A small Worcester sauceboat, circa 1752-53Of high-footed form and attractive small size, the scroll handle with a high thumbrest, the finely moulded panels on either side surmounted by a bird with wings outstretched, painted in famille verte style with 'strutting birds' flanked by flowering plants and hollow rockwork, the interior with a flower spray and a border of diaper and half flowerheads, 16.8cm longFootnotes:ProvenanceGodden Reference CollectionThe smallest of three sizes produced at Worcester, this form of sauceboat is found at Lund's Bristol with underglaze blue decoration. As is usually the case with Worcester sauceboats of this early period, the moulded decoration differs on each side. A sauceboat with very similarly moulded and painted panels from the Frank Wheeldon Collection was sold by Bonhams on 23 January 2008, lot 64.For further information on this lot please visit Bonhams.com
We found 182977 price guide item(s) matching your search
There are 182977 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
182977 item(s)/page
An exceptionally rare coloured Limehouse salt, circa 1746-48Of circular form moulded with three floral sprays in high-relief, the petals and foliage picked out in shades of blue, green, yellow and orange, raised on three lion mask and paw feet with their features picked out in shades of brown and orange, all on a claret ground, 10.3cm wideFootnotes:ProvenanceWatney CollectionIllustrated in the ECC's Limehouse Ware Revealed (1993), p.55, col. pl.VX. Of the 21 or so pieces of coloured Limehouse extant, only three coloured salts are recorded, which appear in two very different forms. The present lot is the only example recorded in this particular form. The other comprises a pair of salts of quatrelobed form, raised on four bright green lion mask and paw feet, painted in bold famille rose style with flowers and a long-tailed bird, see Bernard Watney, 'Limehouse Coloured Ware', ECC Trans, Vol.15, Pt.1 (1993), p.69, figs.20 and 21. One of these is illustrated beside the present lot in the ECC's Limehouse Ware Revealed (1993), p.55, col. pl.XIV and was sold as part of the Watney Collection by Phillips on 22 September 1999, lot 128. Whilst no evidence of enamelling was found on the Limehouse factory site, closely related enamel decoration is found on Chinese and Japanese porcelain, enamelled in Europe. Whilst it is possible that the present lot was decorated in Holland, it is more likely that it is the work of a Dutch enameller working in England. See the footnote to lot 269 in this sale. A unique and very misshapen Limehouse salt decorated in underglaze blue, has lion head and paw feet like the present lot. It was sold by Bonhams as part of the Susi and Ian Sutherland Collection, 3 October 2007, lot 117, where it was purchased by Rosalie Sharp and illustrated in China to Light Up a House Vol.1 (2015), p.178, no.605. Also illustrated by Ray Jones, The Origins of Worcester Porcelain (2018), p.221, it is the only blue and white Limehouse salt recorded.For further information on this lot please visit Bonhams.com
A very rare Worcester teabowl, circa 1758Thinly potted and painted in blue with the 'Diagonal Rock Island' pattern, a Chinese hut and a tree perched upon the rock, a figure standing to the left, an elaborate border of scrolling pendent husks below the interior rim, 7.2cm diam, workman's markFootnotes:ProvenanceCharles Dawson CollectionA small bowl decorated in this uncommon pattern from the Zorensky Collection was sold by Bonhams on 16 March 2004, lot 303.For further information on this lot please visit Bonhams.com
A Worcester milk jug and a teabowl and saucer, circa 1770The sparrow beak jug and the plain teabowl and saucer all painted in blue with the 'Two Quail' pattern in Japanese style, the rims with the associated dotted border, jug 8.4cm high, saucer 12.6cm diam, crescent marks (3)Footnotes:ProvenanceThrift Cottage Antiques, Olympia Fair, 4 June 1998Pauline and David Tate CollectionFor further information on this lot please visit Bonhams.com
A Worcester cream jug, a coffee can and a bowl, circa 1756-58Comprising a jug with delicate feather moulding and a scroll-moulded handle, painted in blue with the 'Feather Mould Floral' pattern, 9.2cm high, workman's mark, a coffee can painted with the 'Warbler' pattern, 5.9cm high, workman's mark, and a bowl of small size, painted with the 'Landslip' pattern, 10.6cm diam, workman's mark (3)Footnotes:ProvenanceWith Robyn Robb, 13 June 1997 (bowl) and 2002 (can)Pauline and David Tate CollectionFor further information on this lot please visit Bonhams.com
