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Two Chelsea cabinet cups, c.1760-65, one of bell shape and painted with Watteau-esque panels of musicians within gilt trellis border, the other with similar standing figures playing the mandolin, reserved on a mazarin blue ground, gold anchor marks, 6.5cm max. (2)

A large Chelsea coffee cup, c.1760, painted in green and black monochrome with overgrown buildings and a turret, gilt dentil rim, an unusual handle derived from Vincennes, gold anchor mark, 7.2cm.

An early Chelsea lobed beaker, c.1749, the flared form painted with a delicate flower spray centred around a pink rose, a butterfly in flight beside and a few small scattered sprigs, a small rim chip, 7cm.Illustrated: Transactions of the English Ceramic Circle, Vol. 4, Pt. 5, T H Clarke, French Influences at Chelsea; together with a saucer that was later considered unrelated. Late Triangle period pieces of this type have sometimes been attributed to Charles Gouyn's factory at St James's. Regarding a similar beaker in his 2002 exhibition, Simon Spero commented that Gouyn may have worked as an independent decorator between leaving Chelsea and starting up his own factory.

An early Chelsea octagonal teabowl, c.1750-52, painted by Jefferyes Hamett O'Neale with the fable of The Ape and the Fox, the two creatures regarding each other in a continuous landscape with birds in flight above, the interior of the bowl with an archway, column and buildings beside water, raised anchor mark, 6.7cm dia.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, p.31, pl.1. Hanscombe discusses the similarity of the teabowl's interior scene to buildings on a Chinese teapot in the Victoria and Albert Museum, and another illustrated in his catalogue (no. 85).

A pair of Chelsea vases, c.1760-65, the flattened oval forms painted in the Teniers style with panels of figures in interior settings, reserved within gilt trellis and flower spray borders on a claret ground, the handles formed as rococo scrolls picked out in gilt, 17.8cm. (2)Exhibited: Chelsea Society Exhibition, 1999, no. 121.Provenance: the Robert Copeland Collection. Sold in Plymouth (W H Lane & Son), 28th September 1982, lot 16.

A Chelsea ecuelle stand, c.1755, painted by Jefferyes Hamett O'Neale with fable-style decoration of a monkey carrying a fox towards a dog digging a hole with a spade, and with a posy of flowers and single scattered sprigs, brown line rim, 18.2cm.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, p.59, pl.44.

A Chelsea octagonal saucer, c.1750-52, the well painted in the Vincennes manner with a view thought to be of Chelsea church from the river bank at Battersea, within a red and puce tramline border, the rim with scattered flower sprays, raised anchor mark, a 5mm rim chip, 11.5cm.Exhibited: National Exhibition of Works of Art, Leeds New Infirmary, 1868. Item 2322, contributed by W Edkins Esq. William Edkins was a Bristolian dealer in porcelain and grandson of Michael Edkins, china painter at Bristol. His collection was sold at Sotheby's on 21st March 1874, with the remainder being dispersed at the same saleroom on 21st May 1891.Formerly in the Wass Collection. Paper label dated 1901.

A Chelsea two-handled cup and trembleuse saucer, c.1770, painted probably by Duvivier with figures standing beside a windmill, ruins and other buildings in pastoral European landscapes, the rims with a claret and gilt dogtooth border, gold anchor marks, 14.8cm. (2)Acquired from Geoffrey Godden.

Two Chelsea cabinet cups, c.1760-65, of bell shape, finely painted with panels of birds perched on berried branches or before leafy plants, alternating with mazarin blue panels, one with gilt foliate and trellis decoration, each with a reticulated scroll handle, gold anchor marks, 6.2cm. (2)One cup formerly in the Charles Littlewood Hill collection and sold at Neales, Nottingham, 22nd June 1978, lot 122 (part).

