Adam Koukoudakis (British b. 1976) The Right To Remain Silent, 2006 5 Colour screen print Signed, dated and numbered 53/70 in pencil 42 x 29 cm (16.5 x 11.5 in) Adam is a father, painter, illustrator and collagist who studied Fine Art at Chelsea and Berlin Institutes of Art before graduating with BA (Hons) Fine Art from Central Saint Martins in 2006. In the same year he was invited to participate in his first post - graduate show with Banksy at Greek Street's infamous Lazarides Gallery, at a time when it was inspiring a broader movement of artists whose work blurred the lines between fine art, street art, illustration and graphics. In 2007 he accepted a further invitation to participate in Santa’s Ghetto in Bethlehem, before embarking on a busy International circuit of shows, projects, collaborations and private commissions which kept him out of trouble until 2010, when he took a short hiatus to enjoy the rewards of fatherhood. Always a painter and lover of collage, Adam found a way to combine the two through his early exposure to screen printing by hijacking the pulling of ink & screen, and instead projecting his screens onto canvas and painstakingly hand painting every benday himself. His paintings and prints have always depicted subjects and topics close to his heart, from early political angst to the unapologetic love of his family.
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Andy Warhol (American b. 1926) Marilyn Monroe, 1986 Lithograph in colours Signed in plate and numbered 1510/2400 in pencil Produced by the Carnegie Museum Of Art, Pittsburgh 60 x 60 cm (23.5 x 23.5 in) Andy Warhol born Andrew Warhola Jr. August 6, 1928 – February 22, 1987 was an American visual artist, film director, and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).
Hugh Mendes (British b. 1955) Obituaries Pope John Paul II, 2006 Oil on canvas Signed, titled and dated to the verso Comes with the original exhibition catalogue 35 x 45 cm (13.5 x 17.5 in) Hugh Mendes is a contemporary British painter. He was born in the British Military Hospital in Hostert, Germany. Mendes was graduated from Chelsea School of Art with a BA in painting in 1978, and from City and Guilds of London Art School with an MA in painting in 2001. Mendes paints obituaries taken from newspapers and he has had a solo exhibition at Fishmarket Gallery, Northampton. He was exhibited in "The Future Can Wait" in 2008. Mendes is represented by Gusford and had his first solo exhibition with them in March 2013.
L S Lowry (British b. 1887) Group Of People, 1959 Limited edition gouttelette Embossed Chelsea Green stamp and numbered 12/75 in pencil Accompanied with certificate of authenticity Framed and glazed 71 x 53 cm (28 x 21 in) Laurence Stephen Lowry RBA RA (1 November 1887 – 23 February 1976) was an English artist. His drawings and paintings mainly depict Pendlebury, Lancashire (where he lived and worked for more than 40 years) as well as Salford and its vicinity. Lowry is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. He developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures, often referred to as "matchstick men". He painted mysterious unpopulated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death. He was fascinated by the sea, and painted pure seascapes, depicting only sea and sky, from the early 1940s.
L S Lowry (British b. 1887) Ferry Boats, 1960 Limited edition gouttelette Embossed Chelsea Green stamp and numbered 27/75 in pencil Accompanied with certificate of authenticity Framed and glazed 56 x 71 cm (22 x 28 in) Laurence Stephen Lowry RBA RA (1 November 1887 – 23 February 1976) was an English artist. His drawings and paintings mainly depict Pendlebury, Lancashire (where he lived and worked for more than 40 years) as well as Salford and its vicinity. Lowry is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. He developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures, often referred to as "matchstick men". He painted mysterious unpopulated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death. He was fascinated by the sea, and painted pure seascapes, depicting only sea and sky, from the early 1940s.
Hugh Mendes (British b. 1955)Valtria College Study, 1978 Oil on canvasSigned, titled and dated to the versoFramed73 x 73 cm (28.5 x 28.5 in)Hugh Mendes is a contemporary British painter. He was born in the British Military Hospital in Hostert, Germany. Mendes was graduated from Chelsea School of Art with a BA in painting in 1978, and from City and Guilds of London Art School with an MA in painting in 2001. Mendes paints obituaries taken from newspapers and he has had a solo exhibition at Fishmarket Gallery, Northampton. He was exhibited in "The Future Can Wait" in 2008. Mendes is represented by Gusford and had his first solo exhibition with them in March 2013.
