Posts Tagged ‘teapots’

Dishes
Pair of George III oval meat dishes by Frederick Kandler, London, 1765, 73 oz 2 dwt Pair of Victorian octagonal entree dishes and covers with
vegetable dividers for each and ball finials, Sheffield, 1880,
120 oz 14 dwt 450 0
George III circular vegetable dish with ivory grips, pierced sides and four scroll and foliate feet, by W.S., London, 1809, 80 oz 2 dwt 360 0
William IV shaped oblong entree dish and cover with engraved armorials and foliate ring handle, by J. C. Eddington, London, 1835, 61 oz 5 dwt 260 0
George III muffin dish and cover, the domed cover with urn
shaped finial, by Henry Chawner, London, 1791, 15 oz 1 dwt        210 0
Jugs—Cream and Milk
George III helmet-shaped cream jug with ‘bright-cut’ engraving, loop handle and square pedestal foot, by George Smith, London, 1790, 3 oz 7 dwt 80 0
George II cream jug of conch shell type with serpent handle and
three coral-like supports. Circa 1755, 3 oz 5 dwt 80 0
George III oblong milk jug engraved with crests and with gadroon lip and scroll handle, by R. and S. Hennell, London, 1808, 6 oz 2 dwt 70 0
Victorian baluster milk jug chased with flowers and scrolls and on three feet. Possibly by William Brawn, London, 1845, 5 oz 7 dwt 52 0
Jugs—Water
George III pear-shaped hot-water jug, stand and lamp, the jug with rams’ masks and laurel festoons, the stand on three claw feet with female bust terminals, by Andrew Fogelberg. The jug 1776, the stand 1775, 40 oz

780 0
George III vase-shaped hot-water jug, plain with wood handle and on circular foot, by William Fountain, London, 1801, 25 oz 11 dwt 460 0
George II baluster hot-water jug chased with scrolls, leaves and flowers, raffia-covered handle and rim foot, by Gurney and Cook, London, 1755, 19 oz 15 dwt 270 0
Jugs—Wine and Ale
Queen Anne ale jug, die ground embossed with foliage and flowers and a satyr spout, by John Wisdom, London, 1712, 35 oz 280 0
Victorian wine ewer with baluster body and engraved with Grecian figures and leaves, entwined snake handle and butterfly finial, by E. and J. Barnard, London, 1862, 27 oz 11 dwt        170 0
Marrow Scoops
Queen Anne scoop of typical form by Charles Jackson, 1713,
1 oz 10 dwt 68 0
Early George III scoop, the larger bowl engraved with initials,
probably by William Tuite, London, 1767, 1 oz 12 dwt 20 0
Mustard Pots
George III drum mustard with moulded borders, flat hinged lid and simple scroll handle, with spoon of earlier date. Pot by Ernes and Barnard, London, 1813, 5 oz 10 dwt 165 0
some auction room prices : 1968-69
William IV mustard with ribbed baluster body and hinged domed lid with floral finial, scroll handle and shell thumbpiece and spoon of same date but different maker. Pot by C.G., London, 1830, 6 oz 17 dwt
George III oblong mustard with domed cover, urn finial and angular handle on four bun feet, London, 1813, 3 oz 11 dwt
Salts
Four George I plain oval trencher salts with incurved sides, by
Mary Rood, 1723, 6 oz 15 dwt Pair of George III boat-shaped salts, reeded at the lips and
pedestal feet, gilt interiors, by Peter and Ann Bateman, 1792,
4 oz 6 dwt
Pair of George II compressed circular salts, with plain engraved bodies below gadroon lips each on three shell-headed hoof supports, possibly by Isaac Cookson, Newcastle, 1747, 8 oz 1 dwt
Salvers
George II large circular salver on four lions’ mask and shell bracket feet, the shaped border pierced and chased, by George Wickes, 1744, 137 oz
George I plain circular salver on central foot with moulded border, by W.P., 1720, 13 oz 12 dwt
George III circular salver, engraved with initials, chased wave border and gadroon rim, on three claw and ball feet, by Robert Rcw or Rugg, 1766, 24 oz 3 dwt
Victorian salver engraved in the centre with an initial and also with scrolls and foliage, moulded border, by J. and J. Angell, London, 1845, 25 oz 14 dwt
Sauceboats
Pair of George II plain sauceboats each on three shell and scroll feet with gadrooned rims and double scroll handles, by Peter Archambo and Peter Meure, 1754, 29 oz
