Pair of Chelsea style Figures of a Country Couple, probably Samson late C19th
Price: £55
This is an attractive pair of small porcelain figures depicting a Country Couple, both in bright day clothes, the young man with a dog and playing the flute and the young lady holding a goat. Each stand on oval bases, gilt rimmed and with a raised geometric pattern and each is marked with a gold anchor to the reverse. Students of ceramics will immediately recognise the Gold Anchor mark as that found on Chelsea porcelain made during the period 1756 to 1769 but these figures are a hundred years later or more and probably made by the well known ‘Samson’ factory of France (Samson, Edmé et Cie) which produced skilful reproductions and recreations of English, European and Oriental porcelains during the nineteenth century and beyond. Samson pieces tend to have a much harder paste than that of their originals, their glazes are more glossy and the colours often more vivid. All these characteristics can be seen here but there were other manufacturers in France making these derivative copies as well and in the absence of a Samson mark, which was not always applied to their work, certainty is impossible. But this should not detract from quality and charm of this pair of figures which can appeal to amateurs and professional collectors alike.
Japanese Awata ware Teapot and Cover, signed, circa 1900
Price: £25
An earthenware teapot of rounded cylindrical form, curving in at the base and with a flush fitting lid, the handle, spout and lid finial all modelled to imitate bamboo, the beige ground with a minute craquelure and with polychrome enamel decoration of birds and reeds, the modelled bamboo attachments glazed green and a sketchy signature in iron red at the base of the handle. The Awata district of Kyoto, Japan, was the home to many famous kilns including those run by various members of the Kinkozan family. Some of their Satsuma productions were of extremely high quality, indeed prize winning and in great demand from Western collectors which has continued until the present day. Other kilns produced more modest Satsuma wares for export and some are marked with the same maker’s name as their more illustrious counterparts. This teapot, not marked Kinkozan, is a typical example, originally deriving from a small tea service decorated in the same pattern. The signature, hastily drawn, is either that of the decorator or the merchant shop which sold the ware. These pieces too seem to have been popular with Western buyers and are still collected today.
Edwardian large text magnifying glass with horn handle, early C20th
Price: £25
This is an unusually large magnifying glass that has a buffalo horn as a handle. The large lens itself is set in brass with a brass attachment fitting to the handle. It would most likely have been used to read a newspaper by those for whom the text was too small and its size would have made it hard to misplace. Dating is probably to the early years of the twentieth century, the era of the celebrated Edwardian detective, Sherlock Holmes!
Art Deco opaline glass necklace 1930s
Price: £125
This is a stunning strand of large tear drop opaline glass beads strung with conical silver beads. Opaline glass has been around since the 19th century and can be seen in jewellery from this time. These beads are of exceptional quality and appear to glow in both low light and daylight. There are flashes of pink and yellow that make these beads dance like they are lit from within. They are better quality than most authentic opals of this type. Has been fitted with a modern extender.
Viartec Murano Style Selenium Red & Orange Glass Sculptural Dish, Spanish 1950s/1960s
Price: £45
A sculptural dish or bowl of undulating form, the surface twisted at each end to form two ‘fish tails’, the red glass encased in orange glass and the whole in imitation of Murano glass designs. While Venetian in style, research has proved that this piece and others like it, matching in either colours or form or both, were made by the Spanish factory Viartec and sometimes pieces can be found with an original Viartec label reading ‘Viartec Hand Made in Spain’. The red glass used here is called selenium glass and reacts, when lit by UV light, to display a bright orange or pink colour. A similar type of colour change effect is, of course, displayed by the more commonly found green uranium glass. The form suggests dating to the 1950s or 1960s and it is said that many of these pieces were brought back to the UK as souvenirs by visiting tourists which explains why they can be found here today.
Art Deco Style Malachite Glass Box and Cover, Hoffmann & Schlevogt, C20th
Price: £55
Malachite glass aims to imitate the mineral malachite, a green copper carbonate mineral which occurs naturally. It was made by many of the glass manufacturers in Britain and Europe in the nineteenth and twentieth centuries but large quantities especially were produced in Bohemia, now part of the Czech republic, and most of these were created from moulds produced by the designer Curt Schlevogt.
Heinrich Hoffmann (1875 – 1939) and Henry Schlevogt (1904 – 1984) were relatives as well as business partners, Schlevogt having married Hoffman’s daughter. They worked together on a variety of designs and from the moulds they produced came pieces exclusively pressed by the family glassworks of Josef Riedel established in Polaun (Polubný), Bohemia. The collection was marketed under the brand name ‘Ingrid’ and had an immediate success in Europe and the United States, being introduced at the Spring Trade Fair in Leipzig in 1934 and later in the same year presented at the Chicago World’s Fair. Hoffmann died around the time of the beginning of the second world war but Schlevogt remained in Bohemia until his capture by the invading Red Army in 1944. Eventually rescued through the intervention of influential friends, he settled in Paris and in the 1950s founded a highly successful wholesale business trading in crystals and glassware which he sold in 1972. The Czechoslovak government meanwhile nationalised the glass industry after World War II and some of Schlevogt’s moulds were reused with pressings known from the 1970s made as before at the glassworks of Josef Riedel.
Dating of the pieces is extremely difficult since the later versions resemble the earlier ones so closely and there are few firm guidelines. But the example here, even if there is the possibility that it does not date to the 1930s, is an extremely accurate reflection of the model types produced. The design is striking with the malachite effect glass formed into a two section box the deep base fitted with a shallow domed lid and both parts decorated with naked ladies swimming amidst waves in a swirling design of life and movement. The joins of the moulds can be clearly seen at the sides (see images 8 & 9). The style is quintessentially Art Deco and this is a ‘must have’ for collectors of pieces from that era.
Chinese Cantonese style Vase decorated butterflies, late C20th
Price: £150
This is a vase of typical Chinese nineteenth century baluster form with a broad ovoid body narrowing to a near cylindrical neck which flares out towards the galleried rim at the top; each side has two applied and modelled confronting fo dogs. The decoration employs the ‘Famille Rose’ palette with vividly represented flying butterflies amidst flowering peony and lotus; the kylins are finished in iron red and the galleried rim has a band of repeating key pattern. All of this points to the nineteenth century but the brushwork and general appearance of the deccoration indicate a much later date of manufacture, probably late C20th, and the finish of the foot, with its ‘baked in’ imitation dirt, is wholly consistent with this. The fo dogs too are much more sketchily modelled than their older counterparts. But this is a pastiche with great charm and much above the average quality of late C20th work. Even when making copies, the Chinese could sometimes try quite hard!
Chinese Crackleware Ginger Jar decorated with Warriors circa 1900
Price: £25
A Chinese Crackle glaze Ginger Jar of typical rounded ovoid form with a short neck, the beige ground with a feint and minute craquelure glaze and decorated in polychrome enamels with a continuous scene of a warrior on horseback with attendants, the shoulder and base with incised matt brown glaze bands intended to imitate bronze, the base with an apocryphal four character mark within a brown glaze square. Paste of the foot and style of decoration, in particular the rather coarsely decorated ‘bronze’ bands, suggest a circa date at the beginning of the twentieth century.
'Crackleware' glazed pieces, usually with 'bronzed’ bands, were a staple output of the Chinese potteries from the mid nineteenth century onwards and were produced in a wide variety of mainly vase shape forms, both in polychrome and blue and white and intended as decorative pieces for the Victorian rooms of the West. As with other ceramic types, the quality deteriorated and this piece is typical of the late productions with a more modest level of craftsmanship but still retaining a naif charm. As with many ginger jars, this one lacks its original domed cover which would have been decorated to match.
Chinese Blue and White Box and Cover with pierced lid, late C20th
Price: £25
A Chinese Blue and White Box and Cover, possibly intended as an incense burner, of rounded form, the base decorated in underglaze blue with panels of dragons and flames on a diaper ground above a band of stylised waves and the lid similarly decorated with piercing to the surface, the underneath with a broad flat foot rim. The paste of the foot and style of the decoration suggest later twentieth century work and some examples are found with an affixed label which reads ‘Andrea by Sadek’.
The Charles Sadek Import Company was founded in 1936 by the father and son Charles and Norman Sadek and began by importing decorative items from Japan later broadening their range to a wider variety of suppliers including China. These pieces were sold under the ‘Andrea by Sadek’ brand, named after Norman's daughter Andrea. The business continued to a third generation until it was taken over by Fitz & Floyd in 2015.
This box, then, is a typical example of their range of wares, good quality decorative items marketed at an affordable price. The quality of these boxes can vary and this piece seems to be an above average example.
Japanese Celadon Dish decorated basket of flowers, circa 1900
Price: £45
An unusual shallow dish of lobed and fluted circular form, the rich celadon glaze decorated in underglaze blue and overglaze enamels with a basket of flowering lotus, the design slightly off centre, the reverse with a blue transfer mark representing fungus (a plant traditionally symbolising long life).
Celadon glazed wares with enamel decoration in fairly muted colours are a familiar product amongst the ceramics produced by Japanese potters at the end of the nineteenth century but examples of this type of dish are rather less commonly found. The basket of flowers is a regular decorative feature of Chinese ceramics, but given here a slightly different interpretation with the depiction of lotus, the emblem of summer. The mark probably imitates Chinese ‘commendation’ marks inscribed within the foot rim, another nod on the part of the Japanese potters towards their Chinese counterparts.
African wood figural group, Guinea c1970
Price: £35
This is a carved wood group depicitng a woman carrying water with a pig, fruit and other household implements.
Blue Millefiore beads c1950
Price: £65
This a beautiful necklace comprising graduated beads that are the rare blue colour millefiore glass. These tended to be Venetian glass. They have the original barrel clasp and should probably be restrung.
