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Lot 79
An early 19th century Crown Derby porcelain pedestal vase painted with a circular reserve still life of fruit upon a cobalt blue ground with gilt painted decoration and with satyr moulded lug knops, raised on a square foot, the base with red painted mark and the number 83, height 28cm (restored).
Lot 38
A silver vase form sugar dredger by Edward Barnard & Sons Ltd London 1923 16cm 4.27oz together with a silver, gadrooned, footed, small sugar bowl by W J Myatt & Co Birmingham 1903 3.2ozCondition report: Each is in good used condition, they stand true and just a few very minor dents on the caster
Lot 133
A tall Walter Moorcroft vase in the Magnolia pattern, tube-lined decoration on a green ground, 31.5 cm high, together with a Hibiscus pattern bowl and a contemporary Moorcroft vase, marked as a 'Trial' piece, with pairs of birds amongst berries, 19 cm high.Qty: 3Condition report: No damage or repair evident. Crazing visible on close inspection.
Lot 236
Two architectural plaster models of Reddish House, home of Cecil Beaton (1904 - 1980), modelled by Timothy Richards of Bath, each in presentation box, 13.5cm; a Mdina orange glass bowl and vase, each with blue trailed decoration, 21cm dia and 15.5cm high respectivelyCondition report: Vase has a 6cm crack
Lot 140
A William Moorcroft salt glaze 'Waving Corn' pattern baluster vase on an ivory ground, 22.7 cm high, together with a smaller Moorcroft 'Fish' vase, 17.3 cm high, painted and impressed marks to the bases.Qty: 2Condition report: No damage or repair. Unusual glaze fault to Corn vase, with evidence of dripping/running line from the rim
Lot 158
Michael Casson (1925-2003), four pieces of studio pottery, comprising a large stoneware jug with salt-glazed decoration, 31 cm high, a smaller jug and two vases, together with three vases by Ann Whipp (of naturalistic ribbed form), and a further studio pottery vase.Qty: 8Condition report: Crack to one of the Casson vases, no further apparent damage.
Lot 142
A small Wedgwood lustre bowl, circa 1920, designed by Daisy Makeig Jones, decorated with a school of fish and air bubbles, against a mottled blue ground with gilt borders, the interior with two gilt fish against a light vivid green ground, pattern number Z4920, gilt Portland vase mark, 7cm dia, 4cm high, together with two Royal Worcester jugs, a collection of miniature Royal Crown Derby Imari and a Royal Doulton coaching scene jugQty: 10
Lot 55
William John Leech RHA ROI (1881-1968)Self Portrait with Window and TableOil on board, 50 x 38cm (19¾ x 15'')SignedProvenance: Taylor Label on back. Listed as No.5 “Self-portrait with window and table” in the list compiled by Leo Smith of paintings by W.J.Leech in his studio at Clandon, 5 September 1968, for Greenwood & Loryman. Accountants, London for death duty purposes by the Dawson Gallery, 4 Dawson St., Dublin 2.When William (Bill) Leech, with his wife May Botterell, moved out of London to live at West Clandon, near Guildford in Surrey, in 1958, Leech was already in his late 70’s. Moving into his newly built studio, in the garden, gave him renewed energy to paint and his subject matter was mainly his garden and his self-portraits. These “Self-portraits” depict Leech wearing his black hat, to cover his white and balding head, looking searchingly out towards the viewer, sitting posed in front of his ‘Aloes’ series, painted in the 30’s. He is questioning his life’s work as a painter.In this “Self-portrait” Leech is not wearing his debonair black hat, but captures himself in his casual jacket and open neck shirt, framed by the lighted window onto the garden. Always aware compositionally, he sits to the right, with the edge of the table forming a strong diagonal towards the upright metal bar of the window. Clothes draped casually over the edge of the chair to the left and the green ceramic vase with its darker green plant, all create his studio environment.Leech’s searching expression is now more haunted, with a hint of despair, perhaps reflecting on his long life as a painter, during which he did not achieve the promise of his early success. When he wrote to Leo Smith, of the Dawson Gallery in 1966, he recognized this failure; “You see not much success really but you cannot be a recluse all your life as I have been and have worldly success. I had an idea when young, that if the work was good enough it would sell in the end. The end is the word……”This is one of the last “Self-portraits” Leech painted and it maintains all the dexterity and skill the painter possessed. When his second wife May died on 10th July 1963, aged eighty-three years, Leech was a very lonely man and 5 years later on 16th July 1968 at age eighty-eight, after being diagnosed as terminally ill, Leech fell from the railway bridge at West Clandon onto the tracks below.Dr Denise FerranAugust 2021
Lot 82
