Studio pottery style wavy edge Bowl, 7th Layer Ceramics, China, early C21st
Price: £25
A studio pottery style stoneware shallow bowl with a wavy edge rim, stoutly potted and glazed on the outside and top interior in cream, the interior with contrasting green glazes with a craquelure effect, the foot unglazed and with a printed mark to the centre ‘7th Layer’ next to a circular logo. 7th Layer Design Ltd was a Chinese firm making high quality ceramics heavily inspired by European studio pottery techniques and the Director of the firm can be seen showing a selection of their range in a Facebook video dated to 2007 (see image 9 for a still photograph from this) but there is no record of them now and it has to be assumed that the business ceased production since then and today only selected pieces by them are available online on eBay or Etsy. Not yet, then, a collector’s item perhaps, but this bowl is a good example of the wares that the firm was trying to produce which unfortunately did not achieve long lasting commercial success.
Studio pottery style wavy edge Bowl, 7th Layer Ceramics, China, early C21st
Price: £25
A studio pottery style stoneware shallow bowl with a wavy edge rim, stoutly potted and glazed on the outside and top interior in cream, the interior with contrasting green glazes with a craquelure effect, the foot unglazed and with a printed mark to the centre ‘7th Layer’ next to a circular logo. 7th Layer Design Ltd was a Chinese firm making high quality ceramics heavily inspired by European studio pottery techniques and the Director of the firm can be seen showing a selection of their range in a Facebook video dated to 2007 (see image 9 for a still photograph from this) but there is no record of them now and it has to be assumed that the business ceased production since then and today only selected pieces by them are available online on eBay or Etsy. Not yet, then, a collector’s item perhaps, but this bowl is a good example of the wares that the firm was trying to produce which unfortunately did not achieve long lasting commercial success.
Pair of Sport Glass folding Binoculars with box, Japan 1950s
Price: £25
A pair of folding binoculars, the sides with a black leatherette finish and a central dial for focussing, made in Japan by ‘Sport Glass’ complete with their original box. While these binoculars, sometimes with different brand names such as ‘Arrow’ or ‘King’, are not uncommon they do not usually appear with the original box in such good condition. Still fully working, they are also a highly practical accessory!
Unusual pear shape art glass vase, possibly Scandinavian, C20th
Price: £25
An unusual art glass vase of a broad pear shape, the very narrow neck with ridged rounded decoration matching the top rim, the interior with an abstract leaf shape object at the base, the glass cloudy and with small flecks. There are no clear parallels for this piece, although it loosely resembles designs by Ingeborg Lundin for Orrefors, Sweden, (see image 9) which perhaps suggests a Scandinavian origin although this is far from certain. Elements of the decoration are clearly organic but the precise function of this vase remains something of a mystery.
Georgian small wood Spice Cabinet with six drawers, early C19th
Price: £75
A small mahogany wood cabinet, the front door with globular bead detail and hinged to the right opening to reveal five drawers, four smaller and one larger. Cabinets such as these, which are always hinged to the right are often described as spice cabinets but could also have been used as an apothecary case or even for storing tea. The accessories on this cabinet appear to be original and the format of the front handle and the rectangular beaded frame suggest late Georgian rather than Victorian workmanship and other similar cabinets are dated to that period or even before, making this a safe assumption here. The size of this piece is both charming and practical and it survives in excellent condition with just a few scratches to the sides making it an interesting addition to a collection of early nineteenth century furniture.
Two ceramic Clown Figures by Lino Zampiva, Italian late C20th
Price: £25
These are two ceramic figurines designed Lino Zampiva. Each depicts a clown figure, the larger holding balloons and the smaller playing the violin, both with a distinctive ‘spaghetti’ hairstyle. They are amusingly modelled and colourfully decorated and each carries Zampiva’s signature, the balloon seller with ‘Made in Italy’ in addition. Lino Zampiva founded PastelCeramica SnC in Montebello, Vicentino, Italy, in 1976 and began the production of these whimsical ceramic figurines which enjoyed great popularity. Many of them were clown figures but there were other subjects as well including dolls. Considerable artistry was expended in the creation of these pieces making them a little more than just ‘kitsch’.
Italian tiger stripe glass Handbag, possibly Murano, second half C20th
Price: £45
This is a novelty glass item made in the form of a handbag with a barrel shape body and large loop handles, with orange and black stripes resembling tiger’s fur and the interior encased in white. These pieces are often described as Murano style and some carry a label for the ‘Vincenza Collection’. The work, in fact, does resemble Murano pieces very closely, particularly the glass wrapped candies produced there, and the slight depression to the base (see image 10) is a typical Murano feature so manufacture there, probably in the later years of the twentieth century, is more than a possibility. These bags could possibly be used for the display of flowers or even to act as bonbonnieres, but it is as decorative items that they most appeal.
Papier-mâché trinket box and cover, Kashmir, India, C20th
Price: £25
An attractive papier-mâché box and cover of slightly compressed globular form, the cover with a knob finial, and the base and lid with a mating small triangular section to ensure a secure fit, finely decorated in polychrome colourings with panels of stylised lotus on a gilt scroll ground, the top with gilt cells on a black ground and the base with a band of repeating gilt stylised lotus leaves, the interior and underside finished in black. The style of the decoration here is typical of the papier-mâché wares produced in Kashmir in the nineteenth and twentieth centuries which were known for their fine and elaborate floral decoration. Round trinket boxes were a particular speciality and this is a good example which probably dates to the early twentieth century.
Small frill rim glass vase, Island Studio Glass, Guernsey, late C20th
Price: £25
A small glass vase in mottled blue and deep pink, the broad ovoid body narrowing towards the neck which flares out into a frilled rim, the base with a three character moulded mark. The mark here, usually held to represent three lions, is that used by the glassworks Island Studio Glass, based in Guernsey, some of whose pieces also carry a label bearing their name. This little known studio was founded with the assistance of Michael Harris of Isle of Wight Glass and traded from 1980 to 2002. It seems to have specialised in pieces employing distinctive mottled glass, many with frill top rims as here. The mark reflects the coat of arms for Guernsey which comprises three lions or leopards and seems to have been applied to most of the pieces produced.
Pair of Palissy style Ewers, probably continental, first half C20th
Price: £35
An unusual pair of squat form ewers each with transfer decorated panels of two cherubs on an encrusted ground in tones of green, blue and brown. The background decoration here has some similarities with French Palissy or Palissy style wares or those produced in the same style in Portugal such as Mafra ware, but the Victorian style cherub panels are rather a contrast with this and do not suggest that either of these countries is the origin of these pieces. Germany may be a possibility and similar pieces with a more realistically modelled mossy surface were indeed produced there from the 1920s to the 1940s and marketed as ‘Elfinware’ but again the resemblance is not close although these ewers are likely to have been made at around the same time to judge from the decoration of the panels. A mystery, then, which perhaps a buyer will be able to solve!
Oblong Dish decorated Fish, Bareuther Waldwassen, Germany, dated 1995
Price: £25
An oblong porcelain dish decorated with grisaille coloured carp swimming on a blue wash ground representing water, the reverse glazed white with a green stamped or microdot printed mark ‘Bareuther Waldwassen Bavaria Germany 154’ and blue script writing, apparently fired, reading “Fantastic Flying Fish” ‘by Vincent Worley -for Margaret- 1995’. Bareuther Waldwassen was founded in 1866 by Johann Mathäus Riess. It went through a variety of changes of ownership and name but continued to produce fine quality porcelains until it went into liquidation in 1994. The green mark seen here was the latest the firm used and dates between 1970 and 1993. This dish has an amusing and attractive design but there are no parallels; furthermore the blue script writing on the back is something of a mystery since the date (1995) is after the firm ceased trading. Since the writing seems to be fired it is possible that both it and the design on the front were added in 1995 to a blank from the bankrupt factory. This could explain the design which looks much more English than German and indeed recalls more pieces from the 1960s. Something of a curiosity then albeit a rather attractive one.
Japanese Arita Square Dish, Cheng Hua mark, circa 1880
Price: £55
A fine quality Japanese porcelain dish of square shape with chamfered corners and a wavy edge rim, the central well slightly sunk and the sides curving slightly upwards, the reverse with an unglazed circular foot rim, decorated to the front in underglaze blue with a typical landscape scene of a rocky outcrop with pavilions next to a lake in the foreground with mountains in the background, the border with alternating swastika and stylised flower head panels, the reverse with scrolling karakusa and a four character mark to the centre reading ‘Chenghua Nian Zhi’ or ‘Made in the Chenghua period’. Pieces like this decorated in underglaze blue were made in the potteries at Arita for export to the West in the nineteenth and early twentieth centuries. This dish is an excellent example of the type, well painted and potted, with the rather unusually shaped edge rim. The Japanese artists sometimes optimistically marked their pieces as from the Chinese Cheng Hua period (1465–1487), a modest piece of whimsy intended to deceive nobody. The paste of the foot here indicates a circa date firmly in the nineteenth century, certainly to around 1880 and perhaps slightly before.
