifs, 26cm.

£200-300Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, fig.10.156.


176. A Philip Christian (Liverpool) blue and white punch bowl,c.1768, the exterior finely fluted beneath a narrow foliate mouldedborder and a blue painted formal band, the interior with a floral spraywithin a hatched diaper border, 19.8cm. £200-300


177. A small, James Pennington (Liverpool) blue and whitescallop-edged plate, c.1765-70, unusually painted with a central vaseof flowers resting on a shelf with suspended foliate swags, the rimwith three floral sprays, a few small rim chips, 16.1cm. £120-180

Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, fig.4.12 for anidentical example.


178. A rare John Pennington (Liverpool) blue and white mug,c.1779, printed with an elaborate scrolling cartouche, the top cornerswith birds perched atop, the bottom left corner with a ship mastbehind boxes, the right with ducks swimming before a tower, thecentre left blank, cracks, 12.6cm. £150-250

Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, fig.13.19 for a jugdated 1779 with the same cartouche.


179. A Philip Christian (Liverpool) blue and white sauceboat,c.1765-70, painted with peony, rockwork and willow beside a shortfence within strap moulding, the interior with stylized floral sprays,15.5cm. £200-300


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180. A Liverpool blue and white hot water jug and cover, c.1765-75, decorated with naive floral sprays beneath a crowsfoot border, atiny chip to the spout, 15cm. (2) £100-150


181. A John and Jane Pennington (Liverpool) blue and whiteteapot stand, c.1780, and a Seth Pennington beaker, each printedwith the Rural Lovers scene, and a coffee cup printed with a similarscene of a courting couple beside a flock of recumbent sheep,14.8cm max. (3) £200-300

The Rural Lovers print derives from an engraving by François Vivaresafter a Gainsborough painting, but was adapted with severaldifferences by each factory, as evidenced here. See lot 173 for therarer version adopted by Philip Christian.


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182. A small and rare Richard Chaffers (Liverpool) blue and white teapot and cover, c.1756-60, the globular body painted to each side withtwo figures in a Chinese landscape, with finely turned rim, the cover restored, 14.5cm across. (2) £200-300

Cf. Maurice Hillis, Liverpool Porcelain 1756-1804, p.187 for a discussion of these rare and early bullet-shaped teapots which were made indifferent sizes.


183. A Liverpool blue and white pickle dish, c.1758-60, probablyWilliam Reid, moulded as a pointed leaf with a smaller overlappingleaf and flower sprig with moth, the edge and small leaf with bluedetailing, 12.2cm. £100-200

Cf. Bonhams, The Billie Pain Collection, 26th November 2003, lot 255.


184. A rare and interesting blue and white Liverpool teabowl andsaucer, c.1755-58, probably Samuel Gilbody, painted with a tallflowering peony branch issuing from holey rockwork, 12.6cm. (2)

£150-250Paper label for the Leonard B Knouff Collection.

A similar teabowl and saucer was illustrated in Bernard Watney’sLiverpool Porcelain, fig.175 and attributed to Philip Christian,however Gilbody is also known to have used this pattern.


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186. A rare Bow candlestick figure of adancer, c.1760, his right arm raised andhead turned to the left, standing on ascrolled base applied with flowers, a circularpierced sconce and drip pan supported onthe top of his yellow hat, some damagesand restoration, 32.3cm. £150-250

187. A Bow figure emblematic of Air,c.1760, modelled as a maiden holding herbillowing cloak aloft and standing before arocky base, a large eagle perched by herfeet, some restoration, 21.2cm. £200-300

188. A Bow figure emblematic of Liberty,c.1755-60, modelled as a man standing andsupporting a bird aloft, a sheep recumbentat his feet, raised on a tall scrolled base,damages and restoration, the bird lacking,24.5cm. £100-200

185. A Bow white-glazed figure of Winter, c.1755, from the Rustic Seasons series, modelled as an old man huddled over a flaming brazierand wearing a hooded coat, some restoration, 12.3cm. £200-300


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189. A Chelsea figure of a grape seller, c.1765, seated on a stumpapplied with flowers, a basket of grapes in his lap, proffering a singlebunch with his right hand, raised on a low scrolled base, somerestoration to his hands and hat, 14.5cm. £300-500


190. A Bow figure of Autumn, c.1760-65, modelled as a vintnerseated on an upturned basket of grapes, holding a goblet in his lefthand, his apron draped over his left leg beneath which rests a bottle,raised on a tall scrolled base in gilt and turquoise, red anchor anddagger mark, his right hand lacking, 17.2cm. £100-200

191. A Bow white-glazed model of birds in branches, c.1752-54, two finches perched on gnarled, leafy branches, a dog barking at the baseof the tree, some restoration, 15.5cm. £200-300

Cf. Peter Bradshaw, Bow Porcelain Figures, pl.67.


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192. A large and rare Bow white-glazed model of a lion, c.1750-52, with head turned and resting his right forepaw on a tree stump, the tipof his tail curled over his right rear leg, his face finely modelled with an anthropomorphic frown, a small chip to one toe, 23cm long.

£4,000-6,000

Cf. Peter Bradshaw, Bow Porcelain Figures, pl.55 for a similar example which featured in the Brian Haughton Gallery’s exhibition, Nature’sTriumph; Botanical Themes on Porcelain, item 1.

193. A Derby figure of Winter, c.1765, modelled as a putto wearingan ermine-lined pink robe and warming his hands over a flamingbrazier, minor damages, 14.2cm. £200-300

194. A Bow figure of Winter, c.1755-60, modelled as a gentlemanhuddled over a flaming brazier, wearing a hooded yellow coat and aglum expression, damages and restoration, 12.6cm. £250-350

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195. A small and rare Chelsea white-glazed model of a bird, c.1749-51, perched on a tree stump applied with a flower and leaves, its beakslightly agape and wings folded, applied raised anchor mark, broken at the top of the trunk and cleanly restuck, 9cm. £1,400-1,800

196. A small Bow white-glazed model of a lioness, c.1752-54, seated on her haunches with head turned to sinister, her left forepaw restingon a tall stump, the tail curled over her back, minor faults, 10cm. £1,000-1,500

197. A Meissen white-glazed model of a horse, mid 18th century,wearing a yoke and reins, with ears pricked and head slightly turned,standing on a low oval base applied with flowers and leaves, bluecrossed swords mark, some restoration, 20cm across. £250-350

198. An English porcelain model of a Bolognese hound, 19thcentury, after Meissen, seated and scratching beneath its chin withits right back paw, the fur finely detailed and picked out withsplashes of brown, 21.5cm high. £500-700

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199. A good pair of Meissen models of cockatoos, 20th century,each perched on a tall stump with heads slightly turned and feathersspread, their plumage highlighted in orange, blue crossed swordsmarks, 26cm. (2) £600-1,000

200. A pair of Meissen models of golden orioles, modern, the largeyellow birds each perched on a tall leafy stump with heads turned,one with beak agape, blue crossed swords marks, some restoration,26cm. (2) £400-600

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201. A pair of Meissen models of sparrowhawks, 19th century, each gripping the top ofa gnarled stump with its claws, with headsdramatically turned, blue crossed swordsmarks, a little good restoration, 14.5cm. (2)

£1,000-2,000

202. A pair of Meissen models of GreaterSpotted Woodpeckers, 19th century, theirplumage naturalistically painted in thecharacteristic black, white and red, eachperched on a low stump base with headslightly turned, blue crossed swords marks,incised 2407 and 2408, some restoration,18.5cm high. (2) £600-1,000

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203. A Meissen figure group of Harlequin and a lady, c.1900, afterKändler, the maiden seated beneath a tree in which perches acolourful bird, a basket of flowers in her lap, Harlequin behind herwith his slapstick tucked into his belt, blue crossed swords mark,incised 732, some losses and restoration to the flowers and leaves,19cm. £400-600

204. A Meissen figure of Harlequin, 20th century, raising his righthand in greeting, his left holding his yellow hat, typically attired inbright garb and with his slapstick tucked into his belt, blue crossedswords mark, 23cm. £300-500

205. A Meissen figure of Harlequin with a jug, 20th century, hisright knee raised in a dance, holding a jug aloft in his left hand, hisright clutching his hat, the jug inscribed ‘ZM 1738’ above the crossedswords, blue crossed swords mark, some damages, 23.5cm.

