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Mixed ceramics to include Wedgwood, Coalport, Masons, Poole Pottery and other, two boxes. [2]. [W]NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.

A contemporary orange glass table lamp - of cylindrical form, height 27cm, together with a Poole Pottery lamp base in the form of an owl. (2)

A Poole Pottery biscuit barrel - circa 1930, decorated with swifts and flowers, 16cm high, together with two bowls, a shallow dish and a jug, also including three green glazed plates

A Poole Pottery coffee jug - in a chocolate brown matte finish with a yellow cover, 22cm high, together with a similar sage colour Carltonware vinegar with cork lid (2)

Reuben Powell Departure Oil, graphite and rust on tin-plate Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Reuben Powell Loading Gas Southampton Water Oil, graphite and rust on tin-plate Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Helen Beard No Self, 2023 Oil on board (paper) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Helen Beard's work vibrates with movement and colour in a celebration of the erotic experience. Using a rich palette and different perspectives to accentuate intimate acts, her paintings are typified by their utilisation of sinuous brush strokes in a motion akin to stroking skin. This distinctive texture and technique bring movement and energy to her work, emphasising the joy of sex via the female gaze. Education Bournemouth and Poole College of Art and Design Select Exhibitions/Awards SOLO EXHIBITIONS 2023 - 'The Tulips Are Too Excitable, It Is Winter Here' @ Reflex Gallery, Amsterdam 2021 - 'Lyrical Lines' (prints) @ Paul Stolper Gallery, London 2020 - 'The Desire Path' @ Reflex Gallery, Amsterdam 2019 - 'It's Her Factory' @ Unit, London Gallery Representation Reflex Gallery, Amsterdam Statement about AOAP Submitted Artwork Helen Beard's contribution to Art on a Postcard 2023 is conceived as a series, illustrating the different phases of the self. From the emerging 'Child Self' to the exploratory 'Adult Self' via 'No Self', when one is lost in motherhood, amid the hectic pace of family life and on towards the quieter, more introspective 'Elder Self', where a reconnection to oneself becomes possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Ian Hargreaves Come On Sweetheart, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   This lot has been curated by AOAP About Born in 1957, Ian studied at Bournemouth College of Art. At the age of 21 he set off across Europe for ten months, recording his travels in watercolour. This instilled a love of Mediterranean subjects, which was to influence his work many years later. From the ages of 24 - 28 he lived in London and Sicily, earning his keep painting portraits. 1985 saw him move to Germany, where he remained for the next 24 years. Here he exhibited with galleries in Hamburg, Munich and Salzburg. His work was also purchased for numerous Public Collections. Ian moved back to England in 2008. He now works from his studio in Poole, Dorset and exhibits regularly around the country. His work hangs in many private and corporate collections worldwide. Education Bournemouth Art College. Technical Illustration Course. 1973 - 1975 Select Exhibitions/Awards Royal Academy Summer Show. RSMA Show, ROI Show, Lynn Painter Stainers Prize Finalist twice. Artist & Illustrators Artist of the Year Winner. Mall Galleries, London. Gallery Representation Fosse Gallery, Greens & Blues Gallery, Albany Gallery, Davidson Fine Art, Signet Contemporary. Statement about AOAP Submitted Artwork A moment in time on the beach. