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A pair of 18th century style Dresden porcelain figures of a gallant and his maiden, each decorated in bright enamels and heightened in gilt

Dresden porcelain figure group of girl and boy, the girl playing mandolin, the boy seated on wheatsheaf with a sickle, on oval base and two other continental porcelain figure groups of lady and gallant

A pair of early 20th Century Dresden figures, a pair of Staffordshire figure groups, a lady and a gentleman with a donkey, one inscribed "Sand" and the other inscribed "Beerums", together with a box of china wares to include two Continental porcelain fairings and various tea wares, etc, to include a small collection of Wedgwood "Dolphins" pattern plates

A collection of Danish, Continental and other porcelain to include Bing & Grondhal cup and saucer, Royal Copenhagen cup and saucer, a collection of Bing & Grondhal Christmas plates, a Thomas part coffee set, an Oriental teapot and tea bowls, a collection of late 19th / early 20th Century tea wares decorated with blue flowering branches, a small Dresden plate, a Continental porcelain pierced dish, etc

A white ceramic horse mask on plinth, Dresden Erich Oehme 1949, 24cm high

A quantity of Victorian and Edwardian photographs, the majority studio portrait shots backed with the original photographer's cards, some with the names/dates of the sitters written on back, various photographers including J.B.Smith & Son, W.Hoffert of Dresden, Graham's of Leamington Spa, each approx 17cm x 11cm; a leather bound album with gilt edging to cover and pages, partially filled with prints 24.5cm x 19.5cm (qty)

A Dresden miniature bottle shaped vase of flattened form the circular body half fluted in turquoise and gilt painted with figures and ships, gilt collar and conforming fluted top, 9.5cm high, painted mark in underglaze blue Crown over D, late 19th Century

A Dresden cabinet cup and saucer decorated with birds and butterflies on a white ground, gilt borders; another cup matching; a small quantity of Dresden and Meissen cabinet cups including a miniature example, early 20th Century (15)

A German two handled cabinet cup and saucer decorated with alternate panels of gallant and companion in landscapes and floral sprays on a pink rose pompadour ground, gilt borders, crossed swords in blue; other similar examples by Dresden, Tiefenfurt, etc., early 20th Century (11)

A Dresden two handled cabinet cup and saucer decorated with alternate panels of gallant and his companion in landscapes, floral sprays on a black ground, gilt borders, the saucer with reticulated collar and moulded basket weave border, two other similar cabinet cups and saucers, an additional cup and a miniature teapot and cover, early 20th Century (9)

A Dresden two handled cabinet cup, cover and saucer decorated with alternate panels of gallant and his companion in landscapes and floral sprays on a canary yellow ground, basket weave moulded borders, the saucer with reticulated collar, painted mark in under glaze blue; another similar two handled cabinet cup and saucer, another cup and a similar spoon with shell shaped bowl, early 20th Century (7)

A quantity of Dresden cabinet cups, dishes and plates alternately floral decorated in turquoise with panels of gallant and his companion, late 19th Century (9)

5 Lilliput Lane model cottages and a qty of Beatrix Potter collectibles including books and book ends, decoupage pictures, Wedgwood plates, wall clock etc and a Dresden group.

PAIR OF CONTINENTAL PORCELAIN FIGURES of a Lady and Gent, each figure on a rococo style base (one damaged) With a Blue Crossed Swords mark, possibly Dresden. 10 1/2ins (27cms) high. (2)

A pair of Dresden encrusted covered vases with figure finials, height 11½" (a.f.)

A small Dresden encrusted dressing table mirror; 2 similar candlesticks

A pair of Dresden style pierced pedestal dishes; a Maling trinket dish; commemorative and decorative pottery

Continental Porcelain - a harlequin Continental porcelain tea set, spirally fluted and picked out in gilt; a conforming Dresden cream jug; ribbon plates; qty

A Dresden figural comport/table centre with pierced basket bowl; a Sevres oval dish, the centre painted with country couple in 18th century dress, c.1890 (2)

SECTION 18. Various ceramics including Wedgwood Creamware potpourri bowl and cover, another late 18th century potpourri bowl and cover, Doulton Isobath Patent inkbath, two Dresden globular vases, Minton Diamond Jubilee beaker etc.

