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Lot 12
A complete set of four vintage mid century ceramic lidded sugar pots. Each of white ground with two tone design, one for London demerara sugar, one brown soft sugar, one caster sugar and one icing sugar. All bar one produced by Lord Nelson Pottery, the demerara sugar produced by Burleigh. Each measuring approx. 19cm tall.
Lot 132
A selection of vintage Portmeirion ceramic kitchen / table wares. The lot comprising three canisters with wooden lids, jug and basin, a fluted vase, cheese dish and cover and a dinner plate. Mostly in the Botanic Garden pattern with floral sprays, fruit and insects. Jug measures approx. 21cm x 16cm.
Lot 118
A large collection of early 20th century & later Copeland Spode hand painted ceramic part dinner & coffee service in the Phoenix & Chrysanthemum pattern. The lot to include two large serving platters, coffee cups & saucers, fruit & cake plates, deep plates, various sizes plates, lidded tureen & much more. All stamped to base. Some cracks, hairline cracks, chips and crazing present.
Lot 32
A collection of nine Chinese ceramic and figurine pieces. The lot to include a pair of Republic period pale green glazed tea bowls decorated with hand painted flowers and birds, two 20th century small famille rose tea cups with holders, three stars Sanxing resin figurines and two soapstone carved immortals. Largest measures approx. 11cm tall.
Lot 89
A vintage Italian mid century Capodimonte ceramic centrepiece vase. The vase twin handled, with each handle in the form of a nude woman, with Regency gilt scrolled decoration to rim. Central neo classical scene of a maiden and cherubs, over a gilt foot. Marked Keramos Par Capodimonte Italy to base. Measures approx. 19cm x 55cm x 16cm.
Lot 151
A collection of 20th century Chinese & Russian export porcelain & ceramic pieces. The lot comprising a tall green baluster crackle glazed vase featuring flowering blossom tree, four character mark to base, two Russian export porcelain bowls decorated with floral and key design in blues & pinks, and a small planter shaped bowl of blue ground featuring pink blossoms. Tallest measures approx. 30cm tall.
Lot 445
Vintage and contemporary jewellery, an oval blue Ruskin ceramic brooch 36x30mm, another 25mm diameter with silver coloured frame set with two round cabochon cut moonstones; three Langani modern brooches; an oval hammered brooch 90x50mm by OSKA; a yellow and white metal brooch marked 900 750 RS in a circle; an Aspinal handbag hook with crystal centre, boxed.Qty: 13
Lot 195
***PLEASE NOTE NO INTERNET BIDDING IS AVAILABLE FOR THIS LOT, PLEASE REGISTER FOR A TELEPHONE BID ONLY. A DEPOSIT WILL BE REQUIRED.*** A LEMON-YELLOW ENAMELLED OGEE SAUCER, SEAL MARKS AND PERIOD OF QIANLONG 清乾隆 檸檬黃彩折腰小盤 《大清乾隆年製》款 China, Qianlong period (1736-1795) Finely crafted with gently curving ogee sides emerging from a short foot, the exterior is adorned with a uniform lemon-yellow enamel, while the interior and base remain white. The base is inscribed with a six-character seal mark in underglaze blue, reading 'da qing qian long nian zhi'. D: 11.2cm Provenance: - A private collection belonging to a gentleman from Cork, Ireland, who began collecting in the 1990s. Acquired from Sotheby’s New York in 2000. - Acquired in 1968 from William Clayton Limited, London. From the Mottahedeh collection. 出處： - 來自愛爾蘭科克一位紳士的私人收藏，他從1990年代開始收藏。 -2000年從紐約蘇富比拍賣行購得。 - 1968年從倫敦威廉·克萊頓（William Clayton Limited）有限公司購得， 來自莫塔赫德（Mottahedeh）收藏。 NOTE Yellow glaze is a type of low-temperature yellow iron glaze, which was strictly controlled by the royal court and only used by the imperial family during the Ming and Qing dynasties. Yellow glaze was first created and fired in the official kilns of Jingdezhen during the early Ming Dynasty. It reached its peak during the Chenghua and Hongzhi periods of the Ming Dynasty. By the late Kangxi period, with the introduction of foreign technology in enamel colors, low-temperature yellow glaze, using antimony as a coloring agent, was also produced in China. Along with various foreign glaze materials entering China, lemon-yellow glaze emerged during the Yongzheng period. Lemon-yellow glaze became the most esteemed glaze of the Yongzheng reign, deeply cherished by the emperor. Lemon-yellow glaze is a low-temperature glaze primarily colored with antimony oxide. During the Kangxi period, the Imperial Household Department already used it as a coloring material and decorative element for enamel porcelain. Its development into an independent category of colored glaze began during the Yongzheng period, referred to by contemporaries as Western Yellow or Foreign Yellow. In the thirteenth year of Yongzheng's reign, Tang Ying's Record of Ceramic Achievements Monument documented fifty-seven types of colored glazes and glazes for imperial use, among which Western Yellow Glazed Vessels referred to items with lemon-yellow glaze.
