Collectable Ceramics
Late Victorian era HAMMERSELY & Co Afternoon Tea China
Some typically extravagantly decorated in the late Victorian era taste HAMMERSELY & Co. of Longton, England, afternoon tea china. Carrying the impressed mark “H & Co” used between 1887-1912, the registered design number for 1890 and pattern number 13075. The cake plate is 23.5 cm diameter.
Late Victorian era HAMMERSELY & Co Afternoon Tea China
Some typically extravagantly decorated in the late Victorian era taste HAMMERSELY & Co. of Longton, England, afternoon tea china. Carrying the impressed mark “H & Co” used between 1887-1912, the registered design number for 1890 and pattern number 13075. The cake plate is 23.5 cm diameter.
Late Victorian era HAMMERSELY & Co Afternoon Tea China
Some typically extravagantly decorated in the late Victorian era taste HAMMERSELY & Co. of Longton, England, afternoon tea china. Carrying the impressed mark “H & Co” used between 1887-1912, the registered design number for 1890 and pattern number 13075. The cake plate is 23.5 cm diameter.
Late Victorian era HAMMERSELY & Co Afternoon Tea China
Some typically extravagantly decorated in the late Victorian era taste HAMMERSELY & Co. of Longton, England, afternoon tea china. Carrying the impressed mark “H & Co” used between 1887-1912, the registered design number for 1890 and pattern number 13075. The cake plate is 23.5 cm diameter.
Late Victorian era HAMMERSELY & Co Afternoon Tea China
Some typically extravagantly decorated in the late Victorian era taste HAMMERSELY & Co. of Longton, England, afternoon tea china. Carrying the impressed mark “H & Co” used between 1887-1912, the registered design number for 1890 and pattern number 13075. The cake plate is 23.5 cm diameter.
Victorian Porcelain Moonflask
A pair of Victorian era, probably English, porcelain Moonflasks the squared off naturalistic handles in the Aesthetic manner of Minton or Worcester. Pale green “Celadon” ground encrusted with sprigs of flowers including Bush Rose, Lily of the Valley and butterflies in “Maiden White”. On stub feet with floral sculptured sleeves. Faintly incised but filled by glaze marks to base between the feet. Minor losses to decoration and feet to be expected. 24cm tall.
Victorian Porcelain Moonflask
A pair of Victorian era, probably English, porcelain Moonflasks the squared off naturalistic handles in the Aesthetic manner of Minton or Worcester. Pale green “Celadon” ground encrusted with sprigs of flowers including Bush Rose, Lily of the Valley and butterflies in “Maiden White”. On stub feet with floral sculptured sleeves. Faintly incised but filled by glaze marks to base between the feet. Minor losses to decoration and feet to be expected. 24cm tall.
Victorian Porcelain Moonflask
A pair of Victorian era, probably English, porcelain Moonflasks the squared off naturalistic handles in the Aesthetic manner of Minton or Worcester. Pale green “Celadon” ground encrusted with sprigs of flowers including Bush Rose, Lily of the Valley and butterflies in “Maiden White”. On stub feet with floral sculptured sleeves. Faintly incised but filled by glaze marks to base between the feet. Minor losses to decoration and feet to be expected. 24cm tall.
‘Falcon Ware’ Ceramic Vases by Thomas Lawrence: Rosslyn base
Three bright and cheerful ceramic vases by Thomas Lawrence at Longton, England under the company name “Falcon Ware”.
The base marks indicate dates of 1920s / 30s for the Grecian and Melville Art Deco patterned vases.
The “A” under the floral Rosslyn vase indicates it was made in1940s during WWII. 22cm tall.
‘Falcon Ware’ Ceramic Vases by Thomas Lawrence: Rosslyn
Three bright and cheerful ceramic vases by Thomas Lawrence at Longton, England under the company name “Falcon Ware”.
The base marks indicate dates of 1920s / 30s for the Grecian and Melville Art Deco patterned vases.
The “A” under the floral Rosslyn vase indicates it was made in1940s during WWII. 22cm tall.
‘Falcon Ware’ Ceramic Vases by Thomas Lawrence: Melville
Three bright and cheerful ceramic vases by Thomas Lawrence at Longton, England under the company name “Falcon Ware”.
The base marks indicate dates of 1920s / 30s for the Grecian and Melville Art Deco patterned vases.
The “A” under the floral Rosslyn vase indicates it was made in1940s during WWII. 25cm tall.
‘Falcon Ware’ Ceramic Vases by Thomas Lawrence: Melville base
Three bright and cheerful ceramic vases by Thomas Lawrence at Longton, England under the company name “Falcon Ware”.
The base marks indicate dates of 1920s / 30s for the Grecian and Melville Art Deco patterned vases.
The “A” under the floral Rosslyn vase indicates it was made in1940s during WWII. 25cm tall.