Two Wedgwood Glass paperweights designed by Ronald Stennett-Wilson, late C20th
Price: £40
These are two Wedgwood Glass paperweights both of rounded conical form, one clear glass with small bubbles and one clear glass with speckled green large bubbles, a design understandably known as ‘topiary’. Both have acid etched marks to the base which can be read ‘Wedgwood’ ‘England’ although the mark on the first is off centre and indistinct (see image 5); this is compensated for by the attached paper label which also reads ‘Wedgwood’ ‘England’. Both were designed by Ronald Stennett-Wilson, one of the most prominent UK glass designers, who set up the firm King’s Lynn Glass in 1967. Before that he had worked for Swedish glass manufacturers and the influence of their styles can be seen in his own work. The clear glass example could be felt to recall Kosta Boda. King’s Lynn Glass was taken over by Wedgwood in 1969 and their name marked on its production thereafter, although there was apparently a slight delay in the delivery of the machine which was used to apply the marks, meaning that the very first ‘Wedgwood’ pieces are hard to identify. Stenett-Wilson remained as Managing Director and chief designer for Wedgwood’s newly acquired firm until his retirement in 1980. Many of the staff at King’s Lynn Glass when it started had worked in Sweden or Europe and they began to train local workers who followed, no doubt, the styles and techniques of their teachers. After Stennett-Wilson’s retirement, the firm was subject to various acquisitions and mergers, finally being sold to Caithness Glass in 1988 with the factory closing in 1992. These two pieces, then, are an excellent example of the Swedish inspired designs made by Wedgwood Glass in its early years. Both decorative and practical they can appeal to a specialist or non specialist alike.
Art Deco style Glass Box and Cover decorated with a dancing Ballerina, mid C20th
Price: £35
An opaque cream coloured circular glass box and cover, the bulbous body with high domed lid which is decorated with a dark grisaille dancing ballerina poised on one leg with grass below and hanging willow above within a yellow scalloped border which is repeated on the base. The style of decoration clearly suggests the 1930s and this piece probably dates to that era although there is no certain proof of this. Presumably a powder box it retains great charm and could well find a home in a contemporary setting.
Outstanding Art Deco necklace with French jet and rock crystal beads c1920
Price: £175
This is a stunning and rare necklace comprising French jet glass beads combinded with facetted rock crystal beads. There are two stations that are tear drop shaped that have both French jet and crystal elements, this is very typical of the Art Deco period in jewellery. This necklace has been recenlty restrung to ensure that it is strong.
Reproduction Toulouse Lautrec poster, Jane Avril, probably mid C20th in later frame
Price: £95
The image seen here is one of the most famous of Toulouse Lautrec’s works. Born in 1864 he produced a substantial volume of works over a period of forty years in a variety of media including lithographs, paintings, posters before his untimely death in 1901. His output took its inspiration from the colourful and theatrical life of the fin de siecle Paris in which he immersed himself. Jane Avril was a famous French Can Can dancer at the Moulin Rouge and Lautrec painted her many times. This poster was produced in 1893 when Avril was starring in a show at the Jardin de Paris, one of the major cafés-concerts on the Champs-Élysées and played a considerable part in boosting her popularity. 'It is to Lautrec', she said, 'that I owe my fame.'
Reproductions were soon produced, one of the earliest being a bookplate, number 110, in the 1898 publication ‘Les Maîtres de l'affiche’ edited by Jules Chéret, which played a considerable part in promoting the poster as a work of art. Most of the copies produced are smaller and of variable print quality but this version is very true to the original and is not a current reprint. It employs a printing technique known as ‘giclée’, a French term meaning ‘sprayed’, referring to the operation of a printer which uses small spraying devices that can match colours and apply ink with precision, producing high quality reproductions of original art (see images 4 and 6). When viewed out of the frame, which is doubtless later, its age and the accuracy of the colours can be clearly seen suggesting a much earlier dating than most of the versions on offer (few of which are full size) probably to the mid twentieth century. One of Lautrec’s most famous images can be enjoyed, then, to the full in a contemporary domestic setting.
[The telephone number on the address label at the reverse, employing the exchange code for Cowes, Isle of Wight (0983) implies that the frame was made around the time of or before ‘PhONEday’ in April 1995.]
Victorian Black Watch iron doorstop c1890
Price: £25
This is a whimsical doorstop in the form of a Black Watch soldier. It is made of cold paint decorated iron. The 'Black Watch' was another name for The Royal Highlanders, a famed Scottish regiment of the British Army, distinguished by its longevity, having been initially formed in 1725.
Pair of Beige Opaline Glass Vases, enamelled decoration, probably French late C19th
Price: £75
An elegant pair of beige glass vases of bottle form with a stepped foot, modelled collar and a tall slightly flaring neck, decorated in coloured enamels with flowering holly, the reverses plain and the top rims gilt. Opaline glass is produced by adding materials such as bone ash or lead-crystal to produce a semi opaque effect, the colour varying according to the minerals added and ranging from white through yellows, greens and blues to black. First made in Murano in the sixteenth century it was to enjoy an enormous vogue in France during the nineteenth but had also been produced in England at Bristol in the eighteenth. The delicate style of the decoration here clearly points to French work and a dating towards the end of the nineteenth century seems reasonable indeed the beginnings of the Art Nouveau can perhaps be seen here. Form, colour and decoration combine to produce a highly attractive pair of ornaments which can be enjoyed in a contemporary setting as much as they were when they were made.
Japanese Blue and White Sugar Bowl and Cover, first half C20th
Price: £25
A Japanese porcelain sugar bowl and cover of globular form, two modelled loop handles to the sides and a flush fitting lid with a squat knob, decorated in bright underglaze blue with stylised scrolling lotus, the design repeated on the lid. In common with many blue and white pieces exported from Japan in the late nineteenth and early twentieth centuries, the decoration here is not handpainted but applied with the use of a stencil which explains the slightly ‘mechanical’ effect. These sugar bowls are often paired with a cream or milk jug but do not seem to have formed part of a larger tea service. The slightly uneven profile of the handles is found elsewhere and while dating is most likely to the 1920s or 1930s this piece is still of either decorative or even practical use around a hundred years later!
Monumental Mille Fiore glass bead necklace c1970
Price: £175
This is a very large long necklace comprising different types of Mille Fiore Venetian glass beads. The largest beads measure 31 mm these are the joins for a double strand of round and tubular beads on the higher part with barrel shaped beads on the lower part of the necklace. For vintage jewellery collectors this is one in a million. And for fashionistas this would go with everything. :)
Blue and Green Ice Glass Square Bowl, designed by Tapio Wirkalla for Iitala Finland, late C20th
Price: £55
A heavily modelled glass bowl of rounded square form with raised corners and indented concave sides with a textured base underneath, the clear glass blended with green and blue glass, each of the colours covering half the surface of the interior with a diagonal 'join'. The weight and textured finish to this piece is clearly intended to represent ice and while 'ice glass' pieces were made by various Scandinavian manufacturers, the model here was made in the 1970s by Iitala, a glass studio in Finland, and was part of the ‘Lunaria’ range designed for them by Tapio Wirkalla.
The Finnish designer Tapio Wirkkala (1915–1985) was a major figure of post-war design, working in a wide variety of media including ceramics, wood and glass as well as postage stamps, bank notes and even light bulbs. His first piece for Iitala was produced in 1946 and the commercial ‘Tapio’ collection from 1954. Some of his ‘ice glass’ effects took the Iitala craftsmen many hours to perfect the glass blowing techniques required to produce them but enjoyed immense popularity. These chunky bowls, almost brutalist in style, were produced in the 1970s and 1980s and are an excellent example of his work for the popular market.
Art Deco style Glass Box and Cover decorated with a dancing Ballerina, mid C20th
Price: £35
An opaque cream coloured circular glass box and cover, the bulbous body with high domed lid which is decorated with a dark grisaille dancing ballerina poised on one leg with grass below and hanging willow above within a yellow scalloped border which is repeated on the base. The style of decoration clearly suggests the 1930s and this piece probably dates to that era although there is no certain proof of this. Presumably a powder box it retains great charm and could well find a home in a contemporary setting.
Fine quality pair of Brass Cobra Candlesticks, Indian first half C20th
Price: £150
A pair of brass candlesticks cast as two Cobra snakes with twisting tails acting as the feet with the bodies rising up erect from them, the stylised heads supporting the candle sconces and serrated edge drip pans. There are many examples of Indian made candlesticks cast in a similar form where the brass metal is combined with enamel decoration. This pair, lacking even incised detail to the metal surface as can occur, are much more unusual and striking in their simplicity. The brass itself is high quality and the pieces have a good weight. It is as if the Indian workmen have tried to adapt themselves to the angular simplicity of the Art Deco style. Unlike their more heavily decorated contemporaries, this pair of snakes would not have looked out of place in an Art Deco themed European interior. Dating is therefore quite reasonably to the 1920s or 1930s. Arresting in their time, these two Cobra snakes would deservedly attract attention today.
Necklace with massive Agate Disc strung set with facetted ruby beads, India, c1940
Price: £325
This is a very substantial and heavy necklace that features a very large banded agate stone mounted in silver and set with facetted rubies. The necklace is strung with very large facetted ruby beads that are approximatelyl 12 mm wide. This really is a one off. It is from India and may have been a commissioned piece. It has been restrung recently on metal cord with a new clasp so is quite strong. The ruby beads are particularly interesting and hard to find in this size.
Diamond cut millegrain silver bracelet, 20th century
Price: £45
This is a very intricately designed bracelet comprising numerous diamond cut spheres that have been individually connected. This is most likely Italian. It is marked 925.
Two small metal perfume Flasks and Stoppers, 1920s
Price: £35
Two small metal flasks, the first in brass of rounded rectangular form with a ball shape stopper, the surface plain, and the second in copper of ovoid form again with a ball shape stopper and also a loose ring handle, the surface with beaten decoration of a repeating design of small circles. The shapes of both of these are usually described as perfume bottles which makes sense here where the stoppers are both screw top. The copper example was perhaps intended for attachment to a belt and the size of either would have made them suitable travelling accessories. Dating is probably to the 1920s and the beaten decoration of the second is a feature of pieces made under the influence of the ‘Arts and Crafts’ movement which flourished in Britain from the late nineteenth to the early twentieth century.
