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Click here to subscribeWilliam S Mycock for Pilkington Royal Lancastrian lustre heraldic vase: 1922, painted with red shield of rampant lion, on a blue foliate scroll ground of red flower heads, impressed and painted marks, 2909, h.21cm. Some very slight nibbling to the base rim and some slight scratches to the glaze at the rear of the vase.
A Pilkington's Royal Lancastrian Lustre Vase, decorated by William S Mycock, with motto FRANGAS NON FLECTES and coat of arms, on a blue ground, artist's monogram and 1919, impressed factory marks and 3022, 20cm high (restored chip to rim)Restored chip to rim. Damage to foot rim with hairlines. Crazing. See extra images.
A PILKINGTON ROYAL LANCASTRIAN LUSTRE VASE BY RICHARD JOYCE, of squat form with a short flared neck, decorated with green-gold lustre sprays to a cobalt blue ground, JR monogram, impressed marks, 2366. 9.5cm high View 360 degree spin: https://sarlydro.sirv.com/ELSTOB%2027TH%20MAY/X35.spinCONDITION REPORTLight surface scratching
William Slater Mycock for Pilkington's - Royal Lancastrian vase of ovoid form with painted lustre swags and scrolls on a blue ground, shape 3159, painted and impressed factory marks to base, 17cm highCrazing to the body mostly visible on the blue ground. Some fading to coloured enamels in places. Glaze pooling in places.
A ROYAL LANCASTRIAN POTTERY STEM VASE, early 20th century, with elongated slightly tapering neck and squat globular body, painted by Gladys Rogers in silver lustre with seed heads on tall stems issuing from a Celtic knot style border on an iridescent blue ground, monogrammed, impressed mark, shape 2792, 8 1/4" high (Est. plus 21% premium inc. VAT)Rim broken in to four which do fit back together with only very minor loss
BELIEVED PILKINGTON'S ROYAL LANCASTRIAN LUSTRE TILE and two further pottery/porcelain items, the tile lustre decorated with heraldic crest in relief mounted as a teapot stand, 18 x 20cms overall, walnut framed prattware pot lid untitled and a Royal Crown Derby heart shape trinket box and cover having floral and gilt decoration against a cobalt ground
PILKINGTONS ROYAL LANCASTRIAN; a vase of tapering circular form with streaky lavender glaze, height 13cm, and a further Pilkington Royal Lancastrian vase with moulded linear decoration, height 19cm (2).Additional InformationThe lavender vase with numerous glaze chips running around the body, scratches to the glaze. The green vase with minor scratches to the glaze, each with glaze crazing.
Richard Joyce (1873-1931), a brown glazed vase decorated with gold lustre lions passant, in the manner of Pilkington Royal Lancastrian, the underside inscribed for Col A F Maclure decorated by R Joyce Oct 1926, 19cm high CONDITION REPORT: Has hairline crack extending down from neck to second dotted line on neck, gilding rubbed in places, wear to base consistent with ageCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
λ CHARLES ERNEST CUNDALL (BRITISH 1890-1971) LONG CRENDON, BUCKINGHAMSHIRE Oil on canvas Signed (lower right) 51 x 62cm (20 x 24¼ in.) Provenance: The Phoenix Gallery, SuffolkPanoramic views and topographical subject matter have become synonymous with Lancashire born artist, Charles Cundall. Cundall began his training for Pilkington's Lancastrian Pottery & Tiles working on designs for stained glass and pottery before studying at the Manchester School of Art. In 1912, he achieved a scholarship for the Royal College of Art and moved to London. However, during the First World War whilst serving with the Royal Fusiliers he was wounded and had to learn with his left arm to paint. On return to his studies, he joined the Slade School of Art in 1919. Following this he went to Paris to study and travelled widely through Italy and Europe. His first solo show was held by Colnaghi Gallery in 1927 and this is when he was first acknowledged for his panoramic vistas. During the Second World War Cundall worked on short-term contracts for the War Artists' Advisory Committee and later on commission to work on Merchant Navy subjects. Despite not being present at the event, Cundall's most well-known piece depicted The Withdrawal from Dunkirk in June 1940 which is