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Lot 269
Two trays of assorted items to include: two pairs of white metal candlesticks embossed with flowers, plumes, etc. White metal lidded vegetable dish, and Sheffield EPNS teapot with ebony knop and handle, together with milk jug, sugar basin, and tongs, as well as one square shaped lead crystal decanter, together with a baluster shaped cut glass decanter with a mushroom stopper, a cut glass vase, two EPNS lidded flasks with embossed decoration, and a framed picture, possibly a print, with information on the back stating it's Oxwich Church and Rectory circa 1790 attributed to Thomas Rothwell 1742-1807 and includes figures form the Swansea pottery, named. (2)(B.P. 21% + VAT)
Lot 277
Three boxes of assorted china and pottery to include a signed Denby avocado-shaped dish decorated with leaves, a blue Denby bowl, naively decorated cockerel dish, signed and dated Poland 1950, Ridgeway Conway fine bone china part dinner ware, decorated in white pink and gold, five Royal Albert Old Country Roses bowls, together with a pair of blue white and gold Royal Albert tea cups, Alfred Meakin Caledonia bowls, framed delft tile, Fenton stone works Oriental pattern plate, Carlton oven ware yellow lidded dish with gravy well, Macintosh vase and lidded pin dish decorated in purple and blue on a white ground, Austrian cabinet cup and saucer in gilt and white, Sandal ware bowl, etc. (B.P. 21% + VAT)
Lot 279
Three boxes of assorted china to include a shorter vase, Medina pattern by Mabel, decorated with stylised hand painted flowers on a brown ground, two commemorative tankards: a Royal Doulton Dambusters, and a Royal Sutherland Farewell to Concord, and a pair of Carltonware candlesticks, together with a box of assorted jugs, copper lustre, two lily of the valley jugs highlighted with pink lustre, Kensington ware jug, three govancroft Glasgow jugs with lustre glaze, etc. And a box of vases to include German vase, handmade KK Greece vase, a ceramic half stilton cheese dish and cover, and a crested cheese bell, Fenton Ye Old Foley ware vase, etc.(B.P. 21% + VAT)
Lot 281
Two trays of Portmeirion pottery to include Botanic garden jug and bowl set, heart-shaped Botanic Garden design pin/dressing table dish, teapot, large Botanic Garden vase and crocus and snowdrop bowl, and a two handled daisy bowl. Together with a viola cup, two saucers, and two plates.(B.P. 21% + VAT)
Lot 283
Two boxes of assorted china and ston ware to include a Japanese vase, a Staffordshire salt glazed embossed white jug, a large blue and white ginger jar, etc. Together with a box of stone jars and hot water bottles including a Buckleys Brewery pure ginger beer bottle, a Black Friars jar, stone handled bottles, three hot water bottles with their stoppers, W M Maxwell malt scotch whisky bottle, etc.(B.P. 21% + VAT)
Lot 308
Two boxes of, largely pottery vases, together with a small box of crested Czechoslovakian Gemma ware and English crested ware to include: Staffordshire Arcadian bathing hut, FP & S three-handled miniature Coronet ware cup, JR & C Victoria china miniature jugs. Vases and jugs to include: large blue and white carnation design jug, birds of paradise design vase, Oriental vase, West German brown and beige drip design Art Pottery vase, pair of hand painted Japanese vases, and pair of two-handled, Victorian, rose painted vase.(B.P. 21% + VAT)
Lot 323
Box containing various items to include: Bell's scotch whisky ceramic bell to commemorate the birth of Prince William of Wales, 1982 (has liquid contents) florally decorated vase in blues, white and beige, red Chinese markings to the base, pair of miniature whisky tumblers etched with House of Commons image and inscription, two Royal Sheffield metal bottle stands with wooden bases, two boxed sets of Delphi gold plated 'fish eaters' made in Japan with black and gold handles in art deco style, two commemorative loving cups, one commemorating the marriage of The Prince of Wales and Lady Diana Spencer. (B.P. 21% + VAT)
Lot 327
Tray of Masons Ironstone Mandalay red items to include candlesticks, graduated set of three pouch-shaped dresser jugs and a vase, together with another tray of Masons items to include applique cylinder vase, trinket box and cover, regency ginger jar and cover, teapot, etc. (2)(B.P. 21% + VAT)
Lot 51
Group of Spode porcelain items to include unusual purple ground baluster jug decorated with minstrels playing instruments and a similar colourway musician ring stand, printed marks. Together with a small Spode baluster shaped rosewater vase and cover with floral decoration on a pale blue ground, a pair of Spode Felspar porcelain Oriental design cylinder vases and a flower head design gilded and painted cabinet cup with butterfly handle. (6) (B.P. 21% + VAT) One oriental vase - vertical haircrackCup and saucer - heavy wear all overRing stand and jug are worn in places with losses/wear to gilding. Most items have some wear to gilding.
