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Lot 992
A 19th Century Flight Barr and Barr teapot of silver form, bat printed with cartouche panels of classical figures against a gilt bubble ground, length 24cm, together with a matching sugar basin, a 19th Century Flight Barr and Barr teapot with bat decorated shells and gilt sprigs, length 25cm, a 19th Century sauce dish on stand decorated with a burnt orange rim and a gilt fruit border, length 18cm, and a 19th Century Chamberlain Worcester cream jug decorated with a view of Force Bridge Northumberland with a gilt seaweed ground, painted mark, length 13.5cm, all A/F. (5)
Lot 207
William James, tätig 1730 – 1780, zug.DIE MOLE MIT DEM DOGENPALAST AM BECKEN VON SAN MARCO UND DEM BUCENTAUR Prunkschiff, UM 1760Öl auf Leinwand.56 x 91 cm.Gut ausgewogene Komposition mit niedrigem Horizont, sodass auch der hinter dem Dogenpalast aufstrebende Campanile noch genug Raum zum oberen Bildrand hat. Im Vordergrund mehrere Gondeln und das Staatsschiff des Dogen, der Bucentaur. William James war zwischen 1746 und 1771 als Vedutist tätig; die einzigen Informationen über seine künstlerische Persönlichkeit finden sich in Edward Edwards‘ Anecdotes of Painters von 1808, in dem James als „Schüler“ oder Mitarbeiter von Canaletto während dessen Aufenthalt in England zwischen 1746 und 1755 erwähnt wird. Sein künstlerischer Werdegang wurde teilweise durch eine Reihe von Londoner Ansichten rekonstruiert, die sich im Besitz des Ashmolean Museums in Oxford und der British Royal Collections befinden. Im Text des oben genannten Edwards findet sich jedoch die einzige Erwähnung seiner Malerei venezianischer Sujets, die der Biograf selbst als stark mit Canaletto verwandt ansieht. Die Zuschreibung einiger Ansichten, die auf den internationalen Markt gelangten, an William James und vor allem das Vorhandensein einiger Leinwände, auf denen sein Name vollständig auf einer an den Originalrahmen angebrachten Plakette steht, lassen auf eine reiche Produktion von Stadtpanoramen schließen, die im Allgemeinen dem malerischen Repertoire von Antonio Canal entnommen sind, Werke, die es dem englischen Maler ermöglichten, zu den "vedutisti di Venezia" (Vedutenmalern von Venedig) gezählt zu werden, obwohl seine biografische Abfolge keinen Hinweis auf einen möglichen Aufenthalt in der Lagunenstadt gibt.James war einer der bekanntesten Schüler Canalettos, der den Geschmack der venezianischen Stätten indirekt aufnahm, indem er die Werke betrachtete, die der Meister mit nach England gebracht hatte, und indem er an seiner Seite arbeitete, als er die große Nachfrage seiner Auftraggeber nach Ansichten der von ihnen so geliebten Lagunenstadt befriedigte. Werke seiner Hand kamen ins Victoria und Albert Museum, in den Kensington-Palast sowie ins Ashmolean Museum in Oxford.Biografische Angaben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards’ „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der – abgesehen von einer kurzen Unterbrechung im Jahr 1751 – zehn Jahre lang von 1746 bis 1756 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten. (†)Anmerkung:Überreste des letzten im Dienst befindlichen Burcentaur, der jedoch erst 1728 gebaut wurde, befinden sich im Arsenale in Venedig und maß einst – um eine Größenvorstellung zu geben – 43,8 × 7,3 × 8,4 m. (13414514) (13)William James,active 1730 – 1780, attributedPIER WITH DOGE'S PALACE AT THE SAN MARCO BASIN AND BUCENTAUR, the magnificent ship, CA. 1760Oil on canvas.56 x 91 cm.Well-balanced composition with a low horizon, so that the campanile rising behind the Doge’s Palace still has enough space to the upper edge of the painting. There are several gondolas and the doge’s ship of state, the Bucentaur in the foreground. William James was active as a veduta painter between 1746 and 1771; the only information about him as an artist is found in Edward Edwards’ Anecdotes of Painters of 1808, which mentions James as a “student” or collaborator with Canaletto during his stay in England between 1746 and 1755. His artistic career has been partially reconstructed through a series of London vedutas held by the Ashmolean Museum, Oxford, and the British Royal Collections. Edwards’ text, however, is the only one that mentions his painting of Venetian subjects, which the biographer himself regards as closely related to Canaletto. The attribution to William James of some vedutas that reached the international market and, above all, the presence of some canvases on which his name is written in full on a plaque affixed to the original frames, suggest an ample production of urban panoramas, generally taken from Antonio Canal’s image repertoire. His works enabled the English painter to be counted among the “vedutisti di Venezia” (Venetian veduta painters), although his biography gives no indication of a possible stay in the lagoon city. James was one of Canaletto’s most famous students, absorbing the ambience of the Venetian sites indirectly by studying the works the master had brought to England and by working alongside him when he met the great demand from his patrons for vedutas of the lagoon city they loved so much. (†)Notes:Remains of the last Bucentaur in service, which was not built until 1728, are held at the Arsenale in Venice and to give an idea of proportions it once measured 43.8 × 7.3 × 8.4 m.
