Pair: Chief Artificer Engineer M. W. Kempster, Royal Navy British War and Victory Medals (Ch. Art. Eng. M. W. Kempster. R.N.) very fine British War Medal 1914-20 (J.79049 W. A. Trotman. Ord. R.N.) very fine Five: Attributed to Able Seaman T. A. Downes, Royal Navy 1939-45 Star; Atlantic Star, clasp, France and Germany; Burma Star, clasp, Pacific; Defence and War Medals 1939-45, all engraved ‘Boots style’, ‘C/JX 378655 AB T. A. Downes R.N.’, very fine Royal Naval Reserve L.S & G.C., E.VII.R. (84137 C. Skeet, Sean. 1Cl, R.N.R.) toned, very fine (9) £100-£140 --- Major William Kempster was born in Witney, Oxfordshire in October 1876. He joined the Royal Navy as an Engine Room Artificer 4th Class in October 1897, and advanced to Acting Artificer Engineer in October 1906. Subsequent service included as Chief Artificer Engineer with H.M.S. Ouse (destroyer) from 25 May 1915 (entitled to 1914-15 Star). William Alfred Trotman was born in Newport, Wales in September 1899. He joined the Royal Navy as an Ordinary Seaman in October 1917, and served with H.M.S. Louvain (armed boarding steamer - previously named SS Dresden) during the Great War. Trotman was killed in action when she was sunk in the Aegean by the German submarine UC-22, 20 January 1918. He is commemorated on the Plymouth Naval Memorial.
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A collection of various Continental figurines including porcelain figure of "Harlequin playing a mandolin", 18 cm high, French porcelain figure group as "Young man and woman with cat and spaniel", 14.7 cm high, figure of "Woman in robes with book and wreath", 21.3 cm high, pair of Dresden figures "He seated upon a wheatsheaf" and "She seated upon a goat", 13 cm high, a pair of figures of "Putti with baskets of flowers", bearing blue anchor mark to base, 11.3 cm high, Dresden figure of "Young girl with nest of chicks", 11 cm high, a pair of "Bocage figures with baskets of flowers", 9 cm high, a hollow bottom soft paste porcelain figure of "Woman seated with mandolin", 11.2 cm high, figure of a parrot, 15 cm high, two fairings "The last in bed to put out the light" and another similar un-named and a figure of a King Charles Spaniel
DRESDEN; three hard paste porcelain pounce pots, each with floral detail and three miniature Capodimonte figures, Continental porcelain jug with pseudo Meissen mark to the underside, etc.Additional InformationMinor wear to the gilding, the cup with a sliver chip to the foot rim, losses to the floral encrusted basket.
ELEVEN BOOKS ON MEISSEN PORCELAINimcluding; Ingelore Menzhausen, `Early Meissen Porcelain in Dresden', Otto Walcha, ` Meissen Porcelain', John Sandon, `Meissen Porcelain', Deloris Hesni, ` The H.Lloyd Hawkins Jnr Meisse Collection', Johannes Just, `Meissen Porcelain of the Art Nouveau Period' (11)Mostly in fair condition. Some rips to the dust jackets
Three boxes of mostly china to include; Wedgwood floral design basaltware part teaset with teapot, teacup and saucer and lidded sucrier and a similar dresser jug (all damaged), various plates including; Booth's Real Old Willow, Crown Devon etc, Czech 'Eden' design part coffee set, various floral teaware, Dresden candlesticks, boxed Royal Worcester dressing table items, Burleigh Ware 'Sandon' dresser jug, painted ostrich egg, various animal figures, Welsh slate pen stand, Aynsley floral ornament, 'The Art of Chokin' Japanese miniature plate etc. (3)(B.P. 21% + VAT)
Postcards, Rail, a good selection of approx 65 Great Eastern Railway officials with 45 coloured and 20 b/w incl. views, buildings, ship interior (R.M.S Dresden), cattle market Norwich, locos, Liverpool St station interior, Norwich Thorpe station exterior, villages, The Broads etc (mainly gd)
A Chinese blue and white porcelain plate, 18th century, 22cm diameter, together with a collection of flower encrusted porcelain and pottery wares, inkstands, shoes, and a Dresden cup and saucer, decorated with insects, the cup 8cm wideCondition report: Plate chipped to rim with hairline cracks. Nearly all encrusted works with losses to the bocage. Birds nest inkstand heavily restored and lacking bird. Cup and saucer chipped with losses.