A rare sauceboat, Lund's Bristol or possibly Limehouse, circa 1748-50Of hexagonal shape, the kicked handle with a leaf-moulded thumbrest, the flared sides elaborately moulded with rococo shell, scroll and leaf ornament, reserving panels painted in blue with European landscapes, one side with a figure before a classical rectangular monument flanked by a tree with an overhanging branch, the reverse with a prominent brick-built house, the side panels with a diaper design, a thorny rose spray to the interior and a delicate foliate scroll border with shell and leaf motifs to the interior rim, 15.2cm longFootnotes:ProvenanceWatney CollectionIllustrated in the ECC's Limehouse Ware Revealed (1993), p.38, fig.69 together with a waster from a sauceboat rim with an identical border in fig.71. European decoration is rare on Limehouse, but cannot be relied upon for attribution as it migrated from Limehouse to Bristol. A small number of similar sauceboats are recorded with handles of this distinctive kicked form with a curved thumbrest, but these are of uncertain attribution and presently considered likely to be Bristol, see Ray Jones, The Origins of Worcester Porcelain (2018), p.230. A virtually identical sauceboat was sold by Bonhams (as Limehouse) as part of the R David Butti Collection on 10 May 2006, lot 127 and is illustrated by Jones on p.228. Another very similar example from the Barbara Leake Collection was sold by Bonhams on 12 March 2008, lot 95 and is illustrated by Jones on p.228. Others with similar moulding and related decoration include one in the Victoria and Albert Museum (inv. no.C.703-1923) and one exhibited by Simon Spero in 2017, both illustrated by Jones on p.229. All of these relate closely to sauceboats of identical form and similarly painted but with recessed moulding, all now attributed to Lund's Bristol, see Jones (2018), pp.230-1. That being said, the deep and angular base of the present lot is in stark contrast to the shallow and rounded bases of those examples with recessed moulding. This means that without supporting analytical evidence, a Limehouse origin cannot be ruled out.For further information on this lot please visit Bonhams.com
An early Worcester bowl, circa 1752Of small size, painted in bright blue with the 'Nesting Bird' pattern, a central crested bird on a rock flanked by a 'trekked' flower at one side and two small birds on the opposite branch, 10cm diamFootnotes:ProvenanceWith Brian Haughton AntiquesPauline and David Tate CollectionThis very rare pattern was also used on bell-shaped mugs, see the example from the Zorensky Collection sold by Bonhams on 22 February 2006, lot 291. Prone to blurring, the colour of the blue and the bright paste places this group within the transitional Bristol-Worcester period.For further information on this lot please visit Bonhams.com
A large Worcester inkwell, circa 1754-55Of circular or drum form with a central opening and six smaller quill holes around, painted in blue with the 'Plantation' pattern of bamboo growing within a fenced enclosure, an island on the reverse flanked by two sailing boats, 13.1cm diam at the baseFootnotes:ProvenanceWith Steppes Hill Farm Antiques, March 1997Pauline and David Tate CollectionA similar inkwell in the Museum of Royal Worcester is inscribed in blue underneath 'WPC' for the Worcester Porcelain Company. Other examples were sold by Phillips as part of the Watney Collection on 22 September 1999, lot 163, and by Bonhams as part of the Zorensky Collection on 22 February 2006, lot 272 and the R David Butti Collection on 10 May 2006, lot 114.For further information on this lot please visit Bonhams.com
An exceptionally rare South Staffordshire enamelled opaque white glass guglet, circa 1755-60Of simple pear-shaped bottle form with a bulbous knop below the flared rim, finely enamelled in a famille rose palette with two long-tailed 'fancy' birds perched on the meandering branches of a flowering prunus tree, flanked by leafy stems of bamboo, 26.4cm highFootnotes:ProvenanceMiss Millie Manheim and D M & P Manheim Antiques Corporation, Sotheby's New York, 15 October 1996, lot 267With Delomosne and Son, June 2002Christie's, 14 May 2003, lot 282Bayreuth CollectionLiteratureAndy McConnell, The Decanter: Ancient to Modern (2018), p.102, no.2The introduction of arsenic as an opacifier in lead glass