Rectangular Box and Cover, Basanite Jasper, C20th
Price: £95
A rectangular box and cover constructed from joined slabs of basanite Jasper, both parts with the rims metal mounted and joined by a hinge at the rear, the base with four short feet. The material here is a form of Jasper, a naturally formed rock which can appear in a variety of colours and patterns. One of these is ‘picture jasper’ where the outline of scenes or images can be seen on the polished surface and another ‘basanite jasper’ known for its black streaked tones. Both of these can be seen here, particularly the apparently mountainous design of the lid and the two side panels, front and back. Jasper is found in a wide variety of locations, including Russia but it is not possible to determine the origin here. Dating is equally uncertain, but the piece has a strong ‘Art Deco’ look with its clean lines and simple geometric feet and this may well point to the timing of its manufacture. Colour and form, though, combine to produce a striking decorative item well suited to the most contemporary interior.
Long lapis lazuli bead necklace c1980
Price: £30
This is very elegant necklace that features different shaped stone beads of Lapis Lazuli. These beads are very high quality with excellent colour. They are flat pebble shaped, together with square and round beads. They are connected by gold fittings with a toggle clasp.
Outstanding Art Deco necklace with French jet and rock crystal beads c1920
Price: £175
This is a stunning and rare necklace comprising French jet glass beads combinded with facetted rock crystal beads. There are two stations that are tear drop shaped that have both French jet and crystal elements, this is very typical of the Art Deco period in jewellery. This necklace has been recenlty restrung to ensure that it is strong.
Reproduction Toulouse Lautrec poster, Jane Avril, probably mid C20th in later frame
Price: £95
The image seen here is one of the most famous of Toulouse Lautrec’s works. Born in 1864 he produced a substantial volume of works over a period of forty years in a variety of media including lithographs, paintings, posters before his untimely death in 1901. His output took its inspiration from the colourful and theatrical life of the fin de siecle Paris in which he immersed himself. Jane Avril was a famous French Can Can dancer at the Moulin Rouge and Lautrec painted her many times. This poster was produced in 1893 when Avril was starring in a show at the Jardin de Paris, one of the major cafés-concerts on the Champs-Élysées and played a considerable part in boosting her popularity. 'It is to Lautrec', she said, 'that I owe my fame.'
Reproductions were soon produced, one of the earliest being a bookplate, number 110, in the 1898 publication ‘Les Maîtres de l'affiche’ edited by Jules Chéret, which played a considerable part in promoting the poster as a work of art. Most of the copies produced are smaller and of variable print quality but this version is very true to the original and is not a current reprint. It employs a printing technique known as ‘giclée’, a French term meaning ‘sprayed’, referring to the operation of a printer which uses small spraying devices that can match colours and apply ink with precision, producing high quality reproductions of original art (see images 4 and 6). When viewed out of the frame, which is doubtless later, its age and the accuracy of the colours can be clearly seen suggesting a much earlier dating than most of the versions on offer (few of which are full size) probably to the mid twentieth century. One of Lautrec’s most famous images can be enjoyed, then, to the full in a contemporary domestic setting.
[The telephone number on the address label at the reverse, employing the exchange code for Cowes, Isle of Wight (0983) implies that the frame was made around the time of or before ‘PhONEday’ in April 1995.]
Victorian Black Watch iron doorstop c1890
Price: £25
This is a whimsical doorstop in the form of a Black Watch soldier. It is made of cold paint decorated iron. The 'Black Watch' was another name for The Royal Highlanders, a famed Scottish regiment of the British Army, distinguished by its longevity, having been initially formed in 1725.
Pair of Beige Opaline Glass Vases, enamelled decoration, probably French late C19th
Price: £75
An elegant pair of beige glass vases of bottle form with a stepped foot, modelled collar and a tall slightly flaring neck, decorated in coloured enamels with flowering holly, the reverses plain and the top rims gilt. Opaline glass is produced by adding materials such as bone ash or lead-crystal to produce a semi opaque effect, the colour varying according to the minerals added and ranging from white through yellows, greens and blues to black. First made in Murano in the sixteenth century it was to enjoy an enormous vogue in France during the nineteenth but had also been produced in England at Bristol in the eighteenth. The delicate style of the decoration here clearly points to French work and a dating towards the end of the nineteenth century seems reasonable indeed the beginnings of the Art Nouveau can perhaps be seen here. Form, colour and decoration combine to produce a highly attractive pair of ornaments which can be enjoyed in a contemporary setting as much as they were when they were made.
Cup : Marriage and Coronation of King George V and Queen Mary, 1911
Price: £10
A china cup with flaring sides and a simple loop handle, transfer decorated with portraits of King George V and Queen Mary in beaded frames with flowers, the union jack and royal standard flags, the royal coat of arms and inscribed scrolls commemorating the royal marriage in 1893 and coronation in 1911, the reverse marked ‘In Commemoration’ below the royal crown. The base has an indistinct mark which appears more clearly on other pieces and can be read as ‘England’ ‘The Paragon China’ below a crown and a cipher with interlinked letters which read ‘S C Co’ for ‘The Star China Company’, China manufacturers at the Atlas Works, Longton, Stoke-on-Trent, England from 1899 to 1919 who introduced the trade name ‘Paragon China’ in 1903.
Production of this piece was presumably contemporary with the coronation in 1911 and many similar pieces were made by other factories at the time, more often in a straight sided mug shape. The form here suggests that there might have been an original saucer but none seem to have survived.
Viartec Murano Style Selenium Red & Orange Glass Sculptural Dish, Spanish 1950s/1960s
Price: £45
A sculptural dish or bowl of undulating form, the surface twisted at each end to form two ‘fish tails’, the red glass encased in orange glass and the whole in imitation of Murano glass designs. While Venetian in style, research has proved that this piece and others like it, matching in either colours or form or both, were made by the Spanish factory Viartec and sometimes pieces can be found with an original Viartec label reading ‘Viartec Hand Made in Spain’. The red glass used here is called selenium glass and reacts, when lit by UV light, to display a bright orange or pink colour. A similar type of colour change effect is, of course, displayed by the more commonly found green uranium glass. The form suggests dating to the 1950s or 1960s and it is said that many of these pieces were brought back to the UK as souvenirs by visiting tourists which explains why they can be found here today.
Rectangular Footed Green Onyx Box and Cover, G.S.E. Ottone Garantito, 1960s
Price: £45
A box and cover of rectangular form constructed from joined sections of light green veined onyx, the base and lid gilt metal mounted with four small claw feet, markings on the bottom and side ‘G.S.E. Ottone Garantito’ (‘guaranteed brass’). Onyx is named from the Greek 'ónux', meaning “nail,” or “claw,” and is a variety of the mineral chalcedony, a kind of quartz. Onyx with flesh-coloured and white bands can sometimes resemble a fingernail which explains the name but is obviously not in evidence here. The mark confirms an Italian origin and a mid twentieth century dating seems likely.
Bone parquetry box decorated in the manner of Fornasetti, Venetian, mid C20th
Price: £85
A rectangular box with a hinged lid, the surface covered with small bone rectangular slabs laid in a parquetry technique and decorated on the sides with an architectural design in black, the interior showing the wood body of the piece. These boxes with their bone tessera like patterns combined with scenes of buildings were made in Venice probably from the 1950s to the 1970s. Some examples have a more stylised representation, as here, and some a more realistic depiction of Venetian palaces. The stylised architectural designs recall closely the work of the Italian artist Piero Fornasetti whose atelier produced ceramic vases with very similar decoration (see image 8 for an example) although it is not suggested that these boxes were the work of Fornasetti himself. The combination of building designs on a ground of what could be held to be building blocks is ingenious and the result stylish and attractive.
Fine quality pair of Brass Cobra Candlesticks, Indian first half C20th
Price: £95
A pair of brass candlesticks cast as two Cobra snakes with twisting tails acting as the feet with the bodies rising up erect from them, the stylised heads supporting the candle sconces and serrated edge drip pans. There are many examples of Indian made candlesticks cast in a similar form where the brass metal is combined with enamel decoration. This pair, lacking even incised detail to the metal surface as can occur, are much more unusual and striking in their simplicity. The brass itself is high quality and the pieces have a good weight. It is as if the Indian workmen have tried to adapt themselves to the angular simplicity of the Art Deco style. Unlike their more heavily decorated contemporaries, this pair of snakes would not have looked out of place in an Art Deco themed European interior. Dating is therefore quite reasonably to the 1920s or 1930s. Arresting in their time, these two Cobra snakes would deservedly attract attention today.
Necklace with massive Agate Disc strung set with facetted ruby beads, India, c1940
Price: £325
This is a very substantial and heavy necklace that features a very large banded agate stone mounted in silver and set with facetted rubies. The necklace is strung with very large facetted ruby beads that are approximatelyl 12 mm wide. This really is a one off. It is from India and may have been a commissioned piece. It has been restrung recently on metal cord with a new clasp so is quite strong. The ruby beads are particularly interesting and hard to find in this size.
Diamond cut millegrain silver bracelet, 20th century
Price: £45
This is a very intricately designed bracelet comprising numerous diamond cut spheres that have been individually connected. This is most likely Italian. It is marked 925.
Two small metal perfume Flasks and Stoppers, 1920s
Price: £35
Two small metal flasks, the first in brass of rounded rectangular form with a ball shape stopper, the surface plain, and the second in copper of ovoid form again with a ball shape stopper and also a loose ring handle, the surface with beaten decoration of a repeating design of small circles. The shapes of both of these are usually described as perfume bottles which makes sense here where the stoppers are both screw top. The copper example was perhaps intended for attachment to a belt and the size of either would have made them suitable travelling accessories. Dating is probably to the 1920s and the beaten decoration of the second is a feature of pieces made under the influence of the ‘Arts and Crafts’ movement which flourished in Britain from the late nineteenth to the early twentieth century.