£250-350

Kändler’s original, slightly different, model of a Harlequin with a jugwas also inscribed ‘ZM 1738’. The initials referring to Zanni Müller, avariation of Giovanni, by which name Harlequins of the ItalianComedy were known. The date refers to the year that model was firstintroduced at Meissen.

204 205

203

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206. Three Meissen Monkey Band figures, 20th century, of abassoon player, a guitarist and a clarinet player, all dressed inelaborate costumes and raised on low scrolling bases, with aMeissen music stand, blue crossed swords marks, 14.5cm. (4)

£300-500

207. A pair of Meissen figures of chinoiserie musicians, 20thcentury, each seated, he beside a drum, she holding cymbals with atabor beneath her right foot, blue crossed swords marks, 13cm. (2)

£300-500

208. A combined Meissen part monkey band, 19th century, the nine musicians playing their respective instruments, raised on scrolledbases, blue crossed swords marks, some restoration. Comprising: a French horn player, a guitarist, two drummers, three flautists, a singer anda conductor. (9) £1,000-2,000

209. A Meissen figure of a beggar musician, c.1740, modelled by Kändler, seated and playing the hurdy-gurdy, wearing a tattered red coatover brown breeches, a bag slung on his back, his mouth open in song, faint blue crossed swords mark, mounted on an ormolu scrollworkbase, some restoration, the figure 13.2cm. (2) £1,500-2,000

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210. A Copenhagen porcelain group of a milkmaid and cow,c.1780, the heifer standing four square with head turned to dexterwhile the dairymaid crouches at her side, raised on a low basepainted to simulate grass, the horns restored, 17.5cm across.

£400-600

211. A Meissen figure of a gallant, mid 18th century, seated andteaching a pug dog to beg, his tricorn hat resting on one knee, bluecrossed swords mark, 12cm. £800-1,200

212. A Meissen figure of the Merchant’s Wife, 19th century, afterthe model by Kändler, seated at a small table and writing in a ledger,with a second one open in her lap, a pounce pot in her left hand, abasket of bottles to one side and tied parcels at her feet, bluecrossed swords mark, incised 2654, a little restoration, 14.5cm.

£400-600

Kändler’s original model was based on the etching L’économe byJacques-Philippe Le Bas, after the painting of the same name by JeanSiméon Chardin.

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213. A pair of Meissen figures of a boy and girl having a snowballfight, early 20th century, modelled by Alfred König, the boy with armstretched to launch his missle at his companion, who hides her face,blue crossed swords mark, incised AK monogram, a little restoration,12.6cm. (2) £500-800

214. A pair of Meissen figures of the Racegoer and hiscompanion, 19th century, he dressed in a green suit, holding hisspyglass to his right eye, his left holding the top of his cane, hiscompanion holding a letter and with her other hand tucked into abright feathered muff, blue crossed swords marks, incised D65 andD66, some restoration, 20.5cm. (2) £600-800

215. A pair of Meissen figures of a boatman and his lass from theCris de Paris series, c.1745, modelled by Kändler and Reinicke, hewith a short oar slung over one shoulder and one hand on his hip, hiscompanion holding the corners of her apron and dancing, her apronand his waistcoat decorated with indianische Blumen, blue crossedswords marks, some restoration, 18.2cm. (2) £1,000-1,500

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218. A Russian porcelain figure of a peasant, Gardner factory, 19th century, kneeling beside a low rocky stump forming a low spill or penholder, a small sack slung on his back, his coat glazed in a matt blue, raised on a low rectangular base, impressed marks, a little goodrestoration, 12.5cm. £150-250

216. A pair of Meissen chinoiserie figures, 20th century,emblematic of Astronomy, he standing beside a celestial globe, shewith a long telescope raised to her right eye, blue crossed swordsmarks, 13.2cm. (2) £150-250

217. A small pair of Russian porcelain figures of street vendors,Gardner factory, early 19th century, he with a black bag on his back,a pair of shoes tied around his waist, she carrying a basket of berries,a long plait extending down her back, blue G marks and impressedfactory marks, some flaking to the blue enamel, 12cm. (2)

£800-1,200

219. A matched pair of Meissen figures of Arab stallions and their grooms, 19th and 20th centuries, after the models by J J Kändler, one ofa blackamoor attendant holding the reins of his rearing horse, wearing a long yellow robe and striped sash, the other a Turk also struggling to controlhis wayward charge, each raised on a low base, blue crossed swords marks, one cancelled, some restoration, 23cm. (2) £800-1,200

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220. A set of four Meissen candelabra emblematic of the Seasons, 19th century, each modelled with a boy and girl seated beneath a tallscrolling stem, with various attributes of Spring, Summer, Autumn and Winter, the stem supporting four branches around a central sconce,entwined with flower and fruit garlands, blue crossed swords marks, incised 786, some restoration, 43cm. (8) £1,500-2,000

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221. Two rare Meissen figures from the Four Monarchies series, modelled by J J Kändler, one of Julius Caesar emblematic of Rome,standing beside a horned mythical beast, one hand on his hip, wearing a flowing blue robe with pink lining, the other emblematic of Persiawith a winged lion by his side, blue crossed swords marks, some damages and restoration, 21.5cm. (2) £800-1,200

Cf. E. Pauls-Eisenbeiss, German Porcelain of the 18th century Volume I, p.157 for a discussion of this series. The Four Monarchies is a referencefrom the biblical Book of Daniel to the temporal Four Kingdoms as they appeared in King Nebuchadnezzar's dreams, represented by Babylon,Persia, Greece and Rome.

222. A Meissen figure group of The Betrothal, 19th century, modelled by Acier, the gentleman seated on a marble plinth and looking up tohis beloved who pulls petals off a flowerhead, raised on an oval base, blue crossed swords mark, incised E71, some restoration, 23.5cm.

£400-600

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223. Four Meissen white-glazed figures ofinfant gardeners, late 18th/early 19th century,one girl with flowers in her apron and a furtherbundle upon her head, another carrying abasket of vegetables, a boy digging with asmall spade, and another holding a floralwreath, blue crossed swords and star marks tothree, some small restorations, 12.5cm. (4)

£500-800

224. A set of four Meissen miniature bustsemblematic of the Seasons, mid 18th century,Spring and Summer modelled as Classicalmaidens wearing diadems of flowers and cornears respectively, Autumn and Winter asbearded male terms wearing a grapevinewreath and a fur-lined cloak, raised onchamfered square socles, and two Meissensquare stands or pedestals, blue crossedswords marks, the stands incised ‘KHC’ for theDresden Court Pantry, some restoration, 8.2cm.(6) £600-1,000

225. A miniature pair of Meissen figures ofeagles, 19th century, each modelled withwings outstretched and head turned, perchedon a low stump, mounted on square gilt metalbases, 10.2cm high overall. (2) £200-300

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228. A small Meissen figure of a soldier,mid 18th century, modelled by Kändler andReinicke, supporting the end of a long riflewith his right hand, his left reaching for thehilt of his sword, heavily moustachioed andwearing a uniform of red and white, his tallgilt helmet inscribed with the AR monogramof the Elector, blue crossed swords mark,some restoration, 12.3cm. £500-800

229. A Naples porcelain figure of a fruitseller, c.1790, standing with a large basketof fruit balanced on her head and with onehand on her hip, raised on a low pad base,14.6cm. £600-800

230. A Furstenberg figure of a dancinggirl, c.1770, holding a corner of her apron ineach hand and twisting it away from herbody, wearing a striped skirt and a yellowbonnet with a large black peak, blue F mark,14.8cm. £500-800

226. A Niderviller porcelain figure of a female gardener, c.1760,standing before a curved balustrade on which rests a potted plant,her apron full of colourful blooms, raised on a low scrolled base withpuce detailing, NB monogram mark to the base, minor damages,11.5cm. £300-500

Cf. Christie’s, Paris, 500 Ans: Arts Décoratif Européen, 4th May 2011,lot 122 for an identical figure with her companion.

