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Lot 33
A 19th century Royal Worcester porcelain two section toast rack, foliate spray painted and with gilt highlights, puce print and impressed mark to the base, width 11cm, together with a blush ivory basket moulded cream jug and sugar bowl No.1881 and a bamboo moulded porcelain spill vase and a leaf moulded cream jug (5).
Lot 142
A small Wedgwood lustre bowl, circa 1920, designed by Daisy Makeig Jones, decorated with a school of fish and air bubbles, against a mottled blue ground with gilt borders, the interior with two gilt fish against a light vivid green ground, pattern number Z4920, gilt Portland vase mark, 7cm dia, 4cm high, together with two Royal Worcester jugs, a collection of miniature Royal Crown Derby Imari and a Royal Doulton coaching scene jugQty: 10
Lot 33
The Chamberlain Worcester sucrier and cover from the Abergavenny tea and coffee service, circa 1813-14Of 'Baden' shape, the rectangular form with twin handles, richly decorated in Japan colours and gold with pattern number 298 of circular panels of stylised flowers reserved on wide blue borders gilded in classical style, the pattern adapted to include large panels on both sides contacting the full arms of Lord Nevill, 11.2cm high, puce script mark inside cover (2)Footnotes:ProvenanceThe Earl of AbergavennyBonhams sale, 18 May 2001, lot 487Twinight CollectionThis lot is from a tea and coffee service that formed part of a larger order from Lord Nevill placed with the Chamberlain factory in June 1813 and invoiced on July 28 1814. The original invoice exists in the Museum of Royal Worcester and is reproduced here. The first item listed in the Abergavenny order is a Baden-shaped tea service of pattern 298 at a cost of £16 16s 0d. The cost of painting the crests, coronets and mottos onto each piece was invoiced separately a 5s a time. Pattern 298 was one of Chamberlains most popular patterns. Listed as 'rich blue border of gold with ovals of india work', the design was available unadorned or customers could add their own crests or full coats of arms, at additional cost. The best-known set of this pattern was made in 1815 for Admiral Yeo, and the pattern has since become known as the Admiral Yeo pattern, see John Sandon, Worcester Porcelain at Cheekwood (2008), pp.152-153.A buttertub, together with a teapot stand from the Abergavenny tea service was sold by Bonhams, 3 November 2016, lot 260.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 59
An important Chamberlain Worcester cabinet plate by Thomas Baxter, circa 1820In the 'Regent' body, the rim moulded with shells and gadrooning picked out in gold, the cavetto fully painted with an arrangement of seashells on a richly grained wooden tabletop, the shells including a paper nautilus and a wentletrap, the panel outlined with a fine black line and surrounded by a wide gilt band and a formal classical border, 21.4cm diam, red script mark referring to New Bond Street addressFootnotes:ProvenanceBonhams sale, 7 December 2005, lot 254Twinight CollectionIllustrated by John Sandon, Worcester Porcelain (2009), p.21. For the same shells arranged on a grey marble table top, see the celebrated Swansea plate by Thomas Baxter in the National Museum of Wales (NMW A 38267), illustrated by John O Wilstead and Bernard Morris, Thomas Baxter The Swansea Years 1816-19 (1997), p.38. Baxter returned to Worcester after leaving Swansea, working first for the Flight, Barr and Barr partnership before moving to Chamberlain where he replicated this extraordinary still life scene.In the Museum of Royal Worcester is a pair of Chamberlain plates painted by Thomas Baxter with still lives of fruit. These had remained in the works collection and were acquired by R W Binns for his first museum. The panels on these plate and the present lot mirror a style that Thomas Baxter had used on Coalport plates painted twelve years earlier while he was in London. In June 1820, Chamberlain supplied to John Eversley '30 dessert plates, gadroon and gold with fine paintings of fruit', at a cost of £2 17s. 6d. each- a considerable sum. Presumably these thirty plates had different still life subjects by Baxter and it is likely the present lot with shells was part of this special commission.Baxter is justifiably famous for his shell painting. Examples painted while he was at Flights factory include panels that were titled by Baxter himself 'shells from nature'. In other words, instead of just copying prints of shells, Baxter drew real shells and he would have borrowed actual specimens from collectors. Lewis Dillwyn, proprietor of the Swansea factory owned a notable shell collection, but as Wilstead noted (op cit, pp.37-38), it is unlikely Baxter's Swansea plate was painted from any of Dillwyn's shells. The precious wentletrap shell, named from the Dutch for 'spiral staircase', was once considered to be extremely rare and in the mid 18th century some specimens were sold to collectors for enormous sums. Even as late as 1786 an example belonging to the Duchess of Portland sold at auction for seven guineas. Placing a wentletrap among his shell composition, Thomas Baxter was possibly appealing to wealthy patrons from his time in London, who would have appreciated such a valuable specimen.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 73
