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The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains in Japan. Best known for blue and white pieces it also produced polychrome wares as well, including the familiar imari colourings. While similar to Imari, the wider palette of colours used here is usually termed ‘Arita’ and the decorative appeal of the style is clear. These bowls probably come from an original set of five and with slightly coarser decoration than usual were probably made for the domestic market. The paste of the foot implies a dating to the Meiji era (1868 - 1912) probably around 1880.

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A pair of ceramic figures depicting two Chinese figures seated cross legged, usually termed an Emperor and an Empress. They are modelled dressed in colourful and patterned robes fastened with sashes at the waist and with frill collars. The lady holds a fan and the gentleman a pipe and both hold parasols fitted to their hands by wire and with decoration to the undersides. The heads are made separately, weighted at the bottom (see images 7, 13) and have wire supports to the side which rest on wires on each side of the top interior which are secured through holes on the exterior at the front and back. When pushed, the heads then move in a most lifelike fashion. The hollow interiors are glazed white with an unglazed foot rim, but there are no marks.

So called ‘nodding head’ figures began to be exported from China to the West in the mid eighteenth century following a tradition which dated back many years before. The figures were drawn from the Court or Chinese high society and at first were made from clay or wood with painted decoration, necessarily rather delicate interior accessories. A pair can be seen in the background of a picture painted by Zoffany of Queen Charlotte (1744-1818) with her two eldest Sons depicting an interior at Buckingham house (now Buckingham Palace) and dated to 1764 (see image 15). Rather larger models, almost life size, were displayed in the Gallery of the Brighton pavilion, reflecting the passion of the Prince Regent, George IV (1762–1830) for Chinoiserie in general.

But the form was also taken up by the kilns at Jingdezhen and the decorators at Canton and ceramic ‘nodding head’ figures were soon exported too, brightly painted in the popular ‘Famille Rose’ enamels (see image 16 for a typical example from the Qianlong period, 1736-1795). Sensing the popularity of the type, European manufacturers too began to produce their own versions, rather different from the Chinese originals and usually depicting the figures seated which was much less common for the Eastern examples. The most well known examples were made by Meissen and tended to have both moving heads and hands as well (see image 17) but a less expensive version of these (see image 18) was made by the firm Ernst Bohne & Sohne, prolific manufacturers of modest ceramic ornaments for the domestic interior including the well known ‘fairing’ figurines, examples of which can be seen elsewhere on this site. There are also figures with their mark which exactly resemble the model type offered in this sale, complete with the parasol, so it is a reasonable assumption that this pair of figures can be attributed to them as well. While perhaps less grand than their companions, this pair of eastern potentates have a charm of their own and, when set in motion, are uncannily lifelike. Gilbert and Sullivan for the 21st century!

The Empire Porcelain Company was established in 1896 at the Empire Works in Stoke Road, Hanley, Stoke on Trent. A wide range of pottery and porcelain was subsequently produced until the factory’s closure in 1967. The various marks include the initials EPC, EP or the word Empire. The form of the mark seen here occurs on the earliest pieces made between 1896 and 1912. Blue ground pieces with mythological scenes were produced in a variety of forms during this period, some decorative, such as ornamental vases, and some more practical, as here : modest but graceful accessories for the Edwardian drawing room.

Justo and Jorge Castillo come from the Los Castillo workshop. Los Castillo was an influential and ongoing design and manufacturing enterprise established in 1939 by Antonio Castillo and his brothers Justo and Jorge and their cousin Salvador Teran. Los Castillo is known for sterling jewellery and fine pieces in "married metals" combining various metals such as silver, copper and brass. Castillo who arrived in Taxco in 1923, began his long career working for William Spratling at Taller de las Delicias. He married Margot van Voorhies prior to opening Taller Los Castillo bu they were later divorced in 1946. (see The Little Book of Mexican Silver Trade and Hallmarks, 2013)

The Finnish designer Tapio Wirkkala (1915–1985) was a major figure of post-war design, working in a wide variety of media including ceramics, wood and glass as well as postage stamps, bank notes and even light bulbs. His first piece for Iitala was produced in 1946 and the commercial ‘Tapio’ collection from 1954. Some of his ‘ice glass’ effects took the Iitala craftsmen many hours to perfect the glass blowing techniques required to produce them but enjoyed immense popularity. These chunky bowls, almost brutalist in style, were produced in the 1970s and 1980s and are an excellent example of his work for the popular market.