Two Wood Boxes : Marriage of Charles and Diana, Birth of Prince William, late C20th
Price: £15
These two wooden round boxes, doubtless intended for trinkets, announce their purpose on the respective covers, to commemorate (i) The Marriage of the Prince of Wales and Lady Diana Spencer on 29th July 1981 (ii) The Birth of Prince William on 21st June 1982. Both have the initials of the subjects inset on the covers and the first has an incised mark underneath (see image 6). If these were produced commercially, no other examples seem to exist, which just possibly suggests that they were the work of a skilled amateur or trial pieces for a range which was never produced.
Two Wedgwood Glass paperweights designed by Ronald Stennett-Wilson, late C20th
Price: £40
These are two Wedgwood Glass paperweights both of rounded conical form, one clear glass with small bubbles and one clear glass with speckled green large bubbles, a design understandably known as ‘topiary’. Both have acid etched marks to the base which can be read ‘Wedgwood’ ‘England’ although the mark on the first is off centre and indistinct (see image 5); this is compensated for by the attached paper label which also reads ‘Wedgwood’ ‘England’. Both were designed by Ronald Stennett-Wilson, one of the most prominent UK glass designers, who set up the firm King’s Lynn Glass in 1967. Before that he had worked for Swedish glass manufacturers and the influence of their styles can be seen in his own work. The clear glass example could be felt to recall Kosta Boda. King’s Lynn Glass was taken over by Wedgwood in 1969 and their name marked on its production thereafter, although there was apparently a slight delay in the delivery of the machine which was used to apply the marks, meaning that the very first ‘Wedgwood’ pieces are hard to identify. Stenett-Wilson remained as Managing Director and chief designer for Wedgwood’s newly acquired firm until his retirement in 1980. Many of the staff at King’s Lynn Glass when it started had worked in Sweden or Europe and they began to train local workers who followed, no doubt, the styles and techniques of their teachers. After Stennett-Wilson’s retirement, the firm was subject to various acquisitions and mergers, finally being sold to Caithness Glass in 1988 with the factory closing in 1992. These two pieces, then, are an excellent example of the Swedish inspired designs made by Wedgwood Glass in its early years. Both decorative and practical they can appeal to a specialist or non specialist alike.
Pair of Chinese Ginger Jars decorated Birds and Flowers, late C20th
Price: £45
A pair of Chinese ceramic ginger jars of typical ovoid globular form with a short straight neck decorated in polychrome enamels with birds amidst trailing peony on a matt lime green ground with craquelure effects, the bases each with a circular mark in iron red, one with the numbers ‘141’. The look of this pair is more European than Eastern but the finish of the base suggests production in China and similar examples can be found marked ‘Fabricado em Macau’ (‘Made in Macau’) and Macau was indeed a centre for the manufacture of ceramics from the sixteenth century onwards, continuing production well into the twentieth with an emphasis towards the end on souvenirs for tourists. The style of decoration tended to be more heavily influenced by Western techniques and motifs which explains the more hybrid decoration of this pair, not without a certain charm in itself. Dating is most likely towards the end of the twentieth century.
Pair of Chinese Ceramic Shoes, seal mark and with fitted box, C20th
Price: £55
An amusing pair of Chinese ceramic models of shoes or clogs, modelled in the form of a kylin head with a pronounced snout, the sides of the shoe with impressed repeating geometric patterns below a band of stylised scrolling foliage, the brightly coloured glazes all with craquelure patterning, the interior glazed turquoise with an impressed seal mark and the underneath glazed in cream, also with a small circular impressed mark. The pair are presented in a fitted box, fabric covered and silk lined, which is presumably contemporary. Neither of the marks can be deciphered and dating is uncertain, probably to the late C20th, but this does not need to detract the rather humorous design which does have at least one parallel from the C18th (see image XX)and may have been intended as a brushwasher for a scholar with something of a sense of humour.
Pair of Bohemian Harrach Glass Vases, Morocco pattern, second half C19th
Price: £95
A pair of opaque glass vases of flattened pear shape, the necks spreading slightly outwards towards the top with a cup shape rim, the white ground glass heavily enamelled with polychrome decoration, a variety of bead bordered shaped panels with yellow, blue and pink grounds dotted with stylised floral blooms. The pattern of these pieces is known as ‘Morocco’, presumably a nod towards the decorative items produced there, and can be found in the nineteenth century pattern books of the Harrach factory situated in Bohemia, now part of the Czech republic.
The Harrach glassworks is named after Alois Raimund von Harrach (Count Harrach), on whose estate it was founded in Bohemia, in the early eighteenth century. Managed at first by one Elias Muller, the firm traded under a variety of names becoming known as Harrach in the nineteenth century and Harrachov, the name eventually given to the town where the factory was situated, in the twentieth. These opulent vases were a popular part of its range in the nineteenth century, the pattern being produced in a variety of similar shapes and always as shelf ornament pieces. The decoration here is particularly lavish with an attractive use of colour and has survived in excellent condition making these a desirable addition for collectors of Bohemian glass or admirers of nineteenth century glass style generally.
An unusual Pair of Chinese carved Soapstone Vases, circa 1900
Price: £110
A pair of Chinese soapstone vases with mottled colourings in a wide variety of brown and beige, the triangular form deeply carved on the two front faces with flowering peony and birds nestling in the branches, the reverses flat, each with a rock and a leaf, the base also flat and the interior hollowed out. Soapstone was first used by the Chinese over three thousand years ago but began its popularity in the Ming dynasty (1368 -1644) with the height of production during the ensuing Qing dynasty (1644 – 1911). The triangular form of this pair of vases is most unusual and the depth of carving displays near virtuoso expertise. There is little or no trace of the drill here, unlike some of the later twentieth century pieces, and all the pointers are to a dating no later than around 1900. The carver was fortunate to find two matching pieces of stone which allowed him to produce such a well balanced pair in shape, colour and decoration. The nature of the material means that soapstone pieces are found less often as matching pairs and this triangular shape, perhaps suggested by the original stone pieces themselves, is rarer still.
Pair of Ceramic Wall Hanging Plaques, Butterflies, probably continental 1960s
Price: £40
A pair of ceramic wall hanging plaques modelled in the form of butterflies with outspread wings, brightly decorated in green, red, orange and black enamels with beaded detail, the reverses plain and with a central cavity, pierced at the top for the wire wall hanger which also forms the proboscis. The fairly coarse paste of the foot rim at the back and general style of decoration suggests continental work, most likely Portugal or Spain and these pieces have a mid century look to them suggesting a a dating in the 1960s when brightly coloured ornaments (and carpets!) enjoyed something of a vogue. Highly decorative then, this pair of lepidoptera would certainly enliven a contemporary interior.
Framed poster for Victor Bicycles, Overman Wheel Company, C20th
Price: £55
This is an iconic poster image, the original of which was created in 1896 by the famed artist Will H. Bradley for the Overman Wheel Company, famous for their innovative and high quality bicycles in the last years of the nineteenth century. The ‘Victor’ bicycle was the most famous model in their range and enjoyed enormous success after its introduction in 1883. By 1893 it was known as ‘the highest grade bicycle’ and it went on to be sold in a wide variety of models and sizes. But competition and changing economic circumstances saw the company’s business decline sharply and after a devastating fire in 1899 the business was sold in 1900.
Will H. Bradley (1868-1962) was an American artist and illustrator whose work enjoyed enormous popularity in the late nineteenth and early twentieth centuries, indeed he became America’s highest paid artist. Some of his most elaborate and original poster and advertisement designs were produced in the last years of the nineteenth century and he was an apt choice for Albert Overman’s then thriving business. His style was quintessentially Art Nouveau and is often compared to that of the English artist, Aubrey Beardsley, indeed he was sometimes dubbed as the ‘American Beardsley'. This poster design for Overman has been much copied and reproduced over the years with original examples residing in museum collections. The dating of this particular printing is not wholly certain; the reproduction is certainly way superior to that of more modern versions and the accompanying frame also indicates some age, perhaps to the 1960s or through to the 1980s. We have, then, both an elegant decorative item and an excellent addition to a collection important poster art.
Queen Victoria Golden Jubilee Jug, 1887
Price: £10
1887 marked fifty years of Queen Victoria’s reign and her Golden Jubilee was commemorated by a wide variety of gift items including this jug form with transfer decoration in ‘grisaille’ colourings. The manufacturer is not known but was presumably one of the Stafforshire potteries. The form chosen, a flat circular body with a ridged face, the handle and spout with crisp modelling and a short spreading foot below, is quite unusual and does not seem to have parallels with other commemorative wares. The Queen’s head is shown in semi profile, with her titles above and an ivy wreath, symbolising everlasting life, below. On the reverse is the imperial crown.
Blue and Green Ice Glass Square Bowl, possibly Pukeberg, late C20th
Price: £45
A heavily modelled glass bowl of rounded square form with raised corners and indented concave sides with a textured base underneath, the clear glass blended with green and blue glass, each of the colours covering half the surface of the interior with a diagonal 'join'. The weight and textured finish to this piece is clearly intended to represent ice and 'ice glass' pieces were made by various Scandinavian manufacturers, notably Pukeberg of Sweden who produced many 'ice glass' pieces in a 'modernist' style in the 1970s although these seem to be just in clear glass. A very similar bowl was made in the 1970s by Ittala, a glass studio in Finland, and this has colouration similar to the bowl here, but Ittala pieces tend to be signed with the factory name, and often that of their designer Tapio Wirkalla, whereas there is no discernible signature here. 'Scandinavian 1970s' is perhaps the safest bet then but this does not detract from the appeal of a bold statement item which has the potential to be functional as well.