‘Falcon Ware’ Ceramic Vases by Thomas Lawrence: Grecian
Three bright and cheerful ceramic vases by Thomas Lawrence at Longton, England under the company name “Falcon Ware”.
The base marks indicate dates of 1920s / 30s for the Grecian and Melville Art Deco patterned vases.
The “A” under the floral Rosslyn vase indicates it was made in1940s during WWII. 26cm tall.
‘Falcon Ware’ Ceramic Vases by Thomas Lawrence: Grecian base
Three bright and cheerful ceramic vases by Thomas Lawrence at Longton, England under the company name “Falcon Ware”.
The base marks indicate dates of 1920s / 30s for the Grecian and Melville Art Deco patterned vases.
The “A” under the floral Rosslyn vase indicates it was made in1940s during WWII. 26cm tall
Royal Doulton’s “Harvest” VASE D6120 designed by Frank Brangwyn marking
Sir Frank William Brangwyn, (born 1867; died 1956); member of the Royal Academy; Royal Watercolour Society; Royal Society of British Artists, was an Anglo-Welsh artistic jack-of-all-trades.
As well as paintings in oil, watercolour, gouache, huge murals, etchings, wood engravings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer, a woodcutter and a book illustrator.
Brangwyn received some artistic training, probably from his designer father William Curtis Brangwyn, then Arthur Heygate Mackmurdo, an architect and designer who influenced the Arts and Crafts movement, and from contacts he made at the South Kensington Museum (now part of the V & A).
Brangwyn obtained an apprenticeship with William Morris first as a glazier then in embroidery and wall paper work.
Brangwyn was passionate about ceramics and, although not making them himself, collected examples of Persian, Chinese, Korean and Japanese wares.
Both Charles and Cecil Nokes of Royal Doulton were men ahead of their time, constantly on the search for something new thus, in the late 1920s, Doulton approached Frank Brangwyn to design a range of tableware.
As befitting someone with his Arts and Crafts background, Brangwyn stipulated that the Doulton wares should look like hand-thrown pottery.
Brangwyn also demanded that the painters decorating the pieces should be allowed some freedom of expression, so each piece is slightly different and although the motifs in the sets are similar, every piece has individual character.
Originally intended to be offered to the general public as quality china at a reasonable price, the designs proved unpopular at the time and their rarity now has meant that they have become collectable.
At the time, critics hailed Doulton’s new ware as the pinnacle of ceramic mass production.
Brangwyn’s commercial designs were not only for Royal Doulton but also for Foley Pottery (Shelley), Ashtead Potters and Iris tableware for Clarice Cliff’s Bizarre range at A J Wilkinson.
He also produced designs for ceramic tiles.
A very highly regarded artist in his time, examples of Harvest pattern Brangwyn Ware by Doulton are held in the Victoria and Albert Museum.
Makers mark for post 1932.
Dimensions 14 cm high, 12 cm diameter base.
Royal Doulton’s “Harvest” VASE D6120 designed by Frank Brangwyn
Sir Frank William Brangwyn, (born 1867; died 1956); member of the Royal Academy; Royal Watercolour Society; Royal Society of British Artists, was an Anglo-Welsh artistic jack-of-all-trades.
As well as paintings in oil, watercolour, gouache, huge murals, etchings, wood engravings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer, a woodcutter and a book illustrator.
Brangwyn received some artistic training, probably from his designer father William Curtis Brangwyn, then Arthur Heygate Mackmurdo, an architect and designer who influenced the Arts and Crafts movement, and from contacts he made at the South Kensington Museum (now part of the V & A).
Brangwyn obtained an apprenticeship with William Morris first as a glazier then in embroidery and wall paper work.
Brangwyn was passionate about ceramics and, although not making them himself, collected examples of Persian, Chinese, Korean and Japanese wares.
Both Charles and Cecil Nokes of Royal Doulton were men ahead of their time, constantly on the search for something new thus, in the late 1920s, Doulton approached Frank Brangwyn to design a range of tableware.
As befitting someone with his Arts and Crafts background, Brangwyn stipulated that the Doulton wares should look like hand-thrown pottery.
Brangwyn also demanded that the painters decorating the pieces should be allowed some freedom of expression, so each piece is slightly different and although the motifs in the sets are similar, every piece has individual character.
Originally intended to be offered to the general public as quality china at a reasonable price, the designs proved unpopular at the time and their rarity now has meant that they have become collectable.
At the time, critics hailed Doulton’s new ware as the pinnacle of ceramic mass production.
Brangwyn’s commercial designs were not only for Royal Doulton but also for Foley Pottery (Shelley), Ashtead Potters and Iris tableware for Clarice Cliff’s Bizarre range at A J Wilkinson.
He also produced designs for ceramic tiles.
A very highly regarded artist in his time, examples of Harvest pattern Brangwyn Ware by Doulton are held in the Victoria and Albert Museum.
