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Lot 36
A 19th Century Flight Barr & Barr Royal Porcelain Works Worcester twin handled vase and cover decorated with hand painted titled cartouche panels of Binstead Cottage, Isle of Wight and Mucrafs Abbey [sic], Killarney, referring to Muckross Abbey, against a white ground with a gilt overlay, the handles formed as curled snakes, painted marks, height 18cm, S/D and restored.
Lot 37
A small 19th Century Flight Barr & Barr Royal Porcelain Works Worcester bowl on stand, the bowl decorated to the centre with a boy running in a landscape with vermicelli seaweed, the exterior in green and raised to three ball and claw feet, unmarked, the flower shaped dish in a matching green with a gilt motif to the centre and raised to three matching feet, painted marks, diameter 12.5cm.
Lot 4
An early 19th Century Barr Flight & Barr Royal Porcelain Works Worcester spill vase decorated with a gilt framed hand painted cartouche panel with shells and seaweed against a royal blue ground with gilt seaweed decoration, puce painted mark alongside London House, N 1. Coventry Street, height 10.7cm, restored.
Lot 5
A 19th Century Barr, Flight & Barr, Worcester urn shaped vase decorated with a hand painted named landscape view On the River Usk, Monmouthshire, the reverse in salmon pink with gilt seaweed pattern, the interior in a grey marble effect, titled to the base, puce painted mark alongside Manufacturers to their majesties Prince of Wales and their families, height 13.5cm, restored.
Lot 52
Three 19th Century vases of varying form comprising a pedestal vase decorated with a cartouche panel of stylised bird against a dark blue ground with gilt seaweed, unmarked, possibly Chamberlain Worcester, height 20cm, a small vase and cover decorated with a bird against a burgundy ground, unmarked, possibly Derby, height 12.5cm, and a Chamberlain Worcester pedestal vase with a gilt framed bird against a matt blue ground, painted mark, height 17cm, all S/D.
Lot 53
A 19th Century Chamberlain pedestal bowl decorated in the round with a landscape, raised to three fish supports until a shaped pedestal, with associated cover, painted mark Chamberlain Worcester, Manufacturers to their Royal Highnesses the Prince of Wales and the Duke of Cumberland, height 20cm, together with a pot pourri vase and cover marked Chamberlain Worcester to the cover, height 12cm, and a table salt and cover in burnt orange with gilt detailing, unmarked, length 13cm, all S/D and restored. (3)
Lot 55
A 19th Century Chamberlains Worcester cabinet cup and saucer, the cup decorated with a cartouche panel of Buckingham Palace with figures feeding swans in the foreground, the cup interior and the saucer decorated with sprays of hand painted flowers against a peach and pink ground with a gilt pattern overlay, printed and painted marks, titled to the base of the cup, saucer diameter 15.5cm, S/D.
Lot 57
A collection of assorted 19th Century coffee cups, teacups and saucers to include a Barr Worcester saucer decorated with shells and seaweed against a marbled ground, a Flight Barr and Barr griselle coffee cup, a Chamberlain Worcester twin handled cup decorated with hand painted shells, a saucer decorated with an elder and child titled Belisarius and a Chamberlain pedestal cup decorated with a view titled Bothwell and to the base Castle in Clydesdale, various marks, all S/D and/or restored.
Lot 58
Four 19th Century teacups and saucers comprising a Barr Worcester Dragons in Compartments pattern cup and saucer, a Flight & Barr matched cup and saucer with titled views of Maiden Early, Berks and Ranston, Dorsetshire, a cup and saucer decorated with a hand painted cottage landscape in brown and a Barr, Flight Barr cup and saucer with a bright gold pattern band, together with a Worcester coffee can in the Dragon in Compartments pattern, S/D. (5)
Lot 6
A 19th Century Barr Flight & Barr Worcester spill vase decorated with a handpainted panel titled 'Valle Crucis Abbey near Llangollen' against a salmon pink ground with gilt overlay pattern, titled and painted mark, height 9cm, together with a Derby spill vase with a hand painted cottage landscape cartouche, height 10cm, and a small twin handled cup with a hand painted panel, bears painted Chamberlain Worcester to the base, likely Samson, height 7cm, all S/D and restored.
