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Lot 241
A miscellaneous selection of items including a Royal Winton gold part tea service having 10 pieces, a pair of Aynsley branch handle Crocus teacup and saucers, a Royal Worcester Cornucopia dinner plate, a Wedgwood & Co Ltd Ivory 1133, a single vintage childs clog and two 8' frosted glass chimney lampshades etc.
Lot 781
TWO BOXES OF MISCELLANEOUS CERAMICS, to include E. Hughes & Co. vintage tea ware, cups and saucers, plates, milk creamer, etc. a selection of Royal Winton heavy floral pattern small bon bon dishes, plate, covered pot and a cake stand, Royal Doulton 'Minden' D5334, bowls, plates, sectioned plates, milk creamer, sugar bowl, mug etc. seven Royal Worcester egg coddlers various designs, a large bowl made in Italy floral pattern, and a hen shaped egg holder etc. (2 boxes), (sd/af)
Lot 364
TWO MALKIN WARE PADDLE STEAMER TILES, AND OTHER CERAMICS two tiles, depicting the S.S. Lucy Ashton and P.S. Maid of the Loch, marked MALKIN ENGLAND to reverse, along with a Royal Doulton chamber pot, a pair of Royal Winton footed dishes, a vase, a Snorre pewter vase, and a brass door sign for 'FIRST AID'tiles 15cm x 15cmQty: 8
Lot 272
A Royal Winton Sweet Nancy Breakfast set, printed in colours, comprising; teapot and cover, milk-jug and sugar basin, one cup and a toast rack, on fitted tray, another Royal Winton Sunshine Breakfast set for two, a Royal Winton Sweet Pea cup on saucer tray, two dishes, a teacup, saucer and side plates, and a cruet set printed factory marks, 24cm. wide (tray) (a lot)
Lot 273
World.- Markham (Clements R.) Travels in Peru and India, first edition, ALs to Lady de Winton on her husbands death, written in a secretarial hand and signed by Markham loosely inserted, half-title, frontispiece, 7 plates, illustrations, 2 folding maps, 1 folding table, previous owner's pencil notes at end, contemporary half-calf, a little rubbed, slight bumping to corners and extremities, 8vo, 1862. *** This work concerns cinchona which was the source of quinine used as a cure for malaria, and was greatly needed by the British in India. The ALs in on 'Royal Geographical Society' headed notepaper, and dated 18th December 1901. It was written to Lady de Winton on the death of her husband, Major-General Sir Francis de Winton, stating "His public services have secured for him an enduring reputation, and his death is a loss to his country and to the Royal Family, by whom he was held in the highest esteem."
Lot 1
Attributed to Adam de Colone, Dutch 1572-1651- Portrait of John Hay, 8th Lord Hay of Yester, later 1st Earl of Tweeddale, half-length, in a black and white slashed doublet and white lace collar; oil on canvas, dated 'AETATIS. 33 / 1628' (upper left), 64.2 x 55.4 cm. Provenance: The Marquess' of Tweeddale, Yester House, East Lothian and by descent. 'The Most Hon. The Dowager Marchioness of Tweeddale and the Trustees of the Most Hon. the late Marquess of Tweeddale' sale, Christie's, London, 1 May 1970, lot 45 (as 'G. Jackson'), £178.10. Property of the late Hugo Morley-Fletcher, MA FSA (1940-2022). Exhibited: Edinburgh, Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’, August-September 1975, no.52 (as 'Adam de Colone'). Literature: J. Bullock, 'George Jamesone the Scottish Vandyck', Edinburgh, 1885, p.182, no.182, as 'George Jameson'. D. Thomson, 'The Life and Art of George Jamesone', Oxford, 1974, under Appendix B, 'Portraits attributed to Adam de Colone', p.149, no.22, as 'George Jameson'. Note: John Hay, 1st Earl of Tweedale (1595-1654) was a leading promoter of the National Covenant, an agreement signed by many people of Scotland during 1638, opposing the proposed reforms of the Church of Scotland (also known as the Kirk) by King Charles I. He was made an Earl in 1646. ‘Attributed to Jamesone by Bullock. Like its companion [Portrait of Margaret Hay], it has more recently borne an attribution to Gilbert Jackson. It has, however, none of that painter's characteristic naiveté: it does have many of those features which have been noted as characteristic of de Colone and is by the same hand as… above. Lord Hay of Yester, though a signatory to the Solemn League and Covenant, remained acceptable to Charles I and was created Earl of Tweeddale in 1646.’ (Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’ exhibition catalogue, p.55). The sitter would have been an important sitter for the artist. He was - as part of the interconnected Scottish network of patrons and just as part of the wider Hay family - cousins with George Hay, Earl of Kinnoull, who sat to Adam de Colone, who in turn produced two portrait types of him, and Anne Hay, Countess of Winton, who sat to the artist at least twice. Adam de Colone clearly employed at least one studio assistant. While he wasn’t in the British Isles for long, there are versions of his full-length depiction of James VI and I (at full-length, three-quarter-length and half-length) that appear to be painted with the assistance of another hand, to meet the demand for copies of this particular composition. It is entirely possible therefore that the present lot was painted by both Adam de Colone and a studio assistant. The present work would have been a one-off composition of an important sitter and so it would have been very unlikely if the master was not involved in its production at all. A note on the collection:The following 14 lots belonged to the late Hugo Morley-Fletcher, the great European Ceramics specialist who worked at Christie’s for over 40 years and appeared on the BBC’s 'Antiques