A SET OF SIX GEORGE V SILVER TEASPOONS AND THEIR SUGAR TONGS, SIBYL DUNLOP, LONDON, 1923 hammer finished, with shaped terminals pierced probably by W. Nathanson with foliate motifs, in an associated fitted case Provenance: Private European Collector, "The Seawolf Collection", Object No.93 op. cit. (see lot 532 for further details.) |The designer, Sibyl Dunlop, presided in caftan and Russian boots over a workshop in Kensington Church Street, London, in the 1920s and 1930s. Her principal craftsman, W. Nathanson ... was a master of the piercing saw and firmly believed that some Arts and Crafts metalworkers rejected the saw because they lacked the skill to use it.| (http://collections.vam.ac.uk/item/O25384/bowl-dunlop-sibyl/, accessed 12.08.2021)
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A PARIS PORCELAIN "NATURALISTIC" PART TEA SET, FLAMEN-FLEURY, SECOND QUARTER 19TH CENTURY shell moulded and with red coral handles, realistically painted, with gilt rims, comprising a teapot and cover, a milk jug with pink and gilt bubbled interior, a sugar bowl and three cups all with gilt interiors, and three saucers and a pair of dishes of scallop form, red stencil marks "Flamen / Fleury / à Paris" teapot 22cm long (12) Flamen-Fleury of 169 Rue du Faubourg-Saint-Denis, were well-known for their novel and naturalistic wares. At the 1827 "Exposition des produits de l"industrie française" the firm were praised for displaying a dessert service where the "plates, coupes, bowls imitate shells with a perfect illusion" (Adolphe Blanqui, "Historie de l"Exposition des produits de l"industrie française en 1827", Paris, p.166).
L Bailey for Aynsley, a coffee set comprising six cups and saucers, coffee pot, sugar bowl and milk jug, all with floral designs of cabbage rose and other flowers, each piece signed Bailey, Pattern No C804 and factory mark to base (9), the coffee pot 17cm highCondition report: All pieces in good original condition - no damage/repairs
Ceramics - a Paragon Victoria Rose tea service for six comprising cake plate, side plates, sugar bowl, cream jug, cups and saucers; other part sets, Royal Crown Derby Posies, Royal Albert Moss Rose and Paragon Bridesmaid; a Royal Crown Derby Posies cake stand; another, Royal Worcester Evesham
Art Deco design four piece geometric tea service, the teapot with pineapple finial comprising; teapot, water jug, cream jug and two handled sucrier by Fenton, Russel and Co Ltd, Sheffield 1928, 47 troy ozs approx. Together with a silver two handled sugar bowl, Scottish thistle hallmark to underside, 5 troy ozs approx. (5)(B.P. 21% + VAT)
Collection of glassware including a large pressed glass bowl crystal vase, cream/sugar bowl and six vintage coupes. Condition report: One little nip/mark to one of the bases, but not visible apart from this good condition. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133
A Spode part tea service, comprising: seventeen spur handled teacups, fourteen saucers, a milk jug, a sugar bowl, twelve side plates, three circular sandwich plates and two square sandwich plates, each piece decorated with a central floral spray within a green border with relief moulded floral details (Qty)
GIORGIO MORANDI (1890-1964)Natura morta signed 'Morandi' (lower left); signed indistinctly 'Morandi' (on the reverse)oil on canvas43.8 x 50.4cm (17 1/4 x 19 13/16in).Painted in 1954Footnotes:ProvenanceDanilo Lebrecht (Lorenzo Montano) Collection, Verona (acquired directly from the artist circa 1954-1958).Thence by descent; their sale, Christie's, London, 30 November 1976, lot 67.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.LiteratureL. Vitali, Morandi Catalogo generale, Vol. II, 1948-1964, Milan, 1977, no. 921 (illustrated).Giorgio Morandi occupies something of a unique position in the canon of Italian twentieth century art. His images of stillness act as a bridge between Metaphysical art's quest to capture the unsettling and enigmatic, and the elevation of the everyday found in Arte Povera. Despite living an extremely simple, inward-looking existence for the most part of his life, Morandi's renown extended far and wide in the Post-War period. Natura morta, painted in 1954, is a sublime example of the Bolognese painter's finest work from this crowning decade. When Alfred H. Barr Jr. (the pioneering American curator) travelled to Italy in 1948 sourcing works for his 1949 exhibition