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Click here to subscribeThree Bow coffee cups and a can or small mug c.1752-55, variously painted in famille rose enamels with flowering peony sprays and other flowers, and a London-decorated coffee cup with bianco-sopra-bianco decoration with colourful butterflies and other insects around, some faults, 6cm max. (5) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Three Bow famille rose cups, Ainslie, Sotheby's 1960.
Two Bow blue and white coffee cups c.1753-55, one painted in a bright blue with flowering branches and trailing wisteria, the other with a Chinese lady in a landscape, with moulded handles, some chipping to one, 5.8cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Ainslie collection.
A Bow blue and white chocolate pot and cover c.1760, painted with the Golfer and Caddy pattern, a Chinese boy carrying rolled scrolls for a gentleman beneath gnarled flowering branches, painter's numeral 2, the handle and a small rim section broken and restuck, 16.3cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Exhibited: Ashmolean Museum 2009-2020.
A large and early Bow blue and white mug c.1753, painted in a bright blue with low huts on sloping rocks beneath pine and bamboo, the rim with a panelled trellis border, cracked, 14.8cm. Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Exhibited: Ashmolean Museum 2009-2020.
A large pair of Bow meat dishes or chargers c.1755, of elongated octagonal form, boldly enamelled in the famille rose palette with flowering branches of chrysanthemum and leafy bamboo beside holey rockwork, the rim with sprays of lotus and peony, some rim chips, 40.5cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).
A good pair of Bow plates c.1750-53, well painted in famille rose enamels, each with two long-tailed birds in flight above and perched on flowering peony branches, the shallow saucer forms with narrow rims decorated with a repeated design of flower scrolls, 19.6cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Exhibited: between 2009 and 2020 one of the plates has been on loan to the Ashmolean Museum.
A large Bow mug c.1755, the slightly tapering cylindrical form with spreading foot, painted in bright polychrome enamels with a Chinese figure holding a basket of flowers, a moth in flight above, the reverse with flowering branches and reeds by the water's edge, red B mark, some rim faults, 12cm. Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Formerly Ainslie, Sotheby's, 1960.
A Bow mug c.1750, of cylindrical form with a spreading foot, delicately painted in muted enamels with flower arrangements suspended from leaf swags, with small moths in flight around, a short rim crack, 12.5cm. Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Exhibited: the Ashmolean Museum 2009-2020. Cf. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, p.28, nos. 10 and 11 for mugs with identical decoration.
A Bow teabowl and saucer c.1757-62, painted by Jefferyes Hamett O'Neale probably at the atelier of James Giles, with Classical figures before tall ruins and a brown tree, within a gilt and red spearhead border, some rim repairs, 12.2cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, p.104, no. 96. See also item numbers 97 and 98 for other pieces from the same service. Exhibited: on display at the Ashmolean Museum between 2009 and 2020.
A rare pair of Bow miniature figures of Asia and Europe c.1760-65, the former modelled as a Classical maiden holding an urn, the other of Minerva in battle dress, resting one hand on a shield decorated with a red cross, both raised on tall pierced bases with gilt and enamel detailing, damages, 13.8cm max. (2)
A Bow figure of Ceres c.1760-65, emblematic of Earth from the Four Elements, standing before a recumbent lion, holding a cornucopia of fruit and flowers, raised on a tall scrolled base picked out in puce and gilt, a Bow figure of a putto seated with arm around a gnarled trunk, raised on a tripod base, and a Derby figure of Asia from the Four Continents, modelled as a girl with a camel, some damages, 24cm max. (3)
A Bow white-glazed figure group of birds in branches c.1755, modelled with two finches perched on gnarled branches applied with flowers, leaves and fruiting grapevine, a dog barking at the base of the tree, some restoration, 14.5cm. Cf. Peter Bradshaw, Bow Porcelain Figures, pl.67. Provenance: the Davies Collection.
