Egyptian Revival necklace depicting Tutankhamun c1980
Price: £45
This is a a dramatic necklace in the Egyptian Revival style. It has a large central pendant with three drops with stations all the way around depicting Tutankhamun in a rather humorous way. This necklace appears to be a museum edition from possibly the British Museum or the Met in New York. The reverse of the stations and pendant are also finished with Egyptian designs. A very well thought out and finished piece.
Brown Alabaster Egg painted with a bird and flowers, fitted wood stand, Chinese C20th
Price: £25
This is a charming decorative ornament comprising an alabaster egg shape stone in light brown carefully painted with a design of a bird sittting amidst a spray of flowers with peony and bamboo, fitted with a complementary wood stand. The work is typical of Chinese painters and the fitted stand suggests a late C20th dating.
Oriental style ceramic plate, signed Alice Smith, possibly American mid C20th
Price: £10
There are no obvious parallels for this plate. The form is that of a typical Chinese nineteenth century desert plate with a broad shallow well and a slightly upcurving rim but the back is glazed all over including the foot rim which is not the case with Chinese examples and the general appearance of the decoration is Western. The theme of children at play is typically Chinese but it is usually boys that are represented where here we have girls, four of them in coloured robes playing with tops, one standing apart from the rest. At the edge are a few sparse gilt leaves and the ground is a light mustard coloured wash, with the reverse plain and the signature in black ‘Alice Smith’ under the glaze. Whoever the artist was, she was capable of having a piece of hers professionally fired which implies a degree of commercial expertise. But there is nothing else to suggest other than the work of an accomplished amateur. Americans were and are prone to manufacture ‘home grown’ pieces in an Oriental style (some of their modern wallpapers are particularly notable) which leads this cataloguer to hazard a guess as to provenance and date. Otherwise, we have a true ‘mystery piece’ here but the composition is a sympathetic recreation of the East, wherever it was produced.
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.
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.
Taxco charm bracelet, makers mark Castelan, 1950s
Price: £85
This is a fun bracelet comprising a heavy curb chain mounted with charms that have a Mexican motif. It bears the marks 'Castelan' , Eagle mark 15, '925' 'Sterling'.
Japanese Kutani Shell Shape Dish, circa 1880
Price: £45
A Japanese Kutani dish in the form of a shell with typical modelled ribbing to the front and finely decorated in iron red, sepia, grisaille and gold with three shell shape panels filled with birds
and flowers (peony and chrysanthemum) on an iron red ground with stylised gilt foliage with, in addition, roundel and part roundel shape panels with gilt floral patterns, the reverse plain
and with a two character mark 'Ku' 'Tani' to the centre.
Kutani (the word means 'nine valleys') porcelain was made at various factories in the former Kaga province of Japan. The earliest pieces were in a completely different style employing a palette of colours emphasising green, the so called 'Ko Kutani'. Production of this ceased around 1730, and manufacturing was not revived until the early nineteenth century when the more familiar colourings of iron red and gold were introduced. Many pieces were exported to the West in a variety of forms including vases and wall plates. This shell dish is more unusual; the shape is more normally found in Chinese ceramics. Perhaps one of an original pair, this dish, like its Chinese counterparts, was probably intended as a serving dish and could even be used as such today although it can well stand as a decorative item.
Ceramic and Bronze figure of a Blue Tit, Albany Worcester, late C20th
Price: £35
A superbly modelled polychrome ceramic figure of a Blue Tit hanging from a gnarled twig well worked in bronze, the base stamped 'Albany England'. Albany Worcester was launched in 1973 by David Palmer, Bill Nichols & David Lovegrove, who all previously worked at the Royal Worcester Porcelain factory. Their pieces, distinguished for their quality and detail, rapidly became popular and Harrods and the Queen's jeweller Asprey became customers. Sales grew to be global and some of their china and bronze pieces were even reputed to have been bought as wedding presents for the Prince and Princess of Wales. But the firm, which had just two full-time employees at the end, started to decline in the late 1980s and sales figures fell even further when the factory, which was then based in Lowesmoor, suffered a serious fire in 1995. There was something of a revival after this but fashions had changed and it proved to be short lived with the company closing in 2005. This piece is truly a sculpture in miniature and well deserves the protective dome in which it now stands. A reminiscence of a past era, perhaps, but surely deserving of a place in a contemporary interior.
Small Art Deco wrist bag with Bakelite closure, French 1920s
Price: £35
This is a lovely small bag that is made from taffeta in the form of a gathered sack with a strap handle. The interesting feature is the large carved Bakelite closure in black and white. It is lined in a woollen fabric as the original lining, traces of which remain, has been removed as it must have degraded. Although quite small for today's requirements still quite usable and definitely a collectible piece!
Floating Flower jade pendant on bead necklace
Price: £175
This is a beautiful constructed necklace comprising a large very detailed Floating Flower jade carving of a waterfall with mountains and trees. There is also a temple and a boat with two figures. The reverse also has a very detailed of a landscape. This is a wonderful example of Chinese carving. It is strung together with green and white jade beads ending in a silver gilt Chinese filigree clasp. The bale is 9K gold.
Porcelain Figure of an English Pointer Dog, Lomonosov, USSR late C20th
Price: £55
A porcelain figure of an English Pointer dog, modelled recumbent with its front paws stretched out, its head slightly raised with an expectant expression, the markings on the fur and face highlighted in brown. The underside has a stamped mark in iron red which is for the Lomonosov, factory situated in St Petersburg. With a history of production spanning back to the mid eighteenth century, Lomonosov became well known for its ceramic figures of animals in the mid twentieth century, expressively modelled and brightly coloured, including tigers, giraffes and, as here, dogs. Dating here is determined by the form of the mark which was used from 1986 to 1992. Red was reserved for the best quality pieces and the mark itself is in the Russian alphabet (ЛФЗ), that is ‘LFZ’ in English which is an abbreviation of the factory name ‘Lomonosovkiy Farforoviy Zavod’. In addition are the words, rather indistinct, ‘Made in USSR’ which may imply that the piece was intended for export. There is much appeal here both for lovers of dogs and collectors of decorative porcelain.
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.
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.
Striking continental silver modernist bracelet c1960
Price: £55
This a very beautiful and detailed bracelet comprising panels with organic shapes in front of coral like designs. It is marked Sterling Foreign 925. It seems that it should be attributed to a particular jewellery designer as it is so unique and high quality.
Victorian enamel buckle c1900
Price: £45
This is a lovely example of these buckles in a scrollwork design with bright enameling in turquoise and pinks. It is brass.
Paris tourist novelty bracelet c1950
Price: £35
This is a fun bracelet in a tarnished silver finish. It depicts Parisian landmarks and the city's coat of arms. They have a 3D effect which is interesting.
Victorian set of matched Scottish agate beads c. 1880
Price: £450
These are an incredibly rare set of large graduated matching Scottish agate beads restrung with a 9k gold clasp and clear spacer beads. Matched sets like this come at quite a premium and can fetch eye watering prices. It is a very fine example of beads like this.
A very finely carved white pendent on traditional silk cord, Modern
Price: £25
This is a lovely piece of white jade that has been carved with a typical dragon motif and Chinese characters. It is strung onto a very well designed silk cord. This is quite a modest item and it is almost surely treated in some way.
Pair of Brentleigh Ware Wall Hanging Ballet Shoes, 1930s
Price: £35
A ceramic wall hanging model of a pair of ballet shoes glazed in red with black laces, one pierced at the back for display, the soles also glazed in red and with an impressed mark ‘Brentleigh Ware’ ‘Made in England’. Brentleigh was one of the trade names of the Howard Pottery Co Ltd in Shelton Staffordshire who seem to have made pieces from the 1920s to the 1950s. The art deco style of this group suggests a pre war dating to the 1930s. The model sometimes appears in black, making these a rather more decorative example and the glaze is often subject to substantial loss and flaking which is not the case here and therefore much more pleasing to the eye. Kitsch perhaps but an amusing piece of wall decoration for shoe lovers everywhere!
