We found 81 price guide item(s) matching your search

Richard Ginori - San Cristoforo of Italy pottery vase decorated with fish by Gio Ponti, with signature and marks to base, circa 1930's - 28cms high CONDITION REPORT sign of imperfection possibly from firing to the inside of the rimOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention to showcase the lot in more detail.

An Edward VIII Booths silicone china pottery chamber pot bearing royal cipher in under-glazed green transfer and maker's stamp to base, all on a white glazed ground, together with Provenance (see Condition Report section), 22.5 cm diameter x 13 cm high CONDITION REPORTS Provenance: A note from the vendor"In the late 1960's I was a junior RAF officer and was posted to the Headquarters at Buntingsdale Hall, Market Drayton, Shropshire. On RAF stations at that time, the Officer's Mess had monthly formal dinner nights which all officers had to attend. Officers were seated at a long table with the President of the Mess Committee at one end and the most junior officer at the other. No officer was allowed to leave the table during the meal until the President left after the speeches.In the 1930s Dining In Nights were even more formal. At Buntingsdale Hall there was a steward behind each officer who was responsible for looking after him, serving food and keeping his glass "topped" up. No officer was allowed to get up from the table and if he needed the toilet, his steward would go to one of the lockers which surrounded the dining room and get him a chamber pot - returning it to the locker when the officer had finished with it.When George V was King, he had a habit of visiting Service units to meet with his officers at Dining In Nights at short notice and therefore there was little forward planning possible. When he died, Edward VIII succeeded him and Units were concerned that he might continue the custom. Buntingsdale Hall, not knowing if they would be selected at short notice and not willing to change their customs or formalities, commissioned a chamber pot for him and put his crest on it to make it for him in case they were chosen. As history tells, us, Edward abdicated having not continued his predecessor's custom. The chamber pot, therefore, has been around since the mid thirties and is now some 90 years old. It is made of silicone china by Booths.I was a junior officer on the staff and was "given a job to do" by my boss. Over many years it had been the custom for officers who wanted to get rid of something, being paperwork, books, ornaments, boxes, pictures (in fact anything) to throw them all in one unused room in the Headquarters. As a junior officer I was detailed to clear the room as it was now required to be an office. I duly threw out all the "clobber" for the refuse collectors to collect but came across this special chamber pot which had been thrown away. Apart from the rest of the rubbish, this seemed to me to be of historical importance to the Hall but, in spite of bringing it to the attention of my senior officer, I was told to dispose of it.I was reluctant to do this as it must have been unique seeing that Edward had abdicated and was a part of history and these "dining arrangements" were unlikely to be repeated anywhere else! I therefore kept it and, not knowing what to do with it and reluctant to destroy it, took it with me as a "household item" to all my subsequent postings. It has now been in a cupboard of mine for the last 60 years - the last 40 in the same cupboard! I retired in 1993."

A circa 1820's 'Big Willie' jug taking snuff (spout end a.f) Pratware pot (a/f) plates, 19th century pottery etc.

Paul Daschel for Amphora   Art Nouveau shoulder vase with maiden, spiders Webb and a central moth motif. Circa 1900 Impressed monogram to the side 19cm high. Amphora Pottery - RStK – Riessner, Stellmacher and Kessel Alfred Stellmacher founded his first porcelain factory in Turn in 1876. The factory produced porcelain flowers which surpassed French pieces for quality. During the 1870’s, Stellmacher developed a new ceramic material which became known as ivory porcelain due to its soft yellowish shade and matte finish. The new material allowed the ceramist to create more complex modeling and detailing of shapes and applied designs. Stellmacher’s factory broadened production from flowers to decorative ceramic pieces in the Orientalism and Neo-Baroque styles. Neo-Baroque forms allowed greater innovations in design with handles shaped like monsters and pierced or waved bases and rims. At the Paris World Exhibition in 1889, Stellmacher received the Gold Medal, and he attained his greatest success at the end of the 19th century. In 1892, the Riessner, Stellmacher & Kessel (RStK) porcelain factory started production in Turn. Alfred Stellmacher helped form the new company. All the owners were related to Alfred. Karl and Hans Riessner and Rudolf Kessel were his son-in- laws and Eduard Stellmacher was his son. Karl Riessner, who attended the Art Academy in Prague handled finances, Hans Riessner, who attended the Vienna School of Arts and Crafts the same time as Gustav Klimt, was technical director, and Rudolf Kessel handled trading issues. Eduard Stellmacher, who attended the Arts and Crafts Academy in Dresden, was the artistic director. Eduard’s brother-in- law and classmate from the Arts and Crafts Academy in Dresden, Paul Dachsel, was also a creative designer for Amphora. The new company was known as Amphora I. P

A group of three Beswick Pottery horse studies, comprising Palomino H259 designed by Shane Ridge in gloss 17cm, Mill Reef number 2422 designed by Albert Hallam in mahogany bay gloss 22cm and Bois Roussel Racehorse number 701, designed by Arthur Gredington in brown gloss 20cm. *the mahogany bay gloss variety of Mill Reef was sold through Lawleys and Royal Doulton's retail shops in the mid 1980's. When Mill Reef was withdrawn from the range at the end of 1989 a white matt variety was sold at the Beswick shop.

