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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. 

RUSKIN POTTERY VASE, 1932 impressed RUSKIN ENGLAND 1932, crystalline glaze, stoneware 14cm high (5 ½in high) William Howson Taylor Collection; Ferneyhough Collection, no. 464Victoria and Albert Museum Exhibition of Ruskin Pottery, 1975, no. 68Birmingham Museum and Art Gallery no.116Richard Dennis Collection, Kinghams, 21 June 2021, lot 21 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, 1906 printed RUKSIN POTTERY WEST (..obscured) 1906, streaked flambé glaze, with speckling, stoneware 18cm high (7 1/16in high) Anthony Cross Collection, Kinghams, 2021, lot 47 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, 1933 impressed RUSKIN ENGLAND 1933, flambé ox-blood glaze with green speckling, stoneware 21cm high (8 ¼in 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 BOWL AND ASSOCIATED STAND, 1920s bowl impressed RUSKIN ENGLAND 1924, stand impressed RUSKIN ENGLAND, flambé glaze, stoneware(2) bowl 11cm high, 21.8cm diameter (4 3/8in high, 8 5/8in diameter)stand 6cm high, 15.2cm diameter (2 3/8in high, 6in diameter) 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 TWIN-HANDLED VASE, 1933 impressed RUSKIN ENGLAND 1933, flambé ox-blood and lavender glaze with green speckling, stoneware 23.5cm high (9 ¼in high) Woolley & Wallis, 3 December 2014, lot 169 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, 1920s impressed RUSKIN ENGLAND, flambé and grey glaze, stoneware 20cm high (7 7/8in high) Anthony Cross Collection, Kinghams, 11 June 2021, lot 49 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, 1906 impressed RUSKIN POTTERY WEST SMETHWICK 1906, grey, deep purple and blue streaked glaze, stoneware 18.5cm high (7 ¼in high) Richard Dennis Collection, Kinghams, 2021, lot 28 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, 1933 impressed RUSKIN ENGLAND 1933, ox-blood glaze, with green speckling, stoneware 10.5cm high (4 1/8in high)  Richard Dennis Collection, Kinghams, 17 April 2021, lot 23 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, 1924 impressed RUSKIN ENGLAND 1924, flambé glaze, stoneware 22cm high (8 5/8in high) Kinghams, 5 December 2020, lot 1026 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. 

Chinese Doucai glaze small pedestal cup, H7.5cm, together with a Thai stoneware pottery cup with brown mottled glaze and interior deer decoration. CR - Good condition, no issues.

A Wedgwood Pottery Dragon Lustre bowl designed by Daisy Makeig-Jones, printed inside with a large Chinese dragon in blue and gilt on a pearl lustre ground, the exterior a frieze of gilt dragons, printed factory marks, 28cm. diam.

A late 19th Century Chinese blue and white ovoid vase, painted with figures in a landscape, 16cm high; and a turquoise glazed Chinese pottery wine pot, having piped decoration of dragon and phoenix within a Greek key border, 17cm high  

Large North African pottery bowl, pair of 19th Century copper lustre jugs and a Chinese miniature ornamental tree with glass foliage

Chinese miniature teapot with later metal spout and cover, two Chinese plates(at fault) an Imari plate and a pair of miniature Satsuma pottery vases

Two Chinese terracotta teapots, together with two items of Japanese Satsuma pottery (at fault)

Group of oriental ceramics comprising an antique Japanese Kutani sake cup with panel depicting scholars on a gilt field, a hexagonal Satsuma pottery trinket box with lid depicting five enlightened beings, a twin handled bud vase depicting Geishas within a garden, and a Chinese phoenix and peony rose tea bowl. (4) Condition report:Hexangonal trinket box, some losses to gilding, especially to central bowl.

Collection of blue and white china to include; a pierced rim plate with hand written label, "Leeds Pottery, Chinoiserie C. 1790 - 1800", 20cm, plate and bowl with zebra, other Chinese scenes, (A Lot). The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

Large Chinese pottery vase, two handled, 47cm tall, traditional design. Displays well and generally good, chip to base which cant be seem much when on display.

Antique Chinese Yixing pottery enamel foo dog and crysanthemum teapot, signed Qing, 16cm tall. Displays well, restored lid, Some surface wear noted.

