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A Staffordshire fisherwoman group, decorated in white and gilt, 26cm high; a couple group decorated in colours (damages), 23.5cm high; a spill case supported by a pair of doves above a cow and a horse drinking from a trough, entitled 'Companions', 27cm high; a man on horseback (damages), 20.5cm high; a bower group, 14.5cm high; and a spill vase depicting two children sleeping, 13.5cm high (6)
A Poole pottery traditional style flower ring painted with alternating flower heads within lilac and blue line borders, marked M/ JL HA, dolphin mark, 9" diameter; a similar compressed ovoid pot with floral collar and blue dash line border, enamelled E/ BN XXX, dolphin mark, 4.5" diameter; a rectangular flower trough, pattern indistinct, 6.5" long.(3).
A late 19th Century flower trough by Sowerby circa 1880. The trough of elongated rectangular form with facet ends decorated in relief in the Elizabeth, Elspeth, Betsy & Beth pattern with four bonneted girls to a landscape setting with nesting birds, frogs and lambs all to the turquoise ground, relief mark, measures 6" long.
A late 19th Century posy trough made by Sowerby circa 1886 in the form of a boat complete with separate stand. The whole decorated with panels of foliate motifs against a fluted ground and detailed with a pale sea green to blue opalescence, relief moulded marks and registration numbers, measures 10.5" long, S/D.
A massive Chinese bronze water trough, 19th Century, of rectangular section with an everted rim above cast dragons sporting amongst spuming waves above a reserve chased with inscriptions on both sides and resting on four demon feet, green/grey patination, 129.5cm long, 70cm deep, 56cm high. The form can be found in a similar trough in the Palace Museum, Beijing, dating from the warring states period (481-221BC) which example has additional ring handles and rests on tiger feet. .
George Morland, (1763-1804), 'Pigs at a trough', oil on panel, signed with initials and dated 1797, 12" x 16.5Ó. Footnote: From a very early age, Morland showed a remarkable ability with some early sketches shown at the Royal Academy in 1773 when George was just ten years old. He was apprenticed to his father, Henry Robert Morland, (1719-1797) a London portrait painter where he stayed for five years. He rejected the advances of several leading artists of the day including Romney, who offered to take Morland into his studio for three years with a salary of £300 per annum. Morland was one of the first to avoid direct patronage and commissions and to paint purely at his own sweet will. His domestic scenes of country folk were often painted entirely from his imagination and, though lacking any intellectual content, were extremely popular with the general public. Though successful financially, Morland lead a self indulgent lifestyle secretly moving studios around London to avoid his creditors. This high living eventually took its toll and he died in a debtor's prison of a brain fever in 1804.

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15339 item(s)/page