ALBERT AMOR LTD

Transcription

ALBERT AMOR LTD

ALBERT AMOR LTD
Recent Acquisitions
SUMMER 2011
37 Bury Street, St James’s, London SW1Y 6AU
Telephone: 0207 930 2444 Fax: 0207 930 9067
Exhibition opens Tuesday 7th June 2011
9.30am until 5.30pm
Saturdays and Sundays closed
FOREWORD
I am delighted to send you this catalogue of our Recent Acquisitions – which although
showing just a small part of our current stock is the largest catalogue we have produced
for many years.
This ‘embarrassment of riches’ has been helped enormously by the instructions to sell
pieces from two old English private collections with which we have been associated for
many years, the return of important pieces from an Australian collection, together with
many other individual pieces returning to us privately. The two largest contributors are
pieces from a collector who first bought from Albert Amor in 1966 (the year I was
born . . .), and a significant moment as they were able to buy through us a number of key
pieces from the celebrated Selwyn Parkinson Collection dispersed at Sotheby's that year in
three sales, and a fine group of printed Worcester, many acquired in our Robert Hancock
Exhibition in 1991.
The catalogue begins with blue and white pieces, the Worcester bowl, number 1,
beautifully moulded and painted, and the Blind Earl dish, number 2, a fantastic example
that we chose for our 1980 Golden Age Exhibition.The Worcester double handled
sauceboat, number 3, is painted in a wonderful pale blue, and the Bow sauceboat, number
6, is about as good an example of Bow blue and white of this period as I have seen.
Transfer printed Worcester begins with the immaculate bowl, number 12, one of very few
bowls known with the print of Shakespeare, and also with rare subsidiary prints, and the
rare and charming Les Garcons Chinois Blind Earl dish – a pattern so rarely seen on this
shape.The printed pieces from the single collection are all superb examples, in wonderful
condition, the King of Prussia jug, number 15, a particularly pleasing shape, and the
teapot, number 16, beautifully potted.The two Worcester mugs with Masonic decoration
– also in mint condition – display the masterful quality of prints at this period.
Amongst a small number of pieces of Continental porcelain, I am particularly excited to
exhibit number 33 the rare Meissen Bottger teapot and cover, formerly with Winifred
Williams, and in an Australian Private Collection since 1975. This displays so well the
quality of Meissen at this early period, with the tiny birds applied amidst the vines, and the
wonderful mask beneath the spout – so much finer in the white than coloured. The two
Mennecy snuff boxes, numbers 35 and 36, are of the most attractive large size, and are
rare models.
Polychrome English porcelain is led by the very fine Chelsea Hans Sloane saucer dish,
number 39, of unusual thinly potted form, and with the exceptional painting we associate
with this period. The pair of Chelsea bird painted plates, number 40, are dazzling, and the
teapot, number 41, is a rare and attractive shape. I have always liked the form of number
43 the Chelsea sauceboats – such an imaginative design, and this pair well painted.
Two fine examples of purple monochrome painted Worcester returning to us are numbers
55 and 56 – both in mint condition and with the very best painting, combined with
appealing forms. Worcester with variations of the Hop Trellis patterns include the very
rare pair of cups, number 68, and the good sauce tureen and cover and ladle, numbers 65
and 66. We are fortunate, too, to have many pieces of Giles decorated Worcester – the
majority from one Private Collection – the vase – number 58 being particularly unusual,
and the pair of ‘Windblown Flowers’ decorated plates, number 61, the best examples I
have seen.
For condition and rarity of form, the Worcester Marchioness of Huntley sauce tureen,
number 63 cannot be beaten, and the Beckoning Chinaman mug, number 77, is also a
superb example.
A small sample of our current stock of early 19th century English porcelain includes the
richly decorated Ridgway baskets, number 89, of a rare form, and the amusing miniature
Spode jugs, number 90.The Thomas Steele fruit painted pieces, numbers 92-94, are fine
examples from a good Private Collection. We end with the contrast of Whieldon type
creamware pugs, circa 1760-70, number 95, and the amusing models of cats from rather
later, numbers 96 and 97 – and the lavish catalogue of the Lady Ludlow Collection, so
closely associated with Albert Amor in the early years of the last century.
I do hope that you will enjoy this catalogue as much as I have enjoyed travelling around
the country to gather its contents. I have been shown great kindness and hospitality by
these collectors, and thank them for once again giving Albert Amor the chance to offer
these choice pieces.
Please do telephone or email if I can tell you more about any pieces – all exhibits are for
sale from the publication of this catalogue.
Mark Law
London, May 2011
1.
A Worcester round bowl, the
exterior painted in underglaze
blue with Chinese fishermen
in river landscapes, within
flower and ‘C’ scroll
moulded cartouches, on a
pleat moulded ground, the
interior painted with a
fisherman, the rim with
trailing leaves, 6¢¢ diameter,
circa 1756-58, workman’s
mark.
The Fisherman and Willow
Pavilion Pattern.
See Branyan, French and
Sandon, 1.B.21 for a teapot
in this pattern.
2.
