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An Italian polychrome pottery relief medallion with Madonna in the manner of Della Robbia, 20th C.51,5 x 43 cm

Charles Collis and Alice Louise Jones for Della Robbia, an Arts and Crafts art pottery vase, twin handled ovoid form slip decorated with floral and foliate scroll design, 32cm high

A large Della Robbia pottery charger by Charles Collis, circa 1900, the central domed boss with yellow flowerhead within a well and raised outer border, all incised and painted with stylized leaves and flowers, the underside with incised maker's marks and numbered '913', diameter 50cm (crack).

CANTAGALLI FIRENZE CIRCULAR WALL PLAQUE, 20th century, in Della Robbia style with infant in swaddling, impressed marks to reverse, 31cms (diam.)Provenance: private collection Conwy

A Della Robbia vase, incised with roundels and lozenges on a moss green ground, 16cm, number 197, sgraffito marks, c.1900

A Della Robbia (Birkenhead) art pottery plate, late 19th century or early 20th century, with green, blue and ochre abstract floral decoration, monogrammed 'HJ' for Hannah Jones, incised ship and DR mark, 21cm diameterCondition:Two firing cracks to rim, please see photos.

A small Della Robbia circular ceramic wall plaque of a child praying, signed to the base, 10.5cm in diameter. Condition - fair to goodGrey-ish rub at her ear area; crazed finish; incised marks verso, as shown. 

Reliefplatte, Madonna in Anbetung des Jesuskindes, begleitet von Gottvater und einer Engelschar, unter einem Rundbogen, Keramik, weiß-blaue Glasur in der Art von Andrea della Robbia, Florenz, wohl Arnhem, Holland, 18. Jh., 59 x 40 cm, in Holzrahmen, 70 x 46 cm

Keramikfliese, ''Singende Knaben'', w. Italien, 19. / 20. Jh., Majolika weiß und blau glasiert, Gruppe von sieben singenden Knaben nach dem Marmorrelief ''Cantoria 1'' von Luca della Robbia aus den Jahren 1432/38, 31 x 21,5 cm, 1431 erhielt Luca della Robbia einen Auftrag für zehn Marmorreliefs für die Kathedrale in Florenz, diese unter der Bezeichnung ''Cantoria'' bekannte Serie befindet sich heute im Museo dell'Opera del Duomo in Florenz, della Robbia schuf neben Marmorreliefs insbesondere auch, durch die typische blau-weiße Farbgebung unverwechselbare Majolikareliefs, seit dem frühen 19. Jahrhundert entstanden im Zuge der ''Grand Tours'' teils erstklassige Kopien dieser Reliefs,

An exceptional pair of Royal Worcester Busts created by James Hadley for the "Potters Vases shown at the Paris Exhibition 1878, in terracotta depicting Luca Della Robbia and Maestro Georgio, both signed J Hadley (see Henry Sandon, Royal Worcester porcelain pls 74 and 88), both with some damage, 7 1/2" tall.

Della Robbia (Birkenhead): a large twin handled urn, sgraffitto decorated throughout with floral designs, initialled C to the base, H: 40 cm, no visible damages or repairs. UK P&P Group 3 (£30+VAT for the first lot and £8+VAT for subsequent lots)

A 19th century Italian majolica glazed tile, figure group in the manner of Luca della Robbia. H.45 W.31cm

Ellen Mary Rope, an Arts and Crafts relief moulded plaque, Periwinkle, modelled as a putto amongt the named flower, signed with monogram, 12.5cm x 9cmNote: Rope previously worked for Della Robbia pottery in Birkenhead, having studied sculpture at the Slade School of Art

Richard Llewellyn Rathbone, three Arts and Crafts copper vessels, including a tea caddy of inverse baluster form with conical lid, planished trumpet form vase and a squat cylindrical candle stick, stamped marks and numbers 103 and 631, 16cm high (3)Note: brother of Della Robbia pottery owner and relation of W A S Benson, Richard Rathbone produced work for well known designers including CFA Voysey, Mackmurdo and Heywood Sumner, in collaboration with Harold Stabler. Examples of his pieces are in the collection of the Victoria and Albert Museum, London

3 Della Robbia pottery busts, largest height 31cm (3)

After Andrea della Robbia, a Scarce Cantagalli Firenze terracotta lunette depicting the embrace of St. Francis & St. Dominic 70cm x 34.5cm Note: The larger original lunette is above the door of the hospital complex of San Paolo in Florence where It is said that the meeting between Francis & Dominic took place in C.1221.