A set of three Bavarian porcelain "Dresden" pattern coffee cans and saucers

A pair of continental Dresden style bottle vases decorated alternating figure and flower panels, a pair of Sitzendorf ginger jars and covers with similar decoration and a pair of cylindrical pottery vases painted fishing boats, signed J Whiston (one ginger jar is restored)

A 19th Century bone china floral decorated mug, a Dresden two-handled figure decorated cabinet cup, a 19th Century bone china dessert plate with floral decoration and a Wedgwood green leaf dish, etc

A Dresden china cabinet cup, saucer and plate decorated figures in 18th Century dress

A Capodimonte Armani bird group, German parian figures, Dresden lace, Doulton robin, glass vases etc

A Sevres porcelain globular teapot decorated with sprays of flowers in white panels with gilt highlights together with a similar Dresden porcelain side plate.

A Victorian bone china part teaset, thirty-eight pieces for a twelve-place setting, Dresden Sprays pattern

A Dresden baluster jar and cover, painted with flowers against a green and gilt scale-effect ground, one other Dresden two-handled vase on stand, blue and yellow ceramic monteith and other ornamental china

A Dresden School 3/4 size violin with no label but in good condition. Bridge Reads, Edward Withers, 22 Harbour Street

An important Dutch Amsterdam Delftware blue and white mythological plaque, dated 1748 Amsterdam, attributed to the tile factory ‘d’Oude Prins’ (The old Prince) in the Anjeliersstraat Painter: attributed to Pieter van der Kloet or monogrammist G.V.M. Dated: 1748 The lozenge-shaped plaque has a raised rim and indented corners which are painted with flower motifs in tapered cartouches. It is finely painted with ‘the musical contest between Apollo and Marsyas’. Apollo with his lyre and the flute-playing Marsyas are sitting on rocks in the middle, between them stands a muse who holds a crown and a dagger. The dagger points to Marsyas who will lose the contest and will be skinned alive afterwards. The other muses are sitting at both sides and act as a jury. At the bottom the mythological story is bordered by a marbled plane with a cartouche containing a mirror-monogram with the letters A and M. The double rim is painted with floral motifs, linked S-shaped ribbons and half flowers, all saved on a blue ground. A group of ten lozenge-shaped plaques with indented corners are known from Amsterdam. Four of them are dated 1736, 1748, 1750 and 1751, including this plaque. The group varies in size, shape of the rim, cartouches, quality of painting and subject matter, but are most likely made in the same factory. One of the plaques has the monogram of an unknown painter G.V.M. to the backside, one other plaque is monogrammed PvK or PvdK, presumably the monogram of Pieter van der Kloet. Compared with plaques made in Delft, these plaques stand out in two ways. Stylistically they are more related to tiles, tiles pictures and shapes known to Amsterdam, than to Delft examples. Secondly, there are important differences in production techniques. Delft plaques are molded in plaster molds and fired on pins in saggars. The plaques from Amsterdam were not fired in saggars, but were standing on their sides on two small clay cylinders between rows of tiles. The back of the plaques was leaning against the rows. These production differences leave other marks on the plaques then the pin marks on Delft plaques and are important keys to establish Delft from non-Delft production. Using molds enables a Delftware pottery to produce the same shape over again, up to dozens or even hundreds, depending on how long the molds could be used. The Amsterdam plaques are all handmade and can therefore be considered as incidental products instead of regular production. Of the ten plaques one similar of same dimensions and cartouche is known in a private collection (Van Dam 1999, p. 41, fig. 11). Only the mirror-monogram is different. This plaque has also a mythological scene and is dated 1736. Eight out of ten plaques are stylistically strongly related and most likely from the same hand, most probably Pieter van der Kloet, however we cannot exclude monogrammist G.V.M. Pieter van der Kloet was the owner of the tile factory ‘d’Oude Prins’ in Amsterdam. He is known as a painter of faience, because a fully signed and 1728 dated plaque is preserved in the Amsterdam Museum (inventorynumber KA 19434). He was fifteen when he painted this plaque. More important, four drawings from his hand are also known, all fully signed and dated 1773 (2x), 1776 and 1777. These drawings – cityscapes and landscapes – show a strong resemblance with tiles, tiles pictures, plaques and other shapes that are attributed to Amsterdam. Therefore these drawings are a key and essential in attributing work to Pieter van der Kloet. Condition: A restored crack. Dimensions from side to side 38 cm x 38 cm. Literature: Jan Daniël van Dam, ‘’Delfts’ uit de provincie. Aardewerk uit Hollandse tegelfabrieken’ in: Vormen uit Vuur (1999/3-4), pp. 23-24, 32-62. Text by: Jaap Jongstra MA, ceramics specialist and researcher of tile factories in Amsterdam. With special thanks to Mr. Rainer G. Richter from the Staatliche Kunstsammlungen, Dresden.

