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Gardens.- van Laar (Gijsbert) Magazijn van Tuin-Sieraden; of Verzameling van Modellen van Aanleg en Sieraad..., title with hand-coloured engraved vignette, 190 hand-coloured engraved plates, occasional light foxing or staining to margins, later boards, a couple of small stains to covers, 4to, Zalt-Bommel, Johannes Noman en Zoon, [?1802]. *** A charming Dutch work on garden design, depicting an extremely wide range of subjects, from temples to hovels and their contrasting ornaments, mostly deriving from the anglo-chinois style.
Late 18th CenturyLooking slightly down to her right, wearing swirling classical robes, on square shaped fixed plinth.Height 51inches (129.5 cm)Clifton Little Venice, Garden Statuary, Architectural and Decorative Furnishings, Christie's London, June 9, 1994, lot 93. A Vestal goddess of the hearth, modeled by the sculptor John Bacon R.A. (D.1799) who was granted a Royal Appointment to the King George III in 1769, is first noted in the 1770's when it was exhibited by Eleanor Coade at the Society of Artists Exhition and continued to be manufactured at the Lambeth Works untill the 1820s. The model was attributed to Bacon in the catalogue of Coade's Gallery, 1799 (see A. Kelly, Mrs Coade stone. worcs. 1990, p.130 fig. 4). The Vestal featured in a wall-niche at Beaumont Lodge, Windsor in the early 1790s, and was also supplied to Earl Fitzwilliam at Wentworth House, Yorkshire, in 1814.Much mystery surrounds the life of Eleanor Coade and her decision to venture into the business of artificial stone manufacturing. Her famous Coade Factory was based in Lambeth, London, which is now part of the area occupied by the Southbank Centre. Throughout its history spanning from 1769-1840, the factory produced a vast array of products such as architectural and garden ornaments, decorative details, statues and monuments. ‘Coade stone’ as it is known was of exceptional quality, and was the only kind of artificial stone at the time to be resilient to frost and other forms of harsh outdoor exposure. The high standards of design and quality upheld by Coade were noticed by London’s most highly regarded architects including Robert Adam, James Wyatt, John Nash and Sir John Soane, each of whom commissioned works.Coade’s most prestigious work was at Buckingham Palace which was rebuilt by Nash in 1825.The artificial stone produced by the Coade Factory was unique in that it was a ceramic material containing a large proportion of ground pre-fired stoneware with a glass stabilizer added to it, which was rolled into sheets and pressed into reusable molds. Because most works were cast in sections before firing, they could easily be altered to suit the client’s individual wishes.The base with damage and cracks and chips to rim, overall with minor scratches and dents commensurate with age, further on with dust allover which could benefit from cleaning.
A GROUP OF CERAMICS, to include thirteen pieces of Royal Albert Old Country Roses: a teacup and saucer, two bud vases, an oval tray (tiny firing crack on one handle), an atomiser, a cereal bowl and six trinket dishes (one repaired), a Royal Albert Lady Carlyle mantel clock, a boxed Aynsley Wild Tudor covered vase, height 19cm, five Aynsley Celeste vases, Royal Doulton and Aynsley modelled flower ornaments (some losses and repairs, Royal Doulton ornament is second quality), Wedgwood Jasperware, etc (31) (Condition Report: generally ok, specific obvious damage to described items as stated in description, one Aynsley Cottage Garden vase has extensive repairs, some gilding loss and wear to Royal Albert Old Country Roses pieces)
A small collection of bird ornaments - including six Aynsley bone china garden birds, the largest 9cm high; a Bowbrook bronzed metal and resin figure of a kingfisher, 10.25cm high; a Bowbrook bronzed and painted resin figure of a green woodpecker on a lawnmower, 13.75cm high; a Coalport vase decorated with a pair of bullfinches, 16.5cm high; a painted resin figure of a kingfisher on a garden dibber, 24.2cm high; and a Shudehill resin figure of a robin. (11)

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