A VICTORIAN BRASS BEDSTEAD SECOND HALF 19TH CENTURY The bed foot, box base and mattress of curved form to one end, with ceramic casters The bedstead 138cm high, 215cm long, 174cm wide, the mattress 202cm long, 168cm wide Condition Report: Overall there are some scratches, marks, knocks and abrasions consistent with age and use.Observations include:The patina is generally matt, with some verdigris type marks.The cream pottery casters are worn and have a dark mark where they have run against the bearers. The casters are stamped 'P&S PATENT' over a coronet.A turned screw finial is missing to one of the sections of the curved bed end.The bed irons have a blackened paint finish which has some scratches revealing an underlying blue paint and in some places the cast iron.The mattress is ticking covered and with an aged cream/beige (rather than white) ground - it appears to be of relatively recent manufacture and not of the old 'lumpy' style.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer

A FAMILLE ROSE 'DOCTOR'S VISIT' DISH, BY CORNELIUS PRONK, EARLY QIANLONG PERIODChina, circa 1738-1740. The shallow dish painted in gilt and bright enamels after a design by Cornelius Pronk entitled 'The Doctor's Visit to the Emperor', the central roundel with a scene of four Chinese noblemen conversing in a fenced garden below a blossoming tree, a large Ming dish on the table before them and a peacock at their side, enclosed by a gilt border with geometrical design, the rim with fish encircled by scalloped green bands, interspersed with birds standing in grasses and diaper pattern, the rim lined in gilt.Provenance: S. Marchant & Son, London, 1999. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant & Son, London, dated 10 June 1999, describing the piece as a famille rose plate painted after a design by Cornelius Pronk with the scene of the 'doctor's visit', dating it to the Yonzheng period, 1723-1735, and stating a purchase price of GBP 6,500 or approx. EUR 15,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Label 'Marchant London Yongzheng 1723-1735' to base. S. Marchant & Son was founded in 1925 by Samuel Sydney Marchant (1897-1975). It held a large stock of Asian art, but also dealt in arms and armor, paintings, and continental porcelain. In 1953, Richard Marchant joined his father and from that time onwards the partnership specialized in Asian art. Nowadays the company's focus is on Imperial Chinese Ming and Qing porcelains, jades, cloisonne, pottery, and works of art. Condition: Very good condition, the enamels still fresh and crisp, minor wear to the gilt and enamels mostly along the rim, and manufacturing flaws including pitting, dark spots, glaze recesses, and light warping.Weight: 522 g Dimensions: Diameter 25.8 cmThe scene, entitled 'The Doctors' or 'The Doctors Visiting the Emperor', was designed by Pronk in 1735 and sent to China in 1736, arriving only at the end of 1737. The finished products were sent back to the Netherlands at the end of 1738 and in 1739. A second, simpler version of the design with only three figures was sent to China in 1739. This scene was originally designed after a motif in traditional Chinese iconography, illustrating the legend of the woodcutter Wang Shi who encountered three Daoist gods playing chess in a cave.Only one of Cornelis Pronk's four official commissions for the Dutch East India Co., an original watercolor design, can still be seen in the Rijksmuseum, Amsterdam. While the experiment in commissioned designs was quickly discontinued, dinner sets, tea pieces and large jars with covers were made with the 'The Doctors' motif. See C.J.A. Joerg, Porcelain and the Dutch China Trade, pp. 99-101, and Howard & Ayers, op. cit., pp. 193-194.Literature comparison:Compare a near identical Pronk 'Doctor's visit' dish, ca. 1738, in the collection of the Victoria and Albert Museum, accession number C.43-1912.Auction result comparison:Type: Near identicalAuction: Christie's New York, 17 January 2019, lot 541Price: USD 6,875 or approx. EUR 7,700 converted and adjusted for inflation at the time of writingDescription: A famille rose 'Pronk doctors' large dish, Qianlong period, circa 1738-1740Expert remark: Compare the near identical design, crisp enamels, and gilt embellishments. Note the size (32.1 cm).乾隆早期粉彩眾博士圖中國，約1738-1740年。折沿，淺盤，圈足。盤面正中開光粉彩描繪由荷蘭的畫家考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》。四位博士，其中三位圍坐在放有青花瓷盤的桌子周圍，另外一位博士站在他們身後高談闊論。畫面左邊圍欄上站立著一隻孔雀，右側的樹木枝頭上棲息著一隻鳥。折沿繪有水禽一組，其間飾以菱形開光，內各飾一條顏色各異的魚。盤邊裝飾六片黃色花口形菱花錦地紋。 來源：倫敦S. Marchant & Son藝廊，1999年；Richard 與 Maxine Markell，購於上述藝廊。隨附一份S. Marchant & Son 1999年6月10日出具的原始發票複印件，上面描繪此盤粉彩描繪仿考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》，為雍正時期，1723-1735年，售價GBP 6,500 ，相當於EUR 15,500 (根據現今通貨膨脹率)。底部可見標籤 'Marchant London Yongzheng 1723-1735' 。S. Marchant & Son藝廊由 Samuel Sydney Marchant(1897-1975) 與1925年成立。該藝廊擁有大量亞洲藝術品，同時也經營武器和盔甲、繪畫和瓷器。1953 年，Richard Marchant加入了他父親藝廊行列，從那時起，藝廊專門從事亞洲藝術。 如今，該藝廊的重點是中國明清宮廷瓷器、玉器、景泰藍、陶器和工藝品。品相：狀況極好，琺瑯仍然鮮艷，邊緣的描金和琺瑯有輕微磨損，製造缺陷包括點蝕、黑點、釉面凹陷和輕微翹曲。 重量：522 克 尺寸：直徑 25.8 厘米

ART POTTERY ETC. ENCYCLOPAEDIAS. Two volumes: 'Encyclopaedia of British Art Pottery' by Victoria Bergesen Barrie & Jenkins 1981, hardcover & 'Encyclopedia of Pottery & Porcelain of The Nineteenth & Twentieth Centuries' by Elisabeth Cameron, Faber & Faber hardback 1866. Condition, both good, clean inside, bindings tight, dust wrappers have signs of use, light spotting to end sheets.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase

CHINESE SONG-STYLE WHITE GLAZED POTTERY PILLOW - OXFORD TL TESTED Of waisted rectangular form with moulded floral and geometric decoration, each end with four characters reading ‘Xuanhe first year’ (1119AD). Oxford TL Tested, Sample No: P100n90, 8th June 2000 – Result mentions the last estimated date of firing was between 150 and 300 years old making the pillow 18/19th Century. Provenance: Private English collection in Buckinghamshire since the 1980’s

An Ottoman Iznik pottery jug, 16th/17th century, Turkey, of bellied form with an 'S' scroll handle, painted underglaze with floral and foliate motifs, bearing traces of gilt detail, on an unglazed base,14cm wide23cm highCondition report: Surface wear and scratches. Rubbing and losses to gilding, to the extent that there is very little remaining. Some chips to the end of the handle and base. General wear commensurate with age.

