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Lot 304
ROYAL WORCESTER CABINET PLATE BY CHARLEY BALDWYN DATED 1904 the border moulded with four pierced trellis panels shaded in coral and ivory, interspersed with panels of swallows and raised gilt floral decoration; centrally painted with two swans swimming amongst reeds and grasses, some picked out in raised gilt, with water lilies blooming the foreground, on a blue ground, signed C. H. C Baldwyn; puce factory mark, Rd. No. 276277 22cm diameter
Lot 401
Collection of Coins, including 1889 Crown, 1797 Cartwheel Twopence, Worcester City and County 1811 token Penny, Sir Rowland Hill ‘Founder of the Penny Postage’ Medallic issue, Quantity of Pre 20 & Pre 47 Silver Coins. Large Amount of Modern Royal Mint Limited Edition 50p & £5 Coins with Commemorative Crowns and other coins. Please see all pictures for details.
Lot 6
Harry Ayrton for Royal Worcester, a pair of cabinet plates with gadrooned and gilt edges, hand-painted with pears, apples, strawberries and grapes. Signed 'H Ayrton'. 22cm diameter approx. black printed marks to the reverse. (2) (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ON THIS LOT. No obvious damage.
Lot 13
Twelve piece Royal Worcester porcelain set of six coffee cans and six saucers, hand-painted with various fruits including apples, peaches, grapes and blackberries. Signed 'A Shuck and Moseley', in fitted box marked 'The Northern Goldsmiths Company Newcastle-Upon-Tyne'. Puce printed marks to the underside. (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ON THIS LOT. Cups - one cup has a tiny nick to the top of the rim. Gilding overall is good. One base has some crazing. Saucers - some marls/scratches to central panel. No obvious chips/cracks or restoration.
Lot 10
Royal Worcester porcelain boat shaped pedestal centre piece, hand-painted with cherries, apples and grapes. Signed Ricketts. 22cm long approx. Puce printed marks to the underside, shape No. H194. (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ONTHIS LOT. Some minor wear to the gilding in places, but overall appearing in good condition with no obvious damage chips, cracks or restoration.
Lot 14
Hadley Ware, a Royal Worcester Tyg type vase and cover, the reticulated cover above hand-painted panels of roses with lion mask handles signed 'A C Lewis'. Green printed marks to the base. (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ON THIS LOT. In poor condition overall, the base has been significantly damaged and repaired with various staples.
Lot 8
Royal Worcester porcelain Fallen Fruits potpourri vase with inner lid and outer pierced cover with basket weave decoration, hand-painted with apples, grapes and other fruit, signed 'Ricketts'. 20cm high approx. Puce printed marks to the underside, shape No. 1286. (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ON THIS LOT. The cover has a chip and loss to the finial and may not be original to the piece?
Lot 11
19th century Royal Worcester porcelain two handled square section vase with gilded mounts and gilded ornate encrusted flowers and foliage. 21.5cm high approx. Green impressed marks to the base, shape No. 399. (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ON THIS LOT. There are some losses to the encrusted flowers/foliage in places. Very dirty.
Lot 27
A WORCESTER PORCELAIN THREE FLOWERS PATTERN TEAPOT AND COVER, c.1770, of globular form printed in underglaze blue, 6 3/4" wide, together with two matching tea bowls and saucers, all with crescent mark (5) (Est. plus 24% premium inc. VAT) (Est. plus 24% premium inc. VAT)Condition Report: Minute glazed over chips to teapot rim, cover restored (completely sprayed with some rubbed off), one saucer has a small chip to rim, larger teabowl has open crescentand small chip to rim
Lot 26
A WORCESTER PORCELAIN FRINGED TREE PATTERN SAUCEBOAT, c.1758, of fluted oval form and painted in underglaze blue, unmarked, 8 1/2" wide (Est. plus 24% premium inc. VAT)Condition Report: Small old chip to lip, triangular shaped loss just above handle, firing crack extending from lower handle terminal to foot, very bad fritting
Lot 32
A WORCESTER PORCELAIN PLANTATION PATTERN SLOP BOWL, c.1770, of plain circular form printed in underglaze blue, unmarked, 6 1/2" diameter, together with a Canon Ball pattern small bowl, workman's mark, 4 3/4" diameter (2) (Est. plus 24% premium inc. VAT)Condition Report: Plantation no damage, Canon Ball has a star crack to base
Lot 34
A PAIR OF VICTORIAN ROYAL WORCESTER PORCELAIN FIGURES, modelled by James Hadley as a young fisherman holding a basket in his right hand, wearing clogs, and his female companion with creel slung over her shoulder, barefoot, both on pebble moulded circular bases, in blush ivory glazes, puce mark, model numbers 1202, 18" and 17 1/2" high (Est. plus 24% premium inc. VAT)Condition Report: Man has heavily restored legs and basket (probably bene in half), woman no chips, cracks or restoration.