Frederick Rhead for Cauldon pottery jug and bowl set in the Red Chinese Blossom pattern, 42cm diameter (2). In good condition with no obvious damage or restoration. Some surface wear noted.

TWO CHINESE MING DYNASTY (1368-1644) POTTERY MODELS OF HOUSES AND A BASE, each glazed in green, modelled with a sloping roof, moulded with two recessed windows centred by a door, enriched in red pigment, together with a green-glazed rectangular stand, the houses 39cm high (3) One house with damages to the roof, the majority of the sloping roof is detached (partially present), the other house is in better condition, the base has some losses, chipping and repairs, all with some typical wear and losses to glaze and pigment.

A LARGE PAIR OF CHINESE SHIWAN POTTERY FIGURES, EARLY 20TH CENTURY. Sancai glazed standing figures dressed in robes holding a peach spray and alms bowl. Each with impressed 'China' mark to interior base. 37.5cm tall. (2) Both in good overall condition with no signs of damages or repairs.

TWO CHINESE PAINTED GREY POTTERY COCOON JARS, WESTERN HAN DYNASTY, LATE 3RD/2ND CENTURY BC, Each with oblong body and flared neck, painted in white and red pigments with scrolling bands of decoration, raised on a shallow foot, 26cm and 23cm high (2) Provenance: Private German collection, formed in the 1960s. Purchased and housed by a British collector circa 1970s until now.One with two large chips to the rim of the neck, with a chip to the body. The other with minor chipping to rims, both with some typical surface deterioration, flaking to pigment, surface pitting and wear overall.

A CHINESE NEOLITHIC PERIOD POTTERY OVIFORM TWO-HANDLED JAR, circa 3300-2000 BC, possibly Majiayao culture, with loop handles and everted rim, painted in brown and dark red pigment with stylised figures and a circular diaper-pattern panel, 38cm highProvenance: Private German collection, formed in the 1960s. Purchased and housed by a British collector circa 1970s until now.Overall in good decorative order. Some typical surface wear and deterioration to pigment, although overall it is boldly decorated and much of the decorative remains. Some cracking and small losses to the neck, small areas of pitting and scratching to body overall.

A GROUP OF CHINESE POTTERY FIGURES, MODELS AND ASSOCIATED FRAGMENTS, PREDOMINATELY TANG DYNASTY (618-906). Comprising: a guardian earth spirit, enriched in red and white pigment approx. 56cm high, two models of terracotta horses, a large painted model of a court lady, probably Han Dynasty, approx. 52cm high, a straw-glazed model of a guardian spirit 36.5cm high, a rectangular section warmer, a small painted model of a standing court lady 24.5cm high, a Neolithic two-handled oviform vase painted in dark brown pigment with linear bands and scrolls, a Tang amber-glazed cylindrical jar incised with reeded bands, on scroll feet For the most part, the majority of items are extensively damaged and with losses, some of the associated fragments are present, but all require restoration. The neolithic vase is extensively broken and repaired, the amber glazed jar is lacking a foot, The small standing Tang court lady is in good order, other than the usual surface losses to pigment.

A CHINESE HAN DYNASTY GREY POTTERY PAINTED HORSE AND RIDER, 206 BC - 220 AD. The rider modelled seated astride the horse, wearing a white and black tunic, on a white saddlecloth, the horse in red pigment, 28cm high Cracked through each ankle, one foot restuck and the other three are detached (but present). Some typical flaking to surface and losses to pigment.

TWO CHINESE TANG-STYLE POTTERY MODELS OF HORSES. One modelled standing foursquare with its head raised up, the other with its head reaching back to its raised left hind leg, on rectangular bases, with traces of black pigments to saddle and harness, 33.5cm high max. (2) Both with simulated wear, surface flaking. Both repaired to tail, the other, cracked and restuck through neck and through raised rear left leg, associated losses to both, cracked through front left ankle. With holes drilled for TL testing to the first model (with raised head), TL analysis report certificate from Oxford Authentication, Sample No. C124c25 (dated 18 March 2024) and was fired less than 100 years ago.

