Clarice Cliff’s 1935 “Forest Glen” design on an octagonal bowl.

Clarice Cliff’s 1929 “Original Bizarre” design on a small bowl.

Wade Ceramics England art deco figurine of Pavlova designed in the 1930s by Jessie Van Hallen(1902-1983). In her career Van Hallen successfully designed for many companies other than Wade including Moorcroft, Coalport, Kent and Disney. To undercut the prices of Royal Doulton figurines, the Wade management made similar figurines for half the price. However the Wade items were made of Earthenware not Porcelain and finished with a cellulose spray not a glaze and after 2 or 3 years they faded, turned a garish yellow and started to peel.This example shows some fading and has discoloured to the garish yellow but there is very little peeling considering its age. Height circa 23 cm.

Wade Ceramics England art deco figurine of Pavlova designed in the 1930s by Jessie Van Hallen(1902-1983). In her career Van Hallen successfully designed for many companies other than Wade including Moorcroft, Coalport, Kent and Disney. To undercut the prices of Royal Doulton figurines, the Wade management made similar figurines for half the price. However the Wade items were made of Earthenware not Porcelain and finished with a cellulose spray not a glaze and after 2 or 3 years they faded, turned a garish yellow and started to peel.This example shows some fading and has discoloured to the garish yellow but there is very little peeling considering its age. Height circa 23 cm.

A 1909, Royal Worcester double handled, blush ware, floral decorated miniature urn, 2 inches tall.

An 1894-95, Royal Worcester cabinet cup and saucer with floral decoration and gilded, pierced, rococo borders.

A 1955, Royal Worcester vase and cover with mask-head handles and Highland Cattle decoration hand painted by Harry Stinton.

A 1912, Royal Worcester Lidded Vase with hand painted fruit decoration by Frank Roberts.

Circa 1930s, graduated set of three, “chintz”, Royal Winton Jugs in Cambridge shape and Sunshine pattern.

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.

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.

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.

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.

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.

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.

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.

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.

Copeland, Stoke on Trent, Staffordshire, large Parian Ware group of “Burns and Highland Mary” Impressed Copeland to base indicating post 1847 production. “Parian” is the name used for a form of porcelain developed in England in the early 1840s and used extensively throughout the second half of the nineteenth century. The porcelain has a resemblance to marble and was most commonly undecorated allowing the attractive tone of the porcelain and the fine modelling to be appreciated.
This group, showing the Scottish poet Robert Burns with his beloved Mary Campbell, is modelled from a painting by Thomas Faed in Kelvingrove Art Gallery, Glasgow. It was first produced in 1851 and shown at the Dublin Exhibition in 1853. At the exhibition Queen Victoria purchased some Parian porcelain pieces including one of this group. Both Queen Victoria and Prince Albert were enthusiastic collectors of Parian wares. 49 cm tall

Copeland, Stoke on Trent, Staffordshire, large Parian Ware group of “Burns and Highland Mary” Impressed Copeland to base indicating post 1847 production. “Parian” is the name used for a form of porcelain developed in England in the early 1840s and used extensively throughout the second half of the nineteenth century. The porcelain has a resemblance to marble and was most commonly undecorated allowing the attractive tone of the porcelain and the fine modelling to be appreciated.
This group, showing the Scottish poet Robert Burns with his beloved Mary Campbell, is modelled from a painting by Thomas Faed in Kelvingrove Art Gallery, Glasgow. It was first produced in 1851 and shown at the Dublin Exhibition in 1853. At the exhibition Queen Victoria purchased some Parian porcelain pieces including one of this group. Both Queen Victoria and Prince Albert were enthusiastic collectors of Parian wares. 49 cm tall

Bearing the applied tile mark for potter Ishiguru Koko working in the late Meiji / Taisho period circa 1890 / pre 1920. Ishiguro means an artist from “the floating world” as Japan was known during the EDO period.
This colourful, sculptural and three dimensional pottery, partly covered with thick runny glaze, was made for export to the West at the Sumida (river) Gawa (pottery) located where the river runs through the Asakusa district of Tokyo. It is 37 cm tall.

Bearing the applied tile mark for potter Ishiguru Koko working in the late Meiji / Taisho period circa 1890 / pre 1920. Ishiguro means an artist from “the floating world” as Japan was known during the EDO period.
This colourful, sculptural and three dimensional pottery, partly covered with thick runny glaze, was made for export to the West at the Sumida (river) Gawa (pottery) located where the river runs through the Asakusa district of Tokyo. It is 37 cm tall.

Bearing the applied tile mark for potter Ishiguru Koko working in the late Meiji / Taisho period circa 1890 / pre 1920. Ishiguro means an artist from “the floating world” as Japan was known during the EDO period.
This colourful, sculptural and three dimensional pottery, partly covered with thick runny glaze, was made for export to the West at the Sumida (river) Gawa (pottery) located where the river runs through the Asakusa district of Tokyo. It is 37 cm tall.