Lot 74
A 19th Century twin handled vase decorated with a cartouche portrait of a classical male in profile, possibly the Roman emperor Marcus Aurelius, in tones of grey against a blue ground with a gilt border, the white body with a gilt pattern overly, unmarked, possibly Chamberlain Worcester, height 18cm.
Lot 9
A 19th Century small Chamberlain Worcester drum shaped inkwell decorated with a hand painted scene of Oxford, painted mark, diameter 5cm, together with two larger drum shaped inkwells, the first Flight & Barr decorated with a painted grey veined marble, painted Flight & Barr, Coventry Street London, Barr Flight & Barr Worcester, Manufacturers to their majesties & Royal Family, diameter 7.7cm, the second decorated in orange with a gilt overlay pattern, incised B mark, diameter 8cm. (3)
Lot 229
Raffaello Santi, genannt „Raffael“, 1483 – 1520, Kreis desMadonna mit KindÖl auf Holz, Tondo.Durchmesser: 87,5 cm.Bekanntlich hat Raffael eine Reihe vergleichbarer Madonnenbilder im Tondoformat geschaffen. Die zumeist in der Frühphase seines Wirkens entstandenen Madonnenbilder sind bis heute Gegenstand der Forschung und kunstwissenschaftlichen Interesses, da über die frühe Schaffensweise Raffaels nur wenig bekannt geworden ist. Manche der überkommenen Bilder sind nur durch Zuschreibungen dem Meister zuerkannt. Bei vorliegendem Werk ist zweifellos eine sehr hohe Malqualität zu erkennen, demnach ist ein Maler aus dem engen Kreis um Raffael anzunehmen. Der Stil weist auf Werke Raffaels aus dessen Frühzeit. Zudem bestätigen auch die technischen Untersuchungen eine frühe Entstehungszeit, wofür die Jahre um 1505 anzunehmen sind. Hier ist der Vergleich mit einem Originalwerk Raffaels in der National Gallery of Art in Washington angebracht, der sogenannten „Small Cowper-Madonna“ (Abb. 1). Die Frage, ob der Maler unseres vorliegenden Tondo eine Vorzeichnung Raffaels zuhilfe genommen hat, muss offen bleiben. Möglich wäre auch, dass das Rundbild nach Abpause des Raffael-Werkes geschaffen wurde. Technische Untersuchungen durch Gianluca Poldi mit Infrarotreflektographie und Röntgenfluoreszenz haben jedenfalls Unterzeichnungen erkennen lassen. Zudem haben Farbanalysen gezeigt, dass die Materialverwendung unter Hinzunahme von extrem feinen Glaspartikeln auch bei Werken Raffaels und dessen Werkstatt zu finden ist. So erweisen die genannten und weiteren Untersuchungen, dass Materialien und Technik ganz der Praxis des 16. Jahrhunderts entsprechen. Der bildinhaltliche Unterschied zu Raffaels Gemälde ist deutlich: bei aller Übernahme der Hauptmotive ist in vorliegendem Bild ein Tuch über die rückwärtige Brüstung gelegt, die Landschaftselemente im Hintergrund zeigen sich stark verändert; anstelle eines Kirchengebäudes rechts ist hier nun eine Baumgruppe gezeigt; links hat der Maler einen jungen Baum zwischen Felsengruppierungen eingefügt, was als ikonografisches Symbol des jungen Christentums zu deuten ist. Des Weiteren kann hier der Vergleich mit der ebenfalls um 1505 entstandenen „Northbrook Madonna“ im Worcester Art Museum Massachusetts herangezogen werden, die dem Maler Alfani zugewiesen wird (Abb. 2). Hier finden wir ebenfalls eine vergleichbar dunkelfarbige Brüstung im Hintergrund.Der Bildaufbau folgt also insgesamt den seit Perugino tradierten, und von Raffael fortgesetzten Motiven mit Brüstung im Rücken der Madonnenfigur sowie des landschaftlichen Hintergrundes. Insgesamt kann das vorliegende Gemälde als ein fein ausgeführtes, bedeutendes Werk des Künstlerumfeldes von Raffael gewürdigt werden. A.R.Provenienz: Europäische Privatsammlung, zuletzt erworben um 2000. (13300588) (2) (11)Raffaello Santi, also known as “Raffael”,1483 – 1520, circle ofTHE VIRGIN AND CHRIST CHILD Oil on panel, Tondo.Diameter: 87.5 cm.It is common knowledge that Raphael created a series of similar Madonna paintings in tondo format. Most of them were created in the early phase of his oeuvre, as is the case in the present lot, and they are still the subject of research and art