Lot 4
TWO BLACK AND WHITE GLAZED ‘BI YONG’ CIRCULAR INKSTONE 宋代 黑、白釉辟庸陶砚两件 China, Song dynasty The central unglazed grinding surface is surrounded by a narrow well, positioned above an openwork apron created by short legs attached to a ring. The entire piece is finely glazed, except for the grinding surface and underside, which reveal the fine white body material. D. 6.4, 5.1cm NOTE In the history of porcelain inkstones, the Biyong inkstone boasts a particularly unique design. Biyong was the place where ancient emperors lectured. The Record of Rites: Wang Section states: The grand college is located in the suburbs; the emperor's is called Biyong, while those of the feudal lords are called Leigong. Cai Yong of the Eastern Han Dynasty explained in his Mingtang Danling Lun as: It is surrounded by water on all four sides, resembling a wall. Subsequently, it came to be known as Biyong. During the Southern and Northern Dynasties as well as the Sui and Tang Dynasties, ceramic artisans imitated the design of the Biyong to create the Biyong inkstone, which became highly prized artistic treasures. During the Wei and Jin Dynasties, with the rapid development of the porcelain industry, ceramic inkstone platforms emerged in large numbers. Among them, a type with a round dish with feet was most popular, which also served as the precursor to the Biyong inkstone during the Sui and Tang Dynasties. During the Wei and Jin periods, the most popular inkstones were three-legged or four-legged celadon round dishes, which evolved into bead-footed inkstones and Biyong inkstones with five to ten legs during the Southern and Northern Dynasties. By the Sui and Tang Dynasties, circular multi-legged Biyong inkstones had developed.
Lot 66
A STAFFORDSHIRE CREAMWARE MODEL OF A HORSE WOMAN PROBABLY MID 18TH CENTURY Modelled riding side saddle and wearing riding habit, with red pottery hat, the horse with sponge decorated body and supported on a shaped base 18cm high, 21cm wideCf. Stella Beddoe, A Potted History Henry Willet's Ceramic Chronicle of Britain, Brighton Museum and Art Gallery for a related equestrian group illustrated on the dust jacket. Also see E. & H. Manners, 66C Kensington Church Street, London who have an almost identical example for saleProvenance: From the collection of the Late Alastair Scott of Dunsdale Lodge Antiques, Westerham and thence by descent. Following his death, two large sales were held by Christie's (10th June 1991 and 10th October 1991)but some pieces were kept in the family Condition Report: Extensive restoration. Potential purchasers should satisfy themselves in person as to date and attribution. Please see conditions of sale. Condition Report Disclaimer
Lot 248
A FINE GEORGE IV MAHOGANY AND BRASS MOUNTED HALL BENCH IN THE MANNER OF THOMAS HOPE, CIRCA 1825 61cm high, 93cm wide, 56cm deep Provenance: Private Collection, London Purchased Christie's, London (5338), Lot 98 (Sold £8,821 incl. BP) Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, minor splits and losses Some evidence of old worm The bronze mounts are likely later associated. Some old repairs, including to the feet (see images) The reverse of one of the rails with some scoring marks along 2/3 of its length. This rail may possibly be a replacement. Two of the castors have been replaced with ceramic castors. Later blocks applied to the underside, some glue residue visiblePlease see all additional images through the link in the condition report email for a visual reference to condition. Condition Report Disclaimer
Lot 521
ATTRIBUTED TO GIOVANNI BASTIANINI (1830-1868), A MARBLE BUST OF A YOUNG RENAISSANCE MAN IN THE MANNER OF DESIDERIO DA SETTIGNANO, MID 19TH CENTURY 51cm high, 45cm wide Provenance: The deceased estate of a Cambridge Don During the nineteenth century architecture, paintings and sculpture evolved towards a Neo-Renaissance style driven, in part, by the popularity of the Grand Tour, republication of Vasari's "Lives", and the publication in 1813-1818 of Leopoldo Cicognara's Storia della sculture. This, together with the creation in Italy, Europe and America of private and National museums, spurred a demand for genuine, original examples