George II two-handled plain double-lipped sauceboat on collet foot, with double scroll handles and waved rim, with a moulded drop beneath the spout, by Peter Archambo, 1732, 17 oz 5 dwt
Pair of George III sauceboats, each on fluted shaped lozenge foot, with gadrooned borders and double scroll handles, by William Sampcl, 1766, 25 oz
Snuff Boxes—See Small Decorative Antiques Sugar Basins—See Baskets—Sugar Tapersticks—See Candlesticks Tankards
William and Mary tankard on three lion couchant feet, scroll handle, cylindrical body and moulded base, by Robert Cooper, 1692, 31 oz
George II baluster tankard with domed cover, openwork thumb-piece and double-scroll handle, on moulded spreading foot, by William Grundy, 1755, 34 oz 5 dwt 650 0
George III baluster tankard, with domed moulded cover and heart-shaped lower terminal to the scrolling handle, by William Caldecott or Gripps, 1765, 27 oz 15 dwt 570 0
Tea Caddies
George III oval caddy, the body with two bands of bright-cut engraving in beaded borders and the plain hinged lid with urn finial, by Hester Bateman, 1781, 14 oz 10 dwt 900 0
George III shaped oval caddy, the body fluted at intervals, decorated with bright-cut engraving, hinged domed cover with wood finial, by Robert Hennell, 1787, 14 oz 17 dwt 480 0
Teapots and Stands
George II bullet teapot with engraved shoulder decoration of satyr masks, leaves and flowers, straight spout, loose lid, ivory handle and finial, by Isaac Liger, 1729, 15 oz 1 dwt 2,100 0
George III teapot stand on four fluted panel supports, by Hester
Bateman, 1789, 4 oz 15 dwt 280 0
George III oval teapot with moulded girdles and a matching stand, supported on four feet, by Crespin Fuller, London, 1800, 16 oz 15 dwt 270 0
George III oval, semi-lobed teapot, with swan-neck spout, ivory handle and finial, by P. A. and W. Bateman, 1799, 17 oz 3 dwt 170 0
George IV teapot, compressed circular body, ivory handle and
finial, curved spout, by Eley and Fearn, 1823, 25 oz 16 dwt        150 0
William IV compressed circular teapot with moulded girdle, wood finial and similar wood handle, by E. E. J. and W. Barnard, 1830, 14 oz 2 dwt 135 0
Early Victorian bullet-shaped teapot with engraved body, Edinburgh, 1840, 24 oz 82 0
George III oval teapot stand, gadroon border on four panel
supports, but George Fenwick, Edinburgh, 1806, 5 oz 14 dwt 80 0
William IV small melon-shaped teapot, with slightly domed cover and ivory finial, scroll handle and curved spout, London, 1833, 13 oz 18 dwt 60 0
Tea and Coffee Services
Victorian tea and coffee service of compressed circular form, decorated with embossed flowers and foliate handles and on scrolled feet with shell motifs, by Rawlins and Sumner, London, 1838, 72 oz 600 0
George IV three-piece melon-shaped tea service with scroll handles and shell decorated panel supports, by E. E. J. and W. Barnard, London, 1829, 44 oz 7 dwt 500 0
George III circular three-piece tea service with curved lobes, gadroon rims and leaf decorated handles, on paw supports, the pot with rose finial, by John Angell, 1819, 41 oz 6 dwt 380 0
Victorian three-piece tea service of compressed circular form,
the plain ground richly chased, by I. J. Keith, London, 1840, 48 oz
Vinaigrettes—See Small Decorative Antiques Waiters
Pair of George III plain oval waiters each on four shell and beaded bracket feet, beaded rims, by John Scofield, London, 1777, 27 oz
George II plain shaped square waiter on four hoof feet, moulded border, by Thomas Farren, London, 1734, 6 oz 17 dwt
Early George II square waiter with raised border incurved at the angles, 1727, 3 oz 18 dwt
SHEFFIELD PLATE Candelabra and Candlesticks
Pair of candelabra, each for three lights, with reeded scrolling arms, gadroon bordered knops, detachable nozzles and circular bases, 17i in high to centres