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Reuben Powell Gins Farm Summer '23, 2023 Oil on tin plate Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Reuben Powell Charm 1922 Tin plate steel | Oxide Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Helen Beard Elder Self, 2023 Oil on board (paper) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Helen Beard's work vibrates with movement and colour in a celebration of the erotic experience. Using a rich palette and different perspectives to accentuate intimate acts, her paintings are typified by their utilisation of sinuous brush strokes in a motion akin to stroking skin. This distinctive texture and technique bring movement and energy to her work, emphasising the joy of sex via the female gaze. Education Bournemouth and Poole College of Art and Design Select Exhibitions/Awards SOLO EXHIBITIONS 2023 - 'The Tulips Are Too Excitable, It Is Winter Here' @ Reflex Gallery, Amsterdam 2021 - 'Lyrical Lines' (prints) @ Paul Stolper Gallery, London 2020 - 'The Desire Path' @ Reflex Gallery, Amsterdam 2019 - 'It's Her Factory' @ Unit, London Gallery Representation Reflex Gallery, Amsterdam Statement about AOAP Submitted Artwork Helen Beard's contribution to Art on a Postcard 2023 is conceived as a series, illustrating the different phases of the self. From the emerging 'Child Self' to the exploratory 'Adult Self' via 'No Self', when one is lost in motherhood, amid the hectic pace of family life and on towards the quieter, more introspective 'Elder Self', where a reconnection to oneself becomes possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Helen Beard Adult Self Oil on board (paper) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Helen Beard's work vibrates with movement and colour in a celebration of the erotic experience. Using a rich palette and different perspectives to accentuate intimate acts, her paintings are typified by their utilisation of sinuous brush strokes in a motion akin to stroking skin. This distinctive texture and technique bring movement and energy to her work, emphasising the joy of sex via the female gaze. Education Bournemouth and Poole College of Art and Design Select Exhibitions/Awards SOLO EXHIBITIONS 2023 - 'The Tulips Are Too Excitable, It Is Winter Here' @ Reflex Gallery, Amsterdam 2021 - 'Lyrical Lines' (prints) @ Paul Stolper Gallery, London 2020 - 'The Desire Path' @ Reflex Gallery, Amsterdam 2019 - 'It's Her Factory' @ Unit, London Gallery Representation Reflex Gallery, Amsterdam Statement about AOAP Submitted Artwork Helen Beard's contribution to Art on a Postcard 2023 is conceived as a series, illustrating the different phases of the self. From the emerging 'Child Self' to the exploratory 'Adult Self' via 'No Self', when one is lost in motherhood, amid the hectic pace of family life and on towards the quieter, more introspective 'Elder Self', where a reconnection to oneself becomes possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Helen Beard Child Self, 2023 Oil on board (paper) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Helen Beard's work vibrates with movement and colour in a celebration of the erotic experience. Using a rich palette and different perspectives to accentuate intimate acts, her paintings are typified by their utilisation of sinuous brush strokes in a motion akin to stroking skin. This distinctive texture and technique bring movement and energy to her work, emphasising the joy of sex via the female gaze. Education Bournemouth and Poole College of Art and Design Select Exhibitions/Awards SOLO EXHIBITIONS 2023 - 'The Tulips Are Too Excitable, It Is Winter Here' @ Reflex Gallery, Amsterdam 2021 - 'Lyrical Lines' (prints) @ Paul Stolper Gallery, London 2020 - 'The Desire Path' @ Reflex Gallery, Amsterdam 2019 - 'It's Her Factory' @ Unit, London Gallery Representation Reflex Gallery, Amsterdam Statement about AOAP Submitted Artwork Helen Beard's contribution to Art on a Postcard 2023 is conceived as a series, illustrating the different phases of the self. From the emerging 'Child Self' to the exploratory 'Adult Self' via 'No Self', when one is lost in motherhood, amid the hectic pace of family life and on towards the quieter, more introspective 'Elder Self', where a reconnection to oneself becomes possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