A Barr, Flight and Barr Worcester vase, circa 1810The waisted vase with a broad everted rim, supported by three bronzed sphinxes seated on a shaped base marbled in gold, painted with a view of 'Mackworth Castle, Derbyshire' reserved on a light blue ground, a wide gilt border to the reverse and a band of white 'jewels' applied around the shoulder, 14.4cm high, script mark referring to Coventry Street address and title in puceFootnotes:ProvenanceTwinight CollectionThe source of the image is a drawing by H Moore, engraved by J Storer and published in The Beauties of England and Wales, 1807.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
Lot 89
A monumental Copeland vase by C F Hürten, circa 1880Painted with a large aloe vera, flowering begonia and a fern growing amongst rocks, bamboo and trailing vines below each gilt palmette handle, the flared neck with a trellis pattern in high relief also picked out in gold on a pink ground, signed 'Hürten', 58cm high, printed mark in greenFootnotes:ProvenanceChristie's New York sale, 17 January 2007, lot 529Twinight CollectionCharles Ferdinand Hürten had already gained renown for his work in Paris at the Sèvres Pottery when William Taylor Copeland finally succeeded in persuading him to come and paint at Copeland in around 1858. In 1874 the Art Journal reported that 'Hürten has no superior in flower painting, especially on pieces sufficiently large to give full scope to his vigorous yet delicate pencil; and his perfect feeling for all the beauties of texture and colour in his favourite subjects is sufficiently obvious.'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
Lot 72
A Flight, Barr and Barr Worcester vase, circa 1830Of campana shape, the handles formed from gilded griffins with their wings outstretched, finely painted with a view of 'Mast House, Blackwall' depicting the River Thames in stormy weather, a sailing boat and three smaller boats on the water, the docks and a much larger moored vessel visible in the distance, within gilded neoclassical and red borders, 12.2cm high, impressed crown and FBB, title and script mark in puceFootnotes:ProvenanceBonhams sale, 6 June 2007, lot 427Twinight CollectionThe source of the image is an engraving by William Bernard Cooke, published by Samuel Owens, The Thames, 1809-11. The Mast House was built by John Perry in around 1790 and was designed for the erection and removal of masts from ships whilst in dock. The masts were lifted by means of the crane attached to the top of the building and were then lowered into the hull of the ship. The scene painted on this vase shows a ship at the base of the building, waiting to receive its mast.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
Lot 38
A pair of Rockingham plates, circa 1830-35The wide borders moulded in relief with overlapping primrose leaves, enclosing solid gilded grounds reserving circular panels finely painted with a vase of flowers and a basket of flowers resting upon a stone ledge, probably by Edwin Steele, the rims picked out in gold, 25.2cm diam, puce griffin marks (2)Footnotes:ProvenanceTwinight CollectionThe painting on this pattern is traditionally attributed to Edwin Steele, the pattern number being either 512 or 585 and both numbers being ascribed to him in the pattern books. A similar pair with red griffin marks is illustrated by Alwyn and Angela Cox, Rockingham 1745-1842 (2001), p.232, fig.195.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
Lot 56
A garniture of three Spode vases, circa 1815-20Of trumpet shape, painted with baskets of flowers, the reverse with further sprays, the reverse with full floral sprays, ornate gilded formal borders below the interior rims, the feet picked out in gold, 16.2 and 11.4cm high, SPODE marks in black (3)Footnotes:ProvenanceT G Cannon CollectionCopeland China Collection, Trelissick, Bonhams sale, 24 July 2013, lot 502Twinight CollectionIllustrated by T G Cannon, Old Spode (1925), one vase by Leonard Whiter, Spode (1970), no.227.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
Lot 4
A Flight, Barr and Barr Worcester vase, circa 1825With a broad everted rim and twin gilded handles, the circular foot supported on a bronzed and gilded square plinth, finely painted with a covey of six partridges within a rural landscape, reserved on a claret ground below a band of white 'jewels', gilded borders around the rim and foot, 15cm high, script mark referring to Coventry Street address in puce, inscribed 'Partridges'Footnotes:ProvenanceO'Donaghue CollectionTwinight CollectionIllustrated by Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840, p.173, bottom left. The panel is particularly finely painted.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
Lot 79
