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Click here to subscribeA large Plymouth figure of Asia c.1768-70, from the Four Continents series, modelled as a Classical maiden standing before a recumbent camel and holding a covered vase in both hands, a tasselled turban at her feet, some restoration, 32.2cm. This series was first produced at Vauxhall and is thought to have been brought to Plymouth by the former Vauxhall mould-maker named Hammersley.
A rare Worcester Scolopendrium bowl c.1772-75, moulded with large spiralled scolopendrium leaves amidst small painted floral sprigs, and a small Worcester vase probably later-decorated with panels of birds reserved on an apple green ground, minor faults, 15.1cm max. (2) The design of the bowl is a direct copy of wares produced well over a decade earlier at Chelsea.
A Lowestoft blue and white tea canister and cover c.1785, of unusual vase shape, painted in the 'Robert Browne' pattern with stylised flower sprigs alternating with wavy bands of blue, broken and restuck, 14.5cm. (2) Provenance: a private collection in East Anglia. This pattern was produced over several years and is discussed by Sheenah Smith, Lowestoft Porcelain in the Norwich Castle Museum, Vol I, p 88. This vase-style of tea canister was a rare and later introduction to the factory.
A Salviati Venetian decanter and stopper 19th century, the pale brown body trailed in vertical white stripes, and a small turquoise glass tulip vase, the globular body with four openings to the shoulder, and a Continental double-ended glass goblet, engraved 'Zygmont Winnowski', 31.5cm max. (4) Zygmont Winnowski was born in Yvelines, France on 6th January 1931. There is no obvious record of him as a glass maker.
A plaster model of the Portland vase, probably late 18th century and attributed to James Tassie from a mould taken by Giovanni Pichler, moulded with figural decoration, the base with a roundel of a figure in a Phyrigian cap, the whole decorated in a brown lacquer, 25.5cm high. The Italian gem engraver, Giovanni Pichler, took a mould of the Portland vase c.1780 which was subsequently used by James Tassie to produce a number of casts. Examples can be found in the British Museum, no. OA 17055; the Boston Athenaeum and the Wedgwood Museum. See also an example sold by Sotheby's on 5th December 2020, lot 65. The dating to the late 18th century is attributable to a number of factors. Firstly, the inclusion of the roundel at the base, which was removed in 1786; secondly, the visible fracture lines which are not present in copies taken after 1845 when the vase was broken and restored. The unevenness of the rim and handles is another feature present in earlier casts and not in the later Wedgwood and 19th century examples.
A Delft vase or small jardinière 18th century, the rounded form painted in blue, to one side with a figure fishing beneath trees, the reverse with travellers in a landscape, applied with two mask handles, raised on a tall foot with formal leaf bands, a small pierced hole to the base, 14.1cm.
A Delft vase late 17th century, the octagonal baluster form painted in blue with a peacock and other birds perched among flowering bushes, the slender neck rising to a swollen knop above a stiff leaf border in the Chinese Transitional style, restoration to the neck and foot, 25.2cm.
Two Sunderland lustre jugs 19th century, one decorated with goldfinches on thistles, the other with Charity on a copper lustre ground, a pink lustre mug, a copper lustre vase modelled as a pocket watch, and a small pearlware model of a longcase clock, some faults, 16.8cm max. (5)
A pair of Swansea cabinet cups and saucers c.1815-17, London-decorated probably in the Sims workshop, each cup with an identical vase of flowers, the saucers with smaller floral arrangements, within delicate gilt scroll borders, 15.8cm. (4) Provenance: the Lady Rothes Collection. Previously the Harry Sherman Collection.
A Swansea spill vase c.1815-17, the barrel-shaped body painted perhaps by William Billingsley with a continuous band of flowers including rose, convolvulus and chrysanthemum, the interior rim with a formal gilt scroll border, printed 'SWANSEA' and X mark, some gilt wear to the foot, 11.3cm. Provenance: the Lady Rothes Collection.
A Swansea teacup and saucer c.1815-17, London-decorated possibly by Robins and Randall in the Sèvres manner with panels of flowers reserved on a turquoise oeil de perdix ground, printed SWANSEA marks, and a pair of spill vases painted with baskets of flowers on the same ground, one vase cracked and restored, 14.8cm max. (4) Provenance: the Lady Rothes Collection. Cf. A E (Jimmy) Jones and Sir Leslie Joseph, Swansea Porcelain, p.135, pl.4 for an identical spill vase.
A Collection of Japanese Cloisonne to Comprise Pair of Vases of Bottle Form having Hexagonal Bellies, pair of Ovoid Examples, Pair of Globular Lidded Vases and Further Single Vase. All with Fine Decoration in Polychrome Enamels, tallest 15cms , Condition Issues to all by Largest Pair OK
A 19th Century Chinese Porcelain Vase now Converted to Table Lamp Decorated in the Famille Rose Palette with Butterflies and Flowers, Greek Key Band to Foot with Base having Character Marks in Red on Teal Ground, Complete with Carved and Pierced Stand, Vase Drilled and Total Height 28cms
A 19th Century Chinese Canton Famille Rose Vase Decorated in the Usual Manner with Figures and Birds and Insects Amongst Flora Cartouches, Applied Gilt Crawling Dragons and Twin Temple lion Handles, 25.5cms Together with a Further Smaller Paid, Condition Issues to One, 20cms High
An Impressive 18th/19th century Chinese Porcelain Vase, Finely Decorated in the Famille Noire Palette with Dragons Crawling Through Blooms Set on Circle Scrolls, Geometric and Patterned Trim, Six Character Mark inside Double Concentric Mark for Kangxi to Base, Suspected restoration, 35cms High
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