Tjok Dessauvage (1948): Untitled, polychrome glazed and engraved terracottaH 11,5 cm - Dia.: 14,5 cm Tjok Dessauvage (Izegem, 1948) was impressed by the excavations that were taking place in the Koestraat during his college years in Kortrijk. He looked with fascination at the ceramic shards as witnesses of the past and thus became acquainted for the first time with the concept of overdracht (transfer), which would later play an important role in his oeuvre. His first calling was that of a realistic painter. During his training at the Sint-Lucas Higher Institute in Ghent, however, he opted definitively for ceramic art, under the influence of pioneer Joost Marechal. Over the years, Tjok Dessauvage increasingly uses the bowl shape as a means of communication. In search of a structure with a maximum usable reading surface, closed pots soon become his trademark. He usually starts from the combination of basic geometric shapes: the hemisphere, the inverted cone and the cylinder. The surface of these semi-spherical objects is described with signs and scratches, with colour or inlay. In this way, he creates a reading surface, as it were, that allows him to communicate with the viewer. At the same time, by choosing closed pot structures, he makes his position clear in relation to ceramics as an art form. By closing off his pots and working on their upper surface, any association with the function of a pot as a recipient or eating utensil is lost, and Tjok Dessauvage unhesitatingly equates them with paintings or sculptures. Moreover, the special finish and careful treatment of the skin of the pot structures makes them unique works of art. Tjok Dessauvage is not only known in Belgium and its neighbouring countries, but has also acquired fame beyond the European borders, including Japan. He has won various selections and prizes, from Belgium and Switzerland to Egypt, Japan and New Zealand (link).
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Tjok Dessauvage (1948): Untitled, polychrome glazed and engraved terracotta, dated (19)95H 14 cm - Dia.: 15,5 cm Tjok Dessauvage (Izegem, 1948) was impressed by the excavations that were taking place in the Koestraat during his college years in Kortrijk. He looked with fascination at the ceramic shards as witnesses of the past and thus became acquainted for the first time with the concept of overdracht (transfer), which would later play an important role in his oeuvre. His first calling was that of a realistic painter. During his training at the Sint-Lucas Higher Institute in Ghent, however, he opted definitively for ceramic art, under the influence of pioneer Joost Marechal. Over the years, Tjok Dessauvage increasingly uses the bowl shape as a means of communication. In search of a structure with a maximum usable reading surface, closed pots soon become his trademark. He usually starts from the combination of basic geometric shapes: the hemisphere, the inverted cone and the cylinder. The surface of these semi-spherical objects is described with signs and scratches, with colour or inlay. In this way, he creates a reading surface, as it were, that allows him to communicate with the viewer. At the same time, by choosing closed pot structures, he makes his position clear in relation to ceramics as an art form. By closing off his pots and working on their upper surface, any association with the function of a pot as a recipient or eating utensil is lost, and Tjok Dessauvage unhesitatingly equates them with paintings or sculptures. Moreover, the special finish and careful treatment of the skin of the pot structures makes them unique works of art. Tjok Dessauvage is not only known in Belgium and its neighbouring countries, but has also acquired fame beyond the European borders, including Japan. He has won various selections and prizes, from Belgium and Switzerland to Egypt, Japan and New Zealand (link).
Tjok Dessauvage (1948): Untitled, polychrome glazed and engraved terracotta, dated (19)95H 15 cm - Dia.: 19 cm Tjok Dessauvage (Izegem, 1948) was impressed by the excavations that were taking place in the Koestraat during his college years in Kortrijk. He looked with fascination at the ceramic shards as witnesses of the past and thus became acquainted for the first time with the concept of overdracht (transfer), which would later play an important role in his oeuvre. His first calling was that of a realistic painter. During his training at the Sint-Lucas Higher Institute in Ghent, however, he opted definitively for ceramic art, under the influence of pioneer Joost Marechal. Over the years, Tjok Dessauvage increasingly uses the bowl shape as a means of communication. In search of a structure with a maximum usable reading surface, closed pots soon become his trademark. He usually starts from the combination of basic geometric shapes: the hemisphere, the inverted cone and the cylinder. The surface of these semi-spherical objects is described with signs and scratches, with colour or inlay. In this way, he creates a reading surface, as it were, that allows him to communicate with the viewer. At the same time, by choosing closed pot structures, he makes his position clear in relation to ceramics as an art form. By closing off his pots and working on their upper surface, any association with the function of a pot as a recipient or eating utensil is lost, and Tjok Dessauvage unhesitatingly equates them with paintings or sculptures. Moreover, the special finish and careful treatment of the skin of the pot structures makes them unique works of art. Tjok Dessauvage is not only known in Belgium and its neighbouring countries, but has also acquired fame beyond the European borders, including Japan. He has won various selections and prizes, from Belgium and Switzerland to Egypt, Japan and New Zealand (link).
MEISSEN, TEAPOT, ALONG WITH A MEISSEN COFFEE POT each late 19th / early 20th century, the teapot with swan handle and flower finial, with gilt highlights, the coffee pot in a white glaze, with knop finial, each with blue crossed sword mark to basethe coffee pot 29cm highQty: 2In overall good condition. The smallest with chip to spout. Small flea bites to body. Surface scratches. Hairline crack to smallest teapot. Minor firing imperfections to body of largest coffee pot. Small chip to spout. Additional images now available.
SCOTTIE WILSON FOR ROYAL WORCESTER, 'CROWN WARE' PATTERN TEA AND DINNER SERVICE, 1960-69 comprising coffee pot, six cups, saucers, and side plates, six breakfast plates and smaller plates, three covered sugar bowls, two graduated cream jugs, two trays, two circular dishes, and a covered tureen, each with marks to base This lot comprises one coffee pot, three covered sugar jars, two cream jugs, two shaped oblong biscuit plates, six cups, six saucers, six 16cm side plates, six 20.5cm plates, pair of circular plates with raised edges, six 25.5cm plates and a 23cm lidded casserole Overall, this lot appears to be in good condition, but does show some signs of age. There are no missing handles, but a small number of the plates have some light scratching.