Lot 487
Late Period, 664-332 B.C.. Multi-stranded designer necklace composed of beads of mainly annular and tubular types. Cf. similar specimens in faience at the Worcester Art Museum, inventory no.1925.539. 23 grams total, 66 cm long (26 in.). For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour, and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummiesAcquired before 1979. From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014. [No Reserve]
Lot 536
Late Period, 664-525 B.C.. Multi-stranded restrung composition necklace composed of beads of mainly annular and tubular types. Cf. similar specimens in faience at the Worcester Art Museum, inventory no.1925.539. 27 grams, 66 cm (26 in.). For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour, and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummies.Acquired before 1979. From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014. [No Reserve]
Lot 526
Late Period, 664-332 B.C. and later. A group of amulets in a glazed wooden frame, comprising: 1 –stone Sma amulet Although rather gruesome, as it represents an animal’s windpipe and lungs, this amulet symbolised the benign concepts of unity and ensured the integrity of the deceased’s body, which was deemed essential for entry into the Afterlife. Cf. Reisner, G.A., Catalogue général des antiquitéségyptiennes du Musée du Caire, Nos.12528-13595, Vol. II, Amulets, Cairo, 1958, p.52, no. 5582, and pl.III, for a similar black stone example. 2 – Tawaret amulet The goddess Tawaretis a female hippopotamus with the arms and legs of a lion and the back and tail of a crocodile. Despite her fearsome appearance, Tawaret was a household deity and protector of women in childbirth. Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des StädtischenMuseums, Wiesbaden, 2011, p.130, no.216, for similar. 3 – Bes amulet Bes emerged as one of ancient Egypt’s most favoured protective deities during the New Kingdom period and beyond. Despite his intimidating appearance, Bes served as the guardian and defender of pregnant women and children and was also thought to protect them from snakes. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. XXXIII 188e, for a similar example. 4 – faience Pataikos amulet Pataikos was first mentioned by the historian Herodotus, who refers to dwarf-like representations of Ptah. The name is still used today. These diminutive amulets symbolise Ptah’s immense magical power and protect the wearer from dangerous creatures such as snakes and crocodiles. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. XXXI, 176c, for a similar small example. 5 – three hardstone heart amulets According to ancient Egyptian beliefs, the heart (ib) was considered to be the centre of intelligence, emotions, and behaviour, as well as the storehouse of an individual's memories. During the Weighing of the Heart ceremony in the afterlife, the heart could advocate for the deceased and account for their lifetime of actions before Osiris. For this reason, heart amulets were placed on the mummy to safeguard the organ and ensure a favourable outcome during judgment. Cf. Andrews, C., and van Dijk, J., Objects for Eternity: Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz am Rhein, 2006, p.128, no. 2.34b, for a similar brown jasper heart amulet. 6 – faience double falcon amulet This uncommon amulet represents two falcons wearing sun disc headdresses. One falcon may represent Horus, the god of the sky, war, and protection; the other perhaps another falcon deity such as Montu. Alternatively, they may be two ba-birds, representing an element of the deceased’s spirit, similar to our concept of soul. Cf. Camino, L., Papier-Lacostey, C., Collections égyptiennes du musée Antoine Vivenel de Compiègne, Compiègne, 2007, p.209, no.259, for a comparable amulet. 7 – Djed pillar The djed pillar symbolised the concepts of 'enduring' and 'stability' and was a common funerary amulet from the Old Kingdom onwards. It was first associated with the gods Ptah and Sokar but later became a symbol of Osiris, representing the god's backbone. In this context, the djed pillar appears in Chapter 155 of the Book of the Dead, concerned with the deceased's resurrection. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, p.83, no.84c, for an example with similar detailing. 