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.
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.
Doulton and Slaters Patent Jardiniere circa 1890
Price: £750
A Doulton Jardiniere of squat form, the body tapering sharply towards the base with a short slightly flaring neck, decorated with a fabric derived design, the brown biscuit body with an impressed floral design over which are applied gilt flower heads and carefully modelled strands of lotus in blue and aubergine enamel, a band of light blue beads at the top and the interior glazed in dark blue, the base unglazed and with a series of impressed marks including ‘Doulton Lambeth’.
The Doulton factory began production in 1815, first at Vauxhall and later moving to Lambeth. In 1882 it opened an additional factory at Burslem, Stoke on Trent in the centre of the English pottery. Known at first mainly for utilitarian works it began to develop decorative wares more extensively in the 1860s and soon gained a reputation for its distinctive designs. As the mark indicates, this piece was made at the Lambeth factory and the absence of ‘England’ in the Doulton mark, which has the typical design of interlocking ‘D’ at its centre, indicates that it dates to before 1891. The decorative technique, employing impressed designs was known as ‘Chine’ ware and protected by the patent ‘Doulton and Slaters Patent’ which is clearly marked underneath. Pieces of linen, lace, net or other fabrics were pressed onto the unfired soft clay shortly after potting, leaving a corresponding pattern behind. This piece has elaborately modelled lotus strands in addition as well as gilt flower heads, an unusual combination which does not seem to often occur. On the base are found stamped numbers and letters which should indicate the pattern number and artist decorator but it has not been possible to identify these accurately. Dating though is confirmed and this was clearly a deluxe item amongst the range of pieces produced at that time.
Chinese Reverse Glass Painting of Two Ladies on a Garden Terrace, first half C20th
Price: £240
A reverse glass (or verre eglomise) painting depicting two ladies in elaborate court dress on a garden terrace with fencing at the front and a stylised garden scene at the rear with rocks, prunus and bamboo (symbolising longevity and renewal); one reads a book and the other holds a small library book box. Reverse glass paintings became a staple of the decorative items exported by China in the eighteenth century and production continued into the twentieth. The style of painting here, a little less detailed than that found in older counterparts but still with charm and skill in the brushwork, suggests a dating to the 1920s which would fit with the frame which is most likely original and retains its original fastening pegs at the back. The composition is well balanced and attractive and this is an excellent example of the genre in good and original condition.
A Pair of African Ebony Wood Makonde Style Carved Figures, probably late C20th
Price: £55
A Pair of African Ebony Wood Makonde Style Carved Figures of a Man and a Woman, probably late C20th
This pair of wood figures represents a man (left) and a woman (right) carved in a semi abstract and elongated style. Both are dressed in flowing robes, the lady’s pulled away to expose her right breast. The man holds a stylised shield and the lady a stylised musical instrument as indicators of their gender and the lady is slightly more ornately dressed with a necklace collar and bangles at her hands and ankles. Both are represented with the stretched earlobes typical of the Maasai people. The weight, graining and dark highly polished surface of the wood sugests ebony which became the preferred material for wood carving of the Makonde people after the 1930s when their art began to attract the attention of Western collectors.
Maasai and Makonde are ethnic terms used to describe African peoples who live in Tanzania, Mozamique and Kenya, with their own distinctive languages, culture and art. This pair of figures is typical of the wood carvings produced by their craftsmen in the second half of the twentieth century but their quality and size is well above average, the ebony wood finely rendered with much attention to detail and finished with a highly attractive glossy patina. The two figures complement one another well, their heads slightly turned to face one another with their legs turned slightly outwards and their robes flowing almost in mirror image. The abstract style makes them well suited to a contemporary interior where they could prove a striking accessory.
Vintage Carved wood bust of a Lady, Bali, Indonesia, second half C20th
Price: £75
A finely carved wood bust with a rich patina and veining of a young woman wearing traditional headdress. The style of this piece indicates that it was the work of a Balinese craftsman. The island of Bali in Indonesia has a rich tradition of wood carving dating back hundreds of years. Known in the Balinese language as 'Batuan', wood carving has its roots in Bali's
Hindu-Buddhist culture. Typically, the pieces are made from hardwoods with a coarse grain including teak, chempaka wood and sandalwood. The decorative grain effects here, though, suggest mahogany and the highly polished finish is quite striking and far less commonly found today. Dating is probably to the 1960s but the aura of calm contemplation recalls Chinese pieces of an earlier era.
Vintage Carved wood bust of a Lady, Bali, Indonesia, second half C20th
Price: £75
A finely carved wood bust with a rich patina and veining of a young woman wearing traditional headdress. The style of this piece indicates that it was the work of a Balinese craftsman. The island of Bali in Indonesia has a rich tradition of wood carving dating back hundreds of years. Known in the Balinese language as 'Batuan', wood carving has its roots in Bali's
Hindu-Buddhist culture. Typically, the pieces are made from hardwoods with a coarse grain including teak, chempaka wood and sandalwood. The decorative grain effects here, though, suggest mahogany and the highly polished finish is quite striking and far less commonly found today. Dating is probably to the 1960s but the aura of calm contemplation recalls Chinese pieces of an earlier era.
Wade green glazed Posy Vase, 1950s
Price: £20
A ceramic vase in the form of a narrow shallow urn with a lobed body and raised loop handles, green glazed and marked at the base ‘Wade’ ‘England’.
Wade Ceramics Ltd was a manufacturer of porcelain and earthenware, headquartered in Stoke-on-Trent, England. Founded in 1867, it was run by various members of the Wade family until the death of George Anthony Wade in 1987 after which there was a succession of management buyouts. Despite substantial investment in 2009, the firm eventually went into administration in 2022. Wade produced a wide variety of ceramics, including the well known Wade Whimsies animal figurines.
This vase was designed to hold a small bunch of flowers and was produced in a variety of sizes and colours, green being the most common. The form has an almost ‘neo classical’ feel but the piece dates to the 1950s when this particular format of the factory mark was used.
Mexican Silver Bolo Tie with Aztec mask Head, Taxco, c1950
Price: £125
The word ‘bolo’ derives from ‘boleadora’, an Argentine or Uruguayan lariat or lasso and is used to describe this semi formal type of neckwear in which a cord is held together by a medallion of some sort so that it can be draped around the neck. Mexican silversmiths working at Taxco, the artistic centre of Mexican silver production, produced versions of the bolo in which the medallion is in the form of a hardstone mask head set in silver. In common with many, this piece has an aventurine hardstone face in the form of an Aztec mask framed by an elaborate silver headdress. Through this runs a black cord with silver tips at each end. The mask is stamped at the back ‘925’ ‘TAXCO’ ‘Cheo’ ‘MEXICO’ with an eagle mark 185 at the top left. Dating is most likely to the 1950s. The bolo was regarded as semi formal wear for a man but can equally, or even better, serve a decorative piece of neckwear for a lady with a distinct hint of South American style.
Indian tribal necklace, 19th century
Price: £175
This is a very unusual and rare tribal necklace that is from India, most likely from the Rajasthan region. It features a large silver disc with a free form design, This is strung with a necklace that has thousands of garnet beads. The pendant is marked 925 which indicates that it was exported to the west.
