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Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rom, nachACHILLES UND DIE TÖCHTER DES LYKOMEDESÖl auf Leinwand. Doubliert.158,5 x 126 cm.In dekorativem Rahmen.Die Darstellung geht auf eine Erzählung in der griechischen Mythologie zurück: Um ihn vom Trojanischen Krieg fernzuhalten, sandte die Meeresnymphe Thetis ihren Sohn Achilles zu Lykomedes, dem König von Skyros, der ihn in Mädchenkleider steckte. Die Griechen konnten ihn aber nicht entbehren und schickten Odysseus auf die Suche, der Achilles auf Skyros durch eine List entdeckte. Er breitete vor der Mädchenschar Geschenke aus, neben Schmuck auch ein Schwert und einen Schild, und ließ auf der Trompete ein Angriffssignal blasen. Daraufhin griff Achilles instinktiv nach den Waffen und folgte dem Ruf des Odysseus (Ovid 13, 162 ff.). Auf dem vorliegenden Gemälde ist auf der linken Seite am Hof des Lykomedes Achilles zu sehen, wie er das vorgelegte Schwert ergriffen hat und es aus der Scheide zieht, während die drei Mädchen neben ihm aufmerksam den vorgelegten Schmuck betrachten und teils probieren.Anmerkung:Das Originalgemälde von Pompeo Batoni, Öl auf Leinwand, von 1746, befindet sich in den Uffizien in Florenz. (1391112) (1) (18)Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rome, afterACHILLES AMONG THE DAUGTHERS OF KING LYCOMEDES Oil on canvas. Relined. 158.5 x 126 cm.The depiction is based on a legend from Greek mythology: The sea nymph Thetis sent her son Achilles to Lycomedes, the king of Scyros to keep him away from the Trojan War. The king dressed Achilles in girls’ clothes to disguise him. However, the Greeks could not do without Achilles’ help and sent Odysseus in search of him. He discovered Achilles on Scyros by means of a trick: He laid out gifts in front of the group of girls, including jewellery, a sword, and a shield, and then sounded an attack signal on a trumpet. Achilles instinctively grabbed the weapons and followed Odysseus’ call (Ovid 13, 162f.). In this painting Achilles is depicted at the court of Lycomedes on the left, having taken hold of the presented sword and pulling it from its scabbard, while the three girls next to him attentively look and try on some of the presented jewellery. Restored, with retouching in places. Notes:The original painting by Pompeo Batoni, oil on canvas, dated 1746, is held at the Uffizi Galleries in Florence.

A Victorian walnut and marquetry trumpet shaped work box, the octagonal top with a marquetry chess board, hinged to reveal a fitted interior, on carved tripod base, 79cm high, 45cm wide.

Three resin clown figures, each seated, comprising one playing trumpet, another cello, 25cm high. (3)