A Worcester ‘Blind Earl’ sweetmeat dish, the stalk loop handle moulded in relief with rose bud and
leaf terminals, finely picked out in underglaze blue and painted with four insects, 6¢¢ diameter
overall, circa 1760, crescent mark.
Exhibited: Albert Amor Limited, Golden Age Exhibition, 1980.
Canadian Private Collection.
3.
A Worcester double lipped sauceboat, the two ‘C’ scroll handles with ‘monkey head’ finials, painted
in underglaze blue with a Chinese river landscape, flowers and diaper panels, the exterior painted
with birds, figures and flowers, within leaf moulded roundels, the rim with a diaper band, 9¢¢ wide
overall, circa 1755, workman’s mark.
Provenance: English Private Collection.
4.
A Worcester tall coffee cup, with ‘C’
scroll handle and everted rim, painted in
underglaze blue with flowers, leaves
and an insect, on a feather moulded
ground, the interior finely painted with
a band of flowerheads and leaves, 2 3/8¢¢
high, circa 1757, workman’s mark.
The ‘Feather Mould Floral’ Pattern.
Provenance: English Private Collection,
acquired from Albert
Amor Limited.
5.
A Worcester flared hexagonal creamboat, the angular loop handle with scroll terminal, painted in
underglaze blue in Chinese style with a fisherman on a bridge, and another in a boat, within scroll
and leaf moulded cartouches, and moulded with a geranium leaf beneath the lip, the interior painted
with a diaper cartouche and trailing flowers and leaves, 4 3/8¢¢ long, circa 1755, workman’s mark to
the interior.
The Sinking Boat Fisherman Pattern.
Provenance: English Private Collection, acquired from Albert Amor Limited.
Exhibited: Albert Amor Limited, 1973, Worcester Porcelain 1751-1784, number 2.
6.
A Bow oval sauceboat, with loop handle, painted in underglaze blue with birds in flowering
branches, within flower and scroll moulded cartouches, the interior painted with a flowerspray,
within a flowerhead and diaper band, 7 ¾¢¢ long, circa 1760, no mark.
7.
A Worcester small barrel shaped
teapot and flat cover, with loop
handle and flower knop, moulded
in relief with prunus and birds,
within underglaze blue cell
diaper bands, 3 ½¢¢ high, circa
1760, blue crescent mark.
Provenance: English Private
Collection, acquired
from Albert Amor
Limited.
8.
A Liverpool oval sauceboat, the ‘C’ scroll handle with ‘biting snake’ terminal, printed in underglaze
blue with flowers, fences and rockwork, in Chinese style, within shell and scroll moulded
cartouches, on a scale moulded ground, and gadrooned foot, the interior printed with flowers,
6 ¼¢¢ wide, Philip Christian’s Factory, circa 1770, no mark.
9.
A Worcester pierced flared round basket, printed in underglaze blue with the Pine Cone pattern, the
border painted with flowers and diaper panels, the exterior applied with flowerheads picked out in
blue, 8 ½¢¢ diameter, circa 1770, crescent mark.
10.
A Worcester pierced flared round basket, printed in underglaze blue with the Pine Cone pattern, the
border painted with flowers and diaper panels, the exterior applied with flowerheads picked out in
blue, 8¢¢ diameter, circa 1770, hatched crescent mark.
11.
A Liverpool coffee cup
and saucer, the cup with
notched loop handle,
painted in underglaze
blue with buildings
in Chinese river
landscapes, within
diaper borders, circa
1760-65, Richard
Chaffers Factory,
no marks.
Provenance: English
Private Collection.
12.
A Worcester round bowl, the
interior printed in black with
a full length portrait of
William Shakespeare, after
the model by Sheemakers,
within a border of trailing
flowers, fruits and leaves,
gilt line rim, the exterior
printed with Milkmaids,
cattle and a resting shepherd,
9¢¢ diameter, circa 1765-70,
no mark.
Provenance: Sir Sidney
Barratt Collection.
The rare exterior prints on
this bowl are ‘Shepherd
and Sheep’, ‘Feeding Time’
and a variation of the
‘Milkmaids’.
13.
A Worcester ‘Blind Earl’ sweetmeat dish, the stalk loop handle moulded in relief with rose bud and
leaf terminals, printed in black with Les Garcons Chinois, picked out in coloured enamels, within a
brown line rim, 6 ½¢¢ diameter overall, circa 1760, no mark.
It is rare to find this pattern on a dish of this form.
14.
A Worcester small round bowl, printed in black with a bust portrait of the King of Prussia, above a
ribbon scroll, and inscribed ‘King of Prussia’, the reverse with military emblems and a figure
emblematic of Fame, the interior printed with a cannon and two powder kegs, beneath a black line
rim, 4 7/8¢¢ diameter, circa 1758-60, no mark.
The bust is adapted from a painting by Pesne.
15.