Classic black crocodile handbag 1940s
Price: £75
This is a very classic style bag in a square shape typical of the period. It is lined with black leather and is in excellent condition. The handle has been restored to it's original beauty and is ready for daily use. All you need are some white gloves and you are ready for anything!
Vintage Brass Pocket Case with a lid, probably a Vesta case for Matches, circa 1900
Price: £55
A small brass case with a hinged lid of irregular rectangular form decorated in high relief repoussé tecnique with a devil’s head encircled by a snake whose scaly tail continues onto the lid. Repoussé work is a metalworking technique in which a malleable metal is shaped by hammering from the reverse side to create a design in low relief. Other examples of these cases are known with a similar shape and technique and even the devil and snake motif. It is more than likely that this case was designed for matches, the so called 'Vesta Case' of which there is another example in this auction. Like that piece it is fitted with a ring, presumably to allow it to be attached to a watch chain. But other uses could have been intended, possibly for business or visiting cards (the Victorian calling card was much smaller) or perhaps for pills. The style of decoration very much recalls 'Arts and Crafts' pieces made around 1900 and a similar dating seems likely here.
Vintage Brass Vesta Case in the form of a Violin, circa 1900
Price: £55
A Brass Vesta, or Match, case in the form of a Violin with an opening cover to the bottom and a fabric covered bar inside. Vesta was the Roman Goddess of the hearth, home and family and
altars and temples dedicated to her commonly employed a live flame, which caused some manufacturers of matches in the nineteenth century to name their products 'Vestas', the most famous being the Swan Vesta match produced from around 1900. Early matches were highly combustible and cases to keep them safe were produced from around 1830 onwards. The peak of popularity of the 'Vesta Case' was around 1900 and their use declined in the 1920s when the first cigarette lighters were produced. The cases were made in a variety of forms and materials, even gold and silver. This example is brass and probably from around 1900. The surface of the cover is ribbed in order for a match to be struck against it but he function of the interior covered bar is less clear. The case is fitted with a ring, presumably to allow it to be attached to a watch chain. Practical in their time, Vesta Cases are collectible now and the rarer shapes much sought after.
Kitsch Style Conch Shell with painted landscape decoration, C20th
Price: £45
This is a conch form shell which has elaborate painted landscape decoration to the exterior and interior, the design flowing on almost continuously and extending deep into the inside of the piece. Whether in good taste or not, the skill of the artist is evident with the detailed and colourful riverside scene continuously unfolding to the extreme interior of the shell. While painted shells are known, there are no immediate comparisons to what we have here and provenance and dating are rather a matter of guesswork. There seems to be a 1950s feel though and the work looks more English than European. A conversation piece perhaps!
Indian Silver and Enamel pill or trinket Box, early C20th
Price: £55
A small Indian silver and enamel box and cover of near spherical form with three ball like tripod feet and a round finial, the silver body with cloisonne enamel decoration of a central panel of elephants in procession and geometric floral designs to the lid and base with blue enamel compartmented borders, the interior finished in translucent green enamel. Style of decoration indicates an early C20th dating for this highly appealing item which might even have a practical use for its new owner.
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.
Indian wooden toy model of a Horse with metal fitments, early C20th
Price: £25
This is an amusing wood model of a horse, its right leg raised and the head looking expectantly forwards, the finely grained wood with metal fitments in brass and copper representing the ears, muzzle, saddle, saddle bags and tail, all with fine detailing and small nail fastenings. Many examples exist of these wood and metal horse figures which are usually held to have been made in India at Jodphur, Rajastan, in the early C20th. Presumably more intended for the local colonial audience these pieces have an obvious and wider appeal. The smaller sizes were probably intended as toys and perhaps the original owner of this piece played with it a little too vigorously which might explain the damage to the right front leg!
Japanese satsuma style match stick holder c1940
Price: £45
This is a lovely little figure of a Japanese man holding a vessel that is used to hold matches. It is done in a satsuma style motif and is marked Made in Japan on the bottom. A lovely souvenir from a trip long ago.
Chinese style Vase and Cover decorated with ladies and courtiers in a garden scene, C20th
Price: £55
A Chinese style vase of ovoid form with a short neck and foot fitted with a matching dome shape cover with a plain finial, decorated with a polychrome design of two ladies in a garden scene being watched through a stylised window by two courtiers, flowering trees to the front and reverse, probably plum blossom or prunus, and typical verandah fencing, the foot, shoulder and cover with pattern designs loosely imitating those of the eighteenth century, including lotus panels, ju'i form lappets and floral borders with scrolling peony. This piece is a pastiche of Chinese work and probably dates to the 1960s. While it looks back in some respects it has a contemporary feel, particularly in respect of the shape which is simpler and more Western than that of its sources. The mark is pseudo Chinese and the manufacturer was clearly European, most probably an Italian factory since some similar pieces exist with a label stating 'made in Italy'.
Framed Picture of Two Elephants signed Mary Beth Zeitz and dated 2003
Price: £25
This attractive composition was, in fact, drawn on a serviette as the label at the back indicates and can easily be seen from the material itself. Depicted are a pair of confronting elephants with colourful saddle hangings and open top howdahs. The painting is skilful and there is much detail in the representation of the fabric hangings and the sides of the howdahs. But then, this is the work of an accomplished and known artist, Mary Beth Zeitz, whose signature appears at the bottom right hand corner (see another example of her work [image 7] for comparison). Born in the C20th in Louisville, Kentucky, she was raised in Wilmington, Delaware from the age of 3 and then went on to study French at the University there following this with a spell the Universite de Montpellier while she was living in the South of France. Her work is distinguished by detailed subjects and antique-style textures which are often to be seen in her watercolours. Her paintings have found their way into several galleries and have been purchased by private and corporate collectors. The recipient of this gift was lucky then and received a decorative object of great charm and skill.
Large python handbag with wood closure detail 1930s
Price: £125
This is a very interesting bag that comprises python skin throughout. It is lined with taffeta and has python on the interior accents. It has an unusual wooden closure and a handle that is also covered in python skin and is in great condition. It is large enough for use any time day or evening.
Pair of Japanese Noritake Vases, early C20th
Price: £35
A pair of Japanese Vases of flattened baluster form with short necks and feet and applied loop handles to the sides, the bodies decorated in a salmon pink glaze with a central panel of flowers (chrysanthemum, lotus and plum blossom) surrounded by a wavy edge gilt border, a green border to the top, gilding to the handles and a gilt rim to the base, the foot with a Noritake mark in underglaze blue.
The Noritake compnay was set up by the Morimura family at Noritake near Nagoya in the early twentieth century. Called at first 'Nippon Toki Kaisha Ltd' on its founding in 1904, the business soon changed its name to 'Noritake' and began the manufacture of porcelains for the domestic and export markets. The mark seen here is interesting. It comprises a 'Komaru' symbol, crowned with "Noritake" and with the mark 'Made In Japan'. The centre symbol said to be taken from the Japanese character "Komaru", meaning "overcoming difficulties". According to the Noritake company tradition this mark was designed when contact with the different culture of the west early in the 20th century caused problems of adaptation. It is also known as the 'tree crest mark' which is the clan crest of the Morimura family. This mark is said to have been registered in London for the UK market by 1908. The curled up ends of the Komaru symbol seen here distinguish this mark from later versions and allow a dating of this piece to the early twentieth century.
Noritake porcelain became synonymous with finely potted tea and breakfast services made in great quantities for export. These vases are a rather more unusual production and show the factory capable of producing high quality pieces with decorative potential.
Antique English Staffordshire pitcher, William Brownfield and Sons, circa 1860.