Needlework sampler with a prayer by Sarah Flower Adams, probably late C19th
Price: £25
Samplers (the name derives from the Latin ‘exemplum’, meaning ‘example’) were exhibition pieces intended to demonstrate skill in needlework and have a long history dating back even to BCE times. They were produced in Europe from the sixteenth century onwards but enjoyed something of a heyday in England in the eighteenth and nineteenth centuries, becoming one of the accomplishments expected of young girls to demonstrate their achievement and industry, a fashion which was to die out after the 1900s.
Many of the samplers found today were signed by the maker, but not all, as here. At a guess this piece was probably made in the second half of the nineteenth century (the frame is much later) by a fairly devout needleworker. The text closely follows a known prayer composed by Sarah Flower Adams (1805-1848). As a member of the congregation of the Rev. W. J. Fox, a Unitarian minister in London, she contributed 13 hymns to his work ‘Hymns and Anthems’ which was published in 1841.
The prayer by her found there reads as follows:
Part in peace!- Christ's life was peace; Let us breath our breath in Him. Part in peace!- Christ's death was peace, Let us die death in Him. Part in peace!- Christ promise gave Of a life beyond the grave, Where all mortal partings cease Part in peace!
It is just possible that the last line has been altered to reflect a recent family loss, but this must remain speculation. The sentiments, though, are clear enough and have been carefully and devotedly worked.
Arts and Crafts brass Tray with hammered decoration, early C20th
Price: £45
An oval brass tray polished at the front, the sunken centre with a broad flat rim, the interior decorated with a punched or ‘hammered’ design and the outer rim with six embossed stylised flowers, probably intended to represent lotus, the reverse unpolished. There are slightly hybrid design elements here. The general form draws on the aesthetic of the Arts and Crafts movement with its emphasis on simplicity of design and a slightly rustic appearance whereas the six flower heads with their flowing semi abstract design reflect more the style of Art Nouveau. The two design trends were partially contemporary, of course, and not dissimilar in their objectives so that there was sometimes an overlapping between the two. Unsigned, this tray was probably made as a modest decorative item for the home but it has an appeal of its own, even when set beside rather more grand productions. Dating is probably to the Edwardian period when this style was still very much in vogue.
Three art glass paperweights, second half C20th
Price: £60
Three attractive paperweights of typical globular form with flat bases, the first with a yellow lily growing from deep blue water with bubbles, the second with a green lily like plant issuing from clear water with foam on the top and the third with two dolphins above blue and white flecked waves. Features of the first and the last (the ‘bullicante’ bubbles and the two swimming dolphins) are found in Murano pieces and this may well be their place of manufacture. The second looks more English and could be from one of the many firms who make paperweights, such as Caithness. Dating is probably to the later years of the twentieth century.
Ebony carved wood figure of an Impala (antelope), African, second half C20th
Price: £75
An impressive carved wood figure of an impala, standing on a rocky base with his head erect, the ebony wood finely detailed and with an attractive patina. The impala is a species of antelope, slightly more delicate in physique with long slender antlers and found in Southern and Eastern Africa. It was the subject of wood carvers in the later years of the twentieth century and similar figures are dated to the 1970s and thought to have been carved in Tanzania, which is most likely the case here. This is an excellent example of good size which has survived in perfect condition (the horns are often subject to damage) making it a striking decorative accessory for a modern interior.
Japanese miniature wood sample Cabinet, late nineteenth century
Price: £55
A small wood cabinet with three drawers and two sliding doors, two of the drawers with marquetry inlay to the front faces both patterned and grained, the sliding doors with graining effect and the third drawer plain. Two of the drawers are signed with the same character and the underneath of the cabinet has further signature marks.
This is an example of Japanese marquetry technique known as ‘Yosegi-Zaiku’ in which intricate geometric patterns made from small pieces of wood were used to decorate the surfaces of small pieces of furniture such as jewellery cabinets or ‘kotan-su’ (kodansu). The technique originated in the town of Hakone, near to Tokyo, in the Edo period (1601/3 to 1868) but continued into the Meiji era (1868-1912) and beyond. Some of the pieces produced have an elaborate array of designs, but what we appear to have here is a sample or specimen piece showing the types of effect the craftsman could produce. This is further complicated by the fact that the top right drawer, which has no decoration at all and is not signed underneath like the other two, appears to be a later replacement with a different form of handle. But there is still some charm and no small amount of skill here. Dating is most probably to the late nineteenth century and this experimental ‘kodansu’ could easily find a place in an early twenty first century setting.
Cream coloured milk glass vase with bird, French early C20th
Price: £45
Milk glass, now so called, was developed in Venice in the 16th century as a competitor for porcelain. Opaque and translucent it was made in a wide variety of colours and was later to enjoy great popularity in the late nineteenth and early twentieth centuries when it was produced by various manufacturers in England, Europe and America. The style of decoration here suggests France and the simple design of a bird sitting on a branch with flowers is attractively combined with a slightly sandy cream coloured background. This was most likely one of an original pair designed as mantelpiece ornaments, the slightly Art Nouveau and Japan inspired design suggesting an early twentieth century dating, but its elegance remains today.
Czech glass bowl from the Niagara range designed by Karel Zemek for Mstisov, 1960s
Price: £95
An organic form bowl or ash tray of irregular triangular shape with nodules blown in a subtle blending of blue, deep pink and clear glass. This piece comes from the ‘Niagara’ range designed by Kaerl Zemek for the Mstisov glassworks in Czechoslovakia. Founded in 1868 by F. Fischmann & Sons, the firm began to produce innovative pieces in the 1950s created by Frantisek Zemek, their chief designer at the time. Frantisek Zemek died of an accident in 1960 but his brother Karel continued his work until he too passed away in 1965. Mstisov became part of the Borske Sklo National Corporation in 1958 and was sold to Moser in 1964 who continued production of its range for a few further years. This bowl, then, dates to the 1960s and is a fine example of Mstisov’s output.
Chinese Plate No 9 from the series Beauties of the Red Mansion, Jingdezhen, 1988
Price: £35
This is the ninth plate from the series ‘Beauties of the Red Mansion’ comprising twelve plates in all, produced by ‘Imperial Jingdezhen Porcelain’ and titled ‘Beauties of the Red Mansion’. The plates were designed by the master artisan Zhao Huimin and depict characters from the famous Chinese romance novel ‘The Dream of the Red Chamber’ or ‘The Story of the Stone’ written by Cao Xueqin during the Qing Dynasty. Each plate depicts one of the court lady characters which appear in the work (Pao-chai, Yuan-chun, Hsi-feng, Hsi-chun, Mao-yu, Ying-chun, Tai-yu, Li-wan, Ko-ching, Hsiang-yun, Tan-chun, Chiao-chieh), all renowned not only for their physical beauty but also for their complex personalities and roles in the narrative of the novel. The ninth plate depicts Ko-Ching, the wife of a cousin of Pao-Yu, the hero of the novel, and much loved both by him and his Mother. Unfortunately, she becomes ill and dies, much mourned by her family. The plate has an elaborate inscription on the back along with the factory name and the date of production, 1988. While the work is detailed it is not hand done but seems to have been produced by some form of printing process. The ‘micro dot’ detail of this can be seen in some of the images. The plate comes with its original box and descriptive leaflet which gives extensive background detail and a translation of the inscription on the reverse. These are not always found, making this an interesting collector’s item.
Chinese Plate No 3 from the series Beauties of the Red Mansion, Jingdezhen, 1985
Price: £35
This is the third plate from the series ‘Beauties of the Red Mansion’ comprising twelve plates in all, produced by ‘Imperial Jingdezhen Porcelain’ and titled ‘Beauties of the Red Mansion’. The plates were designed by the master artisan Zhao Huimin and depict characters from the famous Chinese romance novel ‘The Dream of the Red Chamber’ or ‘The Story of the Stone’ written by Cao Xueqin during the Qing Dynasty. Each plate depicts one of the court lady characters which appear in the work (Pao-chai, Yuan-chun, Hsi-feng, Hsi-chun, Mao-yu, Ying-chun, Tai-yu, Li-wan, Ko-ching, Hsiang-yun, Tan-chun, Chiao-chieh), all renowned not only for their physical beauty but also for their complex personalities and roles in the narrative of the novel. The twelfth plate depicts Chiao-chieh, the daughter of Hsi-Feng who was eventually forced to abandon the luxury and wealth of court life as a result of the unscrupulous actions of her Mother. The plate has an elaborate inscription on the back along with the factory name and the date of production, 1985. While the work is detailed it is not hand done but seems to have been produced by some form of printing process. The ‘micro dot’ detail of this can be seen in some of the images. The plate comes with its original box and descriptive leaflet which gives extensive background detail and a translation of the inscription on the reverse. These are not always found, making this an interesting collector’s item.