Elements of two contrasting contemporary styles combine here with features from both the Arts and Crafts and the Art Nouveau movement. The hammered pewter with the almost rustic nail head fixings and the red bead reflect the former but the elegant depiction of the lotus and butterfly, with more than a hint of the Orient, reflect the latter. The maker is anonymous but doubtless British and clearly a highly skilled craftsman. Much thought and expertise went into the design of this piece which would be a desirable addition for collectors of either or both of the pieces made under the influence of these two highly popular design movements.

The Fukagawa kilns produced the best quality Imari items made in Japan in the late nineteenth century for export to the West. Their history starts with Ezaiemon Fukagawa who in 1856 became head of his family's porcelain business and in 1875 founded Koransha (The Company of the Scented Orchid) in Arita, Japan, to produce tableware for export. In 1894 the modern Fukagawa company was founded by Chuji Fukagawa, with the Fukagawa trade mark of Mount Fuji and a stream, as its trade mark. Dating here is within the Meiji period (1868 - 1912) probably around 1880. This conforms with the script mark used as opposed to the later symbol design.

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Born in 1885 at Lille, France, Louis Dage was early known as a ceramics artist, describing himself on the birth registration of his daughter in 1906 as a ‘decorator on faience’. In 1920 he joined with Louis Fontinelle (1886-1964) to create a faience factory in Antony, near Paris, but the venture was short lived and they parted company two years later. In 1930, Dage set up his own studio at Saint-Sever in company with his brother and daughter becoming managing director of the firm three years later. There then followed a little over thirty years of production under his direction until his death in 1961. Art Deco designs with their simple lines and bold decoration were produced initially to be followed by pieces of more rugged shapes and patterns, partly resulting from the shortage of conventional raw materials during the second world war.

This bowl and cover represents the best of Dage’s earlier work. The base has straight sides curving in slightly towards the base and has a flush fitting flat and gently domed cover overhanging slightly at the edge. The piece is covered overall with a mottled glaze in tones of blue and light aubergine on which are painted maple leaves in green with bright blue berries, a design which can be found on some of Dage’s other pieces (see image 13). The lid carries his signature ‘DAGE’ with a flowing line underneath, a much less common version of the Dage mark but which can be found elsewhere (see image 14). More normally pieces are signed ‘L.Dage’, the name being in lower case rather than capitals.Form and decoration combine to produce a striking object, characteristic of the fashions of the time of its production and a worthy tribute to its maker.

Kutani (the word means 'nine valleys') porcelain was made at various factories in the former Kaga province of Japan. The earliest pieces were in a completely different style employing a palette of colours emphasising green, the so called 'Ko Kutani'. Production of this ceased around 1730, and manufacturing was not revived until the early nineteenth century when the more familiar colourings of iron red and gold were introduced. This small vase is typical of pieces exported to the West in fairly large quantities at the end of the nineteenth century. The form suggests a water dropper and is found in Imari colourings as well. Many of the Kutani pieces were marked, sometimes simply 'Ku' 'Tani' as here. The glaze was sometimes unstable with a tendency to craze as can be seen here, but this is original to the manufacture and does not detract from the piece's decorative appeal.

Although not marked as such, this vase has all the hallmarks of the firm Scheurich Keramik which started production in 1954, rather later than most of its competitors, but soon became the largest producer of commercial art pottery in Germany. Their pieces rarely carried the factory name but usually the model number followed by the height in centimetres with ‘W.Germany’ below, as here. Model ‘517’ can be found in a variety of different glazes but the pattern and colourings here, more muted than some of Sheurich’s work and with a matt finish, are particularly pleasing and complement the elegant form most successfully. Dating is to the 1960s.