Lot 15
A CHINESE PORCELAIN VASE AND COVER of slender inverted baluster form, painted in underglaze blue with shaped panels enclosing vases of flowers on low tables, on a cracked ice and prunus ground, unmarked, 12 1/4" high (Est. plus 21% premium inc. VAT)Knop re-glued, chip to underside of flange, chip and crack to rim of vase
Lot 182
A WILLIAM IV SILVER SIFTER, maker Reily & Storer, London 1835, of inverted baluster vase form, the pierced lift-off top with acorn finial, chased with stiff leaf lobes, on a domed foot, 4" high, 3ozs (Est. plus 21% premium inc. VAT)Maker's mark a little rubbed but still readable, cover has matching marks. Edge of cover a little squashed as a very tight fit and has been "forced" at some point. No holes
Lot 20
A LARGE PAIR OF CHINESE PORCELAIN ALCOVE VASES of baluster form with pierced lug handles, painted in famille rose enamels with panels of figures at various pursuits on a foliate, bird and insect ground, 25" high (Illustrated) (Est. plus 21% premium inc. VAT)One vase lacks one handle and has two pieces glued into rim with 6cm crack running down. There is also a hairline on panel with couple with parasol. The other vase is in good condition. The white enamel on both vases has misfired and is quite bubbly with missing patches
Lot 204
A GEORGE III SILVER VASE SHAPED MUFFINEER, maker probably Samuel Wood, London possibly 1750, with diaper and scroll pierced cover with urn finial, 6" high, 5ozs 10dwts (Illustrated) (Est. plus 21% premium inc. VAT)Marks somewhat overlapping. Cover with lion and half another mark only. Good. Good gauge, no engraving
Lot 27
A FRENCH PORCELAIN VASE, c.1900, of flared cylindrical form with two loop handles, painted in polychrome enamels with couples in open landscape within two shaped panels with raised gilded scroll and diaper borders, on a bleu ciel ground, pseudo gilt Sevres mark, 4 1/4" high (Est. plus 21% premium inc. VAT)A couple of glaze faults on gilded inner rims, no cracks, chips or restoration
Lot 3
A CANTONESE PORCELAIN VASE of flared cylindrical form with sloping shoulders and two fixed lion mask ring handles, painted in famille rose enamels with two panels of figures on verandahs, on a foliate and precious object scattered ground, 16 3/4" high (Est. plus 21% premium inc. VAT)6cm crack to rim with chips, gilding to handles very worn, some faces and other enamelling a little worn
Lot 35
A BERLIN PORCELAIN DESK BLOTTER, late 19th century, the plain oblong top moulded in relief with a rococo scroll border enclosing polychrome enamel painted flowers, 5" x 3", the original wood rocker base with gilt knop surmounted by a porcelain finial, sceptre mark in blue and impressed marks, together with a similar desk stand centred by an ink pot with lift-off cover, of squat inverted baluster form with two cherub mask handles, sceptre mark ground through, stand 8 1/2" wide, and an ovoid vase and cover raised upon three twig supports painted with two putti ringing a large flower bell, 5" high (3) (Est. plus 21% premium inc. VAT)Very small chip to one corner of blotter, knop good. Stand has been broken in about 5 pieces and is glued with losses. looses to feet. Ink cover has small chip to tip of finial, both heads good. Vase cover good, the solid band of gilding around the aperture is thick and somewhat mis-fired, supports good
Lot 380
A CHINESE CLOISONNE ENAMEL VASE of ovoid form with waisted neck and flared rim, enamelled in bright colours with flowerheads and scrolls on a plain gilt ground, 10 1/4" high, together with a similar small jar and cover with Dog of Fo finial, of squat baluster form, 5 1/2" high, both unmarked (2) (Est. plus 21% premium inc. VAT)Vase has a flaw/split to gilt ground possibly where the central join is. Enamelling to both generally good
Lot 4
A CANTONESE PORCELAIN VASE of baluster form with salamander shoulders and shi-shi handles, painted in famille rose enamels with two panels of figures on verandahs within key borders, on a foliate and precious object scattered ground, 13 1/2" high (Est. plus 21% premium inc. VAT)Firing crack to inner rim, no cracks, chips or restoration, painting good, gilding worn
