There are 151247 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeX A VICTORIAN SILVER TEAPOT, by Henry Holland, London 1875, shaped oval with flush hinged cover and fruitwood handle, encircling bands of engraving to the top and bottom of the sides, a similar band to the edge of the oval cover, with ivory knop. 22.7cm spout to handle, 10.9 troy ounces grossWith non-transferable standard ivory exemption declaration number Z17TRQ6X
A GEORGE III SILVER TEAPOT, by Peter & Ann Bateman, London 1794, oval, the domed cover with recessed hinge and fruit-form finial, engraved with squiggle work, a crest and an armorial. 29.5cm long overall, 17.3 troy ouncesView 360 degree spinFinial slightly knocked, tip of spout slightly damaged, knocks to spout and handle mount, hallmarks and crest engraving clear, the lid hinge is slightly loose
A GEORGE III SILVER FOUR-PIECE TEA AND COFFEE SERVICE, by John Robins, comprising teapot, London 1797; coffee pot, London 1804; cream jug, London 1805; and two-handled sugar bowl, London 1803; each of rectangular section with inverted corners, bright-cut engraved with florals swags and pendants. (4) Coffee pot 27cm high, 61.9 troy ounces grossQty: 4
X A CHINESE EXPORT SILVER THREE-PIECE TEA SERVICE, by Yu De Chang, late 19th Century, comprising teapot, cream jug and two-handled covered sugar bowl, inspired by Yixing stoneware, naturalistically formed and chased with prunus trees, signed, the teapot with two ivory insulators to the handle. Teapot 22.5cm long, 31.8 troy ouncesWith non-transferable standard ivory exemption declaration number 5ZVJ3811Qty: 3
X A VICTORIAN SCOTTISH SILVER THREE-PIECE TEA SERVICE, by John Muirhead & Son, Glasgow 1871, comprising teapot, cream jug and two-handled sugar bowl, with beaded rims and engraved decoration, teapot with ivory insulators. (3) Teapot 20cm long, 22.3 troy ounces grossWith non-transferable standard ivory exemption declaration number PH7KMSCM Qty: 3
A rare Vezzi teapot and cover, circa 1725The body lobed and moulded with a circular panel on each side painted with a green and gilt flower motif, the shoulder moulded with an overlapping scale pattern decorated in green and gilding, the spout with a terminal in the shape of a palmette, the centre in green and gilding, applied with an angular strapwork handle, the cover similarly decorated with the overlapping scale pattern and applied with a knop finial, 14.5cm high, incised fC(?) (finial restuck on cover, chip with associated haircrack to top of handle) (2)Footnotes:The shape of this rare pot appears unrecorded, although it bears resemblance in the fluting around the side gadrooning around the footrim and the scale pattern on cover and shoulder, to a teapot in the collection of Dr Giovanni Lokar (as published by Andreina d'Agliano, Porcellane Italiane dalla Collezione Lokar (2013) cat. no 13.).The incised Cf mark under the base of the pot and inside the cover is consistent with other Vezzi pieces, for example a teapot most recently sold at Christie's, 25 April 2017, lot 84, and a teapot in the Victoria and Albert Museum (C.121&A-1930). The Vezzi factory in Venice was the third factory in Europe (after Meissen and du Paquier) to produce a hard-paste porcelain. The factory was founded by Giovanni Vezzi (1686-1746), a nobleman, whose father Franceso Vezzi, provided funding to build a porcelain manufactory. It is a story of industrial espionage which was discussed by Francesco Stazzi, Porcellane della Casa Eccelentissima Vezzi (1967) in great detail, and was most recently revisited and supplemented by Luca Melegati (op.cit in A. d'Agliano (2013) p. 19). Production began in 1720 after Vezzi was able to secure the knowledge and experience of some foreign arcanists, mostly from the du Paquier manufactory in Vienna, to come to Venice to assist him in setting up the workshop. These included Christoph Conrad Hunger from du Paquier, who is listed in 1720 as a partner in the new factory, but who broke off his association with the Giovanni Vezzi in 1724 and left Venice in 1727. Although never commercially viable like the other famous Veneto factory founded some decades later by Geminiano Cozzi, Vezzi did manage to produce a remarkable range of wares using clay from the Veneto region. These are notable for their unique and individual baroque shapes, often combined with polychrome colours and gilding. In 1727 the factory was forced to close due to financial difficulties, and the production spanned less than a decade.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
A Sèvres part tea service, dated 1768Each painted by Denis Levé with floral swags below a blue ground with a gilt scrollwork border, the covers with flower finials, comprising: a teapot and cover (théière 'Calabre', 14.2cm high); a sugar bowl and cover (pot à sucre 'Calabre', 11.8cm high); six cups and twelve saucers (gobelet 'Hébert' et soucoupe of the second size, 5.8cm high); a shaped oval dish (18cm long);together with ten later English porcelain cups and six saucers, and a circular plate (23.2cm diam.), interlaced LL monograms with date letter P and painter's mark L. in blue, incised marks (two cups with small rim chips and haircrack, small chip to teapot spout) (40)Footnotes:Provenance:Hungerford Crewe, 3rd Baron Crewe, FSA FRS (1812-1894), Crewe Hall, Cheshire;Thence by descentFor further information on this lot please visit Bonhams.com