Aquincus was an ancient Roman settlement, eventually to become the town Obuda, the third of the three cities which were merged to form Budapest and the oldest district in the Hungarian capital. In 1854, Hüttl Tivadar set up a shop in Pest selling porcelain eventually becoming involved in porcelain manufacture itself with such success that by the early 1900s he was supplying the court at Buda, eventually supplanting the rival firm of Herend. Despite legal battles amongst the family concerning the ownership of the business, the firm continued to prosper until the 1950s when the new communist government decided to nationalize the factory, renaming it Aquincum Porcelángyár. Tableware, which had been the staple of the Hüttls’ production was replaced by figurines which rapidly enjoyed great popularity. One of the principle artists was Antonia Szabó who became chief designer in 1966. With the end of socialism, the firm went into private hands in 1993 but suffered an immediate and rapid decline causing it to close soon after.

This figure may possibly, then, have been designed by Szabó himself but it is certainly typical of the pieces produced in the early years of state control and perhaps one of the most appealing. The form of the mark corresponds with a dating to the 1950s or 1960s and the piece has both historical associations and considerable decorative appeal.

George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. Some of their catalogues still exist and one from the early 1930s shows a piece very similar to this one (see image 11). The colour is known as ‘Topaz Briar’ and the swirling effects resemble other pieces in their ‘cloud glass’ range, a pattern for which the firm was famous.

The colourings and small size of this piece make it an unusual find amongst the Davidson wares which can be seen today and the presence of all three elements (perfect and complete) make it a desirable addition to a collection of twentieth century pressed glass.

Myott Son & Co was one of famous the Staffordshire Potteries and traded for over 90 years. Founded in 1898, it began production in Stoke moving to Cobridge four years later. Its output was continuous but in 1949 the firm suffered a disastrous fire which reportedly destroyed the firm's records and pattern books and probably for this reason it relocated to Hanley. In 1969 it was bought by the American firm Interpace, but the Myott name was retained until 1976 when the company merged with Alfred Meakin Ltd, who were based in Tunstall, to form Myott-Meakin Ltd.

Myott now are best known for their Art Deco inspired designs from the 1930s. Following the success of their competitors, most notably the designs of Clarice Cliff, Myott established their own popular following and produced pieces which could rival the output of their celebrated competitors. This jug, with its clean lines and bold colours is an excellent example and like others of the same form bears the pattern umber ‘8498’. Some of their glazes were easily subject to wear and blue was less commonly used so both the condition and the colour range of this jug make it a highly desirable collector’s item.

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Yoshitoshi Tsukioka (1839-1892) was one of the last masters of ‘ukiyo-e’ (literally ‘images of the floating world’) a tradition of paintings and prints which flourished in Japan from the seventeenth to the nineteenth centuries. Known at first for his ‘Bloody Prints’ which concentrated on violence and the depiction of death, Yoshitoshi moved on to gentler themes later in his life, culminating in the series of one hundred prints entitled ‘One Hundred Aspects of the Moon’ which was published by Akiyama Buemon between 1885 and 1892, the final images appearing in the year of the artist’s death. The prints featured subjects from traditional Japanese and Chinese history and legend with the moon appearing in all but a few, giving a linking motif for the series as a whole. They were released singly or in groups every few months and proved to be enormously popular, with queues forming of collectors eager to purchase the new releases as soon as they became available.

This print was entitled ‘Kagekado, Moon of Yamaki Mansion’ and was issued in March 1886, therefore one of the earliest in the series. The scene depicted comes from the ‘Heike monogatari’ or ‘The Tale of the Heike’ an account complied before 1330 of the struggle between the Taira clan and Minamoto clan for control of Japan at the end of the 12th century in the Genpei War (1180–1185). Yoshitoshi’s audience would, no doubt, have been familiar with this. At the beginning of the conflict the head of the Minamoto clan sent his retainer, Kagekado, to kill the leader of the Taira clan, Kanetaka. We see here Kanetaka behind a screen, lit up by the moon, with his sword poised to strike. But Kagekado cunningly put his helmet onto the end of his spear causing Kanetaka to attempt to aim for it which left him exposed and allowed Kagekado to strike in turn a fatal blow and kill him. Yoshitoshi illustrates the moment just before Kanetaka’s death with Kagekado about to make the deadly thrust with his spear with deceptive helmet about to fall off. The detail is exceptional with particular attention given to the wood panel to the rear, created with an imitation woodgrain effect, where a woodblock’s natural grain is emphasized through soaking in water; in addition the black details have been burnished to imitate lacquer.