SUNSET CERAMICS. A Sunset Ceramics, Newlyn 'Flying Scot' night lamp in Art Deco style with pale blue lustre glaze. Length 38cm. Note: Sunset Ceramics was formed by Maggie Fisher as a successor to her Celtic Pottery in the 1970's Condition: Small chip to end corner. No other damage or restoration. In working order, original frosted glass.  WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.

MANUSCRIPT RECIPE BOOK - LAURENCE STERNE & YORKSHIRERecipe and household book kept by the Croft family of Stillington Hall, North Yorkshire, written in several hands, including several French and Indian recipes, some attributed ('Lady Fauconberg', 'Mrs Vansburg', 'Mrs Earle', 'Mrs Schaah', 'Miss Cholmley', 'Mrs Cheap', 'Miss Farrer', 'Sir J Sinclair President of the Royal Society'), including 'To make Royal Pancakes', 'To make Cazan Butter', 'Crème á la Madeleine', 'Crème au Petit Pain', 'Langnes de Mouton en Papoillotes' 'Duke of Norfolks Punch', 'Ham loaves', 'Treacle Beer', 'Indian Pickle', 'Receipt for Curry', 'To make a Bardawan Stew', 'Maid of Honor Cheese Cake', 'To Preserve Pineapples whole', 'To make a Buxton Pudding', 'Mrs Haslers receipt for a thick cream cheese' ('...take the mornings milk of 7 cows & the nights cream of 7 cows...'), 'To make Raisin wine' (' ...to one hundred weight of Raisins put twenty gallons of Water... add to it one gallon of French Brandy...'), some annotated ('excellent', 'a very pretty dish for supper', 'Mrs Croft a good one'); with household and medicinal receipts, ('To make and use Sand Paint', 'Mr Hays Prescription for Miss Crofts Eyes', 'To wash Cotton Stockings', 'To Clean Boots', 'Nervous Tincture'), two veterinary ('A Receipt for a Horse in the Gripes', 'To cure the Red water in Cattle'), accounts recording the cost of a three week journey to Scarborough ('...Bathing 2.6 a Time came to £2 10s 6d/ Stillington to Malton 17 miles 3 hours... Turnpikes for the Coach... 5d to go down upon the Sands...'), instructions for the planting and management of a Sea Kale bed ('...the bed should be made in December or as soon after as may be to temper with the weather... a bed will keep producing for six years it must be earthed up every year...') and hints to prevent the new pottery from Josiah Wedgwood's factory from spoiling ('...Pot Pouporee from the Carmelites at Paris... I would advise when you put them in jars in your Rooms never to put them in any thing but China as the Salt Penetrates through the Wedgwood Ware & soon moulders it away...'); some pages at end inverted; with indices, a page of handwriting exercises, a note of the birth dates of the Croft children, newspaper cuttings from the 1770's to 1790's stuck in (includes cutting from The Repository of a letter to the editor from Philologer of Sillington, 7 December 1773'), a note of 'Brydges & Walker/ Lacemen/ at the three Crowns the Corner/ of Bedford Street Covent Garden/ London' and other pencil notes on front flyleaf, indistinct ownership inscription ('Mrs Croft...') in ink on front board, c.280 pages, some pages excised, browning, staining and signs of wear, one or two small worm holes and some losses and small tears, contemporary vellum, worn, 4to (200 x 160mm.), mid eighteenth to early nineteenth centuryFootnotes:'AT STILLINGTON THE FAMILY OF THE CROFTS SHOWED US EVERY KINDNESS': RECEIPT BOOK FROM THE HOUSEHOLD OF LAURENCE STERNE'S NEIGHBOURS AND FRIENDS, THE CROFTS OF STILLINGTON.Laurence Sterne wrote his literary masterpiece, The Life and Opinions of Tristram Shandy, Gentleman whilst incumbent of St Nicholas Church, Stillington, Yorkshire, a position he held from 1745 until his death in 1768. Although revered in London and Parisian society after its publication, he remained unpopular in his home parish – maybe because he chose to reside in Sutton-in-the-Forest, two miles away, or maybe due to his preference for shooting and other less salubrious pursuits over his ecclesiastical duties. However, he did become close friends with the Croft family at Stillington and Stephen Croft (1712-1798) became an intimate friend and correspondent, who helped Sterne and his wife out financially, as well as championing his works in Yorkshire society and giving him the means to travel to London to promote his book. As Sterne himself writes: 'I remained twenty years at Sutton, doing duty at both places. I had then very good health. Books, painting, fiddling and shooting were my amusements... at Stillington the family of the C__s showed us every kindness; 't was most truly agreeable to be within a mile and a half of an amiable family who were every cordial friends.' (Letters of the Late Rev. Mr. Laurence Sterne, to his Most Intimate Friends, Vol. I, 1776, p.8.). Indeed Croft is widely credited with saving the manuscript of Tristram Shandy from certain destruction. After a fine dinner at Stillington, Sterne chose to read an early draft of his novel to the assembled company. Replete with food and wine, the audience, so the story goes, '...fell asleep, at which Sterne was so nettled that he threw the Manuscript into the fire, and had not luckily Mr Croft rescued the scorched papers from the flames, the work wou'd have been consigned to oblivion.' (John Croft, 'Anecdotes of Sterne vulgarly Tristram Shandy' in The Whitefoord Papers, ed. WAS Hewins, Oxford, 1898). Stephen's brother John Croft also comments in his Anecdotes that Sterne was a 'constant Guest at my brother's Table' (Ian Campbell Ross, Laurence Sterne, A Life, Oxford, 2013, p.101) and, although much of this volume seems to date from after Sterne's time at Stillington, it would however be interesting to speculate whether he sampled any of the receipts included herein.A member of the famous Croft wine-shipping dynasty, Stephen Croft rebuilt Stillington Hall to much admiration, 'was not only an active Whig but also a man who shared Sterne's tastes in painting, music, and literature: in years to come he could commission Joshua Reynolds to paint his portrait [and] act as a director of the York Assembly Rooms...' (Campbell Ross, p.101).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A 20thC Gouda Dutch vase, of circular form, decorated with flowers, on a blue ground with brown glazed rim and green base, marked beneath, 30cm H, a bamboo style vase and a S P Pottery Halifax Studio vase of D end form, partially pierced. (a quantity)