now held in the Imperial War Museum collection. Both Richard Eurich and Cundall were commissioned to record the event and the works were exhibited beside one another at the National Gallery in August 1940. Other artists commissioned to record events in France during this time included Edward Bawden and Edward Ardizzone. Cundall was a mainstay of the Royal Academy, exhibiting regularly from 1918. Condition Report: This work needs restoration. The canvas is puckering at the edges and undulating across the surface. There is a circle of five holes in the centre of the canvas and one further hole to the middle of the upper edge. There is loss associated with the damage most notable to the left hand side of the trees and the lower right corner. Condition Report Disclaimer
λ CHARLES ERNEST CUNDALL (BRITISH 1890-1971) THE COLOSSEUM, ROME Oil on panel 30.5 x 46cm (12 x 18 in.) Provenance: The Phoenix Gallery, Suffolk Panoramic views and topographical subject matter have become synonymous with Lancashire born artist, Charles Cundall. Cundall began his training for Pilkington's Lancastrian Pottery & Tiles working on designs for stained glass and pottery before studying at the Manchester School of Art. In 1912, he achieved a scholarship for the Royal College of Art and moved to London. However, during the First World War whilst serving with the Royal Fusiliers he was wounded and had to learn with his left arm to paint. On return to his studies, he joined the Slade School of Art in 1919. Following this he went to Paris to study and travelled widely through Italy and Europe. His first solo show was held by Colnaghi Gallery in 1927 and this is when he was first acknowledged for his panoramic vistas. During the Second World War Cundall worked on short-term contracts for the War Artists' Advisory Committee and later on commission to work on Merchant Navy subjects. Despite not being present at the event, Cundall's most well-known piece depicted The Withdrawal from Dunkirk in June 1940 which is now held in the Imperial War Museum collection. Both Richard Eurich and Cundall were commissioned to record the event and the works were exhibited beside one another at the National Gallery in August 1940. Other artists commissioned to record events in France during this time included Edward Bawden and Edward Ardizzone. Cundall was a mainstay of the Royal Academy, exhibiting regularly from 1918. Condition Report: Very small pools of varnish scattered across the sky and varnish causing some yellowing. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ CHARLES ERNEST CUNDALL (BRITISH 1890-1971) A PORT VIEW WITH CITY BEYOND Oil on panel Signed and dated 1931 (lower right) 30.5 x 46cm (12 x 18 in.) Possibly a view of Liverpool. Panoramic views and topographical subject matter have become synonymous with Lancashire born artist, Charles Cundall. Cundall began his training for Pilkington's Lancastrian Pottery & Tiles working on designs for stained glass and pottery before studying at the Manchester School of Art. In 1912, he achieved a scholarship for the Royal College of Art and moved to London. However, during the First World War whilst serving with the Royal Fusiliers he was wounded and had to learn with his left arm to paint. On return to his studies, he joined the Slade School of Art in 1919. Following this he went to Paris to study and travelled widely through Italy and Europe. His first solo show was held by Colnaghi Gallery in 1927 and this is when he was first acknowledged for his panoramic vistas. During the Second World War Cundall worked on short-term contracts for the War Artists' Advisory Committee and later on commission to work on Merchant Navy subjects. Despite not being present at the event, Cundall's most well-known piece depicted The Withdrawal from Dunkirk in June 1940 which is now held in the Imperial War Museum collection. Both Richard Eurich and Cundall were commissioned to record the event and the works were exhibited beside one another at the National Gallery in August 1940. Other artists commissioned to record events in France during this time included Edward Bawden and Edward Ardizzone. Cundall was a mainstay of the Royal Academy, exhibiting regularly from 1918.