A Worcester slender baluster shaped
jug, with ‘S’ scroll handle and mask
spout, printed in black with a
portrait of the King of Prussia,
above the date 1757 and titled ‘King
of Prussia’, and above the portrait
cupid holds a laurel wreath, below
the lip are military trophies and
flags inscribed ‘Reisberg, Prague,
Collin’ etc, and to the reverse with
a figure emblematic of Fame, 5 7/8¢¢
high, circa 1758-60, signed R H
Worcester.
Collection.
16.
A Worcester ovoid teapot and cover, with loop handle, flower knop and facetted spout, printed in
black with ‘The Tea Party No 2’, a dog in the foreground, the reverse with ‘The Minuet’, the cover
with a windmill and a round tower, within black line borders, 5 ½¢¢ high, circa 1760, signed R H
Worcester beneath the Tea Party, and with the anchor rebus for Robert Holdship.
This version of the Tea Party is usually signed R Hancock fecit and does not show the anchor rebus.
The Minuet is based on the painting by Francis Hayman, and is found in the Ladies Amusement.
17.
A Worcester globular teapot and cover, with loop handle and flower knop, printed in black by John
Sadler in Liverpool with ‘The Tea Drinkers’, the reverse with ‘The Rothwell Shepherd’ ,the cover
printed with flowersprays, within black and gilt line and ‘C’ scroll bands, 5 3/8¢¢ high, circa 1760,
no mark.
18.
A Worcester spoon tray, of extended hexagonal form, printed in black with the ‘Tea Party, No 2’,
flanked by a fountain and trees to the left, and a river scene to the right, the fluted border with black
line rim, 6¢¢ wide, circa 1760, no mark.
19.
A Worcester spoon tray, of extended hexagonal form, printed in black with ‘The Milkmaids’, the
fluted border with black line rim, 6¢¢ wide, circa 1765, no mark.
One of several variations of this design taken from an engraving published by Robert Sayer in 1766.
20.
A Worcester hexagonal
teapot stand, printed in
black with ‘L’Amour’, an
urn and a garden roller to
one side and a Neptune
fountain in the distance,
the fluted border with
black line rim, 5 ½¢¢ wide,
circa 1758-60, no mark.
Taken from a design by
C N Cochin (fils) of
about 1745.
Provenance: English
Private Collection.
21.
An English enamel oval snuff box,
the gilt metal mounted hinged cover
printed with the ‘Tea Party No 1’,
and picked out in coloured enamels,
the base painted in coloured enamels
with a flowerhead and trellis design,
2 ½¢¢ wide, circa 1770.
Collection.
Examples of the prints on this box
are in the Victoria & Albert Museum
and the Museum of Worcester
Porcelain, both signed RH.f.
22.
An English enamel rectangular tobacco box, the gilt metal mounted hinged cover printed in purple
with a group of sportsmen with guns and dead game, in an extensive landscape, the sides with a
continuous rural scene including ‘The Whitton Anglers’, and with figures crossing a wooden
footbridge, the latter adapted from the engravings of a View at Painshill, by William Woollett, 5¢¢
wide, circa 1770.
Provenance: Ionides Collection.
Sir William Mullens Collection.
English Private Collection.
Exhibited: Albert Amor Limited, The Engravings of Robert Hancock, 1991.
The print Autumn, after a drawing by the Venetian painter and engraver Amigoni was engraved by
Thomas Major, and is so far unrecorded on procelain.
23.
A Worcester small baluster shaped mug, with notched loop handle, printed in black with the
Masonic Arms of the Grand Lodge of England and the mottoes ‘AMOR HONOR ET JUSTITIA’
and ‘SIT LUX ET LUX FUIT’, flanked to one side by three figures, including a Grand Master, and
with two slender pyramids each topped by a globe, 3 ¼¢¢ high, circa 1770, no mark.
The copper plate for this engraving is in the Museum of Worcester Porcelain and is signed ‘J Ross,
Vigorniensis sculp’.
24.
A Worcester cylindrical mug, with
notched loop handle, printed in black
with a bust portrait of the King of
Prussia, above the date 1757 and the
inscription ‘King of Prussia’, above
the portrait cupid holds a laurel
wreath, flanked to one side by
military trophies, and to the other a
figure emblematic of Fame, 4 ¼¢¢
high, circa 1760, no mark.
Collection.
25.
A Worcester cylindrical mug, with
notched loop handle, printed in black
with the Masonic Arms of the Grand
Lodge of England and the mottoes
‘AMOR HONOR ET JUSTITIA’ and
‘SIT LUX ET LUX FUIT’, flanked to
one side by three figures, including a
Grand Master, and with two slender
pyramids each topped by a globe,
4 ½¢¢ high, circa 1770, no mark.
Collection.
26.
A Worcester ‘Blind Earl ‘sweetmeat dish, the stalk loop handle moulded in relief with rose bud and
leaf terminals, printed in black with ‘The Old Dutch Inn’, and picked out in coloured enamels and
gilt, within a gilt line border, 6¢¢ diameter overall, circa 1770, no mark.
27.
A Worcester teabowl and
saucer, printed in purple
with ‘The Old Dutch Inn’,
within gilt line borders,
circa 1770,
no marks.
Provenance: English
Private Collection.
28.