Ruth Bare for Della Robbia - Late 19th/Early 20th century glazed stoneware globular form small bud vase. Approx. 8cm H Reasonable used condition

Della Robbia - Late 19th/Early 20th century glazed stoneware globular form small bud vase, initialled indistinct. Approx. 8cm H Reasonable used condition

A Della Robbia style circular maiolica plaque, 26cm diameter. Condition - good.

BIRKENHEAD DELLA ROBBIA PLAQUE DECORATED BY HJ, CIRCA 1900, DIAMETER APPROX 39cm

BIRKENHEAD DELLA ROBBIA VASE, DECORATED BY GW, APPROX 16.5cm HIGH

BIRKENHEAD DELLA ROBBIA BLUE AND GREEN GLAZED BALUSTER FORM VASE, DECORATED BY GP, APPROX 26cm HIGH

CASSANDIA ANN WALKER FOR DELLA ROBBIA; a large Art Nouveau twin handled vase, sgraffito decorated with a portrait bust of a maiden and floral sprays on a blue/green ground, signed and dated 1903, height 39.5cm.Condition Report: Large U shapped piece has been broken out of the top rim and glued back, light crazing throughout.

A large Sgraffito decorated earthenware vase in the manner of Della Robbia, H:35cm, generally in excellent condition, some scuffing to the base, no visible cracks or chips. Not available for in-house P&P

A late 19th Century Della Robbia Pottery Ltd of Birkenhead circular plastic clay roundel, relief moulded with a mother and child in classical robes with blue ground against the white glazed ground, incised marks verso, together with a similar praying child medallion, both 10.5cm across. (2)

ATTRIBUTED TO GIOVANNI BASTIANINI (1830-1868), A MARBLE BUST OF A YOUNG RENAISSANCE MAN IN THE MANNER OF DESIDERIO DA SETTIGNANO, MID 19TH CENTURY 51cm high, 45cm wide Provenance: The deceased estate of a Cambridge Don During the nineteenth century architecture, paintings and sculpture evolved towards a Neo-Renaissance style driven, in part, by the popularity of the Grand Tour, republication of Vasari's "Lives", and the publication in 1813-1818 of Leopoldo Cicognara's Storia della sculture. This, together with the creation in Italy, Europe and America of private and National museums, spurred a demand for genuine, original examples of Renaissance artwork. Where this desire could not be satisfied, painters and ceramic makers were happy to provide artwork "in the manner" of their predecessors- firms like Della Robbia making clear these were not copies of imitations but new works in an earlier manner. Other manufacturers, artists and dealers were less honest. Bastianini was born in Fiesole in 1830 and worked in a nearby stone quarry until the age of 12. Following training in the studio of the sculptor Pio Fedi and apprenticeship to Giralamo Torrini he was taken on by the antiquarian dealer, Giovanni Freppa. This relationship with Freppa would prove to be both a blessing and a career blighting association for the young sculptor. Bastianini's earliest work was the reproduction of ancient sculpture which he performed with meticulous precision and during which he became familiar with the work of the masters of the 15th century. In 1864 Freppa commissioned him to produce a bust of the poet Girolamo Benivieni (1453-1542). Through a subsequent series of sales and circumstances the piece ended up in Paris and was purchased for The Louvre as a Renaissance masterpiece. The subsequent fall-out with Bastianini publicly named as the forger and mastermind behind the affair took a while to clear- but his name was never properly cleared from the taint of forgery. Anita Moskowitz has examined photographs of this work and notes that the artist's idealised busts are almost always of female subjects- with the men rendered less sympathetically and true to life. In this work the idealised depiction of the handsome young man may be a divergence of style for the artist or, perhaps, may point to the work of one of his contemporaries. Another artist re-presenting the work of earlier Renaissance masters. Literature: Anita Fiderer Moskowitz, Forging Authenticity: Bastianini and the Neo-Renaissance in Nineteenth-century Florence, Arte e Archeologia Studi e Documenti 32, Florence: Leo S. Olschki Editore, 2013. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Generally in good, clean presentable condition. Some small infills and areas of fluorescence visible under UV- to front, head possibly spot stain cleaning? section of peak to cap restored and section of infill to reverse, small edge wear and nibbles notably to base edge. Some natural darker inclusions and small dirt marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

Della Robbia PotteryVasedecorated with green and brown patternpainted and incised marks with the initials 'AW'22cm high.