Pink and yellow enamel butterfly brooch, Norway c1950
Price: £45
This is a very lovely quality guilloche enamel butterfly brooch in pink, yellow and lavendar. It is from Norway and can be attributed to Hroar Prydz but it is not marked with his mark so it could be from another workshop. This design was very popular so there would have been those who made similar designs. It is marked Sterling.
Royal Brierley iridescent red Art Glass Vase with label, late C20th
Price: £30
A thick walled globular glass vase with a wide flat rim, the deep red glass with mottling and iridescent effects, an oval label to the top reading ‘Since 1766’ ‘Royal Brierley’ ‘England’. The glassmakers Royal Brierley did indeed have their origins in the eighteenth century when Joseph Silver, one of the original founders in 1766, leased the Moor Lane Glasshouse at Brierley Hill, North Devon. His daughters married William Stevens and Samuel Cox-Williams, who took control of the business in 1847 and the company subsequently became known as the Stevens and Williams Glassworks, retaining this name until the 1930s when it changed it to Royal Brierley Crystal reflecting the grant of a royal warrant as glassmakers to the Crown. Royal Brierley has always been mainly associated with crystal glass but in the 1980s it produced a range of art glass termed ‘studio’ with iridescent effects and which employed designs by Michael Harris of Isle of Wight Glass and used techniques derived from his own studio. These pieces are similar in style to this vase but generally signed ‘Studio’ at the base and there does not seem to be any direct parallel for this particular form, which may possibly have been intended as a candleholder. An unusual piece, then, which well deserves a place in a collection of twentieth century British art glass.
Blue glass handkerchief Vase, possibly Poland, late C20th
Price: £45
The form of this vase the circular base rising to a dramatically wavy edge rim is known as ‘handkerchief’ from its resemblance to the folds of a dropped cloth or handkerchief. The shape seems to have been developed in the 1950s and was taken up by makers in Poland and Italy and also the Lenox glassworks in America. More delicate than its American counterparts and of a clearer glass than the Italian examples, this vase was most likely made in Poland in the late twentieth century, but the firm which produced it cannot be identified. It is, though, a most successful interpretation of the model, the delicately tinted glass forming a satisfyingly organic shape.
Avon Brand vintage wood telephone Money Boxes, 1950s/1960s
Price: £20
These are two items of nostalgia from the 1950s/1960s acting as money boxes for the cost of a telephone call. Presumably they were placed next to the telephone as a hint to a guest user to make a contribution to the cost of a call when using the host’s telephone! Each has a roundel with a slightly saucy young lady with an image of a telephone next to it. There is a slot at the top and a removable panel to the rear to give access to the coins stored inside. Each has a label at the back ‘Avon Brand’ one with ‘Seal of Quality’ and the other with ‘Made in England’. The format of the telephone dates these boxes to the late 1950s or early 1960s which is entirely consistent with their general style. Nothing is known about the ‘Avon Brand’ (who were lucky not to get involved in a trademark dispute with the more famous user of the name…) but there are many other similar pieces with their label, some with the image of a town and its name written on the base. Perfect items for devotees of ‘kitsch’!
Fairylite Dollies Brush and Comb Set, mid C20th
Price: £20
Fairylite were manufacturers of modest children’s toys and accessories, apparently from the 1930s to the 1960s, with an emphasis on dolls and, in particular, dolls house furniture. Their pieces were not made in the UK, although that seems to have been their principal market, and mostly marked ‘foreign’, as here. It is more than possible that many of them were imported from Japan. When complete with their original boxes, their pieces are now regarded as modestly desirable collectibles for those with a taste in nostalgia. This dressing table set is complete with all its elements intact even down to the fastenings in the interior of the box and probably worth a little more today than its purchase price of one shilling and sixpence : seven and a half pence!
Soapstone Box and Cover with antelope design, India, C20th
Price: £45
A soapstone box and hinged cover, three of the sides with deeply cut stylised floral decoration, the lid with concentric circles to the edge and a carved image of an antelope to the top on a ground of incised circles within a curved edge border. Soapstone with its variegated patterns and relatively soft texture was used as medium for carving in both India and China. The rather coarse work here and the antelope design itself suggests an Indian rather than Chinese origin, though, and soapstone boxes with carved decoration seem to have been a staple of the output of the Indian carving studios in the twentieth century. Dating is difficult but there does seem to be the appearance some age here so perhaps a mid century period of production is a reasonable assumption.
Wave shape glass Vase, probably Murano, second half C20th
Price: £95
This is a dramatically modelled sculptural vase representing a cresting wave, the variegated blue glass with minute bubbles imitating water and blending into clear glass imitating the foam atop. It stands on an irregularly circular base, similarly finished. There are similar wave shape glass sculptures made by British artists such as Alison Vincent or David Wight but this piece resembles more closely the marine inspired designs made at Murano, Italy, in the later part of the twentieth century, some of which are attributed to Cristiano Toso. The maker here must remain anonymous but has created a dynamic piece which successfully recreates the sense of an ocean swell.
Betterwear celluloid Crinoline Lady Crumb Brush & Tray Set, mid C20th
Price: £20
Betterwear was a UK company founded in 1928 which initially produced brushes which were sold ‘door to door’ and enjoyed great popularity. In 1970 it was renamed ‘Betterware’ to reflect the wider range of domestic products which were now being marketed and in 1986 it became a public company and was one of the best-performing shares on the stockmarket in the early 1990s when its share price rose more than tenfold. But in 2018 it went into administration eventually to be relaunced in 2025.
This crumb tray and brush was a popular design in the 1950s. Made from celluloid, the brush is in the form of a Victorian lady wearing a crinoline, the bristles forming a skirt, with the tray, which is marked ‘Betterwear’ to the reverse, modelled to fit. Elegant and practical, these pieces are now more the province of collectors than home accessories.
Blue art glass bud vase, Hjorts Glasbruk, Sweden, second half C20th
Price: £35
An art glass vase, probably for the display of a single flower, the slender ovoid blue glass body supported by a ribbed clear glass circular foot. Towards the top is a label reading ‘Swedish Art Glass’ with a monogram ‘GH’ within a stylised crown which points to the Swedish glassmakers ‘Hjorts Glasbruk’, rather less well known than some of their competitors. Dating is most likely to the later years of the twentieth century.
Set of six fine quality Satsuma cups and saucers, signed, early C20th
Price: £180
A set of six earthenware cups and saucers, the cups straight sided with loop handles and the saucers with an interior well, finely painted with six different genre landscape scenes, matching on each of the two pieces and within geometric pattern black and gilt borders, in a palette of colours emphasising browns, grisaille and gilt, on a cream ground with a very fine craquelure glaze which is repeated on the reverse of the saucers and the base of the cups, all twelve with a small central mark of three gilt characters on a black ground. The style of decoration here is that of the workshops from the province of Satsuma who produced a wide range of pieces, some of exhibition quality, for export to the West in the late nineteenth and early twentieth centuries. While not by one of the best known artists, these cups and saucers are of very high quality and the identity of their maker, which unfortunately cannot be established at present, is probably contained in the signatures. The detail of the painting speaks for itself and all six scenes feature Mount Fuji in the background with a lake in front with figures on the bank engaged in a variety of activities including one scene of a figure contemplating the mountain itself - the artistry is sometimes combined with a wry sense of humour. While most likely part of a larger tea service, these six cups and saucers may possibly have been intended just as cabinet display pieces. Certainly, they could fulfil that function now. Dating is probably to the early twentieth century and within the Taisho period (1912-1926).
Wedgwood plate from the Childrens Story series, The Little Mermaid, with box, 1975
Price: £15
This is the fifth plate from a series of fifteen produced by Wedgwood from 1971 to 1985 under the series title ‘Childrens Stories’, each illustrating a famous fairy tale or fairy tale character. Here we have ‘The Little Mermaid’, a story by Hans Christian Andersen. The plate is complete with its original box and brochure and also a drawing of the design which omits certain of its elements, to be filled in and then coloured by the young owner.
Thai Akha tribe Doll, late C20th
Price: £35
This is a fine example of the dolls produced by the Akha tribe who live in Northern Thailand. The clothes are modelled on traditional Thai designs, the black cloth with brightly coloured accessories, bead work and silver metal accents, and the head, hands and feet are ceramic with painted detail. Made in the late twentieth century, presumably as tourist souvenirs, the charm of these dolls speaks for itself and would add a touch of colour and humour to any contemporary interior.
Wooden wall mounted box with the Coat of Arms of Portugal, first half C20th
Price: £75
A hardwood box with an open top and galleried moulding at the rim and base, the raised backplate with a lobed and curved edge and set with a coat of arms in brass below a crown with banners to each side and cornucopia and dolphins below, the front of the box also brass mounted with two cannons within a wreath. The coat of arms displayed here is that of Portugal and is a version which was first adopted in 1910. It was sometimes incorporated into military devices and this seems to be the context of this piece, although the two cannons at the front suggest artillery while the dolphins have a marine association. There is clearly, then, some history here and the box may have been used to hold stationery or even, perhaps, candles. Dating has to be to the twentieth century and looks to be in the first half. Definitely a piece for further research!