A dark grey pottery model of an equestrianYuan DynastyStanding four square on a shaped base, the sturdy animal with a flowing mane, parted over the eyes, the tail tied in a knot at the end, the bridle and straps with decorative bosses and pendant tassels, the rider modelled wearing a full skirted over-wrap coat belted at the waist, holding his right arm forwards.35.5cm (14in) high. Footnotes:The Professor Conrad Harris Collection of Early Chinese Art, formed in the late 1990's to early 2000's.Provenance: Berwald Oriental Art, 10 September 2001 (invoice).For further information on this lot please visit Bonhams.com

A 20thC Gouda Dutch vase, of circular form, decorated with flowers, on a blue ground with brown glazed rim and green base, marked beneath, 30cm H, a silver bamboo style vase and a S P Pottery Halifax Studio vase of D end form, partially pierced. (a quantity)

Japan.- Bowes Museum, Liverpool. [Sale Catalogue] Catalogue of the Magnificent and Unique Collection of Japanese Art Objects..., plates mounted on stubs, some photographic, deluxe copy with 4 plates of chromolithographs, one folding, 2 with 2 images cut and mounted, contemporary half morocco, original wrappers bound in at end, Liverpool, Branch and Leete, 1901 § Bowes (James L.) Japanese Pottery..., printed on Japanese vellum, plates, some chromolithographed, contemporary half morocco, t.e..g, others uncut, Liverpool, 1890 § Morse (Edward S.) Catalogue of Japanese Pottery, photogravure plates, original boards, uncut, Cambridge, Mass., Riverside Press, 1901, all a little rubbed; and 7 others on Japanese and Chinese art, mostly ceramics, v.s. (10)