Emma Irlam Briggs (British, 1867-1951)Portrait of the artist's sister, Mrs F. J. Butts in green signed 'E.Irlam.Briggs' and inscribed 'Mrs F.J. Butts/The Salterns Nr Parkstone/Dorset' (on the reverse)oil on canvas64.2 x 50.8cm (25 1/4 x 20in).Footnotes:ProvenancePrivate collection, UK (acquired from the artist's great nephew).When purchasing a painting by Emma Irlam Briggs in 1937, the curator of the Russell-Cotes Art Gallery and Museum, Norman Silvester (1894-1969), asked Briggs for a brief summary of her life. Despite popularity and success with her portraits, her religious images and her more Pre-Raphaelite works, Briggs apologised that her life had always been 'very uneventful'. It was true that despite early successes with Pre-Raphaelite pieces and a high profile as a religious painter, Briggs had remained a local artist at home, favouring the galleries of Dorset to those in London. However, the Briggs family motto might well have been 'triumph over adversity' as their fortunes were certainly a mixed bag.Briggs was born in Kent on 31st January 1867, the fourth of six sisters. Her father James Briggs was described as never being of stout health, and the family had not settled long in Poole before he died of pneumonia aged only forty-four. He left his wife and his five daughters (the sixth and eldest, Annie, dying in infancy) to make their own way. Eldest sister Ada (1861-1951) became Poole's first female alderman in 1919 and wrote novels. Agnes (1872-1940) was a violinist and a miniaturist. Monica (1871-1901) was interested in botany, tragically drowning while collecting samples of fungi and stones from round the local pond. Mary (1863-1944), acknowledged in the family as the prettiest, married a man old enough to be her father and found herself a wealthy young widow. When Emma caught measles as a child, she lost almost all her hearing, relying on an ear trumpet. Like her sister Agnes, she turned to art, attending the Bournemouth Municipal Art School to begin with, then studying in conjunction with South Kensington, where she won several prizes. She then completed a course at Wimbledon Art College and was offered a scholarship, but was unable to accept it. She instead did a year at St John's Wood Art School, followed by the Royal Academy schools where she was awarded the Landseer Scholarship. Again, she declined the scholarship and instead went to Paris, before returning to Hampshire to begin her career.Briggs's reputation in the twentieth century was that of a religious artist. Her best loved and most reproduced paintings were In Joseph's Workshop or The Workshop at Nazareth (1904), St Joseph's Dream (1906), both still in private hands. She went on to produce ten paintings, including The Divine Son for the interior of St Paul's Church, Cheltenham. However, the beginning of Brigg's career was marked with Pre-Raphaelite subjects and portraits. Possibly her debut exhibition was in Bournemouth in 1886 and she remained an active member of the Bournemouth Art Society alongside other Hampshire artists such as equestrian artist Lucy Kemp Welch (1869-1958). In early reports of her work she went by 'Irlam Briggs' without any hint of gender, which was corrected over time to 'Miss Irlam Briggs'. Her debut at the Royal Academy in 1892 was with a pair of portraits of Petronell and Dorothy Barrett, followed the year after by a portrait of her sister Agnes, known also as The Violinist (1893, Russell-Cotes Art Gallery and Museum, Bournemouth). 1894 saw The Lost Bower, which was accompanied by a couplet by Elizabeth Barrett Browning from the poem of the same name, which marked a start of a series of literary inspired female figures drawn from Shakespeare and poetry, including Juliet (1896), The Blessed Damozel (1900), Elaine and The May Queen (1902). These were interspersed with female portraits and a rare historical piece, again a female figure, a girl resting against a large open Bible, Elizabeth, second daughter of Charles I, died Sept 8, 1650 (1901).With her propensity for female figures and portraiture, it is unsurprising that her sisters were subjects of her art throughout her career. Agnes's portrait was relatively early, with Ada's official portrait as Poole's first woman councillor presented to the corporation in 1927. This image of her sister Mary, as Mrs Frederick John Butts, might have been painted for her marriage in 1889 or possibly after the birth of her daughter Mary Francis Butts (1890-1937), the modernist writer and acolyte of Aleister Crowley (1875-1947). Mary Briggs's marriage to Butts resulted in her living in Salterns, an 18th century house overlooking Poole harbour, with a collection of William Blake watercolours inherited from Frederick Butts grandfather who was a friend of Blake. Once widowed, Mary sold the watercolours, for which her daughter never forgave her. The portrait would naturally predate Mary's second marriage to Frederick Musgrave Colville Hyde, a retired army officer and friend of her first husband and possible father of her son Anthony (1901-1940). Despite only marrying in 1907, as her second husband was a heavy drinker, she was again widowed in 1919.Briggs remained in Poole for the rest of her life, supporting local charities such as the orphan's home and both the Bournemouth and Poole Art Societies, the latter for which she served as honorary assistant secretary. Prints of her religious images remained popular Sunday School prizes and she continued to exhibit locally until the Second World War. She died at home in Dorset in 1951.We are grateful to Kirsty Stonell Walker, Independent Art Historian and Author, for compiling this catalogue entry.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

Two bases for Trumpet Vases, Schwartzwald or Black Forest. Circa 1880.Wood-sculptured bases with glass trumpet vases, decorated with birds.  Condition report: - The glasses are probably a replacement. - One glass chipped. Dimensions: (L:14,5 x W:14,5 x H:40 cm)

A pair of early 20th Century silver trumpet shaped vases of plain design on loaded bases, hallmarked for Chester 1907, makers mark for Barker Bros (a/f)

Pair of hallmarked silver vases of trumpet shape with crimped rims and plain tapering stems, standing on decorative spreading feet, (loaded), Birmingham 1942, makers mark for A J Zimmerman Ltd (both a/f), 17 and 15cm tall