227. A Meissen figure of a Levantine lady, mid 18th century,modelled by Peter Reinicke, holding one corner of her hem in her lefthand and lifting her veil away from her face with her right, her tunicpainted with indianische Blumen and tied with a yellow sash, somerestoration, 16cm. £500-800

231. A near pair of Meissen figures of a shepherd and his companion, mid 18th century, each reclining on a low stump with legsoutstretched, he holding the handle of a jug from which a plant issues, she the handle of a basket of flowers, a dog and sheep recumbent attheir feet respectively, blue crossed swords marks, she incised Z099, minor faults, 13.5cm high. (2) £1,000-1,500

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234. A rare pair of Doccia oval double portrait plaques, mid 18th century, each applied with two profile busts of Ancient Greeks, one withthe poets Epimenides and Hesiod, the other with the astronomers Archimedes and Aristillus, reserved on a blue ground within a raised beadedborder, incised to the reverse, 7.2cm. (2) £1,000-1,500

Cf. The Victoria and Albert Museum, Accession No. C128-1924 for a larger polychrome plaque featuring similar portrait cameos.

Cameo portraits of this type are first referenced at Doccia in 1747 with a payment to the sculptor Antonio Francesco Selvi for providing cameomodels in wax, and then again in 1749 when Anton Filippo Maria Weber supplied 57 wax cameos for use on snuff boxes, etc. Oval plaquessimilar to these are mentioned in the inventory of porcelain at Doccia following Carlo Ginori's death in 1757.

232. An unusual Continental porcelain bonbonnière, 19th century,modelled as the head of a tiger with teeth bared, his fur striped inblack and gold against white, the hinged lid mounted in gilt metaland painted with a spray of polychrome flowers, 6.2cm. £300-500

233. A small Furstenberg portrait plaque of Pittacus, c.1775, thecentre oval applied with a finely modelled biscuit profile portrait ofthe sage, titled in gilt on the glazed border, the top applied with laurelswags, gilt F mark, incised F. Pittacus No. 2, 8cm. £250-350

Pittacus of Mytilene was one of the Seven Sages of Greece,governing his city for ten years and introducing laws in poetry,including, “A crime committed by a person when drunk shouldreceive double the punishment which it would merit if the offenderwere sober”.

235. Four Russian porcelain plates, 19th century, one PopoffFactory painted with polychrome flower sprays reserved on a peachground, one St Petersburg with a radiating floral design on a blackground, the other two Moscow, one with a moulded dark blueborder, the other with a central floral arrangement within a shapedbright blue rim, 22.8cm max. (4) £800-1,200

236. Three rare Doccia plates, c.1765, decorated in the Chinesemanner with a central design of Oriental flowers issuing from vasesand censers above holey rockwork, the rim with further flower sprayson a blue ground of cloud scrolls, one small chip, 23.3cm. (3)

£1,000-1,500

Cf. Bonhams, 9th December 2009, lot 51 for an identical pair.

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237. A Tournai plate, c.1765-70, probably painted by Henri-JosephDuvivier in puce with a figure on horseback and another walkingbeneath tall trees, a village and Classical ruins in the background,within a spiral-moulded rim, gilt crossed swords and star mark,broken and riveted, 22.5cm. £100-200

238. A Russian porcelain ornithological plate, 19th century,painted with a small bird perched on a bunch of grapes with a sprayof rosehips behind, reserved on a pale orange ground with grisailleflower scrolls, 22.8cm. £400-600

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239. A pair of Cozzi teabowls and saucers,c.1760-70, painted in underglaze blue andoverglaze red with Oriental flower sprayswithin a hatched diaper border, the interior ofthe teabowls with an iron red floral sprig,incised numbers to the teabowls, minor faults,11.3cm. (4) £150-250

240. An early Doccia sucrier and cover, c.1750, the quatrefoil formbrightly enamelled with sprays of Oriental flowers in the famille vertepalette, within a border of half mons and jagged iron red scrolls, alittle chipping to the floral finial, 10.5cm. (2) £350-500

241. A pair of Meissen teabowls andsaucers, c.1740, each applied with threesprigs of flowering prunus, probablyhausmaler enamelled a little later inpurpurmalerei with small vignettes of courtingcouples in pastoral settings, gilt line rims, bluecrossed swords and dot marks, 12.3cm. (4)

£600-1,000

242. A Meissen Hausmaler teapot and cover, c.1730, the bullet-shaped body painted in underglaze blue with the Fels und Vogel pattern ofbirds in flight above flowering branches, embellished with gilding and enamels in the workshop of F J Ferner, with a seated shepherdess andrecumbent lamb to one side, the reverse with a parrot perched on a flowering stem, the octagonal faceted spout and wishbone handle gilded,blue crossed swords mark, 16.5cm across. (2) £700-1,000

Cf. the Victoria and Albert Museum, Accession No. C.155&A-1928 for a similarly decorated cup and saucer from the Ferner workshop.

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243. A German porcelain rectangular snuff box, c.1770, perhapsFurstenberg, the cover painted with a couple beneath a parasol,promenading before garden statuary, the sides and base with furtherscenes of couples in pastoral settings, the interior of the lid with fourfigures trapping birds in a tent-shaped net, mounted in silver gilt,8.3cm across. £1,500-1,800

244. A Meissen rectangular tea canister and cover, mid 18thcentury, one side painted with a courting couple, the gentlemanhelping the lady to her feet, one narrow side with a girl seated besidean obelisk, the other with a figure in a pierrot costume, the archedshoulders with sprays of heartsease and forget-me-not, blue crossedswords mark, the base and inside cover with gilt B marks, somerestoration to the cover, 12.5cm. (2) £400-600

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245. A Meissen sucrier and cover, c.1780, painted with scenes of astag hunt reserved within oval gilt cartouches, blue crossed swordsand star mark, 10.6cm across. (2) £400-600

246. A German porcelain rectangular snuff box, c.1770, perhapsFurstenberg, the lid with moulded and enamelled decoration of acouple courting beneath satyr term statues on tall plinths, with Cupidand a shepherdess beside, within foliate scrolls in puce and green,the rounded sides and base with simple flower sprays within similarscrolls, fitted with a hinged gilt metal mount, some restoration to thebase, 7.5cm. £1,200-1,500

247. A Furstenberg teapot and cover, c.1760-70, one side finelypainted with figures on a winding road beside a tumbledownthatched farm building, the reverse with further figures beneath talltrees beside further rural buildings, the moulded spout and handlewith gilt detailing, blue F mark, impressed B 20, minor faults, 17cmacross. (2) £800-1,200

248. A Höchst cream jug, c.1770, painted to two sides with scenesof figures in interiors after David Teniers, within gilt ribbonedcartouches, raised on three short feet, blue wheel mark, incised HIrepairer’s mark, 9.5cm. £300-500

Paper label for the Darmstaedter Collection.

249. A Dutch-decorated Meissen hot water jug, c.1720, the laterdecoration boldly painted in the famille rose palette with twoChinese figures in a boat on a lotus-strewn lake with large peony andbamboo stems above, issuing from a low island with colourfulrockwork, 12cm. £500-800

Paper collector’s label with the monogram WAE.

250. A Meissen cylindrical tobacco jar and cover, mid 18thcentury, finely painted in the manner of J G Klinger with botanicalstudies, or holzschnittblumen, of tulip and other flowers, the coversurmounted with a flowering stalk handle, faint trace of a bluecrossed swords mark, 15.2cm. (2) £900-1,200

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251. A Meissen octagonal teapot stand, c.1725, finely painted withmerchants trading their goods beneath fringed palm trees, within aquatrefoil cartouche of puce, red and gilt laub-und-Bandelwerk, theunderside of the rim painted with small sprigs of indianische Blumenin the Kakiemon palette, blue crossed swords mark, gilt B painter’smark, 14.6cm. £1,000-1,500

252. A pair of Vienna coffee cups and saucers, c.1780, paintedwith small sprigs of polychrome flowers reserved within wavy giltdesigns on a blue ground, blue shield marks, 13.5cm. (4) £200-300

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253. A Meissen moulded plate, c.1740, the well moulded inshallow relief with sprays of flowers and leaves, the shaped rimpainted with four panels of figures in pastoral scenes within tiedleafy sprays, blue crossed swords mark, 24cm. £600-800

254. A Meissen plate, mid 18th century, moulded in theGotzkowsky manner with a continuous floral band and four floralpanels to the shaped rim, painted with further flower sprays, bluecrossed swords mark, 24.8cm. £100-200

255. A Sèvres cabinet plate, c.1780, later decorated with a butterflyalighted on a basket of flowers tied with blue ribbon, reserved withina blue border containing four small panels of birds, the birds titled tothe reverse, 23.5cm. £300-500

256. A Meissen Hausmaler two-handled chocolate cup and stand,c.1730, painted in underglaze blue with the Fels und Vogel pattern ofa bird in flight above flowering branches, over-decorated, perhaps inAugsburg, with a rich gilt ground, blue crossed swords marks,12.8cm. (2) £300-500

Provenance: Christie’s, 30th November 1981, lot 176.