An important Sèvres Royal Presentation part tea and coffee service commemorating King George III's recovery from illness, circa 1789Of hard and soft-paste porcelain, each piece decorated with a different motto and/or crowned 'G' flanked by crossed laurels in gold, the rims decorated with a band of stylised flowers composed of a single gold pastille on a pink stem flanked by green dots inspired by fabric designs, the band of flowers enclosed by a double band of stylised neoclassical motifs in puce, blue and picked out in gilding, the handles embellished in gilding, the finials gilt, comprising:a large teapot and cover,a large sugar bowl and cover,a large cold milk jug on three feet,five gobelet litron and saucers,four teacups and five saucers, the teapot and cover: 16.5cm high, interlaced LL monogram and painter's mark attributed to members of the Weydinger family in gold (on the teapot and the milk jug) and blue, various incised marks (24)Footnotes:Provenance:Commissioned by Bernardo y Pérez de la Serna, Marquis del Campo, Spanish Ambassador to the Court of St James, in 1789;Queen Charlotte (1744-1818) [according to tradition - thence to]Mary, Duchess of Gloucester (1776-1857);Prince George, Duke of Cambridge (1819-1904), the grandson of George III; thence to his sonSir Adolphus FitzGeorge (1846-1922); thence to his great-nephewGeneral Sir Victor FitzGeorge-Balfour (1913-1994);Thence by descentLiterature:Geoffrey de Bellaigue, 'Huzza the King is Well!', in Burlington Magazine, vol. CXXXVI (June 1984), pp. 325-331;Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen (2009), vol. II, cat.no. 175, and vol. III, cat. no. 259 This remarkable tea service was part of a larger service, including a dessert service, now mostly in the Royal Collection that was commissioned by the Spanish Ambassador, the Marquis del Campo, for a gala held in name of the King of Spain on 9th June 1789 to celebrate the recovery of King George III from illness. Queen Charlotte, accompanied by her daughters, was the guest of honour at the gala in the Rotunda of the Ranelagh Gardens, Chelsea. Two thousand invitations were issued and the entertainment included dancing by Spanish children, a lottery, moving transparencies and a fireworks display. A supper was dramatically served in boxes that were simultaneously unveiled at one o'clock to reveal the richly-decorated tent-like interiors. The Queen's tent contained a table laid with gold plate as well as the Sèvres porcelain service; it was hung at the back with pea-green satin and with festoon curtains of white lute-string with gold fringing to complement the colours of the service.Differing accounts exist of how the Spanish ambassador disposed of the service after the gala. Elizabeth, Countess of Harcourt attended the gala and recorded in her memoirs that a major part of the service was presented by the Marquis del Campo to her and her husband in February 1796, following his appointment as Ambassador to the French Republic. She noted of the gala: It was very magnificent, and took place at Ranelagh on June the 9th 1789. The Queen was received there in great state. A beautiful service of China with appropriate medallions and mottoes was manufactured by the Royal Sevres Porcelain Works.[...] (Edward William Harcourt (ed.), the Harcourt Papers privately printed by James Parker & Co, Oxford, c.1900, vol. VI, part 1 p.267-268). Another account quoted by Sir Geoffrey de Bellaigue suggests that the tea and coffee service was presented to the Queen the day after the gala, although it could have been given directly to her daughter, Mary, Duchess of Gloucester, who was present. Another possibility is that Lord and Lady Harcourt, who were presented with the dessert service by del Campo when he left London in 1796, may also have received the tea and coffee service and subsequently given it to Mary, Duchess of Gloucester, to whom they were close (de Bellaigue 2009, vol. III, p. 920). The bulk of the dessert service remained in the possession of the Harcourt family until 2003 when it was purchased by The Queen. Following the death of the Duke of Cambridge in 1904, the tea and coffee service was divided between his two sons; the present lot passed to Sir Adolphus FitzGeorge and his descendants, while the second portion went to his brother, Sir Augustus FitzGeorge, and, following his death in 1934, was purchased by Queen Mary (see below). Other than a few items from the dessert service retained by the Harcourt family, all other recorded pieces from the service are now in the Royal Collection (see above Literature).According to David Peters and Sir Geoffrey de Bellaigue, the service closely corresponds precisely with one purchased by the marchand-mercier, Dominique Daguerre, listed in the sales' ledger between 17 April and 12 August 1789. The components of the tea and coffee service include: '24 Tasses, 2 Pots à Sucre, , 2 Pots à lait, 1 Theyere, 1 Jatte a Lait' (two teacups, one gobelet litron and two saucers are now missing). The part of the service purchased by Queen Mary in 1934 and now in the Royal Collection includes: a sugar bowl and cover, a milk jug, a basin, six