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Please note that the necklace is not marked for silver and has not been tested.

The style of the dress suggests Burma which has a tradition of marionette puppetry (marionettes are a specific form of puppet where the figure is controlled by strings or rods) dating back to the late eighteenth century and still popular today with visitors to the country, now called Myanmar. Termed ‘Yoke thé’, the Burmese marionette tradition allowed political commentary under the guise of of an entertainment display. The standard ‘troupe’ comprised twenty seven characters, both animal and human, and this male figure is probably the ‘King’ (‘Mintayar gyi’). Dating is probably to the mid C20th and a little earlier than the female marionette figure also included in this sale. This figure is rather more majestic as befits his regal status.

The distinctive style of embroidery and applied work here is typical of Burmese work known as ‘Kalaga’ which means ‘curtain’ in Burmese and is used to refer to heavily embroidered appliqué tapestry sewn with a technique called ‘shwe gyi do’. First produced around 150 years ago, Kalagas are generally linen, silk, cotton or velvet background fabrics embellished with sequins, embroidery, beads, coloured stones, tiny pearls, coral, braids and metal threads, the choice of materials depending in part on the client’s budget. Cotton padding was used to produce the ‘3D’ effect seen here and on many other examples of the work. The elaborate decoration meant that some of the larger pieces could take many months to produce which is likely to have been the case here. Dating is difficult and a mid C20th attribution here is probably sensible but an earlier period of manufacture is quite possible. The hanging has been recently mounted on board and fitted with a simple frame making it ready for display in a contemporary interior.

The style of the dress suggests Burmese work and very similar fabric decoration can be seen in the cloth wall hangings also included in this sale. Burma has a tradition of marionette puppetry (marionettes are a specific form of puppet where the figure is controlled by strings or rods) which dates back to the late eighteenth century and is still popular today with visitors to the country, now called Myanmar. Termed ‘Yoke thé’, the Burmese marionette tradition allowed political commentary under the guise of of an entertainment display. The standard ‘troupe’ comprised twenty seven characters, both animal and human, and this lady figure is probably the ‘princess’ (‘Minthami’). She is a fine example of the genre and probably dates to the 1990s when General Khin Nyunt of the ruling junta lent official support to marionette actors and troupes in an attempt to revive a tradition which had fallen somewhat into decline.

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.

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.

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.

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.

The form here, without a ceramic handle but with an attached carrying handle, suggests a travelling teapot, a well known variation of the teapot type produced in China but rarely found on such an epic scale. Presumably this piece was intended for use at a rather large gathering or banquet so that a multitude of guests could be served at once! The paste of the footrim, style of decoration and clearly visible hand thrown potting rings (see images 8 and 9) all point to late nineteenth century work which is confirmed by the minute vertical lines seen on the exterior which are often found on blue and white pieces from that period. It is sometimes suggested that these brass handles, for similar examples can be found, were made in Thailand but there is little evidence for this. However, a local audience rather than an international one seems more than likely since there would have been little call for such a serving item in Western homes.

The mark for Doulton is one of the standard impressed 'Royal Doulton England' marks where the lettering forms part of a circle combined with three thick lines and the centre is filled with four interlocking 'D's. The addition of a lion but not with the usual accompanying crown allows a fairly precise dating to between 1923 and 1927, although the pattern number beginning with ‘X’, which appears on other pieces with similar decoration but a different shape, is supposedly found on pieces made for couple of years thereafter. Either way, the mid to late 1920s dating fits with both the form and the decoration which have a distinctly Art Deco feel. The mark ‘P’ is for the decorator Lizzie Padbury but the scratched mark cannot be identified. Presumably the second set of numbers indicate the shape.

Royal Doulton produced many pieces reflecting the Art Deco style and other similar vases can be found on this site. They are an elegant reinterpretation producing pieces of great decorative appeal.

Mdina Glass was founded in the Maltese town of Mdina in 1968 by Michael Harris and Eric Dobson. The town had no history of glass making but the venture proved to be a success. Its wares, free formed organic glassware, often in colours inspired from the sea, sand, earth and sky, proved very popular with tourists visiting Malta. Michael Harris left Mdina in 1972 and formed a new company, Isle of Wight Studio Glass, on the Isle of Wight, UK, leaving Eric Dobson in charge, but many of the designs he created continued to be made at Mdina Glass after his departure although new designs and patterns were added as well of which this vase is an example. Ownership of the company later changed but it is still producing a popular range of glasswares today.

Hobe was founded in 1887 by the French goldsmith Jacques Hobe as makers of fine jewellery. The costume jewellery division, Hobe Cie, was added 40 years later by his son, William Hobe, who brought the firm to America in 1927 and was commissioned by Flo Ziegfeld to design and manufacture jewellery for his Ziegfeld Follies costumes. By repute this is the origin of the expression costume jewellery. Production continued from the 1930s to the 1990s although there are a few later reproductions. While all their pieces were marked, dating is sometimes difficult but the floral design sterling silver pieces, one of their most collectible ranges now, date to the 1930s and 1940s and this bracelet, with the addition of the gold vermeil detail probably belongs to the latter period of this group. Its opulent and florid design is typical of Hobe’s work making it a stylish addition to a collection of their pieces. Other examples of their work can be seen elsewhere on this site and in this sale.