Bearing the applied tile mark for potter Ishiguru Koko working in the late Meiji / Taisho period circa 1890 / pre 1920. Ishiguro means an artist from “the floating world” as Japan was known during the EDO period.
This colourful, sculptural and three dimensional pottery, partly covered with thick runny glaze, was made for export to the West at the Sumida (river) Gawa (pottery) located where the river runs through the Asakusa district of Tokyo. It is 37 cm tall.

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. 

Two vases from Royal Worcester’s famed hand painted fruit series – each a unique work of art. This one is painted by Alan Telford and dating to post 1959.

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. 

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. 

Christmas 1916 and William Moorcroft’s business association with the retailer Liberty & Co. (of London) resulted in the release of a Yule-Tide gift catalogue featuring speciality items based on Moorcroft’s Powder Blue ware with the addition of hand painted Rose bouquets in white cartouche.  Marked with impressed Moorcroft, Burslem, England & 782 with green painted W Moorcroft signature.  Our item from this range is a 19 cm diameter shallow dish with an EPNS foot raising it to 9 cm. Both the above firms are still in business today  –  100 years later.

Royal Doulton Flambé Lion Seated HN223, model 59, produced circa 1912 when Noke, Slater, Bailey and Moore had recently perfected for Royal Doulton Burslem the lost Chinese art of achieving beautiful red flambé glazes.
The figure is described as “Very Rare” in the Charlton Standard Catalogue of Royal Doulton Animals and is shown only as a line drawing; 6 ½ inches or 16.5 cm high.

Royal Doulton Flambé Lion Seated HN223, model 59, produced circa 1912 when Noke, Slater, Bailey and Moore had recently perfected for Royal Doulton Burslem the lost Chinese art of achieving beautiful red flambé glazes.
The figure is described as “Very Rare” in the Charlton Standard Catalogue of Royal Doulton Animals and is shown only as a line drawing; 6 ½ inches or 16.5 cm high.

Royal Doulton Flambé Lion Seated HN223, model 59, produced circa 1912 when Noke, Slater, Bailey and Moore had recently perfected for Royal Doulton Burslem the lost Chinese art of achieving beautiful red flambé glazes.
The figure is described as “Very Rare” in the Charlton Standard Catalogue of Royal Doulton Animals and is shown only as a line drawing; 6 ½ inches or 16.5 cm high.

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 (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 bowl decorated with Trees and House is a design from 1929.

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 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 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.

A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.

A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.

A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.

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.

The smaller of these two Rose Noble Jugs is the familiar Souvenir jug and this 60 mm example is decorated with an applied Wild Duck in flight. The much larger at 130 mm tall, less common jug has the familiar Blue Bird in flight applied to it. The maker’s marks for these two jugs are shown.

The smaller of these two Rose Noble Jugs is the familiar Souvenir jug and this 60 mm example is decorated with an applied Wild Duck in flight. The much larger at 130 mm tall, less common jug has the familiar Blue Bird in flight applied to it. The maker’s marks for these two jugs are shown.

The smaller of these two Rose Noble Jugs is the familiar Souvenir jug and this 60 mm example is decorated with an applied Wild Duck in flight. The much larger at 130 mm tall, less common jug has the familiar Blue Bird in flight applied to it. The maker’s marks for these two jugs are shown.

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.

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.

A selection from our range of this stunning pottery.

A selection of Moorcroft vases recently arrived and now for sale at Collectorium on Newcastle.

A selection of Moorcroft vases recently arrived and now for sale at Collectorium on Newcastle.

Art Deco vases by Beswick Ceramics, England. Genuine vases of the period showing some of the amazing variety of designs created during this period and made into ceramics by this company.

Scarce blue; minor nibbles. 

Scarce blue; minor nibbles. 

Probably by Royal Dux, Bohemia; late 1800s / early 1900s; hard paste porcelain; unmarked.

Probably by Royal Dux, Bohemia; late 1800s / early 1900s; hard paste porcelain; unmarked.

Orange lustre and gilt.

Orange lustre and gilt.

Australia; Cavalier King Charles Spaniel, crazing & old firing faults.

Moorcroft, Florian Ware, Honesty pattern biscuit barrel with EPNS fittings; circa 1903; unmarked. 

Mid C20th, Australian pottery mug incised A M B to the base, Arthur Merric Boyd; decorated in the round with a plethora of Australian flora and fauna by Neil Douglas.

Mid C20th, Australian pottery mug incised A M B to the base, Arthur Merric Boyd; decorated in the round with a plethora of Australian flora and fauna by Neil Douglas.

Mid C20th, Australian pottery mug incised A M B to the base, Arthur Merric Boyd; decorated in the round with a plethora of Australian flora and fauna by Neil Douglas.

Circa 1950, Darbyshire Pottery, Western Australia, figure of an Aboriginal man, 16 cm.