teacups and saucers and six coffee cups and saucers (De Bellaigue 2009, vol. III, no. 259).It seems certain that Daguerre acted as the Spanish ambassador's intermediary and the mix of hard and soft-paste porcelain and the use (for the dessert service) of existing stock together with specially decorated or inscribed pieces suggests that the commission had to be fulfilled in some haste. Customs records indicate that the service arrived in Dover on 9 May 1789.The following mottoes are inscribed on the pieces:The teapot:'The Best of Husbands', 'the Patron of Arts'The sugar bowl:'Vive Le Roy'The milk jug:'God Save the King'The teacup saucers:'God Save the King', 'the Patron of the Arts', 'Glory to the King', 'The Boast of Good Men', 'The Best of Husbands'The gobelets litron:'God Save the King', 'Glory to the King' (twice), 'the Patron of Arts', 'The Best of Husbands', and the saucers each with a caduceus and oak branch and a banner reading 'Salus Regis Salus Populi'For further information on this lot please visit Bonhams.com
An extremely rare early Meissen teapot and cover, circa 1715-20Of globular form with a moulded band around the everted rim, applied with a crisply-moulded eagle spout and a scroll handle with a putto's head thumbpiece above a serrated band, the domed cover with two-tier finial, 13cm high (rim chips to cover) (2)Footnotes:This form was probably designed by the Dresden Court Goldsmith, Johann Jacob Irminger, and is listed in the 1711 inventory of the Meissen manufactory ('Thee Krügel mit den ganzen Adler' [teapot with the whole eagle]); see Claus Boltz, 'Formen des Böttgersteinzeugs im Jahre 1711', in Mitteilungsblatt der Keramikfreunde der Schweiz, 96/1982, pp.7-40. Böttger stoneware examples are in the Ludwig Collection, Bamberg (published by L.Hennig (ed.), Glanz des Barock - Sammlung Ludwig in Bamberg, no.99), and in the Dr. Ernst Schneider Collection, Schloss Lustheim (R.Eikelmann (pub.), Meißner Porzellan des 18.Jahrhunderts in Schloß Lustheim, no.5).The 1721 inventory of the manufactory includes 'Ein sauberer, rund gedruckter am Halße etwas vergoldeter Theé Pot mit einem Adler statt der Schnauze und einem saubern Henckel, worauf ein Engle Köpffgen, nebst einen runden, etwas vergoldeten Deckel mit einem platten Knöpffgen' [a clean, round partially gilt teapot with a pinched neck with an eagle instead of the spout and a clean handle, on which there is a small angel head, along with a round, partially gilt handle with a flat finial] (quoted in U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), pp. 197f). The only other recorded example of this form in the white is in the High Museum, Atlanta, Marjorie Eichenlaub West Collection (accession no. 2018.166 a-b), formerly in a German aristocratic collection, sold at Sotheby's Munich, 8 December 1999, lot 101). Other examples with Hausmaler decoration by the Seuter workshop in Augsburg are in the Frick Museum, New York (M. Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain (2008), no. 269; published in Frühes Meissener Porzellan (1997), no. 153; and in the State Hermitage Museum, St. Petersburg (Lydia Liackhova, The Myth of the Orient. Eastern Subjects in early Meissen Porcelain (2007), no. 5).For further information on this lot please visit Bonhams.com
A Meissen yellow-ground part tea service, circa 1735Painted in purple camaieu with Kauffahrtei scenes of merchants and their wares by a quayside, as well as estuary and river scenes. on the saucers within iron-red concentric circles and on the remaining pieces in quatrelobe reserves, further decorated with purple indianische Blumen insects and birds reserved on the yellow ground, comprising: a teapot and cover, a lobed quadrangular tea canister and cover, two teabowls and saucers and a lobed teapot stand, the tea canister: 12cm high, crossed swords marks in blue and underglaze-blue, impressed Dreher's marks for Johann Gottlieb Kühnel, Gottfried Bergmann and Johann Christoph Pietzsch and another unidentified (spout of teapot slightly reduced, one teabowl with a haircrack) (9)Footnotes:Provenance:Brigitte Britzke Collection, Bad PyrmontLiterature:Meissener Porzellan des 18. Jahrhunderts aus Bad Pyrmonter Privatbesitz, exhibition catalogue (2002), p. 56;La Porcelana de Meissen en la Colección Britzke/Das Meissner Porzellan der Britzke-Sammlung, exhibition catalogue (2009), p. 78Exhibited:Museum im Schloss, Bad Pyrmont, Meissener Porzellan des 18. Jahrhunderts aus Bad Pyrmonter Privatbesitz, 28 November 2002 to 26 January 2003;Fundación Caja Segovia, La Porcelana de Meissen en la Colección Britzke 1709-1765, 16 July to 18 November 2009For further information on this lot please visit Bonhams.com
1920s Shelley Queen Anne shaped tea service, decorated in the Blue Iris pattern no. 11561, comprising a teapot, six cups, saucers & tea plates, two sugar bowls, cream jug, milk jug (a/f), sandwich plate and four small platesCondition Report:Inspected under UV. -Tea plates, some minor surface scratches and fading - Serving plate, staining and fading - Milk jug, damaged as per images, missing a section and repaired - Cups, 3 having small hairline cracks to the body, 2 with internal staining � Cream jug , hairline crack � Sugar bowl, hairline crack. Wear commensurate with age
Loading...