Stars and Stripes Newspaper, Victory Edition front page, May 8, 1945
Price: £75
The Stars and Stripes newspaper is a daily American military newspaper reporting on matters concerning the members of the United States Armed Forces. It was first printed in 1861 and is still in circulation today. During World War Two it was printed in many editions in many locations. This example was the Paris Edition and announces the momentous news of Germany’s surrender on May 8th, 1945, anticipating the simultaneous ‘official’ announcement by the British, American and Russian governments later in the day at 3.00pm. Copies of the original newspaper seem hard to come by now making this a significant souvenir for those interested in the history of the Second World War or major historical events in general.
Egyptian cuff bracelet c1970
Price: £65
This is a very detailed Egyptian silver cuff bracelet that depicts many of the Egyptian hieroglyphic symbols such as the Anke, Scarab, Cartouche and Pyramid. These symbols are raised with the background being oxidized. It is unmarked, although Egyptian hallmarks can be very small and well hidden. It tests as silver.
Art Deco lapis and marcasite earrings c1930
Price: £65
These are a pair of pure Art Deco earrings. They are very architectural like a skyscraper. They feature silver set with marcasite and large lapis stones. They are marked A935.
Art Deco marcasite and aquamarine earrings c1940
Price: £55
This is a lovely pair of earrings. They are in a quintessential Art Deco design set with marcasite stones and aquamarine drops. They are marked 925.
Garnet and marcasite butterfly brooch c1950
Price: £75
This a very delicate finely crafted brooch in the form of a butterfly. The wings have a very intricate design set withi marcasite stones. They body and eyes are garnets. It is marked 925.
Necklace with large natural amber pieces, c1970
Price: £85
This is a really fun necklace that comprises numerous diffferent shaped and coloured pieces of amber. There are honey, congnac, egg yolk colours all polished in their natural shapes to bring out the natural inclusions. It is strung with small wooden beads on brown cord.
Inuit stone sculpture of a bird, signed Giyori Chakawa, late C20th
Price: £85
The simple, almost abstract, lines of this small stone sculpture carved from granite like rock suggest the work of the Inuit peoples, a widely spread but historically and culturally homogeneous group who live in the Arctic and Sub Arctic regions of Russia and Canada. Art played a major role in these communities and many small sculptures of animals and humans were produced by them, carved from ivory and bone. The use of stone dates to more recent times, placing this piece most likely towards the end of the twentieth century. The bird is carved with its head upraised and an almost expectant expression. Its wings are lightly delineated and its body blends seamlessly into the tail. The underside is carved with the makers name in deeply incised letters ‘Giyori Chakawa’, but nothing is known about him. Inuit pieces are prized today for their modernistic but timeless forms and this piece is a fine example of the genre.
Decorative tile panel with three Koi Carp, C20th
Price: £75
This is a highly decorative tile panel, comprising four pieces modelled and painted to form a composite picture of three koi carp swimming amidst bubbles and weeds. At least one similar panel can be found and there are probably more but there is no indication of the maker who probably had a small studio workshop producing similar items. It is probably safest to date this panel to the late twentieth century which would be in keeping with the construction of the frame. Even if the maker must remain anonymous, this does not in any way detract from the features of a striking decorative composition.
Pair of Cash’s Woven Pictures, Butterflies and Wild Flowers, second half C20th
Price: £45
The firm Cash’s, strictly speaking J&J Cash Ltd, founded in 1846 was to become synonymous with woven name tapes which they manufacture to this day but their output comprised a wide variety of woven products in general and included tapestry pictures some of which, again, are still produced at the present time. It seems to have been from the 1950s onwards that they issued these woven pictures in themed sets under the title ‘Collector Series’. These were popular at the time and are still sought after now. The labels at the back of these two designs explain everything in more detail and their format indicates that these are early examples of the issue of this particular group, titled ‘Butterflies and Wild Flowers’, which comprised six different images. While machine made, there is considerable detail in the work and artistry in the composition. The frames are an apt complement and perhaps one day this pair might be joined by the other members of the group to form a striking and decorative display.
Kosta Boda Bowl, designed by Anna Ehrner, with label, second half C20th
Price: £45
A small glass bowl with a straight flaring profile and a flat base, the decoration with swirling trails of blue glass on a clear glass ground, the label for Kosta Boda attached and reading ‘‘KOSTA BODA since 1742’.
Kosta Boda, previously known as Kosta Glasbruk, is a Swedish glassmaking company founded by two foreign officers in Charles XII's army, Anders Koskull and Georg Bogislaus Staël von Holstein, in 1742.It is located in Kosta, Sweden. Early production consisted of window glass, chandeliers and drinking glasses. From the 1840s, the factory was at the forefront of new trends and technical developments, producing pressed glass, and in the 1880s setting up a new glass-cutting workshop. In 1903, the company merged with the Reijmyre glassworks but both retained their own names and Kosta went on to maintain its reputation as one of the leading Swedish manufacturers with a range of fine art glass and tableware by distinguished designers.
Anna Ehrner, born in 1948, has been associated with the firm since 1974. This bowl is from the ‘Contrast’ range and is made using a technique called centrifugation which creates trails of colour inside the glass body. While the design is still produced today, it is no longer available in this size and the lines here are more angular than those found in the modern examples, suggesting a dating to the late 1970s or 1980s soon after Ehrner began working for Kosta Boda.
Jigsaw Puzzle of Guy’s Hospital London, with box, 1930s
Price: £10
A novelty jigsaw puzzle with a picture of Guy’s Hospital London, comprising thirty large interlocking pieces which make up the design, complete with the original box which has the picture on the front of the lid to act as a design guide. The motor vehicles seen here and the dress of the bystanders indicate a pre war dating probably to the 1930s. The subject matter, hardly an obvious choice for a commercial item for general sale, points to this item being used as a rehabilitation tool for a patient recovering in hospital or most likely Guy’s Hospital itself. Perhaps her name was indeed Myrtle! Similar puzzles were made by the firm ‘W.G.Evans and Sons’ and advertised as ‘specially recommended for invalids’.
Art Deco silver plate Cigarette Box with monogram, 1930s
Price: £35
While similar pieces with an ovoid profile pointed at the corners are usually described as tea caddies, the flat flush fitting top here, which is not hinged as those of its counterparts are, suggests that this piece was intended rather for cigarettes. The clean lines clearly point to Art Deco and a dating to the late 1920s or 1930s seems likely. By way of example, a similar silver tea caddy made for Harrods has hallmarks for 1922. This is a fine quality item and has, in addition, an elaborate monogram to the lid, presumably containing the original owner’s initials. This was cast separately and fitted to the lid with staples. The device is elaborate but the letters ‘G’, ‘W’, ‘A’ and ‘F’ can be made out although their correct ordering must remain uncertain.
Japanese Woodblock Print - Kagekado, Moon of Yamaki Mansion, by Yoshitoshi Tsukioka
Price: £350
The subject of this auction is one of the most famous images from the one hundred oban size woodblock prints which comprised the series ‘One Hundred Aspects of the Moon’ by Yoshitoshi Tsukioka, published from 1885 to 1892. It survives in excellent condition and has been sympathetically framed to create a collector’s item of true beauty and interest.
…………………………………………………………………………………………..............................................…................................…
Yoshitoshi Tsukioka (1839-1892) was one of the last masters of ‘ukiyo-e’ (literally ‘images of the floating world’) a tradition of paintings and prints which flourished in Japan from the seventeenth to the nineteenth centuries. Known at first for his ‘Bloody Prints’ which concentrated on violence and the depiction of death, Yoshitoshi moved on to gentler themes later in his life, culminating in the series of one hundred prints entitled ‘One Hundred Aspects of the Moon’ which was published by Akiyama Buemon between 1885 and 1892, the final images appearing in the year of the artist’s death. The prints featured subjects from traditional Japanese and Chinese history and legend with the moon appearing in all but a few, giving a linking motif for the series as a whole. They were released singly or in groups every few months and proved to be enormously popular, with queues forming of collectors eager to purchase the new releases as soon as they became available.
This print was entitled ‘Kagekado, Moon of Yamaki Mansion’ and was issued in March 1886, therefore one of the earliest in the series. The scene depicted comes from the ‘Heike monogatari’ or ‘The Tale of the Heike’ an account complied before 1330 of the struggle between the Taira clan and Minamoto clan for control of Japan at the end of the 12th century in the Genpei War (1180–1185). Yoshitoshi’s audience would, no doubt, have been familiar with this. At the beginning of the conflict the head of the Minamoto clan sent his retainer, Kagekado, to kill the leader of the Taira clan, Kanetaka. We see here Kanetaka behind a screen, lit up by the moon, with his sword poised to strike. But Kagekado cunningly put his helmet onto the end of his spear causing Kanetaka to attempt to aim for it which left him exposed and allowed Kagekado to strike in turn a fatal blow and kill him. Yoshitoshi illustrates the moment just before Kanetaka’s death with Kagekado about to make the deadly thrust with his spear with deceptive helmet about to fall off. The detail is exceptional with particular attention given to the wood panel to the rear, created with an imitation woodgrain effect, where a woodblock’s natural grain is emphasized through soaking in water; in addition the black details have been burnished to imitate lacquer.