Price: £55
A cream glaze pitcher, the pear shape body rising to a modelled spout with a short foot below and with an applied rope twist handle, decorated all over with a relief modelled design of fern leaves and wheat sheaves, the spout fitted with a weighted pewter lid, a moulded mark to the base which includes the manufacturer 'W' 'B' 'Brownfield' and the pattern 'Fern'.
William Brownfield and Sons occupied a factory in Waterloo Road, Cobridge from the mid nineteenth century onwards. Cobridge is an area of Stoke-on-Trent, in the county of
Staffordshire, England, the heart of the English Pottery industry. From 1850 to 1871, the firm produced only earthenwares, the best-known products being perhaps the moulded jugs
which often bear the initial mark 'WB'. This pitcher is a prime example of the type with its highly attractive and detailed relief moulded decoration in the 'Fern' pattern, as marked underneath. The elaborate moulded mark allows accurate dating. In the outer circle is the manufacturer and the pattern, '24' being perhaps the pattern number. The diamond shape inside is an example of the English Pattern Registration diamond system which was used from 1842 to 1883. 'IV' at the top indicates the type of item registered (pottery). The date of registration of the pattern is shown by (i) The letter at the top ('G') indicating the year, (ii) the number at the centre right ('14') indicating the day and (iii) the letter at the centre left ('B') indicating the month. Putting these together we have 14 October 1863. This is the date after which the pattern was used. This fits with the mark on the pewter lid which was made by the well known firm 'Spurrier' and registered in May 1868. We have, then, a classic example of the design which can be securely dated to the mid nineteenth century. Truly a collector's item.
Pair of Wade green glazed Mermaid salts, 1950s
Price: £55
A pair of ceramic salts in the form of a slender organic urn, green glazed with moulded handles in the form of mermaids and moulded decoration of sea urchins, aquatic reeds and seaweed, the base unglazed and with a raised mark ‘Wade’ ‘England’.
Wade Ceramics Ltd was a manufacturer of porcelain and earthenware, headquartered in Stoke-on-Trent, England. Founded in 1867, it was run by various members of the Wade family until the death of George Anthony Wade in 1987 after which there was a succession of management buyouts. Despite substantial investment in 2009, the firm eventually went into administration in 2022. Wade produced a wide variety of ceramics, including the well known Wade Whimsies animal figurines.
This pair of salts is rather different to many of their productions and have a distinctly ‘Art Nouveau’ feel but, in fact, date to the 1950s when this particular format of the factory mark was used. It seems to be one of the rarer forms and pairs are even rarer still, so definitely one for Wade collectors!
Chinese Shoushan Soapstone Seal with the characters A.H., C20th
Price: £45
A Chinese soapstone Seal of slender square form, the top with a relief carved figure of a sage dressed in flowing robes and holding two scrolls in his left hand, set in a niche with a curved top, the base with two raised carved letters ‘A.H.’ The stone used here with its burnt orange, finely mottled surface is an example of ‘Shoushan’ soapstone which was very commonly used in the production of seals. It was mined in the Fujian province at or near the village of Shoushan in the North, from which it takes its name. Seals made from Shoushan stone in this burnt orange colouring, often found as pairs, were made from the nineteenth century onwards. The rather sketchy carving of the figure here suggests the mid to late twentieth century work, though, and, with its two European letters below, this was clearly a special commission. But the form and the quality of the material used are pleasing making this a useful addition to a collection of Chinese desk ornaments.
Blackpool souvenir teapot c1920
Price: £35
This is a wonderful souvenir teapot from Blackpool with a pewter cover. Blackpool was a very popular holiday destination for brits back one hundred years or so. Blackpool is a seaside resort on the Irish Sea coast of England. It's known for Blackpool Pleasure Beach, an old-school amusement park with vintage wooden roller coasters. Built in 1894, the landmark Blackpool Tower houses a circus, a glass viewing platform and the Tower Ballroom, where dancers twirl to the music of a Wurlitzer organ.
Fine Quality engraved French Glass Dish with naturalistic Ormolu Mounts, early C20th
Price: £25
A small glass circular dish with deep sides and engraved to the centre with flowering lotus, mounted to the rim in gilt meatal or 'ormolu' with a circular band cast with a repeating loop design,
astride which are a well modelled frog and a lily pad. Perhaps intended as a bonbonniere or a trinket dish, this charming piece clearly reflects the Art Nouveau style with its emphasis on
naturalistic design. Similar pieces are held to be French and this is most likely the provenance here with a dating to the early C20th.
Small Chinese Gilt Ground Cloisonné Bowl, C20th
Price: £35
A small bowl with a short foot and an everted rim, the gilt ground decorated in raised cloisonne enamel with prunus flowers, the base and interior finished in mottled turquoise enamel. 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. In the early twentieth century pieces were produced with a gilt ground onto which were applied raised cloisonne enamel designs, as here. The quality of the work is excellent and self evident but note in particular the shading effects in the enamels which are seen in images (3) and (4). Prunus is the emblem of Winter and the symbol of life because its blossom appears in springtime on an apparently lifeless tree. This small bowl or cup was probably intended for drinking tea or wine which explains the shape of the rim. Dating is most likely to the first half of the C20th.
Aseda Glasbruk Art Glass Vase by Bo Borgstrom, Swedish, 1960s/1970s
Price: £75
An art glass vase of slender bottle form, the lightly flaring rim resembling a spout, the black body encased in clear glass with irregular modelled shapes often held to resemble thumbprints. This vase was made by the firm Aseda Glasbruk which was a Swedish glass factory located in Åseda, Kronoberg County. It began production in 1947 and continued through until 1975 when it was incorporated into the Royal Krona group, which unfortunately then went into liquidation in 1977. Åseda Glasbruk's chief designer was Bo Borgstrom, who graduated from Stockholm's Swedish School of Arts and Crafts in 1951. Known as an artist in ceramics Borgstrom joined the firm in 1961 and perhaps his earlier work influenced his later creations for his new employers and can be seen here in what is certainly rather a sculptural piece. The design shows the influence of other pieces produced in the 1960s and early 1970s allowing us to place the date of
manufacture at around that time. It is a fine example of clean Scandinavian elegance.
Chinese Celadon Glaze Bottle Vase with White Slip decoration, Jingdezhen mark, C20th
Price: £75
A Chinese Vase of bottle form, the globular body rising to a straight neck with a short foot, covered all over in a celadon glaze and highlighted at the front with decoration in white slip depicting birds on branches of flowering lotus, the design continuing towards the rear. The base with a four character seal mark in underglaze blue reading 'Jing-De-Zhen-Zi', indicating manufacture at the well known kiln town of Jingdezhen in the Jiangxi province. Celadon pieces with white slip decoration, usually depicting birds and flowers, seem to have been first produced in China in the nineteenth century. Vases and garden seats are the most commonly found forms. This vase continues the style and the quality of the glaze and decoration compares very well with its predecessors. The mark is found on other pieces and seems first to have been used around 1950 but was still employed around forty years later so dating must also take into account the quality of the decoration and the paste of the foot, both of which suggest the mid C20th here.
Burgundy Leather Jewellery Box with Bramah Lock, early C20th
Price: £95
This is a fine quality jewellery box covered in red burgundy leather. The rectangular base is fitted with a shallow flush lid bevelled at the front and back and attached by brass lever hinges. The front of the base has a lock marked ‘Bramah’ with the original key and the lid an inset brass handle, the surface of which would have been suitable for the engraving of the owner’s initials. Inside are two removable trays, the top one with compartments for jewellery and a circular holder for a watch. The linings of the box and trays are in burgundy leather and velvet. There are many features here of a ‘deluxe’ item, in particular the ‘Bramah’ lock, known for its high security, and the lever hinges. The box most likely dates to the early 1900s and would clearly have been sold by a purveyor of ‘luxury’ items for a wealthy clientele. It retains, of course, its functionality today.