Irma Stern(South African 1894 - 1966)ARAB DHOWSsigned and dated 1939gouache on card49 by 61,5cm Much like the French post-impressionist artist Paul Signac a generationbeforehand, Irma Stern loved to paint boats and she sought out thepicturesque in ports, harbours and rivers on her travels. The artistrecorded her impressions of water-borne vessels either sailing, dockedin port or casually beached in oils, gouaches and drawings, In an age ofocean travel, each view marked the stages of her frequent journeys upboth the Atlantic and Indian Ocean coasts of Africa to Europe and theMediterranean beyond.Seeking diversion at the outbreak of World War II from the drearyisolation of Cape Town society, Irma Stern sailed away to the IndianOcean island of Zanzibar in September 1939. She travelled from CapeTown Docks on the Dunvegan Castle to Dar es Salaam where shedisembarked to a ferry able to navigate the shallower waters aroundthe archipelago. It is most likely that one of the first sights that greetedher arrival was a fleet of Arab dhows1 sailing and sheltering in thesurrounding bays and coves.Her lengthy sojourn in 1939 was a great success and she was energizedand excited by the exotic life she encountered there. That experience,followed by an adventurous exploration of the Congo in 1942, kept theartist creatively occupied until the end of the war, when she returnedto Zanzibar once more in 1945. Her impressions were recorded in herartistic output - paintings, gouaches and drawings – and also in a seriesof letters and her now famous book Zanzibar, published in 1948. Thisperiod of intense productivity and subsequent commercial successmarks her golden period, the highlight of the artist’s career.As a cultured and well-read woman, Irma Stern was familiar with theantiquity and significance of the Omani Arab maritime trade on theSwahili Coast. A heady mix of Arab, African and Indian cultures inthe southern Indian Ocean region coalesced in Zanzibar from 10thcentury AD. As the last port of call for the Arabian dhows before sailingthe treacherous waters of the Mozambique Channel, it was also thedestination of larger, open ocean ships sailing from the Malabar Coastof IndiaPropelled by the Monsoon winds in a seasonal round, sailors fromOman and the Arabian Peninsula linked the East African coast to thetrading entrepots of the Persian Gulf, the Mediterranean and the IndianOcean World as far as China.In her travelogue Zanzibar published after a second visit to the island in1945, the artist reflects on the reach and antiquity of Arab dhows piledwith exotic trade wares:With the East trade wind the dhows come down from Arabia and Persiato Zanzibar to trade filled with goods such as coffee, spices, dates.Persian prayer rugs, antique copper vessels and Lamu pottery (Chinesepottery made for the Arabs). The dhows are also loaded with ghee andother eastern foods, with silks from India and China, with shawls fromCashmir, with brocades and jewels from Ceylon. The Arabs come downto Zanzibar for half a year, trade their goods, and leave again just beforethe commencement of the westerly monsoon. The heavy woodendhows hewn out by hand from solid blocks of wood are packed withcorn, millet, calico and other western products – and lately even withold motor cars!Fresh insight into Irma Stern’s Indian Ocean world is provided by therecently rediscovered Arab Dhows (1939), a golden and aqua infusedgouache, signed and dated by the artist.Presenting a view of beached dhows in a sandy Zanzibar cove withluminous Indian Ocean beyond, one of two foreground figures repaintsa boat, while more dhows lie at anchor in the bay. This work has neverbeen seen beyond her first Zanzibar exhibition in 1940 in Johannesburgat the Preview of her Exhibition of Paintings from Zanzibar, TuesdayDecember 3rd at 4:00 pm. Gainsborough Galleries, Johannesburg.The exhibition was a heady success for Irma, following on from thepivotal Cape Town showing of her work at Martin Melk House inDecember 1939, where the iconic Arab Priest was sold. Johannesburgcritics praised her new Zanzibar work, and in her press clippings bookthere are two reviews that mention Arab Dhows specifically:In a piece titled Arresting Picture Exhibition, (Rand Daily Mail ofDecember 4th, 1940) the critic L.S. writes:The remarkable lightness of style she shows in some of her tempuralike “Street in Zanzibar” are vibrant with atmosphere, and “ArabDhows” done with almost careless freedom”.On 6th December 1940 (The Zionist Recorder) observed:…amongst her collection of tempera paintings “In the Bazaar”, “ArabDhows”….at once hold the eye by the deftness of their executionIrma Stern was an astute business woman recording each sale in herledger book in her distinctive hand, No 33 in the catalogue Arab Dhowswas sold in December 1940 to :Miss B. McLeod, Kingsborough, Main Ave. Reviera, Johb. To be paidat 4 Guineas per month.The work was dutifully paid off as promised by a young actress as a giftfor her father.Since that time the work has remained as the property of her heirsand has never been sold or publicly seen previously. Therefore, it givesus great pleasure to debut Arab Dhows to the art loving public and inparticular collectors of important works by Africa’s most acclaimedwoman artist, Irma Stern. - C.K. An impeccable provenance – Irma Stern’s Arab Dhowsby Bryan RostronThis painting has always been in our family. It was bought at IrmaStern’s Johannesburg “Zanzibar” exhibition in 1940 by my mother,the actress Barbara Macleod, as a present for her father, Lewis RoseMacleod, then editor of the Rand Daily Mail. The sale price was 12guineas, which she paid in installments – scrupulously, according toIrma Stern’s records - at four pounds a month.On the death of Lewis Rose Macleod in 1941, this Irma Stern paintingpassed to my mother, Barbara Rostron, and on her death in 2004, itpassed to me, Bryan Rostron, her only child. 1 - The Swahili word ‘dhow’ is a generic term for the pre-European ships of the Indian Ocean.Traditionally these dhows were sewn together using coconut coir (fibre) that was a medievalpractice. The dhows are typically rigged with a lateen sail, which is the classic triangular-shapedsail attached to a cross beam that is raised and lowered according to the winds. Boats range in sizefrom small fishermen’s boats to vessels over a hundred feet long.Berman. M. 2003. Remembering Irma. Irma Stern: A memoir with letters. Double Storey Books.Cape Town.Kaufmann, C. 2015. Zanzibar and the Swahili Coast. In Kaufmann, Carol and Lewis.A.eds. Brushing upon Stern. Iziko Museums. Cape Town. ( P.65)Klopper, S. 2017. Irma Stern Are you still alive? Stern’s life and art seen through her letters to Richardand Freda Feldman, 1934-1966.Orisha Publishing. Cape Town. ( P.92)National Library of South Africa (Cape Town Campus). Irma Stern Archive.Stern.I. 1948. Zanzibar. Van Schaik, Pretoria.

A pair of Dutch Delft tulip vases, painted with figures in landscapes, 20th century, together with a pottery tobacco jar and cover, inscribed 'BOUGIE ROLL', two pottery tureens, two lustre jugs, a silver lustre mug inscribed 'A REWARD FOR DILIGENCE', an earthenware chamber pot inscribed 'S. ALCOCK & CO. FOR W. CHUBB PATENTEE' and other items, 40cm wide (max). (14) Provenance: The collection of the late Geoffrey Harley, Pickwick End, Corsham.Click here to view the online page turning catalogue.

A Chinese opium pipe with bamboo stem and brass fittings, pottery bowl and green hardstone ends, length 55cm, and a similar pipe with brown hardstone carved fist end, length 42cm, both S/D (2)

3rd-4th century AD. A carved basalt female bust with swept curve to the eyes, chignon hairstyle, broad nose and small mouth; Eastern Empire workmanship; mounted on a custom-made stand. 16.6 kg, 42cm including stand (16 1/2"). Property of a Surrey lady; acquired by her father Christopher Terry in 1978; he says of it in his inventory: 'A Roman head surmounts the glass cabinet. It is made of volcanic material. It came from the Roman Fort, in Jordan, from which Lawrence of Arabia conducted part of his campaign in the 1st World War. I pity the sculptor having to work in Lava. I brought it home and had it mounted.' As a boy Christopher Terry was a keen amateur archaeologist. By mapping out the Roman occupation in Britain he visited many sites and from the age of 14 was involved with excavations, in particular at Reculver in Kent. His involvement in Reculver lasted until his early 20’s and often involved him cycling 110 miles to the site with his tent. This beginning inspired Christopher to collect and sell antiquities and his interest led him to meet many interesting people and visit many fascinating places around the world. He travelled during the late 1970’s and early 1980’s, which took him to most of the classical sites in Europe, North Africa and the Middle East. Christopher’s greatest area of interest was in Roman and Greek civilisations however all ancient history intrigued him. One notable sale included some Assyrian ivories bought and exhibited in Washington. With limited options to pursue the study of archaeology in the late 1950’s, Christopher took up the study of architecture. It was the combination of History and Architecture which eventually led him to purchase and rescue Brougham Hall in Cumbria which at the end of 2016 came off the ‘At Risk Register’. This for him is where his ancient history and modern history merged and when excavating at Brougham Hall he also discovered Romano British pottery. http://www.broughamhall.co.uk. Fine condition.

