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Click here to subscribeMiscellaneous oriental items including two miniature Kutani vases with markings to base measuring 10 cms, a floral decorative Japanese blue lidded tea cup with markings to base measuring 9cms, three small tea bowls, and a green long neck cloisonne vase with floral design measuring 16cmsNote: two small chips to two of the tea bowls and a small chip to rim of lidded tea cup.
Pair of Meiji Period Kutani ware vases, painted with two panels, one panel depicts warriors and the other noblewomen, each vase measures approx 18.5cms with black character marks to base accompanied by the Shimazu family crest. Note: no apparent damage chips or cracks, there may be some colour loss to faces but this may be intentional.
Fountains: A rare Handyside foundry cast iron fountain, circa 1870, 110cm high, pool depth 24cm by 138cm diameterThis fountain is illustrated in the Handyside and Co foundry catalogue no. 31 (see engraving).Andrew Handyside started the foundry in 1806 and by 1851 the firm had expanded and operated out of the Britannia Iron Works, Derby. At the Great Exhibition they exhibited Medici vases, a bacchanalian vase and a bronzed vase decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton, and a fountain. At the time, the foundry was described as being “from the magnitude of its operations is second to none in England”. In 1873 it was incorporated as a Limited Company. They produced two catalogues, one circa 1850 and another in 1874.
An exceptional façon de Venise gilded, enamelled and engraved vase and cover, Court Glasshouse, Innsbruck, circa 1570-91The shouldered ovoid bowl applied with three gilt raspberry prunts, decorated with two central bands of gilt and low-fired enamel foliate scrollwork panels alternating with similar panels in diamond-point, all between formal engraved borders, the rim with a formal foliate border above a gilt and enamel spiral band, set on a collar above a small cushion and a globular knop, the hollow stem moulded with two lion masks flanking scroll motifs all between gadrooned borders, the folded conical foot engraved with a band of false gadroons, the double-domed cover with a knopped finial, applied with three prunts and similarly decorated, 31.5cm high (2)Footnotes:ProvenanceRev. William Fraine Fortescue Collection, Chesterton, Oxfordshire, sold circa 1889Lady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerAn old paper label attached to the foot of this vase records its provenance thus: 'Bought in Chesterton at sale of Rev- Fortescue late incumbent of that Parish'. William Fraine Fortescue (1810-1889) was the second son of William Fortescue of Writtle Lodge, Essex. He was a fellow of New College, Oxford, from 1828-50 and became vicar of Chesterton in 1849.In 1570 Archduke Ferdinand II of Tyrol founded a glasshouse in the garden of his home at Schloss Ambras, Innsbruck, having become increasingly dissatisfied with the glass made in Hall and a continued reliance on Venice for luxury tableware for use at his new residence. Through negotiations with the Venetian authorities, he secured the temporary loan of craftsmen from Murano and obtained permission to use various raw materials and tools brought from Venice. Although never commercially viable, a number of Venetian master glassblowers were recorded at Innsbruck including Pietro d'Orso (1571), Salvatore Savonetti (1573-75 and 1578) and his father Bastian (1578) and Andrea Tudin (1575 and 1583), all of whom returned to Murano once they had honoured their contracts. The Archduke also employed around 50 painters each with different artistic talents, who were most likely German. The cold-painted decoration on these wares was usually executed in red, green and gold, reflecting Germanic taste.The long accepted attribution to the Court Glasshouse at Innsbruck for this unusual group of glass, with its distinctive grey tint and its cold-painted and diamond-point engraved decoration, has been debated and a tentative attribution to Venice suggested by some scholars, see Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), p.242. The Archduke continued to purchase Venetian pieces after the opening of his own Glasshouse, see Erwin Baumgartner, Verre de Venise et façon de Venise (1995), p.99. This included '10 vergoldete Deckelpokale' in 1575 which may correspond to covered vases of this type, see Erich Egg, Die Glashütten zu Hall und Innsbruck (1962), p.45. Although probably made as reliquaries, still-life paintings from the early 17th century show vessels of similar shape without decoration containing wine.For comparable examples with lion mask stems in the Kunsthistorisches Museum, Vienna, see Egg (1962), nos.27, 34 and 35. Another in blue glass from the Ernesto Wolf Collection, now in the Landesmuseum Württemberg, is illustrated by Brigitte Klesse and Hans Mayr, European Glass from 1500-1800 (1987), no.35. Other comparable examples without lion mask stems are