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Click here to subscribeCeramics - a Royal Copenhagen set of six coffee cups and saucers; a Colclough teapot; a Villeroy and Boch trinket pot and cover; Limoges posie trough; a Chinese reproduction vase in yellow and green, a similar bowl in blue and white; a Wedgwood Millenium plate, boxed; Aynsley, Royal Albert, others; qty
A fine 19th Century British Naval presentation sword, 'PRESENTED BY THE SEAMEN OF HIS MAJESTY'S SHIP EURYALUS TO LIEUNT CHARLES PEAKE; AS A TOKEN OF THEIR ESTEEM AND GRATITUDE: XXVIIITH AUGST MDCCCXXI', curved hatchet point blade 32 in., etched along its entire length with naval and martial motifs, a crowned garter, Neptune, the allegorical figure of Hope, and the dedication, all amid foliate scrolls; gilt copper stirrup hilt with lion head pommel, triangular langets with swagged and tied edges and displaying the stern of a ship in relief, border engraved cross piece with scrolling acanthus terminal, ornate knuckle bow in the form of winged Victory, wire bound horn grip; part scabbard of black leather with heavy gilt copper mounts: the locket and band well engraved with scrolls and arms against a seeded ground, each set with an oval medallion depicting Hope (locket) and Hercules fighting the Nemean Lion (band), and each with a suspension bracket in the form of a writhing dolphin (retaining the swivel clips from the belt, lower part of scabbard missing). The presentation of this sword in 1821 (together with a silver vase) is recorded by O'Byrne, who notes that Peake "commanded the Euryalus for a short period". He had previously taken part in a number of actions including cutting out operations and the taking of prizes. Reference: William O'Byrne, 'Naval Biographical Dictionary Vol 2'
A selection of Dutch Delft , 18th and 19th century, comprising: a pair of waisted sleeve vases with everted rims painted with flowers in shaped panels, 8in. high; a transitional Chinese style bottle vase, painted with birds and flowers, ground rim, three various baluster vases with flower and bird panels in moulded scroll frame panels, 23cm - 34cm highPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A blue and white tin-glazed charger, early 18th century, Greman or Dutch, the centre painted with a double gourd-shaped vase of flowers and flying birds, with floral and bird border, the underside border painted with eight blue circles, pierced twice for suspension in the firing on the foot rim, 39cm diameter
A George II walnut chair back settee, circa 1735, the cartouche shaped back with broad vase splat, above the eighteenth century needlework covered seat, the moulded seat rail above tapering cabriole legs at the front terminating in carved claw and ball feet, 99cm high, 117cm wide, 66cm deep
Two Wedgwood black basalt copies of the Portland or Barberini vase , late 19th century, typically sprigged in white with classical figures after the original Roman cameo glass vase in the British Museum, impressed WEDGWOOD , 26cm & 26.5cm high N.B. See accompanying letter from the Wedgwood Museum where they speculate that the vase with a small cut dash in the body next to the Wedgwood stamp could indicate the work of Thomas Lovatt who worked at Wedgwood from 1851 untill the early 20th century. The original Roman cameo glass vase was bought by Sir William Hamilton, Envoy Extraordinary to the Kingdom of the Two Sicilies from a dealer who had purchased it from the Barberini family who had owned it since the 17th century and in 1784 Hamilton sold it to the Dowager Duchess of Portland. The 3rd Duke lent it to Josiah Wedgwood to copy, who after four years of painstaking trials put the first example on display in 1790. There are two scenes about the vase with various interpretations including the marriage of Peleus and Thetis, Ariadne languishing on Naxos amongst several. The base with a figure wearing a Phrygian cap, possibly Paris. One the original vase, this disc was thought to have been added to cover an earlier break and is probably not original to it.