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

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

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

Cranston Ware was one of the ranges produced by the Pearl Pottery Company, based in Hanley, Stoke on Trent. Founded in 1892, the firm produced a varied selection of ceramic wares, often following contemporary fashions, until its closure in 1947. This vase is demonstrably in the Art Nouveau style and would have been produced when it was at its zenith in the early 1900s. The pattern was known as ‘Tukan’ ware and some of the pieces, but not all, have an impressed mark displaying this. This is an excellent example of the type with the glazes and decorative detail well rendered and certainly deserves the attention of collectors of Art Nouveau.

The 'spatter’ technique was known from Roman times but enjoyed something of a renaissance in the Victorian era when there was a general revived interest in the glass making techniques of the ancient world. Similar baskets are normally associated with the glassmakers at Stourbridge, Worcestershire, a centre of glass production since the 1600s, and this seems the most likely source of this piece, with a dating to the late nineteenth century. It is an excellent example of the type and remains in fine condition.

The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains in Japan. Best known for blue and white pieces it also produced polychrome wares as well, including the familiar Imari colourings. While similar to Imari, the wider palette of colours used here is usually termed ‘Arita’ and this bowl employs not only the colourings but also many of the decorative elements found in these wares. The angular form, though, is unusual. Dating is to the Meiji era (1868-1912) probably around 1880.

While this model, often called the ‘harvest pattern’, is found quite often, it is very unusual to see a graduated set of three, all matching. The form of the mark, where the lion does not sit above a crown, was used between 1922 and 1927 which gives us the dating here. The largest jug carries the letter ‘a’ which was a decorator’s mark and stands for Louisa Ayling. Perhaps she worked on all three, but this must remain a guess although the quality of the work on all three is quite consistent producing a highly decorative and attractive ensemble.

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The firm Steiff was begun by Margarete Steiff in 1880. A seamstress by training Margarete recognised a strong demand for some fabric elephants which she had made and intended for use as pincushions but soon became adopted as toys. Many other animals followed and a felt factory was founded in Giengen, Germany, in 1893 soon to be followed two years later by the first consignment of her wares to Harrods, London. In 1897, Margarete’s nephew Richard joined the firm and went on to design the first plush bear with movable arms and legs for which a substantial order was received of 3000 examples in 1903 from an American buyer who sensed a growing demand for these animals as a result of the US President Theodore ‘Teddy’ Roosevelt being shown in a photograph with a young cub in The Washington Post of the previous year. By 1907 a little under one million of these bears were being produced and turnover went on to increase substantially. Steiff bears can be purchased today and the earlier examples are actively sought after by collectors.

In the 1930s, Steiff began to collaborate with the Walt Disney company and characters from their films were reproduced starting, unsurprisingly, with Mickey Mouse and going on to include some of the most famous creations even up to the present day with ‘Nemo’ and ‘Woody’ from Toy Story being recent and popular additions.

The Hedgehog family, comprising Mecki and Micki with their children Macki and Mucki first appeared in 1951 and continued in production until the 1990s. These four characters are often found, sometimes with the characteristic round Steiff tag bearing their name and with the wording ‘Steiff–Original–Marke’ with an arrow pointing to a teddy bear’s head, but other hedgehog models which can be regarded as ‘cousins’ were made for a brief period in the 1960s. The nuclear family, though, comprised these four and they are sometimes illustrated together on postcards. Some of the round tags have additional wording ‘nach Diehl Film’ (‘from/after the film [maker] Diehl’) which refers to a German film company set up by three brothers Ferdinand, Hermann and Paul Diehl in 1937. They specialised in the ‘stop motion’ technique which involves the minute movement of model figures which, when photographed and with the images displayed in quick succession, allows the illusion of movement, now familiar today in the films featuring Wallace and Gromit.

Mecki and his family were popular characters in some of the films the Diehl brothers made and first made their appearance in 1949 designed as mascots for a German periodical called ‘Hor Zu’ which began publication in 1946 and covered radio and television news. Some of the tags attached to members of the family allude to this and Macki’s here reads at the back ‘Redaktionsigel von Hor Zu’ (‘the hedgehog editor of Hor Zu’). This explains the blue stain on Mucki’s skirt which is clearly meant to represent ink. Other members of the family also display marks on their clothes as a sign of being hard at work. Sensing the popularity of these characters, Stieff negotiated an exclusive right to produce dolls of them in 1951 and the hedgehogs became a staple of their output. The Diehls’ last film was made in 1970 and the hedgehogs featured in more than one over the years, becoming much loved characters in Germany during the 1950s and 1960s.