Bombay Japan pattern deep Dish, Minton or Samuel Alcock, English mid C19th
Price: £25
An earthenware deep dish of shaped oval form with moulded handles to the sides, transfer decorated in ‘flow blue’ with coloured highlights and gilt detail with a central stylised garden scene within a diaper pattern border, the rim with floral sprays and the two handles in the rococo style, the reverse plain and with a central blue transfer mark in the form of a vase with flowers and reading ‘BOMBAY’ ‘JAPAN’ with red script numbers ‘1273’. Various pieces can be found with this florid design, all with the same mark and script numbers. Attribution is either to the well known firm Minton or the factory of Samuel Alcock, whose Staffordshire pottery produced a highly popular range of pieces in the early to mid nineteenth century. Given the slightly rustic nature of this piece, the latter seems more likely. This is a serving dish from a much larger set which would have all been decorated in the same pattern. Oriental designs have been adapted to suit European taste with great aplomb and the result is both functional and attractive.
Compagnie des Indes style reticulated edge Armorial Plate, Chinese C20th
Price: £45
The general appearance here is that of a piece of Chinese Export porcelain dinner ware (the so called ‘Compagnie des Indes’ or ‘East India Company’ style) made around 1800. This plate essentially follows the late eighteenth century form, even in its openwork or reticulated edge which was not uncommon at the time although the lightly scalloped edge is anachronistic and the piece is far heavier than an original would be.. The centre is painted with an armorial crest but not, on this piece, one that can be identified indicating a ‘pseudo’ composition. The border has a repeating grape vine pattern and a band of blue enamel with stars, both typical of late C18th Chinese work, but if the front seems reasonably authentic the reverse betrays the date of manufacture with the printed wording in iron red which reads ‘For decorative purposes only’ ‘Not for food use’ [and as if that was not enough] ‘Article may poison food’. Similar wording is found on other C20th Chinese pieces and is probably indicative of a post war dating to the 1950s or 1960s. There was clearly no attempt to deceive here and the producers presumably sensed a demand for such pastiche pieces which do seem to be collectible, even today.
Chinese Scroll Painting of a Merchant and his Client, C20th
Price: £45
A scroll painting depicting what appears to be a scene in a Chinese merchant’s shop where there can be seen scales and a box containing coins on a table in the background. The elderly trader is seated next to a younger gentleman, presumably his client. One attendant stands watching and another bears an object on a tray which may well be the subject of a bargain to be made. The painting is colourful and expressive, with the faces carefully delineated. The style looks to be early twentieth century work and resembles that of reverse glass paintings from the period. The scroll is offered with a complementary scroll box, European with chinoiserie scenes in gilt, which considerably enhances the decorative effect.
Two Corgi Silver Jubilee Toys Boxed, (41) State Landau, (417) London Bus, 1977
Price: £45
The silver jubilee of Queen Elizabeth II in 1977 stimulated the production of a near avalanche of commemorative items. Mettoy, the manufacturers of the well known brand of Corgi toys, played their part in this producing a model of the 1902 state landau used in the royal processions and an accompanying model of a silver jubilee London bus with its special silver livery colour. The state landau is an example of their rather more ambitious pieces with the carriage rendered in great detail and the figures of the Queen and Prince Philip realistically modelled. The designer also allowed himself to include a corgi dog, appropriate for two quite distinct reasons. The bus is a typical example of the ‘Corgi Toys’ collected by so many during the years of their production and indeed thereafter. The typical ‘Corgi Toy’ was finely cast with detailed modelling and colouring accurately reflecting the features of its original. The two together, then, complete with their original boxes and in in good condition are a souvenir in themselves of a whole area of collecting.
Framed Chinese Silk Embroidered Runner Panel, garden scenes, C20th
Price: £15
The repeating design we see here (the figure on the left reappears on the right) indicates that this textile is a section from a longer piece which perhaps acted a ceiling border for a wall. Depicted in a fairly muted palette of silk threads with an emphasis on light green and turquoise is a stylised garden scene with labourers (hoe, wheatsheaves, fruit basket) and one figure seated at leisure, all within a border comprising a mixed assemblage of the common motifs of Chinese decoration including stylised flowers, dragons, elephants, shou medallions and the endless knot (one of the eight Buddhist emblems). The stitching is not particularly detailed suggesting mid C20th work but the design is pleasing nonetheless.
Wedgwood Calendar Plate, 80th Birthday of Queen Elizabeth II, 2006
Price: £10
From the 1970s to the early 2000s the Daily Mail newspaper commissioned a series of ‘Calendar Plates’ from the celebrated manufacturers Wedgwood to be offered for sale to their readers. The themes chosen were varied, but in 2006 the Queen’s Eightieth Birthday was the subject and this blue and white decorative plaque produced. The central image of the smiling Queen is surrounded by the twelve calendar months and there is a brief description on the reverse. These plates were issued in boxes coloured in the distinctive ‘Wedgwood Blue’ and this example retains its original packaging.
A pair of stamp collage Postcards, Alsace and Nice, framed, early C20th
Price: £45
These are a fine example of collage pictures where the image is made up or mainly made up from fragments of stamps. The technique was used in various parts of the world including America and China but we obviously have French work here. The artist, whose signature appears on both pieces, has chosen to represent two ladies dressed in local costume, that of Alsace and Nice. The first is seen holding flowers which fits with a rural location and the second standing on a rock looking out to sea which suits a maritime one. The heads and hands are painted and the costumes made from stamp fragments. Eagle eyed philatelists might be able to date these pieces form the stamps used but the amateur has to rely on the style and ‘feel’ of the representations and we are probably looking at the 1920s or 1930s. The frames and mounts, though, are likely to be slightly later. The appeal is obvious and while there may be other parts of France represented in the same way, this pair of pictures are most likely ‘one off’ and would be an individual addition to the decoration of an interior.
Taxco silver elephant cuff bracelet c1970
Price: £85
This is an incredibly fine bracelet that features mother elephants and their babies. It is 3 dimensional with so much detail. Although it does not bear any makers mark it is most likely from the Taxco region due to the quality of the silver and the type of work. It is marked 925. There are times when due to the silver work there is no room for a makers mark so they leave it off. This seems to be the case here.
Maud Frizon Handbag c2000
Price: £150
This is a lovely calfskin shoulder bag inspired by the well known shoe designer Maud Frizon. It has multiple interior compartments and a flap over front with stud detail. The zip pulls are tiny shoes with her initials MF and her name also appears on the label inside. Maud Frizon began designing and making shoes in 1969 and her innovative and hand crafted designs were an immediate success. Bridgette Bardot was a regular customer and it was said of her shoes that they 'are to footwear what Dom Perignon is to champagne'. Frizon founded her company with her husband Luigi De Marco and they worked together for thirty years before selling the business to Helene Wajnblum-Liu and her husband in 1999. The new owners broadened the range to include handbags and expanded the chain of Frizon boutiques to include Paris, Lyon, New York, Beijing and Hong Kong where they are still to be found today.
Japanese Seto Ware Blue and White Vase, late C19th
Price: £450
Famous for over a thousand years, the ceramics produced at Seto in the Aichi prefecture, Japan, became synonymous in the late nineteenth century for high quality blue and white porcelains finely painted and produced in a wide variety of forms, some of near demonstration quality. The vase presented here is an outstanding example of their work, immaculate in both its craftsmanship and condition.
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A fine quality Japanese porcelain vase, the ovoid body with a curved flaring foot and rising to a tall concave neck with a well defined shoulder, applied elephant and ring handles to the sides and a galleried rim, decorated in bright underglaze blue with two bands of stylised flowering chrysanthemum at the top and bottom between a continuous scene of flowering peony and chrysanthemum, the top rim with repeating whorl design on the exterior and stylised leaf design inside, the stepped base glazed white.
The kilns at Seto in the Aichi prefecture of Japan and situated close to Nagoya form one of the traditional ‘Nihon Rokkoyo’, the six old kilns of medieval Japan. The location of Seto was ideal for the production of ceramics with an abundance nearby of both porcelain clay and forests to provide firewood for the kilns. Production began as early as the Heian period (794-1185) and continued without a break thereafter, the earlier pieces being more pottery forms copying Chinese wares. It was in the early nineteenth century that the kilns turned to producing porcelains decorated in underglaze blue and white, a development initiated by the potter Tamikichi Kato who went to Arita to learn the techniques of its production there, returning to Seto in 1807. Production grew and developed and was directed towards the export market in the Meiji period (1868-1912) with Seto wares being displayed at the European and North American exhibitions and fairs. Their delicately painted designs of birds and flowers proved to be immensely popular and were, in their time, to influence Art Nouveau and Art Deco designs. Some of the forms produced were truly virtuoso creations including, besides vases, screens, jardinieres and even ceramic tables.
Signed pieces are known and besides Tamikichi Kato the distinguished potters included the Kichiemon brothers, Kato Chuji and Kawamoto Jihyoe, and Kawamoto Hansuke. But not all the best pieces carried an artist’s signature as this vase well demonstrates. Formed from fine quality clay, as can be seen from the foot rim (image 10), the complex shape with its spreading base, angled shoulder and galleried rim would have been difficult to create. The handles show remarkable skill with the rings somehow formed so as to hang loose (presumably some form of kiln waster technique was used). The detail and artistry of the painting speaks for itself. Note in particular the shading effects on the peony flowers. While not perhaps an exhibition piece, this vase is definitely of exhibition quality and would be a worthy addition to a collection of nineteenth century Japanese ceramic art.
Murano Style Calla Lily Trumpet Shape Vase, second half C20th
Price: £75
A delicately blown glass vase of trumpet shape, the squared cylindrical body flaring towards the base and top with four fins, the neck spreading outwards with a deeply scalloped rim resembling flower petals, the glass in a variety of colours, green merging into cream with red at the top. The artistry of this piece is quite clear and the form would have required skilful glass blowing techniques. The work is similar to that of Murano pieces, made in Venice in the 1960s and 1970s but there is no proof of manufacture there. Often termed ‘Jack in the Pulpit’, from a supposed resemblance to that flower, this vase is actually modelled on the Calla Lily. (‘Jack in the Pulpit’ has a raised petal at the back whereas here the petals are all similar.). Despite the uncertainties we certainly have here a striking piece of C20th Italian art glass with considerable decorative appeal.