8 – carnelian wedjat eye The wedjat-eye amulet represents the healed eye of the god Horus, featuring both human and falcon elements. The name wedjat in ancient Egyptian means ‘the one that is sound.’ According to Egyptian mythology, Horus' eye was wounded or taken by the god Seth and restored by Thoth. The wedjat-eye amulet was thought to protect its wearer and bestow the power of recovery and regeneration onto them. It was very popular and used by both the living and the dead. Cf. Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p.113, no.19, for a similar carnelian example. 9 – faience Shu amulet This Egyptian faience amulet is a schematic depiction of the god Shu, depicted kneeling with his hands upraised, supporting a sun disc. According to Egyptian mythology, Shu was sneezed out by the creator god Atum, initiating the universe’s creation. Shu represents the air that separates the sky and the earth. He is also responsible for holding up the sky, represented by the goddess Nut, thus allowing the cyclical journey of the sun to take place. In the context of the afterlife, Shu allowed the deceased to traverse unhindered on their journey towards rebirth. Shu amulets were placed on the lower part of the deceased's torso, between the mummy bandages. Shu could also serve as a magical amulet at the birth of the living, symbolising a protector of new life. Cf. Camino, L., Papier-Lacostey, C., Collections égyptiennes du musée Antoine Vivenel de Compiègne, Compiègne, 2007, p.174, no.193, for a comparable amulet. 10 – two faiencewedjat eye amulets Both represent less common variants of the wedjat amulet. On these, a series of small front-facing uraei run across the top of the amulet, with a larger uraeus depicted in profile on either side of the eye. Cf. World Museum Liverpool, M11893aa, for a similar, though less well-defined example. 11 – stone wedjat eye Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. XXIV139e, for a similar example. 12 - carnelian Bes amulet This somewhat cursorily fashioned example of a Bes amulet may date to around a century before the New Kingdom. Cf. Thomas, G.A., A Handbook of the Egyptian Collection (Chicago: The Art Institute of Chicago, 1923), p. 130, for a similar example. 13 – carnelian poppy pendant Amulets in the form of poppies were used to heal and alleviate pain and to ward off death. These amulets were also linked to Osiris, the Egyptian deity of agriculture, death, and the afterlife. Cf. Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p.145, no.2, for a necklace composed of similar examples. 14 – faience uraeus amulet The uraeus represents a rearing cobra and symbolises royal power and authority, as well as the Lower Egyptian goddess Wadjet. The uraeus amulet was worn to ensure the protective power that was granted to the pharaoh. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. IV58f, for this amulet type. 15 – two lapis lazuli djed pillars Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des StädtischenMuseums, Wiesbaden, 2011, p.166, no.323, for a similar example of the taller pillar; Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p.115, no.1, for a similar example of the shorter pillar. 773 grams total, 23 x 17.5 cm (9 x 6 7/8 in.). Ex H.M. Barker. Private collection, England.
Lot 480
750-332 B.C.. With boldly indicated head, clypeus, prothorax, and elytra; flat underside; holes at the head, back, and sides for attachment. Cf. Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020,p.122 no.20, for a similar scarab. 19.5 grams, 50 mm (2 in.). Scarabs were often used as funerary amulets and were believed to symbolise the rebirth and regeneration of the deceased.with Beaussant Lefèvre, 17 November 2015, no.48. Acquired by the present owner from the above. (For this specific lot, 5% import VAT is applicable on the hammer price.)
Lot 510
Late Period, 664-332 B.C.. Multi-stranded designer necklace composed of beads of mainly annular and tubular types. Cf. similar specimens in faience at the Worcester Art Museum, inventory no.1925.539. 21 grams, 74 cm (29 1/8 in.). For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour, and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummies.Acquired before 1979. From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014. [No Reserve]
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182973 item(s)/page