illustrated by Egg (1962), nos.30-33, by Rainer Ruckert, Die Glassammlung des Bayersischen Nationalmuseums München, vol.I (1982), no.147, by Rudolf von Strasser and Walter Spiegl, Dekoriertes Glas (1989), p.163, no.6, and by Olga Drahotova, Europäisches Glas (1982), p.37, no.12. See also the example from the Mühleib Collection sold by Bonhams on 2 May 2013, lot 6 and that in the Museo del Vetro di Murano (accession no. Cl.VI n.01124) illustrated by Attilia Dorigato, Il Museo vetrario di Murano (1986), pl.21. An example without decoration from Aynhoe park was sold by Sotheby's on 14 July 1975, lot 322. Further similarly decorated examples with lion mask stems but of cylindrical form are illustrated by Egg (1962), nos.36 and 41 and another from the Mühleib Collection was sold by Bonhams on 2 May 2013, lot 5.For further information on this lot please visit Bonhams.com
A Wedgwood blue jasper 'Pegasus' vase and cover, first half 19th centuryThe ovoid body with two handles modelled as two serpents issuing from Gorgon masks, the finial of the slightly domed cover modelled as Pegasus on a cloud, applied in white relief with the 'Apotheosis of Virgil' after John Flaxman, the reverse with a temple and palm tree, classical borders applied around the foot and shoulder, 46cm high, impressed WEDGWOOD (2)Footnotes:This vase is based on the original modelled after Flaxman's bas-relief of 1785 and was produced as a companion to a the 'Pegasus' vase depicting the 'Apotheosis of Homer' completed in 1786. The 'Apotheosis of Virgil' vase is listed in Wedgwood's catalogue of 1787 and was probably in production by 1790. For a discussion of the iconography and history of the two vases see Aileen Dawson, Masterpieces of Wedgwood in the British Museum (1984), pp.102-11.For further information on this lot please visit Bonhams.com
A Wedgwood blue jasper 'Pegasus' vase and cover, dated 1871Of ovoid form with two handles modelled as two conjoined serpents issuing from Gorgon masks, the finial of the domed cover modelled as Pegasus on a cloud, applied in white relief with the 'Apotheosis of Virgil' after John Flaxman, the reverse with a temple and palm tree, classical borders applied around the foot and shoulder, 48cm high, impressed WEDGWOOD and date code STZ (2)Footnotes:See the footnote to lot 124 in this sale.For further information on this lot please visit Bonhams.com
A pair of Wedgwood blue jasper vases and covers, 19th centuryOf ovoid form with tall handles, the flat covers with vase-shaped finials, applied in white relief with classical medallions of winged female figures emblematic of the Four Seasons within stiff-leaf swags, formal borders to the feet and shoulders, 29cm high, impressed WEDGWOOD (4)For further information on this lot please visit Bonhams.com
Royal Worcester vase by Charley Baldwyn, dated 1896 or 1897Of slender ovoid form with scrolled handles picked out in green, salmon-pink and gold, painted with four swans in flight above raised gold foliage and green grasses, signed, a swallow in flight to the reverse, a pale blue sky surrounding them, the foot and neck picked out in gold 33.7cm high, green mark, shape number 1935For further information on this lot please visit Bonhams.com
A very rare Venetian opalescent glass vase, circa 1700Of double ogee form moulded with fourteen vertical ribs, the flared neck with a folded rim and a trailed vermicular collar, applied with two curled ribbed hollow handles with pincered ornament in clear glass, set on a hollow ribbed globular knop between collars, on a twelve-sided spreading folded foot, 23.9cm highFootnotes:ProvenanceLady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerVases of this form are very rare and whilst they are recorded in several important collections this would appear to be the only known example in opal glass. A vase of similar form in clear glass with diamond-point decoration is illustrated by Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), p.510-11, no.645, and another in clear glass with damaged handles is in the Museo del Vetro di Murano (accession no. Cl.VI n.01690). The curled handles on both of these vases closely resemble those on the present lot and Theuerkauff-Liederwald notes that their form is unusual.Two vases of comparable shape applied with flowers are in the Danish Royal collection at Rosenborg Castle in Copenhagen. They include an example in clear glass containing a lampwork flower bouquet and another in latticinio, both illustrated by Gudmund Boesen, Venetianske Glas på Rosenborg (1960), nos.19 and 50. Another latticinio example is in the Kunstgewerbemuseum, Cologne, illustrated by Brigitte Klesse in the catalogue Glas (1963), p.96, no.181 and by Barovier Mentasti et al., Mille Anni di Arte del Vetro a Venezia (1982), p.146, no.215. See also the damaged clear glass example applied with turquoise lion masks in the Museo del Vetro di Murano (accession no. Cl.VI n.02034). The handles of all of these examples differ from those on