257. A Meissen yellow ground tea cup and saucer, c.1735, thewell of the saucer painted with a scene of traders on the banks of ariver, the cup with a shaped panel of three figures in a small boat,with a further three standing on the riverbank behind, reserved on ayellow ground with sprays of indianische Blumen in the Kakiemonpalette, blue crossed swords marks, the saucer with a Dreher’s markof two small stars, 13cm. (2) £600-1,000

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258. A Chinese porcelain teabowl and saucer, Qianlong 1736-95,painted in the famille rose palette with peony sprays, the teabowl’scafé au lait exterior with gilt European decoration of chinoiseriefigures in the Meissen manner, the reverse with a bird on a branch,the teabowl broken and restuck, 13.5cm. (2) £100-200

259. A Meissen Hausmaler teabowl and saucer, c.1725, decoratedin Augsburg with gilt chinoiserie scenes, the saucer with figuresseated and standing either side of tall trees above a strapworkdesign, the teabowl with figures playing instruments or dancingbeneath birds in flight, lustre initials to the undersides, some giltwear, 13.7cm. (2) £500-800

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260. A Meissen teabowl and saucer, c.1728, probably decorated by Christian Friedrich Herold with industrious harbour scenes withinstrapwork borders filled with Böttger lustre, the teabowl’s interior with a spray of indianische Blumen, blue crossed swords mark, gilt 73 toboth, 12.6cm. (2) £3,000-5,000

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261. A fine Meissen octagonal plate from the Christie-Miller service, c.1740, thewell finely painted with a scene of figures standing at the quayside before an Italianpalace, a ship being loaded behind, the cavetto with four shaped panels of figures inlandscapes in purpurmalerei reserved on a gilt diaper band, the wide rim with similarscenes in polychrome enamels reserved in quatrefoil panels on a wide scrolling foliategilt and black border, blue crossed swords mark, 24cm. £15,000-20,000

The scenes depicted on this service are derived from etchings by Melchior Küsel afterJohann Wilhelm Baur. The figures on this plate bear close relation to those from TheView of the Palace at Muran of the Count Widman of Ständig (bottom left), while thestatues on top of the quayside buildings are more akin to those in another print ofVenetian palaces (bottom right); both prints dating from 1681.

Although it is still not known for whom this service was originally made, there has beensome suggestion that it was a gift from Augustus III to the French Court, based on thequality of the decoration executed by the factory's leading painters including ChristianFriedrich Herold and Georg Heintze, and lent weight by the marriage of the Dauphin toAugustus's daughter in 1747.

The service appears to have entered the Christie-Miller family in 1840 when SamuelChristy, an English businessman and politician, is said to have purchased some 72pieces from a member of the Orleans family. Samuel adopted the name Christie-Millerin 1862 following his inheritance of Britwell Library in Buckinghamshire from his distantrelative, William Henry Miller. On Samuel's death in 1889 the service passed toWakefield Christie-Miller, whose descendants lived for many years at Clarendon Parknear Salisbury. The service remained in the family until 1970 when it was sold atSotheby's in London. Until that time a plate from the same service, which remains in thecollection of the Victoria and Albert Museum, accession no. 1976-1855, and waspreviously in the Bernal Collection, had been the only other documented plate of this type.

View of the Palace at Muran of the Count Widman of Ständig Palaces on the new front at Venice

262. A Meissen eyebath, late 18th century, painted around thebowl’s exterior with simple flower sprays, further single sprigs to theflared stem, blue crossed swords and star mark, 4.5cm. £700-1,000

263. A Berlin eyebath, c.1770-75, the bowl painted inside and outwith sprays of deutsche Blumen, raised on a flared moulded stemhighlighted with puce detailing, blue sceptre mark, a little restoration,4cm. £200-300

Cf. Erich Köllmann and Margarete Jarchow, Berliner Porzellan, Vol. II,p. 629, fig. 640 for a similar example.

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264. A German white-glazed porcelain eyebath, c.1900, the wideboat-shaped bowl raised on a fluted stem flaring down to a circularfoot, 4.5cm. £100-200

265. A fine Paris porcelain eyebath, 19th century, decorated withgilt palmettes suspended from the rim of the bowl, the interior richlygilded, 5cm. £1,000-1,500

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266. A rare Mennecy eyebath, c.1750-60, delicately painted inpolychrome enamels with floral sprays to the bowl and flared stem,puce line rim, 5cm. £1,000-1,500

267. A Sèvres eyebath, c.1770 or earlier, painted with polychromeflower sprays between blue line and gilt dentil rims, 4.2cm.

£1,000-1,500

268. A St Cloud eyebath, c.1740, painted in blue with lambrequinborders to the rim and foot, a narrow band to the top of the flaredstem, 4.6cm. £1,500-2,000

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270. A Vincennes bleu lapis coffee cup (gobelet ‘calabre’) and saucer, c.1753, finely decorated with raised and tooled gilt flower sprayswithin panels formed by further leaf and flower sprigs, reserved on a bleu lapis ground with shaped diaper borders, the underside of the saucerwith leaf swags in gilt, interlaced LL mark to the cup, some of the gilding added later, 13.5cm. (2) £4,000-6,000

SÈVRES & OTHER FRENCH PORCELAINS

269. A Sèvres ornithological cup and saucer, c.1767, paintedwith a single colourful bird perched on the ground before leafybranches, reserved on a bleu celeste ground with gilt dots,interlaced LL mark, painter’s mark for Chappuis, 13.6cm. (2)

£300-500

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271. A rare Chantilly bottle cooler (seau a bouteille), c.1735-40, painted in the Kakiemon palette with a squirrel scampering over fruitinggrapevine growing amidst a banded hedge, the reverse with peony and chrysanthemum sprays among a bamboo support, the handles formedas small chilong dragons, red hunting horn mark, drilled to the base, 13.5cm high. £2,000-3,000

Paper label for Les Armes du Chevalier, Paris.

272. A pair of Sèvres bottle coolers (seaux a bouteille), date codes for 1766, painted with floral garlands suspended from tied pink ribbonswith a blue stripe, beneath an undulating band of oeil de perdrix in gilt and blue, blue interlaced LL and n marks, painter’s mark of a leafy sprig,12.3cm. (2) £600-1,000

273. A Sèvres coffee can and saucer, date code for 1776, laterdecorated with scenes of gardening implements within floral giltcartouches reserved on a pink ground, interlaced LL mark, somechipping to the foot of the can, 14.3cm. (2) £100-200

Provenance: from a private collection.