A Worcester double lipped sauceboat, with two ‘C’ scroll handles, the exterior with four ‘smoky
primitive’ prints of men o’war, within leaf moulded roundels, the interior printed with birds in a
‘River Scene’, 7 ½¢¢ wide, circa 1755, no mark.
The use of these ‘smoky primitive’ prints, combined with the early date of this piece suggests it may
have been printed by Robert Hancock in Birmingham. The birds in the ‘River Scene’ appear
frequently on Worcester porcelain printed by Hancock, as featured in the Ladies Amusement.
29.
A Worcester coffee cup and saucer, the cup with notched loop handle, printed in black with ‘The
Signal Tower’, the reverse of the cup with a figure before ruins, within black line borders, circa
1765, no marks.
30.
A Liverpool teabowl
and saucer, printed in
black by Sadler and
Green with a version
of ‘The Tea Party No
1’, within black and
gilt line and scroll
bands, circa 1765, no
marks.
This print also appears
on Wedgwood
creamware, and is
one of the versions
believed to be a
portrayal of Josiah
and Sarah Wedgwood.
Provenance: English
Private Collection.
31.
A Worcester
chocolate cup
and saucer,
printed in black
with ‘L’Amour’,
a maid standing
behind the
couple, within
black line
borders, circa
1770, no mark.
Taken from a
design by C N
Cochin (fils) of
about 1745.
32.
A Worcester coffee cup and saucer, the cup with notched loop handle, printed in black by Sadler
with a ‘commedia del arte’ scene of Harlequin and Columbine seated at a table, and Pierrot
emerging from the bushes to startle them, within black line borders, circa 1760, no mark.
This print is from a Sadler and Green engraving and appears in the John Bowles Drawing Book.
33.
A rare early Meissen Bottger porcelain teapot and cover, of pear shape, in the white, with loop
handle, the curved spout with male mask terminal, finely applied with Irminger style decoration of
small birds amidst fruiting vines, the domed cover with turned knop, 4 ½¢¢ high, circa 1716-18, no
marks, and with contemporary white metal detachable spout cover, secured by a chain
Provenance: Winifred Williams, London, 1975.
Australian Private Collection.
Exhibited: Winifred Williams, London, Eighteenth Century European White Porcelain, 1975,
catalogue number 46.
34.
A pair of Chinese blanc de chine miniature tea bowls and saucers, of very finely potted form each
with indented rim, Yongzheng, each saucer 3 ½¢¢ diameter.
Provenance: The Burdett Family, Ramsbury Manor, Wiltshire.
35.
A good Mennecy large snuff box, in the form of
a recumbent pug, naturalistically painted in
brown, and wearing a yellow collar tied with a
bow, the silver mounted hinged cover moulded
and painted to the exterior with flowers, and
painted to the interior, 2 ½¢¢ high, the mounts
with Paris marks for circa 1755.
Provenance: Darblay Collection, France.
36.
A Mennecy large snuff box, in the form of a
recumbent horse, naturalistically picked out in
brown, the silver gilt mounted hinged cover
painted to the interior and exterior with flowers,
2 5/8¢¢ high, circa 1750.
Provenance: Darblay Collection, France.
This model is probably taken from a Japanese or
Chinese carving.
37.
A Meissen round sucrier and cover, with flower knop, painted in coloured enamels with sprays of
European flowers and leaves, and scattered flowers, within gilt line borders, 3 ½¢¢ high, circa 176065, blue crossed swords mark.
38.
A Hochst round sucrier and cover, with fruit knop, painted in coloured enamels with sprays of
European flowers and leaves, and scattered flowers, within gilt line borders, 3 ¾¢¢ high, circa 1760,
painted mark in blue.
39.
A Chelsea saucer
dish, of thinly
potted form,
brilliantly painted
in coloured
enamels, in Hans
Sloane style with
a flowering branch,
a separate bloom,
seed pods, a
butterfly and two
insects, the
indented border
with brown line
rim, 8¢¢ diameter,
circa 1755, red
anchor mark inside
the footrim.
40.
A pair of Chelsea plates, each brilliantly painted in coloured enamels with an exotic bird perched on
rockwork, flanked by birds in trees, the indented border with brown line rim, 8 3/8¢¢ diameter, circa
1760-62, brown anchor marks.
41.
A rare Chelsea teapot and cover, of Vincennes form, the teapot of sharply angled form, with
moulded handle and spout, the flat cover with flower knop, painted in coloured enamels with bold
sprays of European flowers and leaves, and scattered flowers, the spout with a brown line rim, 4 ½¢¢
high, circa 1755, no mark.
42.
A pair of Chelsea oblong dishes, each painted in coloured enamels with a spray of European flowers
and leaves, the scroll moulded border moulded in relief with vine leaves and grapes, finely
naturalistically decorated in coloured enamels, brown line rim, 9 ¼¢¢ wide, circa 1755, red anchor
marks.
Provenance: With D M and P Manheim.
American Private Collection.
43.