Full title: An exceptionally large mythological subject 'Diana and Actaeon' vase, Meissen porcelain, 2nd half 19th C.Description: H.: 159,5 cm (the vase on stand) H.: 104 cm (the vase)Ê The base marked with painted crossed sword marks and an incised model number G103.Ê A similar example in the collection of the Meissen Porcelain Museum is painted by Julius Schnorr von Carolsfeld in 1865. It is safe to assume that our current example is painted by the same artist. Three studies from his hand, exploring the subject of Diana and Actaeon, are in the collection of the Staatliche Porzellan-Manufaktur.Ê While very similar, our current example does show a number of small differences when compared to the museum example. The neck is painted in reverse, and the ornamental band below the neck appears to be somewhat more ornate. The foot also appears to have a supplementary circular ornamental band.Ê Ref.:- A closely related example is depicted in Bergmann: Band IV, Teil 1: Nachtrag Meissener Künstler - Figuren, Modellnummern A 100 - Z 300, Katalog-No.2092. It is also depicted in the online database. (see reference image)- The above refers to an example in the collection of the Meissen Porcelain Museum, painted by Schnorr von Carolsfeld in 1865. The Meissen Porzellan-Stiftung was kind enough to share an image of the vase in their collection. (see reference image)- There is a second vase of this model number and size in the collection of the Meissen Porcelain Museum, depicting another Greek mythological subject: 'The Triumph of Amphitrite'. The Meissen Porzellan-Stiftung was kind enough to also share an image of this vase in their collection. (see reference image)- In the collection of the Staatliche Porzellan-Manufaktur we find three studies by Julius Schnorr von Carolsfeld, dated 1861, exploring the subject of Diana and Actaeon. (link 1) (link 2) (link 3) (see reference images)- Koniglich Sächsische Porzellan-Manufactur zu Meißen: Musterbuch Gebundene Ausgabe, 1890, ‎ Rommler & Jonas, Dresden, also publishes the example in the museum's collection. (Blatt 65) (see reference images)Ê Provenance: A private collection, Antwerp, Belgium.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: A Kakiemon-style dish from the royal 'red dragon' service, Meissen porcelain, K.H.C. mark, 18th C.Description: Dia.: 29 cmÊ The K.H.C. mark refers to the Konigliche Hof-Conditorei. Work on the Dresden court service with the red dragon ordered by King Augustus III began in early November 1734. Deliveries to the royal confectioners are recorded until 1739. In 1751, 228 plates and 461 dishes in five different sizes are listed as still in existence, which gives us an idea of the dimensions of this service. Julia Weber mentions the eldest inventory of the Dresden court kitchens as containing '18 (pieces) small compote dishes'. The first large assortment of porcelain from the royal collections (now the Saxon State Collections Dresden) was sold in Berlin by auction house Lepke in October 1920.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: A serpentine tobacco box and cover, Dresden, Germany, 17th C.Description: H.: 12 cmCondition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's headsDescription: Dim.: 15,5 x 7,5 cmÊ On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê Expert: Cabinet Rene Millet.Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
A lot comprising Hammersley 2980 green and gilt ground plates decorated with fruit, Limoges hand painted saucers, blue and white transfer printed plates and platters including Spode Italian pattern, an Arthur Wood chamber pot, a selection of Royal Doulton Bunnykins porcelain, a pair of Dresden candlesticks etc Condition Report: Not available for this lot
![Alan Thornhill Archive. An archive belonging to the Gloucestershire based sculptor & artist Alan Thornhill [1921-2020], i](https://cdn.globalauctionplatform.com/27b5cdfc-fc3c-49b1-9e32-ada600c31087/d8a42569-de1f-4782-b3e3-ada600fe3b9f/468x382.jpg)
Alan Thornhill Archive. An archive belonging to the Gloucestershire based sculptor & artist Alan Thornhill [1921-2020], including paintings, drawings, notebooks, diaries, correspondence & reference booksQty: (12 cartons)NOTESBorn in London in 1921 to Stewart Dornberger, a German Jewish businessman and Louise Warren, Alan grew up in Fittleworth, West Sussex and was educated at Brambletye and Radley College. He went up to New College, Oxford in 1939 to read History. In late 1940 Alan enlisted in the Gloucestershire Regiment and became an officer and aide-de-camp to General Sir Percy Hobart. Rejoining his regiment he took part in the D-Day landings and soon after sustained an injury. He became a conscientious objector in 1944 after the bombing of Dresden. Alan returned to New College from 1945 to 1947 where he made life-long friendships. He taught English in Italy for a year after the war, where he was inspired by Renaissance sculptors such as Donatello, Ghiberti and Pisano, and after having Reichian