Continental Figure of a Cellist, Conta and Bohme, Germany late C19th
Price: £55
This is an amusing ceramic figure of a cellist, seated with his instrument between his legs and a bow in his right hand. He wears a floral decorated tailcoat with brown knee breeches and a purple cap on his head. Below is a rectangular base with gilt decoration to the front. The composition is carefully modelled and finely painted, especially the detail to the face. The underneath has impressed marks, a shield device and the numbers ‘5313’ and ‘154’. The shield device, a small arm holding a dagger (see image 10), was used by the makers Conta and Bohme best known for the manufacture of ‘fairings', which were exported in large quantities to Britain and the USA in the late nineteenth century which is most likely the date of production of this figure. Sometimes this composition is found with a companion figure of a violinist, bearing the same shield mark but different numbers and it is most likely one of an original pair. But it can clearly stand on its own a good example of the decorative porcelains produced in Germany before the first World War.
West German Pottery Lava Glaze Vase, Scheurich, 1960s
Price: £45
A ceramic vase of squat cylindrical form, the body incurving at the shoulder and the neck with a slightly flaring rim, the heavily pitted glazes combining mottled blues above and black below, the interior glazed brown and the base glazed black with moulded marks ‘215-18’ and ‘W.Germany’. This is an excellent example of ‘lava ware’, a rugged and rustic glaze effect which became very popular in the 1960s and was produced extensively by some of the West German potteries of the period. The marks here indicate 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. Similar pieces by them can be found in either form or decoration. Their pieces rarely carried the factory name but usually the model number followed by the height in centimetres with ‘W.Germany’ below, as here. The size and form of this piece makes it particularly attractive.
Mintons Coronation Plate, King George VI and Queen Elizabeth 1937, boxed
Price: £25
This was a rather deluxe souvenir amongst the many produced to commemorate the coronation of King George VI and Queen Elizabeth on May 12th 1937. It was made by the famous porcelain manufacturers Mintons, who specialised in high quality pieces, particularly dinner services. The plate shows many distinctive features of their work with fine quality enamelling and gilding (see images 5 and 4). Marked with an inscription on the reverse beneath the Mintons trademark, this plate was number ‘89’ of a limited edition of 1000. It comes complete with its original presentation box which unusually has the coat of arms of Oman (see image 10) stamped in gilt on the underside of the lid implying that it might have been a gift to the Omani royal family at the time.
Opaline Art Glass Vase with a marbled design, Vetreria Barbieri, 1970s/1980s
Price: £45
An art glass vase of mallet form with a narrow flaring neck, the opaline glass body with a marbled design in shades of yellow and brown. Many pieces in this style are found with paper labels reading 'V.B. Opaline Florence, Made in Italy'. The initials VB are thought to stand for Vetreria Barbieri, a factory in or close to the town of Empoli, Italy, that produced glassware during the 1970's and early 1980's. 'Opaline Florence" refers to the type of glass used, since opaline glass, a cloudy white, was produced in Florence. The parallels we have therefore allow us to provide an identification here and very similar attributable examples are known.
Set of Three Celluloid Figures of Monks, Japanese, first half C20th
Price: £45
This is an amusing group of three Japanese celluloid figures representing young boys dressed as monks. Each wears a patterned coat with complementary trousers and boots, the coloured details carefully picked out. Their poses resemble those of the celebrated three wise monkeys ‘see no evil, hear no evil, speak no evil’ which is a humorous combination with their apparently spiritual role. Celluloid, often known as the first plastic, was used for the manufacture of accessories and collectibles from the late nineteenth century to the 1940s and can be regarded as a cheaper alternative to bone or ivory. The Japanese produced many pieces in the material, other examples of which can be seen elsewhere on this site, but this small group, probably dating to the 1930s, is a particularly charming example.
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £25
A Chinese silk textile with an embroidered design of a peacock and a peahen (the male and female peafowl) sitting on the branch of a pine tree with peony growing below in a stylised garden scene. There is a four character signature to the top left, probably denoting the artist. The style of the embroidery and the calligraphy of the signature suggest mid to late C20th work, perhaps dating to the 1960s or 1970s. The composition and the detail and colourings of the embroidery work are pleasing, combining to produce an excellent example of the genre. The frame is European and perhaps contemporary with the date of manufacture (see Lot 24).
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £25
A Chinese silk textile with an embroidered design of a peacock and a peahen (the male and female peafowl) standing on a grass embankment with a flowering peony bush behind them. There is a four character signature to the top left, probably denoting the artist. The style of the embroidery and the calligraphy of the signature suggest mid to late C20th work, perhaps dating to the 1960s or 1970s. Other embroidery panels with a similar design can be found which are much later. As with the previous lot the composition and the detail and colourings of the embroidery work are pleasing, combining to produce another excellent example of the genre. The frame is European and perhaps contemporary with the date of manufacture (see Lot 24).
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £45
A Chinese silk textile with an embroidered design of a phoenix standing on a rock at the edge of a river, flowering peony below and to the rear a prunus or plum blossom tree with bamboo. On the riverbank also stand a pair of cranes, ducks can be seen in the water and a pair of birds sitting on one of the prunus tree branches with another pair flying to the left. In the distance, the setting sun and at the top right a four character signature probably denoting the artist. There is a mixture of motifs here. The phoenix can denote the Empress, cranes represent long life, peony represents spring while prunus denotes winter. Ducks point to marital happiness and the flying magpies happiness and good luck, whereas the setting sun is often a metaphor for sadness and sorrow. Perhaps a deliberate contrast is intended here or perhaps the various motifs were simply chosen for their decorative elements. As with lots 2 and 3 in this sale, this is another excellent example of the genre and the frame provides a clearer indication of dating. The frame makers ‘Charles and Co’ had a business in Notting Hill, London in the post war years and the telephone number ‘PARk 6306’ indicates a date before 1966 when UK telephone numbers ceased to include letters.
Swirl design Cranberry glass Decanter and Stopper, probably Italian mid C20th
Price: £45
An unusual decanter and stopper set, the broad pear shape body narrowing towards the neck which has a curved lip at the front and a loop handle at the back and is fitted with a flattened ovoid stopper. Both pieces have moulded decoration and the handle has repeating circular indentations, the clear glass with swirling ribbon highlights in cranberry glass. While cranberry glass decanters are seen with a combination of clear and coloured glass there is no close parallel to what we have here. Similar pieces were made in England (for example Fenton glass) and by the ‘Bohemian’ workshops (Bohemian glass was made in the regions of Bohemia and Silesia, now parts of the Czech republic). There are also a few Italian pieces, some made on the island of Torcello near Venice. But none of these is exactly the same and the form of the stopper is very rarely found. The rather ‘open’ decoration with the trails of Cranberry coloured glass suggests most of all though the last of these with a dating, perhaps, to the mid C20th. While something of a mystery this remains an attractive and appealing item in particular for collectors of Cranberry glass wars.
Japanese Celadon Ground Tazza with Chinese Nanking decoration, late C19th
Price: £25
This is an unusual and hybrid piece combining elements of both Japanese and Chinese decoration. The stoutly potted footed bowl, or tazza, is Japanese porcelain employing a fine quality stone like clay, visible on the underneath of the three feet, often found in these celadon glazed pieces made for export towards the end of the nineteenth century. The pedestal feet support a stubby bulbous column which in turn supports the circular serving dish on top. The underside of the dish has moulded decoration and its edge is slightly shaped. The celadon glaze is enhanced with blue and white decoration and the dish itself is wholly decorated in blue and white with a landscape scene closely resembling the designs on Chinese export wares of the late eighteenth century (see the previous lot in this sale for a typical example) and often known as ‘Nanking’ ware in Europe, Nanking being the Chinese port from which it was shipped to the West. The elaborate border with cell and diaper work and stylised flowers also copies the Chinese exemplar. The shape is a Japanese interpretation of a European form and was clearly intended as a serving dish, perhaps for a small desert service of pieces in a similar pattern, but it can stand on its own today as a piece both decorative and practical.
Egyptian table decoration depicting a Pharoah and Attendant, c1940
Price: £45
This is a Egyptian souvenir table decoration depicting aPharoah and attendant. The sun is radiating down to indicate his divine rule. It is made from bovine buffalo bone, a material commonly used for Egyptian decorative objects.
Pair of slender green glass Vases with silver decoration, possibly French early C20th
Price: £45
A pair of light green glass vases of slender form with near cylindrical bodies and a flaring neck above an ovoid globular base with a spreading foot, each decorated in silver inlay with flowers (chrysanthemum) and geometric designs. In contrast to the previous lot, the shape here suggests the designs of the Art Nouveau era and the decoration certainly has a French feel to it which would be consistent with this. The elegance of this pair of vases is striking, probably an ornament for a mantel piece at the time and more than suitable for a mantelpiece of today.
Art Nouveau style turquoise glazed Urn shape Vase, Bretby ware, early C20th
Price: £75
A ceramic urn shape vase, the body of compressed bulbous form with a wide cylindrical neck and two angular handles, the moulded and dimpled surface glazed in turquoise a craquelure effect, applied modelled floral decoration to the front and reverse in pinks and greens, the base with impressed marks ‘BRETBY’ below a sunburst motif, ‘MADE IN ENGLAND’ and ‘1742'.