Makers mark for post 1932.
Dimensions 14 cm high, 12 cm diameter base.
Royal Doulton’s “Harvest” VASE D6120 designed by Frank Brangwyn
Sir Frank William Brangwyn, (born 1867; died 1956); member of the Royal Academy; Royal Watercolour Society; Royal Society of British Artists, was an Anglo-Welsh artistic jack-of-all-trades.
As well as paintings in oil, watercolour, gouache, huge murals, etchings, wood engravings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer, a woodcutter and a book illustrator.
Brangwyn received some artistic training, probably from his designer father William Curtis Brangwyn, then Arthur Heygate Mackmurdo, an architect and designer who influenced the Arts and Crafts movement, and from contacts he made at the South Kensington Museum (now part of the V & A).
Brangwyn obtained an apprenticeship with William Morris first as a glazier then in embroidery and wall paper work.
Brangwyn was passionate about ceramics and, although not making them himself, collected examples of Persian, Chinese, Korean and Japanese wares.
Both Charles and Cecil Nokes of Royal Doulton were men ahead of their time, constantly on the search for something new thus, in the late 1920s, Doulton approached Frank Brangwyn to design a range of tableware.
As befitting someone with his Arts and Crafts background, Brangwyn stipulated that the Doulton wares should look like hand-thrown pottery.
Brangwyn also demanded that the painters decorating the pieces should be allowed some freedom of expression, so each piece is slightly different and although the motifs in the sets are similar, every piece has individual character.
Originally intended to be offered to the general public as quality china at a reasonable price, the designs proved unpopular at the time and their rarity now has meant that they have become collectable.
At the time, critics hailed Doulton’s new ware as the pinnacle of ceramic mass production.
Brangwyn’s commercial designs were not only for Royal Doulton but also for Foley Pottery (Shelley), Ashtead Potters and Iris tableware for Clarice Cliff’s Bizarre range at A J Wilkinson.
He also produced designs for ceramic tiles.
A very highly regarded artist in his time, examples of Harvest pattern Brangwyn Ware by Doulton are held in the Victoria and Albert Museum.
Makers mark for post 1932.
Dimensions 14 cm high, 12 cm diameter base.
Royal Doulton April V2000 Coffee Set Marking
Royal Doulton late 1930s “April” pattern bone china coffee set V2000 for four people.
Royal Doulton April D6807 mark
Oddments from an incomplete earthenware D6807 April dinner setting for 6 people.
Royal Doulton April D6807 Tureen Lid
Oddments from an incomplete earthenware D6807 April dinner setting for 6 people. Shown here is the lid of a 20 cm diameter tureen.
Royal Doulton April D6807 Pin Dish
Oddments from an incomplete earthenware D6807 April dinner setting for 6 people. Shown here an unusually shaped pin dish 14 x 12.5 cm.
Royal Doulton April V2000 Bone China Coffee Set
Royal Doulton late 1930s “April” pattern bone china coffee set V2000 for four people.
Royal Winton Demitasse Coffee Set: makers marking
Royal Winton twelve piece demitasse coffee set in Chintz Starflower pattern made post WWII by the Grimwade’s Potteries of Staffordshire England.
Royal Winton Demitasse Coffee Set
Royal Winton twelve piece demitasse coffee set in Chintz Starflower pattern made post WWII by the Grimwade’s Potteries of Staffordshire England.
Royal Winton Demitasse Coffee Pot
Royal Winton twelve piece demitasse coffee set in Chintz Starflower pattern made post WWII by the Grimwade’s Potteries of Staffordshire England.
Scheherazade Vase from Rosenthal Germany by Bjorn Wiinblad: signature
1960s, Bjorn Wiinblad designed Scheherazade Vase from the Studio Line range by Rosenthal Germany. Wiinblad was born in Denmark in 1918 and was an extremely versatile artist working successfully in many media and designing a wide range of items. He became head designer for Rosenthal in 1957.
The Studio Line commenced in 1961.
This cylindrical porcelain vase of 36 cm tall and 8.5 cm diameter depicts the Storyteller from One Thousand and One Nights a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age and known in English as the Arabian Nights. It is hand painted in lustrous colours on an irregularly patterned 24 carat gold ground. There is a full signature by Wiinblad in gold on the gold ground below the floral decoration to the reverse. The combined initials W I can be seen in gold in the gold ground to the lower left of the figure. The Rosenthal Studio Line marks to the base are below the glaze while the Bjorn Wiinblad darker green signature is above the glaze.
A rare piece no longer in production.
Scheherazade Vase from Rosenthal Germany by Bjorn Wiinblad: signature and marking on glazed base
1960s, Bjorn Wiinblad designed Scheherazade Vase from the Studio Line range by Rosenthal Germany. Wiinblad was born in Denmark in 1918 and was an extremely versatile artist working successfully in many media and designing a wide range of items. He became head designer for Rosenthal in 1957.