A 20th century Cantagalli Firenze circular wall plaque in Della Robbia style, 32cm

Sitzende Madonna mit KindTerracotta, Unterglasurdekor in Hellblau, Grün und Gelb, Mangankonturen in den Inkarnaten. Keramisches Relief unter einem Rundbogen, gebildet aus einer Blattgirlande mit Zitrusfrüchten, oben ein geflügelter Engelkopf. Die Madonna mit dem auf ihrem rechten Unterarm sitzenden Jesuskind vor hellblauem Hintergrund. Separate Konsole mit großem geflügeltem Engelkopf zwischen Füllhörnern. Abbruch am Nimbus des Jesuskindes, vergilbte Retuschen am Kinn des Konsolengels, am Knie der Madonna und wenigen kleineren Stellen, Glasurchips. H 68, B 31,5 cm. Montiert auf Holz, mit rotem Samt bezogen, mit Metallöse H 77, B 40 cm.Florenz, Umkreis oder Nachfolge des Andrea della Robbia, Anfang 16. Jh.Traditionell Andrea della Robbia (1435 - 1525) zugeschrieben, wird das kleine Hochrelief heute eher in den Umkreis oder die Nachfolge des großen Florentiner Bildhauers einzuordnen sein. Möglicherweise kommt Benedetto Buglioni (1459/60 - 1521) als Schöpfer infrage, dessen Werkstatt ebenfalls glasierte Terracotten im Stil Andrea della Robbias produzierte. Ein großes Altarrelief dieser Werkstatt mit zwei Assistenzfiguren in einem weißen Arabeskenrahmen befindet sich im Rijksmuseum Amsterdam, Obj. Nr. BK-16978. Ein weiteres großes Exemplar mit einer Madonnenfigur in identischer Haltung und ähnlichem Jesuskind befindet sich in der Sammlung Museo dell'Ospedale degli Innocenti Florenz.ProvenienzSammlung Harris, London.Sammlung Dr. Richard von Schnitzler, Köln.Aus dem Besitz der Nachfahren.AusstellungenKölnischer Kunstverein 1927.LiteraturAbgebildet bei Bombe, Die Sammlung Dr. Richard von Schnitzler in Cöln, in: Der Cicerone, Heft 1/2, Leipzig 1918, S. 42 f., Abb. 7.Abgebildet bei Förster, Die Sammlung Dr. Richard von Schnitzler, München 1931, Kat. Nr. 128, Taf. LXV.Vgl. Gentilini, I Della Robbia. La scultura invetriata nel Rinascimento, Milano 6/2001, S. 399.

BIRKENHEAD DELLA ROBBIA PLAQUE IN THREE PANELS, DEPICTING LIVERPOOL LIVER BIRD AND LIVERPOOL CITY MOTTO "GOD HAS MADE THIS FOR OUR EASE/PLEASURE", APPROX 26 x 112cm

A 19th century terracotta relief panel, modelled and painted after Andrea della Robbia, with Tobias and the Angel, 43.5cm x 55cm