the present lot.This vase has very close parallels to small spouted ewers in opal glass, notably the double ogee form, the knop between collars and the use of vermicular trailing around the neck. Only five such ewers appear to be recorded, including two in the Museo Nazionale di San Martino, Naples, illustrated by Barovier Mentasti et al. (1982), pp.164-5, nos.254a and 254b, one in the Kunstgewerbemuseum, Berlin (accession no. K 132), illustrated by Franz Dreier, Venezianische Gläser (1989), p.85, no.69, one in the Musée Ariana in Geneva, illustrated by Erwin Baumgartner, Reflets de Venise (2015), pp.203-4, no.96 and one at Veste Coburg, illustrated by Anna-Elisabeth Theuerkauff-Liederwald (1994), p.406, no.442.The form is also closely related to large ewers or jugs in clear glass. Examples are in the Museo del Vetro di Murano (accession nos. Cl.VI n.01294 and n.01425), in the British Museum (accession no. S.505) illustrated by Hugh Tait, The Golden Age of Venetian Glass (1979), p.57, no.61, in the Rijksmuseum (accession no. NM 8013) illustrated by Pieter Ritsema van Eck, Glass in the Rijksmuseum (1993), p.101, no.141, in Toledo Museum of Art (accession no. 1925.130) and at Rosenborg Castle illustrated by Boesen (1960), no.1. Compare also to the ewer with combed decoration at Rosenborg illustrated by Boesen (1960), no.88.For further information on this lot please visit Bonhams.com
A fine pair of Barr, Flight and Barr dishes, circa 1804-07Circular, painted with octagonal panels containing an arrangement of three colourful shells surrounded by seaweed on a shaded grey ground, perhaps by John Barker, surrounded by broad gilt borders, the black marbled grounds reserved within gilt-line rims, 19.8cm diam, incised B marks, one with full script mark for Barr, Flight & Barr including the Coventry St Address (2)Footnotes:The distinctive technique used to paint the seaweed in the background of these shell compositions, in which the filaments are painted with brushstrokes ending in thicker daubs of colour, has been attributed to John Barker. Compare to the seaweed in the background of the shell-painted panel on a large vase attributed to John Barker in the Ewers-Tyne Collection of Worcester Porcelain at Cheekwood illustrated and discussed by John Sandon (2008), pp.119-21, no.74. In his memoirs, Solomon Cole told William Chaffers that John Barker excelled in painting shells.For further information on this lot please visit Bonhams.com
A Worcester vase, circa 1770Of baluster form, the blue scale ground reserved with two large gilt-edged panels containing printed and coloured landscapes with figures before classical ruins alternating with two smaller landscape panels, four small panels painted with puce floral sprigs to the shoulder, the neck with a formal gilded border, 20.3cm high, square markFor further information on this lot please visit Bonhams.com
A Chamberlain vase and cover, circa 1810Of classical urn form with two gilt dolphin handles, lion mask medallions in brown at the terminals, finely painted with a titled view of the 'Grotto of the Cumaen Sibyll', two distant figures walking towards the cave, reserved on a gilded vermiculé ground, the solid gilt domed cover with an acorn finial, 35cm high, script mark and title in red (2)Footnotes:ProvenanceChristie's sale, 7 June 2017, lot 375 (part)For further information on this lot please visit Bonhams.com
A large Royal Worcester vase and cover by Harry Davis, dated 1910Of elegant classical form, the cover with a spire finial, the cover, neck, handles, and circular pedestal foot crisply moulded and picked out in gold and blush ivory, the body fully painted with three highland sheep and a lamb on a misty mountainside, billowing clouds above them, signed, the reverse with a landscape, 48cm high, puce marks, shape number 1481 (2)For further information on this lot please visit Bonhams.com
A façon de Venise vase, 17th centuryMoulded in the form of a scallop shell, the tapering cylindrical neck with a trailed vermicular collar, applied with two trailed and pincered scroll handles in turquoise-blue glass, set on a ribbed hollow flattened knop between collars and a folded conical foot, 20.5cm highFootnotes:ProvenanceLady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerA pair of very similar shell-shaped vases from the Soulages Collection is in the Victoria and Albert Museum (accession nos. 5511-1859 and 5513-1859). Other examples are in the Wallace Collection (accession no. C540) illustrated by Suzanne Higgott in the catalogue (2011), pp.112-3 and 379, no.29, in the Rijksmuseum (accession no. RBK 1984-49) illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.1 (1993), p.106, no.147, and at Veste Coburg (accession nos. HA 397 and HA 402). It is thought that the form of these vessels may be influenced by earlier Roman examples. Compare with the 1st century AD amphoriskos illustrated by Niwa Kunina, Ancient Glass in the Hermitage Collection (1997), pp.126-7, no.92.For further information on this lot please visit Bonhams.com