The firm Bretby was the result of an amalgamation between Henry Tooth and William Ault who formed a partnership in 1883. Both had previously worked at the Linthorpe pottery established by Christopher Dresser in 1879 and retained a comnnection with the celebrated designer even after striking out on their own. Success came early and the firm won a gold award in the Crystal Palace Exhibition of 1884, patenting their trademark with its sunburst design above the name Bretby in the same year. Ault left the partnership in 1887 to set up his own business under his own name but Henry Tooth continued to oversee production until his death in 1918, the business then remaining under the control of the Tooth family until it was sold in 1933. Production continued, though, well into the twentieth century until the firm closed around in the late 1990s.
This piece is typical of their earlier work with a nod to both the art nouveau style and Dresser himself, particularly in the shape of the handles. ‘Hammered’ decoration was typical of the Arts and Crafts movement popular at the time and the applied floral decoration has some parallels with Japanese pieces again much in vogue at that period. Similar pieces are known with the same shape and pattern number (1742) which seems itself also to indicate an early twentieth century dating, but the applied decoration seen here is unusual.
Silver prayer beads with seventeen Beads, 20th century
Price: £75
This is a lovely set of prayer beads made from solid sterling silver. The 17 beads are heavy and have decoration at the ends. They are strung on a chain with aslider and tassel at the end. These are hallmarked, most likely with continental silver marks.
Vulcanite long necklace with Maltese cross and fob c1880
Price: £195
This is the holy grail of Vulcanite necklace due to the length and it also has two integrated Vulcanite pendants a Maltese cross and a fob that may have been intended to be engraved. The links are round and there are further links at the end giving it a lariat style.
ABOUT VULCANITE
Exciting scientific and technological advances punctuated the nineteenth century. Growth and development with regard to jewelry-making techniques and new and innovative jewelry materials were an important part of these creative endeavors. Combining imitation gems with various imitation jewelry materials had already been en vogue since the early Eighteenth century and viable replacements for faux non-metallic jewelry materials were chiefly derived from plastics and rubber.
Uncured rubber is somewhat brittle and does not have the stamina to hold up over the long term necessary to be viable for jewelry use. It was not until Charles Goodyear patented the vulcanization process in America in 1844 and Thomas Hancock did the same in England, that jewelry production with a rubber composition was possible. Vulcanization is a high-heat process that adds sulfur to the mix and renders the result more durable than rubber or plastic alone. Both gentlemen exhibited their achievements at the Great Exhibition, displaying molds of items intended to substitute for the very popular, but exceedingly brittle jet.
One of the main purveyors of vulcanite jewellery was the Britannia Rubber and Kamptulicon Company, set up in 1854 at Cannon Street in the City, with the works in the East End of London at Bow Common, “for the purpose of manufacturing in England articles invented by Mr. Goodyear.” From 1866, they placed advertisements in The Times for ” Indiarubber chaines Benoiton, wholesale and export only,” offering a full range of industrial, household and ornamental goods including “Imitation Jet (India Rubber): Albert chains, Victoria chains, long chains, Latin, Greek, Maltese and Dagmar crosses, brooches, bracelets, earrings, waist-clasps, charms and trinkets, gauntlets and armlets, fancy black combs, and dressing combs,” assuring their customers that these items had the “the beauty of polish and deepness of colour of jet, without its dangerous quality of brittleness…You may dash a bracelet or chain of this material to the ground without injuring it.”
Sources:
Lang Antiques (www.langantiques.com)
Gere, Charlotte and Rudoe, Judy. Jewellery in the Age of Queen Victoria: A Mirror to the World: London, The British Museum Press, 2010.
Victorian vulcanite anchor chain necklace with carved jet pendant c1880
Price: £195
This is quite a rare necklace as due to the type of link combined with the long length of the necklace. The links are a large anchor design combined with the finely carved jet pendant.
ABOUT VULCANITE
Exciting scientific and technological advances punctuated the nineteenth century. Growth and development with regard to jewelry-making techniques and new and innovative jewelry materials were an important part of these creative endeavors. Combining imitation gems with various imitation jewelry materials had already been en vogue since the early Eighteenth century and viable replacements for faux non-metallic jewelry materials were chiefly derived from plastics and rubber.
Uncured rubber is somewhat brittle and does not have the stamina to hold up over the long term necessary to be viable for jewelry use. It was not until Charles Goodyear patented the vulcanization process in America in 1844 and Thomas Hancock did the same in England, that jewelry production with a rubber composition was possible. Vulcanization is a high-heat process that adds sulfur to the mix and renders the result more durable than rubber or plastic alone. Both gentlemen exhibited their achievements at the Great Exhibition, displaying molds of items intended to substitute for the very popular, but exceedingly brittle jet.
One of the main purveyors of vulcanite jewellery was the Britannia Rubber and Kamptulicon Company, set up in 1854 at Cannon Street in the City, with the works in the East End of London at Bow Common, “for the purpose of manufacturing in England articles invented by Mr. Goodyear.” From 1866, they placed advertisements in The Times for ” Indiarubber chaines Benoiton, wholesale and export only,” offering a full range of industrial, household and ornamental goods including “Imitation Jet (India Rubber): Albert chains, Victoria chains, long chains, Latin, Greek, Maltese and Dagmar crosses, brooches, bracelets, earrings, waist-clasps, charms and trinkets, gauntlets and armlets, fancy black combs, and dressing combs,” assuring their customers that these items had the “the beauty of polish and deepness of colour of jet, without its dangerous quality of brittleness…You may dash a bracelet or chain of this material to the ground without injuring it.”1
Sources:
Lang Antiques (www.langantiques.com)
Gere, Charlotte and Rudoe, Judy. Jewellery in the Age of Queen Victoria: A Mirror to the World: London, The British Museum Press, 2010.
Suite of Taxco - necklace, bracelet and earrings c1960
Price: £475
This is an outstanding suite of jewellery made in the Taxco silver district in Mexico. It comprises graduating fine links of turquoise and silver. Both the necklace and bracelet of a fluidity that shows the beautiful quality of this jewellery. It bears the Birmingham assay import mark and initials LR presumably for the company that imported it to the UK. It also is marked 925. There are no Mexican hallmarks although the origin of these pieces is not in doubt. The necklace and bracelet have the signature box clasp and each is fitted with a safety chain.
Sold silver and enamel Panda pendant necklace c1980
Price: £55
This is a super cute pendant in the form of a panda bear playing with a beach ball.The bear is made from solid silver with a texture to resemble his fur and black enamel detail. The beach ball is also enamel and the piece is marked 'SILVER'.
Mounted aquatint engraving of a Courting Couple, signed, probably French C20th
Price: £45
The aquatint process is similar to that of engraving but it is powdered resin rather than a needle which is used to create the desired print effect and it is areas of colour which are produced here rather than an outline design. Often, though, the two techniques are combined, as in this print. Within an oval frame are depicted in pastel tones of blue, yellow and green a courting couple in eighteenth century dress. Boucher springs to mind but perhaps we are closer to Fragonard since the scene depicted is not wholly innocent. The lady’s right breast is clearly exposed and her right hand rather artfully placed. Perhaps this explains the slightly surprised expression on the young man’s face. The general style indicates much more modern work of course, perhaps to the mid C20th, but the artist, who signs his name as ‘Ceilli’, could well have been of the same nationality as his more famous predecessors. Certainly, he has produced a work of impish charm.
Chinese Republican Style small Famille Rose Ginger Jar and Cover, late c20th
Price: £20
A small ginger jar and cover of typical near globular form with a matching domed cover decorated in ‘Famille Rose’ enamels with two ladies in a garden scene, the base with a band of repeating stylised lotus leaves and the shoulder with a border of stylised scrolling foliage (peony and lotus) on a pink enamel ground, the cover with two butterflies and a band of fleur de lis and the reverse with a calligraphy inscription in black with seal marks in iron red. The base has a stamped iron red mark with the Chinese characters ‘Zhong Guo Jingdezhen’ which translate ‘Made in China’ which is also written in Western characters underneath. Below this is the number ‘07’ between two horizontal lines which may indicate the factory or cooperative where the piece was made. This form of mark indicates a dating to the 1980s which is consistent with both the paste of the foot and the style of the decoration. Not perhaps Chinese craftsmanship at its best but not without a certain charm.
Four Papier-mâché Trinket Boxes, Kashmir, mid C20th
Price: £35
Four papier-mâché boxes, one circular and three of rounded rectangular form, all decorated in typical colourful floral designs, the circular example resembling quite closely the Chinese ‘mille-fleur’ pattern, the bases and the interior in black lacquer. The well known papier-mâché technique, in which items are formed from pulped paper dried to form a hard surface, is nearly ubiquitous, but Kashmir in India was a famed centre for the technique usually held to have commenced in production there in the 15th century when King Zain-ul-Abidin invited papier-mâché artists from Central Asia to practice their craft in his kingdom. These examples are much later, of course, and were probably made some time in the twentieth century, perhaps towards the middle, when the Kashmiri craftsmen were exporting their wares expansively. Their decorative appeal is obvious but, as storage items for trinkets they can perform a practical function as well.
LOT 19
Art Deco Vase, Springtime, Price Brothers, Staffordshire, 1930s
Estimate: £20 – 30
0d 3h 38m 34s
£0.00
Studio Pottery Vase signed Kamini, Greece, 1970s
Price: £45
An elegant ceramic vase of cylindrical form, the upright body narrowing towards the very faintly outcurving neck, the mottled mustard glaze coloured ground with drip colour effects in blue, brown and orange, the interior glazed in mustard and blue and the base with an unglazed foot rim and a stamped mark reading ‘KAMINI’.
Although ‘Kamini’ is both the Greek word for a kiln and the name of a village on the Greek island of Hydra, it actually stands here for the Greek firm of that name whose registered office was at Kallithea, a suburb of Athens. The Kamini pottery produced a wide range of appealing but often slightly rustic wares in the 1970s, many with the splash glaze effects we see here and all stamped with the firm’s name. This vase stands out somewhat for the simple lines of its form and the variety of effects in its decoration with a particularly pleasing palette of colours and demonstrates that this Mediterranean pottery could well rival at times the work of some of its European competitors.