A Barr, Flight and Barr Worcester centrepiece, circa 1810Attributed to John Barker, of lobed oval form with two shell moulded handles, finely painted with shells, including an upturned cowrie and periwinkles amongst colourful seaweed, the gilt-edged oval panel upon a richly gilt vermicellae ground, a gold band to the rim, impressed crown and BFB mark, printed marks referring to Coventry Street address, 34.9cm wideFootnotes:ProvenanceBonhams sale, 8 April 2009, lot 171Twinight CollectionIt is interesting to compare the technique and composition of the shell painting with a very similar panel on a large vase attributed to John Barker in the Ewers-Tyne Collection of Worcester Porcelain at Cheekwood, see John Sandon (2008), pp.119-121. John Sandon quotes Solomon Cole from his memoirs who told William Chaffers that the artist John Barker excelled in painting shells. See also the pair of dishes attributed to Barker sold by Bonhams, 29 September 2020, lot 212.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
Lot 52
A Derby vase and cover by George Robertson, circa 1797-1800Of goblet form with applied shell handles picked out in gold, the domed cover pierced, painted with a ship in full sail flying the British ensign, the reverse with a shipwreck scene, smaller circular shipping panels under the handles, the pink ground gilded with horizontal stripes, 18cm high, crown, crossed batons and D mark in puce (2)Footnotes:ProvenanceGuy DawnayTwinight CollectionThis 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
Lot 84
A Chamberlain and Co Worcester vase, circa 1845Of Warwick vase form, painted with a view of 'The Port of London', an array of boats jostling in the water, the Tower of London visible on the north bank, within a raised gilt scroll-edged panel, reserved on a deep blue ground, a band of 'pearls' below and the bifurcated handles with moulded vine leaf terminals, on a pedestal base with vermiculé gilding, a formal border of anthemions and floral garlands below the inside rim, 18.8cm high, title and script mark in puceFootnotes:ProvenanceTwinight CollectionIllustrated by Geoffrey Godden, Chamberlain Worcester Porcelain (1982), p.300, pl.393 together with the companion vase showing London Bridge. Another pair of the same shape, with identical views, was sold by Bonhams, 10 June 2003, lot 211.The finely painted view is copied from an engraving by W H Bartlett and R Sands, published in William Finden's The Ports, Harbours, Watering-Places and Coast Scenery of Great Britain, published by George Virtue between 1836-1842.Although this vase is marked Chamberlain & Co, placing it after the amalgamation of the two Worcester factories, it follows all of the artistic traditions of Flight, Barr and Barr. If produced at the Chamberlain Diglis factory, it will have been cast from moulds brought over from Flight's Warmstry House site, and decorated by a former Flight artist and gilder.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
Lot 30
The Abergavenny Vase: an important Chamberlain Worcester vase and cover, circa 1813-14Of 'Regent' shape with ram's head handles and a pineapple finial picked out in gold, raised on a square foot, the front panel finely painted by Humphrey Chamberlain with a scene from William Shakespeare's Henry VIII, Act 3, scene 1, the reverse with the full arms of The Earl of Abergavenny, reserved on a salmon pink ground gilt with stars and other neoclassical ornament, the borders richly gilt in a similar style, 27cm high, Chamberlains Worcester and 63 Piccadilly in puce script on the underside of the cover together with a quotation from the play (2)Footnotes:ProvenanceThe Earl of AbergavennyBonhams sale, 5 December 2007, lot 309Twinight CollectionThis vase formed part of one of the most important commissions received by the Chamberlain factory. The order was placed in June 1813 by Lord Nevill, Earl of Abergavenny and it was written up in detail in the factory records. The original order still exists, carefully preserved in the archives housed in the Museum of Royal Worcester. In addition to tea and dinner services, the order lists a series of vases with only brief descriptions, but sufficient to recognise the surviving parts of this most important set. Lord Nevill asked for '5 ornaments. 1 Regent Henry 8th, 2 chocolates, King John, King Richard 3rd, 2 Bell shape, Henry 6th, part 1, King John' The cost of this set was £60 18s.0d. Also ordered were '2 Luminaries' and '2 Grace mugs' as well as an inkstand. Most of these pieces still survive. The incredible 'Grace Mugs' were discovered by Henry Sandon in 1977 and with funds from the V and A he was able to purchase these for the Museum of Royal Worcester where they can be seen today. The inkstand was sold by Bonhams on 6 June 1990 and is now in the Cheekwood Museum in Nashville, Tennessee. The 'luminaries' are what we now call spill vases and these are in a private collection in Britain, while the 2 Bell shape [ornaments] which are small campana shaped vases remain within the Nevill family. The whereabouts of the two 'chocolates' is unknown. The present lot corresponds with the 'Regent' ornament listed in the order. This fine vase was named the 'Regent' shape in honour of the factory's most important patron. This vase was in a UK private collection and is illustrated by Geoffrey Godden, Chamberlain Worcester Porcelain, colour pl.VIII