λ CHARLES ERNEST CUNDALL (BRITISH 1890-1971) NEAR HAWNBY, YORKSHIRE Oil on canvas Artist's label attached (verso) 35.5 x 46cm (13¾ x 18 in.) Panoramic views and topographical subject matter have become synonymous with Lancashire born artist, Charles Cundall. Cundall began his training for Pilkington's Lancastrian Pottery & Tiles working on designs for stained glass and pottery before studying at the Manchester School of Art. In 1912, he achieved a scholarship for the Royal College of Art and moved to London. However, during the First World War whilst serving with the Royal Fusiliers he was wounded and had to learn with his left arm to paint. On return to his studies, he joined the Slade School of Art in 1919. Following this he went to Paris to study and travelled widely through Italy and Europe. His first solo show was held by Colnaghi Gallery in 1927 and this is when he was first acknowledged for his panoramic vistas. During the Second World War Cundall worked on short-term contracts for the War Artists' Advisory Committee and later on commission to work on Merchant Navy subjects. Despite not being present at the event, Cundall's most well-known piece depicted The Withdrawal from Dunkirk in June 1940 which is now held in the Imperial War Museum collection. Both Richard Eurich and Cundall were commissioned to record the event and the works were exhibited beside one another at the National Gallery in August 1940. Other artists commissioned to record events in France during this time included Edward Bawden and Edward Ardizzone. Cundall was a mainstay of the Royal Academy, exhibiting regularly from 1918.
WALTER CRANE (1845-1915, DESIGNER) AND W. S. MYCOCK (1872-1950, ARTIST) FOR PILKINGTON’S TILE & glazed and painted ceramic, painted artist's, designer's and date cyphers to the base, painted artist's marks and designer's monogram, impressed maker's marks 2472/ ENGLAND/ X(26.3cm high)Footnote: Literature: Cross, A. Pilkington's Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, page 9, plate V, where similar examples are illustrated.
[MEDIEVAL ENGLAND]: An excellent collection of nine manuscript documents on vellum dating from the late Middle Ages (1272-1485) in England, comprising, in chronological order -(i) [HENRY III] (1207-1272) Henry of Winchester. King of England 1216-72. Manuscript document from the reign of King Henry III, one page (vellum), small 8vo, n.p., n.d. (c.1260), being a lease from Robert, son of John of Gravely, to Laurence Del Broc and his heirs and assigns 'all my woods which are called L'iveye grove in the village of Chevsfelde, with a ditch surrounding a dike and with all appurtenances, accordingly freely just as I at any time or my father have freely held, namely, those woods which I have held from Robert de la Haye…..paying back then annually seven pence, that is to say on the feast of Saint Michael, 3 half-pence on the feast of Saint Mary, in March 3 half-pence, and done in the manner which pertains to the aforesaid woods, for all ward and secular service exacted….' With a list of witnesses ('John of Blumville, John of St. Egidius, John of Asselby, Richard le Paumer, Gilbert of Westorp, William of Boxe….') at the conclusion.(ii) [EDWARD I] (1239-1307) Edward Longshanks. King of England 1272-1307. Manuscript document from the reign of King Edward I, one page (vellum), small oblong 8vo, n.p., n.d. (c.1290), being a quitclaim by Philipus, son of Henry Simond, to Cristina, daughter of Sibilla, in turn a daughter of Henry Simond, of a messuage (i.e. dwelling house with outbuildings and adjacent land) in Shipham. With the remnants of a wax pendant seal appended.(iii) [EDWARD II] (1284-1327) Edward of Caernarfon. King of England 1307-27. Manuscript document from the first year of the reign of King Edward II, one page (vellum), oblong 8vo, n.p. (Hampshire), 'Saturday, the feast of St. Katherine the Virgin, 1 Edward II' (25th November 1307). The document, comprising fourteen lines of Latin written in a clear charter hand, is the gift and confirmation with warranty from Anicia, formerly the wife of Thomas le Hore of Ashley, Hampshire, by her right of widowhood, to her son Nicholas and his heirs, of all her tenement and land in Ashley, in part, 'Be it known to all present and future that I, Anicia, once the wife of Thomas le Hore of Aschely, in the lawful authority of my widowhood, have given, conceded and by this my present document confirmed to Nicholas, my son, that whole tenement and land which I had in the village of Aschely…..along with all their appurtenances, freely, with immunity, justly and in peace, wholly, by right of inheritance for ever, as in roads, paths, plains, pastures, grazing-lands, free use of commons and customary services pertaining to the said tenement and land, from which must be returned annually to the feudal lord in chief rents and services accustomed and owed….' With a list of witnesses ('Robert Thalemache, Andrew Payn, Nicholas de Marisco, Walter le Waleys, John Humberd, William de Oterbourn, Richard de Lymeseye, Roger de Wadyngesham….) at the conclusion, and with the queue and tag for the seal still present (although lacking the seal itself). A few small, minor holes to the text.