A pair of Chelsea sauceboats, of leaf shape, each with stalk loop handle entwined with strawberries,
blossom and leaves, the interior painted in coloured enamels with a bold spray of flowers and leaves
and scattered flowers, the exterior painted with scattered flowers and insects, on four strawberry
moulded short feet, beneath a brown line rim, 7 ½¢¢ long, circa 1755, no marks.
44.
A pair of Chelsea canted rectangular deep dishes, each painted in coloured enamels with scattered
fruits, vegetables, leaves, a butterfly and insects, within a brown line rim, 8 ¾¢¢ wide, circa 1760,
brown anchor marks.
Provenance: With D M and P Manheim.
American Private Collection.
45.
A pair of Chelsea plates, each painted in coloured enamels with an exotic bird perched on rockwork,
flanked by birds in trees, the shaped border with brown line rim, 8 ½¢¢ diameter, circa 1762, brown
anchor marks.
46.
A pair of Chelsea
vases, of scroll
moulded form,
emblematic of
Autumn, each painted
in coloured enamels
with exotic birds,
within a scroll
moulded cartouche,
and heavily applied
with grapes and
leaves, the base with a
Bacchanalian putto,
and applied with
coloured flowers and
leaves, 13 ½¢¢ high,
circa 1760, no marks.
A garniture of vases
of the Seasons of this
form is in the
Collection of the
Metropolitan
Museum, New York.
47.
A Chelsea silver
shape dish, boldly
painted in
coloured enamels
with flowers,
fruits and
vegetables, within
a brown line rim,
the two moulded
‘handles’ each
painted with a
fruit, 8 ½¢¢ wide,
circa 1760, brown
anchor mark.
Provenance:
English Private
Collection.
48.
A pair of Bow small
figures of Harlequin and
Columbine, each seated, he
playing bagpipes, and she
a hurdy-gurdy, decorated
in coloured enamels with
flowers and leaves, and the
reverse of his jacket
painted with playing cards,
on simple mound base,
4 ½¢¢ high, circa 1758-60,
no marks.
49.
A Bow ‘frill’ vase and
domed cover, with large
eagle finial and two mask
handles, painted in
coloured enamels with
flowers and leaves, and
applied with coloured
flowers, within flowerhead
moulded borders, 13¢¢
high, circa 1760, no
marks.
50.
A Longton Hall dish, of leaf shape,
with green glazed stalk loop handle,
painted in coloured enamels with a
spray of flowers and leaves, scattered
flowers and a butterfly, the border
moulded with a leaf spray and pansies,
picked out in coloured enamels, 8 ¾¢¢
wide, circa 1755-57, no mark.
51.
A Longton Hall flared oval bowl, the
exterior moulded with overlapping lettuce
leaves, picked out in two shades of green,
the veining in puce, beneath a boldly shaped rim, the interior unusually painted with two Pinks
growing from one stem, 5 ¾¢¢ wide overall, circa 1755-57, no mark.
We can find no other Longton Hall bowl recorded with this style of interior decoration.
52.
A Longton Hall flared oval bowl, the
exterior moulded with overlapping
lettuce leaves, picked out in green and
yellow, the veining in puce, beneath a
boldly shaped rim, the interior painted in
coloured enamels with scattered flowers
and leaves, 5 ¾¢¢ wide, circa 1755-57,
no mark.
53.
A Derby small concave sided square dish, finely painted in sepia by Zachariah Boreman with
figures in a mountainous landscape, within a gilt leaf scroll roundel, the border moulded with lobed
oval panels and decorated in gilt with scrolling flowers and leaves, gilt dentil rim, 7 5/8¢¢ wide, circa
1790, crowned crossed batons mark in puce.
54.
A Worcester flared
hexagonal creamboat,
the angular loop
handle with scroll
thumbpiece, painted in
famille rose palette
with flowersprays,
within scroll and leaf
moulded cartouches,
the interior painted
with four precious
objects, 4 3/8¢¢ long
overall, circa 1755.
Provenance: English
Private Collection,
Amor Limited in
1976.
55.
A fine Worcester fig
leaf shaped dish,
with serrated rim,
brilliantly painted in
purple monochrome
with ruins in a
landscape, within a
scroll moulded
cartouche, and with
a spray of flowers
and leaves and
scattered flowers,
7 5/8¢¢ long, circa
1756-58, no mark.
Provenance: English
Private Collection,
Amor Limited in
1967.
56.
A good Worcester baluster shaped mug,
with notched loop handle, finely painted
in purple monochrome with extensive
classical ruins in a landscape, the reverse
with buildings, the handle with trailing
scrolls, 3 1/8¢¢ high, circa 1756-58, no
mark.
Provenance: Selwyn Parkinson
Collection.
English Private Collection,
acquired from Albert Amor
Limited 1966.
57.
A Worcester small
butterboat, of Dolphin
Ewer form, with lamprey
handle, boldly picked out
in coloured enamels, and
typically moulded
beneath the lip with two
dolphins, 3¢¢ high, circa
1765, no mark.
Provenance: English
Private Collection,
Amor Limited in 1976.
58.