The Studio Line commenced in 1961.
This cylindrical porcelain vase of 36 cm tall and 8.5 cm diameter depicts the Storyteller from One Thousand and One Nights a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age and known in English as the Arabian Nights. It is hand painted in lustrous colours on an irregularly patterned 24 carat gold ground. There is a full signature by Wiinblad in gold on the gold ground below the floral decoration to the reverse. The combined initials W I can be seen in gold in the gold ground to the lower left of the figure. The Rosenthal Studio Line marks to the base are below the glaze while the Bjorn Wiinblad darker green signature is above the glaze.
A rare piece no longer in production.
Scheherazade Vase from Rosenthal Germany by Bjorn Wiinblad
1960s, Bjorn Wiinblad designed Scheherazade Vase from the Studio Line range by Rosenthal Germany. Wiinblad was born in Denmark in 1918 and was an extremely versatile artist working successfully in many media and designing a wide range of items. He became head designer for Rosenthal in 1957.
The Studio Line commenced in 1961.
This cylindrical porcelain vase of 36 cm tall and 8.5 cm diameter depicts the Storyteller from One Thousand and One Nights a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age and known in English as the Arabian Nights. It is hand painted in lustrous colours on an irregularly patterned 24 carat gold ground. There is a full signature by Wiinblad in gold on the gold ground below the floral decoration to the reverse. The combined initials W I can be seen in gold in the gold ground to the lower left of the figure. The Rosenthal Studio Line marks to the base are below the glaze while the Bjorn Wiinblad darker green signature is above the glaze.
A rare piece no longer in production.
Scheherazade Vase from Rosenthal Germany by Bjorn Wiinblad
1960s, Bjorn Wiinblad designed Scheherazade Vase from the Studio Line range by Rosenthal Germany. Wiinblad was born in Denmark in 1918 and was an extremely versatile artist working successfully in many media and designing a wide range of items. He became head designer for Rosenthal in 1957.
The Studio Line commenced in 1961.
This cylindrical porcelain vase of 36 cm tall and 8.5 cm diameter depicts the Storyteller from One Thousand and One Nights a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age and known in English as the Arabian Nights. It is hand painted in lustrous colours on an irregularly patterned 24 carat gold ground. There is a full signature by Wiinblad in gold on the gold ground below the floral decoration to the reverse. The combined initials W I can be seen in gold in the gold ground to the lower left of the figure. The Rosenthal Studio Line marks to the base are below the glaze while the Bjorn Wiinblad darker green signature is above the glaze.
A rare piece no longer in production.
Scheherazade Vase from Rosenthal Germany by Bjorn Wiinblad
1960s, Bjorn Wiinblad designed Scheherazade Vase from the Studio Line range by Rosenthal Germany. Wiinblad was born in Denmark in 1918 and was an extremely versatile artist working successfully in many media and designing a wide range of items. He became head designer for Rosenthal in 1957.
The Studio Line commenced in 1961.
This cylindrical porcelain vase of 36 cm tall and 8.5 cm diameter depicts the Storyteller from One Thousand and One Nights a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age and known in English as the Arabian Nights. It is hand painted in lustrous colours on an irregularly patterned 24 carat gold ground. There is a full signature by Wiinblad in gold on the gold ground below the floral decoration to the reverse. The combined initials W I can be seen in gold in the gold ground to the lower left of the figure. The Rosenthal Studio Line marks to the base are below the glaze while the Bjorn Wiinblad darker green signature is above the glaze.
A rare piece no longer in production.
Rosenthal Germany Studio Line Vase
Rosenthal Germany, white porcelain, Studio Line, cylindrical vase with Cobalt bird motif, designer Bjorn Wiinblad; 14 cm tall, 7 cm ø.
Rosenthal Germany Studio Line Vase
Rosenthal Germany, white porcelain, Studio Line, cylindrical vase with Cobalt bird motif, designer Bjorn Wiinblad; 14 cm tall, 7 cm ø.
Blackberry Flower Vase: Royal Copenhagen
Royal Copenhagen Denmark, “Blackberry Flower” Vase, 10 cm tall.
Sailor Playing an Accordion: Bing & Grohndahl
Bing & Grondahl, Copenhagen, “Sailor Playing an Accordion” design # 1661 by Ingeborg Plockross Irminger, produced 1960s.
Pansy Vase: Bing & Grohndahl
Bing & Grondahl, Copenhagen, “Pansy” Vase, 13 cm tall.
Children Playing: Bing & Grondahl
Bing & Grondahl, Copenhagen, early C20th design by Ingeborg Plockross Irminger #1568 “Children Playing”.
Sailing Boat: Royal Copenhagen
Royal Copenhagen, Denmark, “Sailing Boat” Vase, 1954, 16.5 cm tall.