274. A rare Chantilly cup and saucer, c.1760, decorated with a blueand gilt trellis pattern within gilt dentil rims, blue hunting horn and Rmarks, 13cm. (2) £200-300

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275. A Vincennes or early Sèvres coffee cup, c.1755, painted witha spray of roses and other flowers within an elaborate gilt cartoucheon a bleu celeste ground, 7.2cm. £100-200

276. A Sèvres mustard or preserve pot, c.1778, the narrow barrel-shaped form painted with flower sprays between simple blue and giltbands, and a similarly decorated Sèvres-style saucer, somedamages, 12.5cm. (2) £100-200


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277. A Sèvres cup and saucer, c.1770,painted with flower garlands laced betweenturquoise ribbon and berried laurel swags on aground of oeil de perdrix, painter’s mark for JF Micaud, interlaced LL mark and date code,13.5cm. (2) £600-1,000

278. A small Sèvres coffee can and saucer,date code for 1785, painted with garlands offlowers behind zig-zag bands of gilt leaveswithin blue bands, the rims with a border ofoeil de perdrix, interlaced LL mark, painter’smark, 12.6cm. (2) £200-300


279. A Sèvres cabinet can and stand, datecode for 1786, of goblet litron shape, paintedwith leafy fronds and small floral sprigs, furthersingle stems suspended from a gilt and lilacborder, the can with the letter I made from pinkroses, interlaced LL and ii mark, leaf painter’smark, 14.8cm. (2) £200-300


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280. A Sèvres coffee cup and saucer, c.1770,the cup painted with figures by a river windingpast a windmill, the saucer with figures fishingbeside a weir, within a border of red and giltdashes, the rim with a band of gilt leaves on aturquoise ground, interlaced LL marks, thedecoration possibly later, 13.3cm. (2) £150-250


281. An early Sèvres flared cup (gobelet laReine) c.1755, painted in puce monochromewith Cupid carrying a basket of hearts amidstclouds, and a later flared beaker painted withsimple polychrome flower sprays, interlacedLL marks, some faults, the decoration probablylater, 8.8cm. (2) £200-300


282. A Sèvres coffee cup and saucer, theporcelain 18th century, probably later-decorated with an elaborate floral garlandreserved on a dense ground of gilt dots,around a berried laurel band, some peppering,13.7cm. (2) £150-250


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283. A Sèvres teapot and cover, c.1765-75, finely painted by Mme Pierre with an urn and a basket containing fruit and flowers, reserved ona rich blue ground, the spout entwined with floral garlands, interlaced LL mark, painter’s mark and gilder’s mark for Chauveaux ainé, the coverperhaps associated, 18cm. (2) £1,000-1,500

284. A small Sèvres tripod jug, c.1765, painted with a panelcontaining two exotic birds beneath berried branches, raised onthree twig feet, interlaced LL marks, 8cm. £300-500

Old paper collection labels.

285. A Sèvres milk jug, c.1768, the decoration perhaps of a laterdate, painted with a brightly coloured game bird beneath leafybranches, reserved on a rich yellow ground with berried laurelswags, interlaced LL mark, painter’s mark for Francois Aloncle,11cm. £300-500


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287. A small Sèvres teapot and cover, c.1770, painted with small figures in rural landscapes within gilt panels linked by stylized scrollingborders, interlaced LL mark and painter’s mark for Vieillard, restoration to the cover and spout, 14.3cm. (2) £300-400


286. An unusual Sèvres sucrier and cover, date code for 1777,decorated to two sides with a harp between gilt laurel swags andbeneath a ring of pink roses, the cover surmounted with a fruit finial,interlaced LL mark, and painter’s mark, 8cm dia. (2) £300-400

The unusual decoration may relate to an Irish family, and the sucrierwas perhaps part of a commissioned tea or coffee service. However,no record has been found of the other pieces as yet.

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288. An extremely rare and interesting Vincennes flared cup (gobelet la Reine) and saucer, c.1751,with unusual gilt decoration of Turkish figures, to the cup one on horseback following a dog and anotheron foot with a long spear, to the saucer two having a swordfight while a dog looks on, reserved on a bleulapis ground with gilt veining, interlaced LL marks, the cup cracked, 15cm. (2) £1,500-2,000

The figural decoration shown here appears to be otherwise unrecorded on Vincennes of this date, withsimilar bleu lapis wares being more typically decorated with birds or flowers.


END OF SALE

The Nick Rocke Collection of British Art PotteryWednesday 25th February 2015

ENQUIRIESMichael Jeffery

Tel: +44 (0)1722 [email protected]

A selection of Ruskin high-firedpottery included in the sale.

PaintingsWednesday 11th March 2015

ENQUIRIESVictor FauvelleTel: +44 (0)1722 [email protected]

Jo ButlerTel: +44 (0)1722 [email protected]

Archibald Thorburn (1860-1935)Studies of a mouse (detail)Signed with initials and dated Sept. 14. 1912Watercolour and bodycolour over pencil27 x 35cmProvenance: With a letter from Constance Thorburn to Sylvia Peacock thanking her for her letter of sympathy on the artist's death.Estimate: £3,000 - £4,000

This sale includes several private collections of watercolours and a large collection of etchings by Herbert Dicksee.

Furniture & Works of ArtWednesday 25th March 2015

ENQUIRIESMark RichardsTel: +44 (0)1722 [email protected]

A 17th century stumpwork embroidery, in a later carved frame.Estimate: £1,500 - £2,000

English & European Ceramics & GlassTuesday 21st April 2015Closing date for entries, Friday 6th March

ENQUIRIESClare DurhamTel: +44 (0)1722 [email protected]

A political firing glass, c.1763, engraved ‘Wilkes & Liberty No. 45’relating to issue 45 of John Wilke’s publication The North Britonin which his attack on King George III’s speech endorsing the Paris Peace Treaty led to his arrest for libel. Estimate: £1,500 - £2,000

JewelleryThursday 30th April 2015Entries are now being accepted for this sale

ENQUIRIESJonathan Edwards FGAATel: +44 (0)1722 [email protected] Whiting FGATel: +44 (0)1722 [email protected]

A 1950s diamond necklace.Estimate: £20,000 – 30,000

Asian ArtWednesday 20th & Thursday 21st May 2015Entries are now being accepted for this sale

ENQUIRIESJohn AxfordTel: +44 (0)1722 [email protected]

A collection of Chinese kingfisher feather hair ornaments,Qing dynasty, decorated with insects, flowers, bats, shou characters and other designs, 17.7cm max.Provenance: a private collection, London.

Estimate: £1,500-2,500

Auction Information

OPENING HOURSMonday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays.

VIEWINGAll our auctions are on view at least two days prior to the sale and details will be found in therelevant catalogues.

BIDDING IN THE ROOMTo bid at auction you will need a paddle number. Thiscan be obtained from the office either during the viewor on the day of the sale. We now provide permanentpaddle numbers which can be used for any future sale,once registered.

REGISTERING WITH USAll first time buyers need to register with us. Onceregistration is complete you will be provided with apermanent paddle number which can be used in allfuture sales.

To register, you will need to provide two forms ofidentification:

1. a passport or photographic driving licence

2. a utility bill or document showing your name and address

You can register in person or by contacting the office on01722 424500 or emailing [email protected] will be asked to show your documents, or fax oremail copies.

PLEASE NOTE: Registering with the-saleroom.com orthrough our website does not automatically registeryou with us.

COMMISSION BIDDINGIf you are unable to attend the sale you can leave acommission bid. This will be executed on your behalfby the auctioneer who will purchase the lot as cheaplyas possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDINGIt is usually possible to bid on the telephone by priorarrangement with the office.

LIVE ONLINE BIDDINGLive online bidding is now available for most of ourauctions via the-saleroom.com, enabling you to takepart in the bidding from anywhere in the world, live as it happens. To bid online you need to register atwww.the-saleroom.com, subject to approval. There is a 3% charge for this service.

In completing the bidder registration on www.the-saleroom.com and providing your credit carddetails and unless alternative arrangements are agreedwith Woolley and Wallis Salisbury Salerooms Ltd, you:

1. authorise Woolley and Wallis Salisbury SaleroomsLtd, if they so wish, to charge the credit card givenin part or full payment, including all fees, for itemssuccessfully purchased in the auction via the-saleroom.com, and

2. confirm that you are authorised to provide thesecredit card details to Woolley and Wallis SalisburySalerooms Ltd through www.the-saleroom.com andagree that Woolley and Wallis Salisbury SaleroomsLtd are entitled to permit the shipping of the goodsto the card holder name and card holder addressprovided in fulfilment of the sale.

CONDITION REPORTSThe relevant department will be pleased to givecondition reports on any lot, where practical. Allweights and measures given in the catalogue shouldbe regarded as approximate.

The colours printed in the catalogue are not necessarilytrue.

SALE RESULTSThese will be posted on our website shortly after the sale.

BUYER’S PREMIUMEach lot is subject to a Buyer’s Premium of 22% + VATon the first £500,000 of the hammer price and 12% + VATthereafter.