A Worcester inverted
baluster shaped vase, with
two double ‘C’ scroll
handles, finely painted in
coloured enamels in the
London atelier of James
Giles in Sèvres style with
sprays of flowers and
leaves, and scattered
flowers, within double
blue and gilt horizontal
bands, the handles picked
out in gilt, 5¢¢ high, circa
1770-72, no mark.
It is rare to find this style
of Giles decoration on a
vase.
See Stephen Hanscombe,
James Giles, number 13,
for a similarly decorated
plate.
59.
A Worcester blue scale coffee cup and saucer, the cup with notched loop handle, painted in coloured
enamels with exotic birds and insects, within gilt cartouches, on a blue scale ground, circa 1768,
saucer with blue fret mark.
Provenance: Sir Sidney Barratt Collection.
60.
A Worcester ‘Blind Earl’
plate, moulded in relief
with rose buds and leaves,
and painted in coloured
enamels with a spray of
flowers and leaves, and
scattered flowers, the leaves
painted in green and yellow,
7 ½¢¢ diameter, circa 1770,
no mark.
Barratt Collection.
61.
A pair of Worcester plates, each brilliantly painted in coloured enamels in the London atelier of
James Giles with bold sprays of flowers and leaves, and scattered flowers, the indented border with
brown line rim, 8 7/8¢¢ diameter, circa 1765-68, no marks.
This distinctive style of Giles flower painting is attributed to the so called ‘Windblown Flower’
Painter.
See Stephen Hanscombe, James Giles, figure 2, for a Worcester basket painted in this style.
62.
A Worcester partridge shaped
tureen and cover, in the white,
naturalistically modelled, the
basket moulded base with an
applied leaf and looped band,
7 ½¢¢ long, circa 1760, no mark
Provenance: Tilley and Co,
London, March
1954, £105.
Grant Dixon
Collection.
63.
A fine
Worcester oval
sauce tureen,
cover, stand and
ladle, the tureen
with two gilt
shell shaped
handles and
especially
finely modelled
flower knop,
painted in
coloured
enamels with
sprays of
flowers and
leaves, within
gilt ‘C’ scroll borders, on a green ground, 9 ¼¢¢ wide overall, circa
1772-75, no marks.
Provenance: Tilley and Co, London, October 1956, £330.
Grant Dixon Collection.
The Marchioness of Huntley Pattern.
The extraordinarily detailed finial to this tureen does not appear to be recorded elsewhere.
64.
A Worcester large pierced oval basket, the two twig loop handles with applied flower and leaf
terminals, the interior finely painted in coloured enamels with a bold spray of flowers and leaves,
within a gilt scroll and leaf
cartouche, on a blue scale
ground, the border with
scattered flowers, beneath a
blue scale band, the exterior
applied with flowerheads,
picked out in puce and
green, on a pale yellow
ground, 10 ¼¢¢ wide overall,
circa 1768-70, blue fret
mark.
Provenance: Sotheby’s
London, 27th
May 1960.
Grant Dixon
Collection.
65.
A Worcester oval
sauce tureen and
cover, the tureen
with two shell
shaped handles, the
cover with fruit
knop, painted in
green and iron red
with hops,
alternating with
purple and gilt ‘C’
scroll bands, the
pink ground diaper
border panelled
with flowerhead
cartouches, 6 ½¢¢
wide overall, circa
1772, no marks.
The Earl Manvers
Pattern.
Provenance: Grant Dixon Collection.
66.
A Worcester sauce ladle, the rounded bowl painted in puce with a cluster of fruits and leaves, within
a gilt feuille de choux border, the stem painted with hops, within a gilt line border, 6 ½¢¢ long, circa
1772, no mark.
Provenance: Grant Dixon Collection.
67.
A Worcester shell shaped dish,
painted in green and iron red
with hops, alternating with
puce and gilt trellis bands,
radiating from a turquoise
‘shagreen’ cartouche, the blue
ground rim decorated in gilt
with diaper, ‘C’ scrolls and a
dentil band, 7 ¾¢¢ wide, circa
1772, blue crescent mark.
Provenance: Grant Dixon
Collection.
68.
A rare pair of Worcester pedestal sorbet or custard cups, each rounded bowl with flared rim and
painted in green and iron red with hops, alternating with iron red and gilt trellis bands, above a
turquoise ‘shagreen’ band, the blue ground rim decorated in gilt with diaper, ‘C’ scrolls and a dentil
band, the round foot painted with hops, 3 ¼¢¢ high, circa 1772, blue crescent marks.
Provenance: Mrs Geoffrey Hart Collection, Sotheby’s London, 23rd June 1959, £209.
Grant Dixon Collection.
See H R Marshall, Coloured Worcester Porcelain, plate 23, number 428, for a similar cup, there
listed as an eggcup.
69.
A Worcester round
bowl, the exterior
unusually painted in
famille rose palette with
bold flowerheads and
trailing prunus, beneath
an iron red, orange and
gilt flowerhead and
cracked ice band, the
interior with a flower,
6¢¢ diameter, circa 1775,
no mark.
Barratt
Collection.
70.