Musizierender Erot für das Treppengeländer des Neuen Museum zu BerlinZinkguss, vergoldet, rückseitig geschwärzt, montiert auf Sockel mit Granitfassung. Mit Sockel H 68, Kreis D 45,5 cm. Dazu ein moderner Sockel H 101 cm.Borsigwerke, um 1850, der Entwurf Gustav Blaeser, zugeschrieben, Atelier Christian Daniel Rauch.Das Neue Museum wurde ab 1841 unter der Leitung von Friedrich August Stüler als zweites Museum auf der Museumsinsel in Berlin-Mitte errichtet. Bis zur Grundsteinlegung am 6. April 1843 war man ausschließlich mit der Befestigung des Untergrunds und den Fundamenten beschäftigt. Erst dann begann der Aufbau. Die Märzrevolution verzögerte den Innenausbau, so dass die Innenräume sukzessive ab 1850 eröffnet wurden. Zur umfangreichen, kunsthistorisch bedeutenden Ausstattung des Neuen Museums zählte der Treppenaufgang, mit dessen dekorativer Ausgestaltung der im Atelier von Christian Daniel Rauch tätige Gustav Blaeser betraut war. Detaillierte Einblicke in die Ausgestaltung des Treppenhauses liefern die Entwurfsstiche aus Stülers Publikation "Das Neue Museum zu Berlin", erschienen 1862 im Verlag Ernst & Korn, Berlin. Das kunstvoll gegossene Geländer von Borsig wurde im Zweiten Weltkrieg zerstört. Es ist davon auszugehen, dass es sich bei den im Kreis musizierenden Eroten um die zwei einzigen noch existierenden Originalelemente jenes Geländers handelt.Der 1813 in Düsseldorf geborene Bildhauer Gustav Blaeser arbeitete ab 1834 im Atelier von Christian Daniel Rauch in Berlin und nahm ab 1836 an den Akademieausstellungen teil. Bekannt wurde Blaeser durch die Reliefbildnisse seiner Künstlerkollegen und des Architekten Karl Friedrich Schinkel. Für die Porträts wählte er, inspiriert von der della Robbia-Werkstatt und der Baukeramik der Renaissance, das Tondoformat, dessen profilierter Rahmen die Reliefs der Dargestellten umschließt. Diese Kreisrahmung findet sich auch bei den durchbrochenen figürlichen und stilisierten Darstellungen des Treppengeländers. Die Motive waren inspiriert von den Exponaten, den Objekten aus der Antike und der ägyptischen Kunst.LiteraturBei Puls, Gustav Hermann Blaeser. Zum Leben und Werk eines Berliner Bildhauers. Mit Werkverzeichnis der plastischen Arbeiten, Köln 1996, S. 253 f., WVZ 75.Vgl. Stüler, Das neue Museum in Berlin mit 24 Tafeln, Berlin 1862, S. 14 ff.Zu Blaeser s. Maaz (Hg), Nationalgalerie Berlin. Bestandskatalog der Skulpturen. Das XIX. Jahrhundert, Berlin-Leipzig 2006, S. 88 ff.

Musizierender Erot aus dem Treppengeländer des Neuen Museum zu BerlinZinkguss, vergoldet, rückseitig geschwärzt, montiert auf Sockel mit Granitfassung. Mit Sockel H 68, Kreis D 45,5 cm. Dazu ein moderner Sockel H 101 cm.Borsigwerke, um 1850, der Entwurf Gustav Blaeser, zugeschrieben, Atelier Christian Daniel Rauch.Das Neue Museum wurde ab 1841 unter der Leitung von Friedrich August Stüler als zweites Museum auf der Museumsinsel in Berlin-Mitte errichtet. Bis zur Grundsteinlegung am 6. April 1843 war man ausschließlich mit der Befestigung des Untergrunds und den Fundamenten beschäftigt. Erst dann begann der Aufbau. Die Märzrevolution verzögerte den Innenausbau, so dass die Innenräume sukzessive ab 1850 eröffnet wurden. Zur umfangreichen, kunsthistorisch bedeutenden Ausstattung des Neuen Museums zählte der Treppenaufgang, mit dessen dekorativer Ausgestaltung der im Atelier von Christian Daniel Rauch tätige Gustav Blaeser betraut war. Detaillierte Einblicke in die Ausgestaltung des Treppenhauses liefern die Entwurfsstiche aus Stülers Publikation "Das Neue Museum zu Berlin", erschienen 1862 im Verlag Ernst & Korn, Berlin. Das kunstvoll gegossene Geländer von Borsig wurde im Zweiten Weltkrieg zerstört. Es ist davon auszugehen, dass es sich bei den im Kreis musizierenden Eroten um die zwei einzigen noch existierenden Originalelemente jenes Geländers handelt.Der 1813 in Düsseldorf geborene Bildhauer Gustav Blaeser arbeitete ab 1834 im Atelier von Christian Daniel Rauch in Berlin und nahm ab 1836 an den Akademieausstellungen teil. Bekannt wurde Blaeser durch die Reliefbildnisse seiner Künstlerkollegen und des Architekten Karl Friedrich Schinkel. Für die Porträts wählte er, inspiriert von der della Robbia-Werkstatt und der Baukeramik der Renaissance, das Tondoformat, dessen profilierter Rahmen die Reliefs der Dargestellten umschließt. Diese Kreisrahmung findet sich auch bei den durchbrochenen figürlichen und stilisierten Darstellungen des Treppengeländers. Die Motive waren inspiriert von den Exponaten, den Objekten aus der Antike und der ägyptischen Kunst.LiteraturVgl. Stüler, Das neue Museum in Berlin mit 24 Tafeln, Berlin 1862, S. 14 ff.