West German Studio Pottery Vase, Scheurich, 1960s
Price: £35
A ceramic vase of near cylindrical form, the body tapering slightly outwards towards the base and incurving towards the foot, the sharply defined shoulder below a compressed circular rim, the whole decorated in shades of yellow and brown with a wide variety of glaze effects including speckle and craquelure. The base has moulded marks reading ‘XX-XX’ and ‘W.GERMANY’ indicating 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. Scheurich were well known for producing a wide variety of pieces with variegated, almost experimental glazes and this vase is a particularly successful example of their work with a well balanced selection of colours and interesting glaze effects.
Pair of Brass Wall Plaques of Jousting Knights, Peerage Brass, mid C20th
Price: £45
This is a decorative pair of wall plaques with two brass jousting knights on horseback in mirror image on a black background with a simulated wood grain effect. The decoration is in cast metal and the square metal sheet continues to the back where it is folded over at the edges on top of the hardboard backing. While there are no markings beyond ‘Made in England’ on the hanging loops, these pieces were, in fact manufactured by ‘Peerage Brass’ who produced many quality brass decorative items from 1946 onwards. There is one group where they are joined by a larger rectangular plaque with similar mediaeval inspired decoration and which has a label reading “Peerage” ‘Brassware at its Best’ ‘Regd’ ‘Needs no Cleaning’ ‘England’ (see image 7). Peerage Brass was the successor to ‘Pearson-Page’, manufacturers of high quality brass and copper reproductions who enjoyed considerable commercial success before the Second World War. The trade name ‘Peerage’ was first adopted in 1946 and this pair of plaques would have been produced in the years thereafter.
A group of twenty assorted artists Stamps in H&R Johnson sample Box, C20th
Price: £75
This is a most interesting group of stamps, possibly intended for tiles, nearly all with naturalistic designs of trees or stylised floral emblems. Twelve are mounted on thick clear plastic or perspex blocks while the remainder are mounted on wood. Examples of the pressed designs can be seen in images 1 and 2 and their appeal is obvious. The stamps are contained in a wooden box with the name of the well known tile manufacturers H&R Johnson Ltd printed on the front with the words ‘ceramic glazed tiles’ below. H&R Johnson began trading in 1901 and are still producing tiles in imaginative and innovative designs today. The box was clearly for tile samples rather than stamps and was presumably adapted by the owner of these stamps to hold his small collection. Perhaps this is why the three central dividers are missing (the grooves for them can be clearly seen in image 3); their presence would not have allowed all the stamps to fit inside! This assembled collection with its impromptu container was clearly used by an enthusiastic amateur artist. Both the box and the stamps look to have been made in the 1950s or 1960s and were clearly well used. Printing block stamps can be much in demand today and there is a family firm, Stamped in Tradition, based in London and Devon who produce a truly vast selection of handmade pieces in bronze, some of which are similar in design to some of the stamps in this box (see images 9,10). The tradition truly lives on then, and this collection allows the opportunity for experimentation today in an age old craft.
An Art Deco ceramic group of two Fish by Guido Cacciapuoti, signed, 1930s
Price: £150
A ceramic group of two fish, most likely carp, realistically modelled, with their tails bent as if swimming through water, and glazed in a deep red, the base flat and unglazed with two holes to assist firing and with an impressed mark to the underside of one of the fins ‘MADE IN ITALY’. Also at the bottom can be seen an inscribed signature which reads ‘Guido Cacciapuoti’.
Guido Cacciapuoti was a celebrated Italian ceramicist. Born in Naples in 1892 and from a family with a tradition in the creation of majolica pottery, Guido exhibited his work widely in the 1920s and finally, in collaboration with his brother, Mario, and Angelo Bignami as the administrative and commercial director, he founded the factory ‘Gres d'Arte Cacciapuoti Bignami & C.' in Milan in 1927. Mario unfortunately died three years later leaving Guido to carry on on his own until his death in 1953.
In the 1930s, Guido’s workshop became famous for the production of ceramic animal sculptures with fish being a particular speciality. More commonly seen are groups of John Dory, again with a red glaze, but the smoother lines here and the particularly intense colour reflect more closely the contemporary Art Deco style. Sought after in their own time, with patrons such as the King of Italy and Mussolini, Guido’s works are highly collectible today and this group would make a striking addition to a collection of Art Deco ceramics with considerable decorative appeal.
Indian Brass and Copper Inkwell, C20th
Price: £55
This is a finely worked inkwell in brass and copper, the square lobed edge base with shallow walls and a lidded pot attached to the centre, also in brass but with a copper body. Both elements have precisely cast stylised floral decoration with elaborately curved tendrils which shows strong Persian or Islamic influence, but the work is most likely Indian and probably the product of the workshops in Kashmir. Dating is most likely to the early twentieth century and this piece probably formed part of a desk set with a pair of candlesticks in addition, made either for local market, perhaps to be bought by colonial settlers, or for export.
Green Murano Millefiori Latticino Glass Bowl, 1960s
Price: £150
A green glass bowl, thickly walled, of globular form with a wide rim and a flat base, decorated with trailing ribbons of opaque white glass and multicoloured flowers. The general effect here points to Murano work and this piece employs two techniques familiar from the workshops there. The opaque white glass ribbons are referred to as ‘latticino’ (milk derived) and found in many Venetian pieces. Even more frequently seen are the dense multicoloured flowers (elsewhere on the site can be found some paperweights also employing the technique) known as ‘millefioiri’ (thousand flowers). The combination of the two on a green ground presents a striking and decorative item which can be enjoyed in its own right or used for the display of flowers.
Mods at Clacton 1964, Photograph by Terry Disney for the Daily Express
Price: £45
Easter 1964 saw a gathering of two wheeler transport fanatics in the sea town of Clacton, Essex. These were the ‘mods’ and ‘rockers’ famous at the time, the ‘mods’ with their sharp suits and scooters and the ‘rockers’ with leather jackets and motorcycles. Relationships between the two groups were less than friendly and the inevitable resulted. But if the two rival ‘gangs’ disliked one another, they disliked the police even more and when officialdom stepped in, the chaos increased. Exactly what happened has been debated ever since. The press called it anarchy (see image 6) but the local council was not so sure.
It was, though, a newsworthy confrontation and press photographers were sent in to record events. The most notable of these was Terry Disney who worked for the Daily Express newspaper. Disney was a distinguished and prolific photographer from the 1960s onwards and many of his striking images survive, not least those capturing the major personalities of the entertainment world at the time, including the Beatles themselves. His images of the ‘mods’ (he seemed less interested in the ‘rockers’) capture the atmosphere of the scenes vividly and this photograph is an excellent example of his work on that Easter weekend (for another see image 5). Often only obtainable under licence, this print is an ideal opportunity for a collector to acquire a near iconic image. It is offered with a very basic frame which might well be replaced with something which would enhance the photograph more sympathetically.
Two Japanese Woodblock Prints by Toyohara Kunichika, second half C19th
Price: £75
These are two prints by the celebrated Japanese print maker Toyohara Kunichika (1835-1900) whose signature appears on both. The first does not appear to have been published online and cannot be identified here although the calligraphy inscriptions on this and the second are nearly identical implying that they may both be from the same series . The second is a kabuki (Japanese theatre) portrait of Iwai Hanshiro as Princess Wakana looking up from the spell she is rolling up, smiling at a large spider holding the other end of the scroll. She wears a light blue patterned kimono over a red under robe. Her long hair falls over her shoulders with a cluster of tiny flowers adorning her head. This print comes from the series ‘Competition of Powerful Magicians’ published in 1873.
Toyohara Kunichika achieved great fame and distinction a Japanese print artist. Born in 1835 he studied under Toyohara Chikanobu and then Utagawa Kunisada (also known as Utagawa Toyokuni III) eventually using a combination of both his teacher’s names to create his own professional one. At first he worked within Kunisada’s studio and when his teacher died in 1865 was asked to design two memorial portraits of him. The beginning of the Meiji era (1868-1912) saw Kunichika issuing his own prints, often in themed series and he became known in particular for his portrayals of kabuki actors, indeed he regarded the theatre as almost his second home. A contemporary once wrote ‘"Print designing, theatre and drinking were his life and for him that was enough.’ He achieved great fame and was rated as one of the masters of woodblock printing. Contemporary observers noted Kunichika's skilful use of colour in his actor prints, but he was also criticized for some of his choices for unlike most artists of the period, he made use of strong reds and dark purples rather than the softer colours used previously, exploiting the recent import of new dyes from Germany. Red, for the Japanese, meant progress and enlightenment so there was probably hidden meaning here. Eventually Kunichika’s lifestyle took its toll and he died in poor health, aged 65. It had been a Japanese custom for people of high cultural standing to write a poem before death. Kunichika's own, inscribed on his grave, reads ‘Since I am tired of painting portraits of people of this world, I will paint portraits of the King of hell and the devils.’ For many years his prints fell out of favour but interest has now revived and Kunichika is regarded as one of the eminently collectible Japanese artists in the field and these two prints are an excellent example of his work.
Each print is accompanied by a printed text on fine paper which presumably describes the character represented. The second of them is accompanied by two sheets one of which has become attached in one small place to the print itself but could probably fairly easily be detached by a restorer. In general there are some typical signs of age with minor losses (illustrated), tears and folding but the colours remain bright and fresh.
Framed Oil Painting on Board of a Winter Landscape Scene, C20th
Price: £55
Clearly the work of an accomplished amateur artist, this dramatic landscape painting of a snowy winter scene shows a gabled house set by a river with reeds and trees in the foreground and craggy snow capped mountains in the background. The location is really a matter of guesswork but the building resembles some found in Holland which might indicate a Dutch setting. The grandeur of the scene is obvious with the mountainous outcrops graphically depicted. The board surface used and the style of the frame suggests a mid to late twentieth century dating but this picture would grace a room setting of any age.