Pair of three-light candelabra, the tapering vase stems, circular bases and campana-shaped sconces decorated with chased borders, each fitted with two detachable scrolling branches, one converting to form a

five-light and bearing flame finial, 20 in high
Pair of table candlesticks with V-shaped stems, gadroon shoulders, circular bases and detachable nozzles, llj in high
Pair of table candlesticks with circular bases, vase-shaped stems and gadroon borders, detachable nozzles, 11 in high
Coffee Pots
Vase-shaped coffee pot on pedestal foot with reeded borders, ball finial and wood handle, 13 in high
An oval coffee pot on pedestal base, with reeded shoulder, gadroon borders and angular wood handle, 9] in high
Urn-shaped coffee pot, body semi-lobed between ribbed panels, on pedestal base, ball finial and wood handle, 27 in high
Coasters—Wine
Four circular wine coasters with lobed sides below gadroon lips, the wood bases centred by crested bosses, 5J in diameter
Pair of circular coasters with beaded and ovolo rims, wood bases, 6 in diameter
Caddies—Tea
Two caddies of bombd form embossed with shell motifs Serpentined caddy with hinged lid and beaded borders
Dishes
Set of four entree dishes and covers on heater bases, oblong with scrolling foliate borders, 14 in wide over handles
Pair of entree dishes and covers with gadroon borders and
detachable foliate handles, 11 in wide 22 0
A rectangular entree dish and cover complete with liner, gadroon and leaf borders, wood end handles, on four supports, 141 in wide 20 0
Teapots
An oblong teapot, body semi-Iobed between gadrooned borders, short spout, ivory finial and angular wooden handles, 5J in high 25 0
A compressed circular teapot engraved with swirling leafage,
fruit finial and scroll handle, 5J in high 18 0
Tea and Coffee Services
Oval three-piece coffee service with vase-shaped pot, oval jug and basin decorated with bands of sprays and foliage, 10 in high the pot 160 0
Three-piece tea set with compressed circular bodies, fluted,
foliate collars, scroll handles and foliate panel supports 38 0
Tea Trays
Oblong two-handled tray, engraved with armorials within a chased surround of scrolls and floral sprays, gadroon border, 30 in wide 220 0
An oblong tray, gadroon bordered and reeded end handles
springing from chased foliage, 28 in wide 95 0
Tea Urns
An inverted compressed pear-shaped urn, the body engraved
with a crest, foliate handles and flower finial, 16 in high 75 0
An oviform urn with an applied plain shield, the cover with vase finial, reeded loop handles, on square base with ball feet, 221 in high 45 0
Tureens
Large shaped oval sauce tureen on four feet below heavily
chased floral motifs, detachable liner, 16J in wide 230 0
Pair of oval sauce tureens and domed covers with gadrooned rims, decorated with acorns and oak leaves at the handles, 8Ј in wide (end handles missing from one tureen) 120 0
Wine Coolers
Set of four coolers, the campana-shaped bodies engraved with contemporary armorials above lobing reeded handles and gadroon borders, on pedestal bases, 9i in high 520 0
Pair of coolers with campana-shaped bodies, reeded handles and
on pedestal bases, 9J in high 200 0
NON-PRECIOUS METALS
Brass
Pair of eighteenth-century andirons, with spherical finials, and
masks, 29 in high 100 0
SOME AUCTION ROOM PRICES ! 1968-69
A club fender
A Corinthian column floor standard
An embossed fire kerb
A two-handled log tub on paw feet
An alms dish with lobed centre and inscription border, the rim
with punched rosettes, 15} in diameter Pair of spirally-turned candlesticks on domed feet, 20J in high A hanging oil lamp Pair of chambersticks, with snuffers A heavy log tub with lion mask handles on paw feet Brass

and steel semi-circular fender
An oval fire insurance plate with a crest of a stag, dated 1774 Pair of carriage lamps A helmet coal-scuttle
A warming-pan with turned wood handle Pair of baluster candlesticks, 9 in high
Bronze
Figure of a racehorse and jockey after Isadore Bonhcur, I0j in
high
The Capture of Alexander by G. Halse. Two warriors hold a