A Della Robbia pottery vase, circa 1900, decorated by Harry Pearce, the bulbous body decorated with stylized bands of foliage above a continuous band of elliptical reserves enclosing flowers, incised factory mark and artist's monogram to underside, height 27cm.

Della Robbia - a late 19th/early 20th century circular bowl, stylised design. Further details: large sprung long crack seen from both sides, nibbles and general wear.

Italian Della Robbia style lead-glazed plaque, Madonna and Child, diameter 33cm.

A late 19th Century Della Robbia of Birkenhead pottery jardinière, the footed circular body, heavily relief moulded with face masks and shells united by fruiting garlands over stiff leaf and oak leaf borders, picked out in tonal green and blue, incised galleon mark with numerical codes and underglaze green FMW, width 42cm.

A mixed lot of assorted ceramics including an Adams, Tunstall jasperware jardinière and similar vase, an Italian religious plaque in the manner of Della Robbia, bisque painted figures, etc.

Keramikfliese, ''Singende Knaben'', w. Italien, 19. / 20. Jh., Majolika weiß und blau glasiert, Gruppe von sieben singenden Knaben nach dem Marmorrelief ''Cantoria 1'' von Luca della Robbia aus den Jahren 1432/38, 31 x 21,5 cm, 1431 erhielt Luca della Robbia einen Auftrag für zehn Marmorreliefs für die Kathedrale in Florenz, diese unter der Bezeichnung ''Cantoria'' bekannte Serie befindet sich heute im Museo dell'Opera del Duomo in Florenz, della Robbia schuf neben Marmorreliefs insbesondere auch, durch die typische blau-weiße Farbgebung unverwechselbare Majolikareliefs, seit dem frühen 19. Jahrhundert entstanden im Zuge der ''Grand Tours'' teils erstklassige Kopien dieser Reliefs,

ELL for Della Robbia Pottery ceramic vase, with garlic neck, decorated with Art Nouveau stylised plant design in pink and green colourway, signed ELL, coloured by Hannah Jones with painters mark and incised Della Robbia mark to the base, 34cm high Overall display wear, marks and scratches, consistent with age. Crazing to the glaze. Minimal losses to the glaze in places. Overall glaze imperfections as expected due to the firing.

ELL for Della Robbia Pottery ceramic vase, with garlic neck, decorated with Art Nouveau stylised fleur de lis design in green, blue and yellow colourway, signed ELL and incised Della Robbia mark to the base, 34cm high Overall display wear, marks and scratches, consistent with age. Crazing to the glaze. Minimal losses to the glaze in places. Overall glaze imperfections as expected due to the firing. Base is also numbered 822.

Italian Della Robbia style lead-glazed plaque, Madonna and Child, diameter 33cm.

A Della Robbia earthenware vase, with trumpet neck, the body decorated with flowers, height 13insCondition Report: There is a small area of glaze pitting the the body.  At the top of the neck there is some crazing and these lines have stained.  No cracks or chips.