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PAYMENT AND CLEARANCEPayment is due immediately after the auction inpounds sterling. If you are a first time buyer we willneed your name, address and bank details and willrequire funds to be cleared before purchases can bereleased.

The following methods of payment may be made:

Bankers draft, cashiers cheque, personal cheque,travellers cheques, debit and credit cards and cash upto a sterling equivalent of €15,000. We are no longerable to accept card payments of over £1,000 where thecard-holder is not present.

Wire transfers should be sent to:Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB.Account no. 00957707Sort code 30-97-41IBAN no. GB20LOYD30974100957707BIC code LOYDGB21063

Credit cards: Visa or Mastercard for which there is a2% surcharge + VAT

Debit cards: Delta, Switch, Connect

Where practical, payment can be made and purchasescollected during the auction.

Please note that furniture and clock lots will normallyremain in our salerooms for three working daysfollowing each sale, after which they will be removedto our store and arrangements for collection must bemade in advance with the office.

Storage charges will be levied on all lots in thefurniture and works of art and clock sales not collectedwithin 30 calendar days of the sale. This will include ahandling fee of £20 (+ VAT) per consignment and astorage charge of £2 (+ VAT) per lot per day. No goodswill be allowed to be collected until these charges havebeen paid.

VATLots marked with an asterisk (*) are subject to VAT onthe hammer price. Lots marked with an omega (Ω) havebeen temporarily imported from outside the EU and aresubject to VAT at 5% on the hammer price and thebuyer’s premium. In online catalogues, the Sales Tax %column indicates the rate of VAT on hammer price.

CITES REGULATIONS Please note that lots marked λ may be subject toCITES Regulations when exported.

The CITES Regulations may be found atwww.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITEDroit de Suite is a royalty payable to a qualifying artist orthe artist’s heirs each time a work is resold during theartist’s lifetime and up to a period of 70 years after theartist’s death.

Royalties are calculated on a sliding percentage scalebased on the hammer price excluding the buyer’spremium. The royalty does not apply to lots sellingbelow the sterling equivalent of €1,000 and themaximum royalty payable on any single lot is the sterlingequivalent of €12,500.

Droit de Suite, which is not subject to VAT, will be addedto the buyer’s purchase price and then passed on to therelevant collecting agency.

Please enquire for the accepted exchange rate on theday of the sale.

Royalties for Droit de Suite are as follows:

4% Up to €50,0003% €50,000.01 - 200,0001% €200,000.01 - 350,0000.5% €350,000.01 - 500,0000.25% In excess of €500,000Up to a maximum levy of €12,500

Lots marked with a ‡ symbol are potentially subject to the levy.

PACKING AND SHIPPINGWoolley & Wallis do not offer a packing and despatchservice but the following are carriers in our area.

Alban Shipping 01582 493 [email protected]

APS 0800 118 5868 [email protected] 544 362www.apservices.info

Mailboxes 01264 360 [email protected]/andover

Pack & Send 0845 465 [email protected]

Please note that we cannot be held responsible for anydamage or loss to items once they are in the hands ofa carrier.

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS

CONDITIONS OF BUSINESS

INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assistBuyers, particularly those inexperienced or new to our salerooms. All salesare conducted on our printed Conditions of Sale which are readily availablefor inspection and normally accompany catalogues. Our staff will be happyto help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the sellerwhose identity, for reasons of confidentiality, is not normally disclosed.Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of summight be involved for the purchase of a particular lot. The lower estimatemay represent the reserve price and certainly will not be below it.Estimates do not include the Buyer’s Premium or VAT (where chargeable).Estimates are prepared some time before the sale and may be altered byannouncement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together witha premium thereon of 22% on the first £500,000 and 12% thereafter +VAT at the appropriate rate.

5. VAT. (*) indicates that VAT at the current standard rate is payable by thepurchaser on the hammer price as well as being an element in the buyer’spremium. This imposition of VAT is likely to be because the seller is registeredfor VAT within the European Union and is not operating the Dealers MarginScheme or because VAT is due at 20% on importation into the UK. The doublesymbol (**) indicates that the lot has been imported from outside the EuropeanUnion and the present position is that these lots are liable to a reduced rate ofVAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’spremium). Lots which appear without either of the above symbols indicatethat no VAT is payable on the hammer price. This is because such lots are soldusing the Auctioneers’ Margin Scheme and it should be noted that the VATincluded within the Premium is not recoverable as input tax.

6. We are, primarily, agents for the seller. We are dependent on informationprovided by the seller and whilst we may inspect lots and act reasonably intaking a general view about them we are normally unable to carry out adetailed or any examination of lots in order to ascertain their condition in theway in which it would be wise for a buyer to do. Intending buyers have ampleopportunity for inspection of goods and, therefore, accept responsibility forinspecting and investigating lots in which they may be interested. Pleasenote carefully the exclusion of liability for the condition of lots contained inthe Conditions of Sale. Neither the seller nor we, as the auctioneers, acceptany responsibility for their condition. In particular, mechanical objects of anyage are not guaranteed to be in working order. However, in so far as we haveexamined the goods and make a representation about their condition, weshall be liable for any defect which that examination ought to have revealedto the auctioneer but which would not have been revealed to the buyer hadthe buyer examined the goods. Additionally, in specified circumstances lotsmisdescribed because they are ‘deliberate forgeries’ may be returned andrepayment made. There is a 3 week time limit. (The expression ‘deliberateforgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for usemust be checked over for compliance with safety regulations by aqualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whetheran export licence is required for the goods to leave the U.K. and (b) whetherthere is any specific prohibition on importing the goods in question into thedestination country because, e.g. they may contain prohibited materials such asivory. Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission ofthe sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commencesand lots will be invoiced to the name and address on the registration form.Some form of identification will be required if you are unknown to us.Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneersindicating the maximum amount to be bid excluding buyers’ premium. Theywill be executed as cheaply as possible having regard to the reserve (if any)and competing bids. If two buyers submit identical commission bids theauctioneers may prefer the first bid received. Please enquire in advance aboutour arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will needto be cleared before removal of the goods is permitted. Please discusswith our Office in advance of the sale if other methods of payment areenvisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state aboutcollection and storage. It is important that goods are paid for and collectedpromptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to theSeller and if the consignment of goods to us is made by an agent weassume that the Seller has authorised the consignment and that theconsignor has the Seller’s authority to contract. Similarly the words ‘we’,‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates: 15% + VAT oneach lot sold for up to £999, 10% + VAT on each lot realising £1,000 andabove.

3. Removal costs. Items for sale must be consigned to the sale room by anystated deadline and at your expense. We may be able to assist you withthis process but any liability incurred to a carrier for haulage charges issolely your responsibility.

4. Loss and damage waiver. We are not regulated by the FSA for theprovision of insurance to clients. However, we for our own protectionassume liability for property consigned to us at lower pre-sale estimate.To justify accepting liability, we make a charge of 1.5% of the hammerprice plus VAT or, if unsold, our mid estimate of the hammer price. If theowner of goods consigned instructs us in writing not to take such action,they then remain at owner’s risk unless and until the property in thempasses to the Buyer or they are collected by or on behalf of the owner,and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we considerthat the lot should be illustrated your permission will usually be asked first.The copyright in respect of such illustrations shall be the property of us,the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to areserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for thesame sale proceeds as you would have received had the reserve been thehammer price. If you specifically give us ‘discretion’ we may accept a bidof up to 10% below the formal reserve. .

Reserves.

(a) You are entitled to place prior to the auction a reserve on any lotconsigned, being the minimum hammer price at which that lot may besold. Reserves must be reasonable and we may decline to offer goodswhich in our opinion would be subject to an unreasonably high reserve(in which case goods carry the storage and insurance charges stipulatedin these Terms of Consignment).

(b) A reserve once set cannot be changed except with our consent.