A rare and early Chelsea acanthus or 'Strawberry Leaf' teabowl, c.1745-49, moulded with overlapping leaves rising from the foot to a scalloped rim, painted with flower sprays, ladybirds and other scattered insects, the interior with an apple sprig, incised triangle mark, some rim damages, 4.6cm high.Cf. Simon Spero, 2004 Exhibition Catalogue, no.2 for a very similar example from the Dr Bellamy Gardner Collection. Spero states in his cataloguing that only six of these polychrome teabowls are known, with three housed in American museums. See also, John C Austin, Chelsea Porcelain at Colonial Williamsburg, pp.41-47 for other examples of this type of moulded decoration.

A Chelsea coffee cup and saucer, c.1760-65, finely painted with Eastern inspired figures in the Watteau manner, seated with birds on and among berried and leafy branches, reserved within gilt trellis panels on a claret ground, the cup with a pierced scroll handle, gold anchor mark to the saucer, 13.8cm.Cf. Victoria and Albert Museum, Accession Nos. 523-1902 for a service bequeathed by Miss Emily S Thomson.

A Chelsea Hans Sloane teabowl, c.1755, the fluted form painted with a botanical specimen of a fruiting branch, possibly of a variety of currant, the reverse with a butterfly and caterpillar, red anchor mark, 5.3cm high.

A Chelsea fable decorated octagonal saucer, c.1753, painted perhaps by Jefferyes Hamett O'Neale with the fable of The Dog and the Piece of Flesh (sometimes called The Dog and his Reflection), a large black and white hound holding a meat joint in his mouth and looking down into the water below, the wide rim with flower sprays, brown line rim, 11.8cm.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, no.16. Acquired from Simon Spero. Previously in a part service at Belton House, Grantham and sold at Christie's in May 1984. The decoration on the other 15 pieces in that service was attributed to O'Neale but doubts have been raised over whether this piece might be by a different hand. The scene is after a design by O'Neale that was produced for The Ladies Amusement, and another example of this fable is known on Tournai porcelain. Hanscombe considers the possibility that either Henri-Joseph Duvivier or Michel-Joseph Duvivier may have painted this under O'Neale's direction during their time at Chelsea.

A Nantgarw plate, c.1818-20, painted in a London atelier with flower sprays within a moulded rim, a Chelsea-style plate painted with birds on branches, a pair of creamware cups printed and hand-coloured with birds, and a modern Minton preserve pot and cover, the Nantgarw plate restored, 25.6cm max. (6)

A large Chelsea octagonal cup, c.1752-53, painted in the Meissen manner with travellers on a river bank, with distant buildings beyond, the reverse with a small flower spray, the interior with further flowers and a scolopendrium leaf, brown line rim, with an angular scroll handle, 7cm high.

Two Chelsea-Derby toilet pots and covers, c.1770, of cylindrical form, one painted in the manner of Fidelle Duvivier with puce monochrome panels of putti, reserved on a mazarin ground, rare double anchor mark, the other painted possibly by John Donaldson with polychrome scenes of children at play, also on a blue ground with gilt ribbon decoration, with a third toilet pot painted with a boy holding a rose, the reverse with a flower panel, reserved on a claret ground with oeil de perdrix gilding, the latter lacking its cover, one finial lacking, 7.5cm max. (5)

A Chelsea moonflask or pilgrim's bottle vase, c.1759-62, the flattened form finely painted in the Watteau manner with a pastoral couple among trees, the reverse with a large panel of flowers, reserved on a pale green ground, gold anchor mark, 18.3cm.Exhibited: Chelsea Society Exhibition, 1999, no.118.Cf. Transactions of the English Ceramic Circle, Vol. 17, Pt. 1, no. 15 for a similar vase illustrated in John Mallet's article.

A rare Chelsea fluted teabowl, c.1753-54, painted by Jeffreyes Hamett O'Neale in purple monochrome, with a battle or skirmish scene depicting mounted and foot soldiers with lances before ruins in a continuous landscape scene, red anchor mark, 6.1cm high.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, no.57.Purchased from Winifred Williams. Formerly in the collection of Lord Hastings. Sold Sotheby's, 6th May 1975. A near identical example from the Schreiber Collection is in the V&A, accession no.414.399-1885.