Figure of a Young Girl Praying, Continental, probably mid C20th
Price: £55
This is an elegant figure of a young woman at prayer, her slender body carefully modelled with upraised elongated hands and expressive detail to the face and enshrouded, niche like, in a robe green tinted on the inside and brown on the exterior, the base with an oval opening and impressed numbers ‘825’ and a stamped number ‘31’. There are no obvious parallels to this piece which has some resemblance to Goldscheider compositions but a completely different finish to the foot and none of the Goldscheider markings. And while there are some similarities it also looks later with more of a mid century feel. Italian work comes to mind, but there is no proof of this. Perhaps we are intended to see the Virgin Mary here although the young lady seems a bit too youthful for a secure identification. Whoever she is, she has been rendered with skill and charm and well deserves her admirers today.
Very fine Moroccan engraved silver bracelet c1930
Price: £95
This a silver bracelet comprising very finely engraved stations that are connected as links. These have been set with silver gilt camels and elephants together wilh Arabic letters. It has the usual barrel type clasp that is very secure. There are illegible hallmarks.
Mdina Art Glass vase, signed and numbered 1979, late C20th
Price: £95
A heavy art glass vase with a squared ovoid body below a narrow, slightly sloping neck with a small inturned rim, decorated overall in a richly multicoloured marble effect pattern and signed at the base 'Mdina' '1979'. 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. Ownership of the company later changed but it is still producing a popular range of glasswares today. The earlier pieces are marked with both the studio name and the pattern number making it possible that this vase was an original Harris design but whether this is the case or not it is certainly an excellent example of Mdina work with a striking range of colours set off by the bold organic form.
Chinese Cloisonne Shallow Bowl, C19th
Price: £45
A Chinese cloisonne shallow bowl of typical form with a compressed globular body, a wide opening with a gilt metal rim, a short gilt metal foot, the interior and the base enamelled in blue and the exterior decorated in cloisonne enamels with multicoloured floral blooms on a green ground with repeating a repeating fish scale border at the base and a band of ‘ju’i’ lappets at the top. The cloisonné technique, where glass derived enamels are inlaid between gilt metal outline designs, the so called 'cloisons' or 'partitions', was developed in China from as early as the fourteenth century and employed continuously thereafter, even until the present day. The weight of this piece and the quality of the decoration suggests a dating to the nineteenth century, perhaps towards the middle. Certainly, it is a much above average example of a form which was to be produced in substantial quantities in the early years of the twentieth century for export to the West. Its smaller size enhances its attraction making it an attractive collector’s item.
Pair of Bohemian Harrach Glass Vases, Morocco pattern, second half C19th
Price: £95
A pair of opaque glass vases of flattened pear shape, the necks spreading slightly outwards towards the top with a cup shape rim, the white ground glass heavily enamelled with polychrome decoration, a variety of bead bordered shaped panels with yellow, blue and pink grounds dotted with stylised floral blooms. The pattern of these pieces is known as ‘Morocco’, presumably a nod towards the decorative items produced there, and can be found in the nineteenth century pattern books of the Harrach factory situated in Bohemia, now part of the Czech republic.
The Harrach glassworks is named after Alois Raimund von Harrach (Count Harrach), on whose estate it was founded in Bohemia, in the early eighteenth century. Managed at first by one Elias Muller, the firm traded under a variety of names becoming known as Harrach in the nineteenth century and Harrachov, the name eventually given to the town where the factory was situated, in the twentieth. These opulent vases were a popular part of its range in the nineteenth century, the pattern being produced in a variety of similar shapes and always as shelf ornament pieces. The decoration here is particularly lavish with an attractive use of colour and has survived in excellent condition making these a desirable addition for collectors of Bohemian glass or admirers of nineteenth century glass style generally.
An unusual Pair of Chinese carved Soapstone Vases, circa 1900
Price: £110
A pair of Chinese soapstone vases with mottled colourings in a wide variety of brown and beige, the triangular form deeply carved on the two front faces with flowering peony and birds nestling in the branches, the reverses flat, each with a rock and a leaf, the base also flat and the interior hollowed out. Soapstone was first used by the Chinese over three thousand years ago but began its popularity in the Ming dynasty (1368 -1644) with the height of production during the ensuing Qing dynasty (1644 – 1911). The triangular form of this pair of vases is most unusual and the depth of carving displays near virtuoso expertise. There is little or no trace of the drill here, unlike some of the later twentieth century pieces, and all the pointers are to a dating no later than around 1900. The carver was fortunate to find two matching pieces of stone which allowed him to produce such a well balanced pair in shape, colour and decoration. The nature of the material means that soapstone pieces are found less often as matching pairs and this triangular shape, perhaps suggested by the original stone pieces themselves, is rarer still.
Pair of Ceramic Wall Hanging Plaques, Butterflies, probably continental 1960s
Price: £40
A pair of ceramic wall hanging plaques modelled in the form of butterflies with outspread wings, brightly decorated in green, red, orange and black enamels with beaded detail, the reverses plain and with a central cavity, pierced at the top for the wire wall hanger which also forms the proboscis. The fairly coarse paste of the foot rim at the back and general style of decoration suggests continental work, most likely Portugal or Spain and these pieces have a mid century look to them suggesting a a dating in the 1960s when brightly coloured ornaments (and carpets!) enjoyed something of a vogue. Highly decorative then, this pair of lepidoptera would certainly enliven a contemporary interior.
Framed poster for Victor Bicycles, Overman Wheel Company, C20th
Price: £55
This is an iconic poster image, the original of which was created in 1896 by the famed artist Will H. Bradley for the Overman Wheel Company, famous for their innovative and high quality bicycles in the last years of the nineteenth century. The ‘Victor’ bicycle was the most famous model in their range and enjoyed enormous success after its introduction in 1883. By 1893 it was known as ‘the highest grade bicycle’ and it went on to be sold in a wide variety of models and sizes. But competition and changing economic circumstances saw the company’s business decline sharply and after a devastating fire in 1899 the business was sold in 1900.
Will H. Bradley (1868-1962) was an American artist and illustrator whose work enjoyed enormous popularity in the late nineteenth and early twentieth centuries, indeed he became America’s highest paid artist. Some of his most elaborate and original poster and advertisement designs were produced in the last years of the nineteenth century and he was an apt choice for Albert Overman’s then thriving business. His style was quintessentially Art Nouveau and is often compared to that of the English artist, Aubrey Beardsley, indeed he was sometimes dubbed as the ‘American Beardsley'. This poster design for Overman has been much copied and reproduced over the years with original examples residing in museum collections. The dating of this particular printing is not wholly certain; the reproduction is certainly way superior to that of more modern versions and the accompanying frame also indicates some age, perhaps to the 1960s or through to the 1980s. We have, then, both an elegant decorative item and an excellent addition to a collection important poster art.
Japanese Imari Bottle Vase, circa 1900
Price: £30
A Japanese ceramic vase of slender bottle form with a near globular body rising to a narrow cylindrical neck, decorated in the ‘Imari’ palette of underglaze blue, iron red and gold with two red enamel ground stylised floral panels on a ground of scrolling peony, the neck with scrolling prunus above a band of repeating chrysanthemum heads and the base with a band of repeating stylised leaves. The paste of the foot and the style of the decoration suggest a dating to the end of the Meiji period (1868-1912) probably around 1900.
Gentlemans waistcoat pin set with four watch fobs 1930s
Price: £150
This is a bespoke waiscoat pin with four hanging watch fobs. The owner was someone called R.S. Hollands as they all bear this name. They all have dates 1927, 1936 x 2 and 1934. There are different places on them and two have the designation of "Senior Rounder" and S.C.A.B.A. One also has the name Boosey and Co a company that manufactued brass instruments. Rounders is a game much like baseball. Mr Hollands definetly wanted to show these off. :) Thie is a piece of history that can be worn as a brooch, what could be better for a vintage collector?
Taxco Fish Brooch c1940
Price: £25
This is very delicate small silver brooch that depicts a charming and cheerful fish. It has a textured surface and the eyelashes are detailed. It is marked with a maker's monogram 'JG' or possibly 'GG' and in addition there is an "Eagle" mark '3' below the words 'Heche en Mexico', indicating a dating to the 1940s.
Japanese Polychrome Bowl, Shibata Toki ware, late c20th
Price: £45
A fine quality Japanese porcelain bowl with deep sides curving in towards the base and with ribbing in the lower section, the interior delicately decorated in polychrome enamels with a design of flowering peony, the exterior with gilt diaper work on an iron red ground above a border of repeating stylised leaves, the base with a four character mark in iron red reading ‘Shiba-ta-to-ki’, ‘Shibata Porcelain’. The porcelain manufacturer Shibata began production in 1948, based at Mizunami city, near to Nagoya in Japan. They were known for their fine quality porcelains whose work resembles that of the nineteenth century Fukagawa kilns. Their pieces are marked, as here, sometimes with the addition of their name in Western lettering. This bowl probably dates to the 1970s and is a fine example of their work. Since 2004, the company has also operated from workshops in China.
Compagnie des Indes style reticulated edge Armorial Plate, Chinese C20th
Price: £45
The general appearance here is that of a piece of Chinese Export porcelain dinner ware (the so called ‘Compagnie des Indes’ or ‘East India Company’ style) made around 1800. This plate essentially follows the late eighteenth century form, even in its openwork or reticulated edge which was not uncommon at the time although the lightly scalloped edge is anachronistic and the piece is far heavier than an original would be.. The centre is painted with an armorial crest but not, on this piece, one that can be identified indicating a ‘pseudo’ composition. The border has a repeating grape vine pattern and a band of blue enamel with stars, both typical of late C18th Chinese work, but if the front seems reasonably authentic the reverse betrays the date of manufacture with the printed wording in iron red which reads ‘For decorative purposes only’ ‘Not for food use’ [and as if that was not enough] ‘Article may poison food’. Similar wording is found on other C20th Chinese pieces and is probably indicative of a post war dating to the 1950s or 1960s. There was clearly no attempt to deceive here and the producers presumably sensed a demand for such pastiche pieces which do seem to be collectible, even today.