therapy in Norway for six months he decided he wanted to work creatively with his hands. Returning to England, Alan enrolled at Camberwell Art School where he began his life-long exploration of clay under Dick Kendal and Norah Bradon. He also spent a year at Farnham under Henry Hammond and Paul Barron and then in 1951 set up Hawkley Pottery near Stroud, Gloucestershire with Sheila. He became friends with a group of local artists, sculptors and weavers including Lynn Chadwick and Ralph Brown. He began to make figurative sculptures in clay, initially exploring the theme of communication and inspired by his friend sculptor Jack Greaves who he met when teaching pottery at Stroud School of Art. On getting a teaching job at Kingston School of Art, Alan moved with his family to London in 1959 where he set up a studio in Putney which he maintained until his death. He also taught pottery at Stroud School of Art in the 1950s and ceramics at Kingston School of Art (1957-61). From 1965-70 he taught at Barking Regional College and from 1970 to 1987 pottery and then sculpture at Morley Adult Education College in South London. In the early 1990s Alan returned to live near Stroud. He died peacefully on 4th March 2020 at his home in Stroud. He was 98 years old
A group of Continental porcelain and glass19th century/20th century,comprising a Meissen 'Deutsche Blumen' part dessert service comprising pair of pierced comport dishes and plates; a Meissen coffee can, outside decorated with Antoine Watteau-esque panels of lovers in garden settings and flowers, twice cancelled underglaze blue crossed swords, 6.5cm high; three Dresden chocolate cups and saucers, similarly decorated (a.f), pair of French bisque figures (a.f) and a pair of Art Nouveau green glass vases with trailed decoration (a.f) etc (qty, two trays)
A continental porcelain comport, moulded with a putto, encrusted with flowers and printed with reserves of floral sprays, on a fluted brass circular base, on scroll feet, 37cm high, together with a Dresden porcelain bowl, of boat shaped form, encrusted and painted with flowers, printed mark, 25cm wide, and a Plaue late 20thC porcelain bowl moulded and reserve decorated with flowers, 17.5cm diameter. (3)
An early 20th century Berlin KPM porcelain coffee cup with a black 1914 German Iron Cross within a white panel, with gilt laurels around, with cobalt blue body, scroll handle, on conical foot base, height 9cm, and a 19th century Dresden coffee can with painted panels of courting couples and pink panels with floral patterns, within scrolling gilt borders, twisted snake handle, on three lion paw feet, with matching saucer marked 'Dresden' to the base, height of cup 8cm, diameter of bowl 15cm (3).
A collectors' lot to include a Carltonware lustre vase in the Chinoiserie style with plumed bird in full flight, butterfly and prunus tree, a Chinese ginger jar, a pair of miniature ornamental sheep, marked to the base 'Dresden', a WWI ceramic trio to commemorate peace 1919, a Queen Victoria commemorative cup 'The Longest Reign in English History September 23rd 1896', two gentlemen's wristwatches, a Tissot, the gilded dial set with Arabic numerals and subsidiary dial and an Excalibur, the gilded dial set with baton numerals and a group of three decorative oils of girls in Edwardian dress and indistinctly signed; an oil 'All the Flowers in August', all framed and glazed. CONDITION REPORT Carltonware vase - there is slight rubbing to the gilding, rather dull finish to the orange ground, further light surface scratches throughout only visible when caught in correct light, slight grubbing to the foot rim, possible slight areas of staining and discolouration to the lower portion of the body of the vase, however no obvious signs of faults, damage or restoration.
Guiljem Blaeu , Map of L'Alsace with Lothringen and the cities Strassburg, Breisach, Colmar, Freiburg, Basel, etc. 40cm x 56cm framed and double glazed, Thomas Kitchin Map of the Seat of War in the Southern part of Lusatia with part of Saxony &c. 12cm x 18cm, E Bowen, monochrome map of France with its Acquisitions, 36cm x 44cm, W. B. Clarke map of Dresden, 32cm x 37cm
A quantity of Crown Staffordshire England's Bouquet pattern teawares comprising cake stand, cake plate, milk jug, sugar bowl, eight cups (two sizes), eight saucers (two sizes), eight tea plates, together with further ceramics including a Hammersley Dresden Sprays pattern dish, further decorative dishes, etc (collection)
A Masons Ironstone China ewer with serpent handle, with printed mark to base, 29cm tall approx, together with two continental figure groups, one of a lady in 18th century style costume with her hairdresser, with blue printed monogram mark to base, 21cm tall approx, the other of a seated female musician accompanied by children, with mark to base Irish Dresden - First Lesson, White Dream Collection Ireland, both groups with elaborated clay lace detail, (3)
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