A Chelsea fluted teabowl, c.1752-53, painted in the Meissen manner with a continuous European landscape including Classical ruins and a lake, the teabowl's interior with a single flower stem, 5cm high.

Two Chelsea two-handled cabinet cups, c.1760-65, finely painted with musicians and chinoiserie figures before trees, reserved on a mazarin blue ground with gilt floral and trellis designs, gilt dentil rims, gold anchor marks, 6.5cm. (2)

Two Chelsea cabinet cups and saucers, c.1760-65, one finely painted in purple monochrome with peacocks and other fancy birds, within a formal gilt border, the other with panels of dishevelled birds reserved on a claret ground, with gilt butterflies, gold anchor marks, a chip to the first saucer, 14.2cm max. (4)The claret ground cup and saucer formerly in the Lady Ludlow Collection.

Five Chelsea teabowls, c.1754-56, variously painted with flower sprays and single scattered sprigs, a pair of large coffee cups, one with similar decoration, the other with Oriental flowering branches in a Kakiemon palette, and a fluted Longton Hall coffee cup painted with flowers, red anchor marks to some, 6.5cm max. (8)

A Chelsea fluted cup and associated saucer, c.1750-52, the baker painted in the European manner with figures beside trees and statuary with a church and other buildings beyond, the saucer with figures on a riverbank and in small boats beside a harbour wall, raised anchor marks, the cup's handle lacking, a chip to the saucer, 11.2cm. (2) 

A rare Chelsea-Derby custard cup and cover, c.1770-75, painted with a spray of fruits and fruiting branches, the cover with a floral finial, and two Chelsea-Derby teabowls, one painted with a large bird and further small birds, the other with flower sprays, gilt anchor and D marks to the cup and one teabowl, 8.5cm max. (2)

A large Chelsea cabinet cup, c.1760, finely gilded in the Vincennes manner with two Chinese musicians seated and playing the mandolin in a garden setting, a trellis arch framing the background, all reserved on a mazarin blue ground, applied with a reticulated scroll handle, 7.3cm high.Cf. Elizabeth Adams, Chelsea Porcelain, p.149, fig.11.11 for a beaker with similar decoration from the British Museum.

A rare Worcester chocolate cup and stand, c.1768-70, the ogee form decorated in the Chinoiserie Musicians pattern with panels of Oriental Watteau-esque figures with various instruments, with smaller panels of birds and flowers, reserved within gilt scroll borders on a blue scale ground, blue square seal marks, some good restoration to the cup, 14.5cm. (2)The panels on this pattern bear close resemblance to those used at Chelsea on the Thomson tea service, now in the Victoria and Albert Museum (see lot 1723). It is likely that only a single service was made at Worcester in this pattern. The coffee pot (from the Frank Lloyd Collection) is in the British Museum, catalogue number 354.

A Chelsea teabowl, c.1755, possibly painted by Jefferyes Hamett O'Neale with two putti on a rock, a Longton Hall teabowl painted with birds, a large Chelsea coffee cup with a fancy bird on a fruiting branch, with gilt monogrammed initials to the base, a two-handled quatrefoil cup painted and moulded with flowers, and a two-handled Bow cup with simple floral decoration in the Chelsea manner, 7.8cm max. (5)

A pair of Chelsea saucers, c.1758, finely painted with scenes of children at play, after Gravelot, with birds around and perched on puce scrollwork, the rims with panels of birds in flight reserved on a blue ground with gilt trellis borders, gold anchor mark to one, 12cm. (2)Cf. Elizabeth Adams, Chelsea Porcelain, fig.8.22 for a plate with similar decoration.