of Twentieth Century Italian Art at the Museum of Modern Art, New York, he was told by all that the greatest living painter in Italy was Morandi. His deceptively simple arrangements of bottles, dried flowers, cans and tins – the markings removed so as to further evoke a sense of timelessness – are synonymous with a contemplative minimalism that belies the agonising preparation that Morandi would undertake before completing each composition. Born in Bologna in 1890, Giorgio Morandi lost his father in 1909 and assumed the position as head of the family, living the rest of his life in their house in via Terrazza with his two sisters Dina and Maria Teresa. After attending the Belle Arti in Bologna, Morandi explored briefly the stylistic breakthroughs of Futurism, but the influence of Paul Cézanne and Jean-Baptiste-Siméon Chardin that he had explored at school continued to impact his work more keenly. Indeed, one cannot ignore the resonance of Cézanne's words when looking at Morandi's deliberately structured canvases: 'Treat nature by means of the cylinder, the cone, and the sphere... Lines parallel to the horizon give breadth... Lines perpendicular to the horizon give depth' (Paul Cézanne writing to Émile Bernard in 1904, in J. Rewald, (ed.), Paul Cézanne Letters, New York, 1976, p. 301). Morandi found in the still life genre the possibility to explore almost all that he wished to express about the human condition, collating over the years a cast of inanimate characters that would appear again and again in his canvases. The silk flowers, cigar tin and sugar bowl that gathered dust on the shelves of his studio on via Terrazza represented not liveliness but something more lasting: 'There is something in these still lifes that goes beyond, I will not say the subject, but the very fact of their being paintings, and quietly sings of humanity' (Cesare Brandi quoted in Exh. cat., Giorgio Morandi, London, 2009, p. 12). Morandi's stylistic development outwith the Academy in Bologna began with his discovery of his contemporaries in the Italian avant-garde. Having left Bologna briefly to serve in active duty in the First World War, Morandi suffered a breakdown in 1915 and was summarily discharged. This period of personal hardship and physical retreat saw the beginning of an interest in the developments made by Giorgio de Chirico and Carlo Carrà in Metaphysical painting, which Morandi explored through a series of still life paintings that display the same intense shadows and sense of disquiet that the one finds in de Chirico's piazze or Carrà's mannequins. Works from this period (1918-1922) very much sowed the seeds of what would come later, and represent Morandi's last great shift in style. From the mid-1920s onwards he retained this interest in the emotive and anthropomorphic power of the still life but began to develop an almost minimalist style and his famed approach to process. Initially displaying slivers of light and shade between the dust-covered objects, Morandi's compositions became more and more dense towards the beginning of the 1950s, with the familiar characters huddling ever-tighter together in a poetic defence. This is typified by the present work, Natura morta, where Morandi groups his bottles, tins and vessels in a close formation where almost no shadows fall between them, and the horizon line sits unbroken behind them. No clutter or hint of life beyond the studio exists in the scene: the composition is unabashedly a construct. The restrained palette of greens, greys and putties amplifies this sense of contemplative simplicity. Morandi placed the greatest importance in the process of selecting and assembling these groups of seemingly mundane objects to populate his still lifes. While the painting of the canvases themselves took comparatively little time, what occupied his mind was the process itself. He described his process to the painter Josef Herman in 1953, just a year before painting the present work: 'In a low voice, as though to no one in particular, he mused: 'What do people look for in my bottles?' I looked at him and he now looked at me. 'It is already forty years since I looked for some element of classical quiet and classical purity, a moral guidance perhaps more than an aesthetic one.' Then he changed the direction of his meditation. 