Lot 41
A VICTORIAN STAFFORDSHIRE POTTERY ELEPHANT SPILL VASE modelled standing with two free legs, painted in typical palette on an oval gilt lined base, 6 3/4" high (Est. plus 21% premium inc. VAT)One branch broken off, star crack to base. The whole spill vase has been off and re-glued to base with loss. Chip to back base, trunk and free legs good
Lot 60
A ROYAL WORCESTER CHINA VASE AND COVER, 1908, of flared form with leaf moulded sloping shoulders, scroll handles with mask terminals, on a waisted knopped socle and canted square foot, painted in polychrome enamels by R.T. Rea with four swans in flight over rushes on a pale blue ground, signed, puce mark, shape 1572, 12" high (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration. Some wear to gilding and orange especially to moulded shoulder
Lot 62
A MACINTYRE MOORCROFT POTTERY FLORIANWARE VASE, early 20th century, of tapering cylindrical form with two loop handles, tubelined and painted in shades of blue with poppies and cornflowers, printed mark in brown, signed in green, numbered 104(?) IW, 6 1/2" high (Illustrated) (Est. plus 21% premium inc. VAT)Both handles and rim restored (very well), typical glass crazing
Lot 64
A MOORCROFT POTTERY "TALES OF THE DEEP PATTERN" VASE, 2017, of slender inverted baluster form, tubelined and painted in shades of green and brown, designed by Kerry Goodwin, impressed and painted marks, No.4 of a limited edition of 25, 10 1/4" high, boxed (Est. plus 21% premium inc. VAT)Good, no chips, cracks or restoration
Lot 66
A MOORCROFT POTTERY POMEGRANATE PATTERN VASE, early 20th century, of squat baluster form, tubelined and painted in typical palette, impressed Moorcroft, Burslem, England, M32, signed in green, 7" high (Illustrated) (Est. plus 21% premium inc. VAT)2cm hairline to rim, small glazed over chip to outer rim, glaze crazed but not badly, more noticeably on base
Lot 67
A MOORCROFT POTTERY FLORIAN WARE VASE, early 20th century, of slender inverted baluster form, tubelined and painted in shades of blue, green and yellow with flowers, impressed Moorcroft, Burslem, England, signed in green, 9" high (Illustrated) (Est. plus 21% premium inc. VAT)Small chip to rim, glaze typically crazed
Lot 7
A CANTONESE PORCELAIN VASE AND COVER of small proportions, the flared cylindrical body with shi-shi handles, painted in famille rose enamels with two panels of figures on verandahs on a foliate ground, 6 1/2" high, together with a Chinese porcelain saucer painted on glaze in colours with figures and characters, very faint mark to reverse, 5 1/2" diameter (2) (Est. plus 21% premium inc. VAT)Cover very loose and may be matched but is in proportion to vase, no damage to cover but gilding worn. Vase has no cracks, chips or restoration, bar a minute chip to one handle, one shi-shi missing two limbs prior to firing. Gilding worn. Saucer has a small hairline on base, minor scratching, gilding worn to rim
Lot 71
A MOORCROFT POTTERY CASTLE GARDEN PATTERN SMALL VASE, 1999, of ovoid form, tubelined and painted and designed by Debbie Hancock, initialled, numbered 221 of a limited edition of 500, retailed by Talents of Windsor, impressed and painted marks, 3 3/4" high (Est. plus 21% premium inc. VAT)no chips, cracks or restoration
Lot 784
A GEORGIAN OAK TRIPOD TABLE, third quarter 18th century, the circular plank top on ring turned vase stem, on cabriole legs and pad feet, 21 1/4" x 26 3/4" (Est. plus 21% premium inc. VAT)Good honest piece, some fading/shrinkage to top, old worm to plank, small plank tip probably original but braced underneath
Lot 81
A DELLA ROBBIA EARTHENWARE BOTTLE VASE, early 20th century, decorated by Lizzie Wilkins with stiff leaf shoulders over a green, yellow and brown stylised foliate body, painted mark and initialled in green, 7 3/4" high (Est. plus 21% premium inc. VAT)No chips, cracks or restoration. Glaze crazed, small flaw to cream of everted rim
Lot 336