CHINESE NEOLITHIC "YANGSHAO" VASE CHINA, MAJIAYAO YANGSHAO CULTURE, C. 2300–2000 B.C. painted terracotta, brown and tan earthenware jar, the upper two thirds painted in black and red with a series of curved arcs  25cm tall Private collection, London, United Kingdom, acquired from the belowPeter Petrou, London The Yangshao culture and the following Majiayao culture (c. 5000–2000 B.C.) were Neolithic civilisations that flourished along the middle reaches of the Yellow River in China. Known for their early advancements in agriculture, these cultures practised millet farming and domestication of animals, supporting settled village life. Yangshao and Majiayao societies are particularly noted for their painted pottery, often featuring geometric and stylised motifs in black and red on buff-coloured earthenware. These ceramics, typically hand-built using coiling techniques, suggest a sophisticated aesthetic sensibility and possible ritual or symbolic significance.

LARGE CHINESE NEOLITHIC "YANGSHAO" VASE CHINA, MAJIAYAO YANGSHAO CULTURE, C. 2300–2000 B.C. painted terracotta, of ovoid form, standing on a flat disc base, with dual miniature strap handles and a short neck with everted rim, the body adorned with thick swirling lines executed in umber pigment 42cm tall Private collection, London, United Kingdom, acquired from the belowPeter Petrou, London The Yangshao culture and the following Majiayao culture (c. 5000–2000 B.C.) were Neolithic civilisations that flourished along the middle reaches of the Yellow River in China. Known for their early advancements in agriculture, these cultures practised millet farming and domestication of animals, supporting settled village life. Yangshao and Majiayao societies are particularly noted for their painted pottery, often featuring geometric and stylised motifs in black and red on buff-coloured earthenware. These ceramics, typically hand-built using coiling techniques, suggest a sophisticated aesthetic sensibility and possible ritual or symbolic significance.

A 19th century porcelain lidded tureen and cover, painted and gilt with flowers; a matching bowl; Royal Worcester meat dish and single plate; various glasses; Chinese plate and armorial cup (a/f); Gladstone Pottery 1978 commemorative plate, limited edition designed by John Piper

Pottery figure of Owl together with Chinese styled vase

Ruskin Pottery - A High Fired vase and stand, circa 1925, slender shouldered sleeve form with everted rim, Sang De Boeuf and lavender curtained glazed with green oxide speckles, impressed marks to base, height 59cm, the stand, of stepped circular form, modelled in the Chinese style, with penwork band, and geometric borders, on four feet, overall height 67cm.

Two pieces of Late 19th Century Chinese pottery. A Kangxi Revival prunus jar with cover, Kangxi 4 character mark 22cm. A Late 19th Century crackle glazed Nankin ginger jar 12x13cm

A beautifully crafted Chinese celadon-glazed porcelain jar, featuring an elegant crackle glaze and hand-painted calligraphic inscriptions in a rich brown tone. The jar's rounded form is complemented by a slightly flared rim and a smooth, glossy celadon interior. The exterior is adorned with traditional Chinese characters, artistically arranged to enhance the aesthetic appeal. The underside bears a blue square seal mark, indicative of Chinese ceramic traditions. This piece showcases fine craftsmanship and is a wonderful example of classical Chinese pottery.Issued: 20th centuryDimensions: 5.5"HCondition: Age related wear.

A mixed lot to include Wedgwood, Chinese stick stand, Babbacombe pottery cat and other itemsLocation:If there is no condition report shown, please request

An Italian clear crystal glass vase, 10 1/2" high, a contemporary Chinese blue and white vase with floral and bird decoration, 9 1/2" high, a studio pottery Surrey ceramics bowl, 6 1/2" dia, and another studio pottery vase

A Chinese crackle glazed pottery pillow, L. 24cm.

An early 20th Century Continental three handled vase, covered in a green glaze, 18cm H, together with seven other glazed pottery vases including two small bottle vases of Chinese style

A 20th Century Chinese pottery baluster vase, 54cmH and a box of mixed ceramics including Nao ornaments and a 20th Century Chinese porcelain lidded ginger jar

CHINESE POTTERY MODEL OF A ROLLING OX TANG DYNASTY 唐 陶牛realistic modelled, with animatic four legs and head raised, the double horns and bulging eyes well defined, the stout body painted with red pigment, reverse hollowed, later placed on a bespoke rectangular Perspex stand    19cm wide  Formerly in the Professor Conrad Harris Collection of Early Chinese Art, formed in the late 1990s to early 2000's; acquired from Berwald Oriental Art, 6 May 2005.The result of Oxford Thermoluminescence test number C104z53 is consistent with the dating of this lot. 前康拉得・哈里斯（Conrad Harris）教授早期中國藝術收藏，此收藏於1990年間至2000年初期集成；2005年5月6日購自倫敦Berwald Oriental Art藝廊。本拍品經牛津熱釋光檢測編號C104z53，結果與其斷代相符。 Please note this lot will be offered with no reserve. 本拍品不設底價