A group of six Georgian wine glasses, mid-18th century, five with plain teardrop stems, comprising: two large glasses with flaring trumpet bowls and folded feet, the largest 20cm high; a similar smaller glass, 17.2cm high; a glass with bell bowl, single-knopped stem and domed foot, 16.8cm high; and a glass with bell bowl and folded foot, 16.5cm high; together with a glass with bell bowl above triple knopped stem and folded foot, 18.2cm high (6)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Condition Report: The two large trumpet bowl glasses in good condition with only tiny air bubbles to the stems and one bubble to each bowl.  The smaller glass with trumpet bowl with multiple tiny air bubbles.  The tear drop to the stem with a slight fault present since manufacture - there is a slight 'drag' to the mid-point.The bell bowl with single knop to the stem has a flat chip to the folded foot and a miniscule nick to the rim.  Air bubbles also present.The bell bowl with straight stem - the tear drop continues down the stem in two sections.The glass with the triple knopped stem - impurities to the stem and the join of the bowl to the stem is quite rough, possibly indicating a repair.

A group of Georgian cordial glasses, 18th century, comprising: a glass with round funnel bowl and clear spiral and multi-series twist stem, 15.8cm high; a glass with ogee bowl and opaque double-series twist stem, 12.6cm high; a glass with cup bowl and opaque gauze with red and opaque double spiral stem, 13cm high; and a glass with trumpet bowl engraved with a laurel band, 11.2cm high; together with a wrythen moulded dram glass with drawn conical bowl, 10cm high (5)Condition Report: The glass with multi-air twist stem - minor scratches to the bowl and foot, a few minor air bubbles to the foot. The glass with opaque double series stem - minor scratches to the underside footrim and top of the foot. The glass with red and opaque spiral stem - a small chip to the rim, a couple of minor scratches to the exterior of the bowl, some minor air bubbles to the foot. The glass with trumpet bowl - a couple of minor scratches to the bowl and foot. The dram glass - minor scratches to the exterior of the bowl and to the underside footrim. 

A group of Georgian wine and ale glasses, 18th century, comprising: a glass with bell bowl on a collared and double knopped multi-series air twist stem,16.2cm high; a glass with rib moulded ogee bowl with flaring rim on an opaque gauze and spiral twist stem, 16.1cm high; an ale glass with drawn trumpet bowl engraved with hops and barley, 16.5cm high; a glass with round funnel bowl on a plain stem and folded foot, 15.2cm high; and a large glass with drawn funnel bowl and teardrop stem, 17.1cm high (5)Condition Report: The glass with collared and knopped stem - minor scratches to the bowl and to the foot, minor scratches to the collar and join at the stem.The glass with opaque gauze and spiral stem - a small air bubble to the base of the bowl, a small air bubble to the foot, minor scratches to the bowl and footrim. The ale glass - very minor impurities to the foot and one to the bowl, minor scratching to the bowl and foot. The glass with plain stem - minor scratching to the bowl and footrim. The large glass with teardrop stem - a small impurity to the underside of the foot, minor scratching to the bowl and foot. 

AMENDMENT: Please note, there are six cordial glasses in the lot and not seven as previously catalogued, comprising two with ogee bowls, one with funnel bowl, two with ovoid bowls, and one with trumpet bowl. A group of seven Georgian cordial glasses with plain stems, mid-18th century,comprising: three glasses with ogee bowls, the tallest 15cm high; a glass with funnel bowl and folded foot, 14.7cm high; two glasses with ovoid bowls, one with etched trellis and swag decoration to the rim, the tallest 12.5cm high; and a glass with trumpet bowl, 12cm high (7)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.

An Edwardian silver epergne with three hanging baskets. William Comyns & Sons, London, 1906. The trumpet-shaped central vase applied with shell and scroll motifs to shaped border and designed with three scrolling branches, each supporting a swing-handled basket with conforming shell and scroll decoration, 30.4cm high, total weight approx. 31.2ozt

In the manner of Karl Wiedmann for WMF, a red and green trumpet shaped glass vase. Height 33.5 cm, diameter 19 cm (see illustration). CONDITION REPORT: The vase is in good order with no damage, no repairs, and no restoration. There is some rubbing to the base and numerous small scratches also to the base but not the body.