Pre-Columbian, Peru, Chancay culture, ca. 1200 to 1400 CE. A wonderful, naturalistic depiction of a long-beaked bird standing atop a spotted eel. A tall, thin spout rises from the middle of the eel's back; a strap handle connects the spout to the bird's body. Blow through the spout and sound will emerge from the hole at the other end of the handle! Size: 6.05" L x 7.35" W x 6.4" H (15.4 cm x 18.7 cm x 16.3 cm)This vessel seems to have been made purely to be votive, or to show off the skill of the artist, because the eel has twin nostrils that would have allowed any liquid within it to pour out. The details are impressive, particularly of the eel's body; the bird's perch and beak position suggest that it is has come upon a dead eel washed up on the beach and is about to enjoy some unagi sushi. Perhaps this is a scene that the sculptor witnessed themselves, or one that someone requested. It has been painted in the distinctive Chancay style of black-on-white pottery. Chancay ceramics are found mainly in the cemeteries of the Ancon and Chancay valleys, where elite members of society paid for a class of artisans to create funerary items like this one. Provenance: Ex-Private collection of Charles and Rita Colbert acquired in the 1960's Condition: Repaired from three large pieces. Repairs are well done and largely invisible. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120681

Rome, ca. 1st to 3rd century CE. So lovely for its fabulous form, light green hues, translucency, not to mention the areas of rainbow iridescence. This vessel presents a near-spherical body with a dimpled bottom, its globular form leading to a slender neck that resolves to an elegantly flared rim. A lovely example of free-blown ancient glass! Size: 3.5" in diameter x 4.5" H (8.9 cm x 11.4 cm)For similar examples, see Susan Auth, "Ancient Glass at the Newark Museum" (New Jersey, 1976) and S. B. Matheson, "Ancient Glass in the Yale University Art Gallery" (Yale, 1980).Glass blowing was invented in the Roman Empire around the end of the first century CE and revolutionized Roman household life. Suddenly glass was easy to produce, and Roman households rapidly replaced pottery with delicate, translucent glass. A vessel such as this one may have been used to hold olive oil, which the Romans used for everything -- cooking, lighting lamps, and personal hygiene. It has survived the intervening centuries nearly intact and is a beautiful reminder of the Roman past. Provenance: Ex- Private NYC collection Condition: Tiny near invisible nicks to rim. Earthy encrustation. Nice areas of rainbow iridescence. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120151

13th-16th century AD. A green glazed Sangkhalok Celadon ware bowl with inverted S-pattern to the inside and double circle to the base; exterior with X pattern and unglazed areas to the foot. 600 grams, 18cm (7"). Ex Kinnard collection, Oxford, UK, formed in the early 1980s; thence by decent 2015. Sangkhalok ceramic wares are a high quality pottery that comes in a variety of forms, glazes and decoration; that with the jade green glaze is known as Celadon ware. Celadon originated in China, and later spread to other regions in Asia, such as Japan, Korea and Thailand. The technique of producing this pottery in Thailand began in the Sukhothai period (1238-1351 Ad). and continued in popularity through the end of Si Ayutthaya kingdom (1351-1767 AD). Fine condition.

§ Alfred Aaron Wolmark (British, 1877-1961) Portrait of a lady, believed to be the artist's wife signed lower right "Wolmark" oil on canvas, in a painted and gilded frame designed and painted by the artist 49 x 39cm (19 x 15in) Other Notes: Alfred Aaron Wolmark was born in Warsaw, Poland in 1961. He later moved to London in 1883 with his family, settling in the East End. He studied at the Royal Academy Schools from 1894, where he won an award in drawing in 1897. His early works depicted life in the Jewish communities of the East End along with portraits, some of which were featured in his first one man exhibition at the Bruton Gallery in 1905. From 1910 his work moved away from these themes, taking influence from Post-Impressionism and using strong colour and bold paint applications. His use of bold colour can be seen in his paintings of Breton, where he spent his honeymoon in 1911, which were shown in his exhibition at the Grafton Gallery that year. This time in France greatly influenced his artistic style Wolamark was a great friend of the scupltor Henri Gaudier-Brzeska (they met circa 1913) and the two artists made numerous portraits of one another. After a visit to New York in 1919 Wolmark exhibited the cityscapes he painted there at the Kervorkian Gallery, new York, 1920. He co-founded the JAAS (Jewish Association of Arts and Sciences) with Adrian Alfred Woolfstein (Adrian Wolfe) in 1915. As well as painting, Wolmark also worked with pottery and stain glass designs, such as the abstract stained glass window for St Mary’s Church in Slough. He was also known to design his own picture frames, sometimes using samples of wallpaper to decorate them. He created ballet stage designs for Diaghilev during the 1920's, and illustrated 'The Completed Works of Israel Zangwill's'. Retrospective exhibitions of his work were held at the Leicester Galleries 1947, the Ben Uri Gallery 1948 and 1952, and the Woodstock Gallery 1959. After his death the Ben Uri Gallery held a Memorial exhibition in 1961. On coarse canvas. Scuffed edges. Colours good. May be the frame from another Wolmark picture.