Lot 542
Four trays of china: Royal Vale teaware decorated with a country cottage scene: Six cups, saucers and tea plates, sandwich plate, sugar basin and milk jug; tray of White Tuscan china tea ware: six cups, saucers and tea plates, sandwich plate, sugar basin and milk jug. Tray of Pheonix china tea ware, mid-century style with stylised pastel coloured flowers on a cream ground and purple flower handles comprising: Six cups, saucers and tea plates, slop bowl and milk jug (probably mid 20th century) and a a tray of unmarked blue and white tea ware: six cups, saucers and tea plates, sandwich plate, milk jug and sugar basin. (4) (B.P. 21% + VAT)
Lot 543
Four trays of china: Salisbury 'June' bone china tea ware, six cups, saucers and tea plates, sandwich plate, milk jug and sugar basin. Tray of bone china decorated with pink apple blossoms and gilt edging: six cups, saucers and tea plates, sandwich plate, milk jug and sugar basin. Royal Standard fine bone china decorated with pink and yellow roses and gilt decoration: six coffee cups and saucers, coffee pot, sugar basin and milk jug. Tray of assorted china: pair of Crown Devon Fielding's vases, small Beswick fox, Art Deco English china square sandwich plate, two Wedgwood 'Fallow Deer' plates etc. (4) (B.P. 21% + VAT)
Lot 242
A THREE PIECE TEA SERVICE, maker's mark P. Bros., Sheffield 1945, of squat globular form on stepped circular base, comprising teapot and hinged cover with composition knop and earred loop handle, two handled sugar basin and milk jug, teapot 10 1/2" wide, 32ozs 12dwts total gross (Est. plus 21% premium inc. VAT)Matching marks, no engraving, generally good
Lot 247
A THREE PIECE TEA SERVICE, maker Harrison, Fisher & Co., Sheffield 1936 (teapot) and 1937, of rounded oblong baluster form, comprising teapot with flat hinged cover, ebony knop and earred angular handle, two handled sugar basin and milk jug, teapot 11 1/2" wide, 35ozs 11dwts total (Est. plus 21% premium inc. VAT)Good, no engraving
Lot 31
A ROYAL WORCESTER CHINA MINIATURE CABINET SOLITAIRE, late 20th century, painted in colours with a still life of fruits on a mossy bank, comprising coffee and teapot with covers, trio, milk jug, slop basin and two handled sucrier and cover, indistinctly signed, black mark, plate 3 1/4" diameter (8) (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration. This was sold in Sept 14th sale but was unpaid for, hence re-entry.
Lot 44
AN ART DECO WINTON POTTERY "JAZZ" COFFEE SERVICE of plain tapering cylindrical form, painted in bright colours with a geometric and swirl pattern, comprising six saucers, five cans, coffee pot and cover, cream jug and sugar basin, printed mark in green, jug moulded Winton, coffee pot 7 1/4" high (14) (Est. plus 21% premium inc. VAT)One saucer chipped, matches exactly the Grimwades service sold in these rooms as Lot 81, sale 14.9.22, glaze crazed
Lot 46
MABEL LUCIE ATTWELL FOR SHELLEY, an Art Deco pottery three piece nursery set comprising Toadstool teapot and cover and sugar basin and Boo-boo milk jug, printed mark, Boo-boo 6" high (Est. plus 21% premium inc. VAT)Boo Boo has a flake to inner rim of right ear (just visible from front), otherwise good
Lot 154
A quantity of silver plated items. Including Elkington & Co silver plated oval tray on four feet, silver plated cocktail shaker, a pair of Elkington & Co silver plated entree dishes and covers, four-piece James Dixon & Co plated tea/coffee set comprising teapot, coffee pot, milk jug and sugar basin, all unused.