Zuni suite of necklace and earrings, New Mexico, 1990s
Price: £95
This is a suite of earrings and necklace by the Zuni silversmiths of New Mexico. They are known for their detailed mosaic work incorporating many different types of stone. Here we have mosaics on both the earrings and the pendant with turquoise, lapis, onyx and coral stones. There are also dangling feathers attached which is again typical of Zuni design. The chain is in a basket weave pattern and marked' 925'.
Pewter and brass box and cover in the form of a Mallard Duck, Gatco, Hong Kong, 1960s
Price: £25
This is a novelty box and cover, possibly for pills or more likely trinkets made from pewter and brass in the form of a mallard duck. The details are simply but amusingly modelled with an effective contrast of the two metals used. The base, in common with other examples of this model, has an engraved mark comprising a reversed ‘3’ below an ‘8’. Other examples carry a gold ground paper label which reads ‘Made in Hong Kong’ and this is sometimes found elsewhere on brass items which also have a label for the firm ‘Gatco’, implying that this was the manufacturer here (see image 11). These amusing boxes were made in Hong Kong in the 1960s and retain their charm today.
Uredale Glass Vase, late C20th/early C21st
Price: £55
This is a typical example of one of the range of pieces produced by the Uredale Glass Studio, set up in 1981 by Tim Simon in Masham, North Yorkshire. Simon had studied with a Master glassmaker from Stuart Crystal in the 1960s and his enthusiasm and interest in this craft led him on to start his own business with his wife, Maureen. Now trading for over forty years it is one of the longest running studio glassmakers in the United Kingdom. Their premises at Masham include a shop where a selection of their wares can be seen and purchased and there is also the opportunity to attend demonstration glass making courses. This round beaker like vase employs mottled and swirling glass effects in a range of purple tones and is very close in style to the ‘autumn’ hot glass range which can be seen on the studio’s website today. As with other Uredale pieces, the vase has a distinctive label with its maker’s name. Any collection of late twentieth century studio glass should include at least one piece from this well known maker and the vase shown here would be an ideal addition.
Green Chalcedony silver mounted brooch with marcasite stones, 1940s
Price: £45
This is a silver mounted brooch, the central oval green chalcedony or chrysoprase stone bordered with an elaborate rounded hexagonal frame, the stylised flowers with scrolling foliage and a milled border, all set with marcasite stones, a bar clasp to the reverse and an engraved mark ‘925’ for silver. Chrysoprase is a variety of chalcedony distinguished by its shades of green and has been used for jewellery since antiquity. Maracsite, a brittle, metallic, semi-precious stone is also often used in jewellery and sometimes known as ‘white iron pyrite’ or more colloquially ‘fool's gold’. Its use here, combined with the elaborate design of the mount, suggests a dating to the 1940s
Edwardian rolled gold and white agate brooch, c1910
Price: £45
An attractive brooch combining an oval piece of cloudy white agate with red inclusions mounted in a rolled gold rope twist frame with stylised floral petals decorated in an abstract design. The reverse has a bar clasp and is fitted with a guard chain implying that the wearer was intended to take some care of this elegant accessory. The combination of the milky white stone with its coloured detail and the gold coloured surround is particularly appealing and the design of the mount suggests a dating to the early 1900s.
Large silver fancy link Bracelet, modern
Price: £50
This is an unusual variation on the chainmail bracelet form where a triple series of interlocking oval links are combined with small rolled wire beads, quite a demand on the silversmith’s skills. The ends terminate in a ball and clasp fastening and the clasp is marked ‘925’ with a double oval. The style suggests a late twentieth century dating with perhaps English craftsmanship.
Victorian rolled gold and black and white agate Brooch, English c1920
Price: £50
An attractive brooch in which an agate stone of rounded rectangular octagonal form, the grey surface with clearly defined striations in grisaille and white, is framed by an elaborate rolled gold mount with a rococo style border, scrolling milled cord joining two stylised leaf shape panels at each end with round balls in gold tones in between, the bottom with a gold chain loop and a hanging drop and the reverse with a bar clasp. As with the other rolled gold and agate brooch in this sale, the design of the mount suggests the 1920s
Edwardian silver fleur-de-lis collar necklace circa 1910
Price: £85
The ‘fleur-de-lis’, a stylised form of lily symbolising fertility and purity, has been used as decorative motif for centuries and is particularly associated with the French royal family. It is more normally found as a single pendant necklace but the Victorians produced various collar necklaces in silver with the motif. These tend to be slightly heavier in construction than the example here suggesting a slightly later dating probably to the Edwardian era and most likely English manufacture. The finely cast silver fleur-de-lis leaves are joined by links and terminate in a spring ring closure presenting a delicate accessory, perhaps for a young lady.
Please note that the necklace is not marked for silver and has not been tested.
Taxco silver bangle with onyx and sodalite mosaic decoration, 1990s
Price: £75
This is a beautiful bangle comprising a very heavy and thick band of silver set with sodalite and onyx in an inlay mosaic design. It has a typical push closure and is marked 'TS-98' '925' 'Mexico'. The TS letters stand for the specific workshop in the Taxco region but here is no definitive list of the numbers attached, so an exact provenance is difficult to determine.
Pewter and brass box and cover in the form of a Mallard Duck, Gatco, Hong Kong, 1960s
Price: £25
This is a novelty box and cover, possibly for pills or more likely trinkets made from pewter and brass in the form of a mallard duck. The details are simply but amusingly modelled with an effective contrast of the two metals used. The base, in common with other examples of this model, has an engraved mark comprising a reversed ‘3’ below an ‘8’. Other examples carry a gold ground paper label which reads ‘Made in Hong Kong’ and this is sometimes found elsewhere on brass items which also have a label for the firm ‘Gatco’, implying that this was the manufacturer here (see image 11). These amusing boxes were made in Hong Kong in the 1960s and retain their charm today.
LOT 23
Carlton Ware fruit Cruet Set, Australian Design, 1950s
Estimate: £20 – 30
0d 3h 46m 34s
£15.00
Vintage Needlepoint Picture of a Garden Scene, framed, second half C20th
Price: £25
This is a charming embroidery on canvas employing the so called ‘needlepoint’ technique in which over half a dozen stitching techniques are used as opposed to ‘cross stitch’ which uses only one. The varieties of technique employed here can be clearly seen in the detail images (3), (4) and (5). The picture depicts a garden scene with a bird bath and path in the foreground leading to a gate with a pergola like floral arch over it and, in the distance, a thatched cottage. The attraction of the design speaks for itself. Dating is difficult but most likely post war and the frame suggests the mid to late twentieth century.
Vintage Needlepoint Picture of a lady dressed in a crinoline, framed, probably 1930s
Price: £25
Like the previous lot this embroidery picture employs the so called ‘needlepoint’ technique in which over half a dozen stitching techniques are used as opposed to ‘cross stitch’ which uses only one. The varieties of technique employed here can be clearly seen in the detail images (2), (3) and (4). We have another garden composition, this time a lady dressed in a crinoline gathering flowers and standing on a paved terrace (note the weeds between the paving stones!) with roses and hollyhocks. There are other similar examples of this scene which are thought to be from the prewar era and the slight foxing of the canvas and the form of the frame itself are consistent with this.
Japanese Arita Brushwasher, C20th
Price: £25
A small deep bowl with high slightly incurving walls and a lightly scalloped rim, decorated in underglaze blue with small floral blooms, peony representing Spring and prunus representing Winter, the base unglazed. The form suggests a brush washer and the paste of the foot an early to mid twentieth century dating. A modest scholar’s desk ornament then which might find a home in a contemporary office.
Monochrome tubular bead necklace, Modern
Price: £95
This is a rather fabulous necklace that feature very large tubular beads that are half crystal and half onyx. They ae paired with smaller crystal beads with black inclusions. The large beads adre very unusual. It has a silver clasp.
Triple strand of amber Bakelite beads, British 1930s
Price: £750
This is an imposing three strand necklace comprised of assembled graduated marble effect butterscotch amber beads joined at the head with a silver clasp. The beads have recently been restrung with wire to make the whole more robust and safer to wear. The three strands interlock perfectly and the selection of beads has been carefully chosen in respect of colouring and size to produce a striking ensemble which is bound to impress.
Taxco suite of necklace and earrings, malachite and onyx stations, 1990s
Price: £250
This is a quite rare suite of necklace and earrings that come from the Taxco region of Mexico. Both comprise stations of malachite and onyx that go all the way around each piece. The stations are each individually hinged which gives these pieces a fluidity and quality that only comes from the Taxco workshops. Both have the typical box clasp and are marked 'TN-57' 'Mexico' '925'. The TN number indicates the workshop although there is no definitive list regarding the numbers attached and an exact provenance cannot be determined.
Kiralpo ware Dressing Table Set, marked, 1930s
Price: £35
This is a dressing table or vanity ware set comprising a tray with a ring holder and two jars for cosmetics all decorated with similar designs of birds and flowers within blurred edge pink borders, the glaze with a slight craquelure. Most likely there would have been in addition a pair of candlesticks. The tray has a gilt mark comprising a circle surmounted by a crown with the words ‘KIRALPO WARE’ ‘ENGLAND’ between two dots and within this a shield device with the letters ‘K&Co’ ‘E’.