A pair of 18th century Chelsea style hand painted porcelain potpourri vases with turquoise ground, gilded scrolling motifs and a cartouche with a hand painted landscape scene with figures on either side. The lids studded with relief berries and fruit and gold anchor mark to base. H.22 Dia.12cm
A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com
A rare Worcester 'scolopendrium' coffee cup and saucer, circa 1772-75Of gently moulded hexafoil shape, embossed with five spiralling scolopendrium leaves picked out in green with black and gold veins, interspersed with flower sprigs and buds, the rims edged in brown, the cup with an entwined twig handle picked out in gold, saucer 13.7cm diam (2)Footnotes:ProvenanceGerald Moore CollectionIn the 1760s Worcester produced a version of this design, more closely related to the Chelsea original. By the 1770s the pattern was reinvented again, with the addition of gilding, colourful flowers and a double twisted handle to keep up with the fashionable French style of the period. Another cup and saucer from the Zorensky Collection was sold by Bonhams on 22 February 2006, lot 109.For further information on this lot please visit Bonhams.com
A significant Derby botanical plate painted by William Billingsley, circa 1790Made in Chelsea style with a moulded 'feathered edge' picked out in brown and turquoise, painted with a leafy spray of orange flowers and three insects in flight, two more insects perched on the stalk and one leaf, 21.5cm diam, long-tailed 7 in puce inside footrim, partially erased crown, crossed batons and D markFootnotes:ProvenanceG C Bond CollectionThis plate belongs to an important group painted by Billingsley with botanical specimens, some of which were in the possession of Kenneth C Klepser. All bear a long-tailed 7 and have had the Derby factory mark removed or partially removed. Another plate from the group was sold by Bonhams on 23 June 2021, lot 239 and is illustrated alongside three other so-called 'Klepser' plates by W D John, William Billingsley (1968), illustration 27. A further example was sold by Bonhams on 2 November 2011, lot 172. Two suggestions have been made with regard to the 'Klepser' group. Firstly, that they are part of a dozen plates referred to in the London Day Book for 1787 as being ordered by Lord Hawke. Secondly, that they are the Chelsea 'replacement' plates which Samuel Keys attributed to William Billingsley in his 'Recollections' of 1837. These possibilities are discussed by Stephen Mitchell, The Marks on Chelsea-Derby (2007), pp.130-3.For further information on this lot please visit Bonhams.com
A Derby model of a cat, circa 1760Modelled seated on a scrolled base picked out in green and puce, its tail curled around its hind quarters, its right front paw raised, its left paw restraining an unfortunate brown mouse, its tortoiseshell markings represented in bright orange and puce, 9.5cm high, patch marksFootnotes:ProvenanceG C Bond CollectionA pair of similar cats was sold by Christie's on 14 May 2003, lot 222 and a single cat by Bonhams on 23 June 2021, lot 238. See also Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), pl.105, fig.282.For further information on this lot please visit Bonhams.com
Didier Drogba, Frank Lampard, John Terry and Ashley Cole Signed Chelsea V Man Utd on 19th May 2007 The FA Cup Final At Wembley First Day Cover. British Stamp with 19 May 2007 Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Steven Gerrard and Rafa Benitez Signed Chelsea V Liverpool Champions League Semi Final First Day Cover. 2 British and 1 Greek Stamp with 3 Separate Postmarks. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Jim McCalliog signed magazine page cutout. McCalliog (born 23 September 1946) is a Scottish former football player and coach. He played in the Football League for Chelsea, Sheffield Wednesday, Wolverhampton Wanderers, Manchester United, Southampton and Lincoln City. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Football Collection of 7 Presentation Photos Signed. All A4 Size. Signatures include Alex Young (Everton), Jim Craig (Celtic), John Charles (Leeds) x2, Tommy Docherty (Chelsea), Bertie Peacock (Celtic) and Dave MacKay (Spurs). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Chelsea FC Star Christian Pulisic Signed Stamford Bridge Metal Street Sign. Signed in black ink. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Man Utd Review Collection of 14 Matchday Programmes Inc Cup Games From 1957-58 Season. Matches include V Burnley, Vs West Bromwich Albion, Vs Leicester City, Vs Aston Villa, Vs Blackpool, Vs Chelsea, Vs Burnley, Vs Sunderland, Vs Everton, Vs Leeds Utd, Vs Shamrock Rovers (European Cup), Vs Red Star Belgrade (European Cup), Vs Dukla of Prague (European Cup), and Vs Aston Villa (FA Charity Shield). Good Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Man Utd Review Collection of 11 Matchday Programmes From 1954-55 Season. Games Include V Bolton W, Vs Blackpool, Vs Aston Villa, Vs Huddersfield, Vs Preston N. E, Vs Man City, Vs Everton, Vs West Bromwich, Vs Chelsea, Vs Burnley and Vs Leicester City. Good Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Man Utd Review Collection of Vintage Matchday Programmes From 1958-59 Season. Includes V Portsmouth, Vs Real Madrid (Grand Challenge Match), Vs Wolverhampton Wanderers, Vs Chelsea, Vs Notts Forest, Vs West Bromwich Albion, Vs Burnley, Vs Aston Villa, Vs Newcastle Utd and Vs Manchester City. Good Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A Chelsea style porcelain part dessert service, probably by Samson of Paris, with pseudo gold anchor marks, printed and polychrome painted with exotic birds on tree stumps, within borders of flowers and vines with comforming smaller vignettes, within an outer laurel and gilt dentil border, comprising four 12in. elliptical dishes with two pierced handles, two large 10in. square dishes and thirteen 8½. plates. (19). * Five plates have faults - one is broken with an old stapled repair, one has a rim chip and large crack, one has a star crack to the centre and a small under-rim chip, one has a chip to the rim and one has a small hairline to rim. One oval bowl has a crack to the rim. The other pieces are all in good condition, with some gilt wear.
A rare South Staffordshire 'Neptune' bonbonnière, circa 1765-70Modelled as the head of the sea god, his bearded face highly coloured, with a furrowed brow, the hinged lid with a gilt metal mount forming his crown, with a deep blue border picked out in gold, surrounding sprays of flowers and insects, a floral sprig to the underside, 7.5cm highFootnotes:A similar bonbonnière is illustrated by Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), pl.128, fig.327.For further information on this lot please visit Bonhams.com
A St. James's (Charles Gouyn) bonbonnière, circa 1751-59In the form of a pug with her three puppies curled around her, their fur and muzzles delicately picked with dark flecks, on a grassy mound, with pink flowers, further floral sprigs and a green leaf border to the interior, the silver gilt mounts with a hinged London enamel lid, painted with delicate flowers tied with a blue ribbon, 5cm wideFootnotes:The green stiff leaf border to the interior rim of the bonbonnière would seem to place this present lot in Kate Foster's second category, distinct from the 'Girl in a Swing' toys discussed by Foster, Chelsea Scent Bottles - 'Girl in a Swing' and another Group, ECC Trans, Vol.6, Pt.3 (1967), pp.284-291. A similar bonbonnière from the Alfred Joseph Collection was sold by Bonhams on 3 December 2008, lot 203.For further information on this lot please visit Bonhams.com
A good St James's (Charles Gouyn) scent bottle, circa 1751-59Finely modelled and naturalistically coloured as a swan, its head forming the stopper, the chased gold mount and chain serving as a collar around the bird's slender neck, the underside of the domed foot enamelled with a delicate garland of roses, with a stiff leaf gold mount, 6cm highFootnotes:Kate Foster illustrates a very similar scent bottle, including it in the 'Second Category', of 'toys' attributed to Charles Gouyn. See Chelsea Scent Bottles - 'Girl in a Swing' and another group, ECC Trans, Vol.6, Pt.3 (1967), pl.214a, no.33. The mounts on the present lot are finer than others in this category and are gold, not gilt metal. The previous suggestion that both categories are not products of the same factory has largely been refuted. Errol Manners points to the example of the large casket now in the Dallas Museum of Art, which combines elements of both groups. Errol Manners, A Documentary 'Girl-in-a-Swing' Seal and other considerations on the porcelain of Charles Gouyn's factory, ECC Trans, Vol.18, Pt.3 (2004), p.402. A similar swan scent bottle is in the Metropolitan Museum, New York, catalogued as Chelsea (inv. no.64.101.548a,b). It is illustrated alongside another related example by Yvonne Hackenbroch, Chelsea and Other English Porcelain, Pottery and Enamel in The Irwin Untermyer Collection (1957), pl.63, fig.100.For further information on this lot please visit Bonhams.com