The artist's seal, ‘Taiso’, is printed in red relief within a rectangular cartouche to the lower left and his signature can be seen above (see image 4). The title, ‘Kagekado, Moon of Yamaki Mansion’, appears in the square cartouche to the upper right and the series title, ‘One Hundred Aspects of the Moon’, in the rectangular cartouche next to it (see image 5). On the reverse is affixed an identification note from the British Museum dated 1983 confirming the artist and the subject of the print which appears to have survived in a remarkably fine state of preservation.

Dolls such as these were made for display, sometimes at the special ‘Doll’s Day’ or ‘Girls Day’ festival held annually on the third of March and termed ‘Hinamatsuri’. The elaborate dress is sometimes known as ‘Hagoromo’ (‘feathered’) and the mask with its fixed expression derives from the well known ‘Noh theatre’, a major form of Japanese musical drama created in the fourteenth century which combines dance, music and song and is still performed today. The actors are all male and play the female roles wearing a lady’s mask.

The craftsmanship of this piece is self evident and it was most likely made in the second half of the C20th. It can stand equally well on its own or as part of a wider collection and would be a desirable acquisition either way.

The various figures were made in white glazed porcelain with coloured decoration. The compositions were sculptural and often accompanied by an inscription, as here. Many models are known. Two typical examples are 'Returning from the Ball' and 'Twelve Months after Marriage' but the most common example is represented here 'The last in bed to put out the light'. A couple are seen climbing into a covered bed at the foot of which stands a candle in a holder. These candles are usually broken off, most likely because of simple damage over the years but it has been suggested that this was done deliberately for good luck.

Some of the fairing figurines are marked, as here. In comparison with the previous Lot 4, this example has a glazed circular mark which reads 'Made in Germany'. These marks appear on the later productions of the Conta factory and indicate a dating here to shortly before the First World War. This is consistent with the rather 'brassy' looking gilding used which is typical of ceramic production generally post 1900.

It is interesting to compare Lots 4 and 5 and to see how consistent the manufacture was throughout the period. Only the glazed base with its circular mark and the type of gilt decoration separate this example from its earlier companion.

Fairings have been collectors' items for many years now and still hold a naif charm which makes them appealing display items, with a history of their own.

The Langley Mill Pottery was located in Langley Mill, Derbyshire on the Derbyshire – Nottinghamshire border. From its establishment in 1865 to its final closure in 1982, it went through five distinct periods of ownership, producing a wide range of stoneware ranging from utilitarian items and to high quality art pottery. This pair of vases dates from the third company that traded there, Lovatt and Lovatt. The Lovatt family had entered into partnership with the owner of the founding business at Langley Mill, James Calvert. From 1895 the business was in sole control of the Lovatt family and traded as ‘Lovatt and Lovatt’ until 1935. The early years of the twentieth century proved to be something of a zenith for them and a wide range of art pottery pieces were made which enjoyed great popularity. Production techniques were streamlined without a reduction in quality and in 1905, leadless glazes were introduced. These are proudly announced on the base of this pair of vases which are a fine example of the Lovatt and Lovatt style and probably date to 1913, indicated by the impressed numbers for that year.

Phoenician Glass was founded on Manoel Island, Malta in the 1980s by Leonard Sullivan, who had worked previously at Mdina Glass and many of his designs resembled those of his old employers. Certainly, the influence of Mdina and perhaps that of one of its founders, Michael Harris, can be seen here. Phoenician Glass took its name from the ancient Phoenician civilisation, which colonised Malta during the first millenium BC.