in Britain in the mid-18th century led to the production of opaque white glass of far superior quality and whiteness than that produced using a traditional tin oxide opacifier, particularly on the Continent. This remarkable guglet is among the largest pieces of opaque white glass made in this tradition and truly exemplifies this technical achievement. The various artists responsible for enamelling glass such as this were undoubtedly connected with enamelling on Staffordshire saltglaze stoneware and on Worcester porcelain, as discussed by R J Charleston in Delomosne and Sons exhibition catalogue, Gilding the Lily (1978), p.8. No other guglet of this particular form would appear to be recorded, but an example of different form was exhibited by Delomosne and Son, Gilding the Lily (1978), p.17, no.23.For further information on this lot please visit Bonhams.com
A rare Worcester coffee cup, circa 1754Of 'scratch cross' type with a grooved handle, painted in pale blue with Chinese floral spray on each side, a foliate border below the rim, 5.9cm high, scratched cross to base below handleFootnotes:ProvenanceWatney Collection, Phillips, 1 November 2000, lot 941Pauline and David Tate CollectionThis composition is similar to various designs found on early Worcester enamelled cups, usually with ribbed moulding. To date, however, this relatively simple design has not been noted on any other blue and white coffee cups.For further information on this lot please visit Bonhams.com
A good pair of Flight, Barr and Barr candlesticks, circa 1815The urn-shaped nozzles with flared rims, finely painted with rural landscapes reserved on a white ground enlivened with dendritic and foliate gilding, the tapering octagonal feet and square plinth bases also gilt and bronzed, 9.4cm high, impressed crowned BFB marks, FBB script marks (2)Footnotes:ProvenanceBonhams, 1 May 2013, lot 129ACharles Dawson CollectionIllustrated by Charles Dawson, Worcester Flight & Barr Porcelain (2023), p.151, fig.15.3. The marks suggest that these were manufactured following the death of Martin Barr Senior and the introduction of his second son George Barr as partner in 1814.For further information on this lot please visit Bonhams.com
A fine and rare Flight, Barr and Barr Worcester armorial plate, decorated at Chamberlains, circa 1840From the 'Gale Braddyll' service, the wide claret border reserving raised enamel and gilt-edged panels painted with flowers and butterflies, below a gilt gadrooned rim, the centre printed-in-outline and finely hand-coloured and gilt with a coat of arms surmounted by three crests, the motto 'COGNOIES TOY MESME' in a pink banner, 25.4cm diam, impressed crowned FBB mark, red script mark for Chamberlain & Co with New Bond St and Coventry St addressesFootnotes:ProvenanceCharles Dawson CollectionExhibited in the ECC Armorials Exhibition, 2008. The production of this plate straddles the merger of the Flight, Barr and Barr and Chamberlain factories, explaining the unusual combination of marks. A plate from the service is illustrated and discussed by Charles Dawson, Worcester Flight & Barr Porcelain (2023), pp.91-3, fig.9.2 and a detail of the present lot is illustrated as fig.9.3. Most extant pieces from this ornate service are in the Gardner Museum, Boston, having been bought by Isabella Stewart Gardner in 1892 (inv. no.C1s49.16). It was likely made for Lieutenant-Colonel Thomas Richmond Gale Braddyll (1776-1862) of Conishead Priory, Lancashire. An amateur artist from a wealthy family, Gale Braddyll frittered away the remainder of his fortune and was declared bankrupt in 1848.For further information on this lot please visit Bonhams.com
A Worcester 'Scratch Cross' coffee can, circa 1754Painted in blue with the 'Cormorant' pattern, a peony and large leaves on the front, a bird on a rock on the reverse assisting an angler on a sampan, 6cm high, scratched cross mark on the base below the handle and an incised line alongside, a workman's mark in blueFootnotes:ProvenanceWatney Collection, Phillips, 22 September 1999, lot 203Pauline and David Tate CollectionThe 'Cormorant' is one of very few Worcester blue and white patterns that were used in an identical version on Bristol delftware. As these are of very similar date, it is only possible to speculate as to who was copying who.For further information on this lot please visit Bonhams.com