(c) Where a reserve has been placed only we may bid on your behalf and onlyup to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls.Where such items are accepted for sale you accept responsibility for thecost of testing by external contractors. Goods not certified as safe by anelectrician (unless antiques) will not be accepted for sale. They must beremoved at your expense on your being notified. We reserve the right todispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statutelaw in the interests of fire safety. Goods found to infringe safetyregulations will not be offered and must be removed at your expense. Wereserve the right to dispose of unsafe goods as refuse, at your expense.The rights of disposal referred to in clause 8 and 9 are subject to theprovisions of The Torts (Interference with Goods) Act 1977, Schedule 1, acopy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to theprovenance etc. of goods where this is relevant. There is strict liabilityfor the accuracy of descriptions under modern consumer legislation andin some circumstances responsibility lies with sellers if inaccuraciesoccur. We will assume that you have approved the catalogue descriptionof your lots unless informed to the contrary. Where we are obliged toreturn the price to the buyer when the lot is a deliberate forgery underCondition 15 of the Conditions of Sale and we have accounted to youfor the proceeds of sale you agree to reimburse us the sale proceeds.The liability to reimburse the sale proceeds shall not arise where you areacting reasonably and honestly and are unaware of the forgery but weare or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with yourconsent be re-offered at a future sale. Where in our opinion an item isunsaleable you must collect such items from the saleroom promptly onbeing so informed. Otherwise, storage charges may be incurred. Wereserve the right to charge for storage in these circumstances at areasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of upto 10% plus VAT of the reserve or low estimate on being bought in orwithdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditionsof Sale. In particular you undertake that you have the right to sell the goodseither as owner or agent for the owner. You undertake to compensate usand any buyer or third party for all losses liabilities and expenses incurredin respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest.

(a) You authorise us to deduct commission at the stated rate and allexpenses incurred for your account from the hammer price and consentto our right to retain beneficially the premium paid by the buyer inaccordance with our Conditions of Sale and any interest earned on thesale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty notlater than the close of business on the day of the sale in the case of lotsunsold at auction, in which case the same charges will be payable as if suchlots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroomwithout sufficient sale instructions and reserve the right to make minimumwarehousing charge of £2 per lot per day. Unsold lots are subject to thesame charges if you do not remove them within a reasonable time ofnotification. If not removed within three weeks we reserve the right to sellthem and defray charges from any net proceeds of sale or at your expenseto consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will bemade by BACS or cheque four weeks after the sale unless the buyer hasnot paid for the goods. In this case no settlement will then be made butwe will take your instructions in the light of our Conditions of Sale. Youauthorise any sums owed by you to us on other transactions to bededucted from the sale proceeds. You must note the liability toreimburse the proceeds of sale to us as under the circumstancesprovided for in Condition 10 above. You should therefore bear thispotential liability in mind before parting with the proceeds of sale untilthe expiry of 28 days from the date of sale.

CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business withbidders, buyers and all those present in the auction room prior to or inconnection with a sale on the following General Conditions and on suchother terms, conditions and notices as may be referred to herein.

1. DEFINITIONS

In these Conditions:

(a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or itsauthorised auctioneer, as appropriate;

(b) ‘deliberate forgery’ means an imitation made with the intention of deceivingas to authorship, origin, date, age, period, culture or source but which isunequivocally described in the catalogue as being the work of a particularcreator and which at the date of the sale had a value materially less than itwould have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above anyreserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates ofcommission on which Woolley & Wallis Salisbury Salerooms Ltd acceptsinstructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot soldtogether with any premium, Value Added Tax chargeable and anyadditional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammerprice of the lot sold less commission at the stated rate, Value Added Taxchargeable and any other amounts due to us by the seller in whatevercapacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and tosatisfy any security arrangements before entering the auction room toview or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting thesale shall be the buyer at the hammer price and any dispute about a bidshall be settled at the auctioneer’s absolute discretion by reoffering theLot during the course of the auction or otherwise. The auctioneer shallact reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to theamount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all itemsaffixed with an asterisk or double asterisk. Value Added Tax is charged atthe appropriate rate prevailing by law at the date of sale and is payable bybuyers of relevant lots. (Please refer to ‘Information for Buyers’ for a briefexplanation of the VAT position).

6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling(b) Any payments by you to us may be applied by us towards any sumsowing from you to us on any account whatever without regard to anydirections of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you havemade payment in full to us of the total amount due.

(b) You shall at your own risk and expense COLLECT any lots that you havepurchased and paid for from our premises not later than 3 working daysfollowing the day of the auction or upon the clearance of any cheque usedfor payment (IF LATER) after which you shall be responsible for anyCOLLECTION, storage and insurance charges.

(c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANYLOT TO YOU OR YOUR AGENT until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with theseConditions or if there is any other breach of these Conditions, we, asagent for the seller and on our own behalf, shall at our absolute discretionand without prejudice to any other rights we may have, be entitled toexercise one or more of the following rights and remedies:

(i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be

responsible for any resulting deficiency in the total amount due (aftercrediting any part payment and adding any resale costs). Any surplus soarising shall belong to the seller;

(iv) to remove, store and insure the lot at your expense and, in the case ofstorage, either at our premises or elsewhere;

(v) to charge interest at a rate not exceeding 1.5% per month on the total amountdue to the extent it remains unpaid for more than 3 working days after the sale;

(vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to

impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming

due to you towards the settlement of the total amount due and toexercise a lien (that is a right to retain possession of any of your propertyin our possession for any purpose until the debt due is satisfied.

(b) We shall, as agent for the seller and on our own behalf pursue theserights and remedies only so far as is reasonable to make appropriaterecovery in respect of breach of these conditions

9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk andmust note the lay-out of the accommodation and security arrangements.Accordingly neither the auctioneer nor our employees or agents shall incurliability for death or personal injury (except as required by law by reasonof our negligence) or similarly for the safety of the property of personsvisiting prior to or at a sale.

10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction andare always responsible for any decision to bid for a particular lot and shallbe assumed to have carefully inspected and satisfied themselves as to itscondition, we will if so instructed clearly and in writing execute bids on theirbehalf. Neither the auctioneer nor our employees or agents shall beresponsible for any failure to do so save where such failure is unreasonable.Where two or more commission bids at the same level are recorded wereserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the trueowner of the property consigned or is properly authorised by the trueowner to consign it for sale and is able to transfer good and marketabletitle to the property free from any third party claims.

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibilityfor default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations ofthese Conditions in their entirety and on the Terms of Consignment asnotified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carryout exhaustive due diligence on each lot. Prospective buyers are given ampleopportunities to view and inspect before any sale and they (and anyindependent experts on their behalf) must satisfy themselves as to theaccuracy of any description applied to a lot. Prospective buyers also bid onthe understanding that, inevitably, representations or statements by us as toauthorship, genuineness, origin, date, age, provenance, condition orestimated selling price involve matters of opinion. We undertake that any suchopinion shall be honestly and reasonably held and accept liability for opinionsgiven negligently or fraudulently. Subject to the foregoing neither we theauctioneer nor our employees or agents nor the seller accept liability for thecorrectness of such opinions and all conditions and warranties, whetherrelating to description, condition or quality of lots, express, implied orstatutory, are hereby excluded. This Condition is subject to the next followingCondition concerning deliberate forgeries and applies save as provided for inparagraph 6 ‘information to buyers’.

(b) Private treaty sales made under these Conditions are deemed to be salesby auction for purposes of consumer legislation.

15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be adeliberate forgery (as defined) may be returned to us by you within 21 daysof the auction provided it is in the same condition as when bought, and isaccompanied by particulars identifying it from the relevant cataloguedescription and a written statement of defects. If we are satisfied fromthe evidence presented that the lot is a deliberate forgery we shall refundthe money paid by you for the lot including any buyer’s premium providedthat (1) if the catalogue description reflected the accepted view of scholarsand experts as at the date of sale or (2) you personally are not able totransfer a good and marketable title to us, you shall have no rights underthis condition. The right of return provided by this Condition is additionalto any right or remedy provided by law or by these Conditions of Sale.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our

premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred

in respect of and as a result of any breach of these Conditions andany exclusions provided by them shall be available to the seller and/orthe auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be forthe benefit of employees and agents of the seller and/or theauctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by firstclass mail or Swiftmail in which case it shall be deemed to have beenreceived by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classesof items in which case the descriptions must be interpreted inaccordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by usnotwithstanding the strict terms of these Conditions or of the Terms ofConsignment shall affect the position at the relevant time only and inrespect of that particular concession only; in all other respects theseConditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

In accordance with long standing practice in Fine Art Sale Rooms certainterms used in descriptions in the Catalogue have the meanings ascribedto them in the glossary below.