FOUR TRAYS OF ASSORTED CERAMICS TO INCLUDE POOLE, COALPORT ETC (TRAYS NOT INCLUDED)

Large Lorna Whitmarsh Limited Edition Poole Pottery Vase, Hand painted No. 23/250, signed L Whitmarsh, KRF DES and marked Poole to base. Measures 14'' tall, sloping down to 10''. Bright blue with large floral design. Lovely decorative piece.

2 Modern Poole Pottery Vases With Pearlescent Finish Including a small Alchemy vase. Together with - A Modern Poole Pottery Plate 21 cm diameter. See photos for more details

Collection of assorted china to include Poole dolphins, , Royal Doulton toby jug Long John Silver, Sylvac Corgi etc.

3 x framed signed engravings inc Newfoundland warehouse, Poole by Philip Leslie Moffat Ward (1888-1978) - largest frame 49.5cm x 37.5cm

Wedgwood Runnymead pattern Teapot, milk jug, 2 covered sugar basins, t/w plated tea set, Poole pottery plate etc.

Two 1970s Poole style table dishes along with three Wade Natwest pigs.

Gehäuse GG 18 Kt., ø 42 mm. Fein floral reliefierter Rückdeckel, Zwischendeckel GG 18 Kt. Spitzzahnankerwerk mit Schnecke und Kette, läuft. Signiert Poole Glerkenwell, London und 1000 nummeriert. Gewicht 50,9 g. Glas lose. England, 1854.

GUY SYDENHAM FOR POOLE POTTERY, CHARGER, CIRCA 1970-79 decorated in olive green and brown slip to speckled green ground, impressed marks and monogram to base35cm diameter

A Limited edition Poole pottery charger produced to mark the 'Alignment' of the Planets 5 May 2000, No. 387 / 2500, designed by Alan Clarke, with box and certificate

Quantity of Poole pottery

A Great War group of five comprising War Medal and Victory Medal named to Major T.V. Rebbeck, Territorial War Medal to Capt T.V. Rebbeck Hamps R. 1937 Coronation Medal and George V Territorial decoration, hallmarked for London 1920. Mounted as worn. Much the rarest of the First World War campaign medals there were only 78 Territorial War medals awarded to officers in the Hampshire Regiment. Thomas Victor Rebbeck was born in 1887, the son of Charles Rebbeck, an Estate Agent in Bournemouth who lived at 64 Drummond Road in Boscomb. He was Captain from 9th April 1910, he seems to have undertaken much of his service in India where he is recorded in November 1910 and where the 1/7th Battalion of the Hampshire Regiment spent much of the War. Following hostilities he has an address in Gervis Place, Bournemouth and it is quite possible that he was involved with the family firm of Rebbeck Brothers Estate Agents in Poole Road after the war. It seems he died in 1942 at the age of 55. With copied Medal Index Card and other rolls etc. *CR Good condition as worn.

Philip Alexius de László, PRBA,  Hungarian / British 1869-1937- Portrait of Norman Louis Cappel Esq., half-length; oil on canvas, indistinctly signed and dated 'de Laszlo 1933[?]' (lower right), 82.6 x 60.2 cm. Provenance:  Mary, Lady Brighton.  Anon. sale, Christie's South Kensington, 3 December 2015, lot 23.  Private Collection, UK. Literature:  Laib L18175 (759) C4 (13): Mr L. Cappel.  NPG Album.  Sitters’ Book, II, opp. f. 76: N.L. Cappel Sep. 16th. 1933.  The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.110512. Note:  Norman Louis Cappel was born in Liverpool in 1887, the eldest son of Louis Cappel and his wife Anna Springmann. He attended Charterhouse School in Godalming, Surrey. During the First World War he served as a Lieutenant in the Royal Naval Volunteer Reserves on HMS Roxburg and his service record described him as a 'hard working and competent officer.' On 12 June 1916 he married Jessie Martin Ritchtie, daughter of Alexander Ritchie, J.P. at St George’s Hanover Square in London. There were two children of the marriage: Louis (born 1920) and Norma (born 1922). In 1933 he married secondly, Barbara Gladys Morrison. He died on 25 November 1974 in Poole, Dorset and is buried with his parents in Allerton Cemetery, Liverpool. In this striking portrait, he is shown half-length, slightly to the right, head turned to viewer, wearing a dark suit with white shirt, a blue, red and white striped tie and a pocket-handkerchief in his breast pocket. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which will be included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.110512). Condition Report: Held in a hand-carved 18th century frame.