A pair of Flight, Barr and Barr Worcester vases, circa 1830Of campana shape with gilt entwined serpent handles, painted with titled views of 'Mucrass [sic] Abbey, Killarney' and 'Malvern Church, Worcestershire', the scroll-edged panels reserved on a rich gilt weed ground, raised on square plinths enamelled in deep blue and edged in gold, 17.8cm high, red script marks with Coventry St address (2)Footnotes:ProvenanceBonhams, 2 November 2011, lot 139Charles Dawson CollectionA vase painted with the same view of Muckross Abbey from the Lord and Lady Flight Collection was sold by Bonhams on 21 March 2023, lot 204.For further information on this lot please visit Bonhams.com
A Worcester cider jug, circa 1758Of plain baluster shape with a sharp, pointed lip, the 'S' shaped handle with a raised thumbrest, painted in blue with the 'Walk in the Garden' pattern, a standing Chinese figure holding a rui sceptre, with a young attendant holding a speared bird, 18.3cm high, workman's mark resembling a musical noteFootnotes:ProvenanceJenkins CollectionWith Thrift Cottage Antiques, Olympia Fair, 18 November 1995Pauline and David Tate CollectionThis splendid example is illustrated by Bernard Watney, English Blue and White Porcelain (1963), pl.31c.For further information on this lot please visit Bonhams.com
A pair of Flight, Barr and Barr Worcester vases, circa 1825Of campana shape, the high scrolled handles fully gilt, each side painted with colourful mixed flower sprays and flying insects on a pale yellow ground, applied with a band of white 'pearls' above a gilt neoclassical border, 12cm high, script marks in red with Coventry St address (2)Footnotes:ProvenanceCharles Dawson CollectionThis style of flower and insect painting is associated with Samuel Astles, see the Princess Charlotte breakfast service plate painted by Astles, also from the Charles Dawson Collection and sold by Bonhams on 21 June 2023, lot 458.For further information on this lot please visit Bonhams.com
An early Worcester moulded cream jug, circa 1753-55Of finely lobed pear shape, with a double C-scroll handle with curled thumbrest, painted with a 'Long Eliza' figure walking past a low fence and willow tree and pointing to the large plant beneath the lip, the reverse with a colourful bird on flowering branches growing from fanciful rocks, 8.3cm highFootnotes:ProvenanceWith Brian Haughton Antiques, 10 December 2015The Chinese figures carefully painted in colours on moulded cream jugs and a few other early Worcester shapes, vary considerably between different examples. Most seem to be pointing, while others have their arms folded. Some are waiting or standing still, while on the present lot the figure seems to be walking. Related figures and other motifs occur in primitive blue and white patterns from Lund's Bristol and from the earliest Worcester blue painted productions. By contrast, however, Worcester's enamel decoration is much more sophisticated from the outset. Clearly, Worcester's first overglaze decorators did not travel from Bristol and we must look to either Staffordshire saltglaze, Birmingham enamel or enamelled opaque white glass for the origins of the pattern on this delightful cream jug.For further information on this lot please visit Bonhams.com
An 'Early Bird' type sauceboat, Worcester or possibly Lund's Bristol, circa 1751-52The small-sized boat of high-footed form with rococo moulding, the 'C' shaped handle with a pronounced thumbrest, painted in bright blue with a darker blue 'trekked' outline, the panels on both sides including a bird on a branch, floral sprays inside the lip and around the footrim, 16cm longFootnotes:ProvenanceWatney Collection, Phillips, 10 May 2000, lot 555R David Butti Collection, Bonhams, 10 May 2006, lot 103With Steppes Hill Farm AntiquesPauline and David Tate CollectionThis belongs to a curious class of small, high-footed sauceboats painted in a distinctive manner associated with the transitional Bristol-Worcester period. Close parallels can be drawn between the panels on blue and white examples and the more plentiful enamelled versions, which are usually attributed to the early years of production at Worcester. A blue and white example in the Victoria and Albert Museum was designated the 'Early Bird' pattern by Branyan, French and Sandon (1989). Rather than a single pattern, however, this seems more likely to be a group of individual designs painted in underglaze blue by the same hand or hands responsible for the early coloured sauceboats. Simon Spero exhibited an example in April 2016, catalogue no.23, noting the close resemblance to Lund's Bristol. The glaze on the present example has pooled inside the base, suggesting this belongs to an experimental or transitional period of production.For further information on this lot please visit Bonhams.com