struggling youth. Signed and dated 1860, 24 in high Eighteenth-century Italian figure The Dying Gladiator signed
Canova
Figure of a dancing fawn, holding up a bunch of grapes and
balanced on his left foot, 14 in high Figure of an infant satyr playing a set of pipes, 9j in high Pair of busts of Henry IV and Sully, three-quarter length, both
wearing ruffs and decorations, on rouge marble socles, 20} in
high
Pair of Art Nouveau winged figures stamped A. Moreau, 9J in
high
Pair of five-light candelabra on bulbous stems Italian figure of Venus, 7 in high
Copper
Early nineteenth-century tea urn on a square base
A street lamp
Three large saucepans (one with lid) Two coal scuttles A large kettle
Coal helmet with swing handle
Large two-handled urn and cover
A copper and brass tea urn with tap
A long turned wooden-handled warming-pan
Iron and Steel
Steel and brass basket grate with pierced frieze and baluster
uprights, 20 in wide Seventeenth-century Sussex wrought-iron fireback, 2 ft 10 in
by 1 ft 8 in and a log fork Wrought-iron shaped fire-back Regency iron and brass stick stand on paw feet
Victorian cast-iron corner stick stand 5 10
Victorian cast-iron oil heater 3 10
Pewter
A charger with secondary touch of Thomas Lanyon, circa 1730,
20 in diameter 36 0
Five quart tankards 35 0
A four-branch candelabrum, 24 in high 22 0
Eighteenth-century circular charger, 20 in diameter 22 0 Pair of altar candlesticks, baluster-shaped stems on triangular
bases, 20 in high 16 0
Pair of baluster and cup candlesticks, 18 in high 15 0
A hot-water meat dish with two handles and a grill, 22 in wide 15 0
A travelling chamber-pot, stamped Jas. Dixon 14 0
Two tankards and a mug 6 0

Worcester
Worcester was not perhaps the most obvious location for a major British porcelain manufacturer to be established because there were no local deposits of clay or coal; these had to be brought in by river. Nonetheless, it was there in 1751 that Dr John Wall and William Davis invested in a new porcelain factory.
1751-70
The new factory suffered heavy kiln losses, and in 1752 the partners bought up Benjamin Lund’s factory in Bristol and with it Lund’s secret porcelain formula that included Cornish soapstone. The use of soapstone gave Worcester porcelain increased durability, enabling its teapots to withstand hot liquids – those of most other British makers tended to crack in contact with boiling water. During the 1750s and 1760s Worcester specialized in teawares, sauceboats, pots for pate, meats and tarts, and pickle-dishes.
Early blue-and-white Worcester shows the influence of the Bristol factory, with shapes derived from British silver. Worcester’s coloured patterns were in the factory’s Unique form of chinoiserie that combined elements from China, Japan, Meissen, early Staffordshire, stoneware, and glass. This proved popular in the 1750s and is highly sought after by collectors today. By 1755 Worcester had perfected its blue-and-white wares by eliminating heavy blurring,
and was making fine tea services. Worcester can claim the credit for
the invention of printing on porcelain, and it used this technique extensively to produce overglaze black enamel and underglaze-blue printed decoration.
blue ground and also invented its famous “scale blue” (in which the underglaze blue ground was painted using a tiny fish-scale pattern) and developed other coloured grounds previously made famous by Sevres and Chelsea. The reserved panels on the coloured grounds were decorated with flowers and exotic “fancy birds”.
In the 1780s, with competition from Derby and imported French porcelain, and the influx of inexpensive Chinese wares, Worcester lost its premier position. Its recovery was slow, because the success of blueand-white printed pottery led to the decline of other, more expensive wares. In 1783 Davis, who had managed the firm since 1774, was bought out by
Thomas Flight, whose son, John
Flight, was to reverse Worcester’s ailing fortunes.