A pair of Victorian trumpet shaped green and milk glass vases. Height 27 cm.

A carved Black Forest clock garniture, 19th century, the case with goats above and game birds below the dial, within naturalistic wooded foliage, the side ornaments with flared glass trumpet vasesthe clock 57cm highsome old knocks and losses to case. not tested

A Trumpet-shaped wine glass, mid 18th century, with a long tear stem and folded conical foot, 17.5cms.

An 18th-century air-twist wine glass of trumpet shape, on high conical foot, 16.5cms; and another later similar glass, 16.8cms. (2)

A quantity of cranberry glass wares, 19th century and later, to include: a basket, the glass handle leading to a folded rim, upon foliate shaped base, 15cm high, a stem vase, of trumpet form, the body with swirled prunted decoration, 27cm high, four water glasses, jugs, dressing table jars etc. (Qty) (at fault)

A pink vaseline glass epergne, 20th century, of typical form, with a central trumpet with three smaller trumpets below, each with shaped rim, leading to a conforming shaped base, 57cm high completeCONDITION REPORT: The epergne shows surface wear commensurate with use and age, to include surface scratching and minimal marks (please see photos). No obvious signs of damage nor restoration.  

A set of six facet cut glass trumpet-shaped flutes on knop stems in the mid 18th Century style, raised on a circular foot, 6 cm diameter x 15 cm high, together with a near-matching facet cut mallet-shaped decanter on a star cut base, 24 cm high (no stopper)

A collection of various pottery and china wares to include a Staffordshire figure of stag hunter on horseback, Staffordshire figure of a poodle, Habitat Nil pattern part tea set comprising tea pot, six cups and saucers, 19th Century clear glass pedestal tazza 21.3 cm diameter x 11.5 cm high, a white pottery tazza 37.5 cm diameter x 12 cm high, stoneware pottery jar, terracotta pottery jar, terracotta pottery jardiniere and a part glazed terracotta pottery jug of trumpet form 20.5 cm high and a small wooden washboard

A pair of Chinese polychrome decorated figures of Cranes in the Qing Dynasty manner, 42 cm high, together with a 20th Century clear glass trumpet-shaped vase with flared rim, 35.5 cm high (2) CONDITION REPORTS Both have general wear and tear conducive with age and use, appear to be pretty modern, some firing faults, in need of a clean - see images for more details.

A collection of various Jasperware pottery including an Adams "The Kill" jardiniere, 22 cm diameter x 19 cm high, a Wedgwood pale blue fruit bowl with Classical style decoration, 22 cm diameter x 13 cm high, together with various smaller items including Classical design Wedgwood cream jug, five various vases, pin dishes, plates, green Jasper pot and cover, and similar trumpet-shaped vase and a Lloyds of London Tercentenary turquoise dish (24), together with two pale blue glazed floral spray decorated jugs, a transfer decorated part tea set, Royal Doulton character jug "Dick Turpin" - (medium) and a pair of plated table candlesticks

AN EDWARDIAN SILVER SMALL EPERGNE, maker Walker and Hall, Sheffield 1910, the central trumpet vase with wirework arms suspending two oval baskets with fixed overhead handles, 8" high, 12ozs 6dwts (Est. plus 24% premium inc. VAT)Condition Report: Generally good, no engraving, one handle terminal to one basket is split, the other basket has concave triangular repairs to each handle terminal, but has been to the Assay Office (case 9595) and returned with no alterations mark.

A John Packer gilt trumpet in carry case

A collection of Wedgwood blue and white jasperware. Including a teapot, trumpet vases, lidded pots, boxed plates, etc.

An assortment of Victorian and later silver plated items. Including pair of weighted candlesticks, trumpet vase, salt and pepper shakers, a tray, etc.

A Moorcroft Pottery tube lined trumpet form vase. In the Buckingham Orchid pattern made in honour of Queen Elizabeth II 90th birthday by Rachel Bishop, 2015, #47. H31cm. In box.

A collection of silver plated items. To include a round epergne with four trumpet-shaped vases, a pierced round cake basket, a tazza, a rose bowl, a tray, a nulled oval entree dish and cover, a shaped oval sugar basket, six pewter beakers, a mug and a quantity of flatware.