A rare Dutch Amsterdam Delftware blue and white biblical plaque A Dutch delftware blue and white biblical plaque Amsterdam, attributed to the tile factory ‘d’Oude Prins’ (The old Prince) in the Anjeliersstraat Painter: Pieter van der Kloet 1740-1750 Provenance: a private collection from Spain The lozenge-shaped plaque has a raised rim and indented corners which are painted with flower motifs in tapered cartouches. It is finely painted with ‘Christ and the women of Samaria’. The woman is standing to the left of Christ and holds a bucket in her left hand. On the background the disciples return from the city of Sighar. The design is based on an engraving from the Historiae Sacrae by Nicolaes Visscher, circa 1650, which in turn was based on an engraving by Mattheüs Merian. The biblical story is framed within a Régence style cartouche with S-shaped ribbons, filled with trellis diaper and foliate. A group of ten lozenge-shaped plaques with indented corners are known from Amsterdam. Four of them are dated 1736, 1748, 1750 and 1751. The group varies in size, shape of the rim, cartouches, quality of painting and subject matter, but are most likely made in the same factory. One of the plaques has the monogram of an unknown painter G.V.M. to the backside, one other plaque is monogrammed PvK or PvdK, presumable the monogram of Pieter van der Kloet. Compared with plaques made in Delft, these plaques stand out in two ways. Stylistically they are more related to tiles, tiles pictures and shapes known to Amsterdam, then to Delft examples. Secondly, there are important differences in production techniques. Delft plaques are molded in plaster molds and fired on pins in saggars. The plaques from Amsterdam were not fired in saggars, but were standing on their sides on two small clay cylinders between rows of tiles. The back of the plaques was leaning against the rows. These production differences leave other marks on the plaques then the pin marks on Delft plaques and are important keys to establish Delft from non-Delft production. Using molds enables a Delftware pottery to produce the same shape over again, up to dozens or even hundreds, depending on how long the molds could be used. The Amsterdam plaques are all handmade and can therefore be considered as incidental products instead of regular production. Of the ten plaques one similar of same dimensions and cartouche is known in the collection of the Princessehof Museum at Leeuwarden (inventory number OKS 2010-033). This plaque is also decorated with a biblical scene depicting ‘Christ and the women of Zebedee’. Both plaques are painted by Pieter van der Kloet. Pieter van der Kloet was the owner of the tile factory ‘d’Oude Prins’ in Amsterdam. He is known as a painter of faience, because a fully signed and 1728 dated plaque is preserved in the Amsterdam Museum (inventorynumber KA 19434). He was fifteen when he painted this plaque. More important, four drawings from his hand are also known, all fully signed and dated 1773 (2x), 1776 and 1777. These drawings – cityscapes and landscapes – show a strong resemblance with tiles, tiles pictures, plaques and other shapes that are attributed to Amsterdam. Therefore these drawings are a key and essential in attributing work to Pieter van der Kloet. The cloud motifs on the current plaque and the Leeuwarden example are so closely related if not in part identical with the ones on the drawings. On that ground alone the plaques can be attributed to Pieter van der Kloet. Condition: one hairline crack. Dimensions from side to side 32 cm x 32 cm. Literature: Jan Daniël van Dam, ‘’Delfts’ uit de provincie. Aardewerk uit Hollandse tegelfabrieken’ in: Vormen uit Vuur (1999/3-4), pp. 23-24, 32-62. Text by: Jaap Jongstra MA, ceramics specialist and researcher of tile factories in Amsterdam. With special thanks to Mr. Rainer G. Richter from the Staatliche Kunstsammlungen, Dresden.

19th Century Pinder Bourne & Co Ironstone meat platter, matching smaller platter and pewter mounted chafing dish, a set of Wedgwood Imperial porcelain Astor pattern soup bowls, Goss plate, Dresden porcelain figure a/f etc (2 boxes).

A pair of late 19th Century German Dresden style twin handled vases, encrusted with flowers and putti.