of Renaissance artwork. Where this desire could not be satisfied, painters and ceramic makers were happy to provide artwork "in the manner" of their predecessors- firms like Della Robbia making clear these were not copies of imitations but new works in an earlier manner. Other manufacturers, artists and dealers were less honest. Bastianini was born in Fiesole in 1830 and worked in a nearby stone quarry until the age of 12. Following training in the studio of the sculptor Pio Fedi and apprenticeship to Giralamo Torrini he was taken on by the antiquarian dealer, Giovanni Freppa. This relationship with Freppa would prove to be both a blessing and a career blighting association for the young sculptor. Bastianini's earliest work was the reproduction of ancient sculpture which he performed with meticulous precision and during which he became familiar with the work of the masters of the 15th century. In 1864 Freppa commissioned him to produce a bust of the poet Girolamo Benivieni (1453-1542). Through a subsequent series of sales and circumstances the piece ended up in Paris and was purchased for The Louvre as a Renaissance masterpiece. The subsequent fall-out with Bastianini publicly named as the forger and mastermind behind the affair took a while to clear- but his name was never properly cleared from the taint of forgery. Anita Moskowitz has examined photographs of this work and notes that the artist's idealised busts are almost always of female subjects- with the men rendered less sympathetically and true to life. In this work the idealised depiction of the handsome young man may be a divergence of style for the artist or, perhaps, may point to the work of one of his contemporaries. Another artist re-presenting the work of earlier Renaissance masters. Literature: Anita Fiderer Moskowitz, Forging Authenticity: Bastianini and the Neo-Renaissance in Nineteenth-century Florence, Arte e Archeologia Studi e Documenti 32, Florence: Leo S. Olschki Editore, 2013. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Generally in good, clean presentable condition. Some small infills and areas of fluorescence visible under UV- to front, head possibly spot stain cleaning? section of peak to cap restored and section of infill to reverse, small edge wear and nibbles notably to base edge. Some natural darker inclusions and small dirt marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 81a
Collection of seven mid 20th century Nymphenburg porcelain figures, all white glazed, including four cherubs in various poses with impressed marks to base 11cm high and five 18th century style figures with blue marks to base, tallest 14cm Condition Report One with split to ceramic base, probably caused during firing. One with broken floral motif to headpiece. Overall condition appears to be good with marks and wear in place commenserate with age and previous use.
Lot 146
Pub advertising collectables and wall brackets including a Hennessy cognac Captain Richard Hennessy bottle holder 38cm high, Courvoisier wooden effect stand, Remy Martin centaur miniature bottle stand, ceramic Bombay Sapphire stand and a boxed Remy Martin restaurant reservations diary 2008 together with a pair of gilt effect rococo style wall brackets 20cm long
Lot 195
A collectors lot to include; a 20th century painted Signs of the Zodiac spherical shaped nest of four parts, a vintage Post Office red telephone, three novelty Cadbury's Bourn-vita cups (two with covers), a piece of merchandise from The Metropolitan 1870-1970 Museum of Art, a Bandmaster Fancy harmonica in box, a Hohner 'Echo-Luxe' harmonica in box, a cased part Norwegian steel carving set, a modern wooden large hand mirror, two 20th century wooden beaters of cylindrical forms, a modern wooden recorder, vintage Christmas decorations, playing cards, deco style pots and others; and a collection of mixed mid to late 20th century or modern kitchen metalware to include; a stainless steel soda syphon, Vesuviana metal coffee machine/pieces, tin dishes with stylish hands, large steel liquid container, a chrome cased ceramic tea pot, etc.(three boxes)
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163696 item(s)/page