A pair of Worcester plates, each painted in coloured enamels with two exotic birds in wooded
landscapes, and with smaller birds and insects in flight, the basket moulded border with gilt dentil
rim, 8¢¢ diameter, circa 1772, no marks.
71.
A Worcester facetted saucer dish, painted in kakiemon palette with a long tailed bird perched on a
pierced turquoise rock, flowering branches and insects in flight, within a gilt line rim, 7 ¼¢¢ diameter,
circa 1762-65, blue fret mark.
The Sir Joshua Reynolds Pattern.
72.
A Worcester fluted barrel shaped teapot and flat cover, with ear shaped handle and flower knop,
painted in dry blue enamel with sprays of flowers and leaves, and scattered flowers, within a gilt
dentil border, 4 ¾¢¢ high, circa 1772, no mark.
Exhibited: Albert Amor Limited, Golden Age Exhibition, 1980, number 45.
73.
A Worcester hexagonal teapot stand, painted in dry blue enamel with a spray of flowers and leaves,
and scattered flowers, the fluted border with gilt dentil rim, 6¢¢ wide, circa 1772, no mark.
Provenance: English Private Collection, acquired from Albert Amor Limited in 1984.
74.
A Worcester leaf shaped dish, the
stalk loop handle modelled with a
snail, painted in dry blue enamel
in the London atelier of James
Giles with a spray of flowers and
leaves, and scattered flowers,
within a gilt line border, 7 ½¢¢
wide, circa 1768-70, no mark.
Collection.
75.
A Worcester hexagonal
teapot stand, painted in
green and iron red with
hops, alternating with
puce and gilt trellis
panels, within turquoise
and gilt ‘scale’ bands,
and gilt line rim, 5 7/8¢¢
wide, circa 1772-75, no
mark.
Provenance: English
Private Collection.
76.
A Worcester oval sauce tureen and cover, the tureen with two shell shaped handles, the cover with
fruit knop, painted in famille verte palette with phoenix, flowers, leaves, diaper panels and mons,
and picked out in gilt, 6 ¾¢¢ wide overall, circa 1770-72, gold crescent mark.
The Brocade Pattern.
77.
A Worcester cylindrical mug, with notched loop handle, finely painted in coloured enamels with the
Beckoning Chinaman pattern, the reverse brilliantly painted with a flowerspray, 4 3/8¢¢ high, circa
1758-60, no mark
78.
A Worcester teacup and saucer, the cup with scroll handle, painted in coloured enamels with
‘spotted fruit’ and leaves, within gilt ‘C’ scroll borders, on an apple green ground, circa 1772-75,
blue crossed swords and numeral 9 marks.
79.
A Worcester plate, painted
in famille verte palette with
a phoenix and a kylin in a
landscape, within a roundel,
the border with radiating
panels of kylin, flowers,
birds and rockwork, the
underside with three
flowersprays, 8 ¾¢¢ diameter,
circa 1770, gold crescent
mark.
The Bishop Sumner Pattern.
Collection.
80.
A Worcester plate,
boldly painted in
coloured enamels in
the London atelier of
James Giles with a
spray of European
flowers and leaves,
and scattered flowers,
the shaped border
with gilt line rim,
9¢¢ diameter, circa
1765-68, no mark.
This style of Giles
decoration is
associated with the
so called ‘Windblown
Flower’ Painter.
Provenance: English
Private Collection.
81.
A pair of Worcester plates, each boldly painted in coloured enamels in the London atelier of James
Giles with a central cluster of fruit, the border with confronting exotic birds in branches, the shaped
border with gilt line rim, 9¢¢ diameter, circa 1765-70, no marks.
See Stephen Hanscombe, James Giles, figure 59, for a similarly decorated plate.
82.
A Worcester plate,
unusually painted in
coloured enamels in
the London atelier of
James Giles with a
precisely painted spray
of flowers and leaves,
two smaller sprays and
scattered flowers, the
shaped border with
brown line rim, 8 ¾¢¢
diameter, circa 1770,
no mark.
Provenance: English
Private Collection.
83.
A Worcester ogee shaped breakfast cup and saucer, the cup with scroll handle with bird’s head
terminal, painted in coloured enamels with exotic birds in wooded landscapes and birds in flight, the
blue ground borders decorated in gilt with ‘C’ scroll, rope twist and dentil bands, circa 1772-75,
blue crescent marks.
84.
A Worcester plate, centrally
decorated in coloured enamels
with a roundel of flowers and
leaves, the border with three
further flower sprays, one with a
bow and one with an arrow, the
fluted blue ground rim decorated
in gilt with ‘C’ scroll, interlinked
and dentil bands, 8 ½¢¢ diameter,
circa 1775, blue crescent mark.
The ‘Royal Marriage’ Pattern.
Collection.
85a.
A Worcester coffee cup, with notched loop handle, painted in the London atelier of James Giles in
pink monochrome with a spray of flowers and leaves and scattered flowers, beneath a gilt line rim,
2¢¢ high, circa 1768.
85b.
