Taxidermy: Anthropomorphic Circus Mice Diorama, Titled - "Just Clowing Around", modern, by A.J. Armitstead, Taxidermist & Naturalist, Darlington, Co Durham, a cased diorama comprising six circus mice, a ring master to the centre stood upon a painted pedestal, conducting a pair of trapese artists above and clown mouse below, another acrobatic pair to the left, all set against a circus tent inspired painted back drop, mounted upon grit covered groundwork, enclosed within a single-glass table display case with carved pediment, raised upon four ceramic button feet, 41cm by 9.5cm by 38.5cm overall, small circus sign to interior lower right "Just Clowning Around", taxidermist's paper trade label to interior lower left
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WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS RUBY LUSTRE TILE, CIRCA 1890 glazed ceramic, depicting a mountain goat leaping over a crescent moon(15.5cm square)Footnote: Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.122, pl.1073, where this design is illustrated.
WALTER CRANE (1845-1915, DESIGNER) AND W. S. MYCOCK (1872-1950, ARTIST) FOR PILKINGTON’S TILE & glazed and painted ceramic, painted artist's, designer's and date cyphers to the base, painted artist's marks and designer's monogram, impressed maker's marks 2472/ ENGLAND/ X(26.3cm high)Footnote: Literature: Cross, A. Pilkington's Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, page 9, plate V, where similar examples are illustrated.
HARRIS LEBUS, LONDON ARTS & CRAFTS THREE-PIECE BEDROOM SUITE, CIRCA 1904 comprising a WASHSTAND, oak, ceramic tiles, marble, copper and glazed ceramic, stamped RD. NO., 110cm wide, 120.5cm high, 51cm deep; a WARDROBE, with retailer’s label PATERSON, SMITH & INNES, CABINETMAKERS EDINBURGH, 138.5cm wide, 213.5cm high, 60cm deep; and a DRESSING CHEST, stamped RD. NO., with retailer’s label PATERSON, SMITH & INNES, CABINETMAKERS EDINBURGH, patent number 8896-1904, 99cm wide, 162.5cm high, 51cm deep
DANIEL COTTIER (1837-1891) FOR COTTIER & CO. GRECIAN REVIVAL SIDE CABINET, CIRCA 1870-75 ebonised wood with parcel-gilt and polychrome painted decorations, bears black printed depository label verso GREEN & EDWARDS LTD.,/Depositories, Sailsbury Road, N.W./...(188cm wide, 243cm high, 51cm deep)Provenance: The Peter Rose and Albert Gallichan CollectionFootnote: Literature: en-Doesschate Chu P., Max Donnelly M., Montana, A., Veldink S. Daniel Cottier: Designer, Decorator, Dealer, Paul Mellon Centre 2021, p.64, pl.51 near identical example illustrated. Cooper, J. Victorian and Edwardian Furniture & Interiors, London, 1987, p.291, pl.291 Coleman B., The Best of British Arts & Crafts, Atglen, PA, 2004, p.12 Note: The firm of Cottier & Co. was founded by the artist, designer, decorator and art dealer Daniel Cottier (1838-1891). Cottier had trained as a coach painter in Glasgow but by the 1860s was working as a glass designer in London where he heard lectures given by the critic John Ruskin and received drawing lessons from the artist Ford Madox Brown. Returning to Scotland he eventually opened his own business in 1864, which would grow to become a highly successful international organisation with branches in London, New York, Sydney and Melbourne. Cottier was interested in glass, furniture, ceramic manufacture, and interior design. In the United States he is seen as a 'harbinger of aestheticism….and a profound influence on American decoration'. A key exponent of the aesthetic movement, Cottier developed a very original and highly distinctive style, employing to great effect delicately painted surface decoration often on gold or ebonised ground providing bold contrast. His designs frequently drew on the prevailing Japanese aesthetic associated with the aesthetic movement but also, as in the current lot, on other ancient sources.
ENGLISH VICTORIAN NURSERY PLATE, CIRCA 1880 overglazed and hand-painted ceramic, bearing inscription YE QUEEN OF HEARTS SHE MADE SOME TARTES, painted bird cypher and initial P, 20.5cm diameter; together with another PLATE, overglazed blank, hand-painted with spider and web decoration, monogram ED/ 1876, 24cm diameterProvenance: The Peter Rose and Albert Gallichan Collection
BURMANTOFTS POTTERY, LEEDS GROTESQUE FIGURE, CIRCA 1890 glazed ceramic, impressed maker's mark/ LEEDS/ 2174, 11.5cm across; a BURMANTOFTS FAIENCE CANDLESTICK, glazed ceramic, impressed BURMANTOFTS FAIENCE 834, 11cm high; and a ROYAL DOULTON FIGURAL SPOUT, glazed ceramic, impressed maker's mark, 17.5cm highProvenance: The Peter Rose and Albert Gallichan Collection
BLANCHE GEORGIANA VULLIAMY (1869-1923) THE GOBLIN VASE pastel study, framed 31.5cm x 28cm; and a COLLECTION OF CERAMICS to include TWO BARUM, BARNSTAPLE CANDLESTICKS, glazed pottery, one incised BARUM BARNSTAPLE, 14cm and 12cm high; a VULLIAMY WARE JARDINIÈRE, modelled as a dog embellished with letters of the alphabet, Rd No. 445420, 18cm long; a SMALL VULLIAMY WARE JARDINIÈRE, incised VULLIAMY, 12cm across; and TWO ASSOCIATED VESSELS, unmarked(33cm x 28.6cm)Provenance: The Peter Rose and Albert Gallichan CollectionFootnote: Note: Blanche Vulliamy studied portrait painting in London in the late 1880s before moving to Torquay to live with her grandparents. Here she became involved with Aller Vale Art Pottery and other potteries in Barnstaple. She became known for her creation of ceramic goblins and other grotesques and by 1897 was producing her own pottery, supplying items to Liberty & Co. in London.