Lot 174
Washbasin cabinet; China, Shanxi province, 19th century.Lacquered and gilded wood.With copper basin on the back.With seal of the Ministry of Antiquities.Measurements: 181 x 73 x 55 cmChinese washbasin unit from the Chinese province of Shanxi, dating from the 19th century, made of carved, lacquered and gilded wood. The four front legs have animal-shaped finials, and in the lower part there are two dragons flying around the 'yen' symbol, below which are two Fenghuang or phoenixes. Along the body of the piece are three hand-carved panels of varying sizes, all of which depict figurative scenes of figures in Ming-period costume.
Lot 54
Francesco da Ponte Bassano (Bassano del Grappa, Veneto, 1549 - Venice, 1592)"Birth of the Virgin Mary"Oil on canvas. Signed. 91 x 126 cm.The Nativity of Mary is an iconography that was drawn together in several apocryphal gospels, including the Gospel of James. Saint Joachim and Saint Anne, not having had children in the marriage, promise to consecrate the child that is granted to them to God, and for that purpose, Saint Joachim goes to the temple to make an offering. After being rejected by the priest, he withdraws to meditate until an angel tells him and his wife that he will father a daughter, who would in turn be the Mother of the Son of God.On the canvas you can see Saint Anne lying on the bed, attended by several women. One of them offers her a tray with eggs so that she can recover the strength lost in childbirth, while a servant holds the baby Mary and prepares her for a bath in a basin and several women prepare bandages and towels. A servant kneels as a sign of respect before her. Saint Joachim is depicted in the scene, next to Saint Anne, despite this being uncommon. The interior of the house is sumptuous, with decorative elements and high quality furniture, marble columns, curtains and pitchers, among other elements.Francesco Bassano, known in Spain as "Bassano el Mozo" was a renowned Italian painter who worked in Venice, Florence and Rome and who belonged to a family of painters.As can be read in the Prado Museum encyclopedia , "he was the eldest son of the founder of this dynasty of artists [Jacopo Bassano], as well as the most gifted of the four brothers, all painters, who formed the Bassanesque workshop."His paintings were highly valued in the Spanish court of King Philip II and during the 17th century, which is why the Prado Museum has numerous works by the Bassanos.The Prado also reports that his outstanding paintings include "the seven canvases preserved from the series of «The months of the year», which are now entirely attributed to Francesco and had not been studied by specialists until recently."Bibliographic reference:- Museo del Prado (s.f.). "Bassano, Francesco da Ponte". https://www.museodelprado.es/aprende/enciclopedia/voz/bassano-francesco-da-ponte/f8cb65f5-289b-462d-bdcb-e3b98135972f
Lot 1223
A good scratch-built live steam model of the Launch Branksome, scale 1:12, well detailed with panelled interior, padded seats, steam-powered kettle, and half canopy, on stand bearing plaque 'Branksome Windermere Steam Launch, scale 1in. to 1foot, model builder W. Nurse K.M.B.E.', 130 x 23cms.Notes:Branksome is one of the finest surviving Victorian steam launches in the world and is a member of the UK’s National Historic Fleet. Built in 1896 by George Brockbank of Windermere, Branksome was commissioned for Mrs Edna Howarth of Langdale Chase. Originally named Lily after Edna’s daughter, Branksome was designed for luxury. It cost around four times as much as similar boats, and features leather seats, walnut panelling, velvet upholstery and a marble hand basin in the galley. The vessel was owned by Mrs Howarth until 1919 and then passed into the Cowburn family. It stayed with them until around 1958 when Branksome was sold to George Pattinson. Branksome retains its original engine, built in 1896 by W. Sisson & Co of Gloucester, number 502.
Lot 126
A Victorian cast silver four piece tea service, Charles Reily & George Storer, London 1851, comprising of teapot, hot water jug and milk jug, twin handle sugar basin with gilt interiors, elaborately cast and embossed acanthus, floral and scroll decoration, each raised on four foliate and scroll pierced feet, the teapot and jug,10½in. (27cm.) high, with hinged covers and elaborate finials, weight 80.3 tr.oz.. * Very good condition, clear hallmarks, hinges with movement, good.