Chinese Scroll Painting of a Merchant and his Client, C20th
Price: £45
A scroll painting depicting what appears to be a scene in a Chinese merchant’s shop where there can be seen scales and a box containing coins on a table in the background. The elderly trader is seated next to a younger gentleman, presumably his client. One attendant stands watching and another bears an object on a tray which may well be the subject of a bargain to be made. The painting is colourful and expressive, with the faces carefully delineated. The style looks to be early twentieth century work and resembles that of reverse glass paintings from the period. The scroll is offered with a complementary scroll box, European with chinoiserie scenes in gilt, which considerably enhances the decorative effect.
Two Corgi Silver Jubilee Toys Boxed, (41) State Landau, (417) London Bus, 1977
Price: £45
The silver jubilee of Queen Elizabeth II in 1977 stimulated the production of a near avalanche of commemorative items. Mettoy, the manufacturers of the well known brand of Corgi toys, played their part in this producing a model of the 1902 state landau used in the royal processions and an accompanying model of a silver jubilee London bus with its special silver livery colour. The state landau is an example of their rather more ambitious pieces with the carriage rendered in great detail and the figures of the Queen and Prince Philip realistically modelled. The designer also allowed himself to include a corgi dog, appropriate for two quite distinct reasons. The bus is a typical example of the ‘Corgi Toys’ collected by so many during the years of their production and indeed thereafter. The typical ‘Corgi Toy’ was finely cast with detailed modelling and colouring accurately reflecting the features of its original. The two together, then, complete with their original boxes and in in good condition are a souvenir in themselves of a whole area of collecting.
Framed Chinese Silk Embroidered Runner Panel, garden scenes, C20th
Price: £15
The repeating design we see here (the figure on the left reappears on the right) indicates that this textile is a section from a longer piece which perhaps acted a ceiling border for a wall. Depicted in a fairly muted palette of silk threads with an emphasis on light green and turquoise is a stylised garden scene with labourers (hoe, wheatsheaves, fruit basket) and one figure seated at leisure, all within a border comprising a mixed assemblage of the common motifs of Chinese decoration including stylised flowers, dragons, elephants, shou medallions and the endless knot (one of the eight Buddhist emblems). The stitching is not particularly detailed suggesting mid C20th work but the design is pleasing nonetheless.
Chinese painting on Silk, Storks and Pine, circa 1900
Price: £25
A Chinese painting on silk, the fine and detailed brushwork depicting a gnarled branch of pine with three cranes astride on a background of blue clouds with a full moon in the distance. Both the crane and the pine tree symbolise long life and longevity and so there is perhaps a hidden message here which might be uncovered in the elaborate calligraphic inscription at the top right with no less than three red artist’s seals. Great care has been taken with this composition and the overall style suggests earlier work than that found in many pieces perhaps dating to the late nineteenth or early twentieth century. The board mounting is considerably foxed but the painting itself much less so and if reframed it would provide an attractive if slightly enigmatic example Chinese decorative painting.
Two watch fobs 1912 and 1923
Price: £35
This is a group of two gentleman's watch fobs. One says "Senior Rounder 1912" and the other "WLOC 1923". These would have been very meaningful to the person who had it on their watch chain. Unfortunately these details have been lost over time. Rounder was a game that resembled baseball so persumably that person played Rounder. These are very fine silver and are a piec ef ephemera that can be worn as a pendant.
Davidson Green Cloud Glass Vase, 1930s
Price: £55
A green glass vase with a bulbous ovoid body below a concave stepped neck widely flaring at the rim, the surface with a swirling design known as the 'cloud' pattern. While not marked, this vase can be firmly attributed to the Davidson glass works, well known glass manufacturers in England in the late C19th and C20th
George Davidson founded the Teams Flint Glass Works in 1867, which later became known as George Davidson & Co. In the 1880s the company began producing pressed glass tableware in a variety of shapes and by the 1920s their designs began to reflect the new Art Deco trends. The firm continued production until the 1980s, closing in 1987. This vase is typical of their Art Deco inspired designs although is rather less commonly found today. It has the pattern number '34 'SVF', 'S' standing for 'small', 'V' for 'vase' and 'F' for 'flared rim' and was produced from 1934 to 1942 (see www.cloudglass.com). A slightly larger version was made as well with the pattern number '34' 'VF'. The swirling effect was typical of Davidson's 'cloud glass' designs, one of its most popular ranges. In mint condition, this vase might well fill a gap in a collection of Davidson pieces or pre war British glass generally.
Poole Pottery Maya Pattern Bottle Vase, early C21st
Price: £85
A Poole Pottery bottle form vase, the slender ovoid body rising to a short narrow neck, the rim slightly everted, glazed overall in a mixture of mottled green and blue ‘wave’ designs which blend into one another, the base glazed green with a raised mark for ‘poole’ ‘england’ and two painted initials ‘JB’.
This fine quality vase is from the Maya range made by Poole Pottery, some of the pieces still being in production today and described in the maker’s catalogue as follows “Poole Pottery’s Maya collection is inspired by British landscapes and earthy tones. The greens and blues in this stunning range represent the earth meeting the sky in a natural yet bold design. Here at Poole Pottery, all our Maya ceramics are hand-cast and made using our signature reactive glaze in the famous Middleport Pottery in Staffordshire. The distinctive pieces you see here are created via our Living Glaze technique, where layers of colourful glazes react with one another to create a unique, glossy and dynamic finish.” But this particular form does not appear in the current catalogue and does not seem to be otherwise available. The form of the mark appears on other Poole pieces of more recent manufacture and dating is probably to around twenty years ago. The initials are for the artist’s signature and Poole write “Items are personalised with the artist's own individual mark, adding value to the collectability of each piece.” Given its scarcity, this vase would make an interesting addition to a collection of Poole Pottery aside from being a highly decorative item in its own right.
Japanese Seto Ware Blue and White Vase, late C19th
Price: £450
Famous for over a thousand years, the ceramics produced at Seto in the Aichi prefecture, Japan, became synonymous in the late nineteenth century for high quality blue and white porcelains finely painted and produced in a wide variety of forms, some of near demonstration quality. The vase presented here is an outstanding example of their work, immaculate in both its craftsmanship and condition.
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A fine quality Japanese porcelain vase, the ovoid body with a curved flaring foot and rising to a tall concave neck with a well defined shoulder, applied elephant and ring handles to the sides and a galleried rim, decorated in bright underglaze blue with two bands of stylised flowering chrysanthemum at the top and bottom between a continuous scene of flowering peony and chrysanthemum, the top rim with repeating whorl design on the exterior and stylised leaf design inside, the stepped base glazed white.
The kilns at Seto in the Aichi prefecture of Japan and situated close to Nagoya form one of the traditional ‘Nihon Rokkoyo’, the six old kilns of medieval Japan. The location of Seto was ideal for the production of ceramics with an abundance nearby of both porcelain clay and forests to provide firewood for the kilns. Production began as early as the Heian period (794-1185) and continued without a break thereafter, the earlier pieces being more pottery forms copying Chinese wares. It was in the early nineteenth century that the kilns turned to producing porcelains decorated in underglaze blue and white, a development initiated by the potter Tamikichi Kato who went to Arita to learn the techniques of its production there, returning to Seto in 1807. Production grew and developed and was directed towards the export market in the Meiji period (1868-1912) with Seto wares being displayed at the European and North American exhibitions and fairs. Their delicately painted designs of birds and flowers proved to be immensely popular and were, in their time, to influence Art Nouveau and Art Deco designs. Some of the forms produced were truly virtuoso creations including, besides vases, screens, jardinieres and even ceramic tables.
Signed pieces are known and besides Tamikichi Kato the distinguished potters included the Kichiemon brothers, Kato Chuji and Kawamoto Jihyoe, and Kawamoto Hansuke. But not all the best pieces carried an artist’s signature as this vase well demonstrates. Formed from fine quality clay, as can be seen from the foot rim (image 10), the complex shape with its spreading base, angled shoulder and galleried rim would have been difficult to create. The handles show remarkable skill with the rings somehow formed so as to hang loose (presumably some form of kiln waster technique was used). The detail and artistry of the painting speaks for itself. Note in particular the shading effects on the peony flowers. While not perhaps an exhibition piece, this vase is definitely of exhibition quality and would be a worthy addition to a collection of nineteenth century Japanese ceramic art.
Murano Style Calla Lily Trumpet Shape Vase, second half C20th
Price: £75
A delicately blown glass vase of trumpet shape, the squared cylindrical body flaring towards the base and top with four fins, the neck spreading outwards with a deeply scalloped rim resembling flower petals, the glass in a variety of colours, green merging into cream with red at the top. The artistry of this piece is quite clear and the form would have required skilful glass blowing techniques. The work is similar to that of Murano pieces, made in Venice in the 1960s and 1970s but there is no proof of manufacture there. Often termed ‘Jack in the Pulpit’, from a supposed resemblance to that flower, this vase is actually modelled on the Calla Lily. (‘Jack in the Pulpit’ has a raised petal at the back whereas here the petals are all similar.). Despite the uncertainties we certainly have here a striking piece of C20th Italian art glass with considerable decorative appeal.
Continental Figure of a Cellist, Conta and Bohme, Germany late C19th
Price: £55
This is an amusing ceramic figure of a cellist, seated with his instrument between his legs and a bow in his right hand. He wears a floral decorated tailcoat with brown knee breeches and a purple cap on his head. Below is a rectangular base with gilt decoration to the front. The composition is carefully modelled and finely painted, especially the detail to the face. The underneath has impressed marks, a shield device and the numbers ‘5313’ and ‘154’. The shield device, a small arm holding a dagger (see image 10), was used by the makers Conta and Bohme best known for the manufacture of ‘fairings', which were exported in large quantities to Britain and the USA in the late nineteenth century which is most likely the date of production of this figure. Sometimes this composition is found with a companion figure of a violinist, bearing the same shield mark but different numbers and it is most likely one of an original pair. But it can clearly stand on its own a good example of the decorative porcelains produced in Germany before the first World War.