BLANCHE GEORGIANA VULLIAMY (1869-1923) GROUP OF WARES, CIRCA 1900 glazed ceramic, to include THREE VULLIAMY JUGS, each moulded with bats in a night sky, printed B. G. VULLIAMY RD. NO. 326785, 13.5cm high; another VULLIAMY JUG, inscribed HM OOM PAUL I DV 1900, moulded VULLIAMY REG. NO. 355750, painted T. Goode retailer's mark, 16cm high; and a VULLIAMY JAR & COVER, printed B.G. VULLIAMY, 15.5cm highProvenance: The Peter Rose and Albert Gallichan CollectionFootnote: Note: 'Oom Paul' was the nickname of Paul Kruger, President of the South African Republic (or Transvaal) from 1883 to 1900.
BLANCHE GEORGIANA VULLIAMY (1869-1923) COLLECTION OF WARES, CIRCA 1900 glazed ceramic, to include a BARUM JUG, incised BARUM BARNSTAPLE VULLIAMY, 18cm high; TWO FURTHER BARUM JUGS, each incised BARUM BARNSTAPLE, 13.8cm and 12cm high; a BARUM FIGURE, inscribed to the body LITTLE MARY and incised BARUM BARNSTAPLE, 7.5cm high; a WARDLE JUG, impressed WARDLE/ ENGLAND/ 2155, 22.5cm high; a MOULDED JUG, unmarked, 16cm high; and a MOULDED IMP FIGURE, unmarked, 6cm highProvenance: The Peter Rose and Albert Gallichan Collection
BLANCHE GEORGIANA VULLIAMY (1869-1923) GROUP OF WARES, CIRCA 1900 glazed ceramic, to include TWO VULLIAMY WARE CHARACTER JUGS, each incised VULLIAMY REGD, 20.5cm high; TWO SIMILAR VULLIAMY WARE JUGS, each incised VULLIAMY, 21cm high; a VULLIAMY WARE CANDLESTICK, incised VULLIAMY REG. NO. 333615, 13.5cm high; a VULLIAMY OWL JUG, incised VULLIAMY 326053, 12.5cm high; and TWO SIMILAR WARDLE JUGS, each impressed WARDLE ENGLAND 2153, 18cm and 18cm highProvenance: The Peter Rose and Albert Gallichan Collection
ANDRÉ METTHEY (1871-1920) BALUSTER VASE, CIRCA 1911 glazed ceramic, with gilt embellishment, impressed maker's cypher, 33.5cm high; and an ANDRÉ METTHEY BOWL, glazed ceramic, with gilt embellishment, impressed maker's cypher, 12cm diameterProvenance: The Peter Rose and Albert Gallichan CollectionFootnote: Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 221
CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. GROUP OF WARES, CIRCA 1890 glazed ceramic, comprising a LARGE VASE, with frilled rim, applied mark, impressed 118/D, 25.3cm high; another VASE, with opposed moulded fish mask, applied mark, impressed 457, 18cm high; and a WALL POCKET, moulded with moth motif, unmarked, 13.3cm diameterProvenance: The Peter Rose and Albert Gallichan Collection
A late Victorian inlaid oak desk tidy with letter rack and ceramic ink wells, Arts & Crafts style handles, height 24.5cm, width 51.5cm and depth 12cm. Condition - good, general wear including dust, minor marks and scratches, one inkwell stuck in so not checked, the other inkwell appears free from any damage/repair.
Collectables: A collection of assorted toys and collectables to include: Triang RAF blue tractor, Hornby O Gauge locomotive '2180' in need of attention, missing two front wheels; ceramic traction engine and a small collection of soldiers including four wooden horseback and other playworn. Please assess photographs. (one box)
A collection of 1990s Queen Elizabeth 2 QE2 cruise memorabilia comprising of a pair of folders housing QE2 Daily Programmes cased travel alarm clock, a QE2 umbrella, a ceramic Queen Elizabeth 2 tea cup / mug, a Queen Elizabeth 2 'Voyage to Distant Empires January 4th - April 8th, 1996' commemorative plate, a pair of QE2 gents cufflinks. Together with an assorted mix of cufflinks and a Cunard umbrella.
8 assorted boxed limited edition ceramic collectors plates to include a set of 5 Hummingbird plates by Pickard for Bradex. All with Certificate of Authenticity. Together with Crown Davenport The Queen Victoria Rose, Limoges Christmas 1986 The Magical Window and Ruslan & Ludmilla from Bradex.
Pair of amphorae; Naples; 19th century.Ceramic.Measurements: 38 x 21 x 17 cm.Pair of amphorae from the 19th century, made in Naples, which follow the aesthetic models of classical antiquity. In both cases the pieces are ornamented with the red-figure technique and represent a scene related to offerings on an altar on the front, while the back has a scene related to the banquet. Red-figure ware was one of the most important figurative styles of Greek ceramics. It developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figure ware within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety, and the technique consisted of painting the motifs on the still-wet piece, using a transparent varnish which, when fired, took on an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the unglazed areas remained with the reddish hue of the clay, while the glazed, "painted" areas took on a dense, glossy black colour.

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