A rare matched pair of white-glazed Bow figures of street musicians c.1752, he standing and playing the hurdy-gurdy, wearing a tricorn hat, his companion modelled as a Flemish woman with a baby, wearing traditional peasant dress, the infant slung around her neck in a small crib, all raised on low chamfered square bases, some restoration to his hat, 15.3cm max. (2) Cf. Peter Bradshaw, Bow Porcelain Figures, p.72, pl.31 and pl.32. Provenance: the Davies Collection.
A Bow figure of Spring c.1755, modelled as a girl seated and wearing a hat trimmed with flowers, leaning on a basket of flowers, with blooms tumbling from her lap into further baskets beside her, wearing a purple apron over a flowered skirt, minor chips, 12.6cm. Provenance: the collection of Sir Raymond and Lady Smith.
A white-glazed Bow figure of a Flower Girl c.1755-60, modelled with a basket of flowers suspended from the crook of her right elbow, her left hand holding the hem of her overskirt, wearing wide hat tied with ribbon, some good restoration to her hat and right hand, 15cm. Cf. Peter Bradshaw, Bow Porcelain Figures, pl.128. Bradshaw suggests that this figure is perhaps a copy of a Chelsea figure of Spring. Provenance: the Davies Collection.
A white-glazed Bow Commedia dell'Arte figure of Isabella c.1752-55, standing in a theatrical pose with her right hip extended and back arched, her right hand holding the edge of her cloak, raised on a low pad base, her left hand lacking, 15.7cm. While a number of Italian Comedy figures produced at Bow were copied from Meissen's Weissenfels series modelled by Kändler and Reinicke, this figure of Isabella appears to be unique to the Bow factory.
A very rare Worcester blue and white mug c.1760-65, the slightly tapering form printed with la Dame Chinoise design, an attendant holding a tall parasol over the head of a Chinese lady with another attendant beside, flanked by a tall vase of flowers and a gnarled willow tree, cracked, 12.2cm. This pattern appears at Worcester in overglaze enamels (see Cyril Cook, The Life and Work of Robert Hancock, no.26) and is known on Derby and Bow porcelain. However, this appears to be the only recorded example of the pattern in underglaze blue at Worcester.
A large Bow white-glazed figure of the actress Kitty Clive c.1750, modelled in her role as Mrs Riot in Lethe from an engraving by Charles Mosley after a watercolour by Thomas Worlidge, wearing a wide crinoline and resting a small spaniel on her right hip, raised on a square base decorated with wide leaf scrolls, some restoration to her mob cap, 25.3cm. Provenance: the collection of Aurea Carter. Cf. Raymond C. Yarborough, Bow Porcelain and the London Theatre, pp.20-26.
A large Bow three-tier sweetmeat stand c.1765, modelled with deep scallop shells painted to the interior with flowers in the famille rose palette, the base and stem encrusted with shells and seaweed, restoration, 19.8cm high. Provenance: the collection of Aurea Carter. Formerly in the collection at Invercauld Castle.