Roadshow' for over 25 years.Hugo was born in 1940 and spent the Second World War in his mother’s family’s ancestral home, Yester House near Edinburgh. Yester was built between 1699 and 1728 for the Marquesses of Tweeddale. In 1729 the 4th Marquess commissioned William Adam to carry out alterations, particularly to the interiors, but William died before the work was completed, and it wasn’t until his sons Robert and John Adam resumed work on it in 1759 that it was completed in the early 1760s. Yester is one of Scotland’s finest houses and its architecture, plasterwork and contents had a profound impact upon Hugo. His mother was also a talented sculptor, so art was in his blood. Shortly after his grandfather the 11th Marquess died in the late 1960s, the house was sold, along with a lot of the contents.Hugo had his own rather eccentric aristocratic style and sense of panache in tandem with an unerring confidence; this was off-putting to some, but utterly captivating to others. Working with Hugo at Christie’s was, at times, a little challenging, but it was certainly never dull. He loved wearing his green 'loden' cape that he had bought in Vienna, yet paradoxically, Hugo always retained his sense of Britishness. On one occasion, over 20 years ago, when we were in a tiny railway station in the middle of nowhere in Germany, we were struggling to get a ticket machine to work when a local kindly intervened to help. He then asked if we had been there the previous year. When we confirmed that we had, and asked why he asked, he replied that he remembered Hugo’s red socks!Hugo had a natural eye for art, frequently cutting straight to the key points of an object. His understanding extended beyond ceramics to encompass pictures and other decorative arts, and he had the ability to identify the best artwork in a room filled with things, whether it was ceramic or something different. He had a prodigious memory, priding himself in his ability to memorise the position of objects within a client’s house and retain that memory many years after the visit. He also had the ability to give a summary value of a collection after only the briefest of visits. He was often generous with his knowledge, but on other occasions would withhold it as a test. The study groups of saucers and small objects in this sale illustrate some of the fascinating complexities found in ceramics, and they would be an excellent vehicle for teaching.Hugo was a fine linguist and was completely untroubled by taking auctions in a variety of different languages. He also had a natural curiosity and understanding of other cultures, and Continental friends and clients were frequently surprised and impressed by his knowledge of both their history and current affairs, which often surpassed their own. His almost encyclopaedic knowledge of Royal and aristocratic families in Britain and the Continent meant that he understood how these families and historical events shaped the creation of ceramics of time, and as he once reminded me, with the creation of ceramics, ‘there is always someone writing a cheque’.Hugo was a tour-de-force in the ceramics world, publishing a number of specialist books included 'Investing in English Pottery and Porcelain' (1968), Meissen (1970), 'Meissen in Colour' (1971) and the 'Pflueger collection of Early European Porcelain and Faience' (1994). When he joined Christie’s in 1963 the market was dominated by Sotheby’s under the auspices of the great Tim Clarke. By the 1970s Hugo had reversed this. Two of the iconic sales of the 1970s were a highly important collection which was sold anonymously in March and October 1977, making a huge amount of money at the time. These were followed by many others.Later in his life Hugo became Prime Warden of the Worshipful Company of Dyers in the City of London which ushered in his charitable work with the Boucher Church of England Primary School, a disadvantaged school in East London. Hugo gave lessons in French and Latin, and in particular he was keen to promote reading, instigating the practice of the Dyers to donate a book to every pupil of the school each year.Text courtesy of Dominic Simpson, Consultant and former Head of European Ceramics at Christie’s.
Lot 794
THREE BOXES AND LOOSE CERAMICS to include a large quantity of green onyx items to include assorted table lighters, a bunch of grapes, an ashtray and other decorative items, a group of Delft pottery souvenir items, a small collection of commemorative coins to include D-Day 50ps from 1994, a large Capodimonte figure of a drunk man on some rocks (with a certificate of authenticity attached, crack to the ankle, damage to the hand), a Beswick ware vase with a palm tree relief, a Royal Winton floral vase, assorted figurines, a quantity of Royal Worcester 'Silver Platinum' tea and dinner wares, etc (3 boxes and loose) (s.d)
Lot 889
FOUR BOXES AND LOOSE MIXED CERAMICS AND GLASSWARE to include a quantity of Duchess 'Westminster' dinner and tea wares, a group of Royal Winton art deco side plates, a group of plain white Minton tea wares, a ceramic lidded cheese dish, a group of vintage cutlery, a box of assorted glassware to include wine gasses, Babycham coupe, vases, etc (4 boxes and loose) (s.d)
Lot 1520
A box of plates including blue & white meat plate, 18" x 14 1/2", two decorative floral plates with gilt edging, six Royal Winton 'Daffodil' soup/dessert plates, 8 3/4" diameter, four retro Ridgway 'Homemaker' plates, Moorcroft bowl (damaged/repaired), blue and white plates by Noritake, etc.
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