A Worcester miniature or toy sucrier and cover, circa 1775-80Of plain shape with a pointed finial, painted in blue with the 'Rose' pattern and smaller sprigs, with 'crowsfoot' borders, 8.5cm high (2)Footnotes:ProvenanceWith Steppes Hill Farm Antiques, 29 March 2001Pauline and David Tate CollectionFor further information on this lot please visit Bonhams.com
A Worcester small mug or coffee can, circa 1753-54Of 'Scratch Cross' type with a grooved handle, the gently waisted form painted in blue with the 'Willow Root' pattern, a willow tree growing by a fence, a banana tree and a figure in a sampan, 6.3cm high, incised lines and mark inside footrimFootnotes:ProvenanceCharles Dawson CollectionFor further information on this lot please visit Bonhams.com
A large Worcester mug, circa 1758Of cylindrical form with a grooved handle, painted in blue with the 'Angler' pattern, a fisherman stands on a rocky island with a pavilion and large trees, another smaller island with a pavilion to the rear, 15cm high, workman's mark of a long tickFootnotes:ProvenancePaul Zeisler Collection, Albert Amor exhibition, 1986Zorensky Collection, Bonhams, 22 February 2006, lot 292Pauline and David Tate CollectionIllustrated by Sandon and Spero, Worcester Porcelain (1996), fig.554. It is interesting to note that within this pattern the pavilion on the large island is decorated with pseudo Chinese characters which resemble Worcester workmen's marks.For further information on this lot please visit Bonhams.com
A Worcester potting pot and a bowl, circa 1770 and 1756The deep potting pot of circular form with a thickened rim, painted in blue with the 'Cannonball' pattern, 13.3cm diam, crescent mark, the large bowl painted with the 'Prunus Fence' pattern, the reverse with an insect, a panelled diaper border inside, 18.5cm diam, IH workman's mark (2)Footnotes:ProvenanceJohn Broad Collection (potting pot)With Steppes Hill Farm Antiques, 10 June 1989 (potting pot)Phillips, 13 September 1995, lot 284 (bowl)With Steppes Hill Farm Antiques (bowl)Pauline and David Tate CollectionFor further information on this lot please visit Bonhams.com
A Worcester bowl and a coffee cup, circa 1755The small bowl with an everted lip and of almost eggshell thinness, painted in blue with the 'Warbler' pattern, a panelled diaper border inside, 12.3cm diam, workman's mark, the matching coffee cup with a grooved loop handle, 5.8cm high, workman's mark (2)Footnotes:ProvenanceWith Brian Haughton Antiques (bowl)With Steppes Hill Farm Antiques, 14 June 2007 (cup)Pauline and David Tate CollectionFor further information on this lot please visit Bonhams.com
A Worcester punch pot and cover, circa 1770Of the type known as 'Dr Johnson's Teapot', of plain globular shape with a pointed finial, printed in blue on both sides with the 'Thorny Rose' pattern, the border and cover with fruit and flower sprigs tied by ribbon bows, 20cm high (2)Footnotes:ProvenanceWatney CollectionMassive Worcester punch pots of this distinctive type will be forever associated with Dr Johnson. The reason is an identical teapot preserved at Pembroke College, Oxford, which is believed to have belonged to Dr Samuel Johnson. Indeed, 'Dr Johnson's teapot' was mentioned by Boswell as holding two quarts. See Rosalie Sharp, Ethics and Scandal (2002). Another example was in the Zorensky Collection, see Sandon and Spero, Worcester Porcelain (1996), fig.646.For further information on this lot please visit Bonhams.com
Three small Worcester dishes, circa 1756-65Comprising a deep patty pan of conical form, painted in blue with the 'Club Rock Patty Pan' pattern, 11cm diam, workman's mark, a pickle dish shaped as an ivy leaf, painted with the 'Two Peony Rock Bird' pattern, 9.8cm, and an hors d'oeuvres dish painted with the 'Willow Rock Bird' pattern, 9.2cm wide, crescent mark (3)Footnotes:ProvenanceKlepser Collection (hors d'oeuvres dish)With Simon Spero, 21 June 1988 (hors d'oeuvres dish)Simon Spero exhibition, 2006, catalogue no.28 (patty pan)With Steppes Hill Farm Antiques (pickle dish)Pauline and David Tate CollectionFor further information on this lot please visit Bonhams.com