West German Pottery Lava Glaze Vase, Scheurich, 1960s
Price: £45
A ceramic vase of squat cylindrical form, the body incurving at the shoulder and the neck with a slightly flaring rim, the heavily pitted glazes combining mottled blues above and black below, the interior glazed brown and the base glazed black with moulded marks ‘215-18’ and ‘W.Germany’. This is an excellent example of ‘lava ware’, a rugged and rustic glaze effect which became very popular in the 1960s and was produced extensively by some of the West German potteries of the period. The marks here indicate the firm ‘Scheurich Keramik’ which started production in 1954, rather later than most of its competitors, but soon became the largest producer of commercial art pottery in Germany. Similar pieces by them can be found in either form or decoration. Their pieces rarely carried the factory name but usually the model number followed by the height in centimetres with ‘W.Germany’ below, as here. The size and form of this piece makes it particularly attractive.
Vintage Leather Map Case, probably 1940s
Price: £45
Although resembling a rather oversize wartime identity label holder, this leather case, with a large clear celluloid covered open panel, a flap at the back with a fastening button and a long shoulder strap with loop attachments seems to have been intended as a map holder. Similar examples can be found dating back to the First World War and many have a grid printed onto the celluloid. This particular piece probably dates to the Second World War and is most likely Russian or German. It remains in excellent condition with the fine quality stitching and celluloid panel intact and the strap with minimal wear, making it a desirable acquisition for a collectors of militaria from that era.
Egyptian Nefertiti and Talisman necklace on long chain c1970
Price: £95
This is a group of two large Egyptian pendants on a long box chain. The pendants are a plaque or talisman that has Hieroglyphs the other is the head of Nefertiti. These go perfectly together and look great on the long chain. Both pendants have Egyptian silver hallmarks.
Pewter and brass box and cover in the form of a Mallard Duck, Gatco, Hong Kong, 1960s
Price: £25
This is a novelty box and cover, possibly for pills or more likely trinkets made from pewter and brass in the form of a mallard duck. The details are simply but amusingly modelled with an effective contrast of the two metals used. The base, in common with other examples of this model, has an engraved mark comprising a reversed ‘3’ below an ‘8’. Other examples carry a gold ground paper label which reads ‘Made in Hong Kong’ and this is sometimes found elsewhere on brass items which also have a label for the firm ‘Gatco’, implying that this was the manufacturer here (see image 11). These amusing boxes were made in Hong Kong in the 1960s and retain their charm today.
Cup : the Silver Wedding Anniversary of Queen Elizabeth II and Prince Philip in 1972
Price: £25
A bone china loving cup with two silver decorated lion handles made by the Paragon China works to commemorate the Silver Wedding (1947–1972) of Queen Elizabeth II and Prince Philip, Duke of Edinburgh, in 1972. The front has the royal coat of arms between a lion and a unicorn and the reverse a cipher, intertwined ‘E’ ‘P’, within a wreath below a crown and sceptres, the blue scroll work reading ‘Love and Unanimity in Married Life’. Lettering in puce at the top and sides celebrates the Royal Wedding in Westminster Abbey in 1947.
The Paragon China Company, formerly the Star China Company (see Lot XX), produced high quality gift items from 1920 to 1971, at first independently and then in alliance with other companies, finally being absorbed by Royal Doulton in 1972 who kept the ‘Paragon’ name until 1991. Commemorative wares were a speciality and this cup is a fine and typical example.
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £25
A Chinese silk textile with an embroidered design of a peacock and a peahen (the male and female peafowl) standing on a grass embankment with a flowering peony bush behind them. There is a four character signature to the top left, probably denoting the artist. The style of the embroidery and the calligraphy of the signature suggest mid to late C20th work, perhaps dating to the 1960s or 1970s. Other embroidery panels with a similar design can be found which are much later. As with the previous lot the composition and the detail and colourings of the embroidery work are pleasing, combining to produce another excellent example of the genre. The frame is European and perhaps contemporary with the date of manufacture (see Lot 24).
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £45
A Chinese silk textile with an embroidered design of a phoenix standing on a rock at the edge of a river, flowering peony below and to the rear a prunus or plum blossom tree with bamboo. On the riverbank also stand a pair of cranes, ducks can be seen in the water and a pair of birds sitting on one of the prunus tree branches with another pair flying to the left. In the distance, the setting sun and at the top right a four character signature probably denoting the artist. There is a mixture of motifs here. The phoenix can denote the Empress, cranes represent long life, peony represents spring while prunus denotes winter. Ducks point to marital happiness and the flying magpies happiness and good luck, whereas the setting sun is often a metaphor for sadness and sorrow. Perhaps a deliberate contrast is intended here or perhaps the various motifs were simply chosen for their decorative elements. As with lots 2 and 3 in this sale, this is another excellent example of the genre and the frame provides a clearer indication of dating. The frame makers ‘Charles and Co’ had a business in Notting Hill, London in the post war years and the telephone number ‘PARk 6306’ indicates a date before 1966 when UK telephone numbers ceased to include letters.
Swirl design Cranberry glass Decanter and Stopper, probably Italian mid C20th
Price: £45
An unusual decanter and stopper set, the broad pear shape body narrowing towards the neck which has a curved lip at the front and a loop handle at the back and is fitted with a flattened ovoid stopper. Both pieces have moulded decoration and the handle has repeating circular indentations, the clear glass with swirling ribbon highlights in cranberry glass. While cranberry glass decanters are seen with a combination of clear and coloured glass there is no close parallel to what we have here. Similar pieces were made in England (for example Fenton glass) and by the ‘Bohemian’ workshops (Bohemian glass was made in the regions of Bohemia and Silesia, now parts of the Czech republic). There are also a few Italian pieces, some made on the island of Torcello near Venice. But none of these is exactly the same and the form of the stopper is very rarely found. The rather ‘open’ decoration with the trails of Cranberry coloured glass suggests most of all though the last of these with a dating, perhaps, to the mid C20th. While something of a mystery this remains an attractive and appealing item in particular for collectors of Cranberry glass wars.
Japanese Celadon Ground Tazza with Chinese Nanking decoration, late C19th
Price: £25
This is an unusual and hybrid piece combining elements of both Japanese and Chinese decoration. The stoutly potted footed bowl, or tazza, is Japanese porcelain employing a fine quality stone like clay, visible on the underneath of the three feet, often found in these celadon glazed pieces made for export towards the end of the nineteenth century. The pedestal feet support a stubby bulbous column which in turn supports the circular serving dish on top. The underside of the dish has moulded decoration and its edge is slightly shaped. The celadon glaze is enhanced with blue and white decoration and the dish itself is wholly decorated in blue and white with a landscape scene closely resembling the designs on Chinese export wares of the late eighteenth century (see the previous lot in this sale for a typical example) and often known as ‘Nanking’ ware in Europe, Nanking being the Chinese port from which it was shipped to the West. The elaborate border with cell and diaper work and stylised flowers also copies the Chinese exemplar. The shape is a Japanese interpretation of a European form and was clearly intended as a serving dish, perhaps for a small desert service of pieces in a similar pattern, but it can stand on its own today as a piece both decorative and practical.
Large Islamic silver necklace with heart shaped box c1920
Price: £85
This is a very large statement necklace comprising a detailed pendant that is a tubular piece set with malachites stones with handing drops. There is a very large hard shaped pendant attached that is a box with a red fabric interior. This may have some religious signficance such as a prayer box. This is set with beautiful agate stone that is also heart shaped. The pandant has filigree work on both the pieces of the pendant. It comes with its original herringbone style chain. This does not appear to be silver like the pendant. The pendant is 800 silver so a slightly lower grade fo 925 or sterling silver.
Bead necklace with jade carnelian and silver beads c1990
Price: £75
This is a very beautiful necklace comprising graduating beads that are yellow jade, bi colour jade and carnelian. There is a long drop comprising four strands with beads suspended on it to give it a many layered effect. The origin of this necklace is uncertain. it is super quality and is most certainly made by a jewellery designer. Marked 925.
Pewter and brass box and cover in the form of a Mallard Duck, Gatco, Hong Kong, 1960s
Price: £25
This is a novelty box and cover, possibly for pills or more likely trinkets made from pewter and brass in the form of a mallard duck. The details are simply but amusingly modelled with an effective contrast of the two metals used. The base, in common with other examples of this model, has an engraved mark comprising a reversed ‘3’ below an ‘8’. Other examples carry a gold ground paper label which reads ‘Made in Hong Kong’ and this is sometimes found elsewhere on brass items which also have a label for the firm ‘Gatco’, implying that this was the manufacturer here (see image 11). These amusing boxes were made in Hong Kong in the 1960s and retain their charm today.
Russian Enamel Brooch, probably Rostov Finift, mid C20th
Price: £20
This delicate brooch with its elaborate filigree work has a circular painted enamel plaque painted in greens, pinks, light brown and yellow with scrolling lotus flowers and surrounded by fine silver decoration, with scrolling rope twist strands and slender milled ribbons inset with beads. The style and composition, combining enamel and silver work, is typical of the Russian maker ‘Rostov Finift’ (‘finift’ comes from the Greek ‘fingitis’ which means ‘gleaming’) many of whose pieces can be found on the market today. The art of painting on enamel was first developed in Rostov Veliky (125 miles northwest of Moscow) in the 18th century and continued thereafter with pieces of jewellery, made by Rostov Finift and in which enamels are surrounded by elaborate filigree work, appearing in quantity after the second World War. The pieces are not signed and attribution is mainly speculative but this brooch has much in common with other pieces believed to have been made by the same factory.
Vulcanite long necklace with Maltese cross and fob c1880
Price: £195
This is the holy grail of Vulcanite necklace due to the length and it also has two integrated Vulcanite pendants a Maltese cross and a fob that may have been intended to be engraved. The links are round and there are further links at the end giving it a lariat style.
ABOUT VULCANITE
Exciting scientific and technological advances punctuated the nineteenth century. Growth and development with regard to jewelry-making techniques and new and innovative jewelry materials were an important part of these creative endeavors. Combining imitation gems with various imitation jewelry materials had already been en vogue since the early Eighteenth century and viable replacements for faux non-metallic jewelry materials were chiefly derived from plastics and rubber.