A pair of classical garden pedestal urns. Of pedestal cup shape with egg and dart rim, relief moulded classical figures to exterior, reeded handles, moulded and fluted trumpet shaped pedestal, terminating in a square base. one urn marked for the 19th century Scottish firm of ' Garnkirk' Fireclay Company, both H66cm x Diam 52cm

A group of six 18th Century style glasses, comprising three liqueur glasses with opaque twist stems, a pair of airtwist wine glasses, the drawn trumpet bowls engraved with vines and a 19th Century opaque twist stem wine glass with funnel bowl

An English 18th Century wine glass with drawn trumpet bowl and folded foot, 17cm high and seven other glassesTallest glass has a rim chip. One or two of the foot rims look to have been polished/ground.

A Set of Three Trumpet Bowl and Knop Stemmed Drinking Glasses Together with a Facet Stem Example

A WWII Second World War Third Reich Nazi German RAD Labour Service trumpet banner / flag. Double sided red cotton with an embroidered RAD shovel and wheat organizational emblem superimposed on a  black Swastika and finished with a bullion wire fringe. Metal loops ton the top two corners. Measures approx 40x40cm. Due to the nature of these items, we politely remind buyers of the need to satisfy themselves as to the condition / originality of all lots prior to bidding irrespective of any description.

A vintage bronze mounted copper ships trumpet fog horn, numbered 51673 and cast 154 317 3, mounted to a circular oak display base, 64 cm h o/all

A cordial glass with foliate-etched bell bowl and triple-knop opaque twist stem, 17.5 cm, to/w another foliate-etched glass on opaque twist stem and a pair of small trumpet-glasses with etched bowls and folded foot (4) One of pair with repaired foot

An 18th Century 'Kit Kat' glass with small trumpet bowl glass above tear-drop, on baluster knop stem with domed foot, 18cm

Four trumpet-bowl drinking glasses on air twist stems with conical foot, 17.5 cm high approx (4)

Three Nazeing glass bowls, one of squat trumpet form with broad everted rim under cloudy green, 30cm diameter, together with two smaller shallow bowls with distorted rim under pale cloudy blue.

GLASS VASE WITH FAUX FLOWERS, trumpet form vase, 100cm H.

Victorian Vaseline glass epergne, the frilled circular bowl supporting a central frilled trumpet, flanked by three smaller trumpets, H58cmCondition Report: General light wear, predominantly in the form of surface scratches. One smaller trumpet re-attached to brass end cap with glue, possibly masking break.

A Victorian walnut trumpet shaped work box, together with a carved walnut tapestry upholstered footstool (2)Workbox is solid and usable. Quite a few marks and the joints around the main frame of the top are cracked apart. Inside the fabric is worn and dirty. Looks to have had some restorations in the past. Stool is solid and usable, but dirty. Both were removed from a local house clearance, so are unrestored.

An Edwardian rosewood and marquetry envelope card table, together with a Victorian style trumpet shaped work table (2)56w x 56d x 74h cm

Vintage brass trumpet

A collection of Folio Society edition hardback fiction books within card sleeves to include The Smith of Smiths, I Claudious, The Trumpet Major...etc..

Catuvellauni: Tasciovanos War Trumpet bronze unit. 25 BC-10 AD. 16mm. 2.09g. Head right, TAS in front. R. Warrior right on horse right, holding carnyx, VER below. Ref: ABC 2676. S.246.

Tomlinson, Henry Major: Gifts Of Fortune, London, William Heinemann, Ltd., 1926, with dedication to the free end page signed Lewis & Sybil Casson, in publishers blue cloth, 8vo, together with various other titles by or relating to the author to include Thomas Hardy, signed ltd ed no.566/761, 1929, Between The Lines, First Trade Edition, 1930, Cote Dor, 1929, Illusion: 1915, 1929, Mars His Idiot, 1925, Galleons Reach, 1927, The Snows Of Helicon, 1933, Under The Red Ensign, 1926, London River, 1921, Old Junk, 1918, Great Sea Stories of all Nations, 1930, Waiting For Daylight, 1922, Out Of Soundings, 1931, The Face of the Earth, 1950, A Mingled Yarn, 1953, A Selection from his Writings, 1953, The Trumpet Shall Sound, 1957, Morning Light, 1946, The Wind Is Rising, 1941 and Gifts Of Fortune, 1926. (21)

A Pair of Chinese Porcelain Vases, Kangxi, of baluster form with tall trumpet necks, painted in underglaze blue with precious objects and foliage in ogee panels within foliate borders28cm highChipped and heavily abraded at the lower rim above the footrim on both vases. One vase with a large U-shaped section of repair to the rim. The other with a flat rim chip and other fritting. Some glaze wear and scratches to both.From a private collection in Yorkshire.