'It takes me weeks to make up my mind which group of bottles will go well with a particular tablecloth. Then it takes me weeks of thinking about the bottles themselves, and yet often I still go wrong with the spaces. Perhaps I work too fast? Perhaps we all work too fast these days?'' (J. Herman, 'A Visit to Morandi', in L. Klepac, Giorgio Morandi, The dimension of inner space, exh. cat., Sydney, 1997, pp. 26-27). The present work not only exemplifies Morandi's Post-War refinement of the principles that he developed in the 1920s and '30s, but comes from a distinguished line of provenance. Natura morta was acquired from Morandi by the Italian writer and poet Danilo Lebrecht (better known as Lorenzo Montano, the pseudonym Lebrecht assumed in 1918) sometime in the late 1950s. Lebrecht had himself taken a role in the development of the Italian avant-garde, writing for the influential magazine Lacerba and founding publications such as Il Mese. Just as Morandi did, Lebrecht enjoyed his greatest acclaim during the late 1940s and 1950s. In 1958, around the time that he acquired this work, he was awarded the Premio Bagutta, one of Italy's highest literary accolades.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A ‘XI SHANG MEI SHAO’ CHINESE EXPORT SILVER THREE-PIECE TEA SET BY RUI HUA JIN DIAN 瑞華金店 OF TIANJINChina, Tianjin, Circa 1900Comprised of one lidded teapot, one cream pot and one lidded sugar bowl. Each resting on a short foot, each of globular compressed belly, each with bamboo shaped handles, the teapot also with a bamboo shaped spout and a bamboo-shaped finial topping its lid. All adorned with magpies and prunus. All inscribed to the below with the city, i.e. Tianjin, the retailer's mark, Rui Hua Jin Dian (lit. Rui Hua Silver Store) and the artisan workshop mark Zeng 增.H (the biggest, the teapot): 15 cmTotal weight: 976 gramsNote: One can say “There is a happy magpie on the tip of the plum branch”, lit. “Xi Shang Mei Shao” (喜上梅稍) which sound exactly like “Xi Shang Mei Shao” (喜上眉稍), lit. happiness up to one's eyebrows". 中国出口“喜上眉梢”银器三件套，瑞華金店，天津中国，北京或天津，约1900年[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- the lid of the teapot detached;- a few minor scratches;- a few minor shocks.
ROYAL ALBERT OLD COUNTRY ROSES TESET AND TRINKET, comprising cake/sandwich plate, milk jug, sugar bowl, pin dish, six tea cups, six saucers and six side plates, together with a Royal Albert Lady Carlyle oval dish and American Beauty oval dish (both seconds) and an unmarked tureen (Condition report: Royal Albert pieces 'ping' nicely, no apparent chips, cracks, or signs of restoration, the gilt is slightly rubbed, the unmarked tureen has extensive crazing to the glaze)
PARAGON CHINA BELINDA PATTERN DINNER AND TEA WARES, comprising: oval meat platter, covered tureen (chip to pontil on lid), gravy boat, cake/sandwich plate, milk jug, sugar bowl, six 27cm plates, six 20cm plates, 12 side plates (one hairline to base), six saucers, six tea cups, and a Hammersley Victorian Violets pin dish (one box) (Condition report: as described)
A WEDGWOOD WILD STRAWBERRY PATTERN TEA SET AND GIFT WARE, comprising eight cups, eight saucers, eight tea plates, bread and butter plate, milk jug and twin handled covered sugar bowl, a shaped square pin tray, a bud vase, a shell shaped dish and an urn shaped vase (31) (Condition Report:- one saucer is cracked and stained, two tea plates sound slightly dull when tapped, rest ok)
THREE BOXES AND LOOSE CERAMICS, GLASS, COLLECTORS DOLLS, COATS ETC, including Royal Winton Hazel pattern breakfast set comprising toast rack, two egg cups a pepper and tray (missing salt), a Royal Albert Masquerade sugar bowl, Capodimonte plaque of a rose, E.P.N.S tea spoons, two white metal rings, stamped 925, one with a clear stone & marked CZ, a Murano fish pin dish, Knightsbridge Collection doll on stand with a similar doll seated having a child on her knee, faux fur coat etc
A Minton St James pattern porcelain dinner and tea service, comprising a teapot, two cream jugs, a sugar bowl and cover, ten teacups and saucers, three tureens and covers, two oval dishes, a large oval serving dish, a sauceboat and stand, eight soup bowls, eight dinner plates, ten side plates and eight cake plates (qty.)Condition report: One teacup with a chip to the foot. Otherwise appears to be in generally good order, with general wear to the decoration.Quite a few pieces have a gilt line mark in addition to the back stamp.