The artist's seal, ‘Taiso’, is printed in red relief within a rectangular cartouche to the lower left and his signature can be seen above (see image 4). The title, ‘Kagekado, Moon of Yamaki Mansion’, appears in the square cartouche to the upper right and the series title, ‘One Hundred Aspects of the Moon’, in the rectangular cartouche next to it (see image 5). On the reverse is affixed an identification note from the British Museum dated 1983 confirming the artist and the subject of the print which appears to have survived in a remarkably fine state of preservation.
Indian gouache painting depicting a court procession, framed, late C20th
Price: £55
This is an attractive painting of a court procession, the principal figure, presumably a Sultan, seated in a howdah borne by an elephant and accompanied by an attendant, also conveyed by an attendant. A further attendant follows on foot carrying a banner and in front is a group of five ladies, two carrying baskets with floral petals. The style of painting here can be loosely termed ‘Mughal’ but similar works are often ascribed to the artists of Rajasthan in India, which is probably the case here. The composition is lively and the work finely detailed but dating is probably to the late twentieth century, and the frame itself can be firmly placed in the years between 1995 and 2000 since it was only during this time that the outer London dialling code ‘0181’ was used.
Pair of oval dishes with handles decorated lady in crinoline dress, English mid C20th
Price: £25
A pair of oval ceramic dishes with openwork handles at each end, the white glaze with transfer pattern decoration of a lady wearing crinoline dress seated by a table in a garden with a thatched cottage in the background and opposite to her a spray of flowers, the reverse glazed and with raised numbers ‘754’ above a ‘V’ and a stamped mark ‘ENGLAND’ ’10-59’. While there is no maker’s mark here, this seems to have been a popular design and was made by at least four other manufacturers who did mark their pieces: Grindley, Durham, Portland Pottery and Barker Brothers. All these are dated to the 1930s which seems reasonable for this pair too : not the finest of English ceramics but with an appeal of their own.
Lustreware novelty Flower Vase with swans, probably French, mid C20th
Price: £35
A majolica style vase naturalistically modelled with overlapping lotus leaves with two swans to the front standing on a rounded rectangular base, the colourful glazes with a lustre effect. These amusing vases were presumably mould made and the paste of the foot suggests continental manufacture, most likely in France which has a long tradition of pieces made in the ‘majolica’ style of which this is probably a fairly recent example dating to the 1950s or 1960s.
Etched crystal glass Perfume Bottle, possibly Stuart Crystal, second half C20th
Price: £25
A fine quality crystal glass perfume bottle and stopper, the ovoid body tapering inwards towards the base, the neck with a flaring rim and fitted with a stopper, both this and the base with cut glass detailing, the body with an etched design of flowers. The work here is probably English but the manufacturer cannot be identified with certainty, although some of the features resemble those found on Stuart Crystal pieces. Dating is most likely to the 1960s or 1970s and this bottle would make a most elegant addition to a contemporary dressing table.
Etched crystal glass Perfume Bottle, possibly Stuart Crystal, second half C20th
Price: £25
A fine quality crystal glass perfume bottle and stopper, the ovoid body tapering inwards towards the base, the neck with a flaring rim and fitted with a stopper, both this and the base with cut glass detailing, the body with an etched design of flowers. The work here is probably English but the manufacturer cannot be identified with certainty, although some of the features resemble those found on Stuart Crystal pieces. Dating is most likely to the 1960s or 1970s and this bottle would make a most elegant addition to a contemporary dressing table.
Pair of red glass Pears, possibly Murano, late C20th
Price: £45
A pair of glass pears of typical form, the fruit in cherry red glass blending with black glass at the base and the stalks in clear glass. Various glassworks produced pear shape fruit during the mid to late years of the twentieth century, but the style of these suggests Italian work and perhaps manufacture at Murano, where a variety of fruit shapes were produced. Certainly, the finish of the base, with a flat circle to the centre, and the mixture of two types of glass to the body are typical features of Murano pieces. Highly decorative, this pair of fruit can be regarded either as ornaments or, more functionally, paperweights.
Yellow Citroen 2CV Teapot by Andy Titcomb, signed and dated, 1990
Price: £55
Andy Titcomb is an artist with many talents, even including film and television work (image 10 shows him with Martin Clunes in the series ‘Doc Martin’). He is probably best known as a designer and creator of ceramics and within that field in particular for his imaginative series of teapots. On his website, he writes
‘I worked with Paul Cardew in his first business Sunshine Ceramics from 1978 to 1983. After a number of years making and decorating all manner of odd shaped ashtrays, punk mugs and Nat West piggy banks, I left to concentrate on my own work. I made a range of brooches which were selected by the Design Centre. In 1983 with a converted pigsty as a workshop, I made my first teapot...a black and white harlequin. Encouraged by The Teahouse in Covent Garden London I began to make many more teapots.’
By 1990, he had deserted the pigsty and had a studio in North Cornwall where he continued production until 2016 when ‘I decided that there was too much “stuff” in the world without me adding to it, so I retired from all things ceramic and gave my materials and other equipment to other potters.’
Titcomb’s grandmother owned a yellow ‘Sadler’ racing car teapot, a classic design from the 1930s which is much sought after today (see image 11) and this inspired him to make his own version in the form of a Citroen 2CV, although he also produced a model copying the Volkswagen ‘Beetle’. This reinterpretation of the 1930s original, made in 1990 soon after the move to Cornwall has great charm of its own and is as equally collectible as its prototype.
Cranberry art glass Vase, probably Chřibská, Josef Hospodka, Czech late C20th
Price: £55
A heavy art glass vase the pear shape body with a wide neck and a flaring rim notched at the top, the cranberry glass twist fluted and with ‘ombré’ or shading effects with the coloured glass blending into clear glass, the base flat.
This design is generally attributed to the designer Josef Hospodka (1923-1989) who worked for the Chřibská glassworks in Czechoslovakia from 1950 to 1970 and again from 1985 to 1989. His organic, sculptural blown glass designs enjoyed great popularity and some remained in production after his death until the factory closed in 2007. There are catalogues from the factory and some of the pieces were also illustrated in the Czech Glass Revue where they were directly attributed to Hospodka. There does not appear to be either a catalogue entry for this vase or any mention of it in the journal, but the general style is extremely close to known works by him and the attribution is reasonably safe. Chřibská pieces were distinguished by their vibrant colours, flowing forms, weight and a smooth polished base, all of which are present here making this a fine example of their productions.
Mdina glass globular bottle vase, Earthtones pattern, second half C20th
Price: £25
A small but heavy globular glass bottle with a ‘button’ rim decorated with a swirling design in tones of beige, brown and ochre. While not signed but quite possibly lacking an original paper label, the finish of the base and the stoutly blown glass have all the hallmarks of Mdina glass and the pattern has direct parallels with other pieces which are signed. It was called ‘earthtones’ and later just ‘earth’ and introduced in the mid 1970s, probably a design by Michael Harris who founded the glassworks at Mdina in Malta in company with Eric Dobson in 1968. Harris left in 1972 to set up Isle of Wight glass but his designs continued to be made and perhaps this piece dates to the 1980s. It is sometimes called a scent bottle, but, if so, would have needed a stopper and there few if any examples which have a clearly matching one. Perhaps just a decorative piece then and certainly a collectible example of this popular Mdina pattern.
Framed needlework picture, Anemone Flower, C20th
Price: £25
A colourful and decorative needlework picture featuring a blue anemone flower surrounded by geometric patterns in shades of pink, yellow, blue, and green. This is most likely the work of an accomplished amateur and possibly follows a pattern design. Many similar compositions can be found but this one is particularly successful and well complemented by its frame which is most likely contemporary with it and probably dates to the mid to late twentieth century.
Japanese Arita Tea Set, boxed, late C20th
Price: £55
This is a Japanese porcelain tea set, comprising a teapot and cover, with an interior wire ‘sieve’ at the base of the spout, and five footed teabowls, all decorated in underglaze blue with enamel highlights in red and green and incorporating floral and landscape designs with geometric patterns. The teapot lid and all the five bowls are signed, presumably with the factory or decorator’s name, in underglaze blue and the lid of the box also has a calligraphic inscription. While made towards the end of the twentieth century, the style of decoration here reflects earlier pieces made at the kilns in Arita for export to the West. Certainly, the quality is a match for the older counterparts and the set has both practical and decorative appeal. Five cups are included since the Japanese ‘set’ contains one less item than the European one. The inscription on the lid, which is found elsewhere on similar sets, apparently contains the wording ‘Sweet smelling goods’ and ‘Arita Ware’.