Roman Period, 30 BC-323 AD. A D-section gold hoop expanding to a discoid plaque with inset carnelian cloison; intaglio design of the serpent Ourobouros biting its own tail surrounding a Greek magical text '?????????/???????????/???????????/????????CIE?/E??? IERPBHKA/A?CIAIADA?/NI' invoking the help of the spirit Marmarao(?"). 8.16 grams, 25mm overall, 19.37mm internal diameter (approximate size British S 1/2, USA 9 1/4, Europe 20.73, Japan 20) (1"). UK art market, acquired prior to 1980. Cf. Marshall, F.H. Catalogue of the Finger Rings - Greek, Etruscan and Roman - in the Department of Antiquities, British Museum, London, 1968, item 1130 for type; 'Marmarao' or 'Marmaroth' is possibly the name of an ancient Near Eastern 'angel', spirit or minor deity. See Cresswell, J. The Watkins Dictionary of Angels, London, 2011. Accompanied by an Art Loss Register certificate. The Ouroboros was seen in the Greek and Roman worlds as a creature that was without beginning or end and according to Plato it was as the first living thing; a self-eating, circular being—the universe as an immortal, mythologically constructed entity. Due to the circular shape that it formed it was seen as having protective and magical properties and everything that it enclosed was seen as sacred. Magical spells were popular in the Graeco-Roman world and have been found in many parts of the Roman Empire. They take many forms such as writing onto pottery sherds or on papyrus as well as sheets of lead, silver or gold. Many gem stones were carved with magical symbols and spells and display an elaborate syncretism of Greek, Egyptian, Jewish, and even Babylonian and Christian religious influences. These stones were set into rings to protect the owner or help cure a long standing medical condition. The type of stone was also important as many had specific magical connotations. Whilst many of the spells can be translated some are composed of letters that form phonetic sounds with no meaning or are written backwards or even groups of letters that make no sense at all except to the magician who was consulted by the client; very often it was the cryptic form of the letters that was often the most important in harnessing divine help. According to Cresswell, Marmarao is 'an angel invoked in magic to cure bladder trouble'. Very fine condition.

Two William De Morgan Diagonal Leaf tiles, painted in shades of green and turquoise, and two other William De Morgan Persian tiles, impressed Sand`s End Pottery mark to one, restoration, 15cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil Books, page 62 colour plate VI for a comparable tile Provenance Stephen Wilcock Collection

A pair of William De Morgan Sand`s End Pottery Islamic tiles, painted with a stylised flower stem in shades of blue, green, aubergine and yellow on a white ground, and a pair of William De Morgan Merton Abbey Persian Flowers tiles, impressed marks, Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 125 plate 171 for this design illustrated. Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 147 figure 742-743 for the original design of the Persian Leaf design Provenance Stephen Wilcock Collection

A fine pair of William De Morgan Sand`s End Pottery Chameleon tiles, painted in shades of green and blue on a white ground impressed marks, 15.5cm. square Provenance Richard Dennis Gallery Stephen Wilcock Collection Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 126 plate 918 for the original design illustrated.

A William De Morgan Sand`s End Pottery three tile repeat, decorated with carnation and scrolling foliage in green, blue and aubergine on a white ground impressed marks, chips to edges, 15.5cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 123 plate 168 this design illustrated. Provenance Private collection

A William De Morgan Sand`s End Pottery BBB tile, painted in shades of blue, green and aubergine on a white ground, and a William De Morgan Single Rose tile, raised in low relief impressed marks, 15.5cm. square Literature Martin Greenwood (editor) The Designs of William De Morgan Richard Dennis Publications, page 135 plate 682 for the BBB original design illustrated. Provenance Private collection

Five William De Morgan Sand`s End Pottery tiles, each painted with flowers and foliage in shades of blue, aubergine, green and turquoise on a white ground impressed marks, minor chips, 15.5cm. square

A rare pair of William De Morgan Sand`s End Pottery tiles, each impressed, hand carved and slip decorated with a seated lioness, covered in a green glaze impressed factory mark, minor glaze chips 15.5cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 237 for a comparable tile decorated with a seated bear like creature.

A rare set of four William De Morgan Sand`s End Pottery tiles, each impressed, hand carved and slip decorated with a seated lioness, covered in a green glaze impressed factory mark, minor glaze loss and chips 15.5cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 237 for a comparable tile decorated with a seated bear like creature.

A William De Morgan Sand`s End Pottery three tile panel, painted with an exotic peacock, perched in a berried bough, painted in colours on a white ground impressed factory mark, minor glaze chips, Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 247 plate 323 for a comparable panel.

A rare William Dr Morgan Sand`s End Pottery tile, painted with a serpent in black on a blue ground impressed factory mark, tiny glaze chips, 15.5cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 238 for a comparable tile in green and white. William De Morgan Blackwell House exhibition catalogue, page 28 catalogue number 53 for a ruby lustre tile in this design.

William Staite Murray (British, 1881-1962) Bowl, Yeoman Pottery, abstract Vorticist design, circa 1915-1919 incised `YEOMAN W.S.M.` (to the base) 14.5cm diameter, 5cm high. Provenance: The Margot Coatts Collection; A. W. Coysh Collection. Illustrated: Malcolm Haslam, William Staite Murray, Crafts Council, 1984, p.74, illustration 2. These two bowls are rare examples of William Staite Murray`s early work at the Yeoman Pottery, and he noted at a later date that `experiments of that time in abstract painting and abstract sculpture interested me`, which can clearly be seen in these works. Alongside the Vorticist artist Cuthbert Fraser Hamilton, Murray set up the Yeoman Pottery in 1915 and it would continue until just after the end of the war in 1919. The work produced by these artist-potters at the pottery shows how closely they were associated with the artistic avant-garde of the period. The slightly more muted colours of Lot 61, and its heavily abstract figural composition shows an assimmulation to the Vorticist movement, and possibly the influence of David Bomberg`s work of this period. Lot 62, stronger in colour and conforming more to cubist elements perhaps shows influences of the work of artists such as Edward Wadsworth.

A Doulton faience charger, circa1880, by Florence Lewis, with a spray of flowers and ferns on a yellow ground, impressed and printed mark, 44cm diameter, a Minton`s Art pottery wall plate, dated 1872, with a swallow beside cherry blossom on a mushroom pate ground, printed and impressed marks including date code, `Minton`s Art Pottery Studio Kensington Gore`, 33.5cm diameter, and an Art pottery wall plate, possibly Minton`s, with a finch and beetle beside a water lily, red 1777 K & B 536, restored, 30.5cm diameter K & B is probably Kerr and Binns 1852-1862; this dish would have been towards the end of the period. Ex Dan Klein Ltd, cat no 71. Interestingly, the reverse has been used as a trial palette. Doulton faience - some fine crazing. Mintons - no obvious major faults. Art Pottery charger - 12cm crack restored to top edge and 4cm crack from the rim.