Mintons Tureen: mark and pattern number
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Mintons Sugar bowl
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Mintons Sugar Bowl: pattern number
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Mintons Mark
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
MIntons Imari Pattern Platter
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Mintons Dinner Set Tureen
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Mintons Dessert Service Tazza Base
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Mintons Dessert Service
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
MIntons Dessert Service: pattern number
Some beautiful examples of the articles from the English pottery Minton (later Mintons), founded in 1790, have come our way recently.
The dessert service pattern A1301 was produced in the 1850s.
The tea set pattern B173 is from the period 1873 to 1891.
The dinner service pattern C4981 is from 1891 to 1902-1909.
The Imari pattern platter is also from 1891 to 1902-1909 but could be the reissue of an item produced in the 1830s.
Contemplating the beautiful work produced in the past can provide a respite, perhaps only brief, from today’s problems and stresses.
Royal Doulton, England, Treasure Island Jug: Side 1
Royal Doulton, England, Treasure Island Jug inspired by Robert Louis Stevenson’s novel. This is number 150 in a limited edition of 600,
The exterior is moulded in relief and hand glazed and depicts Jim Hawkins with Long John Silver and his men on the beach of Treasure Island. The handle is moulded as a palm tree as is the front and enclosed spouted neck. Printed on the base are the “Chart of Treasure Island”; Doulton marks and its number “150”. This and other jugs inspired by literary figures were designed by Charles Noke and Harry Fenton and produced in the 1930s. 18 cm high, 13.5 cm diameter at top; 23 cm from tip of spout to back of handle; weight circa 1Kg.
Royal Doulton, England, Treasure Island Jug: Side 2
Royal Doulton, England, Treasure Island Jug inspired by Robert Louis Stevenson’s novel. This is number 150 in a limited edition of 600,
The exterior is moulded in relief and hand glazed and depicts Jim Hawkins with Long John Silver and his men on the beach of Treasure Island. The handle is moulded as a palm tree as is the front and enclosed spouted neck. Printed on the base are the “Chart of Treasure Island”; Doulton marks and its number “150”. This and other jugs inspired by literary figures were designed by Charles Noke and Harry Fenton and produced in the 1930s. 18 cm high, 13.5 cm diameter at top; 23 cm from tip of spout to back of handle; weight circa 1Kg.
Royal Doulton, England, Treasure Island Jug: Spout
Royal Doulton, England, Treasure Island Jug inspired by Robert Louis Stevenson’s novel. This is number 150 in a limited edition of 600,
The exterior is moulded in relief and hand glazed and depicts Jim Hawkins with Long John Silver and his men on the beach of Treasure Island. The handle is moulded as a palm tree as is the front and enclosed spouted neck. Printed on the base are the “Chart of Treasure Island”; Doulton marks and its number “150”. This and other jugs inspired by literary figures were designed by Charles Noke and Harry Fenton and produced in the 1930s. 18 cm high, 13.5 cm diameter at top; 23 cm from tip of spout to back of handle; weight circa 1Kg.
Royal Doulton, England, Treasure Island Jug: Handle
Royal Doulton, England, Treasure Island Jug inspired by Robert Louis Stevenson’s novel. This is number 150 in a limited edition of 600,
The exterior is moulded in relief and hand glazed and depicts Jim Hawkins with Long John Silver and his men on the beach of Treasure Island. The handle is moulded as a palm tree as is the front and enclosed spouted neck. Printed on the base are the “Chart of Treasure Island”; Doulton marks and its number “150”. This and other jugs inspired by literary figures were designed by Charles Noke and Harry Fenton and produced in the 1930s. 18 cm high, 13.5 cm diameter at top; 23 cm from tip of spout to back of handle; weight circa 1Kg.
Royal Doulton, England, Treasure Island Jug: Base markings
Royal Doulton, England, Treasure Island Jug inspired by Robert Louis Stevenson’s novel. This is number 150 in a limited edition of 600,
The exterior is moulded in relief and hand glazed and depicts Jim Hawkins with Long John Silver and his men on the beach of Treasure Island. The handle is moulded as a palm tree as is the front and enclosed spouted neck. Printed on the base are the “Chart of Treasure Island”; Doulton marks and its number “150”. This and other jugs inspired by literary figures were designed by Charles Noke and Harry Fenton and produced in the 1930s. 18 cm high, 13.5 cm diameter at top; 23 cm from tip of spout to back of handle; weight circa 1Kg.
Circa 1930-1950, Koala Bookends by Grace Seccombe
A pair of typical, polychrome decorated bookends featuring Koalas perched in a tree fork. While not signed, not all of her work was signed in the clay and some had white paper stickers which tended to come off, but undoubtedly the work of Grace Seccombe.