A Royal Winton 'Marion' porcelain tea set for ten, 20th century, comprising cups, saucers, side plates, a sugar bowl, a butter dish, a condiment pot, and cover and a serving plate,the cups 7cm high (36)Condition report: Some rubbing, wear and scratches to paint and gilt. Crazing throughout. Various marks. Firing faults and manufacturing imperfections. General wear.
A silver four-piece tea set by James Deakin & Sons, Sheffield 1930, consisting of a hot water jug, teapot, cream jug and twin-handled sugar bowl, each of shaped ovoid form decorated with vertical reeded bands, hot water jug 23cm high, total 45oztCondition report: All with general surface marks, scratches and tarnishing. The sugar bowl has a large dent to the base.
A large collection of Wedgwood Florentine W2714 dinnerware’s in turquoise pattern, comprising of five handled tureens, one with missing lid, two serving platters, one large serving bowl, two sugar bowls with lids, two jugs, one sauce boat, five serving bowls, two trays, one teapot 21cm high, nine small mugs, thirteen dinner plates, forty-eight side plates/saucers, eighteen smaller saucers, three plates of 25cm diameter, eight of 22.5cm, seven 18cm side plates, six 23cm bowls, twelve 20cm side plates, two smaller bowls, one large 33cm plate and four other small plates. (175)Condition report: A small quantity has damage including cracks chips and repairs, most notably the teapot has a chip to its spout but overall the collection is in good condition.Some light scratches to the central white section but no scratches or losses to the coloured decoration.
A JAPANESE SATSUMA TEA SERVICE MEIJI PERIOD, 19TH OR 20TH CENTURY Comprising: a teapot, a sugar bowl, a milk jug, two saucers and two teacups, all decorated with bamboo and morning glory and with gilt rims, each piece signed Shinzan/Kamiyama in a rectangular cartouche, 13.5cm max. (10) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A silver cruet, RE Stone, London 1949, a sugar bowl, Birmingham 1912 and a sauce boat, approximately 540gm CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
An Irish silver and silver gilt sugar bowl, circa 1752, Hibernia and harp marks only, of fluted form on lion mask capped legs, 11.5cm diameter and a pair of silver scissor action sugar nips, marks indistinct, bowl approximately 222g CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
A modern Meissen tea service for eight decorated in the Indian green pattern, comprising two teapots, a warming stand with burner, two milk jugs and sugar bowls (one with cover), eight cups and saucers and an oval spoon tray CONDITION REPORT: 241 - The teapots - only one has a cover (the cover illustrated on one of the teapots online is for the sugar bowl). Both sugar bowl covers have chipping to the flower finials. One of the teacups has a small chip to the rim. The service appears to have been barely used and all the gilding and enamels are in near perfect condition.
Six pieces of Wedgwood drabware to include a teapot and cover, a bowl and cover and leaf plates CONDITION REPORT: 244 - all items in this lot are in good condition - without damage, restoration or repairs. The two sugar bowls have some usual scuffing to the surface of the handles and finials.