Uncured rubber is somewhat brittle and does not have the stamina to hold up over the long term necessary to be viable for jewelry use. It was not until Charles Goodyear patented the vulcanization process in America in 1844 and Thomas Hancock did the same in England, that jewelry production with a rubber composition was possible. Vulcanization is a high-heat process that adds sulfur to the mix and renders the result more durable than rubber or plastic alone. Both gentlemen exhibited their achievements at the Great Exhibition, displaying molds of items intended to substitute for the very popular, but exceedingly brittle jet.
One of the main purveyors of vulcanite jewellery was the Britannia Rubber and Kamptulicon Company, set up in 1854 at Cannon Street in the City, with the works in the East End of London at Bow Common, “for the purpose of manufacturing in England articles invented by Mr. Goodyear.” From 1866, they placed advertisements in The Times for ” Indiarubber chaines Benoiton, wholesale and export only,” offering a full range of industrial, household and ornamental goods including “Imitation Jet (India Rubber): Albert chains, Victoria chains, long chains, Latin, Greek, Maltese and Dagmar crosses, brooches, bracelets, earrings, waist-clasps, charms and trinkets, gauntlets and armlets, fancy black combs, and dressing combs,” assuring their customers that these items had the “the beauty of polish and deepness of colour of jet, without its dangerous quality of brittleness…You may dash a bracelet or chain of this material to the ground without injuring it.”
Sources:
Lang Antiques (www.langantiques.com)
Gere, Charlotte and Rudoe, Judy. Jewellery in the Age of Queen Victoria: A Mirror to the World: London, The British Museum Press, 2010.
Victorian vulcanite anchor chain necklace with carved jet pendant c1880
Price: £195
This is quite a rare necklace as due to the type of link combined with the long length of the necklace. The links are a large anchor design combined with the finely carved jet pendant.
ABOUT VULCANITE
Exciting scientific and technological advances punctuated the nineteenth century. Growth and development with regard to jewelry-making techniques and new and innovative jewelry materials were an important part of these creative endeavors. Combining imitation gems with various imitation jewelry materials had already been en vogue since the early Eighteenth century and viable replacements for faux non-metallic jewelry materials were chiefly derived from plastics and rubber.
Uncured rubber is somewhat brittle and does not have the stamina to hold up over the long term necessary to be viable for jewelry use. It was not until Charles Goodyear patented the vulcanization process in America in 1844 and Thomas Hancock did the same in England, that jewelry production with a rubber composition was possible. Vulcanization is a high-heat process that adds sulfur to the mix and renders the result more durable than rubber or plastic alone. Both gentlemen exhibited their achievements at the Great Exhibition, displaying molds of items intended to substitute for the very popular, but exceedingly brittle jet.
One of the main purveyors of vulcanite jewellery was the Britannia Rubber and Kamptulicon Company, set up in 1854 at Cannon Street in the City, with the works in the East End of London at Bow Common, “for the purpose of manufacturing in England articles invented by Mr. Goodyear.” From 1866, they placed advertisements in The Times for ” Indiarubber chaines Benoiton, wholesale and export only,” offering a full range of industrial, household and ornamental goods including “Imitation Jet (India Rubber): Albert chains, Victoria chains, long chains, Latin, Greek, Maltese and Dagmar crosses, brooches, bracelets, earrings, waist-clasps, charms and trinkets, gauntlets and armlets, fancy black combs, and dressing combs,” assuring their customers that these items had the “the beauty of polish and deepness of colour of jet, without its dangerous quality of brittleness…You may dash a bracelet or chain of this material to the ground without injuring it.”1
Sources:
Lang Antiques (www.langantiques.com)
Gere, Charlotte and Rudoe, Judy. Jewellery in the Age of Queen Victoria: A Mirror to the World: London, The British Museum Press, 2010.
Suite of Taxco - necklace, bracelet and earrings c1960
Price: £475
This is an outstanding suite of jewellery made in the Taxco silver district in Mexico. It comprises graduating fine links of turquoise and silver. Both the necklace and bracelet of a fluidity that shows the beautiful quality of this jewellery. It bears the Birmingham assay import mark and initials LR presumably for the company that imported it to the UK. It also is marked 925. There are no Mexican hallmarks although the origin of these pieces is not in doubt. The necklace and bracelet have the signature box clasp and each is fitted with a safety chain.
Sold silver and enamel Panda pendant necklace c1980
Price: £55
This is a super cute pendant in the form of a panda bear playing with a beach ball.The bear is made from solid silver with a texture to resemble his fur and black enamel detail. The beach ball is also enamel and the piece is marked 'SILVER'.
Victorian book chain with locket c1900
Price: £350
This is an outstanding example of a book chain with its locket. These types of necklaces were very popular during the Victorian period and each one has different ornate links ending in a central drop, as you see here. The link is a star link with silver balls attached. The locket has engraving and small silver balls around the edge to mirror the chain. The chain is very sturdy and is held together by two silver ring clasps.
Large faux coral Bakelite brooch, British c1940
Price: £65
A fine quality large floral brooch made from faux coral Bakelite with a bar pin to the reverse, carefully carved to represent the rose petals in fine detail. Dating from the 1940s this piece has remarkably survived in perfect condition making it the ideal statement fashion accessory.
Chřibská Glass bowl designed by Josef Hospodka, Czech 1970s
Price: £75
An organically formed sculptural glass bowl or ashtray, of trefoil form with an undulating rim and three projecting ‘knobs’ above the flat base, the colourings merging from green to amber with clear glass at the base. This piece was made at the Chřibská glassworks in Czechoslovakia and can be seen in their 1970s catalogue with the pattern number 240/5/20. An entry in issue 12 of the 1964 Czech Glass Review confirms the designer as Josef Hospodka who was chief designer at Chřibská from 1958 to 1970 and again from 1985 to 1989. His organic, sculptural blown glass designs enjoyed great popularity and some remained in production until the factory closed in 2007. The colourings here are particularly pleasing and this is an excellent example of his work.
Victorian Rolled Gold Necklace with Pendants, late C19th
Price: £45
This is an interesting necklace made from rolled gold (in which a thin layer of gold is applied to a baser metal) and comprising a linked chain from which are suspended a facetted rose de france amethyst bead in the shape of a heart, a ‘lucky bean’, a framed portrait medallion and a miniature whistle (that works!). The choice of the pendant ‘charms’ is not wholly clear. While the heart has an obvious meaning and the bean shape denotes good fortune (during the Victorian and Edwardian eras, beans washed up on the seashore which then went on to germinate were regarded as infused with good luck), both of which might well been associated with the young lady whose portrait photo can be seen, the significance of the whistle is not certain and was perhaps only known to the wearer. A piece of evocative nostalgia then for collectors of Victorian decorative jewellery.
Art Deco Vase, Springtime, Price Brothers, Staffordshire, 1930s
Price: £35
A ceramic vase of inverted conical form with a wide spreading foot, mustard glazed overall with green splash glaze effects at the base, the whole with moulded ribbing and moulded polychrome floral decoration to the front and reverse, the base with impressed marks ‘MADE IN ENGLAND’ ‘ENDON’ ‘SPRINGTIME’ and with a stamped mark ‘PRICE BROS’ within a floral wreath above ‘MADE IN ENGLAND’.
Price Bros was an earthenware manufacturer established at the Crown Works, Burslem, Staffordshire, England, in 1896 by the Price brothers. They specialised in tabletop accessories and teapots and success was rapid such that in 1934 they moved to larger premises at the Top Bridge Works in Longport, where they became known as Price Bros Ltd. A close association with another firm, Kensington Potteries, was finally cemented when the two firms merged in 1962 taking on the name ‘Price and Kensington’ and continuing to manufacture their popular wares to the present day. This vase is typical of the decorative pieces which Price Bros produced during the 1930s and, as with so much of the pottery produced at that time, it reflects the Art Deco styles, particularly in the semi abstract shape. This vase was mould made as can be seen from the joins at each side (see image 7) but there is nothing mechanical about the finished result with its pleasing combination of colour and decoration.
Studio Pottery Vase signed Kamini, Greece, 1970s
Price: £45
An elegant ceramic vase of cylindrical form, the upright body narrowing towards the very faintly outcurving neck, the mottled mustard glaze coloured ground with drip colour effects in blue, brown and orange, the interior glazed in mustard and blue and the base with an unglazed foot rim and a stamped mark reading ‘KAMINI’.
Although ‘Kamini’ is both the Greek word for a kiln and the name of a village on the Greek island of Hydra, it actually stands here for the Greek firm of that name whose registered office was at Kallithea, a suburb of Athens. The Kamini pottery produced a wide range of appealing but often slightly rustic wares in the 1970s, many with the splash glaze effects we see here and all stamped with the firm’s name. This vase stands out somewhat for the simple lines of its form and the variety of effects in its decoration with a particularly pleasing palette of colours and demonstrates that this Mediterranean pottery could well rival at times the work of some of its European competitors.
West German Studio Pottery Vase, Scheurich, 1960s
Price: £35
A ceramic vase of near cylindrical form, the body tapering slightly outwards towards the base and incurving towards the foot, the sharply defined shoulder below a compressed circular rim, the whole decorated in shades of yellow and brown with a wide variety of glaze effects including speckle and craquelure. The base has moulded marks reading ‘XX-XX’ and ‘W.GERMANY’ indicating the firm ‘Scheurich Keramik’ which started production in 1954, rather later than most of its competitors, but soon became the largest producer of commercial art pottery in Germany. Their pieces rarely carried the factory name but usually the model number followed by the height in centimetres with ‘W.Germany’ below, as here. Scheurich were well known for producing a wide variety of pieces with variegated, almost experimental glazes and this vase is a particularly successful example of their work with a well balanced selection of colours and interesting glaze effects.