Grace was born in England in 1880 into a family of potters. She studied pottery at the Wedgwood Institute in Burslem. In 1903, after a period working in the potteries, she moved with her family to N.S.W. where, in 1905, she attended Sydney Technical College, studying freehand drawing and painting. In 1908 Grace married Clarence P. Seccombe, an architect, and she abandoned clay for about twenty years. Following a trip to England where Grace saw figurines of birds, she and her husband set up a studio and kiln at their home in Eastwood. Grace joined the Society of Arts & Crafts of N.S.W. and from 1930 regularly exhibited examples of her jovial Australian fauna and flora, (often set up as bookends as are these) until her death in 1956.
12.5 x 7.5 X 10 cm
References
Geoff Ford, Encyclopaedia of Australian Potter’s marks, 1st ed., pp135
Australian Art Pottery 1900 – 1950, Casuarina Press, pp 326
Circa 1930-1950, Koala Bookends by Grace Seccombe.
A pair of typical, polychrome decorated bookends featuring Koalas perched in a tree fork. While not signed, not all of her work was signed in the clay and some had white paper stickers which tended to come off, but undoubtedly the work of Grace Seccombe.
Grace was born in England in 1880 into a family of potters. She studied pottery at the Wedgwood Institute in Burslem. In 1903, after a period working in the potteries, she moved with her family to N.S.W. where, in 1905, she attended Sydney Technical College, studying freehand drawing and painting. In 1908 Grace married Clarence P. Seccombe, an architect, and she abandoned clay for about twenty years. Following a trip to England where Grace saw figurines of birds, she and her husband set up a studio and kiln at their home in Eastwood. Grace joined the Society of Arts & Crafts of N.S.W. and from 1930 regularly exhibited examples of her jovial Australian fauna and flora, (often set up as bookends as are these) until her death in 1956.
12.5 x 7.5 X 10 cm
References
Geoff Ford, Encyclopaedia of Australian Potter’s marks, 1st ed., pp135
Australian Art Pottery 1900 – 1950, Casuarina Press, pp 326
Circa 1930-1950, Koala Bookends by Grace Seccombe.
A pair of typical, polychrome decorated bookends featuring Koalas perched in a tree fork. While not signed, not all of her work was signed in the clay and some had white paper stickers which tended to come off, but undoubtedly the work of Grace Seccombe.
Grace was born in England in 1880 into a family of potters. She studied pottery at the Wedgwood Institute in Burslem. In 1903, after a period working in the potteries, she moved with her family to N.S.W. where, in 1905, she attended Sydney Technical College, studying freehand drawing and painting. In 1908 Grace married Clarence P. Seccombe, an architect, and she abandoned clay for about twenty years. Following a trip to England where Grace saw figurines of birds, she and her husband set up a studio and kiln at their home in Eastwood. Grace joined the Society of Arts & Crafts of N.S.W. and from 1930 regularly exhibited examples of her jovial Australian fauna and flora, (often set up as bookends as are these) until her death in 1956.
12.5 x 7.5 X 10 cm
References
Geoff Ford, Encyclopaedia of Australian Potter’s marks, 1st ed., pp135
Australian Art Pottery 1900 – 1950, Casuarina Press, pp 326
Circa 1930-1950, Koala Bookends by Grace Seccombe.
A pair of typical, polychrome decorated bookends featuring Koalas perched in a tree fork. While not signed, not all of her work was signed in the clay and some had white paper stickers which tended to come off, but undoubtedly the work of Grace Seccombe.
Grace was born in England in 1880 into a family of potters. She studied pottery at the Wedgwood Institute in Burslem. In 1903, after a period working in the potteries, she moved with her family to N.S.W. where, in 1905, she attended Sydney Technical College, studying freehand drawing and painting. In 1908 Grace married Clarence P. Seccombe, an architect, and she abandoned clay for about twenty years. Following a trip to England where Grace saw figurines of birds, she and her husband set up a studio and kiln at their home in Eastwood. Grace joined the Society of Arts & Crafts of N.S.W. and from 1930 regularly exhibited examples of her jovial Australian fauna and flora, (often set up as bookends as are these) until her death in 1956.
12.5 x 7.5 X 10 cm
References
Geoff Ford, Encyclopaedia of Australian Potter’s marks, 1st ed., pp135
Australian Art Pottery 1900 – 1950, Casuarina Press, pp 326
Studio Anna Pottery: markings
Additional markings include impressed script 1954-1963 and paper label 1963-1969. Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Plate: marking 1963-1980
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Hobart Boomerang
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Boomerang: mark 1965-1980
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Australia Square Tower Sydney Footprint
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Academy of Science Canberra Shallow Dish
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Aboriginal Motifs Plate
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Remued Wall Vase
Some of the mid C20th, Australian pottery wall vases we liberated from a cache of stock we rediscovered recently.
Braemore Dahlia Wall Vase
Some of the mid C20th, Australian pottery wall vases we liberated from a cache of stock we rediscovered recently.
Albaware Pansy Wall Vase
Some of the mid C20th, Australian pottery wall vases we liberated from a cache of stock we rediscovered recently.