A Della Robbia style pottery squat vase.  22cm by 16cm overall.  Crazing and a hairline crack

French Bronze High Relief Plaque of a Boys Choir by Ferdinand Barbedienne (1810-1892) after Luca della Robbia (Italian, 1400-1482), the relief bronze plaque replicates one of the panels of the marble Cantoria found at the Sacristy of the Masses in the Duomo Cathedral in Florence and portrays a children's choir, incised 'F. BARBEDIENNE FOUNDER' bottom left, hanging loops to top, 19 5/8 x 14¾. (49.8 x 37.5cm.). *Nice dark patina, good.

Della Robbia Studio Pottery vase with initials for Annie Beaumont & painted mark for Enid Woodhouse, height 18.5cm

Large Della Robbia Study Pottery dish with initials for Lizzie Wilkins, dated 1895, diameter 27.5cm

Della Robbia Studio Pottery plate initialled for Annie Jones together with unmarked large charger in the style of Della Robbia, largest diameter 30cm (2)

Della Robbia - a late 19th century art pottery jug, having stylised incised floral designs, in blue and greens, green glazed curved handle, incised ship mark and initials 'D F R' to base, also initialled LW, approx. 12.8cm high. Further details: small hairline cracks to top rim, chip to spout, glaze chips to edges and nibbles to body sides, some crazing, age related general wear. 

DELLA ROBBIA; a pale green ground bottleneck vase with terracotta and dark green decoration, painted mark to base and initialled 'AS', height 23cm.Condition Report: Light rubbing to top and foot rim, crazing visible throughout. Small patch to lower section where glaze has not taken, otherwise appears good condition with no obvious signs of faults, damage or restoration.

A late 19th/early 20th Century Della Robbia pottery vase, decorated with a foliate design against a green glazed grouns, having incised marks to the underside, measuring 13cm tall, with Williamson Art Gallery and Museum booklet chip to base rim slight imperfection to rim.see extra photos.

A Della Robbia Pottery Earthenware Jug, by Hannah Jones, painted with roses, in yellow, dark pink and green, painted galleon mark and HJ,23.5cm high (glaze flaking)Provenance: Ex-lot 1 21/05/2023 Woolley and Wallis.Minor glaze frits. Crazing.

Sculpture - after Luca Della Robbia (1400-1482), crawling infant, cast bronze, signed, sprawling acanthus base, 8.5cm high, 19.5cm long

A Della Robbia-style majolica icon depicting Mary & Jesus, 28 x 18 cm (repaired) to/w a pair of pottery bookends modelled with seated female nudes and a green glazed jardiniere (4)

Andrea della Robbia (1435 - 1525) An angel with arms crossed, offering angelic protection, set within a recessed velvet background and contained within a 16th century Italian carved and gilded frame.  Dimensions: (Sculpture) 6.5 in. (H) x 5 in. (W) x 2 in. (D) (Frame) 22 in. (H) x 18 in. (W)

After Luca Della Robbia (1400-1482), a tin glazed plaque depicting a group of choir boys copied from one of the ten Cantoria or singing gallery panels at Florence cathedral.Dimensions:- 22cm width, 33cm height, biggest depth 9cm. Condition- some general wear to include chips to corners, wear to glaze in places, etc.

DELLA ROBBIA BRONZE FIGURE, modelled as a crawling baby, signed to right side, on a rectangular base19.3cm wide

Della Robbia - A baluster vase with repeating incised decoration, dated 1896, with galleon mark, initialled AW, approx 12.5cm high; and a Della Robbia circular dish decorated with repeating patterns, in green, yellow, blue and red, painted galleon mark and 'Violet', approx 20cm diameter

A Florence (Cantagalli) glazed terracotta blue and white arched plaque, 20th century, impressed mark CANTAGALLI FIRENZE MARCA DEPTA to reverse, modelled in the Renaissance Della Robbia style with the Virgin Mary kneeling by the Christ child, observed by angels and God above, against a blue ground and within a moulded egg-and-dart ornament arched frame, 66high, 43cm wideProvenance: The Property of the Late Reverend John Watson.      

A Florence (Cantagalli) glazed terracotta roundel plaque, late 19th century, painted brown cockerel mark to lower edge, modelled in the Renaissance Della Robbia style with a youth in blue robe and blue backdrop to centre, surrounded by a flowering and fruiting robbiana, approx. 44cm diameterProvenance: The Property of the Late Reverend John Watson.