A large Chelsea octagonal teabowl, c.1750, painted in the Vincennes and Meissen manner with a panel of figures beside ruins and water, within a red and black tramline border, the reverse and interior with flower sprigs, brown line rim, 9.3cm dia.Acquired from Winifred Williams. Formerly in the Parkinson Collection.

A Chelsea cup and trembleuse saucer, c.1761, with an unusual engine-turned border, finely painted with fruit sprays, moths and scattered insects, gold anchor mark, and a similarly decorated Chelsea cup and Derby trembleuse saucer, moulded with a wide band of pinecone sepals, brown anchor mark to the cup, 14cm max. (4)Cf. Transactions of the English Ceramic Circle, Vol.17, Part 3 for an article by John Mallet discussing engine turning on Chelsea porcelain.

A Chelsea two-handled chocolate cup, c.1765, painted with a figure dancing with a tabor, the reverse with a lady dancing with a flower garland, and a flared cup painted with three panels of Watteau-esque figures, all reserved on a mazarin blue ground, gold anchor mark to the first, minor faults, 7cm max. (2) 

A large Chelsea tureen stand, c.1756-58, painted by Jefferyes Hamett O'Neale with exotic and comical birds standing before bare tree stumps, others in flight around, the sunken well with flower sprays, within a gilt foliate scroll border, gold anchor mark, a restored crack, 29.7cm.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, no.73.

A small Chelsea fluted oval stand or dish, c.1753-54, painted by Jefferyes Hamett O'Neale with Classical travellers beside a tall obelisk, before a sailing vessel on a winding river with further figures on the distant bank, the rim with sprays of flowers, brown line rim, red anchor mark, a section broken out and restuck, 16.3cm.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, no.52.

Three Chelsea ornithological teabowls, c.1755, one painted with a white partridge after George Edwards, the reverse with a dove, two others with songbirds, probably also after Edwards, one seeming to copy a Brambling by Eleazar Albin, red anchor marks to two, 4.3cm max high. (3)

A rare pair of Chelsea pot pourri vases, c.1771, finely painted possibly by Richard Askew with scenes from Antoine Banier's edition of Ovid's Metamorphoses, depicting Glaucus, Scylla and Circe, the reverses with panels of flowers, reserved on a claret ground, the flared necks and shoulders finely pierced with an arched design, one handle restored, 15cm. (2)Exhibited: Chelsea Society Exhibition, 1999, no.120. The designs on the vase correspond to nos. 126 and 127 in Banier's edition. The sources are illustrated in Geoffrey de Bellaigue's book on the Louis XVI Service, p.101 and p.150. The vases correspond to lot 67 in Christie's auction of 18th April 1771.

A Chelsea octagonal beaker and saucer, c.1754, painted possibly by Henri-Joseph Duvivier with harbour scenes in the Meissen manner, the beaker with an Eastern figure in discussion over a barrel with a seated European figure, the saucer with two figures beside a large barrel, with scattered flowers and flying insects, a restored rim crack to the beaker, filled chips to the saucer, 13cm. (2)

Two Chelsea teabowls and saucers, c.1760, one of a flared bucket shape in the Vincennes manner, and painted in green camaieu with stately homes in landscapes, the other delicately painted in purple monochrome with figures in parkland, within an elaborate gilt border, gold anchor marks to the latter, the first saucer broken in two and restuck, 12cm max. (4)

A pair of Chelsea teabowls, c.1750-52, of ogee form with lobed rims, painted in the Meissen manner with figures in waterside landscapes, the reverse and interiors with flower sprays in the Holzschnitt manner, brown line rims, footrim chip to one, 5cm high. (2)Cf. Bowes Museum, inventory no. 1571746 for a similar pair from the Lady Ludlow Collection.