An important Limehouse punch tureen and cover, circa 1746-48Of circular form raised on four lion mask and paw feet with details picked out in blue, with two elaborate scroll and shell moulded handles, the low domed cover with a twig finial issuing leaves, the sides painted in blue with two tree-lined European landscape scenes, one depicting a bridge with two swans swimming beneath, two figures herding sheep in the distance, one on horseback, the other with a building and two figures before a flock of sheep and a cow, vine leaves between the handle terminals, the cover with a continuous landscape depicting three classical scenes of winged putti, including two with a basket of fruit, one beside a bird in a cage, and one standing having released two birds in flight above, the rim with a scrolled border, a thorny rose spray to the interior and another underneath the cover, 28cm wide across handles, 18.5cm high (2)Footnotes:ProvenanceWatney CollectionIllustrated by Bernard Watney, 'Four Groups of Porcelain, possibly Liverpool', ECC Trans, Vol.4, Pt.5 (1959), pl.7a (as Liverpool), by Bernard Watney, English Blue and White Porcelain (1963), pl.43d (as Liverpool), and on the front and back covers of ECC Trans, Vol.17, Pt.1 (1999) as a tribute to Bernard Watney. These covered tureens were probably the most costly of all Limehouse porcelain and are remarkable not only for their size, but also for the quality of the painting. The distinctive style of painting represented by these bowls is Continental rather than English. It relates to a distinct group of Limehouse dry mustard pots with classical decoration, see lot 265 in this sale. It also relates to a distinct group of large sauceboats with very similar European landscapes and identical rose sprays to the centre, with a single vine leaf to the pouring lips, see lot 266 in this sale. All of these must certainly be by the same hand.It has been suggested that these tureens were intended for serving mulled wine or punch, as all have vine leaves in the spaces and Geoffrey Godden had an example with grapes to the interior. Including the present lot, just five examples are recorded, each apparently painted by the same hand. One of these, lacking its cover but painted with identical European landscape scenes, is in the Mint Museum in Charlotte, North Carolina (inv. no.D1981.99.9). The second example was purchased by Geoffrey Godden from Liane Richards, who had bought it at Sotheby's in 1996. This was sold by Bonhams as part of the Geoffrey Godden Collection on 30 June 2010, lot 42, there purchased by Rosalie Sharp. In her book, China to Light up a House, Vol.1 (2015), p.173, Rosalie Sharp recounts her excitement when she received the piece that she had previously seen only in photographs. Her example had been illustrated by Geoffrey Godden, English Blue and White Porcelain (2004), pp.86-7, col. pls.21 and 22 and pp.99-100, pls.104 and 105. Example number three is in the Victoria and Albert Museum (inv. no.C.260&A-1938) and this is also illustrated by Godden (2004), pls.102 and 103 and by Ray Jones, The Origins of Worcester Porcelain (2018), p.218. The fourth example, lacking its cover, is in the Walker Art Gallery, Liverpool Museums. The present lot is the only example with a twig finial to the cover.European landscape decoration on Limehouse falls into two distinct groups. One features large and prominent figures, while in the other group represented here, the figures are diminutive with the emphasis on the landscape itself, the scenes framed by trees and buildings. The cottage with a picket fence is a form of decoration which originated at Limehouse but was also used at Lund's Bristol. A Limehouse teapot and cover from the Liane Richards Collection painted with a very similar building is illustrated by Ray Jones, The Origins of Worcester Porcelain (2018), p.226 and was sold by Bonhams on 13 April 2016, lot 95. Another is found on a teapot illustrated (with a Chinese cover) by Rosalie Sharp (2015), p.175, fig.594 and by Jones (2018), p.226.For further information on this lot please visit Bonhams.com