Dutch Delft Blue and White Gourd Vase in C18th Style, late C20th
Price: £25
A ceramic vase of double gourd form with a short foot and a flaring rim, the fluted body decorated in underglaze blue with flowering peony and flowers in a chinoiserie style, the base with underglaze blue marks including the symbols for Delft ware and the name Delft itself. The tin glazed earthenware pieces, mostly blue and white, produced at Delft in Holland are a familiar staple of the ceramics repertoire. Production began as early as the sixteenth century but the most famous era of output was between the mid seventeenth and eighteenth although pieces continued to be manufactured after that, both in the nineteenth and twentieth centuries, usually copying the forms and designs of the earlier wares but no longer employing the tin glaze of the earlier pieces which proved to be too expensive.
This vase is typical of one of these later creations and copies an eighteenth century original which itself was based on Chinese pieces. The marks underneath, although some of them are blurred, offer a clue to the dating. Below an ‘A’ at the top can be seen a vase which stands for ‘De Porcelyne Fles (The Porcelain Bottle) a factory which was established in 1653 and continues production today. There follow the initials ‘JT’ as a monogram standing for Joost Thooft who bought the factory in 1876 and below this ‘Delft’. At the bottom are usually found the painter’s initials to the left and letters to the right which are the date mark. On this vase these are unclear but the painter’s initials read ‘MA’ which appears to stand for M.H.van Aalst who worked for the firm from 1941to 1983. This would fit with a likely dating here to the second half of the twentieth century, but the artist has successfully recreated the work of his predecessors and produced a piece of great charm.
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.
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
East German Ceramic Vase, VEB Haldensleben, 1950s
Price: £35
An East German Ceramic Vase of simple rounded form with an open neck decorated in yellow, blue and grisaille with bands of overlapping, cloud like segments, the interior glazed in black and the foot glazed in aubergine with an impressed factory mark and the numberd '8409'.
The factory mark, a shallow dish superimposed over the letter 'H' inside a circle, is that of the East German pottery VEB Haldensleben. VEB stands for 'Volkseigener Betrieb', meaning a people-owned enterprise and used in relationship to the state owned workplaces in the GDR. Haldensleben is a town in Saxony-Anhalt, Germany and a ceramics factory was created there in 1945 with the nationalization of the Carstens Uffrecht plant that followed the division of Germany at the end of WWII. Halsdenleben focused primarily on the manufacture of vases. Its output tended to be of superior quality and employed more restrained glazes than those used by its West German counterparts. Upon the reunifucation of Germany in 1990, the factory was returned to its original owners, the Carstens family. The pattern number here is found on other pieces with the same shape but the abstract decoration used is quite individual and evocative of 1950s and early 1960s designs.
West German Ceramic Vase, Marei, 1970s
Price: £45
A West German Ceramic Vase, the bulbous body rising to a slightly flaring ribbed neck and with a short spreading foot, thickly glazed in yellow with green and blue enamel stylised scrolling
foliage, green bands to the foot and top rim, the top interior finished in blue and the foot finished in mustard brown with an impressed mark '7104'.
While not stamped with a maker's mark, vases of this type are attributed to the West German Ceramics factory Marei which produced pieces from 1949 to 2016. Marei was the commonly used abbreviation for the firm's name which was Majolikafabrik Rheinbach Jean Fuss and Sohn. The pieces are distinguished by the use of a reddish clay but this was sometimes more brown or dark brown depending on the suppliers used. Marks are usually impressed into the base although these are often just pattern numbers, as here. Many pieces are unmarked and some are stamped 'MADE IN GERMANY' or 'W.GERMANY'. The pattern number here is '7104'and is found on similar pieces with the same shape but different decoration. This vase was probably made in the 1970s and is typical of the striking designs the firm produced.
Burmese doll figure of a Priest, C20th
Price: £45
This is a very curious piece indeed. The figure represented by the doll is clearly a man from the depiction of the face with its broad moustache; his hair is swept back and the forehead painted with three red lines which most likely have a ritual or religious significance suggesting that we have a priestly figure here. His torso and arms are closely bound in gold and blue fabric strips and below is a billowing pink robe with gilt thread decoration, now somewhat worn, but the truncated profile is strange. If there is a religious element perhaps the doll had some ritual function; it certainly has the appearance of one. The treatment of the face suggests Burma and there is clearly some age here, perhaps a dating to the mid or even early twentieth century but there do not seem to be any close parallels. One for a specialist collector perhaps and certainly someone with more knowledge than the puzzled cataloguer!
Chinese Doll of a man dressed in traditional costume, early C20th.
Price: £95
Chinese Doll of a man, standing with his arms hanging down and dressed in elaborately embroidered Chinese costume with booted feet, the head detachable. This type of doll is believed to have been made in Shanghai by professional doll makers and then equipped with its dress in Christian missionary orphanages, in order to teach the girls there embroidery and raise money for the orphanage in general. Other examples are known and dating is generally made to the 1920s. The quality of the needlework here is exceptional and the young ladies were clearly extremely well taught! In this example the detachable head is signed which may indicate the doll maker's workshop.
Pair of French Blue Ground Square Vases Choisy Le Roi, late C19th
Price: £45
A Pair of Vases of squared baluster form with flaring necks and short spreading feet, the mazarine blue glaze decorated in thickly applied enamels with a central design of birds nesting on flowering branches with insects hovering, surrounded by three panels of flowering branches, the central design also highlighted in gold. One of the vases with a stamped triangular mark,
slightly indistinct but doubtless reading 'HB' 'Choisy' for the French ceramics factory Choisy Le Roi.
Faience pottery was first produced in Choisy-le-Roi, France, in 1804. By 1836, the factory came under the management of Louis Boulenger who was succeeded in 1863 by his son Hippolyte
Boulenger. By that time, the factory had some three hundred employees. Much of the production was of majolica pieces whose quality matched that of the major British manufacturers.
When marked, the pieces bear a stamped ‘Choisy le Roi’ or ‘Choisy’ impression and and may include the letters 'HB' which presumably stands for Hippolyte Boulenger. Blue glazed pieces
with gilt and enamel decoration are found and this is what we have here, the narrrow elegant form suggesting pieces suitable for the mantel piece. Dating is probably to the end of the nineteenth century.
Pair of Royal Doulton Vases decorated Cherries, early C20th
Price: £95
A pair of Doulton Vases of slightly tapering tubular form, incurving at the base and shoulder and with a short cylindrical neck, glazed overall in mottled shades of blue with a modelled spray of cherries to the front and two to the reverse, the interior glazed brown at the rim and the base unglazed with a impressed marks for Royal Doulton, the numbers ‘X8910A’ and ‘8546 and ‘Made in England’ with a scratched artist’s mark which seems to read ‘d’.
The mark for Doulton is one of the standard impressed 'Royal Doulton England' marks where the lettering forms part of a circle combined with three thick lines and the centre is filled with four interlocking 'D's. The addition of a lion but not with the usual accompanying crown allows a fairly precise dating to between 1923 and 1927 which matches with the pattern number ‘8546’, one of the range of numbers used between 1924 and 1927. The artist’s signature cannot be identified but he/she produced a pair of vases of great skill and charm which follow the Art Deco trends fashionable at the time.
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.
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.
Murano Art Glass Dish, 1960s
Price: £45
An Art Glass dish made by the well known firm of Murano, based in Venice, Italy, the flowing triangular form with turned over sides indented to the centre and joining at three complementary 'lips', the blue glass skilfully combined with clear glass and shades of brown. Just possibly intended as an ashtray, the design is striking and appealing and representative of the best Murano work. A circa date in the 1960s is likely and the style matches other designs from that era.