A CHINESE FAMILLE-ROSE VASE (2)20th century Of slender baluster form, painted with a young woman standing beside a basket pouring grain on to the ground, 27cm high; also a Chinese porcelain cylindrical brush pot, painted with two green dragons against an iron-red ground, apochryphal six character Guangxu mark, 11.75cm highVase- Two shallow chips around footrim. Some black specking to the glaze.Brush pot- Overall in good condition
A CHINESE EXPORT ARMORIAL PART SERVICE FOR THE DUTCH MARKET ( 8)Qianlong, circa 1740 Each piece enamelled with the arms of Bomme and De Haze, against a ground scattered with underglaze-blue flower groups and diaper pattern borders, comprising; two tapered conical coffee or chocolate pots and covers, 26cm high, a dish, 31.5cm diameter, a trencher salt, a sparrow beak cream jug and a teabowlProvenance: Property of a deceased collector and thence by descentCoffee/Chocolate pots and covers- one pot has some glaze fritting and a shallow chip to the edges of the handle. There is a small chip and minor fritting to the tip of the spout. Minor wear to the gilding around the rim of the spout. The other pot with a small nick to the tip of the spout, minor wear to the gilding around the rim of the spout and a tiny amount of glaze fritting to the handle Each cover has two small chips to its finials and some wear to the gilding around the rims.Dish- minor wear to the enamels. Some minor scuffing to the glaze around the well.Cream jug- cover lacking.Some glaze cracks to the lower part of the body. Minor nick to the tip of the spout. Minor wear to the gildingTrencher salt- some wear to the gilding around the rim. Some blurring to the underglaze blue diaper borderTeabowl- extensively restored and sprayed
A `DEHUA' WINE POT AND COVER (2)Qing dynasty Of shouldered cylindrical form with chilong form handle and spout, 15cm highFiring break through the right front leg of the chilong handle. Haircrack across its left front foot. There is a small chip to the roof of its mouth. There are some small chips around the inner rim. Some chipping most of the way around the base. Some nicks around the rim of the cover and to the lion finial
A late 18thC. 37 piece Royal Worcester Flight & Barr tea set, decorated with bees, bought as wedding present for a family member in 1800, teapot lacks finial, otherwise presents as largely unused with no staining or discolouration, comprises ten tea bowls with ten saucers, ten tea cups, two cake plates, a tea pot with stand, a cream jug, a sugar bowl & a slops bowl
A group of contemporary David Pantling studio pottery, comprising a coffee pot, two jugs and a bowl together with promotional leaflets, tallest 26 cm [David, who is based in Nottingham, uses his background in architecture when designing the shape of his ceramics and applies fun, vibrant decoration. David is intrigued by patterns in mathematics and is inspired to use a palette of colours to explore irrational numbers resulting in vivid linear designs]
A late 20th Century Michael and Joanna Mosse of Llanbrynmair Pottery, Welsh salt-glazed stoneware lidded pot, slip and sgraffito decorated with a charming depiction of Aesop's Fable "The Tortoise and the Hare", impressed mark, 20 cm, with 1997 roadshow leaflet. [Michael Mosse studied ceramics at Bristol Polytechnic in the 1960s before starting work at Tregaron pottery, Wales. In 1976 he moved to Aldermaston Pottery in Berkshire to work with Alan Caiger-Smith for two years before returning to Wales to work at Cambrian Stoneware. In 1980 Michael and Joanna opened their own pottery M & J Mosse in Llanbrynmair, Wales, where they mainly produced slip and sgraffito-decorated salt-glazed pottery]
A group of three Rob Watson white earthenware plates, hand painted in abstract bold primary and secondary colour designs with black detailing, impressed marks, with business card, together with three Sue Sharp of Alston slip decorated dip bowls, an Alvin Frank Irving of Lancaster milk jug, a chimney pot vase and an Art Deco style coffee cup and saucer, bearing splatter decoration, tallest 23 cm. [Rob Watson, based in County Durham, makes white earthenware decorated in a minimum of vibrant colours the decoration influenced by the artists: Jackson Pollock; Mark Rothco; Howard Hodgkin and Francis Boag, and a love of English slipware and Japanese ceramics.]
A group of contemporary studio pottery comprising a small Rupert Blamire earthenware jug glazed in flowing lilac and blue tones, with finger indents to the sides and marked to the underside, a shallow blue glazed stoneware bowl in the form of a fish, a mottled blue handled jug with swirling markings around the base, and a small covered stoneware pot decorated with a slip-glaze in earthy tones, tallest 16 cm [Rupert Blamire first used the potter's wheel when he was six years old, and later in life he studied to earn his Master's degree in three-dimensional design at London's Royal College of Art. He now has a successful studio crafting a wide variety of lovingly-spun tablewares.Ceramics for cooks and kitchens. The perfect gift for foodies. – Rupert Blamire]
Elkington & Co; A Hallmarked Silver Four Piece Teaset, London 1911, comprising coffee pot, teapot, cream jug and twin handled sugar bowl, each of ovoid form with reeded band to centre, on circular spreading base, the tea and coffee pots with griffin mask spout and handle cap.Teapot - Ivory Registration Number NEUTGPPTCoffee pot - Ivory Registration Number YVWMRPU4 All four pieces rock on a flat surface, especially the twin handled sugar bowl which has a noticeable ripple to the base. Allover surface abrasions and pitting to all pieces. The coffee pot has noticeable creases/knocks to the body.
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