Pates Sword Fish Wall Vase
Some of the mid C20th, Australian pottery wall vases we liberated from a cache of stock we rediscovered recently.
Diana Pottery Wall Vase
Some of the mid C20th, Australian pottery wall vases we liberated from a cache of stock we rediscovered recently.
Mid C20th Australian Pottery Wall Vases
Australian Pottery Floral Wall Vase/Pocket
Australian Pottery Floral Wall Vase/Pocket with paper label for “Wendy Art Pottery”. This label was used from 1939 to late the 1940s when Gloria May set up her own pottery in Five Dock Sydney to supply her gift shop in Burwood as stock was hard to obtain during WWII. The gift of such a pretty and colourful item would have provided a welcome distraction for families at home worrying about the fates of their men folk fighting overseas.
In excellent condition; 22 cm wide.
Australian Pottery Floral Wall Vase/Pocket
Australian Pottery Floral Wall Vase/Pocket with paper label for “Wendy Art Pottery”. This label was used from 1939 to late the 1940s when Gloria May set up her own pottery in Five Dock Sydney to supply her gift shop in Burwood as stock was hard to obtain during WWII. The gift of such a pretty and colourful item would have provided a welcome distraction for families at home worrying about the fates of their men folk fighting overseas.
In excellent condition; 22 cm wide.
Australian Pottery Floral Wall Vase/Pocket: above
Australian Pottery Floral Wall Vase/Pocket with paper label for “Wendy Art Pottery”. This label was used from 1939 to late the 1940s when Gloria May set up her own pottery in Five Dock Sydney to supply her gift shop in Burwood as stock was hard to obtain during WWII. The gift of such a pretty and colourful item would have provided a welcome distraction for families at home worrying about the fates of their men folk fighting overseas.
In excellent condition; 22 cm wide.
Staffordshire Ceramic Lions
Circa 1850s, pair of Staffordshire ceramic Lions - typical Victorian era mantle ornaments. Victorian England had a fascination with the natural world and embraced all its forms including wildlife from such remote places as Africa. 22 cm high x 27 cm long
Staffordshire Ceramic Lions: one
Circa 1850s, pair of Staffordshire ceramic Lions - typical Victorian era mantle ornaments. Victorian England had a fascination with the natural world and embraced all its forms including wildlife from such remote places as Africa. 22 cm high x 27 cm long
Crown Ducal Vase by Charlotte Rhead
Crown Ducal vase in the 1930s “Byzantine” design by Charlotte Rhead.
Octagonal bowl by Clarice Cliff
Clarice Cliff’s 1935 “Forest Glen” design on an octagonal bowl.
Bowl by Clarice Cliff
Clarice Cliff’s 1929 “Original Bizarre” design on a small bowl.
Royal Worcester Miniature Urn
A 1909, Royal Worcester double handled, blush ware, floral decorated miniature urn, 2 inches tall.
Royal Worcester Lidded Vase with Fruit
A 1912, Royal Worcester Lidded Vase with hand painted fruit decoration by Frank Roberts.
Set of Three Royal Winton Jugs
Circa 1930s, graduated set of three, “chintz”, Royal Winton Jugs in Cambridge shape and Sunshine pattern.
Set of Three Royal Winton Jugs: detail
Circa 1930s, graduated set of three, “chintz”, Royal Winton Jugs in Cambridge shape and Sunshine pattern.
Set of Three Royal Winton Jugs
Circa 1930s, graduated set of three, “chintz”, Royal Winton Jugs in Cambridge shape and Sunshine pattern.
Royal Worcester Part Dessert Service Tazza 4
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Tazza 3
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Tazza 2
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Tazza 1
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Tazza: profile
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Plate 3
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Plate 2
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Plate 1
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service Plate 4
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service: backstamp detail
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service: border detail
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Part Dessert Service
Marked in puce with the standard mark adopted in 1862 and a capital letter N underneath indicating 1878. The hand written pattern number 4496 and H appear on all pieces and the impressed crown and circle mark with large capital letters "WORCESTER" below are distinguishable on five pieces.
All pieces are hand painted and decorated – the rims with a predominantly turquoise & gilt geometric pattern and the centres with a single flower species or different flowers in a bouquet.
For sale are four low tazzas and nine dessert plates all of 9 inches (or 22.8cm) diameter. There is some wear to the gilt rims and slight discolorations as would be expected after 140 years.
Royal Worcester Hand Painted Vase by Harry Aryton
One of two vases from Royal Worcester’s famed hand painted fruit series – each a unique work of art. This one is painted by Harry Aryton and dating to the mid 1950s. Aryton worked for Royal Worcester for 50 years staring at the age of 15.