(iv) [EDWARD III] (1312-1377) Edward of Windsor. King of England 1327-77. Manuscript document from the reign of King Edward III, one page (vellum), oblong 8vo, n.p., 'Thursday next before the feast of Petronilla the Virgin 10 Edward III' (30th May 1336), being a grant with a warranty whereby William le Metere and Emma, his wife, grant to Herrick de Heen one messuage along with one croft and one acre plus one rood (or ¼ acre) of land in Worthing. Some light, minor damp staining, a few very small holes and with neat slits at the foot.(v) [RICHARD II] (1367-1400) Richard of Bordeaux. King of England 1377-99. Manuscript document from the reign of King Richard II, one page (vellum), oblong 8vo, n.p., 15th December 1385, being a grant with a warranty whereby John Breed of Great Waltham gives to John Hamund, John Hultynge and John Claver one field called the Walthemfeld, containing ten acres of pasture and arable land and one and a half acres of meadow, lying scattered in two pieces in the town of Waltham.(vi) [HENRY IV] (1367-1413) Henry Bolingbroke. King of England 1399-1413. Manuscript document from the reign of King Henry IV, one page (vellum), slim oblong 4to, Ascot, Berkshire, 'Sunday next before the festival of St. Barnabas, apostle' (7th June 1405), being a grant with a warranty in which John Taylor of Ascote gives to William and Richard Ana Chacche one cottage and its appurtenances (once the property of Henry Dokeman) and one garden along with one plot of arable land near Ascote, in part, 'Be it known to all present and future that I, John Taylor of Ascote in the parish of Winkfield have given, conceded and by this my present document confirmed to William Atta Hacche and to Richard Atta Hacche, his brother, of the same place, one cottage and one garden along with one plot of arable land also lying near in the aforesaid Ascote between the land of John Sawyer and the land of John Kylby on the south and the land of the said John Sawyer on the west and the land formerly of John Strongban on the east and the king's road on the north….' With a list of witnesses ('John Kylby, Robert Batayle, John Goodwyne, John Atta Stretendo, John Ayleward….') at the conclusion and with a queue and tag appended to the base, although lacking the original seal.(vii) [HENRY V] (1386-1422) Henry of Monmouth. King of England 1413-22. Manuscript document from the reign of King Henry V, one page (vellum), slim oblong 4to, n.p., 8th September 1419, being an indenture in which Margareta, the wife of Henry Popham, lady of Boucland, has attorned to John Fromond of Farnhill lands and tenements formerly belonging to William de Boucland in Arnewode, Southampton, in part, 'To all to whom the present written indenture shall have come, I Margareta who was the wife of Henry Popham, lady of Boucland near Lemyngton, greeting in the name of the Lord. Whereas I hold of John Fromond and his heirs as of his manor of Farnhill all those lands and tenements with appurtenances which were formerly of William de Boucland in Arnewode in the county of Southampton by knight service and by the rent of one pair of gilded spurs payable each year…….and that I have paid to the aforesaid John twelve shillings for six pairs of gilded spurs of rent aforesaid now in arrear for six years elapsing at the next feast of St. Michael…..' With the original queue appended to the base, although lacking the original seal.An unusual, complete collection of documents spanning an important period of English history from the thirteenth to fifteenth centuries and including the reign of King Henry III, the first monarch whose reign was fully subject to the provisions of the Magna Carta (which had been signed in 1215) and culminating in the royal conflicts which led to the battles known as the War of the Roses, in which the Lancastrian branch, headed by King Henry VI, was toppled by the Yorkist branch under the leadership of King Edward IV. Some light overall age wear, G to generally VG, 9OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION OF THIS LOT CAN NOT BE DISPLAYED HERE. Please contact us directly for further information.
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