Framed print, Madonna of the Streets, mid C20th
Price: £20
As semi devotional work with a circular print of a young lady in Victorian dress holding a child set in a square wood frame with painted sprays of flowers at each corner. The image seen here is taken from a celebrated Italian picture titled ‘La Madonnina’ (or more commonly ‘Madonna of the Streets’ or ‘Madonna del riposo’) by the artist Roberto Ferruzzi (1854-1934). This won the second Venice Biennale in 1897 and was subsequently popularised by the edition of various print reproductions in a variety of formats and sizes including framed portraits and greeting cards. The original is believed to have been a vertical sepia painting in a gilt frame, approximately 27cm high and 21cm wide. It was bought by John George Alexander Leishman, a steel entrepreneur and diplomat, who died in France in 1924 but its whereabouts today, while often speculated on, are unknown.
Not originally intended as a religious work it was rapidly regarded as an image of the Madonna and under this guise has enjoyed wide circulation as a semi devotional work. This example, which is most likely Italian and probably dates to the mid twentieth century, is typical and was probably regarded by its original owner as far more than just a decorative object and may perhaps retain a similar appeal today.
Purple art glass bowl with a streaky wave design, probably Italian late C20th
Price: £75
This is an unusual glass bowl of irregular ovoid form, the purple glass thickening at the rim and merging with a polychrome streaked wavy design at the base. There are no exact parallels for this bowl although it clearly required considerable skill in its construction. Slightly similar designs can be seen in a series of bowls, ‘Contrast’, designed by Anna Ehrner for Kosta Boda, and slightly similar shapes in the ‘folded’ bowls made at Murano; indeed the streaked wave design is also very similar to effects found in Murano pieces. While neither of these are close matches, an Italian provenance seems the most likely but perhaps not one of the Murano workshops. More research is needed but for the time being this interesting bowl well deserves to be enjoyed on its own merits.
Tall glass vase with orange, grey and black swirls, probably by Carlo Moretti, Italian 1970s
Price: £180
This is a striking glass vase of slender proportions, the ovoid body above a flaring stepped foot, the short ridged neck flaring outwards to the top rim, decorated with a continuous design of black, grey and orange trailing swirls on a white ground. While similar to pieces produced by ‘Vetreria Barbieri’ at Empoli, vases of this type are usually attributed to the Murano based designer Carlo Moretti. Born in Murano in 1934, he founded in 1958 with his brother Giovanni a glassworks named after him which enjoyed great success and was eventually sold by Giovanni in 2013, five years after Carlo’s death, to an Italian fashion company who continue production under the name. Vases in this style were made in the 1970s and this is an exceptionally fine and large example, well deserving a place in a collection of contemporary Italian glass.
Small art glass bowl, Martin Andrews Glass, C21st
Price: £85
A small bowl with deep curving sides the mottled blue glass above a mass of bubbles which merge into a speckled brown ground also with bubbles in deep blue, each side with stripes in white. This piece comes from the ‘beach’ range produced by Martin Andrews glass in recent years. A selection of these pieces can be seen in image XXXX which is taken from a 2016 Facebook page from the studio.
Martin Andrews (see image XXXX) graduated from West Surrey College of Art and Design with a BA (hons) Glass in 1991. Following this he was based in London until 2000 when he then launched his current workshop at the Ruskin Glass Centre in Stourbridge. His work often draws on the earth's natural forms and patterns and his ‘beach’ range is a prime example of this.
Loetz green glass jug, Neptun pattern, early C20th
Price: £150
An iridescent green glass jug of plain form, the globular body below a wide cylindrical neck with a short curved spout and opposite an angular loop handle, the whole with a modelled design of repeating stylised leaf forms, often held to be seaweed. This well known design is from the ‘Neptun’ range produced by the celebrated Bohemian glassmakers, Loetz. A variety of shapes were produced of which this small pitcher is perhaps the most pleasing. The pattern was first produced in 1903 and this jug doubtless dates to the early years of the twentieth century.
The Loetz glass factory has its origins in the nineteenth century, when the widow of Johann Lötz, Susanna, remarried after his death in 1844 and with her new husband bought in 1851 the glassworks firm Klastersky Mlyn which was henceforth named Johann Lötz Witwe (the widow of Johann Lötz). The factory was situated at Klostermühle (Klášterský Mlýn, now part of Rejštejn) in southwestern Bohemia, Austria-Hungary and then Czechoslovakia. Johann’s grandson, Max Ritter von Spaun took over the business from his grandmother in 1879 and continued to run it under the old company name, ‘Joh. Lötz Witwe’, which was later changed to ‘Lötz’ and around 1900 changed again to the anglicised version of this ‘Loetz’. Around this time, the firm began producing the range of iridescent lustre finish glass in the Art Nouveau style for which they are now so famous. Production continued until the closure of the factory in 1947.
Set of three prints of Pierrot figures, signed Panos, oak frames, second half C20th
Price: £150
A set of three prints depicting Pierrot figures in typical costume, one seated, one holding an umbrella and one looking at a butterfly. The originals of these prints were by Joyce Panos, a designer/artist from the 1970s and 1980s, primarily known for her ‘Pierrot’ themed artwork and designs for various household items, such as bedding, pillowcases (see image 19), plates, and candleholders, which were manufactured by companies such as JP Stevens & Co and Silvestri. The Pierrot figure had long been a favourite subject for artists but the version here was well suited to the times with its reminiscences of the singer David Bowie. The oak frames are doubtless contemporary and complement the prints well but have something of a 1930s look to them which perhaps intentionally recalls Pierrot figures from the Art Deco era.
Large ironwood (palo fierro) carving of a duck and baby, Mexico, second half C20th
Price: £75
The ebony like wood used here is distinctive and comes from the Olneya tesota tree, which grows in the Sonora Desert in northwest Mexico and the southwest United States. For many years used as firewood or for the production of charcoal and only carved to form tools or small toys, it began to be used for the production of small sculptures and figurines to be sold to tourists from the mid C20th onwards but these became so popular that by the end of the C20th restrictions were imposed on the supply and use of the wood causing its price to rise and the output of carvings to reduce making the existing pieces more valuable.
Carving was originally done by the Seri people, a nomadic tribe of no more than 500 who live in Mexico and then by town and city dwellers from Sonora and Baja California, who embarked on the trade after the figures became commercially popular. Seri carvings were essentially hand made whereas the mass produced pieces were created with the use of power tools.
The forms are derived from the wildlife to be found in Mexico and are often abstract in style. While it may owe some elements to the use of machine tools, this carving is a fine example of the ‘ironwood’ style and is, in fact, an unusual composition with the mother and baby duck carved in one piece. The modelling is expressive and well complemented by the patina and finish of the wood. From the above, dating is clearly to the second half of the twentieth century and perhaps more to its later years if this is an example of the ‘commercial’ pieces produced at that time.
Chinese Blue and White Snuff Bottle with Jade stopper, early C20th
Price: £45
A Chinese snuff bottle of flattened ovoid form, the stopper with a jade top above the cork sealed wand, decorated in underglaze blue with two birds amidst flowering peony or plum blossom, the base with a four character mark in underglaze blue. The paste of the foot and the fairly coarse style of the painting suggest a circa date to around 1900 or a little thereafter but the design is attractive and the bottle survives with its stopper and wand intact which is not always the case.
Arts and Crafts coque de perle and red carnelian brooch c1900
Price: £95
This is a very lovely good sized silver brooch with a fleur de lis and grape design that is very typical Arts and Crafts. It is set with a large central carnelian stone surounded with coque de perle stones. It is unmarket
Georgian silver and coque de perle brooch c1830
Price: £95
This is a wonderful good sized silver brooch set with a large coque de perle surrounded by vivid pink paste stones. It is marked 800 which indicates it is continental or European which was common in the Georgian era.
Aesthetic Movement locket on chain c1880
Price: £125
This is an amazing locket that is a perfect example of the Aesthetic Movement in Britian. This was aligned with Arts and Crafts but the Aesthetic designs featured classical and Japanese designs that were considered more opulent and elegant than the over the top designs of the Victorian period. It was a response to the mass consumerism that was taking over Britian during this time. This locket is marked with full English marks. It is paired with a belcher chain of a similar age.
Taxco pendant on leather and silver cord c1990
Price: £85
This is a fun Taxco piece that has a large pendant in an Aztec type design set with a turquoise stone. It is strung on a leather cord that has silver links and a toggle closure. This cord is original to the piece as they cannot be seperated. It is marked Taxco, Mexico 925 with a makers mark of GJB.
Art Deco lizard silver and enamel brooch c1940
Price: £95
This is a striking large brooch that is in the shape of a crawling lizard. It is encrusted with marcasite stones and has a black enamel back. The eyes are rubies. It is marked 925.