A Chelsea 'Goat and Bee' jug, circa 1745-47Of pear shape, supported by two goats recumbent nose to tail on grass, applied in high relief with a finely modelled and naturalistically coloured bee, set on a delicately coloured flowering branch in lower relief, the handle modelled as an oak branch applied with leaves, 11.4cm high, incised triangle markFootnotes:ProvenancePurchased from Klaber and Klaber 1976An uncoloured example is illustrated by Paul Crane, Nature, Porcelain and the Age of Enlightenment, in Art Antiques London (2015), where the similarity between the recumbent goats on the base of the jug and base of the silver Ashburnham centrepiece made by Nicholas Sprimont is noted. Another possible source for the design has been suggested by Zorka Hodgson, Survey of the Sources of Inspiration for the Goat and Bee jug and some other noted Chelsea creations, ECC Trans, Vol.14, Pt.1 (1990), p.40, figs.21 and 22 where a woodblock print dated 1530 by Domenico Campagnola is suggested. Coloured 'Goat and Bee' jugs are rarer than those left in the white. For other examples see Margaret Legge, Flowers and Fables (1984), p.25, fig.3, John C Austin, Chelsea Porcelain at Williamsburg (1977), p.24, fig.6, and the F S Mackenna Collection of English Porcelain, Pt.1 (1972), p.60, fig.19. A coloured example was sold by Bonhams on 29 September 2020, lot 130.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Chelsea strawberry leaf sauceboat, circa 1755Of deep leaf shape, with an angular branch handle entwined with strawberry flowers and fruit, the underside moulded with a strawberry plant, the leaves forming four feet, the interior and exterior delicately painted with flowers and scattered sprigs, with a brown line rim, 16.8cm long, red anchor markFootnotes:A similar sauceboat from the Brenda Dunning Collection was sold by Bonhams on 22 June 2022, lot 464.For further information on this lot please visit Bonhams.com
A Chelsea chocolate cup and saucer, circa 1755-58Of bell shape with two scroll moulded handles, the saucer and one side of the cup painted with a variety of 'ombrierte' insects in the style of Meissen, the reverse of the cup painted with a large bird perched in a tree, the rims edged in chocolate brown, cup 6cm high, saucer 12.2cm diam, red anchor marks (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Chelsea saucer dish, circa 1755Delicately painted with eight colourful ombrierte insects including a fine moth and a caterpillar, with a brown line rim, 21.3cm diam, red anchor markFootnotes:ProvenanceRobyn Robb CollectionA similarly decorated pair of finger bowls from the Peggy and David Rockefeller Collection was sold by Christie's on 10 May 2018, lot 650.For further information on this lot please visit Bonhams.com
A large Chelsea dish, circa 1752Of oval 'silver shape', painted in Meissen style with a colourful floral bouquet, smaller scattered sprigs and insects including a vibrant green caterpillar, the handles and rim picked out in brown, 33.3cm wideFor further information on this lot please visit Bonhams.com
A pair of Chelsea leaf dishes, circa 1765Modelled as blue and gold oval dishes overlaid with cabbage leaves moulded with veins picked out in puce, edged in green and painted with floral sprays and sprigs, the pointed tips of the leaves overhanging the rims, 24.5cm wideFootnotes:ProvenanceBrenda Dunning CollectionFor further information on this lot please visit Bonhams.com
A Chelsea-Derby chocolate cup and stand, circa 1772-75With scrolled handles, the stand with a shallow well, pencilled in black and washed in green with landscape panels, within gilt dentil rims, 12.8cm diam, gold anchor mark (2)Footnotes:A similar cup and stand painted in colours, possibly by the same hand, is illustrated by Stephen Mitchell, The Marks on Chelsea-Derby and Early Crossed-Batons Useful Wares (2007), pl.28. The decoration was executed at Chelsea or by an outside decorator.For further information on this lot please visit Bonhams.com
A rare Chelsea family group, circa 1755An attentive husband seated on an upturned tub offering his nursing wife a drink, their young son at her feet eating from a bowl, the man's pipe and purse resting on a barrel between them, enamelled in a soft colour palette, the low rococo-scrolled base applied with flowers and edged in gold, 13.2cm wide, red anchor markFootnotes:An unmarked example of this group formerly in the Metropolitan Museum of Art was sold by Christie's on 27 October 2015, lot 110. The same group is illustrated and discussed by Yvonne Hackenbroch, Chelsea and Other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), pl.37, fig.51.For further information on this lot please visit Bonhams.com