Pair of Brass Wall Plaques of Jousting Knights, Peerage Brass, mid C20th
Price: £45
This is a decorative pair of wall plaques with two brass jousting knights on horseback in mirror image on a black background with a simulated wood grain effect. The decoration is in cast metal and the square metal sheet continues to the back where it is folded over at the edges on top of the hardboard backing. While there are no markings beyond ‘Made in England’ on the hanging loops, these pieces were, in fact manufactured by ‘Peerage Brass’ who produced many quality brass decorative items from 1946 onwards. There is one group where they are joined by a larger rectangular plaque with similar mediaeval inspired decoration and which has a label reading “Peerage” ‘Brassware at its Best’ ‘Regd’ ‘Needs no Cleaning’ ‘England’ (see image 7). Peerage Brass was the successor to ‘Pearson-Page’, manufacturers of high quality brass and copper reproductions who enjoyed considerable commercial success before the Second World War. The trade name ‘Peerage’ was first adopted in 1946 and this pair of plaques would have been produced in the years thereafter.
Pair of Art Deco style Wall Pocket Vases, Poole Pottery, mid C20th
Price: £55
A pair of wall pocket vases of urn form with scrolling handles, a crimped base and a scalloped top, the backs flat with one pierced hole for hanging, kiln spur marks and impressed marks ‘POOLE ENGLAND’ ‘879’ and a stamped mark ‘C 54’, both glazed in shades of cream and brown. Poole Pottery began production in 1873 and continued into and throughout the twentieth century, suffering vicissitudes and even periods of liquidation in more recent years but still continuing production to this day. The design of these wall pockets has an Art Deco feel and may have been originally created in the 1930s but was still being made into the 1950s. The two colour or ‘twintone’ decoration was also first produced in the 1930s and the form of the marks here, where the just the factory name appears without the ubiquitous dolphin, may well indicate a pre war rather than post war dating. The impressed numbers indicate the model number and the stamped mark the colour scheme. Pairs of these wall pockets in good condition are not often found and the particular colour range here, which is rather pleasing, is unusual. Desirable items, then for collectors of Poole Pottery but also with a general decorative appeal.
Large faux coral Bakelite brooch, British c1940
Price: £45
A fine quality large floral brooch made from faux coral Bakelite with a bar pin to the reverse, carefully carved to represent the rose petals in fine detail. Dating from the 1940s this piece has remarkably survived in perfect condition making it the ideal statement fashion accessory.
Myott Son & Co Art Deco style Jug, 1930s
Price: £75
A ceramic jug of bold angular form, the body an inverted cone with a wide stepped spreading foot, the spout and handle in simple geometric designs, vividly decorated with a mottled blue glaze to the surface of the body, the top rim and spout with a modelled repeating triangular pattern in light blue, the colour also used on the stepped base, a band of orange to the top interior and orange and blue detail to the spout and handle, the base countersunk and glazed in a light mustard colour, which is repeated on the interior, and with stamped grey/black marks ‘Myott Son & Co’ ‘Made in England’ below a crown ‘Hand Painted’ ‘8498’ and [repeated] ‘Made in England’ in brown. This form of marking was used in the late 1930s.
Myott Son & Co was one of famous the Staffordshire Potteries and traded for over 90 years. Founded in 1898, it began production in Stoke moving to Cobridge four years later. Its output was continuous but in 1949 the firm suffered a disastrous fire which reportedly destroyed the firm's records and pattern books and probably for this reason it relocated to Hanley. In 1969 it was bought by the American firm Interpace, but the Myott name was retained until 1976 when the company merged with Alfred Meakin Ltd, who were based in Tunstall, to form Myott-Meakin Ltd.
Myott now are best known for their Art Deco inspired designs from the 1930s. Following the success of their competitors, most notably the designs of Clarice Cliff, Myott established their own popular following and produced pieces which could rival the output of their celebrated competitors. This jug, with its clean lines and bold colours is an excellent example and like others of the same form bears the pattern umber ‘8498’. Some of their glazes were easily subject to wear and blue was less commonly used so both the condition and the colour range of this jug make it a highly desirable collector’s item.
Bakelite Ivorine Mourning Brooch, British c1930
Price: £25
This is a brooch formed from bakelite intended to mimic ivory with its off white colouring. It shows a hand holding a rose and the slightly antique style reflects the fact that this was originally a Victorian design, intended to be a mourning brooch, the material of which would have been ivory (see image 4 for examples in the British Museum). Developed in New York in 1907 and patented two years later bakelite was the first plastic made from synthetic components. By the 1920s it became a popular material for jewellery and pieces were produced for some years thereafter. Dating here is probably to the 1930s or 1940s.
Mods at Clacton 1964, Photograph by Terry Disney for the Daily Express
Price: £45
Easter 1964 saw a gathering of two wheeler transport fanatics in the sea town of Clacton, Essex. These were the ‘mods’ and ‘rockers’ famous at the time, the ‘mods’ with their sharp suits and scooters and the ‘rockers’ with leather jackets and motorcycles. Relationships between the two groups were less than friendly and the inevitable resulted. But if the two rival ‘gangs’ disliked one another, they disliked the police even more and when officialdom stepped in, the chaos increased. Exactly what happened has been debated ever since. The press called it anarchy (see image 6) but the local council was not so sure.
It was, though, a newsworthy confrontation and press photographers were sent in to record events. The most notable of these was Terry Disney who worked for the Daily Express newspaper. Disney was a distinguished and prolific photographer from the 1960s onwards and many of his striking images survive, not least those capturing the major personalities of the entertainment world at the time, including the Beatles themselves. His images of the ‘mods’ (he seemed less interested in the ‘rockers’) capture the atmosphere of the scenes vividly and this photograph is an excellent example of his work on that Easter weekend (for another see image 5). Often only obtainable under licence, this print is an ideal opportunity for a collector to acquire a near iconic image. It is offered with a very basic frame which might well be replaced with something which would enhance the photograph more sympathetically.
Two Japanese Woodblock Prints by Toyohara Kunichika, second half C19th
Price: £75
These are two prints by the celebrated Japanese print maker Toyohara Kunichika (1835-1900) whose signature appears on both. The first does not appear to have been published online and cannot be identified here although the calligraphy inscriptions on this and the second are nearly identical implying that they may both be from the same series . The second is a kabuki (Japanese theatre) portrait of Iwai Hanshiro as Princess Wakana looking up from the spell she is rolling up, smiling at a large spider holding the other end of the scroll. She wears a light blue patterned kimono over a red under robe. Her long hair falls over her shoulders with a cluster of tiny flowers adorning her head. This print comes from the series ‘Competition of Powerful Magicians’ published in 1873.
Toyohara Kunichika achieved great fame and distinction a Japanese print artist. Born in 1835 he studied under Toyohara Chikanobu and then Utagawa Kunisada (also known as Utagawa Toyokuni III) eventually using a combination of both his teacher’s names to create his own professional one. At first he worked within Kunisada’s studio and when his teacher died in 1865 was asked to design two memorial portraits of him. The beginning of the Meiji era (1868-1912) saw Kunichika issuing his own prints, often in themed series and he became known in particular for his portrayals of kabuki actors, indeed he regarded the theatre as almost his second home. A contemporary once wrote ‘"Print designing, theatre and drinking were his life and for him that was enough.’ He achieved great fame and was rated as one of the masters of woodblock printing. Contemporary observers noted Kunichika's skilful use of colour in his actor prints, but he was also criticized for some of his choices for unlike most artists of the period, he made use of strong reds and dark purples rather than the softer colours used previously, exploiting the recent import of new dyes from Germany. Red, for the Japanese, meant progress and enlightenment so there was probably hidden meaning here. Eventually Kunichika’s lifestyle took its toll and he died in poor health, aged 65. It had been a Japanese custom for people of high cultural standing to write a poem before death. Kunichika's own, inscribed on his grave, reads ‘Since I am tired of painting portraits of people of this world, I will paint portraits of the King of hell and the devils.’ For many years his prints fell out of favour but interest has now revived and Kunichika is regarded as one of the eminently collectible Japanese artists in the field and these two prints are an excellent example of his work.
Each print is accompanied by a printed text on fine paper which presumably describes the character represented. The second of them is accompanied by two sheets one of which has become attached in one small place to the print itself but could probably fairly easily be detached by a restorer. In general there are some typical signs of age with minor losses (illustrated), tears and folding but the colours remain bright and fresh.
Framed Oil Painting on Board of a Winter Landscape Scene, C20th
Price: £55
Clearly the work of an accomplished amateur artist, this dramatic landscape painting of a snowy winter scene shows a gabled house set by a river with reeds and trees in the foreground and craggy snow capped mountains in the background. The location is really a matter of guesswork but the building resembles some found in Holland which might indicate a Dutch setting. The grandeur of the scene is obvious with the mountainous outcrops graphically depicted. The board surface used and the style of the frame suggests a mid to late twentieth century dating but this picture would grace a room setting of any age.
Korean Najeonchilgi lacquerware jewellery Box, C20th
Price: £25
This is an example of Korean lacquerware known as ‘Najeonchilgi’. The technique, derived from both China and Japan, involves the inlay of shellfish derived small pieces onto a lacquerware base. ‘Najeon’ means ‘mother of pearl’ and ‘chilgi’ lacquerware. These wares were produced quite early on in Korea’s history with a ‘golden era’ during the Goryeo dynasty (918–1392) but continued to be made until quite recent times. This box, then, made in the late C20th, comes at the end of a long run of a traditional manufacturing process but retains some of the hallmarks of its predecessors. The shape is rectangular with a bowed front, the hinges and clasp fastening in polished metal and the interior lined in red fabric with a mirror fitted to the underside of the lid. The highly polished black lacquer surface is inlaid with mother of pearl decoration, flowers to the front and a moonlit scene of storks to the lid, symbolising long life. Highly decorative in itself, this box is also extremely practical as storage item for a small jewellery collection and would be an elegant addition to the dressing table.
Korean Najeonchilgi lacquerware jewellery Box, C20th
Price: £25
This is an example of Korean lacquerware known as ‘Najeonchilgi’. The technique, derived from both China and Japan, involves the inlay of shellfish derived small pieces onto a lacquerware base. ‘Najeon’ means ‘mother of pearl’ and ‘chilgi’ lacquerware. These wares were produced quite early on in Korea’s history with a ‘golden era’ during the Goryeo dynasty (918–1392) but continued to be made until quite recent times. This box, then, made in the late C20th, comes at the end of a long run of a traditional manufacturing process but retains some of the hallmarks of its predecessors. The shape is rectangular with a bowed front, the hinges and clasp fastening in polished metal and the interior lined in red fabric with a mirror fitted to the underside of the lid. The highly polished black lacquer surface is inlaid with mother of pearl decoration, flowers to the front and a moonlit scene of storks to the lid, symbolising long life. Highly decorative in itself, this box is also extremely practical as storage item for a small jewellery collection and would be an elegant addition to the dressing table.