Kiralpo ware was one of the trade names used by Kirkland and Co, earthenware and ceramic manufacturers based at the Albion Pottery, Etruria, Stoke-on-Trent, England who traded from 1891 to 1938 when the business was bought and renamed by Mr A.E.Gray. The format of the mark gives a dating between 1928 and 1938 with ‘E’ standing for Etruria. Kirkland and Co made various modest but colourful decorative items to furnish the home. In a 1907 guide they are described as ‘general earthenware, fancy goods, and majolica manufacturers’. Their designs were not sophisticated but obviously had a popular appeal and this set with its bold transfer decoration of birds set within a rather vivid pink border is typical of their work.
Native American Zuni silver cuff bracelet c1970
Price: £125
This is a stunning bracelet made by Zuni silversmiths in the area of New Mexico. It comprises a large mosaic of turquoise, mother of pearl and coral that is indicative of Zuni design and work. This mosaic is set into a silver halo of a flower and leaves, also a typical design. It is marked Sterling 925
Indian wooden toy model of a Horse with metal fitments, early C20th
Price: £25
This is an amusing wood model of a horse, its right leg raised and the head looking expectantly forwards, the finely grained wood with metal fitments in brass and copper representing the ears, muzzle, saddle, saddle bags and tail, all with fine detailing and small nail fastenings. Many examples exist of these wood and metal horse figures which are usually held to have been made in India at Jodphur, Rajastan, in the early C20th. Presumably more intended for the local colonial audience these pieces have an obvious and wider appeal. The smaller sizes were probably intended as toys and perhaps the original owner of this piece played with it a little too vigorously which might explain the damage to the right front leg!
Mexican Silver Bolo Tie with Aztec mask Head, Taxco, c1950
Price: £125
The word ‘bolo’ derives from ‘boleadora’, an Argentine or Uruguayan lariat or lasso and is used to describe this semi formal type of neckwear in which a cord is held together by a medallion of some sort so that it can be draped around the neck. Mexican silversmiths working at Taxco, the artistic centre of Mexican silver production, produced versions of the bolo in which the medallion is in the form of a hardstone mask head set in silver. In common with many, this piece has an aventurine hardstone face in the form of an Aztec mask framed by an elaborate silver headdress. Through this runs a black cord with silver tips at each end. The mask is stamped at the back ‘925’ ‘TAXCO’ ‘Cheo’ ‘MEXICO’ with an eagle mark 185 at the top left. Dating is most likely to the 1950s. The bolo was regarded as semi formal wear for a man but can equally, or even better, serve a decorative piece of neckwear for a lady with a distinct hint of South American style.
Mexican Silver Bracelet with Aztec Designs, Taxco, 1950s
Price: £65
This is a fine example of a ‘classic’ bracelet design produced by the Mexican silversmiths working at Taxco, the artistic centre of Mexican silver production. The bracelet comprises four curved rectangles of silver joined with hinges and terminating in a square push clap. When assembled the pieces form a circular bracelet which sits snugly on the wrist. Each piece has an engraved design employing Aztec motifs, so often a source for decoration on Taxco jewellery, key pattern between a triangular and a stylised floral motif on a ground etched to imitate stone. The square clasp is stamped at the back with a diamond tablet with the characters ‘GURDO925’‘FP’ and an eagle mark 4. Dating is most likely to the 1950s. FP is the Taxco silversmith who would have been active in the 1940s and 50s based on this eagle mark.
Egyptian Silver Pill Box with Mother of Pearl Inlay, marked, second half C20th
Price: £45
An oval silver box and cover, the lid with an inlaid mother of pearl design comprising geometric shapes which combine to produce a 3D ‘trompe l’oeil’ effect of solid shapes within a rope twist border, the exterior of the lid with a small stamped mark and the interior of the box with three small stamped marks. The markings here, which can be seen on other examples indicate that we have Egyptian work and there are a fair number of similar silver boxes but more commonly in a round shape. They are usually dated to the mid twentieth century. The quality of the craftsmanship is obvious and the form and decoration make this a highly desirable collector’s item.
Bakelite Ivorine Mourning Brooch, British c1930
Price: £25
This is a brooch formed from bakelite intended to mimic ivory with its off white colouring. It shows a hand holding a rose and the slightly antique style reflects the fact that this was originally a Victorian design, intended to be a mourning brooch, the material of which would have been ivory (see image 4 for examples in the British Museum). Developed in New York in 1907 and patented two years later bakelite was the first plastic made from synthetic components. By the 1920s it became a popular material for jewellery and pieces were produced for some years thereafter. Dating here is probably to the 1930s or 1940s.
Pair of Navajo Kingman turquiose earrings, signed, 1970s
Price: £65
This pair of earrings boasts 10 large cabachons of Kingman turquoise. The Kingman mine located in Arizona, is the last commercial turquoise mine in the US. It is known for its intense colour and unique matrix. These earring where produced by a Navajo silver maker. They are signed MJ which indicates the specific workshop. Marked Sterling for 925 silver.
Hula Pattern glass Vase by Bob Crooks, signed by the artist, modern
Price: £110
This is a striking vase by Bob Crooks, one of Britain’s most highly respected contemporary glassmakers (see image 8). Born in 1965, Crooks studied at the Humberside College of Higher Education and the West Surrey College of Art & Design where he took a BA (Hons) in 1989. After working with other studios, he set up his own in 1990, moving to Devon in 2002 where he has since been producing his distinctive pieces of art glass under the name ‘Bob Crooks: First Glass’. The vase here is from the range in the ‘hula pattern’ (the name deriving from the well known brand of crisps) and can be seen in a variety of forms and colours on his website. The version here is particularly pleasing, the irregular flattened ovoid shape enhanced by the bright blue of the body set with scattered yellow ‘hula hoops’. This is, in fact, a unique creation since each of Hobbs pieces are designed, handmade and finished by him without the use of moulds. His signature appears etched on the base in common with all his other works. The appeal is obvious and an excellent example of the skill and artistry of the maker.
Art Deco style Glass Box and Cover decorated with a dancing Ballerina, mid C20th
Price: £35
An opaque cream coloured circular glass box and cover, the bulbous body with high domed lid which is decorated with a dark grisaille dancing ballerina poised on one leg with grass below and hanging willow above within a yellow scalloped border which is repeated on the base. The style of decoration clearly suggests the 1930s and this piece probably dates to that era although there is no certain proof of this. Presumably a powder box it retains great charm and could well find a home in a contemporary setting.
Chinese Yellow Ground Famille Rose Charger, 1950s/early 1960s
Price: £55
A Chinese circular charger, stoutly potted and with a faintly everted rim, richly enamelled in the ‘famille rose’ palette with lotus, bats, shou symbols and a central chrysanthemum head surrounded by small peony blooms, all on a yellow ground with white enamel stylised scrolling foliage, the reverse glazed white with a glazed footrim surrounding an unglazed circular band, the centre with a seven character stamped mark in iron red ‘Jiangxi’ ‘Jingdezhen’ ‘Ming 5 Ci’, ‘made at Jingdezhen [in the] Jiangxi [province], place rank 5’.
This is a fine example of the porcelains made at Jingdezhen, for centuries the chief centre of ceramic production in China, in the early years of the People’s Republic of China (1949-). Soon after the communists took control, the kilns at Jingdezhen were organised into co-operatives, each with a number. Many of their pieces were marked and the form of the mark determines the date of production. The circular marks, as here, were the earliest allowing a dating of this charger to the 1950s or possibly the early 1960s. Some of these conglomerates, for the quality can vary, retained the skills of their predecessors and produced works of high quality. This is clearly seen here in the careful and precise enamelling and the general artistry of the design employing ‘imperial’ yellow with the symbolism of happiness (bats), longevity (shou symbols), friendship and a life of ease (chrysanthemum) and fruitfulness and offspring (lotus), all combining to produce a piece well worthy of its many predecessors.
Please note that the wood stand is for display purposes only and is not incuded with this lot.
Earthenware Jug, Falstaff or Old King Cole, Furnival and Clark, mid C19th
Price: £75
An earthenware jug glazed in white with a minute craquelure effect and some staining in places, boldly mould modelled as a seated man with a pot belly, a mug in his right hand and his left resting on a branch which forms the lower part of the handle, details of his head picked out in red and a broad hat, forming the spout, seated on his flowing locks, the reverse modelled as his chair and the base with a band of key pattern design.
The design for this jug, usually termed ‘Falstaff’ but sometimes ‘Old King Cole’ is known to have been registered (Rd.No. 32601)by the firm Furnival and Clark on December 30th 1845. This was a very short lived partnership between Thomas Furnival and Richard Clark, based at the Stafford Street Pottery Works, Hanley, Staffordshire and which traded from 1844 to 1846 apparently producing just this one model, albeit in a variety of colours. Thomas Furnival had been involved in other firms before this brief venture and was to be involved in others afterwards. The dating of these mugs is usually attributed to the short period when Furnival and Clark traded but it is quite possible that more pieces were produced afterwards by Furnival himself. The paste and finish of this piece, though, which is not marked, certainly suggest a mid nineteenth century dating. In general, the model is quite rare. Some examples were fitted with a Britannia metal or pewter lid but this was never integral to the piece. This striking composition, then, is a rare and desirable item collectors with an interest in British Staffordshire wares.
Japanese Polychrome Bowl, Shibata Toki ware, late c20th
Price: £45
A fine quality Japanese porcelain bowl with deep sides curving in towards the base and with ribbing in the lower section, the interior delicately decorated in polychrome enamels with a design of flowering peony, the exterior with gilt diaper work on an iron red ground above a border of repeating stylised leaves, the base with a four character mark in iron red reading ‘Shiba-ta-to-ki’, ‘Shibata Porcelain’. The porcelain manufacturer Shibata began production in 1948, based at Mizunami city, near to Nagoya in Japan. They were known for their fine quality porcelains whose work resembles that of the nineteenth century Fukagawa kilns. Their pieces are marked, as here, sometimes with the addition of their name in Western lettering. This bowl probably dates to the 1970s and is a fine example of their work. Since 2004, the company has also operated from workshops in China.