A pair of Chelsea bough pots, circa 1755Of waisted rococo form, with high scrolled rims and flat back pierced with two holes, the fixed cover with a central reserve and nineteen smaller holes, painted with colourful bouquets in moulded scroll-edged reserves, picked out in puce, with scattered floral sprigs, 25.5cm wide (2)Footnotes:Two bough pots of similar form, painted with birds and fruit are illustrated by F Severne Mackenna, Chelsea Porcelain, The Red Anchor Wares (1951), pl.21, figs.43 and 44.For further information on this lot please visit Bonhams.com
An exceptional Chelsea model of a parakeet, circa 1749-52Modelled perched on a branch, head cocked inquisitively to one side, its plumage picked out in vibrant tones of purple, red, green, yellow and blue, the branch painted with delicate mossy sprigs, the base modelled with leaves shaded in green, turquoise and yellow, 13.2cm high, raised anchor mark picked out in redFootnotes:ProvenanceWith Simon Spero, 1998The source for this extraordinary bird is George Edwards' publication, A Natural History of Uncommon Birds. The first volume was published in 1743 and illustrated on plate 6, perched on a similar stump, is 'The Smallest Red and Green Parrakeet'. Edwards writes that he drew the bird from a specimen 'pickled in spirits' and brought back from a Dutch settlement in the East Indies by Dr Cromwell Mortimer, Secretary to The Royal Society. See Paul Crane, Nature, Porcelain and Enlightenment: George Edwards and the Chelsea porcelain Birds, ECC Trans, Vol.28 (2017), pp.33-34. A pair of Chelsea parakeets is illustrated, the colours of their feathers most faithfully copied from Edwards. The present lot is of identical modelling, but the painter has taken bold artistic licence with the bird's multicoloured plumage, to great effect. Painters at Chelsea had access to Edwards' work, but it is most likely this parakeet was decorated outside the factory. The distinctive moss-like sprigs painted on the stump also point to an independent decorator, probably the London workshop of William Duesbury. Duesbury's account books for the years 1751-53 make mention of various bird models by charming names including 'chelsay pshesons','partrichis' and 'Boollfinchis'. The same moss-like painting with dark vermiculé appears on a Chelsea model of an Indian Green Finch, sold by Bonhams on 5 June 2019, lot 131.A pair of parakeets in the Metropolitan Museum of Art (inv. no.64.101.435.436), from the collection of Irwin Untermyer is illustrated and discussed by Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), col. pl.11, fig.22. These too are painted with imagination rather than with scientific accuracy in mind. Evidently, Edwards found this adaptation of his work less than pleasing. In 1758 he wrote:'I have observed, that several of our manufacturers that imitate China Ware, several print-sellers, and printers of linen and cotton cloths, have filled the shops in London with images, pictures and prints, modelled, copied or drawn, and coloured after the figures in my History of Birds, most of which are sadly represented both as to shape and colouring.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Chelsea white figure of a musician, circa 1756Seated on an irregular base applied with flowers and playing a pipe, wearing a soft cap, ruff and a tunic buttoned down to his breeches, a cloak over his left shoulder, 15.4cm highFootnotes:See F Severne Mackenna, Chelsea Porcelain, The Red Anchor Wares (1951), pl.66, fig.131 for the model.For further information on this lot please visit Bonhams.com