An important verseuse François-Thomas Germain (1726-1791)French silver, 18th century (1755-56) Pear shaper body of spiralled gadroons that extend to the spout Base and cover edges of joint acanthus leaves clusters Volute thumb piece The lid with sliding mechanism for inserting whisk Carved rosewood handle Paris assay-marks for 1750-1756 stamped FTG for François-Thomas Germain. Two Paris warrantee marks letter K for (1750-1751) and letter P for (1755-56) (spout cover missing)Height: 26 cm1180 g Catalogue EssayCoffee or chocolate pot, defined by a circular base and bulging twisted spiralled body, accentuated by shallow, smooth fluting that extends to the short and broad spout. Counter-curved profile wooden handle and circular section cover, featuring a sliding element for opening and closing a small orifice for fitting a whisk to homogenize its contents.HISTORY AND PROVENANCEInformation about the history of this piece is scarce, similarly to what often happens with mobile heritage destined for secular use within domestic contexts, whose existence is not always considered in the extant documentation. Nonetheless, it is known that this coffee or chocolate pot, still owned by her descendants, belonged to the 5th Countess of Ficalho, Maria Josefa de Mello (1863-1941), daughter of the 4th Counts, Francisco Manuel de Mello Breyner (1837-1903) and Josefa Brito do Rio (1840-1892), and that it had entered the family collections some generations earlier. Made at the famous silversmith François-Thomas Germain’s workshops, in Paris, it might in fact have been acquired by the well-travelled and wealthy merchant Anselmo da Cruz Sobral (1728-1802), an ancestor of Maria Luísa Braamcamp Sobral de Almeida Castelo-Branco de Narbonne-Lara (1812-1890) who married the 2nd Marquess of Ficalho, António José de Mello Breyner Teles da Silva (1806-1893). Maria Luísa was the daughter of the 1st Counts of Sobral, and, through her mother, a descendant of the Duke of Narbonne-Lara (1755-1813), Minister of War to Louis XVI and aid-de-camp to Emperor Napoleon, a fact that establishes an unequivocal connection to France. We should not, however, neglect the suggestion (PENALVA & MAGALHÃES 2021, p. 131) that it may have entered the family via the 1st Marquess of Ponte de Lima, Tomás Xavier de Lima Teles da Silva (1727-1800), figure of the highest rank that, during the Marquess of Pombal consulate would know identical tragic fate as the Dukes of Aveiro who, before their imprisonment and the confiscation of their property, held in their collection important gold and silverware made by the Germain workshops, such as the extraordinary centrepiece that belongs to the Museu Nacional de Arte Antiga collection in Lisbon (inv. 1827 Our.).WHAT DOES IT TELL US: AUTHORSHIP AND DATINGDetailed analysis and observation of the coffee / chocolate pot allows us to gather information that is essential for its understanding. For one, the interpretation of the marks, for which was invaluable the cooperation of Michèle Bimbenet-Privat, allows for accurate dating of the piece and attribution of unequivocal authorship. As such, it is possible to assert that it is an object produced within the context of the French gold and silversmith François-Thomas Germain’s (1726-1791) workshop, son of the master gold and silversmith Thomas Germain (1673-1748). Thomas Germain had fulfilled numerous orders from Portuguese customers during the reign of King João V, either from the sovereign himself or from private patrons, such as the writing set gifted by the king to Cardinal Nuno da Cunha de Ataíde (1664-1750), or the porringer (écuelle) commissioned by Cardinal João da Mota e Silva (1685-1747), both now at the Musée du Louvre (inv. OA 9941 and inv. AO 6118) (VALE, 2016b and VALE 2018, pp. 72-73 e 119-122). His son, François-Thomas, who had studied at the Académie Royale de Peinture in order to get a good education in the art of drawing, competence seen as fundamental for the fulfilment of a gold and silversmith career, will inherit Thomas Germain official role as goldsmith and sculptor to the King of France (1748). Maintaining his father’s renowned workshop at the Galleries du Louvre, François-Thomas will carry on supplying the main European courts, from Saint Petersburg to Lisbon (D’OREY 1991, GODINHO 2002), with the most