Art Deco necklace with French Jet and paste stations
Price: £45
This is a beautiful and un unusual long necklace comprising stations of long French Jet bugle beads and paste spheres. It also features some interesting cracked crystal effect glass beads and clear glass beads.
Islamic silver choker necklace 1920s
Price: £120
This is a very unusual choker length necklace featuring three heavy strands of woven silver held together with floral motif findings. The necklace has a screw clasp that has birds and mill grain work.
Victorian style copper bracelet with buckle detail 1950s
Price: £20
This is a lovely collectible piece of Victorian style copper jewellery. This would have had a gold wash on it originally. It has a bold buckle detail and a hammered sunflower design. It is marked "Exquisite".
Fun group of two porcelain brooches with paid of small earrings 1960s
Price: £15
This is a group of two brooches with matching earrings. All have inset porcelain plaques with a floral motif. The brooch with the purple flowers seems to have a monogram signature.
Studio Pottery Vase by John Jelfs, signed, late C20th
Price: £220
This is a striking example of contemporary studio pottery by the artist John Jelfs. Born in 1946 he set up his own workshop with his wife in 1973 where he has been creating a range of ceramic forms for over fifty years, employing skilful and innovative glazes. Our vase is a prime example of his ‘soda fired’ work, for which he is famous, and the form and decoration make it a ‘must have’ for collectors.
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John Jelfs was born in Exeter, Devon in 1946 and studied ceramics at the Cheltenham College of Art. In 1973, alongside his wife Jude, also a skilled potter in her own right, he set up his own studio, The Cotswold Pottery Company, in the Cotswolds at Bourton on the Water, from where he has been producing ceramics in a wide variety of forms for over fifty years and still continues to work today. Every piece of his pottery is unique, being made entirely by hand and with the decoration kept to a minimum. Wherever possible locally sourced ingredients of clays, limestone and woodash are used for his glazes of celadon, ochre and shino (a white colour glaze developed in Japan sometimes with red,orange or black spotting).
Jelfs writes himself “From my first exposure to studio pottery I was immediately excited by the work of the late Bernard Leach and his lifelong friend the Japanese potter Shoji Hamada. It was the strength and quietness of their pots which most excited me about their work. For the past few years, I have been concentrating on a range of forms, to which I have applied olive/celadon, ochre and shino glazes made up from wood ash and clay, ingredients both local to my studio. The pots are all hand-thrown from a blend of West-country clays, and are often altered while still soft on the wheel. They are fired twice, the first to biscuit (1000 degrees centigrade) and the second firing to stoneware (1300 degrees Centigrade) in a gas kiln. I use a long firing cycle as this brings out the subtlety and depth in my glazes.”
In more recent years, the construction of a new kiln allowed Jelfs to develop the use of ‘soda glazes’, a complex firing process in which a vapour glaze made of sodium oxide (soda) glazes the clay body of the pottery during the firing process. Sodium materials are introduced into the kiln, usually with a nozzle, at a high temperature of over approximately 1280°C (2350°F). The soda then evaporates and the flame carries the vapour within the kiln, landing on the hot pottery pieces where it fuses with the materials in the clay and any slip decoration applied to it. The soda vapours are colourless and it is the reaction on contact that produces a wide range of colours and textures.
“Since the soda fuses to the surfaces of the work in this way, it blurs the line between pot and glaze/surface; they become one.” — Harrison Levenstein
This elegantly potted vase is a prime example of the technique and the wide variety of glaze effects and textures can be seen and admired. As often, the base is unglazed and in this case marked with the artist's stamp ‘JJ’. The earliest pieces were given an impressed ‘swan’ mark soon to be followed with the wording ‘Bourton on the Water’ in addition. The simple mark of the artist’s initials seems to be later which fits with the use of the ‘soda glaze’ technique developed some years after the pottery studio was set up. Jelfs' work has been widely exhibited in leading galleries including Galerie Besson and the Victoria & Albert Museum in London, Alpha House in Sherborne, Beaux Arts, Bath, and the Rufford Ceramics Centre in Nottingham. It is also included in many collections around the world and our vase would make a fine addition to any of them.
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.
French Orientalist etching aquatint - Paris La Rue Saint Rustique
Price: £35
This is a beautile small etching aquatint that is signed. One reverse is the printers label of "Georges Hautecoer & Co. Gravures Encadements 172 Rue de Rivoli Paris". It is a scene of a very famous street in the Monmarte district of Paris. The signature is illegible but it is lovely quality.
A Celtic or Pictish Brooch decorated with Horses, St Justin of Cornwall, circa 1980
Price: £10
A circular pewter Brooch, the decoration based on a Pictish horse engraving found on a stone in Inverurie. The three horses are shown embedded in a nest of classic Celtic lines and knots. This brooch was made by the firm St.Justin of Cornwall with Cornish Pewter. Their mark can be seen to the reverse.
Inverurie is a town in Scotland where Pictish carved stones are found in the graveyard dating from the 7th Century. The Picts were a tribe of peoples living in the East and North of Scotland. Little is known of their origins but they were called 'Picts' by the Romans because of their painted and tattooed bodies. The Inverurie horse is the inspiration for this brooch. The actual design of the three horses was created by George Bain (1881-1968) the Scottish artist and teacher, famous for chronicling Celtic Art.
St Justin of Cornwall is well known for the production of 'craft' pieces in a variety of forms and materials. This piece probably dates to the 1980s and certainly cannot be found in their current catalogue.
PLEASE NOTE THAT THERE IS FREE UK SHIPPING ON THIS ITEM. For international buyers the shipping cost will be reduced by the UK shipping cost, so don't worry if you are outside the UK, you still receive this benefit!
Two lacquer bird brooches 1980s
Price: £15
This is a fun set of two brooches in an unusual lacquer design.
Two long infinity strands of cultured pearls
Price: £45
This is a stunning pair of two 160 cm strands of cultured pears that have been dyed soft metallic tones of green, grey, peach, pink and gold. This makes quite a statement when worn together as multiple strands.
Art Deco Islamic silver bracelet with inset stones
Price: £195
This is a very striking bracelet that features a central plaque with inset turquoise, amethyst and carnelian stones. The setting has fine repousse stars and teardrop design with filigree work. The band is very wide and is comprised of a very fine woven silver. The clasp mirrors the plaque motif and has a bolt fitment.
A Pair of Royal Doulton Ewers, marked, early C20th
Price: £150
An attractive and unusual pair of Royal Doulton Ewers, the broad ovoid body with a defined collar narrowing sharply to the neck which flares out to form the spout, a short flaring foot to the base and the back with a high rising loop handle joined to the top rim. While combining elements well known from other Doulton wares of the period, the decoration here is slightly unusual. A light blue splash glaze is combined with a central section of relief moulded whorl pattern within a modelled lambrequin style border with stylised flower heads, the base is finished in brown and the top interior in a complementary olive green splash glaze. The underside of the foot carries one of the standard impressed 'Royal Doulton England' marks where the lettering forms part of a circle combined with three thick lines and the centre is filled with four interlocking 'D's, indicating a circa date between c1900 and c1930. Usually this mark is combined with a lion and sometimes a crown but these were omitted when space was short, as seems to have been the case here. Impressed marks 'LD' are for the artist Jessie Lord and dating to the 1920s seems likely.
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.