Glossary

Any statement as to authorship, attribution, origin, date, age, provenanceand condition is a statement of opinion and is not to be taken as astatement of fact. The Company reserves the right, in forming theiropinion, to consult and rely upon any expect or authority considered bythem to be reliable.

(a) Edward Lear: In our opinion a work by the artist. (When the artist’sforename(s) is not known, a series of asterisks, followed by the surnameof the artist, whether preceded by an initial or not, indicates that in ouropinion the work is by the artist named.

(b) Attributed to Edward Lear: In our opinion probably a work by the artistbut less certainly as to authorship is expressed than in the precedingcategory.

(c) Studio of Edward Lear: In our opinion a work by an unknown hand in thestudio of the artist which may be or may not have been executed underthe artist’s direction.

(d) Circle of Edward Lear: In our opinion a work by an as yet unidentified butdistinct hand, closely associated with the named artist but not necessarilyhis pupil.

(e) Style of ...; Follower of Edward Lear: In our opinion a work by a painterworking in the artist’s style, contemporary or nearly contemporary, butnot necessarily his pupil.

(f) Manner of Edward Lear: In our opinion a work in the style of the artist andof a later date.

(g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinionthe signature and/or date and/or inscription are from the hand of the artist.

(i) The term bears a signature and/or date and/or inscription means that inour opinion the signature and/or date and/or inscription have been addedby another hand.

(j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS

If, on collation, any named item in this catalogue proves defective in textor illustration, the lot may be returned within 14 days of the sale with thedefects stated in writing. This proviso shall not apply to defects stated inthe catalogue or announced at the time of sale; nor to the absence ofblanks, half titles, tissue guards or advertisements, damage in respect ofbindings, stains, spotting, marginal tears or other defects not affectingcompleteness of text or illustration; nor to drawings, autographs, lettersor manuscripts, signed photographs, music, atlases, maps or periodicals;nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirseach time a work is resold during the artist’s lifetime and up to a period of70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on thehammer price excluding the buyer’s premium. The royalty does not applyto lots selling below the sterling equivalent of €1,000 and the maximumroyalty payable on any single lot is the sterling equivalent of €12,500.

Droit de Suite, which is not subject to VAT, will be added to the buyer’spurchase price and then passed on to the relevant collecting agency bythe auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows:

4% Up to €50,0003% €50,000.01 - 200,0001% €200,000.01 - 350,0000.5% €350,000.01 - 500,0000.25% In excess of €500,000

Up to a maximum levy of €12,500

Lots marked with a ‡ symbol are potentially subject to the levy.

ValuationsValuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONSWritten valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

For valuations of an entire house contents an itemised bound valuation is produced and can beaccompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

Woolley & Wallis valuations are accepted by all leadinginsurance companies.

PROBATE VALUATIONSWe offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usuallyarrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Christine Johnson 01722 424509

FREE AUCTION VALUATIONSFree verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone therelevant specialist or call our office on 01722 424500.

Woolley & Wallis Salisbury Salerooms Ltd.51-61 Castle Street, SalisburyWiltshire SP1 3SU

Registered in England No. 2998482

VAT No: 631 9832 29

Design & Production by Jamm Design Ltd.Tel. 020 7424 7830 www.jammdesign.co.uk

SALISBURY

MILL ROAD

NEW STREET

FISHERTON ST

WYNDHAM ROAD

SCOTS LN BEDWIN ST

WINCHESTER ST

CHIPPER LN SALT LN

ASHLEY ROAD

ST ANN ST

SOUTH WEST RD

HULSE RD C

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NEW CANAL

CATHEDRAL

A360 DEVISES RD A36(T) CHURCHIL

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A36(T) SOUTHAMPTON ROAD

HARNHAM ROAD A3094 NEW HARNHAM

DOWNTON ROAD A338

WILTON RD A36CENTRALCAR PARK

AMESBURY &MARLBOROUGH

LONDON, ANDOVER& WINCHESTER

WILTON &WARMINSTER

A338 BOURNMOUTH& RINGWOODA354 DORCHESTER

WEYMOUTH & BLANDFORD

SOUTHAMPTON

WOOLLEY & WALLIS

SALEROOMS

A345 Castle RdPortwayBeehive Park & Ride

A345 A36

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A36

Old Sarum

Woolley & WallisSalisbury Salerooms51 – 61 Castle StreetSP1 3SU

Woolley & Wallis 2 Danebury CourtOld Sarum ParkSP4 6EB

SALISBURY

AMESBURY

WOOLLEY & WALLIS Salisbury Salerooms

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

Sarum Business Park

Old Sarum Park

WOOLLEY & WALLIS Old Sarum

E

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Kia Motors

Westover Garage

MARLBOROUGH & SWINDON

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUMDIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

Follow A345 for 1.7 miles. At Beehive Park & Ride follow thesigns for A338 Swindon and Marlborough.

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PAY AND

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CAR PARK

PEDESTRIAN ROUTE

DRIVING ROUTE TO SALT LANE

Woolley & WallisSalisbury Salerooms51 – 61 Castle StreetSP1 3SU

Woolley & Wallis Carter House6 – 10 Salt LaneSP1 1EE

Qudos

DRIVING ROUTE TO CASTLE ST.

WOOLLEY & WALLIS Salt Lane

WOOLLEY & WALLIS Salisbury Salerooms

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO SALT LANE

Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO SALT LANE

Due to the one-way system of Salisbury, please follow the redroute when driving from Salt Lane to Castle Street.

Absentee Bid FormFine Porcelain & Pottery

Tuesday 24th February 2015Please bid, on my behalf, for the undermentioned lots up to theprices shown which do not include the buyer’s premium or anyV.A.T. payable on lots. These bids are to be executed as cheaplyas is permitted by other bids, and/or reserves if any, and subjectto the Conditions of Sale printed in the Catalogue. Please notewe cannot guarantee that bids received after 4pm on the dayprior to the auction will be executed.

Billing Name (please print)

Address

Postcode

Daytime telephone

Email

All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards therewill be a 2% (+VAT) surcharge. ID is required for all first timebidders.

Signature

PLEASE PRINT CLEARLY IN BLOCK LETTERS

Lot Number Brief Decription Price Excludingin numerical buyer’s premiumorder & VAT

WOOLLEY &WALLIS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

www.wool leyandwal l is.co.uk

AUCTION CALENDAR 2015

TRIBAL ART & ANTIQUITIES

10th FebruaryWill Hobbs +44 (0) 1722 339752 • [email protected]

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS

11th February17th JulyRichard Price +44 (0) 7741 242421 • [email protected]

ENGLISH & EUROPEAN CERAMICS & GLASS

24th February– Fine Porcelain & Pottery21st April – English & European Ceramics & GlassClare Durham +44 (0) 1722 424507 • [email protected]

20TH CENTURY DESIGN

25th February – The Nick Rocke Collection of British Art Pottery15th April – Clarice Cliff, Art Deco & 20th Century Design17th June – Arts & CraftsMichael Jeffery +44 (0) 1722 424505 • [email protected]

PAINTINGS

11th March3rd June – 20th Century & Contemporary ArtVictor Fauvelle +44 (0) 1722 424503 • [email protected] Butler +44 (0) 1722 424592 • [email protected]

ARMS & ARMOUR

25th MarchWill Hobbs +44 (0) 1722 339752 • [email protected]

FURNITURE & WORKS OF ART

25th March1st JulyMark Richards +44 (0) 1722 411854 • [email protected]

SILVER

29th April – Fine Silver & Objects of Vertu15th JulyRupert Slingsby +44 (0) 1722 424501 • [email protected] Chalmers +44 (0) 1722 424594 • [email protected]

JEWELLERY

30th April16th JulyJonathan Edwards +44 (0) 1722 424504 • [email protected] Whiting +44 (0) 1722 424595 • [email protected]

ASIAN ART

20th & 21st MayJohn Axford +44 (0) 1722 424506 • [email protected] Lister +44 (0) 1722 424591 • [email protected]

www.woolleyandwallis.co.uk

woolley & wallis

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