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Click here to subscribeA collection of twelve 18th and 19th century Chinese and Japanese porcelain, to include: 18th century Chinese imari dish; satsuma ware dish with figurative design; Armorial design dish; pottery tea bowl with spotted design and moulded applications; green ground prunus dish with Qianlong mark; kutaniware and others, largest diameter:19.6 (12)
TA 5% Vat. A JAPANESE POTTERY ‘MOUNT FUJI' TEA BOWL, CHAWAN, AND A CHINESE BRUSH WASHER19th century and earlierThe rounded tea bowl resting on a short foot, worked in grey clay and decorated in white slip with a white mountain peak and a simple brushstroke to the interior, together with a cream-glazed ceramic brush washer with a short spout to one side.13cm x 7cm; 14cm x 6cm (2) Provenance: the Claudio Perino Collection, Turin, acquired mostly in Japan in early 2000s. This lot has been imported from outside the UK for sale and placed under the Temporary Admission (TA) regime. Import VAT is payable at 5% on the hammer price. Standard VAT at 20% will be added to the buyer’s premium. Buyers are invited to familiarise themselves with these rules prior to bidding.
Assortment of ceramics to include Denby Stoneware Glyn Colledge hand painted studio pottery tankard, signed to base, Royal Doulton Lambeth vase H 19.5cm, Chinese vase H 27.5 with character marks to base, Sadler Chinese style ginger jars, Royal Crown Derby small jug and Burleigh Ware cobalt bird design bowl
A Japanese Satsuma Pottery Vase, of ovoid form decorated with flowering shrubs and trees, signed, 16cm high; Three Chinese Porcelain Blue and White Plates, painted with Chinoiserie landscapes and garden scenes, 22cm diameter. (4)Vase with all over crazing and one hairline crack to body. All plates with small chips to edge and one with hairline crack to underneath.
A Staffordshire pottery watch stand, 19th Century, moulded with a seated lady and her maid, 29cm, and three Delft chargers, 18th/19th century, decorated with a Chinese lady and her parrot, a pair of deer, and a Chinoiseries landscape, various losses and cracks, 37cm, 34cm and 36cm diameter (4)
CHINESE CERAMICS - The George Eumorfopoulos Collection. Catalogue of the Chinese, Corean and Persian Pottery and Porcelain by R. L. Hobson, London, 1925-28. Volumes I - VI, folio, 450 plates, some coloured, cloth. FIRST EDITION. ONE OF 725 COPIES. (6)CHINESE, KOREAN AND PERSIAN CERAMICS - The George Eumorfopoulos Collection. Catalogue of the Chinese, Corean and Persian Pottery and Porcelain by R. L. Hobson. London: Ernest Benn, Ltd., 1925-28. Volumes I - VI, large folio (450 x 310mm). Half titles, titles printed in blue and black, 450 plates, some mounted and coloured. Original textured black and gold cloth boards, black cloth title panels to the upper covers, the spines lettered in gilt, uncut (extremities very lightly scuffed, some creasing at the foot of spines). Provenance: Longstock House (small stamps to the rear pastedowns of the first 4 vols.); publisher's prospectus for another related work loosely-inserted. FIRST EDITION of this monumental catalogue of part of the unrivalled collection of collector and philanthropist George Aristides Eumorfopoulos (1863-1939). ONE OF 755 COPIES, VOLUME ONE NUMBER 489 OF 725 COPIES AND VOLUMES II - VI NUMBERS 184 OF 725 COPIES, ALL "ON VAN GELDER MOULD-MADE PAPER". George Eumorfopoulos was a British collector, of Greek lineage, of Chinese, Korean and Near Eastern Art. He had originally intended to bequeath his entire collection to the British nation but the Great Depression of the 1930s forced him to sell part of it to the V&A and the British Museum for the generous sum of £100,000. He also donated some 800 pieces to the Benaki Museum in Athens. He was the founder, and first President of, the "Oriental Ceramic Society". Rowland Outline and Bibliographies of Oriental Art p.61. (6)
A large late 20th century Chinese pottery floor vase, of baluster shape with flared rim, decorated with flowers and birds to rim side; enamel painted border and centre design of figures of females and males, with painted border near base, with character mark to underside, approx. 109cm high. Condition: general wear, minor loss to paint, generally good.