A Chelsea octagonal teabowl and associated saucer, c.1753-54, the teabowl painted possibly by Henri-Joseph Duvivier with two figures rolling a barrel beside a blasted tree, the reverse and interior with flower sprays, the saucer painted with three figures beside ruins, a traveller approaching a seated woman and child with his hand extended, brown line rims, two filled rim chips to the saucer, 12cm. (2)The saucer purchased from Simon Spero.

A near pair of Chelsea fluted teabowls, c.1753, painted in the Meissen manner with panels of figures standing beside Classical ruins or in extensive pastoral landscapes, flanked by delicate flower sprays, the interiors with a further landscape vignette, a small rim chip to one, 5cm high. (2)This Meissen style type of decoration is known to have been executed by several hands, including Jefferyes Hamett O'Neale.

A group of mostly Worcester teawares, c.1775-1820, including a coffee cup painted with birds by George Davis, on a pink and yellow ground, a Chamberlain's plate with bird panels, a spiral-fluted cup and two saucers, probably also by George Davis with baskets of flowers, a Barr, Flight and Barr cup also with flowers, a similar Derby saucer, a lobed saucer painted in the Chelsea manner with panels of figures alternating with a blue ground, a Caughley trio painted in the Chamberlain's workshop with landscape panels within a leaf border, a similarly decorated teabowl, and a Caughley teabowl with a stylised pattern, 18.8cm max. (13)

A rare Chelsea botanical two-handled cup and saucer, c.1755, finely painted with flowering sprays of prunus and jasmine beside a colourful moth, flies and a small beetle, red anchor marks, and a Chelsea trembleuse saucer, c.1765, with an engine turned border, painted with sprays of fruit and vegetables, gold anchor mark, a faint rim crack and small filled chip to the former, 13.7cm max. (3)Cf. Sally Kevill-Davies, pp.140-141 for a Hans Sloane leaf dish with similar decoration adapted from G W Knorr, Thesaurus rei herbariae hortensisque universalis, vol.1, t.64.

A rare Chelsea-Derby cabinet cup and stand, c.1770-75, finely painted with Watteau-esque scenes of courting couples in pastoral landscapes, reserved in kidney-shaped panels on a ground of gilt trellis and berried garlands, the saucer with a slight trembleuse well, gold anchor and incised N marks, 16cm. (2)Provenance: formerly the Geoffrey Godden Collection, also the Field Collection.Illustrated: John Twitchett, Derby Porcelain, p.112, pl.114.The painting on this piece has in the paste been tentatively attributed to Fidelle Duvivier. In his book The Marks on Chelsea-Derby, Stephen Mitchell suggests that these pieces were decorated in London, possibly by Zachariah Boreman before his move to Derby.

A Chelsea two-handled chocolate cup, c.1760-65, painted in the manner of Duvivier with a view of Chelsea Old Church from the opposite bank of the Thames, the reverse with a small church possibly the French chapel located near Glebe Place, gilt dentil rim, gold anchor mark, 6.7cm.

A rare Chelsea octagonal teabowl and saucer, c.1753-54, painted by Jefferyes Hamett O'Neale in purple monochrome with figures resting on rocks and beside water with distant mountains, the reverse of the teabowl with a single flower sprig, red anchor mark to the teabowl, 12.2cm. (2)Provenance: formerly the property of The Rt. Hon. William E Gladstone MP, sold Christie's, 23rd June 1875, lot 90. Sold to Mr Wass for £3. 10. 0. Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, p.77, no.63.

Two early Chelsea teabowls, c.1750-52, one octagonal and painted in a muted Kakiemon palette with the Flaming Tortoise pattern, including a crane and a Japanese minogame, the other fluted and painted in Kakiemon enamels with the Dragon and Tiger pattern, the interior rim with a continuous border, the latter with a long crack, 5cm high. (2)

A Chelsea fluted cup, c.1753, painted by Jefferyes Hamett O'Neale with shaped landscape panels of figures beside Classical ruins, a delicate flower spray between, the cup's interior with a small butterfly, applied with a moulded scroll handle, red anchor mark, 5.5cm high.Illustrated: Stephen Hanscombe, Jefferyes Hamett O'Neale, no. 49.