A very rare Worcester vase, circa 1757-58Of generous baluster form with a waisted neck and simple turned line around the rim and the foot, pencilled in black with the 'Mobbing Birds' pattern, four birds perched on the slender branches of a tree and dilapidated stump, three birds in flight to the reverse and another smaller to the rim, 15.6cm highFootnotes:ProvenancePrivate Collection, DorsetMany variations of the 'Mobbing Birds' pattern occur on Worcester vases and jugs in both polychrome and underglaze blue but pencilled examples are extremely rare. A very similar vase from the Miles Collection was exhibited by Simon Spero, 2015 exhibition, no.58, who states that only two such pieces with pencilled 'Mobbing Birds' decoration are recorded. The shape and design of this vase ultimately originated at Meissen although Worcester almost certainly copied it from Chelsea. The pattern has often been attributed to the hand of I Rogers but it is clear that many different painters were responsible. The design is based on prints after drawings by C Fenn, some engraved by Robert Hancock, which were published in The Ladies' Amusement and elsewhere. A baluster vase with similar decoration in polychrome from the Zorensky Collection was sold by Bonhams on 23 February 2005, lot 28 and is illustrated by Spero and Sandon, Worcester Porcelain (1996), p.113, no.76. Another two from the Sir Jeremy Lever Collection were sold by Bonhams on 7 March 2007 and 23 January 2008, lots 41 and 28 respectively. Compare also to the example from the Crane Collection sold by Bonhams on 31 March 2010, lot 167.For further information on this lot please visit Bonhams.com
A rare Vauxhall vase and cover, circa 1755-57Of inverted baluster form with a deeply turned foot, painted in blue with sprays and sprigs of European flowers, with two insects in flight and a ladybird, the domed cover similarly decorated with flowers, one insect in flight and a ladybird, 20.8cm high (2)Footnotes:Underglaze blue decoration in Meissen style is extremely rare in early English porcelain. A Vauxhall vase of slightly more slender form with closely related decoration is illustrated in Ceramics of Vauxhall (ECC 2007), p.62, no.73 and by Bernard Watney, The Vauxhall China Works 1751-1764, ECC Trans., Vol.13, Pt.3 (1989), pl.209(b). See also the example from the Garrick Bond Collection sold by Bonhams on 17 May 2017, lot 199.For further information on this lot please visit Bonhams.com
A Derby vase, circa 1785Of ovoid form with high scroll handles and a square pedestal base, one side painted with 'Una and the Lion' after Angelica Kauffmann within a gilt-edged panel, the other with a rural landscape with figures crossing a bridge in a horse-drawn cart, the handles, fluted neck and base picked out in deep blue and gold, 24.8cm high, patch marks, crown, crossed batons and D mark in gold and incised N100Footnotes:Figure and landscape painting in this style has traditionally been ascribed to Richard Askew and Zachariah Boreman respectively.For further information on this lot please visit Bonhams.com
COPPER LUSTRE - approximately 6 jugs, 3 basins and a mug and a black lustre cream jug and sugar basin, a boxed Belleek china creamware narrow necked vase (brown mark) and a boxed Waterford oblong crystal glass dish, a plain glass drop lustre vases on circular bases, a pair, a tall glass trumpet vase and other glass containers ETC
SMALL SILVER - a mixed group including two easel back portrait frames, 16 x 11.5cms, Birmingham hallmark, date rubbed, a 25 x 18.5cms portrait frame, Birmingham 1927, pierced mustard pot with lid (no liner), small trophy cup, Birmingham 1901 and 1922 respectively, Sheffield mustard spoon 1932 and a glass posy vase with silver collar, London 1906 (portrait frames have no glass)
A gold charm bracelet, an hollow curb link bracelet with half solid bolt ring clasp, suspending twenty four charms, to include a terrier dog with articulated tail and tongue, a lion, a paste set sputnik charm, etc., one tested as low grade silver, one as approximately 14ct gold, three as approximately 18ct gold, the rest hallmarked or tested as approximately 9ct gold, 51.03gCondition report: Gondola, enamel vase and sputnik charm tested as approximately 18ct gold. Stop sign charm tested as approximately 14ct gold.Chalet charm tested as 0.800 grade silver.Hollow curb links dented in some places.Bolt ring in working order.Surface marks/scratches to gold.
A silver paste and marcasite set giardinietti ring, a shield shaped green paste forming the vase, with plinth and scroll handles grain set with marcasite, to paste set flower head clusters above, tested as approximately sterling silver, head 21 x 14mm, 3.58g.Finger size N½Condition report: Some scratches to the green paste, and abrasions to the smaller pastes.Wear to some of the setting edges.Some tarnish.Surface marks/scratches to mount.
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