• BODY soft-paste porcelain with grey-blue cast
• GLAZE fully glazed inside the foot-rims and under the rims of lids
• FORMS teawares, sauceboats, and pickle-dishes
• DECORATION blue-and-white copies of Chinese wares; polychrome chinoiseries; overglaze black transfer-printing and underglaze-blue printing introduced
Marks
Most blue-and-white wares bear a workman’s mark, usually a simple sign of uncertain meaning
• GLAZE evenly controlled with slight yellow-green cast; under-rims of covers unglazed; to avoid glaze running down onto the kiln during firing it was wiped away from the inside of feet c.1758-83 in a technique known as “pegging”
• FORMS teawares, plates, dishes, and vases
• DECORATION blue-and-white printing, much of it for export; Chinese decoration less important; in London Giles decorated many pieces in Meissen or Sevres style
Marks
Mark used on printed wares (1758-85)
Mark used on blue-ground wares (c.1762-85)
“Pseudo-Meissen” mark used on some coloured wares in a European style (c.1760-70)
1774-92
• BODY paste declined in quality; a more straw-coloured or yellowish cast; not well controlled
• FORMS traditional styles continued to be made, but were not so well executed
• DECORATION very bright-blue printing, prone to blurring; slow transition from Rococo to Neo-classical decoration; greater French influence
Marks
Crescent mark still used in addition to this
cursive “W” printed in blue (c.1770-75)

Experimental porcelain
A great deal remains to be learned about the early years of British porcelain, although much is being revealed through research. The first attempts to produce porcelain in England can be traced back to
John Dwight ( 1635-1703), a
potter based in Fulham, London, who succeeded only in producing a fine stoneware. An itinerant chemist, Thomas Briand Id. 1747), is likely to have made some kind of porcelain in London in the early 1740s, and, although none has been identified, his experimental pieces may have contributed to the success of Chelsea from c.1744, since it is believed that it
was from him that the formula was acquired.
THE LONDON FACTORIES
During the 17th and 18th centuries Chinese porcelain found a ready market in London, and manufacturers were aware that the production of viable British substitutes would be extremely profitable. The founders of the factory at Bow on the city’s eastern outskirts received their first patent c.1744, although the works was probably not active until 1747. Joseph Wilson had established a factory at nearby Limehouse by 1746, when blue-and-white Limehouse porcelain was advertised for sale. No examples of Limehouse were identified until 1989, when archeologists discovered the site and dug up shards that had been discarded during manufacture. acture. These matched exactly a type of porcelain previously believed to have been made at the Liverpool factory of William Reid, which is now ascribed to Limehouse. Wares included shell-shaped pickle dishes, sauceboats, and teapots, with blue-and-white chinoiserie decoration. However, Limehouse porcelain clearly proved too difficult to manufacture, and the works closed in 1748.
Charles Gouyn, a jeweller and china retailer, operated a porcelain factory in St James’s from c.1749 to 1759, but to date no excavations have been possible to confirm the identity of the items produced. However, it is believed that Gouyn made the porcelain figures, scent bottles, and other miniature “toys” (small novelties) referred to as “Girl-in-a-Swing” wares (after the first such figures to be identified), now in the Victoria and Albert Museum, London, and the Museum of Fine Arts, Boston.
About 1752 Nicholas Crisp set up a small factory in Vauxhall on the south bank of the river Thames, making distinctive blue-and-white porcelain, the forms and decoration of which were influenced by Chinese export wares and British and Dutch Delftware. Vauxhall also made rare and very beautiful, brightly painted wares decorated with flowers executed in the style of
Meissen. In addition, the factory experimented with polyglaze printing – a form of overglaze printing using several colours at once – but very few of these wares survive. Vauxhall products, like those of Limehouse, were only recently identified, following the discovery of broken porcelain shards on the site of the original factory. The factory closed in 1764.
LUND’S BRISTOL
One of the proprietors of Limehouse moved to Bristol to join Benjamin Lund, and together they produced blu and-white porcelain from c.1749. Lund’s Bristol porcelain was not unlike that of Limehouse, but it was more durable owing to its secret ingredient: Cornish soapstone, a substitute for the petuntse (china clay) required to make true porcelain. At Worcester, Dr John Wall and William Davis realized the potential of soapstone and purchased Fund’s factory – together with its secret formula for porcelain – in 1752. Worcester became the most successful 18th-century British porcelain factory, and its proprietors went to great pains to protect their secret formula. However, a Worcester employee stole the formula and sold it in 1756 to Richard Chaffers, who made porcelain in Liverpool during the 1750s and I760s.
• BODY all the early factories made soft-paste porcelainGLAZE
• Vauxhall: glaze may be “peppered”
• DECORATION Vauxhall: underglaze blue may be inky, wet-looking, and rather smudged; polychrome painting and transfer-printing; designs inspired by Chinese export porcelain and Meissen; Limehouse: wares may resemble Chinese export porcelain unevenly fired
• COLLECTING early porcelain is very rare, and there is a great deal of interest especially in Vauxhall, Limehouse, and the earliest Worcester
Marks
Factory marks were very seldom used by the early porcelain manufacturers, which makes identification a challenge for new collectors; any marks that do appear must be treated with suspicion