Vintage Needlepoint Picture of a lady dressed in a crinoline, framed, probably 1930s
Price: £25
Like the previous lot this embroidery picture employs the so called ‘needlepoint’ technique in which over half a dozen stitching techniques are used as opposed to ‘cross stitch’ which uses only one. The varieties of technique employed here can be clearly seen in the detail images (2), (3) and (4). We have another garden composition, this time a lady dressed in a crinoline gathering flowers and standing on a paved terrace (note the weeds between the paving stones!) with roses and hollyhocks. There are other similar examples of this scene which are thought to be from the prewar era and the slight foxing of the canvas and the form of the frame itself are consistent with this.
Group of Three Chinese carved bone Horses with wood stands, probably mid C20th
Price: £30
This is a group of three bone horses carved in China most likely in the 1930s/1940s. The patina is attractive and the three different poses imaginatively created. One horse is shown grazing, another standing with his head turned back and the third galloping with his tail upraised. These are almost certainly three from an original set of eight which would have represented the famous 'Eight Horses of Wang Mu', so often depicted in Chinese Art. The Emperor Mu of the Zhou dynasty (1023-983 BC) was the subject of a romance legend in which he sought to visit the heavenly paradise and taste the peaches of immortality. A charioteer named Zaofu used his chariot drawn by eight horses to carry Wang Mu to his desired destination and the legend was then perpetuated in Chinese Art. As well as being found in Chinese painting and on Chinese porcelains, the horses were also the subject of Chinese sculptors working in ivory, bone and even wood. Many of these small groups exist and most are no more than a hundred years old. The style here and the form of the fitted wood stands suggests mid C20th work, probably as tourist souvenirs. While missing their companions, this group still enjoy a unity of their own and make a highly decorative ensemble.
Silver Pendant, Tutankhamun and Ankhsenamun, Egyptian 1950s
Price: £35
A small silver pendant cast in relief with two figures of a man and a woman representing the pharaoh Tutankhamun and his wife Ankhsenamun in typical court dress with stylised hieroglyph reliefs above, the reverse plain. Ankhsenamun's robe has a small stamped mark indicating that the piece is Egyptian silver and probably also giving the maker's name or the place of manufacture. Dating is likely to the 1950s. The pendant is fitted with a silver chain with '925' stamps.
Pair of Chinese Soapstone Seals in a fitted box, C20th
Price: £45
A pair of Chinese Soapstone Seals of typical elongated square form, carved at the top with stylised dragons pursuing the flaming pearl above a plinth represented by three carved lines, the bases with incised seal form characters which can be printed to show two presumably complementary four character seals, both contained in a matching fitted box. Style of carving suggests a circa date in the mid twentieth century. Truly a desk ornament for the executive who has everything!
Silver Cricket Box, Islamic probably Persian, early C20th
Price: £110
A silver box with openwork sides and a pierced cover most likely intended as a portable cricket cage, in the manner of similar Chinese designs, the sides with two geometric openwork bands between raised grooved borders, the cover with an elaborate openwork design incorporating swirling stylised foliage, raised heart and bird form plaques, and two roundels, inset with three hardstones in amber and celadon, the base flat and stamped 'R A'. The style of decoration suggests Islamic work, probably Persian in origin. Weight and quality of decoration indicate a circa date in the early C20th
Chinese Framed Ceramic Plaque depicting Peony, C20th
Price: £150
A Chinese ceramic plaque decorated with delicately painted flowering peony in shades of grisaille with highlighting in red and blue, an elaborate inscription to the left with two red seals and a further red seal to the bottom right. The frame is Chinese and most likely contemporary with the plaque. Style of painting and decoration combined with the very even surface and high white glaze of the plaque itself suggest a dating to the 1960s or 1970s rather than the Republican period (1912-1949) when similar pieces were made which are highly sought after now. But the work is of extremely high quality nevertheless and the composition artistic and appealing.
Chinese Bone Netsuke carving of a man holding a musical instrument, early C20th
Price: £25
A Chinese Bone Netsuke carving of a man holding a musical instrument, depicted with its strings, and dressed in a simple robe decorated with incised detail in brown and black, two typical holes to the reverse, early C20th. Netsuke were developed in Japan as a fastener or toggle by which small hanging storage boxes, okimono, could be attached to the sash of a kimono. They were made in a variety of forms but the small figurine, as here and in the previous lot, was the most common. Chinese examples seem to have been made in the early twentieth century and were more often crafted from bone rather than the ivory or wood favoured by most of the Japanese craftsmen.
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.
Vintage Needlepoint Picture of a Garden Scene, framed, second half C20th
Price: £25
This is a charming embroidery on canvas employing the so called ‘needlepoint’ technique in which over half a dozen stitching techniques are used as opposed to ‘cross stitch’ which uses only one. The varieties of technique employed here can be clearly seen in the detail images (3), (4) and (5). The picture depicts a garden scene with a bird bath and path in the foreground leading to a gate with a pergola like floral arch over it and, in the distance, a thatched cottage. The attraction of the design speaks for itself. Dating is difficult but most likely post war and the frame suggests the mid to late twentieth century.
Silver cuff bracelet set with Scottish banded carnelian stone, Birmingham 1975
Price: £85
This is a very striking bracelet set with a very large Scottish.banded canelian stone. The setting is a very simple and elegant three band design. Bears full silver marks for Birmingham 1975. The makers mark is AP.
Golden Amber Webb Glass Vase, marked, 1950s
Price: £45
An amber glass vase, the broad body flaring out slightly to the neck and above a wide spreading foot, decorated with bands of raised roundels and marked to the base 'Webb England'.
Thomas Webb began his glass career in 1829, when he became a partner in the Wordsley Glassworks. Various career changes followed and in 1859 he was joined by his sons Thomas Wilkes Webb and Charles Webb and began trading as Thomas Webb & Sons based in Stourbridge. The firm was run by various family members until mergers started to occur in the early twentieth century and Sven Fogelberg, previously from Swedish glassworks Kosta, became manager in 1932. Production continued with more mergers in the 1960s and 1970s until the firm closed in 1990. This vase was made by Thomas Webb during the 1950s as part of their 'Gay Glass' range in a design called 'Old English Bull's Eye' and has the typical 'Webb England' mark to the base.
Chinese Majolica Style Brush Holder modelled as a Crane, mid C20th
Price: £25
While seemingly of European manufacture, this brightly coloured figure of a crane standing on a rock with sea shells and a vase like container to the reverse, doubtless intended to contain brushes, was, in fact, made in China. Some near identical examples exist which are stamped ‘CHINA’ and at least one has a paper label reading ‘Product of the People’s Republic of China’ (1912-1949). Examined closely, the paste of the foot is, in fact, a Chinese clay (see image 6) but there is little else to suggest an Oriental origin. The glazes are brightly coloured in the style of European nineteenth century ‘Majolica’ pieces, particularly some of the examples made in France, and the modelling has nothing Chinese about it at all. There is an impressed number at the base (‘74’) and an impressed mark which seems to depict some form of marine creature but cannot be identified. A puzzle piece, then, but highly attractive in its own right and an elegant decorative object.
Murano glass four layer Sommerso tear drop shape Vase, 1960s
Price: £55
A stoutly blown art glass vase of pear or tear drop shape, very thickly walled with a narrow aperture at the top, three different layers of coloured glass, blue pink and magenta, formed using the ‘sommerso’ technique (Italian ‘submerged’) and set in clear glass, the base flat. Sommerso pieces are formed by dipping coloured glass into molten glass of a different colour, before blowing the glass into the required form, creating two or more contrasting layers without the colours mixing together. The technique was developed by the Murano factory in Venice and there are similar signed pieces by Flavio Poli and Luigi Onesto which date from the 1960s. The creator of this piece is anonymous but no less accomplished; indeed few other examples are found with four layers of glass. It is reasonable to assume then that this is the product of one of the workshops at Murano and dates to the same period of manufacture as the signed examples we have. It is a highly attractive example of the technique.