An important Flight, Barr and Barr Worcester centrepiece by Thomas Baxter circa 1814-16Of lobed oval form with shell-moulded handles, finely painted with an arrangement of seven shells, a sea urchin and numerous corals and coloured seaweeds, within a wide gold band and a rich underglaze blue border with raised gold anthemion decoration, the handles left in the white with further raised gold neoclassical ornament, 33.4cm wide, impressed crown and FBB mark, printed mark referring to Coventry Street addressFootnotes:ProvenanceBonhams sale, 7 December 2005, lot 255Twinight CollectionThomas Baxter name became synonymous with shell painting on Regency Worcester porcelain, mostly through errors and misattributions by early collectors. However, examples actually painted by his masterful hand are relatively rare. Baxter's shell painting highly distinctive and individual, and always of exceptional quality. His Royal Academy training meant that he was an adept painter of portrait miniatures, and thus learnt to use the stipple technique for delicate shading. He also mastered perspective and painted his shells 'from nature'. As a result, his shell paintings stand out from the work of the other Flight factory shell painters. Baxter's shells are so real, they almost jump from his painted panels. Marine biologists can identify almost all of the specimens as they are so accurately depicted. At the same time, no shell painter could better represent the humble sea urchin.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 3
A Flight, Barr and Barr Worcester Royal specimen cup and saucer, circa 1820Both finely painted with a coronet, reserved on a rich blue ground with neoclassical gilding, with gilt gadrooned rims, the cup also with two fine floral panels reserved on an olive ground, saucer 15.6cm diam, script marks referring to Coventry Street address (2)Footnotes:ProvenanceBonhams sale, 10 December 2008, lot 236Twinight CollectionThe coronet is used for younger sons and brothers of the Blood Royal. This cup and saucer must have been made as a specimen for one of the eight sons of George III. Prince Alfred can be excluded since he died in infancy in 1782 and George would have used the Prince of Wales feathers rather than a coronet. This leaves the Dukes of York, Clarence, Kent, Cumberland, Sussex and Cambridge as possibilities. It is unlikely that a full service of the pattern was ever ordered. For a related specimen teacup and saucer, see Henry Sandon, Flight and Barr Worcester Porcelain (1978), p.19 (bottom left).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 30
The Abergavenny Vase: an important Chamberlain Worcester vase and cover, circa 1813-14Of 'Regent' shape with ram's head handles and a pineapple finial picked out in gold, raised on a square foot, the front panel finely painted by Humphrey Chamberlain with a scene from William Shakespeare's Henry VIII, Act 3, scene 1, the reverse with the full arms of The Earl of Abergavenny, reserved on a salmon pink ground gilt with stars and other neoclassical ornament, the borders richly gilt in a similar style, 27cm high, Chamberlains Worcester and 63 Piccadilly in puce script on the underside of the cover together with a quotation from the play (2)Footnotes:ProvenanceThe Earl of AbergavennyBonhams sale, 5 December 2007, lot 309Twinight CollectionThis vase formed part of one of the most important commissions received by the Chamberlain factory. The order was placed in June 1813 by Lord Nevill, Earl of Abergavenny and it was written up in detail in the factory records. The original order still exists, carefully preserved in the archives housed in the Museum of Royal Worcester. In addition to tea and dinner services, the order lists a series of vases with only brief descriptions, but sufficient to recognise the surviving parts of this most important set. Lord Nevill asked for '5 ornaments. 1 Regent Henry 8th, 2 chocolates, King John, King Richard 3rd, 2 Bell shape, Henry 6th, part 1, King John' The cost of this set was £60 18s.0d. Also ordered were '2 Luminaries' and '2 Grace mugs' as well as an inkstand. Most of these pieces still survive. The incredible 'Grace Mugs' were discovered by Henry Sandon in 1977 and with funds from the V and A he was able to purchase these for the Museum of Royal Worcester where they can be seen today. The inkstand was sold by Bonhams on 6 June 1990 and is now in the Cheekwood Museum in Nashville, Tennessee. The 'luminaries' are what we now call spill vases and these are in a private collection in Britain, while the 2 Bell shape [ornaments] which are small campana shaped vases remain within the Nevill family. The whereabouts of the two 'chocolates' is unknown. The present lot corresponds with the 'Regent' ornament listed in the order. This fine vase was named the 'Regent' shape in honour of the factory's most important patron. This vase was in a UK private collection and is illustrated by Geoffrey Godden, Chamberlain Worcester Porcelain, colour pl.VIII and pl.105, and on the front cover. It is also illustrated by John Sandon, Worcester Porcelain at Cheekwood (2008), p.163, and in the same author's Worcester Porcelain (2009), p.21.When the order was placed, Lord Nevill requested that it was to be ready in just four months. In reality the commission took more than a year to manufacture, and the porcelain was dispatched (or invoiced) from Worcester on 21 July 1814. Payment was received by the factory many months later.The source for the paintings on the 'ornaments' was a volume of scenes from Shakespeare published by John and Josiah Boydell. Some of the best artists of the day were commissioned by the Boydells for this influential work. The image chosen for this vase was a painting by Rev Matthew William Peters engraved by Robert Thaw. The Queen, surrounded by her Ladies in Waiting, is shown reprimanding Cardinal Wolsey. The Chamberlain archives record that a copy of Boydells' Illustrations from Shakespeare was purchased by the factory to be used as a source for their painters.Humphrey Chamberlain used the Boydell book when he decorated another significant commission. A dessert service made for the Prince Regent and referred to by his nephew Thomas Chamberlain as 'one small dessert service painted with subjects from Shakespeare by my uncle for the Prince Regent cost the latter 4000 pounds'. This set is now in Los Angeles County Museum.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 103
