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A Bristol delft posset pot, c. 1680 /1700, of cylindrical form, painted after a transitional vase with Chinese figures, the shoulders with rui head borders, loop handles, restored, lacks cover, label on the base reads 'Exceptionally fine old Bristol Delft posset pot, circa 1660 from the Bryanston House sale, Lord Portman.'
A Royal Worcester oviform vase and cover, painted by John Stinton, signed, with five highland cattle within a mountainous landscape, the reverse with a landscape of mountains and sea, the two griffon head handles heightened with gilding, all upon a stiff leaf moulded pedestal base, printed puce marks, date cypher for 1906, shape 1764, lid restored, 41 cm (2)
BALTHASAR VAN DER AST (1590-1656) Oil on Oak Panel sill life study of a 'Semper Augustus' Tulip, Carnation and other Flowers in a Wan-li vase 15 ¾” x 10 ½” this study is believed to be a fragment of a larger panel and would date to mid 1620's£100,000-150,000Provenance: Entered by a local lady, who acquired the picture through descent from her family
An Enamelled Overlay Glass Vase, circa 1870, of transparent green metal, of tapering slender form between foliated trumpet neck and similarly foliated splayed foot, the body with three white raised fields containing enamelled sprays of wild flowers, all within elaborate gilt scrollwork, 30.2cm high; and A Red Overlay Glass Trumpet Vase, 22cm high (2) See illustration
A Royal Worcester Porcelain Fruit Painted Small Vase, William Ricketts, 1926, compressed spherical form with short trumpet neck, moulded with a collar of pointed leaf tips, painted with three apples, four blackcurrants and apple blossom against a mossy bank, signed, and with vignette of three cherries, puce printed crown and wheel mark, date code and shape "F110", 10.2cm high; and A Similar Vase, Harry Ayrton, 1931, painted with two peaches, brambles, and with bramble vignette, similar mark and shape number, 10cm high (2) See illustration
A Royal Worcester Highland Cattle Painted Porcelain Pot Pourri Vase and Cover, John Stinton, circa 1906, of two-handled squat pedestal shape, the fluted and domed cover with bud finial, painted with a a vignette of two longhorn cattle in a misty highland glen, signed, the reverse with rocky vignette, with pierced collar and applied with swags, against a blush ivory/peach ground, enriched in gilt throughout, puce printed crown and wheel and date code for circa 1906 (slight smudge), shape "1428", 33.5cm high See illustration
A Pair of Figures, Bacchus and Ondine, after J B Klagmann, Minton, 1862 and 1864, Bacchus stands half naked draped in a lion skin beside a grape vine, drinking from a ram's horn cup, Ondine stands semi-naked, a tipping vase supported by her right hand, circular stepped bases, both with impressed mark "Minton" and respective year cyphers, 42cm and 41.5cm high respectively See illustration A similar figure of Bacchus is illustrated in the The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.118, where a footnote describes the piece as exhibited by Minton at the International Exhibition 1862, the companion to Ondine, who was herself shown at the Great Exhibition of 1851. Bronze statuettes of Bacchus and Ondine by Klagmann appeared in the Paris Salon of 1859. Bacchus is described as shape 353. Ondine also occurs in tinted parian, and an example of such is illustrated in The Parian Phenomenon on page 6. Versions were also available with elaborate glazed pedestals (as shown at The Vienna Exhibition 1873, as shape numbers 473 and 479. Jean-Baptiste Jules Klagmann (1810-1867) born in Paris and began his career in a copper foundry before studying as a decorative and monumental sculptor under J J Feuchere and E J Ramey. Designed Goldsmiths work in the Renaissance manner and then worked as a designer for Sevres. Bacchus (Greek-Dyonysus) God of Wine, originally a fertility god whose rites were accompanied by frenzied orgies. Ondine (or Undine) was a water spirit, the subject of La Motte Fouque's Fairy Romance.
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