A very rare pair of Bow duck tureens and covers, circa 1755-58Realistically modelled with their heads turned to one side, their wings and tail forming the covers, carefully painted with yellow bills, the drake with puce and green feathers, the duck painted in tones of brown with green flashes, only their collars left in the white, 11.8cm wide (4)Footnotes:ProvenanceWith Simon SperoA single duck from the Geoffrey Freeman collection is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), no.264 and was sold by Bonhams on 5 December 2007, lot 168.For a pair see Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), col. pl.10, fig.20, where the source is given as George Edwards, A Natural History of Uncommon Birds, Vol.3, pl.157. However, the print shows little similarity to the porcelain model and another as yet unknown source may have been used. See Paul Crane, Nature, Porcelain and Enlightenment: George Edwards and the Chelsea porcelain Birds, ECC Trans, Vol.28 (2017), p.62, figs.78 and 79.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Bow botanical plate, circa 1757-59Of silver shape with a black line rim, painted in 'Hans Sloane' style with a branch of fruiting redcurrants, a curious moth and two smaller flying insects on the rim, 23.2cm diamFootnotes:ProvenanceBonhams, 14 November 2018, lot 341Robyn Robb CollectionPresumably based on the Chelsea prototypes, Bow's distinctive palate of enamel colours transforms the appearance of 'Hans Sloane' decoration. For a closely related Bow example see Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.104, pl.158. A vase also with closely related leaves and an insect is in the Borough of Newham Collection, see Anton Gabszewicz, Made at New Canton (2000), fig.59.For further information on this lot please visit Bonhams.com
A Worcester tureen, circa 1756-58Of shallow circular shape with bifurcated scroll handles applied with leaves and florets, painted in blue with the 'Courting Birds' pattern (I.C.28) of two finely detailed vignettes of billing doves and birds in landscapes, a single small bird in flight in the interior, 24.5cm wide including the handles, TF workman's markFootnotes:This is one of a number of rare Worcester patterns featuring naturalistic birds in simple landscapes. These Worcester designs were probably copied directly from Chelsea porcelain painted in enamel colours, while the Chelsea versions were themselves copied from Meissen. Worcester is known to have engaged painters who left the Chelsea factory towards the end of the Red Anchor Period, and these probably included the bird painter I Rogers who signed the well-known Worcester mug in the British Museum. Several of these naturalistic bird compositions were used at Worcester both in enamel colours and in underglaze blue. A similar tureen painted in colours was sold by Bonhams on 8 December 2004, lot 308.For further information on this lot please visit Bonhams.com
A rare Worcester vase, circa 1757-58Of baluster shape, finely painted in blue with the 'Mobbing Birds' pattern (I.C.26), three birds perched on the slender branches of a tree, the reverse with a spray of mixed flowers surrounded by smaller scattered sprigs, further sprigs to the neck, 17.3cm high, workman's markFootnotes:ProvenanceSutton CollectionIn a pioneering article in Connoisseur in 1963, Hugh Tait suggested the design was based on a combination of bird drawings by C Fenn, including some engraved by Robert Hancock. The fact that an identical composition is known on a Chelsea vase makes it seem more likely Worcester copied Chelsea, and therefore by extension the pattern and shapes derive ultimately from Meissen. Blue and white examples of the pattern are very rare. A very similar example from the Barbara Leake Collection was sold by Bonhams on 12 May 2008, lot 108.For further information on this lot please visit Bonhams.com
A collection of mid 20th century football programmes, to include the matches Scotland v England at Hamden Park April 1948, Western Command v Carlisle United Brunton Park Carlisle January 1948 and Rotherham United v Wrexham November 1947, a quantity of programmes. CONDITION REPORT: There are approximately 48 programmes in this lot. All these programmes are in used condition with staining and occasional tears, none are what you would describe in mint condition. Most are reasonably intact. This is an approximate list of the programmes in this lot:Derby County v Aston Villa 1947Plymouth Argyll v Cardiff City 1948Gateshead v Bradford City Leeds United 1947Barrow FC v Carlisle United Western Command v Carlisle United 1948Everton v Aston Villa 1947Bristol City v Torquay United 1947Swansea Town v NorthamptonBlackburn Rovers 1947Manchester United v Chelsea 1947Blackpool v Blackburn Rovers 1948Rotherham United v Wrexham 1947Scotland v England 1948Burnley FC 1947Newcastle v Tottenham 1947Ayrdronians v Morton 1947Dundee v Third Lanark 1947Blackpool v Manchester United 1948Blackpool v Sunderland 1953This also includes The Football Fanfare Fun for the Football Fan album and a copy of the Sport Weekly magazine with Stanley Matthews on the front. Please not this is an approximate list and will not be entirely accurate.