The techniques of production of the figures varied over time as did the attached labels. The earliest were made from 60% wool and 40% cotton with the faces formed from rubber like latex over a straw filling. Such example of these as survive are in rather poor condition. The very latest versions, made from 1968 to 1990 have a different form of chest name tag and a different ‘button’ label. (From the earliest times, Steiff toys had a yellow rectangular label listing the materials used and the country of origin and sometimes the price, attached by a small button marked ‘Steiff’. Unfortunately, these are missing here but the chest tags are intact and in good condition which does not always occur.) Dating of these two examples is therefore midway and probably to the late 1950s or early 1960s and they survive in near pristine condition making them an excellent addition to a collection of Steiff soft toys and a fine memento of almost iconic companions to so many children in post war Germany.

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

The Fukagawa kilns produced the best quality Imari items made in Japan in the late nineteenth century for export to the West. Their history starts with Ezaiemon Fukagawa who in 1856 became head of his family's porcelain business and in 1875 founded Koransha (The Company of the Scented Orchid) in Arita, Japan, to produce tableware for export. In 1894 the modern Fukagawa company was founded by Chuji Fukagawa, with the Fukagawa trade mark of Mount Fuji and a stream, as its trade mark. Dating of these pieces is therefore towards the end of the Meiji period (1868 - 1912) probably around 1900. While the decoration is similar to that found on other Fukagawa pieces there are few, if any parallels, and tea ware pieces by the firm are not very often seen.

The intricate marquetry decoration used here, with its repeating star form pattern, is called ‘Khatam’ work. Khatam is the capital of Khatam County in Iran and is the centre for craftsmen working in this technique. Khatam is a Persian version of marquetry in which the surface of wooden articles is decorated with small pieces of wood, bone and metal formed into precisely-cut geometric shapes. The process is time consuming involving the cutting of the shapes and gluing them in place, followed by smoothing, oiling and polishing. In Persian, the work is known as ‘Khatam kari’, ‘the art of crafting Khatam ware’.

These desk sets occur in a wide variety of forms. The drawer is less commonly found and decorated pen holders are, as said above, most unusual. These sets seem to have been made from the 1950s onwards. The use of a ‘biro’ pen indicates a dating from the 1960s onwards and perhaps this example is a bit later than that, but the workmanship speaks for itself and the piece has survived in excellent condition with minimal damage, providing a truly elegant ‘desk tidy’ for the contemporary study!

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It took time for Germany to rebuild after the Second World War and it was not until 1949 that the country regained its national identity. The production of ceramics slowly revived and began to gain momentum in the 1950s eventually reaching a total of over one hundred companies and studio potteries. Some of the concerns produced a substantial output including Carstens, Bay, ES, and Dümler & Breiden but the most prolific of all was Scheurich. In 1927 Alois Scheurich established with a partner a company named ‘Scheurich and Greulich’ (S&G) which focused on producing low cost ceramic and glass items (see image 7). The success of this business provided the springboard for the creation of ‘Scheurich KG Keramikfabrik’ in 1954. While it commenced production rather later than some of its competitors it soon grew to overtake them and the glaze colourings for which it became best known were produced in the 1970s. Eventually the firm changed direction yet again and is now known for producing ceramic garden ornaments which have an international appeal.

Most of the Scheurich pieces are marked, nearly always with two sets of numbers ‘XXX-XX’ and the wording ‘W.GERMANY’, although there are variants. The firm’s name can appear in addition, as here, where we see as well ‘SCHEURICH KERAMIK’, and it is thought that this indicates a later dating to the 1970s/1980s. The first three numbers are the model number and the last two the height in centimetres, here ‘259-41’. ‘259’, as with nearly all the model numbers, was made with a wide variety of glaze colourings and effects. Equally, similar colours and patterns were used on different models. The shape is one of the firm’s most successful. The cylindrical body narrows gently towards the base and has a well defined shoulder with a concave neck and an inturning rim. The bright orange at the centre is bordered with and divided by irregular black ‘crusty effect’ bands. These are an excellent example of the apocryphally named ‘lava’ glaze for which Scheurich was so well known. Either side of this are two sections of grey speckle glaze which complete the whole. The vase is glazed brown inside and at the base which has the factory markings in raised lettering. Similar glaze combinations can be found on other pieces but the result is rarely as successful as here and the colour scheme used enhances the classic simplicity of the shape, loosely derived from a Chinese original.

This is a vase to appeal to decorators and collectors alike and is very much a ‘one off’ example of these popular wares standing rather apart from its many companions.

The Doulton factory began production in 1815, first at Vauxhall and later moving to Lambeth. In 1882 it opened an additional factory at Burslem, Stoke on Trent in the centre of the English pottery. Known at first mainly for utilitarian works it began to develop decorative wares more extensively in the 1860s and soon gained a reputation for its distinctive designs. As the factory mark indicates, these pieces were made at the Lambeth factory and the absence of ‘England’ below it indicates that it dates to before 1891. The Lambeth ware pieces were often marked with the date of manufacture, here 1882 which is fully consistent with a design inspired by Eastern influence. The artist’s mark, ‘B’ with a tail, which appears on both pieces, is for Alice L Burlton, whose signature can be seen on other pieces of a similar date with similar raised decoration. The other three markings ‘B’ and ‘OO’ presumably indicate the pattern number.

In general, Doulton designs were often both striking an experimental and this pair of vases is an example of their work at its best, a striking form combined with skilful decoration making them true collector’s items.