A Portuguese walnut seven piece suite of seat furniture, circa 1780, comprising a chair back settee and six armchairs , each cartouche shaped rectangular back with carved scroll detail centred by a flowerhead, above a pierced vase shaped splat, each serpentine seat rail and cabriole legs carved with stylised foliage, centred by an H shaped stretcher and on carved claw and ball feet, the chair back settee 112cm high, 190cm wide, 60cm deep, each armchair 105cm high, 69cm wide, 60cm deep Please note: This suite comprises a chair back settee and six atmachairs and not as listed in the catalogue description
A large Sevres porcelain exhibition quality floor vase designed by A. Gumery , 1913, decorated in the Art Nouveau style with a continuous scene of a maiden on the seashore discovered by a group of mermen, above a black band of seashells and a grotesque medallion next to the inscription A. GUMERY . and date 1913 dividing it from a lower band of sea-life beneath the waves, the inside wall of the neck with printed factory marks bearing potting and decorating dates for 1913, 59cm high Note: Gumery* Adolphe Ernest: decors et peintures 1911-1917, listed in The French Porcelain Society's list of Sevres workmen as compiled by Tamara Preaud, Archivist, Manufacture Nationale de Sevres, 2003. Also see http://www.culture.gouv.fr/public/mistral/joconde_fr for a similar design of penguins in a polar landscape for a Vase de Bourges in the collection at Sevres, Cite de la Ceramique, Numéro d'inventaire E.1916.395 There are lodged in the archives at Sevres, documents on Adolphe Ernest Gumery suggesting he both worked for and gave designs to the manufactury between 1911 and 1917-18 and these are available for the public to view on request. Adolphe Ernest Gumery was born in Paris in 1861, son of the famous sculptor Charles Alphonse Achille Gumery. From 1891 to 1942 he exhibited at the Societe Nationale des Beaux-Arts and seems to have been a prolific artist with at least twelve hundred pictures known. He died in 1943. See Doyle New York, lot 500, 27th Sept.2011, sold for $6,250 including premium for a smaller Sevres vase designed by Gumery. Property of a Lady of title.
A pair of German faience figures of maidens of Damm type , circa 1800, one holding a hurdy gurdy, standing beside a classical vase, the other with her apron filled with flowers, standing beside a balustrade, 13cm & 13.5cm highPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A pair of George II oak chairs, circa 1735, each shaped top rails above a pierced vase splat and drop-on woven rush seat, above tapering cabriole legs joined by an H shaped stretcher and terminating in pad feetPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A Coalport cabinet cup and saucer, circa 1890-90, the pink ground and interior with turquoise jewelling and gilding, pattern Y1211, green printed factory mark, retailed by Ovington Brothers, cup 6.6cm high, saucer 12.5cm diameter together with a Coalport twin-handled jewelled and landscape vase, on four lions paw feet, green printed factory mark, pattern 5955/200 MIN, 12cm high (vase restored) (3)
A collection of Royal Worcester comprising a pot pourri vase and cover painted with a peacock by James Hadley, 14cm high, a further pot pourri and cover painted with daffodils amongst other flowers, 14cm high and a twin handled loving cup painted with roses by James Hadley, printed, painted, incised marks, 8.5cm high (3)
A large Continental twin handled pate-sur-pate vase, late 19th century, the black ground enamelled with Classical style figures and putto, with turquoise and gilt further detailing to the upper and lower rims, mounted on black and white veined marble base, overall height 56.5cm high
A Chinese blue and white baluster vase, Kangxi six-character mark but 19th Century, decorated with a continuous narrative scene of figures, probably immortals, standing on clouds above a landscape, some flying kites while others look on, the roofs of buildings emerging through the clouds above them, 44.5cm high.
A large Chinese blue and white vase, hu, Qianlong seal mark but late Qing Dynasty, of ovoid form with twin deer-head handles, the body decorated with archaistic style dragons amid formal stylised lotus flowers, scrolling foliage and ruyi forms above a lappet border, the rim with a complex mixed border, with carved hardwood stand, 37cm high.
The 'Empress' VaseA Chinese doucai pear shaped vase, yuhuchunping, probably Daoguang, of elegant ovoid form with a flared rim, decorated in underglaze blue and enamel colours with two ornamental pheasants perched on rocks amid flowering magnolia and peonies, 29cm high.Provenance: Private UK collector, acquired prior to 1980.Footnote: The elements in the decoration of this vase combine to represent the Empress. The pheasant is one of the twelve Imperial insignia, specifically signifying the Empress, as does the phoenix which is often interchangeable. The magnolia represents feminine beauty and gentleness while the peony, in addition to beauty, symbolises honour, richness and high social class.
A Chinese verte Imari dish, Kangxi, of plain circular form and decorated with three underglaze blue cloud panels around a panel border, the centre with a flower vase, the rim with two phoenix birds and a butterfly, in green, yellow, manganese and iron red enamels, 28cm dia.
A Chinese famille rose bottle vase, late Qing Dynasty, the globular body with wide neck and slightly flared rim, decorated in colours with a scene possibly depicting the Jade Emperor and his seven daughters accompanied by a priest, in a landscape with prominent tree, rocks, clouds and a river, 24.5cm high (rim reduced).
A Chinese flambe-glazed rectangular pear-shape vase, Hu, incised Qianlong mark, probably 20th Century, covered in a rich purple transmutation glaze streaked with mottled sky-blue, thinning to a light beige at the rim, the edges of the square tubular handles and the moulded neck, the body with moulded peach-shaped panels to each side, the base and inside foot rim with ochre glaze over the incised seal mark, 30cm high.
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