Vases in this form were produced by the well known French maker Daum in the 1950s and the 1960s. The sizes and designs can vary with some examples measuring up to two feet and intended as table ornaments. This piece is rather smaller and perhaps more elegant. The crystal glass is of extremely high quality and reflects the light in a very attractive way. The weight is good and the glass itself is thickly blown and expertly formed, The flat base shows signs of bevelled edging at the exterior and one of the sides bears the typical etched Daum mark with 'Daum' and 'France' separated by a device comprising an upright line with two crosses.

The more petite size and the quality of the manufacture and design make this a most appealing example of Daum's work at its best. Dating can be assumed to be around 1960 if not slightly before. A desirable piece indeed for collectors of twentieth century art glass.

The rather more elaborate style of decoration here and the addition of enamel colours to the standard imari palette of underglaze blue, iron red and gold resembles 'kenjo imari' pieces produced in Japan in the eighteenth century and in the early nineteenth century, a specific type of Imari that was highly decorated and meant for domestic consumption, Kenjo, meaning 'for presentation'. The paste of the foot, harder and smoother than that used in the later nineteenth century, suggests a dating here to around 1820 before trade with the West was temporarily paused. The form suggests a cup for Sake and this piece was probably one of an original set of five, but it stands on its own as a decorative item in miniature.

These bone and lacquer plaques were produced in great quantities by Japanese artists in the late nineteenth century for export to the West and became a familiar feature of the European drawing room. The medium was easily subject to damage and loss, especially in respect of the bone inlay, and while this example has some slight damage this is confined to a crack in the lacquer ground of the panel itself and some chipping to the extremities of the panel. The decoration of the figures remains intact (the surround seems to have been cut away in some places to give added definition to the composition) and allows appreciation of the skill with which they were carved, presenting a genre scene of great charm.

PLEASE NOTE THAT THERE IS FREE UK SHIPPING ON THIS ITEM. For international buyers the shipping cost will be reduced by the UK shipping cost, so don't worry if you are outside the UK, you still receive this benefit!

PLEASE NOTE THAT THERE IS FREE UK SHIPPING ON THIS ITEM. For international buyers the shipping cost will be reduced by the UK shipping cost, so don't worry if you are outside the UK, you still receive this benefit!

Bagley Glass was established in Knottingly, England (south east of Leeds) in 1871. Bottle makers at first they branched out in 1912 and opened a department 'The Crystal Glass company' which made crystal and pressed glass. But it was for the latter that Bagley were to become famous and they became the biggest manufacturer of pressed glass in England in the years before and after the war. Many of their designs were influenced by the Art Nouveau styles and this flower vase, unusually presented complete with its frog and stand, is a classic example of their range.

In 1954, Alois Scheurich founded the Scheurich Keramik factory, having been in partnership before then in the firm ‘Scheurich and Greulich’ (S&G) since 1927. While founded later than many of its competitors, Scheurich grew to become the principal exporter of West German ceramics through until the 1980s and beyond, making vases in a wide variety of shapes and designs. Made in the 1970s, this vase has a retrospective feel recalling Soviet designs from the 1920s and 1930s. The figures seem to be grouped in a stylised market scene with various pitchers containing perhaps wine or oil. The symbolism is unclear unless it refers to the vase itself which could be regarded as recalling the form of the Greek amphora. But whatever the ‘meaning’ we have an imposing and unusual decorative item here which stands rather apart from many of the other pieces produced by its manufacturer.

While close to the Chinese originals, many features indicate European and indeed English manufacture, in particular the drawing of the ladies’ heads, the palette of colours used, the borders employed and, most importantly, the glaze and paste of the reverse. The most likely producer here was the Worcester factory whose ‘Mandarin’ pieces were well known and a circa date in the second half of the eighteenth century is reasonable. The saucers would have come from a small tea service with matching bowls and various serving items, including, of course, a teapot. Not so likely to be used now, they provide an elegant example of the vogue for Chinoiserie in England at the time.

The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains in Japan. Best known for blue and white pieces it also produced polychrome wares as well, including the familiar imari colourings. While similar to Imari, the wider palette of colours used here is usually termed ‘Arita’ and the decorative appeal of the style is clear. These bowls probably come from an original set of five and their quality is much above average. Dating is to the Meiji era (1868 - 1912) probably around 1880.