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Lot 611
A 19th Century mahogany and ebony strung bowfront corner washstand, two tiers, shaped gallery with shelf, undertier with single and two dummy drawers, 65 cm wide x 45 cm deep x 114 cm high, together with a blue and white ceramic washbowl, decorated with Middle-Eastern river scene, surrounded by floral swag and scroll decoration (2)
Lot 378
A collection of 20th Century royal memorabilia, including a Crown Staffordshire porcelain bell commemorating the marriage between Mary, Princess Royal and Viscount Lascelles; a pair of Wedgwood japerware pin dishs; a Bells porcelain; Bells whisky commemorating the birth of Prince William, ceramic bell decanter, 500 mls, boxed; a Wedgwood Prince of Wales money box, boxed; three Wedgwood commemorative mugs, boxed; and others
Lot 152
Two Hummel ceramic figure groups, comprising a limited edition 'Land in Sight', no. 20483/30000, 24.5 cm high; and 'Fanfare', 28 cm high, both marked to base (2)Residue present on the underside of some figures (believed to be glue). Some small chips to the top of the castle and some light scratches. Rubbing to the base. No apparent breakage or restoration. Unfortunately we are unable to provide postage quotes prior to an auction. Boxes are not included in this lot.
Lot 151
A group of four Moorcroft tubelined ceramic vases, comprising a baluster example decorated in 'The Strawberry Thief' pattern, 1998, 19 cm high; a baluster example decorated in 'Golden Lily', 1994, 19 cm high; a waisted example decorated in 'Peacock Feather' pattern, 1997, 21 cm high; and a further baluster example decorated with lilies, 19.5 cm high, 2001, all marked to base (4)
Lot 80A
A gentlemen's black ceramic Rado Jubilé Diastar quartz bracelet watch, with black square dial and diamond set markers at each cardinal point, with date aperture and black metallic hi tech ceramic bracelet, case no. 152.0332.3 model number G-007, with original box, outer box, two year warranty and paperwork and a gentlemen's stainless steel Seiko LM automatic bracelet watch, silvered dial, baton numerals, date aperture, and original mesh bracelet, c.1970s, case number 5606-5070 643816, stamped Japan
Lot 710
moulded in relief depicting Neptune riding a dolphin with trailing rush reins, a band of stylised oak leaves above pointed leaves, the body terminating in a gadrooned tapering column onto a spreading circular foot adorned with leaf decoration, on a plinth base decorated with stylized anthemion ornaments, one leaf repaired, lacking one dot, impressed Wedgwood mark, impressed crescent mark 42cm highLITERATURE Clifford, T. “Some English Vases and their Sources Part I”, Transactions of the English Ceramic Circle, vol 10, part 3 (1978): 164 and passim Dawson, A. British Museum: Masterpieces of Wedgwood, London: British Museum Press, 1995, illustrated on p.35, figure 26This piece forms part of the V&A Collection and was modelled by John Flaxman Sen. (1726 - 1795) in 1776 and manufactured by Josiah Wedgwood and Sons in circa 1840. John Flaxman Sen. was one of a number of plaster makers in London who supplied Bentley and Wedgwood with models and casts, usually but not always copies from classical, French or Italian sources. “The plasters are preserved at the Wedgwood Museum and may be based on a French source by Claude Michel, called Clodion (1738-1814), a sculptor best known for his terracotta figures and bas reliefs. The basalt vases are known as the ‘wine and water ewers’ or the ewers ‘Sacred to Bacchus’ and ‘Sacred to Neptune’ (Fig. 26), the satyr symbolising wine, and the triton riding on a dolphin representing water. They are amongst the most elaborately modelled pieces ever produced by the Wedgwood factory. Both bear the Wedgwood & Bentley mark which occurs in an usual form on the water ewer (Fig. 27). The shape was popular during the eighteenth and nineteenth centuries in various materials including silver and even malachite. The Wedgwood vases were made in jasper ware in the late eighteenth century, and in majolica (lead-glazed earthenware) and bone china in the nineteenth century.” Dawson, A. British Museum: Masterpieces of Wedgwood, London: British Museum Press, 1995, p.35, figure 26
Lot 717
depicting fields of flowers in bloom against a backdrop of mountain ranges and sky160 by 124cm Esias Bosch studied at the University of Witwatersrand and at the Johannesburg School of Art before winning a three year scholarship to study ceramics in Britain. Returning to South Africa he was a pioneer of studio pottery at his Die Randjie studio. In particular, his large panels and tiles are fascinating and impressive works of art. Inspiration to produce these came from seeing the Keramion Museum, Germany clad in large Buchtal tiles. Esias imported some of these, however they were glazed and, using an angle grinder, he ground the glaze off in order to experiment in his studio. Rebuilding his kiln to fit these items, he worked with lustre tiles and then eventually experimented with clay tiles built up in layers and decorated with ceramic stains and glazed, thereby giving the illusion of depth and a painterly like quality. Examples of both were housed in buildings such as the Vineyard Hotel, Cape Town, Wesbank Building, Braamfontein and in the old departure hall of what is now Oliver Tambo Airport. Evidence of his inspiration of Claude Monet and Pierre Bonnard, can be seen in the themes chosen for his panel and tile pieces. His exhibition of large tiles in 1983 in Hanover catapulted him to success. - S-L. F. Bosch, A. & de Waal. J. Esias Bosch, Winchester: Struik, 1988
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