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

This is a fine example of the porcelains made at Jingdezhen, for centuries the chief centre of ceramic production in China, in the early years of the People’s Republic of China (1949-). Soon after the communists took control, the kilns at Jingdezhen were organised into co-operatives, each with a number. Many of their pieces were marked and the form of the mark determines the date of production. The circular marks, as here, were the earliest allowing a dating of this charger to the 1950s or possibly the early 1960s. Some of these conglomerates, for the quality can vary, retained the skills of their predecessors and produced works of high quality. This is clearly seen here in the careful and precise enamelling and the general artistry of the design employing ‘imperial’ yellow with the symbolism of happiness (bats), longevity (shou symbols), friendship and a life of ease (chrysanthemum) and fruitfulness and offspring (lotus), all combining to produce a piece well worthy of its many predecessors.

Please note that the wood stand is for display purposes only and is not incuded with this lot.

The design for this jug, usually termed ‘Falstaff’ but sometimes ‘Old King Cole’ is known to have been registered (Rd.No. 32601)by the firm Furnival and Clark on December 30th 1845. This was a very short lived partnership between Thomas Furnival and Richard Clark, based at the Stafford Street Pottery Works, Hanley, Staffordshire and which traded from 1844 to 1846 apparently producing just this one model, albeit in a variety of colours. Thomas Furnival had been involved in other firms before this brief venture and was to be involved in others afterwards. The dating of these mugs is usually attributed to the short period when Furnival and Clark traded but it is quite possible that more pieces were produced afterwards by Furnival himself. The paste and finish of this piece, though, which is not marked, certainly suggest a mid nineteenth century dating. In general, the model is quite rare. Some examples were fitted with a Britannia metal or pewter lid but this was never integral to the piece. This striking composition, then, is a rare and desirable item collectors with an interest in British Staffordshire wares.

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.

Guido Cacciapuoti was a celebrated Italian ceramicist. Born in Naples in 1892 and from a family with a tradition in the creation of majolica pottery, Guido exhibited his work widely in the 1920s and finally, in collaboration with his brother, Mario, and Angelo Bignami as the administrative and commercial director, he founded the factory ‘Gres d'Arte Cacciapuoti Bignami & C.' in Milan in 1927. Mario unfortunately died three years later leaving Guido to carry on on his own until his death in 1953.

In the 1930s, Guido’s workshop became famous for the production of ceramic animal sculptures with fish being a particular speciality. More commonly seen are groups of John Dory, again with a red glaze, but the smoother lines here and the particularly intense colour reflect more closely the contemporary Art Deco style. Sought after in their own time, with patrons such as the King of Italy and Mussolini, Guido’s works are highly collectible today and this group would make a striking addition to a collection of Art Deco ceramics with considerable decorative appeal.

The firm Bretby was the result of an amalgamation between Henry Tooth and William Ault who formed a partnership in 1883. Both had previously worked at the Linthorpe pottery established by Christopher Dresser in 1879 and retained a comnnection with the celebrated designer even after striking out on their own. Success came early and the firm won a gold award in the Crystal Palace Exhibition of 1884, patenting their trademark with its sunburst design above the name Bretby in the same year. Ault left the partnership in 1887 to set up his own business under his own name but Henry Tooth continued to oversee production until his death in 1918, the business then remaining under the control of the Tooth family until it was sold in 1933. Production continued, though, well into the twentieth century until the firm closed around in the late 1990s.

This piece is typical of their earlier work with a nod to both the art nouveau style and Dresser himself, particularly in the shape of the handles. ‘Hammered’ decoration was typical of the Arts and Crafts movement popular at the time and the applied floral decoration has some parallels with Japanese pieces again much in vogue at that period. Similar pieces are known with the same shape and pattern number (1742) which seems itself also to indicate an early twentieth century dating, but the applied decoration seen here is unusual.

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

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

Duxer Porzellanmanufaktur, or the Dux Porcelain Manufactory, was started in 1860 by Eduard Eichler in what was then Duchov, Bohemia, later to become part of Czechoslovakia. Production was to continue until the beginning of the second world war and beyond and their later pieces are now generally referred to by the abbreviated name, ‘Royal Dux’. The distinctive pink triangle plaque mark was first used in the late nineteenth century but appears on pieces from all dates, the version found here indicating late twentieth century work which is also confirmed by the rather indistinct stamped mark comprising a triangle surrounded by the wording ‘Hand Painted Made in Czech Republic’. The artist is named as ‘V.David’ and there seem to be two other companion pieces in different poses. The quality is quite excellent and explains the original popularity of the firm when it began manufacturing in the nineteenth century and produced highly successful imitations of its contemporary rivals.

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

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

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

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

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

The mark is for the well known ceramics manufacturer Zsolnay, based in Pecs, Hungary. Founded by Miklos Zsolnay in 1853, the firm gained a worldwide reputation in the late nineteenth century exhibiting at international fairs and exhibitions. Production declined after the first world war and the factory was bombed during the second. Revived under communism in 1948, the firm started to produce utilitarian pieces under the name ‘Pécs Porcelain Factory’ but gradually their traditional wares were revived and the Zsolnay name was restored in 1982.

This figure is one of the products of Zsolnay’s late renaissance but dating to the 1970s, as indicated by the form of the mark, it still carries only the Pecs brand name. But the quality typical of Zsolnay is emphatically there with fine quality porcelain and careful modelling and decoration all combining to produce a most decorative and attractive composition.

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