historical interest, as little is known about Raphael’s early creative methods. Some of the surviving pictures can only be attributed to the master. As the work on offer for sale here undoubtedly displays a very high quality of painting, it can be assumed that it was created by a painter from Raphael’s close circle. In addition, the technical investigations also confirm an early date of creation, around ca. 1505. For example, a comparison with an original work by Raphael in the National Gallery of Art in Washington, the so-called “Small Cowper Madonna“ (fig. 1), is fitting. It is questionable if the painter of the present tondo used a preliminary drawing by Raphael. It is also possible that it was copied from one of his works. A technical survey by Gianluca Poldi using infrared reflectography and X-ray fluorescence revealed underdrawings. In addition, paint analysis revealed that the use of material with the addition of extremely fine glass particles can also be found in works by Raphael and his workshop. The above and further research shows that the materials and technique correspond entirely with 16th century painting practice. The difference in the image content to Raphael’s painting is obvious: although the main motifs have been adopted, a cloth has been laid over the rear balustrade and the landscape elements in the background have been significantly altered in the present painting: Instead of a church building on the right, a group of trees is shown here and on the left, the painter inserted a young tree between groups of rocks, which can be interpreted as an iconographic symbol of early Christianity. Furthermore, it compares well with the “Northbrook Madonna” held at the Worcester Art Museum Massachusetts, which was also created around 1505 and is attributed to the painter Alfani (fig 2). It also shows a similar dark-coloured balustrade in the background. The composition of the picture thus follows the motifs handed down from Perugino and continued by Raphael, with the balustrade behind the Madonna figure and the landscape background. Overall, the present painting can be appreciated as a finely executed, important work from Raphael’s circle. Provenance: Private collection, Europe, acquired in ca. 2000.
Lot 2209
A Worcester City Police Senior Officer's Spike Top Helmet, of black cloth covered cork with four panelled top, chromium plated fluted spike with rose embossed cruciform base, die stamped helmet plate with King's crown over wreath, garter and coat of arms, with chromium plated chin scales and ear rosettes, with tan leather sweatband
Lot 109
Victorian silver lever engine turned pocket watch, Birmingham 1886, three quarter plate movement inscribed 'Compensation Balance', no. 169715, with compensated balance and regulator, hinged cuvette inscribed 'Kay. Jones & Co's, Patent Lever, 15 jewels', the dial signed Kay, Jones & Co., Worcester, with Roman numerals and subsidiary seconds, 54mm-Movement - currently functioning.Dial - surface marks, faint hairlines and small chip to the outer edge at the two position.Glass - light surface marks.Hands - light surface marks.Case - some mild bruise marks to the case back and a couple of bruise marks to the case sides.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 143
Kay silver lever engine turned pocket watch, Chester 1896, the movement signed Kay, Worcester, no. 187600, signed Roman numeral dial numbered 342, case maker 'K&Co' (Kay & Co), 52mm; together with a John Myers & Co 'The Reliable' silver lever engine turned pocket watch, Chester 1896, signed movement, no. 202743, signed and numbered Roman numeral dial, inscribed inside case, 53mm (2)-John Myers watch is functioning, the inscription reads 'Presented to Ex P.C.F.W. Adcock, by Chelsea Police, after 25 years service, 19-7-09', the Kay watch is not running consistently and requires attention, hands not matching, the inscription reads 'Presented to H.J. Adams, on leaving for South Africa, March 1897', see images for general guidance.