Brooch with moonstone and millegrain work c1900
Price: £35
This is a small bar brooch that features three moonstones and detailed millgrain work. It is silver with some gold wash. It is most likely Italian. It is marked with a makers mark and 925.
Garnet cluster earrings c1990
Price: £85
These are very vivid pair of earring that are set with beautiful garnets in both oval and round facetted stones. They are unmarked but test as 925 silver. They are Indian in origin.
Long double necklace with large lapis pieces, c2000
Price: £75
This is an amazing necklace that has a double row with stations of graduated amoeba shaped large lapis lazuli stones. It was made by a company called East a high end fashion brand. It bears a small metal tag with the name. It is strung with gold tone circular links, that are now mostly silver in colour.
Fleur de lis style brooch with glass pearls c1940
Price: £45
This is a strking brooch that is an example of the beginning of the statement costume jewellery. It is a classic fleur de is shape set with faux pears and paste stones. It is unmarked but is probably American. There are a few of the paste stones that have been replaced and the glass pearls have lost some of their lacquer coating as commonly happens.
Zoisite pendant on necklace with zoisite beads, modern
Price: £75
This is a very unique and beautiful necklace that centres around a modernist pendant that has two large ruby zoisite stones. The square stone is a true work of art that only nature can create. The pendant is strung together with zoisite roundel beads and silver beads. There is a round box clasp. It is marked 925.
Ruby Zoisite, or Anyolite, is a natural combination of green zoisite and red ruby, primarily sourced from Tanzania. This pendant is most likely from Scandinavia or Eastern Europe. This necklace has been constructed using different elements. It has recently been strung on steel wire with a new silver clasp.
Pair of Staffordshire style figures, Boy and Girl, probably German, late C19th
Price: £75
A pair of ceramic figures of a boy and a girl modelled standing on a base resembling tree stumps, both dressed in country attire, the girl carrying a basket and a bag and the boy holding boots and a scarf, the white glaze with polychrome colourings and highlights in gilt, the bases hollow with markings ‘27’. While these look superficially to be English Staffordshire, the paste of the foot and some elements of the decoration indicate continental work most likely from Germany. There are resemblances here to the figures, many of them ‘fairings’, made by Conta and Boehme in the late nineteenth and early twentieth centuries and some see the factory Heubach here, who did indeed make ceramic figures in a ‘rustic’ style but these are usually more elaborately modelled. So while German work is the most likely an exact attribution has to remain uncertain. But this young couple make an attractive pair and while intended for a late Victorian interior would not look out of place in a more modern one.
Edwardian brooch with flowers and various stones c1910
Price: £125
This is a lovely brooch in a cartouche shape that is set with flowers and five stones. There is an amethyst, peridot, citrine and rose quartz stone. The flowers are set with small turquoise cabachons. It is marked for export Made In England, Silver.
Ring by N.E From (1908-1982) Denmark, with amethyst, c1960
Price: £95
This is a very recognizable design by well known Danish silver maker Niels Erik From (1908-1982) who is was a main player in Danish jewellery between 1940 and 1970. This ring has is set with an amethyst cabachon and is surrounded with an oxidized finish. It is marked Sterling, Denmark N.E. From 925 S
Etching of Pin Mill, Suffolk, C19th
Price: £25
The scene presented here is that of Pin Mill, a small village on the south bank of the River Orwell in southern Suffolk, England. The origin of the name is uncertain, since pin manufacturing is never known to have taken place there, but the location was regularly used as a landing point for ship-borne cargo, a centre for the repair of Thames sailing barges and the home to many small industries such as sail making. It is also held to have played a role in the smuggling activities which used to take place off the east Suffolk coast. Its picturesque views have often been the subject of artists and clearly caught the intention of the print maker here, whose initials ‘AxA’ can be seen at the bottom left corner but cannot, unfortunately, be identified. The view chosen looks over the estuary and the prominent building to the left is the ‘Butt and Oyster’ pub dating back to the seventeenth century and still in business today. The relatively uncluttered shore line suggests a nineteenth century dating if, as is reasonable to assume, it was a contemporary view which the artist tried to capture. The soft lines of the composition suggests the technique of etching rather than engraving where acid is used to create the image on the plate producing detailed and shallow designs and the unknown creator of this piece has produced an attractive image which fully exploits the potential of the technique.
Six engravings of Pigs published by Rogerson and Tuxford, second half C19th
Price: £30
A set of six engravings of pigs, all by Edward Hacker (1812-1905) after various artists and issued by Rogerson and Tuxford from the 1860s to the 1870s. It was the custom of gentleman farmers to commission pictures of their ‘prize’ livestock which were then issued as prints, sometimes in agricultural magazines and sometimes as wall decoration for the farmhouse. Edward Hacker was a celebrated engraver who specialised in sporting and animal prints and Rogerson and Tuxford were well known for publishing animal prints. Doubtless many more examples were issued in addition to the six here, but they are typical of the output and the genre in general and are collected by enthusiasts today.
We see (1) ‘Dorset Infants’ (1877) after Edward Corbet (1823-1899) a British artist who specialised in sporting scenes and portraits of animals (2) ‘The Cup Pen of Pigs’ (1874) artist anonymous (3) ‘A Prize Boar’ (1860) after William Henry Davis, a British artist many of whose works were commissioned horse and livestock portraits (4) ‘Prize Pigs’ (1868) after Edward Corbet (5) ‘Prize Pigs’ (1861) after John Vine (1808-1867) a watercolourist whose work included animal studies (6) ‘Improved Dorset Pigs’ (1866) after Edward Corbet.
Alphabet needlework sampler by Sarah Goodwin, dated 1828, with later frame
Price: £150
Samplers (the name derives from the Latin ‘exemplum’, meaning ‘example’) were exhibition pieces intended to demonstrate skill in needlework and have a long history dating back even to BCE times. They were produced in Europe from the sixteenth century onwards but enjoyed something of a heyday in England in the eighteenth and nineteenth centuries, becoming one of the accomplishments expected of young girls to demonstrate their achievement and industry, a fashion which was to die out after the 1900s.
This is a fine example of the ‘alphabet’ sampler showing the letters in capital, lower case and script style with the numbers ‘1-15’ in addition. It is signed by its maker, one Sarah Goodwin, who shows considerable skill for one only eight years old. Frampton is a village and civil parish in the Borough of Boston, Lincolnshire. There was only one church there in the early nineteenth century, the limestone church of Saint Mary dating from the 12th century and Sarah no doubt worshipped there. She produced a true ‘demonstration piece’ here which has remained in excellent condition and doubtless been enjoyed over the years including by its last recipient who received it as a gift thirty years ago.
Cambridge ware tea caddy and cover with T monogram on the lid, mid C20th
Price: £25
A tea caddy and cover of round ovoid form with a flat lid, the body comprised of small wood segments joined together in bands of different types, including teak and mahogany, and colours, the central band ridged, the base and cover plain and the top of the cover with an inset metal monogram reading ‘T’, doubtless for ‘tea’ surrounded by stylised foliage. The work here is typical of so called ‘Cambridge Ware’ produced by an anonymous firm, presumably based in or near to Cambridge itself, and was apparently produced from small recycled pieces of wood. Besides tea caddies, the firm also produced ice buckets and bowls, many with a green beize felt covering underneath (as here) and some with a foil or paper label identifying the manufacturer (missing here). Their pieces seem to have been made in the 1950s and 1960s and were quite popular at the time but have become modest collector’s items now.
Chinese Rose Medallion Saucer circa 1860
Price: £45
A Chinese saucer with a lightly lobed edge decorated in the Cantonese style with ‘c’ border panels of ladies with attendants and birds and flowers on a gilt ground with green enamel scroll work, butterflies and peony blooms. This well known design is termed ‘Rose Medallion’ from its palette of colours and the use of vignette panel scenes (the ‘medallions’). It was one of the successors to the ‘Mandarin’ wares produced for export in the late eighteenth century and evolved around 1840, being produced in a varying range of qualities until the end of the century. It was used to decorate vases, bowls and table wares and this saucer, originally with a matching cup, would have come from a small tea service. The work is good quality with no flaking to the enamels and the gilt detail to the ladies’ hair well preserved, implying a circa date of around 1860. While it has become detached from its original companions it can stand today as a decorative item in itself and a fine recollection of a once popular style.
Chinese silk embroidery panel, early C20th, later framed
Price: £75
A very fine quality Chinese silk embroidered panel, the main design showing two birds sitting on branches of flowering lotus, the scene in two halves in close mirror image, within an inner gilt thread border of stylised clouds and an outer border of repeating butterflies. The precision and detail of the stitching display the very best work of the Chinese needlework craftsmen, most likely women, working in the early twentieth century. Embroidered panels were exported to the West, sometimes in their own Chinese made frames as screens or table screens and sometimes unmounted for framing on arrival. The frame here is modern, although highly sympathetic, but the fabric borders at the edge, a common feature of these pieces, look to be contemporary with the panel itself suggesting that an older frame was recently replaced. The combination is most successful, and the embroidery itself remains in excellent condition with no loss to the threads or staining to the silk backing, which is not always the case, making this a fine decorative addition for a contemporary interior.