A Pair of Cantonese Porcelain Vases, mid 19th century, of baluster form, the trumpet necks applied with mythical beast handles, painted in famille rose enamels with battle and courtly scenes in panels on a foliate ground with exotic birds within formal borders64cm highOne vase with a section of loss to the folded rim and with an associated crack.The other vase with a feint star crack under the base.No restoration to either. Some glaze pitting, fritting and general wear.

~ A Chinese Pale Celadon and Russet Jade Vase, Qing Dynasty, 18th century, as a trumpet-shaped flowerhead carved with bats and with pierced branches and lingzhi 15cm high, with hardwood standPlease note that there will be no internet bidding on this lot. All bidders on lots 1-10 will be required to provide identification and a deposit of £1,000. Registration for commission and telephone bidding on these lots will close on Wednesday 13th March at 12 noon. To register please email enquiry@tennants-ltd.co.uk Provenance: John Sparks, 28 March 1955 For a similar example with the addition of two cranes and described as being Kangxi period, see the Metropolitan Museum, New York, accession no. 02.18.457Please note that there will be no internet bidding on this lot. All bidders on lots 1-10 will be required to provide identification and a deposit of £1,000. Registration for commission and telephone bidding on these lots will close on Wednesday 13th March at 12 noon. To register please email enquiry@tennants-ltd.co.uk Two small chips to the rim. Crack under one ruyi head and to an adjacent tendrils and body behind (stable). Other smaller cracks that appear to be naturally included. Another abrasion to one of the roots below. Sold with photocopy of original receipt.

A Pair of Chinese Porcelain Baluster Vases, mid 19th century, the trumpet necks with mythical beast handles, painted in famille rose enamels with dignitaries in interiors on a foliate ground within formal borders46.5cm highGood overall condition. No chips, cracks or repair. Some glaze pitting and light wear. Need cleaning.

Two cut glass vases including trumpet shape and conical shape with frosted base.

A pair of Art Deco style cast aluminium table lamps, each in the form of a semi-nude kneeling female figure, each with frosted glass trumpet shade and raised on integral hardwood base, overall h.40cm Modern examples with what appears to be the original wiring; not PAT tested.

A hallmarked for London 1890 silver trumpet vase/posy holder, maker unknown, gross weight 102g

SELECTION OF FIVE SILVER BANGLES AND BRACELETScomprising a bangle with trumpet shaped flower detail, with Platinum Jubilee mark and maker HH; another with blue topaz set finials; a heavy identity bracelet engraved 'Afzal' (approximately 54 grams); and two other bracelets

A 42cm Victorian inlaid walnut trumpet worktable with checkerboard to lift-top and part fitted interior, set on carved pillar and tripod base

A Rockingham porcelain trumpet vase. Circa 1840, painted with a panel of flowers in a vase, on a green and gilt ground, printed Griffin mark in red, height 6.2cm.No cracks or chips. very slight wear to gilt on the rim. Otherwise no condition issues.

An English porcelain basket. Possibly Coalport, circa 1820, with lattice work sides, painted with tulips, height 14cm, together with a floral painted trumpet vase (2).Some small chips to petals, around the edges and to handle. Also heavy restoration to one side, and further restoration where the handles join the basket. repairs also visible to the top of handle. The vase has several cracks, possible repairs. slight wear to gilt around the rim. Images of these condition issues have now been uploaded to our website.

A Ruskin Pottery ovoid crystalline vase. Glazed in blue over orange and turquoise impressed mark and 1932 date, height 16.5cm together with a Ruskin Pottery trumpet vase, circa 1933.(2)Ovoid vase- A few glaze faults around the rim, no other issues.Trumpet vase- No issues.

Clarice Cliff - Butterfly - A shape 280 vase of footed trumpet form circa 1931, hand painted with a stylised butterfly over a banded ground with black and brown banding, fantasque mark, height 15.5cm. Provenance - Lot 12 - Clarice Cliff - Christies - 11th November 1999.