Lot 208
An extensive Chamberlain & Co Worcester dinner service, commissioned for Nathaniel Rothschild, 1st Baron Rothschildthe centres gilt with initials beneath a coronet, within elaborate acanthus moulded gilt borders with trellis work and florets, comprising:eighty-five 25.5cm diameter platessix 31cm diameter platesthirteen soup bowls, 26cm diameter nine rectangular plates two meat plates, 50.5cm wideProvenance:Rushbrooke Hall, Bury St Edmunds, Suffolk
Lot 264
A collection of enamel pillboxes,to include examples by Halcyon Days for Bilston and Battersea Enamels, Dubarry, Haviland, Royal Worcester and others, all with applied gilt metal details, the largest 6.5cm wide (9)Condition ReportMinor rubbing to gilding and decoration of some, mostly good, Wear in commensurate with age. Small chip to the Chelsea Christmas 1994 example.
Lot 249
A Royal Worcester porcelain dog's head whistledated 1922, nicely modelled with painted features, printed factory mark in puce, 4.9cm longProvenance: Purchased from Gerald Sattin Ltd in Burlington Arcade on 23rd October 1980. Sold together with the original sales ticket and a letter from the dealer.
Lot 254
A Royal Worcester ornithological dessert service painted by E. Barkercirca 1913of lobed form, decorated with birds including Reed Warbler, Blue Tit, Chaffinch and others, perched on branches and foliage, the service comprising three low pedestal comport dishes, 5.5cm high and six dessert plates, 22cm diameter; individually titled to verso, artist signed, printed factory marks in puce(9) (some damage)Low comport dishes - Wren - 1 with crack from rim, extending approximately 8cm inwards. Currently stabilised with masking tape. This dish also has some areas of crazing around the bird and the foliage.Blue Tit - spiralled areas of crazing around the bird, further crazing to one side of the rim and a crack from the rim, extending approximately 6.5cm inwards.Chaffinch - No cracks, chips, damages or repairs. Small blemish to gilt lined rim and a couple of scratches to the painted decoration.Plates -Chaffinch - Some scratches and rubbing to bird and foliage.Reed Warbler - Paintwork as above, one short crazing visible to the reverse.Robin - Some rubbing to gilt around rim and again some scratches to bird and branches.Whitethroat - One small scratch to the rear upper body of the bird.Bullfinch - Scratch to bird's head, patches of rubbing to the leaves and branches, small nibble to rim together with gilding wear near that area.Bullfinch x 2 - Short scratch to bird's rear upper body.No further damages or repairs. See images.
Lot 255
A pair of Royal Worcester Hadley ware vases painted by H. Martindated 1907ovoid form, with slender tapering neck, painted with pink roses and green leaves, JH monogram, shape F105, printed factory mark in green, 21.5cm high (2)There is a scratch to one neck of a vase. Small gilded chip to the mouth of the other. No visible signs of further damage or repair. No visible crazing to the glaze.
Lot 256
A Royal Worcester bachelor tea service painted by Kitty Blakedated 1936typically painted with blackberries and autumnal leaves, the service comprising teapot and cover, teacup, saucer and sideplate, cream jug and sugar bowl, teapot 12cm high, artist signed, sold together with a small Royal Worcester footed dish, 9cm diameter, painted with fruit by Moseley, printed factory marks(8 pieces, inc. cover)Moseley dish with broken and re-glued break to foot. Moseley dish with broken and re-glued break to foot.Teapot and cover - Cover with crazing to the glaze throughout.Cream jug - some paint loss to lower portion of handle.Sugar bowl - Some scratches through one brown leaf and a further small patch of wear to the paint of a brown leaf in the background.Teacup - some loss of paint to the handle.Saucer - A couple of patches of wear to one brown and one green leaf. A small underside rim nibble, approximately 3mm wideSideplate - Again a very minor patch of wear to painted decorationNo further crazing or damages. See images.
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182975 item(s)/page