Two Bretby or Burmantoft style Art Pottery frogs, unmarked, 21cm; a Continental majolica frog, set with glass eyes, stamped maker's numbers to underside, possibly Clement Massier; a Chinese majolica duck; two Art Pottery jugs and Worcester 'Pike Head' jug, 31cm.Condition report:Burmantoft style yellow frog with glass eyes - hairline extending from corner of the mouth, the glaze along the crest of the lower lip has a large scuff (possibly with an attempt to disguise/ recolour), small glaze chip to "finger" on right knee, other small glaze chips to the back, eyes are crazed on the surface, no restoration.Bretby style frogs - green frog is generally ok, some firing lines throughout; speckled frog has a restored base with some evident repainting, an existing chip to the underside of the rim.Brannam style bird jug - good condition, no chips, hairlines, or restoration. No maker's marks.Navy glaze jug/ mug with owl face - no chips, hairlines, or restoration. No maker's marks.Chinese majolica style duck - various small chips to the edges throughout.Worcester Pike Head jug - no damages or restoration. Impressed Worcester mark to underside.
A mixed lot of ceramics including a set of fourteen Masons Ironstone plates [stacking wear], a Dutch decorated Chinese bowl [cracked], a Doulton blue and white chamber pot, a set of four Japanese porcelain plates decorated with lake scenes, a large pottery meat/serving dish, a pierced creamware dish etc [damages].
A collection of Chinese porcelain and china including a Carlton Ware dragon design dish, a pair of vases, Japanese hand painted ceramic vase, a David Sharp Rye pottery frog, 19th century pair of porcelain pigs, Chinese god of longevity, a green Chinese dragon, Bhudda figure, Chinese painted stoneware pot with lid, pink and white ginger jar and five Chinese plates **THIS LOT IS NOT AVAILABE FOR PACKING AND POSTING**
A Chinese bamboo libation cup. 19th century, carved with pine trees, metal liner, height 10.5cm, together with a Persian pottery tile, painted with a hunter on horseback (2).There are several splits on the libation cup, and the metal liner is dented, please see the additional images.The tile has a glued break on the corner.
Two similar 19th century blue and white transfer printed Staffordshire Pottery Blue Willow pattern in traditional Chinese landscape design meat platters, with gravy wells. 57x47cm and 58x48cm approx. Together with a 19th century Staffordshire blue and white transfer printed meat dish, impressed marks Rogers, decorated with classical figures and architectural buildings. 42x33cm approx. (3) (B.P. 21% + VAT)
RUSKIN POTTERY HIGH-FIRED VASE, 1924 impressed RUSKIN ENGLAND 1924, flambé ox-blood and purple glaze, stoneware 27.5cm high (10 7/8in high) Kingham & Orme 3-6 December 2020, lot 1022 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY HIGH-FIRED VASE, 1922 impressed RUSKIN MADE IN ENGLAND 1922, ox-blood glaze, stoneware 20.5cm high (8 1/16in high) Kingham & Orme, 3-6 December 2020, lot 1029 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY HIGH-FIRED VASE, 1910 impressed RUKSIN POTTERY 1910, flambé sang de boeuf glaze, stoneware 24.5cm high (9 5/8in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY SIX GINGER JARS AND COVERS, 1913-1925 impressed RUSKIN ENGLAND and dates 1925, 1913, 1920, 1921, 1922 and 1922 respectively, lustre glazed stoneware (12) 21cm high (8 ¼in high) and smaller What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY FIVE VASES, EARLY 20TH CENTURY each with impressed factory marks, to include; a LARGE LUSTRE VASE, dated 1924, 25.3cm high (10in high); a SHOULDERED VASE, with floral decoration, dated 1906, 19.6cm high (7¾in high); a BLUE LUSTRE VASE, circa 1920, 15.7cm high (6¼in) high; a PINK LUSTRE VASE, dated 1922, 16cm high (6¼in high); a BALUSTER VASE, dated 1906, 14.5cm high (5¾in high), lustre-glazed stoneware (5) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY THREE VASES, CIRCA 1920 each stamped with manufacturer's marks, the taller green vase stamped 1922, glazed earthenware (3) 28cm high, 24cm high and 24cm high (11in high, 9 ½in high and 9 ½in high) The taller green vase Ex-W. Howson Taylor Collection. What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY HIGH-FIRED BALUSTER VASE, 1906 impressed RUSKIN POTTERY WEST SMETHWICK 1906, lavender glaze, stoneware 18cm high (7 1/16in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY THREE VASES, CIRCA 1920 each with impressed marker's marks, to include; a YELLOW TWIN HANDLED VASE, 25cm high (9 ¾in high) ; a WHITE TWIN HANDLED VASE, dated 1927, 25.5cm high (10in high); a BULBOUS CRYSTALLINE GLAZED VASE, 20.4cm high (8in high), stoneware (3) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
RUSKIN POTTERY HIGH-FIRED VASE, 1916 impressed RUKSIN ENGLAND 1916, ox-blood and lavender glaze, stoneware 20.3cm high (8in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
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