and pl.105, and on the front cover. It is also illustrated by John Sandon, Worcester Porcelain at Cheekwood (2008), p.163, and in the same author's Worcester Porcelain (2009), p.21.When the order was placed, Lord Nevill requested that it was to be ready in just four months. In reality the commission took more than a year to manufacture, and the porcelain was dispatched (or invoiced) from Worcester on 21 July 1814. Payment was received by the factory many months later.The source for the paintings on the 'ornaments' was a volume of scenes from Shakespeare published by John and Josiah Boydell. Some of the best artists of the day were commissioned by the Boydells for this influential work. The image chosen for this vase was a painting by Rev Matthew William Peters engraved by Robert Thaw. The Queen, surrounded by her Ladies in Waiting, is shown reprimanding Cardinal Wolsey. The Chamberlain archives record that a copy of Boydells' Illustrations from Shakespeare was purchased by the factory to be used as a source for their painters.Humphrey Chamberlain used the Boydell book when he decorated another significant commission. A dessert service made for the Prince Regent and referred to by his nephew Thomas Chamberlain as 'one small dessert service painted with subjects from Shakespeare by my uncle for the Prince Regent cost the latter 4000 pounds'. This set is now in Los Angeles County Museum.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
Lot 83
A Derby chocolate cup and cover, circa 1790-95Of tapering bucket shape with entwined handles, the low domed cover with a ring finial, probably painted by James Banford with 'Meditation', a seated classical lady reading from a scroll, a vase and a container of more scrolls at her side, the reverse with 'Near Breadsall Derbyshire', the bright blue ground gilt with circles and stars, within richly gilded borders, 13.2cm high, crown, crossed batons, D mark, pattern 335 and titles in blue (2)Footnotes:ProvenanceFoden CollectionAlison Rose CollectionTwinight Collection Illustrated by Margaret Foden, James Banford Ceramic Artist, Antique Dealer and Collectors Guide, November 1968, cover illustration. For closely related decoration attributed to Banford, see the coffee can illustrated by John Twitchett, Derby Porcelain (2002), colour pl.13.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
Lot 60
A large Derby vase, circa 1815Of slender campana form, boldly painted in the manner of William 'Quaker' Pegg with garden flowers including a fine passionflower, red poppy, variegated tulip, roses and chrysanthemums on a striking black ground, the square plinth, foot and lower section with elaborate neoclassical gilding, 32.3cm high, patch marks, crown and crossed batons mark in red, number 24 inside footFootnotes:ProvenanceTwinight CollectionFor a very similar vase, see Bonhams sale, 1 May 2013, lot 123. See also John Twitchett, Derby Porcelain (2002), p.96, colour plate 54.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
Lot 57
A Barr, Flight and Barr Worcester vase and cover, circa 1810Painted in the manner of, and possibly by, William Billingsley, the vase of classical shape with gilt entwined snake handles, the central panel with colourful flowers including a variegated tulip and vibrant sunflower, set against a sky blue ground, within marbled borders and bands of 'pearls', the cover with a flamiform finial, 26.5cm high, impressed crown and BFB marks (2)Footnotes:ProvenanceChristie's sale, 16 November 2010, lot 70Twinight CollectionWilliam Billingsley arrived in Worcester in the summer of 1808 and worked for Barr, Flight and Barr, initially as a flower painter although he became increasingly preoccupied with perfecting new porcelain recipes. He left, abruptly in 1813. Billingsley was one of the finest and most influential of all British porcelain flower painters, and so the other artists employed at Flights factory would undoubtedly have copied his style. A number of Barr, Flight and Barr pieces that have been attributed to Billingsley feature a pale sky blue ground behind his freely-painted flowers. This vase, with a similar background, may be painted by Billingsley himself or else it will be the work of another skilled flower painter whom he had closely influenced.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
Lot 46
A Flight, Barr and Barr Worcester vase by Thomas Baxter, of theatrical interest, circa 1814-16Applied to the shoulder with gilded dragon handles, their outstretched wings forming the terminals, painted by Thomas Baxter with an oval portrait of 'Falstaff' within a colourful 'jewelled' border, the rich blue ground with delicate gilding in classical style, the borders picked out in bronze and gold, 24.5cm high, script mark referring to Coventry Street address, inscribed 'FALSTAFF. Harry, I do not only marvel where thou spendest thy time, but also how thou art accompanied' from Henry IV, Part 1Footnotes:ProvenanceTwinight CollectionA very similar vase, with the same panel of Falstaff, formed the central part of a three-piece garniture in the William M Keck II Collection sold by Bonhams in Los Angeles, 8-9 December 2014, lot 1100. This garniture will be illustrated in Charles Dawson's forthcoming book, Worcester Porcelain From Flight and Barr. A similar painting of Falstaff has also been noted on one of Thomas Baxter's jewelled cabinet cups. Another garniture of vases of the same shape and decoration, but with Baxter's landscapes rather than figure subjects, is illustrated by Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840 (1978), p.171, pl.165.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