A remarkable Worcester porringer and cover, circa 1757-58Of circular form with two applied fan-like handles, the domed cover surmounted by a partly open rose, its stalk with five delicately moulded leaves, painted in blue with a series of bird and landscape subjects, one side with a kingfisher and a thrush on the branches of a small tree, the reverse with two pigeon-like birds standing among fallen leaves, the cover with a woodpecker on a tree trunk and two cooing birds on a branch, 23cm wide across handles, matching workman's marks JH on both pieces (2)Footnotes:ProvenancePhillips, 8 June 1994, lot 261R David Butti Collection, Bonhams, 10 May 2006, lot 100With Steppes Hill Farm AntiquesPauline and David Tate CollectionIllustrated by John Sandon, The Dictionary of Worcester Porcelain (1993), p.265 and by Branyan, French and Sandon (1989), pattern I.C.25A. The authors named the design the 'Woodpecker and Kingfisher Group'. This rare shape is derived from Meissen, probably by way of Chelsea, although these modelled handles appear to be unique to Worcester. Very similar bird compositions occur painted in colours on Chelsea porringers, an example of which was in the Selwyn Parkinson Collection, part 3, sold by Sotheby's on 11 October 1966. The same bird subject used on the cover is also known on a Worcester bell-shaped mug. The JH workman's mark seen on this bowl occurs on several vases of the 'Mobbing Birds' pattern, see lot 370 in this sale. Previous authors have suggested a link to the painter I Rogers, but whilst there is no evidence to support this, it is likely the same decorator worked in colours and in blue.For further information on this lot please visit Bonhams.com
A good Chamberlain Worcester Duke of Cumberland Pattern punch bowl, circa 1805Decorated with a version of the 'Rich Queens' pattern, with panels of chrysanthemums and wheatsheaves alternating with mons reserved on elaborately gilt underglaze blue grounds, a dense red foliate band around the footrim, further Japan-style floral sprays and flying insects below the interior border, 27cm diam, marked Chamberlains Worcester No.78 in purple scriptFootnotes:This pattern was selected by Ernest Augustus, Duke of Cumberland when he visited the Chamberlain factory in 1806 and placed an order for an armorial service.For further information on this lot please visit Bonhams.com
Two Worcester breakfast cups and saucers, circa 1810-25The Barr, Flight and Barr armorial example with crest of a serpent encircling a dove statant on a mount, the deep blue ground with a gilt border of birds and foliage, incised B and script marks, the Flight, Barr and Barr example painted with rustic figures in titled landscapes, the cup with a delightful winter scene, 'Cottage in the Isle of Wight', covered in snow, the saucer with a 'Scene of the Wye', intricate gilding within pale pink borders, saucers 15.7cm diam, impressed crowned FBB marks, titles and marks in script, saucer with printed circular mark (4)Footnotes:ProvenanceCharles Dawson CollectionHenry Sandon lists the crest on the armorial cup as probably being for Walker, see Flight and Barr Worcester Porcelain (1978), p.211. Henry Walker of Blyth and Clifton, Nottinghamshire was born in 1785 and was Justice of the Peace, Deputy Lieutenant, and High Sheriff.For further information on this lot please visit Bonhams.com
A rare Worcester leaf dish, circa 1760-65Modelled in the form of a dock leaf, pierced beside the stalk at one end, carefully painted in blue with the 'Blown Rose Leaf Tray' pattern, with a central ragged rose and three smaller sprigs, 15.3cm long, crescent markFootnotes:ProvenanceWith Steppes Hill Farm Antiques, 17 June 1995Pauline and David Tate CollectionWorcester painted naturalistic flowers on a range of different leaf shaped dishes, of which this is a particularly rare form. The fine detail, especially around the edge, leaves no doubt that this dish was moulded from an actual leaf. An example from the Geoffrey Godden and Billie Pain Collections is illustrated by Branyan, French and Sandon (1989), pattern I.E.28 and was sold by Bonhams on 18 May 2011, lot 310.For further information on this lot please visit Bonhams.com
A fine Royal Worcester vase by Harry Davis, dated 1911Of ovoid form, the neck, handles and foot with crisp classical moulding picked out in tones of gold and metallic enamels, painted with three highland sheep in a dramatic mountain landscape, signed 'H Davis', the reverse with a smaller vignette, 36cm high, green mark, shape number H248For further information on this lot please visit Bonhams.com