A Worcester coffee cup, with notched loop handle, painted in iron red and gilt with flowerheads,
within gilt cartouches, on a blue scale ground, 2 ¼¢¢ high, circa 1768, blue fret mark.
85c.
A Worcester coffee cup, with notched loop handle, painted in famille rose palette with a version of
the Stag Hunt pattern, within lobed gilt cartouches, gilt line rim, 2 ½¢¢ high, circa 1770, no mark.
85d.
A Worcester coffee cup, with notched loop handle, finely painted in Imari style with flowering trees,
alternating with iron red mons on blue and gilt ground bands, 2¢¢ high, circa 1772, pseudo Chinese
character mark in blue.
86.
A Worcester plate, finely decorated in gilt
with a central flowerhead medallion, scrolling
flowers and leaves, on a powder blue ground,
the fluted border with gilt line rim, 8 ¼¢¢
diameter, circa 1772-75, no mark.
Provenance: Sir Sidney Barratt Collection.
87.
A Worcester baluster shaped sparrow beak milk jug, with entwined handle, painted in coloured
enamels in the London atelier of James Giles with a spray of flowers and leaves, and scattered
flowers, beneath a scrolling green ground border edged in gilt, 4 ½¢¢ high, circa 1768, blue crossed
swords mark.
Provenance: Albert Amor Limited, circa 1920.
Anthony Wood Collection.
88.
A Worcester facetted round sucrier and domed cover, with flower knop, painted in coloured enamels
in the London atelier of James Giles with sprays of European flowers and leaves and scattered
flowers, within scrolling green ground borders edged in gilt, 4 ½¢¢ high, circa 1768, blue fret mark
89.
A pair of John Ridgway rectangular dessert baskets, each with two vine moulded handles, and
pierced with a scroll and flowerhead band, the interior and exterior richly decorated in Imari style
with flowers and leaves, within orange ground key-fret, flower and diaper borders, 9 ¾¢¢ wide
overall, circa 1815, no marks.
90.
A pair of Spode miniature ovoid
jugs, each with loop handle and
straight neck, printed and painted
in Chinese style with numerous
figures in a garden, beneath
flowers and leaves, the foot with
a gilt band, 1 ¾¢¢ high, circa 1815,
decorator’s marks in red.
Provenance: The Rous Lench
Collection.
91.
An English porcelain bowl, the interior
finely painted in coloured enamels with a
spray of flowers and leaves, the broad
yellow ground border painted with a
church and country houses in landscapes,
alternating with gilt shell and scroll
panels, the exterior painted in gilt with a
continuous flowerhead and leaf band, 9¢¢
diameter, circa 1830, pattern number 1164
in red.
92.
A Derby plate, finely painted in coloured enamels by Thomas Steele with a still life of flowers and
fruit on a stone ledge, within a square canted panel, the border with a broad gilt leaf scroll and
anthemion band, 8 ¾¢¢ diameter, circa 1815-20, crowned crossed batons mark in red.
93.
A Derby plate, finely painted in coloured enamels by Thomas Steele with a still life of flowers and
fruit on a stone ledge, within a square canted panel, the border with a broad gilt leaf scroll and vase
border, 8 ¾¢¢ diameter, circa 1815-20, crowned crossed batons mark in red.
94.
A Derby shell shaped dish, finely
painted in coloured enamels by Thomas
Steele with a still life of flowers and fruit
on a stone ledge, within a canted
rectangular panel, the border with a
broad gilt leaf scroll and lantern border,
9 ½¢¢ wide, circa 1815-20, crowned
crossed batons mark in red.
95.
A pair of Staffordshire creamware small models of pugs, of Whieldon type, each modelled seated
and scratching an ear with a hind leg, and ‘splashed’ in brown and yellow, on green glazed mound
base, 1 5/8¢¢ high, circa 1760-70, no marks.
Provenance: Frances L Dickson Collection.
Rous Lench Collection, number 619.
96.
A pair of Mosanic earthenware models of seated cats, each with glass eyes, the yellow ground
painted in coloured enamels with sprays of flowers and leaves, and scattered flowers, the ears, mouth
and paws picked out in blue, 8 ½¢¢ high, circa 1910, decorator’s monograms AV in iron red.
97.
A Mosanic type model of a seated cat,
with comical expression and glass eyes,
the bright green ground painted in iron
red with heart shaped devices, roundels
and stylised ‘rabbits’, 13 ½¢¢ high, circa
1910, no mark.
98.
A William Adams and Sons earthenware oval footbath, with two loop handles, finely decorated in
gilt in Aesthetic style with leaves, on a cobalt blue ground, 20¢¢ wide overall, printed mark in brown,
circa 1880.
99.
Old English
Porcelain, The Lady
Ludlow Collection,
by Arthur
Hayden,1932,
illustrated with black
and white and
coloured plates,
number 12 from an
edition of 100
copies, signed by
Lady Ludlow, in gilt
tooled red morocco
binding and with
original slip case.
This spectacular
catalogue has an
Introduction by
W Leslie Perkins,
owner of Albert
Amor.
Back cover detail: No. 39.
www.albertamor.co.uk

ALBERT AMOR LTD

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