A William De Morgan Sand`s End Pottery tile, painted with a dragon-like creature in a Persian palette of green, blue and aubergine on a white ground, framed impressed marks, minor restoration to corner 15.5cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 237 figure 244 for this creature illustrated.

A William De Morgan Sand`s End Pottery tile, cast in low relief with two lions, glazed in yellow and mustard impressed factory mark, 15.5cm. wide. Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, this design illustrated page 121 plate 1074 for the original design illustrated.

A William De Morgan Sand`s End Pottery tile, painted with a grape vine design in aubergine and green on a white ground, and another William De Morgan tile impressed marks, 15.5cm. square.

Three William De Morgan Sand`s End Pottery tiles, each small tile painted with three flowers on a scrolling foliate ground, impressed marks, minor glaze chips 13cm. square Provenance Ceramic Design Bonhams 14th March 2007 lot 390, part of the Peter Creffield Collection of Tiles Private collection.

A large William De Morgan Sand`s End Pottery Marlborough tile, painted in green, blue and aubergine impressed roundel mark 20.5cm. square

A William De Morgan Sand`s End Pottery Bedford Park Daisy tile, painted in shades of blue, green and aubergine on a white ground impressed mark, 15.5cm. square

A William De Morgan Sand`s End Pottery tile, painted with a frieze of cherub, in purple, blue and yellow on a cream ground impressed mark, 17.5 x 19.5cm.

A pair of large William De Morgan Sand`s End Pottery P & O Arabia Companion Frieze tiles, painted in shades of blue, yellow, green and aubergine on a white ground impressed mark 23cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil page 94 plate 135 for two comparable tiles illustrated.

Two William De Morgan Sand`s End Pottery Bedford Park Daisy tiles, painted in shades of blue, green and aubergine on a white ground impressed mark, 15.5cm. square

Two William De Morgan Sand`s End Pottery Bedford Park Daisy tiles, painted in shades of blue, green and aubergine on a white ground impressed mark, 15.5cm. square

A William De Morgan Sand`s End Pottery Carnation tile, painted in shades of blue and green on a white ground impressed mark 15.5cm. high

A large William De Morgan Sand`s End Pottery Marlborough tile, painted in green, blue and aubergine impressed roundel mark 20.5cm. square

A large William De Morgan Sand`s End Pottery Marlborough tile, painted in shades of green, yellow and aubergine impressed mark, 20.5cm. square

A large William De Morgan Sand`s End Pottery two tile repeat panel, painted in shades of green, blue and yellow on a white ground impressed roundel marks 23cm. square

A William De Morgan Sand`s End Pottery tile, painted with carnation and segmented leaf design, in shades of blue, turquoise and green on a white ground impressed marks, 15.5cm. square

Two William De Morgan Sand`s End Pottery tiles, painted with carnation and segmented leaf design, in shades of blue, turquoise and green on a white ground impressed marks, 15.5cm. square

A William De Morgan Sand`s End Pottery two large tile repeat panel, painted in shades of green, blue and yellow on a white ground impressed roundel marks 23cm. square

A pair of William De Morgan Sand`s End Pottery tiles, painted with two carnation flowers, in shades of blue, aubergine and green on a white ground impressed marks, rim chips to one 15.5cm. square

A William De Morgan Sand`s End Pottery tile, painted with a flower design in shades of blue, green and aubergine, the other similar in yellow, green and aubergine impressed marks, 15.5cm. square

Three William De Morgan Sand`s End Pottery tiles, painted in shades of yellow, green and aubergine on a blue ground impressed seal marks, damages 20.5cm. wide

A William De Morgan Sand`s End Pottery BBB tile, painted with a carnation in shades of blue, green and aubergine, in brass teapot stand mount impressed marks, 16cm. square

WEMYSS WARE SCARCE `EARLSHALL` MUG, CIRCA 1907 decorated allover with birds and flowering plants and with central panel bearing the inscription MANS CHIEF AND HIGHEST END MUST BE/ GODS GLORY TO PROMOTE AND SEE/ TO GLORIFY HIM AND POSSESS/ IN HIM ETERNAL BLESSEDNESS/ SANCT SERFS/ ANNO 1907, impressed mark WEMYSS, printed mark WEMYSS WARE/ RH&S 14.5cm high Provenance: Note: This mug is decorated with a religious text and hand-painted motifs influenced by Earlshall Castle in Fife. Earlshall Castle was the home of R. W. R. Mackenzie, a successful merchant. He held fairs in aid of local charities at the castle, and the Fife Pottery produced a series of Wemyss designs for sale at these fairs. A similar mug is held in the collections of the Royal Museum of Scotland, catalogue no. 000-100-103-124-C

A Chinese pottery model of a reclining ram, covered with a straw coloured glaze, 13.5cm long; a standing figure of a guardian with straw glaze, 21.9cm high; and a pottery figure of a seated hound partially coated with a greenish straw glaze, 11.4cm high, all Tang dynasty (AD 616-907) In light of the changing international market for the auctioning of Oriental Works of Art, Dreweatts advises prospective bidders that we will require registered bidders to provide additional evidence of identity and, at our sole discretion, we may also request financial references that might include the lodging of a £2,500 security deposit by a bank transfer or debit card prior to the commencement of the sale.In the event that a deposit is sought it will be returned, without interest and at the bidder’s cost with respect to transaction charges, within 7 working days of the end of the sale. In all circumstances it is at Dreweatts sole discretion as to whether we are prepared to accept bids from any bidder and we urge interested bidders to make their sale registration applications as early as possible, and in any event no later than mid-day on Monday 5th March.