A Worcester teacup and saucer, circa 1758-60The lipped shape of cup carefully copied from Meissen, painted in blue with the appropriate 'Meissen Floral' pattern, a narcissus flower on the cup, a tulip on the saucer, saucer 13.2cm diam, crossed swords and 9 marks with dots (2)Footnotes:ProvenanceWith Steppes Hill Farm Antiques, 30 October 2002Pauline and David Tate CollectionA single teacup of this design from the Zorensky Collection is discussed by Sandon and Spero, Worcester Porcelain (1996), fig.563. When this was sold by Bonhams on 16 March 2004, lot 354, it was listed at that time as the only example known. The present lot is one of only two cups and saucers that have since been recorded, the other sold by Bonhams on 8 June 2005, lot 145. The shape and decoration exactly copies Meissen of similar date. In addition, the Worcester decorator chose to copy Meissen's crossed swords mark complete with the Meissen workman's mark of a numeral 9. Ten years later, Worcester still used this same version of Meissen's mark when they created teawares in the Dresden style.For further information on this lot please visit Bonhams.com
A Worcester hexagonal creamboat, circa 1756Of small size with crisp relief moulding including a large leaf below the lip, the handle with a pronounced thumbrest, painted in blue with the 'Crested Bird on a Branch' pattern, the sprigs inside painted with particular care, 10.7cm longFootnotes:ProvenanceWith Steppes Hill Farm Antiques, 27 April 1998Pauline and David Tate CollectionWorcester's panelled creamboats were usually decorated in Chinese style and so this pattern is an exception. European birds, in the so-called I Rogers style, were derived from Chelsea and Meissen. For this pattern see Branyan, French and Sandon (1989), pattern I.C.22. A similar example from the Zorensky Collection was sold by Bonhams on 22 February 2006, lot 293.For further information on this lot please visit Bonhams.com
A Barr, Flight and Barr Worcester teacup, coffee cup and saucer, circa 1807The trio with finely painted landscape panels, the teacup with a house nestled amongst trees and rocky outcrops, the coffee cup with figures before a stone bridge, the saucer with a pair of figures by a waterfall, a castle above, probably by Samuel Smith, the salmon pink grounds highlighted with neoclassical gilding, saucer 13.8cm diam, incised B marks, saucer also with oval printed mark with Prince of Wales feathers and referring to Coventry St address (3)Footnotes:For a discussion of this distinctive style of landscape painting attributed to Smith, see Charles Dawson, Worcester Flight & Barr Porcelain (2023), pp.211-3. See also lots 456 and 486 and in this sale.For further information on this lot please visit Bonhams.com
A set of thirteen Victorian plates and two stands. Impressed with Royal Worcester mark to the base and 'Sharpus & Co, No13 Cockspur Street, London' painted on the majority of the bases. All with moulded edges and hand painted gilt and blue rims and a floral scene to the centres. Diameter 24cm. Some AF
A Collection of 19th Century Ceramics to Comprise a Crown Derby Gilt and Blue Inset Plate, a Rockingham Type Hand Painted Shell Shaped Dish with Fruit and Flower Cartouche with Gilt Border and Grey Insets, A Royal Worcester Hand Painted Still Life Fruit Tazza (AF), Salopian Coalport North Devon Reg Plate Further Regimental Plate and a Yellow Inset Side Plate Having Hand Painted Decoration
A Georgian rosewood box, a Staunton boxwood Chess set in a Staunton wooden two division box, a card chess board, a glass wasp catcher, a 18th century Worcester blue and white teapot (af), a copper two handled pan, postal scales and a pair of barley brass twist candlesticks and a rock specimen.
London, W. Heinemann, 1918. 1st ed., 2nd printing. Orig. paper wr. Sl. worn. (2) To my Mother. Drawings by Stephen Tennant. Ibid., Faber & Gwyer, 1928. Lim. ed. of 500 copies numb. and signed by Sassoon. Large paper ed. on handmade paper. Cl. (3) Something about myself. Worcester, Stanbrook Abbey Press, 1966. Lim. ed., printed in black, brown and blue, calligraphy by M. Adams. Paper wr. -and 7 more. Overall in good condition. (total 10)
(1) Light and motion. Worcester, Worcester Art Museum, 1967. Exhibition and catalogue edited by Leon Shulman, 23 x 15 cm, 48 pp. Vibrant cover with die cut holes and lenticular plate designed by Bruno Munari. Featured artists include Gianni Colombo, Julio Le Parc, Heinz Mack, Otto Piene, Martial Raysse, Takis, Gunther Uecker et al. (2) Lumière et Mouvement. Paris, Musée d'Art Moderne de la Ville de Paris, 1967. Softcover, 21 x 21 cm, 110 pp. Kinetic art exhibition catalogue, essay by Frank Popper, text in French. Artists include Carlos Cruz-Diez, Piotr Kowalski, Julio Le Parc, Takis, Tinguely, Soto, Vasarely and many others. (total 2)
Loading...-
182977 item(s)/page