Lot 47
An important Chamberlain Worcester vase and cover by Humphrey Chamberlain, circa 1822Of ovoid form with brightly gilded dragon handles, the front panel finely painted with a head and shoulder portrait of the late Princess Charlotte, wearing jewels and a chaplet of pink roses in her hair, signed 'H Chamberlain', the panel richly framed with raised and tooled gilding, reserved on a deep blue ground, the neck and foot moulded with acanthus leaves left in the white and picked out in gold, 53cm high, titled beneath the cover 'Her Royal Highness Princess Charlotte of Saxe Coburg &c. &c.', with puce script mark referring to the New Bond Street address (2)Footnotes:ProvenanceBonhams sale, 2 December 2009, lot 209Twinight CollectionPrincess Charlotte Augusta of Wales (1776-1817) was the only legitimate child of the Prince of Wales, later George IV. Charlotte married Prince Leopold of Saxe-Coburg-Saalfeld in 1816, but tragically she died on 6 November 1817, the day after giving birth to a stillborn child. Charlotte's passing was greatly mourned, not least by the Chamberlain family in Worcester for Princess Charlotte had been a major patron of the factory. In 1814 she awarded Chamberlains her own special warrant, a fact they advertised in The Courier in May and July of that year. Richly decorated dinner and dessert services were ordered by the Princess shortly afterwards and Chamberlain's factory marks were updated to include their 'Special Appointment to her Royal Highness, Princess Charlotte of Wales'.A Chamberlain plaque now in the Museum of Royal Worcester is painted with a very similar portrait of the Princess, also by Humphrey Chamberlain. The plaque is inscribed on the reverse 'Her Royal Highness Princess Charlotte of Saxe-Coburg etc etc. H Chamberlain Jnr'. On this plaque and on the present vase, the costume worn by the Princess is identical to that in a mezzotint by William Saye after a full length portrait by George Dawe, now in the Belgian Embassy in London. In the Chamberlain version, however, the Princess's hairstyle relates to that seen in another portrait by Dawe, showing the Princess with Prince Leopold, apparently in a box at the theatre. Interestingly, the Chamberlain factory records show a payment to a Mr Dawes for £34 5s 0d in July 1822, a very large sum for the time. The plaque in the Museum at Worcester is dated 13 August 1822. Possibly the payment was for another portrait by Dawe, incorporating elements of both those discussed, and the true source for the Chamberlain image.Humphrey Chamberlain Jnr. was the only artist permitted to sign his work at the Chamberlain factory, and deservedly so, for its execution is quite breath-taking. R.W. Binns was full of admiration, writing in his Century of Potting (1865) '... one of the boasted beauties of Mr Chamberlain's work was that you could never distinguish the touch nor discover how the effect was produced, hence a powerful magnifying glass was always placed in the hands of strangers in order that they might examine its minute beauties...'Binns was inviting comparison with the work of Thomas Baxter, who had painted alongside Humphrey Chamberlain from 1819-21. According to Binns, there were 'frequent discussions' between the two painters about the artistic merit of Humphrey Chamberlain's work. Baxter felt that Chamberlain's work was wonderful for its manipulative power but for nothing else. This was at the time when Baxter was unhappy that he had to paint 'dear little things', while the son of the factory owner was able to work on Shakespearian scenes and royal portraits.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
Lot 1023
JOHN WALSH WALSH URANIUM GLASS 'FAN' VASE, circa 1897, of compressed form, raised on a star shaped foot, 20.5cm high Note: A vase of the same model and four others were illustrated in an article in The Pottery Gazette, November 1897 and reproduced Reynolds (E), The Glass of John Walsh Walsh 1850-1951, Shepton Beauchamp, 1999, fig 17.
Lot 1077
ROYAL WORCESTER SQUAT BALUSTER DOUBLE HANDLED VASE, decorated with an attractive panel of Highland cattle by a stream, signed H. Stinton, loch scene vignette to reverse, with small loop handles, moulded cup shaped neck within gilt borders, transfer mark in puce, dot code for 1910, Pattern No. 1109, 23cm high
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