CHELSEA, THREE CERAMIC FIGURES, 19TH CENTURY comprising two female figures and a male figure, one with red anchor mark to base, one with gold / gilt anchor mark to the bottom back side and one with gold / gilt anchor mark to basethe largest 23.5cm highQty: 3

Molteni & C - A Chelsea high back armchair by Rodolfo Dordoni. Current RRP ca. £4000.

A beautiful Spode Chelsea Garden teacup and saucer set crafted from fine bone china in England. Featuring a scalloped rim and a vibrant floral pattern with accents of pink, blue, and green, this set exemplifies the craftsmanship and elegance associated with Spode. The set includes both the teacup and saucer, both marked on the underside with Chelsea Garden and the Spode hallmark, indicating its origin and pattern name. The floral decorations are vivid, and the gold trim is intact with minimal wear. Issued: 20th centuryDimensions: 5.5" dia. Country of Origin: EnglandCondition: Age related wear.

Kerry Dixon signed 16x12 inch colour photo pictured in action for Chelsea. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

George Graham Testimonial programme Crystal Palace v Chelsea Selhurst Park 5th May 1980. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Kerry Dixon signed 10x8 inch colour photo pictured during playing days with Chelsea. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Tommy Baldwin signed 10x8 inch colour photo pictured during playing days with Chelsea. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A Chelsea scent bottle, c.1760, modelled as a bird catcher, crouched at the foot of a stump and resting one hand on a bird cage, a further cage resting higher up the tree, with gilt metal mounts and a stopper formed as a bird, some restoration to the stopper and base, 8.8cm.

A Chelsea scent bottle modelled as a pug, c.1760, the dog seated on its haunches, with gilt metal mounts to its neck, on a mound base painted with flower sprays to both sides, 6cm.

A pair of Chelsea plates of Mecklenburg-Strelitz type, c.1764, the moulded borders with flower garlands suspended between small panels of gilded insects on a mazarine blue ground, the wells painted with an exotic bird standing amidst leafy branches, gold anchor marks, fine hairline, 23cm. (2)King George III and Queen Charlotte ordered the original service of this type in 1762 as a gift to Duke Adolphus Frederick IV of Mecklenburg-Strelitz, the Queen's brother. Chelsea made a second service in 1764 which is identical except in the shaping of the blue rim panels. On the original service these are convex, whereas the second service bears concave panels.

A pair of Chelsea 'Hans Sloane' plates, c.1755, finely painted with botanical specimens, one with a stem of Japanese anemone and a small sprig of Scotch broom, the other with a pink flowered plant, possibly hibiscus, and a fruiting plant, with scattered insects and moths, brown line rims, red anchor marks, 20.5cm. (2)Provenance: Martel Maides, Guernsey, 25th April 2013, lots 10 and 11. Both purchased as part of a set of Chelsea botanical porcelain at Stokes and Quirke, Dublin on 19th September 1944, believed to have been the property of Lady Headfort. The wife of Geoffrey Taylour, 4th Marquess of Headfort was born Rosie Boote and established a reputation as a singer and gaiety girl. Their marriage in 1901 caused scandal. Headfort was president of the Royal Horticultural Society of Ireland between 1915 and 1945, so would presumably have had a keen interest in botanical decoration.

A Chelsea scent bottle, c.1755, modelled as a boy seated and playing the bagpipes before a flower encrusted column, beneath the domed base inscribed 'Ma Belle Aime La Musette' (My darling loves the bag), beside a gilt foliate spray, with a gilt metal stopper, 6.5cm.

A Chelsea scent bottle, c.1755, modelled as a flower bud of a dahlia, sunflower or chrysanthemum, with yellow edged petals enclosing an orange centre, the gilt-metal mounted stopper formed as a twig, good quality restoration, 6.5cm.