AN ARTS AND CRAFTS HAMMERED SILVER BOWL AND A JAM BOWL, COVER AND SPOON BY A.E. JONES (ALBERT EDWARD JONES)The bowl Birmingham 1910, the sugar bowl and spoon Birmingham 1937, the bowl with a moulded rim, on four square section supports with circular pad feet, 11cm (4 1/4in) diameter; the jam bowl with a ball finial to the conical cover, the bowl with a moulded rim, the spoon old English pattern and also hammered, the cover, 8.5cm (3 1/4in) diameterCondition Report: General overall condition good with minor nicks and surface scratching commensurate with age and use. 1st Marks clear, no faults, stands well2nd Marks clear, maker rubbed at top. No glass liner, no faultsCondition Report Disclaimer
A CHINESE EXPORT SILVER SHAPED SQUARE SUGAR BOWLMAKER'S MARK T.Y.T. (T.Y.T., CHOP MARK, 90) CIRCA 1900Embossed with four panels, of boys playing in a landscape with a vacant roundel, chrysanthemums, a stork amidst irises and prunus blossom, on four feet simulating bamboo, 7.5cm (3in) high; and a small spherical cream jug by Wang Hing & Co., Hong Kong, Canton & Shanghai (WH90, chop mark), fl. circa 1854-1941, circa 1900, with a simulated bamboo handle, chased with dragons amidst clods confronting a flaming pearl, 5.5cm (2 1/4in) high, 233g (7.45 oz) gross (2)T.Y.T., also known as Yi Tai, Xi'an (Shaanxi) Province, North West China, circa 1890 to 1925.Condition Report: Sugar- legs pushed into bowl, two small dents in base, decoration crisp, marks goodCream- over-striken marks clear, no faults, crisp decorationCondition Report Disclaimer
Collection of Port Meirion pottery, primarily 'Botanical Garden', including toast rack, butter dish, cream jug, two milk jugs, sugar bowl, three large mugs, one small mug, six tea cups, slop bowl, two large bowls, four cereal bowls, seven side plates, three meat plates, four large saucers and eleven saucers.
Quantity of silver plate, including a matching tea pot approx. h 16cm, sugar bowl and milk jug marked Cross Arrows WH&S, two Sheffield silver plated goblets approx. 16.5cms, two matching candlesticks approx. h 22.5cms, two mustards with blue lining, a pepperette, together with a silver pepperette and a silver mustard with glass lining hallmarked London 1888 mm E.F.H.T Horace Woodward & Co Ltd.
19th century blue and white foot bath, depicting landscape with village, approx 32 x 42 x 20 cms, together Copeland Spode circular basin approx 37 cms diameter, three cereal bowls, four saucers, butter dish, bread plate, two fluted bowls (2nds), large fluted bowl (2nds), four tea cups, goliath tea cup, sugar bowl and cover, milk jug.
A child's tea set printed with googly eyed child and Golly, six cups and saucers, tea pot -4in. (10cm.) high, sugar bowl (chipped) and milk jug, stamped Shell England; and a Gwenda boxed dolls' cutlery set. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.
A Chelsea gold anchor plate with fruit and insect decoration on a white ground within gold and blue textured border, 22cm diameter together with two Meissen dessert plates with floral decoration on a white ground, 24cm diameter; a Meissen sugar bowl and saucer decorated with autumnal plants and insects, and a further unmarked sugar bowl and saucer (7)Condition report: Chelsea plate with cracks to the glaze, one Meissen plate with hairline crack to rim, Meissen sugar bowl with chip to rim, Meissen saucer with chip to rim, other sugar bowl with extensive restoration to the base
A Worcester part tea and coffee service the white ground decorated with gilt and royal blue floral and foliate decoration to include a sugar bowl and cover, a slop bowl, two bread and butter plates and a quantity of cups and saucersCondition report: One cup with large hairline crack, one bread and butter plate with large crack, gilt edges to plates and cups damaged
A Japanese satsumaware teaset decorated with butterflies and flowers with a character mark to the base including a teapot, sugar bowl and jug, the teapot 20cm wide x 14cm high together with a Japanese satsumaware miniature teapot decorated with flowers with a two character marks to the base, 10.5cm x 6.5cm and a pair of Japanese porcelain vases, each 17.5cm high (6)Condition report: Miniature teapot handle damaged and restored, cover cracked and repaired; large teapot with restoration to the spout end; all with signs on crazing; pair of vases in good condition with some wear to the decoration see extra images uploaded
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