VERY SCARCE DDR BOXED COACHES VEB MODELLBAHNWAGEN DRESDEN, DR COACHES 6 BOXED

An early 20th century continental Meissen - Dresden style ceramic and brass lined vase. The cobalt blue ground having foliate spray panels. Atop a brass lid with brass base and lined interior. H33 cm

A Dresden cabinet cup and saucer, a cabinet cup and saucer with beehive mark, a Minton cabinet cup and saucer and other items -6

Vintage Von Schierholz Dresden Porcelain Figural 5 Light Candelabra. Decorated with Putti and Flowers. Signed. Typical minor losses to flower petals or in good condition. Measures 19" H. Shipping: Third Party

PAIR OF DRESDEN/MEISSEN CERAMIC VASES, RELIEF DECORATED WITH FLOWERS, LEAVES AND BIRDS (AT FAULT), APPROXIMATELY 23.5cm HIGH

Mixed china and glass to include paperweights, Dresden style porcelain bowl and cover, Oriental wares including Satsuma matching plate, cup and saucer.

A Capodimonte porcelain figure group of a couple with sheep, further figures, and a Dresden cup and saucer

A Dresden porcelain urn and cover. H30cm. Condition - very good, no damage nor any repairs, general wear only to include minor marks and scratches.

A 19th Century Meissen Figure of romantic couple with finely painted costume, 6in, blue crossed swords mark, A/F, a Dresden Beggar Boy with green details on circular base, 8 1/2in and a Hadley's Vase floral painted, A/F

Dresden Porcelain vase with scenes of courting couples and marked to base. Stands 33 cm high

Three Dresden Figures circ 1950's, comprising a Matador and a Spanish Flamenco dancer and Ballerina. Together with a stoneware decorated lidded jar in the form of a lady.

DRESDEN CHINA, YARDLEY'S OLD ENGLISH LAVENDER FIGURAL ADVERTISING MODEL, formed as a lady with two children, on scroll base, 12 ¼" (31cm) high, AND ANOTHER YARDLEY'S LAVENDER FIGURAL CHINA ADVERTISING TRAY, 6 ½" (16.5cm) high (2)

A 19th Century Continental figure modelled as a waiter dressed in a yellow jacket with a floral apron holding a tray with a carafe, glasses and bread on, bears a spurious Bow mark, height 18.5cm together with a 19th Century Dresden lace figure of a young lady holding her skirt, bears a spurious anchor mark, height 16cm (2)

A Dresden porcelain bowl decorated with birds and foliage, 27cm x 24cm

A DRESDEN CIRCULAR JARDINIERE painted with flowers with three rams mask handles. 6.5ins high.

A GOOD DRESDEN DESIGN FLOWER ENCRUSTED COMPORT, the base with a gallant and lady holding aloft a pierced bowl. 22ins high.

A SUPERB PAIR OF MEISSEN CIRCULAR RICH BLUE PIERCED PLATES, the centres painted with view of DRESDEN and FLORENZ, the borders with vignettes of flowers. Cross swords mark in blue. 9ins diameter.

A Late 19th Early 20th Century Dresden Porcelain Table Clock, decorated with figures and putti amongst foliage and highlighted with gilt (clock movement missing), 40 cms high

A Dresden Porcelain Group 'The Card Players' with nodding heads, together with another similar Dresden group

A pair of late 19th century Dresden large vases and covers painted flowers and swags on a pink ground - 37cm tall - some damage

A box containing various modern Staffordshire style figure groups, Dresden flower encrusted basket, Royal Worcester plate, three various decanters, water jug and four glasses

A box containing Grainger & Co. Worcester dragon decorated plate and two cups, Dresden cabinet cup, oval carriage cup, ceiling light, various African ebony figures, brass beakers, boxwood covered bottle, etc.

Dresden miniature dish in the form of a leaf

A quantity of Continental porcelain dishes to include Dresden

A Folio of European Sketches by Samuel Prout, In a Gilt Buckram Cover, The Portfolio Consists of 67 Prints. Size 14.5 Inches by 10 Inches, Featuring Various European Cities - Venice, Rome, Lyon, Dresden etc. Published by Sprague and Son of Harding Street, Fetter Lane, London. E.C. Late 19th Century.

Dresden Lace Figure Of A Lady Sat At A Piano, blue stamp to base. 6.5'' in height, 7'' in length.

Set of 5 Dresden Cabinet Cups and Saucers, Decorated with a Pale Coloured Body with Floral Vinaigrettes Picked out In Gilt work.