remarkable objects, often resorting to Thomas models. In 1765 however, the business goes into bankruptcy proceedings that determine its closure and the abandonment of the Louvre workshop (BAPST 1887, BIMBENET-PRIVAT 2002 and above all PERRIN 1993). The dating of the object, for which assessment concurred decisively the above-mentioned marks, reveals a curious situation, albeit not necessarily uncommon: the piece encompasses components from two distinctive moments in time. The cover, whose marks date to 1750-51, is articulated to a body made some years later, in 1755-56, but still by the same master FrançoisThomas Germain. Would the presence of the cover reflect an intervention in a coffee /chocolate pot whose body, for some unknown reason, needed replacing? Or did this cover, from 1750-51, correspond to a component that was already available at the Germain workshop when, five years later, it received an order for a coffee /chocolate pot? Unfortunately, we might never know the answer. The presence of the two discharge marks, 1750-51 in the cover and 1755-56 in the body, reveals however that the piece was destined for exporting rather than for the French market.One other question, which is also likely to remain unanswered, refers to the clarification of typology and inherent functionality of the piece. Is it a coffee pot or a chocolate pot? Nor the morphology nor the ornamental options, in terms of their characteristics, contribute to the answering of this question. The body, cover and handle shapes are identifiable in both extant coffee and chocolate pots. Although it can be argued that for the latter there is a preference for straight handles placed perpendicularly to the body, such option – as is the case with the notable coffee pot from the same maker kept at the Metropolitan Museum of New York (inv. 33.165.1) is not sine qua non condition. On the other hand, the orifice seen in the cover, destined for fitting a whisk to homogenize the liquid in the vessel’s interior, occurs in both coffee and chocolate pots. We cannot even count on the artist’s cooperation in terms of his ornamental grammar choices, as the motifs seen near the spout cannot be unequivocally identified as cocoa beans or as coffee grains. We would however accept this latter possibility, based on comparisons with other extant examples (see the above mentioned on this subject by PENALVA & MAGALHÃES 2021, p. 131). The French language addresses the question in a simpler and pragmatic manner by resorting to the term verseuse, generic yet encompassing, that refers to a spouted vase destined to serve and contain liquids. For convenience we have adopted it for referring the piece. While, for the moment, we must accept the dual probability in terms of the object’s functionality, as a coffee or as a chocolate pot, it is also important to leave open the option that it was intended for serving both drinks.CONTEXTCoffee pots and chocolate pots are typologies frequently present in the scope of 18th century secular silverware production, stylistically fitting within the Baroque and the Rococo periods. Some of the most interesting examples, from the standpoint of the creative expression of their maker’s, are identifiable from within the Italian and French contexts. [...] full text version available at https://veritas.art/en/lot/an-important-chocolate-pot-francois-thomas-germain-1726-1791-1783137335/Teresa Leonor M. Vale
Lot 728
A Child Jesus The Good ShepherdIvory "Indo-Portuguese" sculptureDepicting the sleeping Child Jesus attired in a sheep skin tunic, His right arm resting on a gourd, His left arm holding a sheep.The figure sits on a heart over a four tiered stepped stand defined by a scene with water fountain of classical mask spout, two drinking birds, foliage and grazing sheep.On the third tier the kneeling Mary Magdalene accompanied by her two attributes, the Calvary cross and the ointment vase to anoint Christ's feetTwo depictions of lions to backOn the fourth tier a sequence of Angels with garland necklaces17th centuryHeight: 26,5 cm
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653833 item(s)/page