Lot 134
An Art Deco style silver three piece tea service, James Dixon & Sons Ltd, Sheffield, 1946/47, comprising of teapot, milk jug, twin handle sugar basin, of bombe form with rounded scroll handles, each piece inscribed with letter 'B', reeded rims, raised of four scroll feet, teapot, 9¾in. (24.8cm.) long, weight 40 tr.oz.. * Very light surface wear only, very good, hallmarks clear.
Lot 172
An Elizabeth II silver four piece coffee set, Charles S Green & Co Ltd, Birmingham, 1957/59, baluster form with decorative band, comprising of coffee pot, hot water jug, cream jug & twin handle sugar basin, coffee pot measuring 8¼in. (21cm.) high, weight 34.0 tr.oz.. * Coffee pot with major dents to lower belly; hot water with single dent to lower belly; cream jug with misshapen foot.
Lot 65
A cased Bohemian porcelain dessert or luncheon service, for twelve settings, each piece centred by a bouquet of flowers on white ground, the outer ring with entwined ribbon detail with floral design on a dark blue ground with gilt flower heads, highlighted with gold gilt trim, each piece marked with green 'VICTORIA' above crown mark and mostly numbered '105' in gold, the set housed in ebonised wooded case, 25¾ x 20¼in. (65.4 x 51.5cm.), 13in. (33cm.) high, with hinged top and two drawers below, each opening to reveal fitted compartments, gilt metal scroll handles and fittings, the set comprising of two serving plates with twin pierced handles, 9 5/8in. (24.5cm.) diameter, twelve plates, 7in. (17.8cm.) diameter, twelve cups & saucers, cream jug and basin. (40 pieces). * No chips or cracks found, very very light rubbing to some gilt area's, overall very good, case with knocks and staining etc, (have to be careful when opening.
Lot 70
A large oval porcelain tray with coronet to each handle, together with teapot, 6 cups, 4 saucers, sugar basin and cream jug. Tray length 55 cm. CONDITION REPORT: At least two of the saucers have visible hairline cracks of more than 3 cm length. All saucers have ingrained dirt and some wear to the bases. The teapot has a clear crack to the inner rim of 1 cm long. Again, there is much ingrained dirt to all parts to this set and loss to the gilt decoration in places through use.
Lot 177
A Chinese Qing Dynasty porcelain basin or bowl, with blue and white scrolling peony decoration, diameter 37.5cm, height 13cmBowl in good overall condition, no signs of restoration, there is a hairline crack running from the outer edge in through the neck and shoulder into the body with a chip to the edge, some minor surface glazing chips and light signs of wear only
Lot 46
A 17th century North Italian carved Istrian stone wall fountainThe shaped arched back with a lion mask fountain head, flanked by undulating ribbons above a twin griffin fruiting vase and twin flowerhead frieze, the shallow bowfront basin with lobed lower section beneath a lotus moulded rim and scrolling floriate frieze border, the baluster vase pedestal support with ribbon tied floral garland decoration, on a fluted socle and integral square plinth base, 119.5 high, 55cm deep, 68cm wide approximatelyThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 168
2nd millennium B.C. A large glazed terracotta storage vessel with piriform body, waisted neck and everted rim, painted with circumferential bands of chevrons around the shoulder, hatched fill between, above and below and dashed lines to the rim. Cf. Çilingiro?lu, A., The Second Millennium Painted Pottery Tradition of the Van Lake Basin, in Anatolian Studies, vol.34, 1984, pp.129-139. 13.3 kg, 53 cm high (20 7/8 in.). Acquired before 1990. Property of a Munich collector. Property of an English gentleman. [No Reserve]
Lot 1092
Late 19th Century Scottish silver tea service comprising: teapot, hot water pot, cream jug and sugar basin, Edinburgh 1890 / 91, maker GE & S, together with an associated and near matching silver spirit kettle, Glasgow 1892, maker DE GE, 91 troy oz, in the original oak and metal bound fitted case, Ivory Self Declaration Submission Ref: 13WRKT41
Lot 2067
Lead-lined wood framed sink on wooden stand (108cm x 60cm x63cm) and a metal structure on four supports fitted with a glass bowlCondition Report Appears to be lead lined (metal is malleable). Old worm worm damage throughout, no signs of live wood worm. The corners of the basin are dovetail jointed. Please see photos.
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