LARGE CHINESE RED POTTERY 'SADDLE-MOUTH' HANDLED JAR SIWA CULTURE, C. 1350BC 寺窪文化 甘肅雙耳大陶壺of baluster form with two handles 38cm high  Formerly in the property of a lady; acquired from Guinevere Antiques Ltd in 2005 (by repute) 之前為一位女士的收藏；2005年從 Guinevere Antiques Ltd 購得（據傳）

A vintage Leighton pottery Chinese Peony fruit bowl

A Chinese cloisonne ginger jar & a selection of enamel on metal pieces & oriental pottery

A pair of Chinese crackleware pottery ovoid vases of ivory ground & with multi-coloured figure scene decoration, 25cm diameter; a Satsuma pottery seven-piece part tea service; & various other items of oriental porcelain.

Japanese Satsuma Pottery Plaque, Two Chinese Porcelain Vases and Small Bowl

Chinese pottery circular dish decorated with geisha at a coffee table admiring a shanshui scroll, the base with a leaf motif within a double circle, 28.5cm.

Chinese pottery plate decorated with bats and floral design, Guangan mark in gilt to base, 19.5cm.

Chinese pottery ewer with flower and leaf design.

A Chinese white glazed pottery figure of Wenchang Wang, 37cm high. Condition - good Section of his collar incomplete; otherwise good.  Feint impressed mark at his back.

Four Chinese ‘hares fur’ pottery bowls, largest 16cm diameter. Condition - good

A Moroccan Safi pottery vase, decorated bands of repeating designs, 29cm sold together with a Chinese blue and white pottery lidded ginger jar, the cover with crude lamp conversion/socket.

Chinese Celadon Glaze Crackled Vase from Peter Vost CollectionModelled after a Chinese Celadon Glaze crackled vase, this piece is likely around 40 years of age and originates from the private collection of Peter Vost. Created to imitate the style and function of traditional Chinese ceramics, the vase stands at approximately 9 inches tall, with a 5.5-inch flared rim.Biography: Peter Vost developed his fascination and love for making pots at Salford Technical College in the 1950s. He was versatile in working with both pottery and porcelain. His pottery is generally known for being light and delicate, adorned with interesting glazes. His porcelain is simple and beautiful.

Chinese Willow Pattern Porcelain Collection Including Teacup with Saucer and Decorative PlatesThis exquisite collection features a beautifully crafted teacup with a saucer and two decorative plates, all adorned with intricate Chinese Willow Pattern designs. The teacup boasts a scenic illustration complete with birds, trees, and a pagoda, highlighted by a golden handle and matching rim. Both the cup and saucer are complemented by elegant green and blue decorative borders, epitomising traditional craftsmanship.Accompanying the teacup is a decorative plate, showcasing a colourful scene with a pagoda-like structure, a bridge, trees, water featuring a small boat, and birds. The outer rim displays an intricate pattern, making it a splendid collector's item. The final item, another ceramic plate or bowl, features an elaborate design illustrating buildings of distinct architecture, greenery, a river with a boat, and flying birds, surrounded by a floral and geometric patterned border. This collection is a remarkable example of traditional Chinese art style, reminiscent of the Staffordshire Chinese Willow Pattern, perfect for connoisseurs of antique pottery and decorative masterpieces.

Gray's Pottery hand painted 'Azalea' jug together with a green stripe vase, Viking swan boat vase, Royal Pottery, Staffordshire bowl, 'Rideau Ware' Henry Birks & Sons Ltd oriental bowl, red and white Chinese style fluted vase and an Art deco jug

Collection of Chinese & Asian pottery lids, largest 7.5cm (9)

A Chinese pottery model of Kylin.

A collection of Chinese pottery including a 1980s bowl decorated in green and a Hong Kong Rooster bowl, small bowl chipped

An Asian cream-glazed pottery 'elephant' stool/plant-stand, 46 cm to/w a smaller example and a Chinese blue and white baluster vase (3)

A large Chinese style pottery bust of Tara, 45cm high.