Poole Pottery shaped bud vase, crazing throughout, no chips or cracks, H: 14 cm. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

A LARGE LOT OF ASSORTED CERAMICS TO INCLUDE JAPANESE BLUE AND WHITE GINGER JAR, FIGURES, POOLE ETC

A QUANTITY OF UNBOXED AND ASSORTED PLAYWORN DIECAST VEHICLES, to include Corgi Super Toys Euclid TC-12 Bulldozer, No.1102, in lime green, with both tracks in fairly good condition, American LaFrance Articulated Fire Engine, No.1143, appears to have most figures and ladders, Ford H Series Articulated Car Transporter, No.1138, Bedford TK Articulated Machinery Carrier, No.1131, Corgi Massey-Ferguson 165 Tractor with Saw, No.73, Dinky, Dublo Dinky, Matchbox, Britains, including J.C.B. 5C Excavator, No.9580, tracks stuck to rollers but otherwise largely complete, Ford Super Major 5000 Tractor and Shawnee-Poole Dumper, No.9630 (2 boxes)

A late 20thC Poole pottery fish service, decorated with fish, a crayfish, crab, snail and shells, comprising an oval dish and six plates, printed marks.

Mixed ceramics including Poole and Oriental. Not available for in-house P&P

Mixed ceramics including V and A museum, Poole etc. Not available for in-house P&P

BOX OF POOLE DINNERWARE

British School (20th Century)Foliocomprising exhibition posters for Ceri Richards, Monica Poole, among others, in addition to etchings by Trevor Haddrell and Leon Lang folio measuring 76cm x 56cm

Three mid-century Poole Pottery Delphis items. Including a bowl, H13cm

Two mid-century Poole Pottery Delphis bowls. Max. diameter 35cm

A Poole pottery dinner service. Comprising small, medium and large plates, a tureen and a sauce boat

Three mid-century Poole Pottery Delphis plates. Comprising two circular and a shield shaped plates. Max. diameter 26cm

Two mid-century Poole Pottery Delphis items. Comprising a green ground bowl and shield shape dish. Max. H6cm

Two mid-century Poole Pottery Delphis items. Comprising an orange cylinder vase and red shield dish. Max. H23cm

Six assorted mid-century glass and ceramic items. Including Poole Pottery, etc. Max. H11cm

Two mid-century Poole Pottery hand decorated items. Comprising a plate and similar vase. Max. H19cm

Seven pieces of Poole pottery, to include two Delphis pattern items; a pedestal comport, plain ground with floral motifs, purple dash border, 20.5cm diam; floral vase, 22cm; tall jug in Lily of the Valley pattern, 21.5cm; and two small jugsQty: 7Condition report:There is crazing to most items. There is a hairline crack to the tall vase. There is a crack and some chipping to the small green and white jug. Please see additional uploaded images.

Quantity of modern ceramics and teawares, including a Royal Worcester set of four coffee cups and saucers for QEII 80th birthday, Wedgwood Collectors plates, Bradford Exchange, Capodimonte, and others; a Poole vase, Franz porcelain Poppy cups and saucers (repaired), etc.

Poole Pottery - a set of three wall mounted flying ducks, 812-1, 812-2 and 812-3, ranging from 13.5cm to 30cm.Qty: 3Condition report:Large duck - slight shallow chip to the back of the wing tip on the back wing. Otherwise fine.Medium duck - pinpoint glaze nick to the feet. Otherwise fine.Small duck - no damages or restoration.

Poole Posy Ring, Trinket Boxes etc

A Poole Pottery hors d'oeuvres dish, together with a boxes Susie Cooper coffee set

FREDERICK LANDSEER GRIGGS - an etching of The Poole, signed in pencil by the artist bottom right - 17cm x 25cm

Poole Pottery blue and green tea set

A Poole Pottery jug together with a modern Italian porcelain jar decorated with birds

A quantity of Poole Pottery table wares

A Poole Pottery dolphin together with a quantity of Barretts heart shaped dishes

Poole pottery (Poole blue) plaque diameter 36 cm

A large Poole pottery baluster vase with blue and yellow bird decoration; and a smaller vase with flowerhead decoration

A Poole pottery preserve jar and cover; two bird decorated vases; a floral decorated jug and a shallow bowl with rose and butterfly decoration

A Poole pottery "Bluebird" pattern flower trough; two vases; a cream jug; four side plates; and a box and cover

Three various Poole pottery fruit bowls

A Poole pottery baluster vase by Christine Lucas; a similar baluster vase; and a bell shaped example

A Poole pottery Carter Stabler Adams "Bluebird" pattern bowl; a similar baluster vase; a smaller vase and a posy pot

A quantity of Poole pottery birds