Dobro style 25 square neck resonator guitar, made in USA, circa 1936, serial no A8xx5, currently set up for left handed play; Finish: sunburst, various dings and wear including lacquer checking, all consistent for age; Fretboard: ebonised; Frets: good; Hardware: good; Case: Stagg hard case; Other: slight bow to neck; Weight: 2.38kg; Overall Condition: good *Currently set up for left-handed play but easily converted back for right-handed
Sardonyx Cameo brooch, central panel depicting in a double faced helmet with a serpent, in gold mount testing as 15 ct, surmounted by a rose cut diamond set bow, and surrounded by gemstones including emeralds, rubies and amethysts, with a pin and catch fitting, 5 x 3.5cmCondition Report: weight 18 gramspin is bent but clasp still opens and close securely one blue stone is chipped and front of snakes face has a small area missing
A pair of late 19th C aquamarine pendant earrings, consisting of two pear cut aquamarines, estimated total weight 26.95 carats, mounted in 15 ct, central articulated bow link with snake shaped hook fittings, each drop measuring 5 cmCondition Report: weight 9.1 gramshook attachments maybes be gold plated and possibly a later edition to earring dropsOne aquamarine measures approximately 27 x 13 x 6.7 mmThe other aquamarine measures approximately 28 x 12.9 x 7mmOne aquamarine has ten very very small chips to top surface the other has seven, these can be seen with a 10x loupe
Murrle Bennett & Co pendant, central oval panel containing painted portrait of a girl, surrounded by a border of seed pearls, surmounted by a seed pearl set bow and articulated bail, to the reverse is another hinged glazed section, mount stamped 9 ct and bearing Murrle Bennett & Co makers mark, 5.4 x 31cm Condition Report: weight 12 gramsall pearls are presentevidence of repair work to back of bow
A group of costume jewellery, including a long fancy link necklace, 89cm in length, marcasite set bow brooch, five marcasite and gem set rings, amethyst set ring, all mounted in silver, with a silver and 9 ct marcasite ring, size L, a sapphire and paste set cluster ring in silver gilt, size L 1/2, glass bead necklace, faux pearls, gilt metal rings, brooches, chains, earrings and other itemsCondition Report: Silver gross weight 69.8 grams9 ct grams 2.8 grams
Fidelius, A Ladies gold plated wristwatch the signed silvered dial with baton hour markers and gold hands, fitted with a 17 jewel manual wind movement, stainless steel case back numbered 324 434140 and mounted on a three colour link bracelet with fold over clasp, stamped 18 ct, together with a Gruen ladies ball pendant watch in blue enamel case, the signed enamel dial gold baton hour markers, fitted with a manual wind Incabloc movement, and mounted on a silver gilt bow pendant.Condition Report: Fidelius movement winds but not tested for timekeeping, bracelet has signs of stretch. Gross weight 21.6 gramsGruen hands turn and movement winds, not tested for timekeeping.Ewbank's do not guarantee the working order or accuracy of any lots sold.
A GEORGE III MAHOGANY BOW-FRONT CHEST OF DRAWERSEARLY 19TH CENTURYWith two short and four long graduated drawers, on bracket feet139cm high, 100cm wide, 52cm deepCondition Report: Marks, knocks, scratches, and abrasions commensurate with age and use. Various old chips and splits. Both rear legs are detached but present (see images).Handles appear original. Locks vary from one another but are all 19th century. No key present, all locks are open. Two locks are lacking their locking block. Various repairs and sections of replacement veneer (see images). Some later blocks to the underside. Some sections of moulding to edges of drawer fronts are lacking. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
ANTIQUE STYLE WALNUT DRESSING MIRROR and two bedside chests, the mirror with swing action, brass mounted supports and three lower drawers on corner bracket feet, 64.5cms H, 40cms W, 20cms D, the bedsides formally part of a larger chest with shaped tops and three brass handled bow front drawers on later spindle type legs, 55cms H, 30.5cms W, 26cms D
Regency portrait of a boy with a bow and arrow in silhouette, attributed to CH Hudson, 1811, painted on glass, together with a collection of silhouettes, armorials and plaster relief, believed to be members of the Pitt family. (7)CONDITION REPORT: CH Hudson: some marks and discolouration to the paper (not removed from frame). The silhouettes have some creases, the paper is yellowed, marked and dirty.
AN OLD 'CHUNG DZI' TIGER EYE AGATE BEADHimalayan region, presumably Tibet, around 500-1000 CE or later. Bow-shaped, opaque bead with beautiful milky-white and grayish-brown stripes. Well-polished and with central drilling showing ancient toolmarks. 'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with some expected, age-related wear. Displays a patina that only develops after being worn for many centuries. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 15.6 g Dimensions: 5.1 cm
A SMALL OLD 'CHUNG DZI' BANDED AGATE BEADHimalayan region, presumably Tibet, around 500-1000 CE or later. Small, bow-shaped and half translucent bead of a warm color palette, ranging from honey yellow to milky white with some darker brownish and black inclusions. Well-polished and with central drilling showing ancient toolmarks. 'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties. Condition: Very good condition with some minor weathering commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 6 g Dimensions: 3.5 cm
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