Royal Worcester Hand Painted Vase by Harry Aryton: back stamp
One of two vases from Royal Worcester’s famed hand painted fruit series – each a unique work of art. This one is painted by Harry Aryton and dating to the mid 1950s. Aryton worked for Royal Worcester for 50 years staring at the age of 15.
Royal Worcester Hand Painted Vase: Harry Aryton signature
One of two vases from Royal Worcester’s famed hand painted fruit series – each a unique work of art. This one is painted by Harry Aryton and dating to the mid 1950s. Aryton worked for Royal Worcester for 50 years staring at the age of 15.
Clarice Cliff Rhodanthe Plate
The Rhodanthe patterned plate in Biarritz shape is a design from 1934.
Clarice Cliff Wild Rose or Floreat Plate
Clarice Cliff (1899-1972) was the designer of some of the most dazzling ceramics that England produced in the Art Deco period of the 1920s and 1930s.
One of the colours she used consistently for her exuberant and bold designs was orange.
A selection from our stock of Clarice Cliff ceramics. The Wild Rose or Floreat patterned plate is a design from 1930.
Clarice Cliff Trees and House Bowl
The bowl decorated with Trees and House is a design from 1929.
Remued Jug: drip glaze
Remued Jug with applied branch handle, gum leaves and gumnuts. Hand made in the 1934 - 1940 “early series” at Premier Pottery in Preston, Melbourne, Australia. Shape number M 153, green with drip glaze colours of yellow, blue and lilac. 19.5 cm tall.
Remued Jug: branch handle
Remued Jug with applied branch handle, gum leaves and gumnuts. Hand made in the 1934 - 1940 “early series” at Premier Pottery in Preston, Melbourne, Australia. Shape number M 153, green with drip glaze colours of yellow, blue and lilac. 19.5 cm tall.
Remued Jug: backstamp
Remued Jug with applied branch handle, gum leaves and gumnuts. Hand made in the 1934 - 1940 “early series” at Premier Pottery in Preston, Melbourne, Australia. Shape number M 153, green with drip glaze colours of yellow, blue and lilac. 19.5 cm tall.
Remued Jug: applied gum nut and leaf decoration
Remued Jug with applied branch handle, gum leaves and gumnuts. Hand made in the 1934 - 1940 “early series” at Premier Pottery in Preston, Melbourne, Australia. Shape number M 153, green with drip glaze colours of yellow, blue and lilac. 19.5 cm tall.
Rose Noble 2 Tall Vases
This pink Rose Noble Vase has had a white glaze drizzled over it and is 114 mm tall. The blue vase has an applied floral medallion and is 110 mm tall.
Rose Noble Trophy and Jug
The Rose Noble double handled, 51 mm tall Trophy with applied white Portrait Medallion is another piece with a classical influence. The colours of the 75 mm tall green and crimson Jug are its feature of interest. The maker’s marks for these two pieces are shown.
Rose Noble Mottled Jug Maker's Mark
Rose Noble Group
Rose Noble Australian pottery souvenir jugs and other less common item shapes were made in Sydney in the 1950s and early 1960s by Samuel William Noble. We have recently acquired from the estate of a dedicated Rose Noble collector over 30 little souvenir jugs and 9 of the other much less common items.
Rose Noble Crimson Trophy Maker's Mark
Rose Noble Crimson Pitcher and Fish
The Rose Noble crimson, 119 mm tall, Pitcher is a classical shape and is decorated with classical motifs. The crimson Fish Jug is 97 mm tall in his upright position with mouth agape.
Rose Noble 2 Tut Mask Urns
These two Rose Noble, double handled Urns are both decorated with an applied Tutankhamun mask. The crimson urn is 73 mm tall and the mottled browns urn is 75 mm tall.
Carlton Ware by Wiltshaw and Robinson
A selection from our range of this stunning pottery.
Moorcroft Orchid Vase
R Fowler Ltd Bookends 2
Australia; Cavalier King Charles Spaniel, crazing & old firing faults.
R Fowler Ltd Bookends 1
Australia; Cavalier King Charles Spaniel, crazing & old firing faults.
R Fowler Ltd Bookends Backstamp
Australia; Cavalier King Charles Spaniel, crazing & old firing faults.
Carlton Ware Lovebirds Vase
Orange lustre and gilt.
Carlton Ware Lovebirds Vase Backstamp
Orange lustre and gilt.
Art Nouveau Centrepiece 1
Probably by Royal Dux, Bohemia; late 1800s / early 1900s; hard paste porcelain; unmarked.
Art Nouveau Centrepiece 2
Probably by Royal Dux, Bohemia; late 1800s / early 1900s; hard paste porcelain; unmarked.
Art Nouveau Centrepiece 3
Probably by Royal Dux, Bohemia; late 1800s / early 1900s; hard paste porcelain; unmarked.
Moorcroft Biscuit Barrel
Moorcroft, Florian Ware, Honesty pattern biscuit barrel with EPNS fittings; circa 1903; unmarked.