Garden statues: After the Antique: An Austin and Seeley composition stone figure of the crouching Venus, mid 19th century, 94cm highPart of the Irish Collection of Garden Statuary and Ornament, see lot 35 for further informationFelix Austin went into business in 1828 having bought moulds from a firm that had gone out of business. He established works in New Road, London, describing himself variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs Coade but made from Portland cement, broken stone, pounded marble and coarse sand (The Builder 1868). However, like Mrs Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John Seeley. Seeley had trained at the Royal Academy Schools and also made an artificial stone which he called artificial limestone, before entering into partnership with Austin. In 1841 they published their first catalogue, Pleasure Grounds etc. from their address in New Road. The preface begins “Austin’s Artificial Stone is of a light tint, requires no painting or colouring, will not sustain injury from the severest winter, and being impervious to wet, is particularly applicable to all kinds of water works. Its superiority is now so thoroughly established, that the most eminent architects and scientific gentlemen have expressed, in their highest terms, their approbation of its durability, and close resemblance to the real stone”.
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Garden statues: A Coade stone boundary marker plaque depicting the seal of St Olave’s school and its foundation date 1571, circa 1780/90, the underside stamped COADE’S Lithodipyra LONDON, 30cm high by 25cm wideProvenance: St Olave’s School, Tooley Street, LondonEleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. It was highly unusual in the Georgian era and earlier for a business to be set up and run by a woman. She was employed by all the leading late 18th century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar’s Lane exhibition Gallery. The firm became Coade and Sealy from this date and following Sealy’s death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade’s manufactures resembling a fine-grained natural stone, have always been famed for their durability. These plaques are stamped Lithodipyra which is a word put together by Mrs Coade from three Greek words meaning stone, twice and fire. The di (twice) element in the word refers to the grog part of the formula and also to the crushed glass which was included, both of which were fired twice, once to produce them and a second time when kneaded into fresh clay to form the Coade body. This clever marketing ploy reinforced a major element of Coade stone’s desirability, namely its durability. Interestingly pieces stamped Lithodipyra were only manufactured in the 1780’s and 1790’s which gives us a pretty accurate timeframe in which they were made and since they are obviously very site specific, they would have been a one off commission.Henry Leeke, a Southwark brewer, left a will on 13 April 1560 which gave £8 a year towards the founding and maintenance of a new free school. On 25 July 1571 letters patent were obtained which established the school as a grammar school. The charter stipulated that the school be called: The Free Grammar School of Queen Elizabeth of the Parishioners of the Parish of Saint Olave in the County of Surrey., Initially the school was housed in the old Vestry Hall of the church and its adjoining premises (on the west side of Churchyard Alley, a narrow lane off the south side of Tooley Street, running parallel with Borough High Street). Although the school was untouched by the Great Fire of Southwark, major renovation and extension was undertaken in 1676 after the fire. These unusual plaques bearing the date of the school’s founding in 1571, date to around 1780-1790, prior to the school’s relocation to Bermondsey in 1829. The school has subsequently moved a number of times and is now located in Orpington, Kent., Alison Kelly, the renowned doyenne of Coade stone charmingly remarks in her book, Mrs Coade’s Stone records under St Olave’s Tooley St School; ”Oblong plaque found at New Malden and believed to be a boundary marker. Marked COADE’S LITHODIPYR, St OL, therefore probably 1780s-1790’s. Shows schoolmaster and boys in attempted Elizabethan scene representing school’s date. Present whereabouts unknown”, She further records the Architect of the school as Samuel Robinson 1752-1833. Mrs Coade appears to have taken as her inspiration an already existing circular engraved woodcut of the school, probably contemporary with its foundation which is still in use as the school seal today. (See engraving)Literature: Mrs Coade’s Stone, Alison Kelly ,SPA, 1990, pp 418 and 326
A Dresden style 'Kurs Dresden' Spanish dancer with ceramic pleated skirts; 3 similar smaller ballerinas; Kurs Dresden West German male flamenco dancer; Narutaki lidded pot; 3 pieces of Wedgewood Jasperware, 2 blue and 1 green; a set of miniature brass postal scales + other similar brass coloured items.
A collection of vintage 20th century monochrome Wedgwood Dye Ken John Peel ceramic jugs comprising of two jugs and four beakers having textured sides with scenes of hunting. Comes with an extra polychrome jug. Stamped Dye Ken John Peel 1829 Etruria England to the base. Measures approx.: 18cm high. No visible damage.
A 1930's Art Deco Royal Doulton ceramic dressing table set decorated with stylised trees comprising of a pair of candle sticks, four pots / boxes and a tray of rectangular shape. Marked Royal Douton 3255 to the bases. Crazing throughout, one pot having a chip to the lid and another with repair to the rim, hairline crack to the scone of one candle. Measures 17cm high.
A collection of six vintage 20th century Royal Copenhagen Danish ceramic commemorative plates to include: The year Of The Viking, In The Desert, Winter Twiught, Copenhagen Christmas, The Queen’s Christmas residence, Landsbyjul Christmas In The Village, The Round Tower Of Copenhagen. All with makers marks to the underside. Measures: 18cm diameter. Condition : good condition, no visual damage.
A collection of vintage 20th century ceramic character jugs comprising of a Beswick Worthingtons IPA jug, Crown Devon Fieldings John Peel musical mug, Wood Potters of Burslem Admiral Lord Nelson, a Prestige Jugs Winston Churchill, Royal Doutlon Beefeater, Royal Doulton Old Salt D6554, Toby by Woods and Sons and more. Signs of wear commensurate with its age. Largest measures 15cm high.
An 19th century / 20th century Chinese oriental ceramic crackle glaze vase. The baluster vase having a waisted neck decorated with multicolour warrior scenes and raised Chinese dragon decoration. Makers signature to the underside. Measure: 35cm tall. Condition: good overall, no major damage, just age related mark and wear.
A collection of mid 20th century Japanese Noritake ceramic porcelain ware to include a large blue and gilt lidded baluster vase, blue and white miniature wash jug and bowl, small painted plate and a lidded bonbon dish with floral motifs. All having makers stamp to the underside. Condition: repair on the water jug, hair line on painted plate, worn gilt on the lidded dish and vase. Measures: 26cm tall (blue vase)
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