A Royal Worcester plaque by Harry Davis, circa 1969Rectangular, finely painted with a rural landscape, a woman and child walking towards a small boat sailing by a viaduct, a castle nestled on the hills behind, signed 'H. Davis', in a giltwood frame, plaque 15.7cm x 10.4cm, printed marks in blackFootnotes:ProvenanceTwinight Collection1969 was Harry Davis' last year of work at Royal Worcester. During this year he painted a series of plaques, of which this is probably one, the factory leaving the choice of subject matter to the artist. The plaques were then stored at the factory until they were chosen for a selling exhibition at Thomas Goode and Co.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 47
An important Chamberlain Worcester vase and cover by Humphrey Chamberlain, circa 1822Of ovoid form with brightly gilded dragon handles, the front panel finely painted with a head and shoulder portrait of the late Princess Charlotte, wearing jewels and a chaplet of pink roses in her hair, signed 'H Chamberlain', the panel richly framed with raised and tooled gilding, reserved on a deep blue ground, the neck and foot moulded with acanthus leaves left in the white and picked out in gold, 53cm high, titled beneath the cover 'Her Royal Highness Princess Charlotte of Saxe Coburg &c. &c.', with puce script mark referring to the New Bond Street address (2)Footnotes:ProvenanceBonhams sale, 2 December 2009, lot 209Twinight CollectionPrincess Charlotte Augusta of Wales (1776-1817) was the only legitimate child of the Prince of Wales, later George IV. Charlotte married Prince Leopold of Saxe-Coburg-Saalfeld in 1816, but tragically she died on 6 November 1817, the day after giving birth to a stillborn child. Charlotte's passing was greatly mourned, not least by the Chamberlain family in Worcester for Princess Charlotte had been a major patron of the factory. In 1814 she awarded Chamberlains her own special warrant, a fact they advertised in The Courier in May and July of that year. Richly decorated dinner and dessert services were ordered by the Princess shortly afterwards and Chamberlain's factory marks were updated to include their 'Special Appointment to her Royal Highness, Princess Charlotte of Wales'.A Chamberlain plaque now in the Museum of Royal Worcester is painted with a very similar portrait of the Princess, also by Humphrey Chamberlain. The plaque is inscribed on the reverse 'Her Royal Highness Princess Charlotte of Saxe-Coburg etc etc. H Chamberlain Jnr'. On this plaque and on the present vase, the costume worn by the Princess is identical to that in a mezzotint by William Saye after a full length portrait by George Dawe, now in the Belgian Embassy in London. In the Chamberlain version, however, the Princess's hairstyle relates to that seen in another portrait by Dawe, showing the Princess with Prince Leopold, apparently in a box at the theatre. Interestingly, the Chamberlain factory records show a payment to a Mr Dawes for £34 5s 0d in July 1822, a very large sum for the time. The plaque in the Museum at Worcester is dated 13 August 1822. Possibly the payment was for another portrait by Dawe, incorporating elements of both those discussed, and the true source for the Chamberlain image.Humphrey Chamberlain Jnr. was the only artist permitted to sign his work at the Chamberlain factory, and deservedly so, for its execution is quite breath-taking. R.W. Binns was full of admiration, writing in his Century of Potting (1865) '... one of the boasted beauties of Mr Chamberlain's work was that you could never distinguish the touch nor discover how the effect was produced, hence a powerful magnifying glass was always placed in the hands of strangers in order that they might examine its minute beauties...'Binns was inviting comparison with the work of Thomas Baxter, who had painted alongside Humphrey Chamberlain from 1819-21. According to Binns, there were 'frequent discussions' between the two painters about the artistic merit of Humphrey Chamberlain's work. Baxter felt that Chamberlain's work was wonderful for its manipulative power but for nothing else. This was at the time when Baxter was unhappy that he had to paint 'dear little things', while the son of the factory owner was able to work on Shakespearian scenes and royal portraits.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1077
ROYAL WORCESTER SQUAT BALUSTER DOUBLE HANDLED VASE, decorated with an attractive panel of Highland cattle by a stream, signed H. Stinton, loch scene vignette to reverse, with small loop handles, moulded cup shaped neck within gilt borders, transfer mark in puce, dot code for 1910, Pattern No. 1109, 23cm high
Lot 1098
ROYAL WORCESTER BLUSH IVORY QUATREFOIL BONBON DISH, decorated with central floral spray, within moulded beaded borders, on a silver stand with leaf cast twin wire pattern swing handle, the dish with transfer mark in puce, dot code for 1907, Pattern No. 1992, the stand hallmarked Sheffield 1909
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129936 item(s)/page