Red glass jug, Cleopatra range, Tamara Aladin for Riihimäen Lasi, Finnish 1970s
Price: £55
A red glass jug of broad proportions the rounded body tapering inwards towards the base below a concave neck and a galleried rim, the loop handle with a volute terminal and the base slightly countersunk, the clear red glass press moulded with ribbing. This striking design was created for the Finnish glassworks Riihimäen Lasi by Tamara Aladin, one of their prominent designers who worked with them from 1959 to 1976, and formed part of the ‘Cleopatra’ range which was produced from 1970 to 1976. Riihimäen Lasi had been founded in 1910 at Riihimäki, Finland, by Mikko Aadolf Kolehmainen and Adolf Paavali Kolehmainen and soon grew to become Finland’s largest glass factory and a pioneer in glass design. Their talented designers produced a wide range of inventive pieces which enjoyed enormous popularity but economic pressures in the 1970s caused art glass production to cease in 1976 and eventually the factory closed in 1990. Aladin’s designs live on, though, and this jug is a fine example of her work demonstrating that the techniques of mass production did not inhibit the creation of individual and stylish pieces.
Purple and white swirl pattern art glass Vase, Made in Poland label, Mid C20th
Price: £45
A striking art glass vase of slender ovoid form, the thick walled body with a flat top rim, the white and purple swirling wave design encased in clear glass which also forms the base, the underside with a paper label ‘MADE IN POLAND’. While there are recollections of Italian work here, this vase was not produced there, and its affixed label reveals its source. Polish glass is renowned for its quality and design and this is an excellent example of their production. The form, with its semi abstract decoration, suggests the mid twentieth century, probably the 1960s or 1970s, and the design of the label would, in fact, conform with this.
Pair of Maltese Mtarfa Vases, one signed, late C20th
Price: £35
Closely resembling the work of the Mdina studio, this pair of vases derive from another of Malta’s glassworks, Mtarfa. Founded in 1979 by Paul Said, the brother of Joseph Said who was at the time the owner of Mdina Glass, the studio produced pieces which were similar in both form and decoration to those made by its more famous rival. Indeed, both brothers were originally trained by Michael Harris, the founder of Mdina Glass, where they both worked. As with the Mdina pieces the glassmakers at Mtarfa took their inspiration from the colourings of the sea and landscape of the Mediterranean which surrounded them. The form here was distinctive to them though, a bottle shape with a squat globular body below a narrow cylindrical neck with a broad flat top rim. The purple and white glass is in a distinctive ‘pulled feather’ design with broad swirling bands to the body and narrow ones to the neck. The signature on one can be made out (with a little imagination) as reading ‘Mtarfa’ and is very similar to other signatures, equally slightly indistinct, found on other pieces which also bear the Mtarfa paper label confirming the identification. This pair of vases was almost certainly made in the 1980s or early 1990s before the rebranding of the firm as ‘Valletta Glass’ which still produces pieces today.
Orange Soliflore glass Vase, probably Murano, Italy late C20th
Price: £35
A slender and tall art glass vase, the squat lightly lobed and rounded base below a tall slender neck with raised twist trails flaring outwards towards the petal shaped top rim, the bottom flat with four small protruding feet, the orange glass exterior encasing a white glass interior. The form of this vase is called ‘Soliflore’ from the Latin solus (alone) and flos (flower). Originating in the Art Deco period and very much in keeping with the minimalist designs of that time, these vases were designed to hold a single flower such as a rose or a tulip. They continued to be manufactured after the war, especially in Italy at either Empoli or Murano. The high white casing, twist effects and finish of the base suggest the latter with a circa date probably in the 1980s.
Brooch with coque de perle and garnet cabachons, Austria c1890
Price: £75
This is a beautiful small brooch in a fleur de lis design set with coque de perle and garnet stones. It is marked Austria and although there is no silver mark it is 900 grade silver.
Enamel and silver peapod brooch , Birmingham 1946
Price: £95
This is a very unusual brooch that is the form of a peapod with peas formed from paste stones. The pod is silver with green enamel. It has full English hallmarks for Birmingham 1946 with a makers mark 'AJS'. It also has the Copyright registration Nr 612981 for the design.
Art Deco silver and marcasite brooch c1920
Price: £75
This is an excellent example of Art Deco design with its geometric shape and elegant balance. The brooch is silver with marcasite stones and is marked 935 for French silver.
Arts and Crafts style bar brooch with matrix turquoise stone c1910
Price: £125
This is a very interesting brooch with a matrix turquoise stone in a silver setting. It is in the distinctive Arts and Crafts style with enamel flowers and leaves and is marked 'STERLING' indicating American manufacture.
Frosted art glass lollipop form vase, Peter Layton, signed, late C20th
Price: £150
A frosted art glass vase of near ‘lollipop’ form the broad and narrow rounded body with the shoulder curving sharply inwards towards the slender neck which flares outwards to the wavy top rim, the base flat with an etched signature for Peter Layton, the decoration a mixture of abstract and organic segments in tones of blue, brown and mustard with flecking and wave like effects, the whole with a naturalistic ‘feel’.
Peter Layton is one of Britain’s most celebrated glass artists. Born in 1936, his initial interest was in ceramics but in 1965, while on a teaching post at the University of Iowa, his focus changed and he began to study the art of glass blowing, at a time when the art glass movement in America had an enthusiastic following. Returning to England in 1968, he started a a small glass studio in the Highlands of Scotland while relying on pottery to earn a living. Eight years later, in 1976, he opened the ‘London Glassblowing’ studio which continues to this day and where Peter Layton, now in his eighties, continues to train and supervise upcoming glass artists as well as producing his own work.
This vase is probably one of his earlier pieces and derives its inspiration from the celebrated glass workshops at Mdina and the Isle of Wight whose productions tended to draw heavily on landscape and nature and some of whose shapes clearly influenced it. There are a few other pieces in a similar form, but the colourings and design here are particularly pleasing making this a highly desirable addition to a collection of British studio glass.
Framed watercolour of country cottage scene after Myles Birket Foster, C20th
Price: £75
An attractive watercolour of a countryside scene with a thatched cottage in the background next to a tumble down shed and a small group of two ladies and a child in the foreground at their leisure on a woodland bank. The detail is carefully rendered in an attractive palette of colours emphasising greens and yellows. It is not difficult to see her the influence of the celebrated watercolourist Myles Birket Foster (1825-1899) whose idealised scenes of English country life enjoyed great popularity in the Victorian era and were much imitated thereafter. Dating is probably to the first half of the twentieth century and while the artist is anonymous the quality of the painting comes through. While complementary the frame is most likely rather later.
Japanese kang Table, carved design of phoenix, pine and waves, C20th
Price: £65
A hardwood, probably rosewood, small low table of rectangular form with four short bracket feet, the top with a deeply carved design extending over the rounded edges of a phoenix standing on a branch of a pine tree with crashing waves to the bottom left, the ground with a densely punched decorated surface, the reverse plain but with etched lettering ‘R.S’ ‘J,69’ and a ‘dymo’ label reading ‘SHIMIZU’.
The form here is more commonly associated with pieces made in China and is that of a small low table designed to be used in combination with a ‘kang’, a raised brick platform heated from below that served as a family's main living, sleeping, and dining area during colder months. But similar pieces were also made by the Japanese, sometimes in black lacquer with mother of pearl inlay, and the style of the carving here suggests Japanese rather than Chinese workmanship. All the decorative elements seen here (phoenix, pine, waves) can be found elsewhere in Japanese art but there does not seem to be any specific symbolic meaning intended, just an imaginative composition by an accomplished craftsman. Dating is probably to the first half of the twentieth century and the carved marking are almost certainly later, with the original format ‘dymo’ label dating most likely to the 1960s.
Victorian petite ring with coral stones c1900
Price: £45
This a lovely petite ring typically delicately formed in silver set with five dark orange coral stones. It is unmarked and dates to the late Victorian period.
Silver and enamel pheasant brooch c1940
Price: £65
This is a medium sized brooch that has enamel work to emulate feathers and wings set with marcasite stones. It is marked 925 NE.
Silver peacock brooch with enamel c1930
Price: £35
This is a lovely small brooch in a peacock design. It is in silver with enamel work and set with colourful paste stones. It is marked 'STERLING' so is of American manufacture.
Rose de France cross on torque necklace, c2000
Price: £55
This a large necklace that comprises a large cross set with rose de france stones. Rose de france is the lighter form of amethyst. The stones are bezel set to give a bubble effect. These are together with a torque necklace. They torque has full English hallmarks. The pendant is marked 925.