Ceramic Model of a Viking Longboat, Wade, 1950s/1960s
Price: £25
A ceramic model of a Viking longboat with planking to the sides fitted with overlapping shields, the prow and stern in the form of a stylised dragon and the foot in the form of rolling waves, colourfully glazed all over in blues and browns and the underneath with a moulded mark for the Wade factory ‘Wade Porcelain Made in England’.
Wade Ceramics Ltd was a manufacturer of porcelain and earthenware, headquartered in Stoke-on-Trent, England. Founded in 1867, it was run by various members of the Wade family until the death of George Anthony Wade in 1987 after which there was a succession of management buyouts. Despite substantial investment in 2009, the firm eventually went into administration in 2022. Wade produced a wide variety of ceramics, including the well known Wade Whimsies animal figurines.
Many of their pieces were designed to act as small containers for flowers and trinkets and this piece is a particularly amusing example of the type. Two colour ranges exist, one as here and one with much darker tones which is held to be later. Dating here, then, is most likely to the 1950s/1960s when the Wade production lines were in full swing and enjoying considerable popularity.
Arts and Crafts Brass and Cobalt Glass Salt and Pepper, early C20th
Price: £55
An unusual pair of condiment servers for salt and pepper in which cobalt blue glass, more normally associated with the liners for pieces of a condiment set, is combined with brass metal in curious almost water-dropper like form, the ovoid glass body encased in non-functioning hinged brass mountings with a spreading foot, open at the base, narrow necks and screw top stoppers with a single hole for salt and multiple holes for pepper. There are few parallels for this design but it has characteristics of pieces produced by craftsmen working in the ‘Arts and Crafts’ movement which flourished in Britain from the late nineteenth century to the 1920s. Ornament "must be secondary to the thing decorated", declared the designer Owen Jones, and said there must be “fitness in the ornament to the thing ornamented". The rather austere design here, which admits decoration but concentrates on function, seems to follow the precepts laid down and provides an interesting example of the movement’s style.
Blue and Green Ice Glass Square Bowl, possibly Pukeberg, late C20th
Price: £45
A heavily modelled glass bowl of rounded square form with raised corners and indented concave sides with a textured base underneath, the clear glass blended with green and blue glass, each of the colours covering half the surface of the interior with a diagonal 'join'. The weight and textured finish to this piece is clearly intended to represent ice and 'ice glass' pieces were made by various Scandinavian manufacturers, notably Pukeberg of Sweden who produced many 'ice glass' pieces in a 'modernist' style in the 1970s although these seem to be just in clear glass. A very similar bowl was made in the 1970s by Ittala, a glass studio in Finland, and this has colouration similar to the bowl here, but Ittala pieces tend to be signed with the factory name, and often that of their designer Tapio Wirkalla, whereas there is no discernible signature here. 'Scandinavian 1970s' is perhaps the safest bet then but this does not detract from the appeal of a bold statement item which has the potential to be functional as well.
Egyptian silver cuff bangle with portait plaques of Pharoahs
Price: £85
This is a very detailed bangle that comprises many placques that depict Egyptian rulers Nefertiti, Ramses III and Tutankhamun. These are interspersed with Egyptian lotus flower icons. Bears Egyptian silver marks.
Pair of silver fobs adapted as earrings, Birmingham 1904 & 1905
Price: £75
This is a wonderful way to upcycle two watchain fobs. These fobs were earned by the same person for ;perfect attendance by the Kent Education Commitee. Although they are undated the silver marks indicate the years 1904 and 1905. These have very fine quality siliver work. It bears the coat of arms for the KEC. These have been set on silver earring hooks.
Victorian filigree style handbag c1900
Price: £25
This is a completely original handbag with a white metal frame and taffeta body. The design is very typical Victorian with filigree and scroll work on the frame. It is lined in llight grey taffeta.
Japanese Bone and Lacquer Plaque, Lady and Boy, signed, late C19th
Price: £45
A Japanese wooden rectangular plaque, the front decorated with on oval panel, the black lacquer ground inset with carved and incised bone decoration depicting a lady in formal dress, carrying a bag in her right hand, accompanied by a boy attendant who carries a sack. Above them hovers a butterfly and to the bottom right is a small signature tablet, the characters set in a red ground. The panel is surrounded by a border of gilt speckle on a brown ground, typical of the decoration on Japanese writing boxes.
These bone and lacquer plaques were produced in great quantities by Japanese artists in the late nineteenth century for export to the West and became a familiar feature of the European drawing room. The medium was easily subject to damage and loss, especially in respect of the bone inlay, and while this example has some slight damage this is confined to a crack in the lacquer ground of the panel itself and some chipping to the extremities of the panel. The decoration of the figures remains intact (the surround seems to have been cut away in some places to give added definition to the composition) and allows appreciation of the skill with which they were carved, presenting a genre scene of great charm.
Framed Chinese painting on silk, two Silk Dyers, C19th/C20th
Price: £15
This is a Chinese genre painting on silk of two men seemingly engaged in dying skeins of silk in a rocky landscape scene. To the right stands a man holding two loops of fabric thread, most likely silk and to his left, a boy stands in front of a vat filled with liquid, clearly twisting the threads into cord, perhaps having dipped them into liquid dye using the tool he is holding in his left hand. The strip of wood across the top of the vat may have been used to help removed excess fluid from the dyed thread. The significance of the rather desolate landscape setting is unclear. The two workers seem to have been banished by their companions! Silk dyeing was an old tradition in China which is still kept up today (see image 7). While there are many painted scenes of rural and craft activities, this particular manufacturing process does not seem to be illustrated elsewhere. The style of the brushwork suggests a dating to around 1900 and there is a stamped artist's seal mark in red at the bottom left but the frame and mount are clearly later, perhaps mid C20th. An unusual composition, then, for collectors of Chinese art.
Miniature Staffordshire flatback model of two spaniels and a barrel, second half C19th
Price: £55
This is a charming model of two spaniels, one sitting on a barrel, with a stylised garden ground below. The modelling is slightly impressionistic and the earthenware body is applied with an all over cream coloured glaze with a slight craquelure effect decorated with brightly coloured enamels fairly coarsely painted. All this is typical of the so called ‘Staffordshire’ figures produced in England in the nineteenth century which enjoyed huge popularity and were to be found in many homes. Various small potteries made these wares and not only ones based in Staffordshire; they are not marked but the style is consistent and instantly recognisable. Many of the pieces, both people and animals, were designed as shelf or mantelpiece ornaments and were therefore made with a flat back, hence the descriptive term. The model here exists in both a full size and miniature form, usually with the same decorative elements. The smaller scale only adds to the charm and this pair of dogs could find a home in a modern setting just as easily as they did in a Victorian one.
Bird form ewer with cover, possibly Russian c1960
Price: £45
This is a very unusual large jug or ewer modelled in the stylised form of bird with a man riding on it. It appears to be Russian although there are no markings to confirm this.
Amber Glass Bowl and stand, Stölzle Hermanova Hut factory, Czech 1930s
Price: £55
An Art Deco style amber glass bowl and stand, both with alternating segments of clear and patterned glass, the bowl with a flaring rim and the stand concave to match. This model can be seen in the pattern books of the Stölzle ' Hermanova Hut' factory situated in what is now Czechoslovakia. In 1805, Carl Stölzle founded two glass factories in Austria and by 1867 owned a further six in Austria, Bohemia and Hungary, the Heřmanova Hut' factory being founded in 1907. Many of the art deco style glasswares produced by the firm were made there and this bowl and stand, a matching combination not often found, typifies the styles of the era both in form and colour.
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.