Charles Vyse (1882-1971) The Shawl, earthenware figure, painted in colours, on ebonised wooden base marks presumably concealed by wooden base, minor frits to bouquet 29.3cm. high Provenance The collection of Mrs A Smith. Literature Charles Vyse Richard Dennis/Fine Art Society catalogue 1974,page 18 catalogue number 14 for a comparable figure illustrated. This figure was introduced in 1925. Catalogue notes This figure is usually marked with a painted signature CV Chelsea to the underside of the base.
Charles Vyse (1882-1971) The Pedlar, 1926 earthenware figure, painted in colours painted CV 1926 Chelsea to base, small chip to brim of hat, 27cm. high Provenance The collection of Mrs A Smith. Literature Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 18 catalogue number 16 for a comparable figure illustrated. This figure was introduced in 1925.
Charles Vyse (1882-1971) Chrysanthemums, 1927 earthenware figure, painted in colours painted CV 1927 Chelsea, 28cm. high Provenance Clarice Cliff & Art Deco, Woolley and Wallis, 13th April 2010 lot 796. The collection of Mrs A Smith. Literature Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 20 catalogue number 20 for a comparable figure illustrated. This figure was introduced in 1926.
Charles Vyse (1882-1971) The Windmill Woman, 1925 earthenware figure, painted in colours painted CV 1925 Chelsea, collection label 22.5cm. high Provenance Julie Asbridge Collection, 2003. The collection of Mrs A Smith. Literature Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 15 catalogue number 11 for a comparable figure illustrated. This figure was introduced in 1924.
Charles Vyse (1882-1971) Kettle Holders, 1926 earthenware figure, painted in colours painted CV 1926 Chelsea to base (small chip to kettle holders and minor frits to glaze) 22cm. high Provenance The collection of Mrs A Smith. Literature Reginald Blunt Chelsea China & Pottery, EP Publishing, plate 41 for a comparable figure illustrated. Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 15 catalogue number 10 for a comparable figure illustrated. This figure was introduced in 1924.
Charles Vyse (1882-1971) The Cinneraria Boy, 1923 earthenware figure, painted in colours, painted CV 1923 Chelsea to base, paper label titled The Flower Man, frit chip to leaf 26.5cm. high Provenance The collection of Mrs A Smith. Literature Reginald Blunt Chelsea China & Pottery, EP Publishing, plate 41 figure Vh for a comparable figure illustrated. Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 14 catalogue number 9 for a comparable figure illustrated. This figure was introduced in 1923.
Charles Vyse (1882-1971) The Balloon Woman, 1921 earthenware figure, painted in colours painted CV 1921, Chelsea to base, 22.5cm. high Provenance The collection of Mrs A Smith. Literature Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 10 catalogue number 2 for a comparable figure illustrated. This figure was introduced in 1920.
Charles Vyse (1882-1971) Piccadilly Rose Woman, 1922 earthenware figure, painted in colours painted CV 1922 Chelsea to base, star crack to base, 20.5cm. high Provenance Julie Asbridge Collection, 2003. The collection of Mrs A Smith. Literature Charles Vyse Richard Dennis/Fine Art Society catalogue 1974, page 13 catalogue no.7 for a comparable figure illustrated. This figure was introduced in 1922.
Harry Parr (1882-1966 presumed) Rose Seller, 1931 earthenware figure, painted in colours, on ebonised wood base cast Hy Parr Chelsea 1931 to side of ceramic base, 24cm. high Provenance Mellor's & Kirk Auctions, 5th December 2003, lot 39 The collection of Mrs A Smith. Literature Reginald Blunt Chelsea China & Pottery, EP Publishing, plate 42 (T) for an example of this figure illustrated.
![ANGELA STONES [1914-1995] WATERCOLOUR STREET SCENE, SIGNED. TOGETHER WITH A CIRCULAR PICTURE OF FIGURES BESIDE A MOAT IN RED](https://cdn.globalauctionplatform.com/394da21e-69d7-425a-a58b-af5000d7caad/4141456a-23cd-40be-9ea3-af58010a5a69/468x382.jpg)
Seven cushions: to include a set of 3 Home Store oatmeal/linen coloured ground with velvet burgundy raised pattern and tassels; 4 burgundy velvet cushions , and a Chelsea Textiles London cream ground with green trellis, and an OKA burgundy and blue trellace cross stich design oblong cushion, see all images for details
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