Outstanding Egyptian Revival necklace c1960
Price: £125
This is a very unusual necklace that features a large central pendant that depicts a beautiful design of Egyptian iconography. This includes cobras, ankh symbols, Horus the bird god and Ramses II. It is all done in bright gold with enamel work. This is on its original rope style chain fashioned to allow the pendant sit on the upper chest. It is probably of American manufacture.
Native American Zuni silver cuff bracelet c1970
Price: £125
This is a stunning bracelet made by Zuni silversmiths in the area of New Mexico. It comprises a large mosaic of turquoise, mother of pearl and coral that is indicative of Zuni design and work. This mosaic is set into a silver halo of a flower and leaves, also a typical design. It is marked Sterling 925
Egyptian Silver Pill Box with Mother of Pearl Inlay, marked, second half C20th
Price: £45
An oval silver box and cover, the lid with an inlaid mother of pearl design comprising geometric shapes which combine to produce a 3D ‘trompe l’oeil’ effect of solid shapes within a rope twist border, the exterior of the lid with a small stamped mark and the interior of the box with three small stamped marks. The markings here, which can be seen on other examples indicate that we have Egyptian work and there are a fair number of similar silver boxes but more commonly in a round shape. They are usually dated to the mid twentieth century. The quality of the craftsmanship is obvious and the form and decoration make this a highly desirable collector’s item.
Large silver fancy link Bracelet, modern
Price: £50
This is an unusual variation on the chainmail bracelet form where a triple series of interlocking oval links are combined with small rolled wire beads, quite a demand on the silversmith’s skills. The ends terminate in a ball and clasp fastening and the clasp is marked ‘925’ with a double oval. The style suggests a late twentieth century dating with perhaps English craftsmanship.
Victorian rolled gold and black and white agate Brooch, English c1920
Price: £50
An attractive brooch in which an agate stone of rounded rectangular octagonal form, the grey surface with clearly defined striations in grisaille and white, is framed by an elaborate rolled gold mount with a rococo style border, scrolling milled cord joining two stylised leaf shape panels at each end with round balls in gold tones in between, the bottom with a gold chain loop and a hanging drop and the reverse with a bar clasp. As with the other rolled gold and agate brooch in this sale, the design of the mount suggests the 1920s
Edwardian silver fleur-de-lis collar necklace circa 1910
Price: £85
The ‘fleur-de-lis’, a stylised form of lily symbolising fertility and purity, has been used as decorative motif for centuries and is particularly associated with the French royal family. It is more normally found as a single pendant necklace but the Victorians produced various collar necklaces in silver with the motif. These tend to be slightly heavier in construction than the example here suggesting a slightly later dating probably to the Edwardian era and most likely English manufacture. The finely cast silver fleur-de-lis leaves are joined by links and terminate in a spring ring closure presenting a delicate accessory, perhaps for a young lady.
Please note that the necklace is not marked for silver and has not been tested.
Japanese Celadon glaze vase with enamel decoration, late C19th
Price: £25
A Japanese vase of ovoid form with a short slightly concave neck, the celadon glaze with raised enamel decoration in green, white and pink of flowering peony, the base glazed in white. Many pieces of enameled celadon ware were produced by the Japanese potters for export to the West in a variety of forms including vases, jardinieres and garden seats, the latter implying, perhaps, a destination of the conservatory. Their appeal is obvious and the work is of high quality. This vase, one, no doubt, of an original pair is a typical example with its rich celadon glaze enhanced by the floral decoration. Dating is most likely towards the end of the Meiji period (1868-1912) around 1900. The provenance of these pieces is uncertain, although sometimes Seto ware, better known for its productions in blue and white, is suggested.
Chinese Small Blue and White Potiche and Cover with wood stand, late C20th
Price: £45
A small Chinese porcelain potiche and cover, the straight sides curving out slightly to the top and the overhanging lid slightly domed with a wide knob finial, decorated in underglaze blue and white with a continuous scene of birds and flowers and rocks, the flowers repeated on the lid as floral sprays. The design here is unusual for Chinese ceramics and rather ‘modern’ in appearance which fits with a probable dating to the late twentieth century. While the porcelain is of good quality the paste of the foot suggests fairly recent manufacture (see image 9) and the painting appears to depend partly on stencilled outlines (see especially the bird in the first image). But the wood stand suggests at least some age and the ensemble can be enjoyed its own right as a modest decorative item with the potential for practical use.
Pair of African Wood Figures of a Man and a Woman, probably mid C20th
Price: £25
A pair of wood figures of a man and a woman carved in an abstract style with slender proportions, the man holding a long staff and the woman balancing a vessel (presumably for water or wine) on her head, the clothing of both with etched patterned decoration and their complementary bases with contrasting geometric designs. The patina and colour of the wood suggests ebony and the style is African. As with the previous lot there is a label indicating manufacture in Nigeria and Kaduna is the capital city of Kaduna State, and the former political capital of Northern Nigeria. It was a trade centre and a likely source of artefacts made for tourists of which these are most likely an example. Dating is probably as the label indicates and many other similar pieces were produced at that time.
Doulton Vase with geometric and floral designs, late 1920s
Price: £75
A Doulton vase of ovoid form with a short concave neck and an inturned rim, brightly decorated in colourful enamels with modelled geometric and floral designs and with a mottled green/grey glaze below and beige above, the interior glazed brown at the top and the base unglazed with a typical impressed mark for Royal Doulton and the numbers ‘X8828’ ‘9869’ and also with scratched marks ‘WB’ ‘AT’. After the grant of a Royal Warrant in 1901, Doulton pieces carried a standard form of mark comprising a lion and crown above the name Royal Doulton and the '4D' symbol but from 1922–1927 a mark lacking the crown was used as here which allows a fairly precise dating for this piece. The numbers are for the model and pattern and the initials are artists’ marks, but unfortunately these cannot be identified. Made at a time when the Art Nouveau movement was nearing its end and the Art Deco style making its beginning, this vase reflects both, the floral decoration looking backwards and the abstract shapes looking forwards. The Doulton designers made great efforts to match the trends of their day and the result here is unusual and most attractive.
Mexican Silver Bracelet with Aztec Designs, Taxco, 1950s
Price: £65
This is a fine example of a ‘classic’ bracelet design produced by the Mexican silversmiths working at Taxco, the artistic centre of Mexican silver production. The bracelet comprises four curved rectangles of silver joined with hinges and terminating in a square push clap. When assembled the pieces form a circular bracelet which sits snugly on the wrist. Each piece has an engraved design employing Aztec motifs, so often a source for decoration on Taxco jewellery, key pattern between a triangular and a stylised floral motif on a ground etched to imitate stone. The square clasp is stamped at the back with a diamond tablet with the characters ‘GURDO925’‘FP’ and an eagle mark 4. Dating is most likely to the 1950s. FP is the Taxco silversmith who would have been active in the 1940s and 50s based on this eagle mark.
Japanese Arita Brushwasher, C20th
Price: £25
A small deep bowl with high slightly incurving walls and a lightly scalloped rim, decorated in underglaze blue with small floral blooms, peony representing Spring and prunus representing Winter, the base unglazed. The form suggests a brush washer and the paste of the foot an early to mid twentieth century dating. A modest scholar’s desk ornament then which might find a home in a contemporary office.
Monochrome tubular bead necklace, Modern
Price: £95
This is a rather fabulous necklace that feature very large tubular beads that are half crystal and half onyx. They ae paired with smaller crystal beads with black inclusions. The large beads adre very unusual. It has a silver clasp.
Triple strand of amber Bakelite beads, British 1930s
Price: £750
This is an imposing three strand necklace comprised of assembled graduated marble effect butterscotch amber beads joined at the head with a silver clasp. The beads have recently been restrung with wire to make the whole more robust and safer to wear. The three strands interlock perfectly and the selection of beads has been carefully chosen in respect of colouring and size to produce a striking ensemble which is bound to impress.
Chinese agate carving with onyx beads, 20th century
Price: £35
This necklace is a lovely design with a large carved banded agate carving. It is paired with onyx beads and agate beads. It is elegant and undestated due to the monochrome palette but definitely makes a statement.
Butler and Wilson Skull Necklace, boxed, modern
Price: £125
There is certainly a hint of the macabre in this ‘halloween’ necklace made by the well known British firm, Butler and Wilson. Founded by Nicky Butler and Simon Wilson in 1969 and initially trading from the once famous Antiquarius antiques market in Chelsea, the company is best-known for its crystal costume jewellery and their pieces have been worn by celebrities and even members of the Royal Family. The firm still trades today and their current range does include a number of skull design pieces but this necklace is around 15 years old. Silver metal and crystals are used to create five skull heads, the largest acting as a pendant with five skull drops. These are linked by a chain which terminates in a spring closure which has a circular medallion embossed with the firm’s name. The necklace comes with its original box which remains in excellent condition. Not perhaps to everyone’s taste but certainly a statement accessory!
Pair of Ceramic Goblets : the Wedding of Prince Charles and Lady Diana Spencer in 1981
Price: £20
A pair of ceramic goblets blue glazed with a bulbous body above a spreading foot, the front with silhouette portraits of the Prince of Wales and Lady Diana Spencer within a circle of wording commemorating their marriage below the Prince of Wales feathers, the reverse plain and the interior gilt. Inside the foot is the mark for Prinknash Pottery in gold. The Prinknash Abbey Pottery was started in 1942 by the Benedictine monks there when they found a seam of clay during some building work. Situated in the abbey Granham in Gloucestershire their pottery continued production until 1997 when it was sold to the Welsh Porcelain Co. Their blue glaze commemorative wares stand apart somewhat with something of a ‘regal’ feel.