Catalog (334)

A 13 3/8 inch (34 cm) diameter Dutch delft blue and white charger depicting a vase with a pedestal base in the center and an elaborate chinoiserie border on the outer lip. 18th century more likely earlier than later.

Condition; major chunk out of left edge replaced but discernable by discoloration of the paint over. Losses along the edge all around the dish.

A 11 ½ inch (29 cm) diameter deep blue and white delft charger depicting a hanging flower basket with an elaborate border of plants, flowers and radio wave blossoms. 18th century probably right around the middle.

Condition: Some wear in the center and numerous small losses around the edges.

Two albumen photographs, mounted on opposite sides of a single sheet taken from an album. One photograph is of a mixed group of cricket players, ladies and a dog posing under some trees. Many of the men with their bats. It is titled in ink underneath “Keevil/1881.” Image is approx. 6 1/8 x 8 ¼ inches. The second photo is of a long line of archers and spectators in front of targets, with trees behind and a few men standing forward with their bows. Many of the people in the line including ...

A Japanese woodblock three-part print showing a festival by a river or lake with boats, people in the water, a review stand (?) and numerous people, some with banners. The signature is for Hiroshige III and the censor’s seals for 1855. The paper is laid. Each sheet is approx. 14 5/8 x 9 7/8 inches (35.5 x 25 cm).

Condition: good with one crease to the lower left corner of the middle sheet and bends from being corner mounted with photo corners. Otherwise clean and crisp. Good bleed through...

Japanese woodblock print of the Yasaka pagoda in Kyoto by Toshijiro Inagaki (1902-1963) depicting, almost exclusively in shades of blue, the pagoda and surrounding houses with water and hills in the distance. The blue is relieved by a few touches of red and yellow. The artist’s seal is in the lower left corner. This design is from the 1950’s but it is not numbered so may be from a later edition. Sheet 7 ½ x 10 1/8 inches (19 x 25.5 cm), image 6 x 8 3/8 inches (15.3 x 21.5 cm).

Condition...

Japanese woodblock print by Kunitero Utagawa (1808-1876) in three sheets, depicting the war council of the forty seven ronin. These ronin, the loyal retainers, had been Samurai in the service of Lord Asano when he was obligated to commit seppuku for drawing his sword at the Palace of the Shogun. He was provoked to drawing by many insults from Kira Yoshinaka. At their Lord’s death the samurai became ronin and swore revenge on Kira Yoshinaka which they carried out a year later and then many of t...

American decorated heavy porcelain ice-water pitcher. The porcelain in probably American, though it might be French. This form, with a bridge near the spout for holding back ice cubes, is also known as a “sweetheart pitcher,” because of the vaguely heart-shaped wreath on either side. On this pitcher, outside the “hearts” is a solid magenta ground, inside the hearts on either side in gilt Gothic letters is written, “Crescent Valley/House.” It is 9 3/8 inches (24 cm) tall. This form w...

Large and well decorated porcelain pitcher with a group of flowers on one side and on the opposite side inside a gilt cartouche “L. Cummings.” in Gothic letters. The country of origin may be either France, in which case it was probably brought here blank and then decorated here or possibly it was made by an American manufacturer. The hard paste porcelain is unlikely to have been made in England, though they did on occasion import French blanks. Anyway, nice decoration from about 1870. 9 inch...

A large heavy porcelain ice-water pitcher made in either America or France but decorated in America, probably by E.V. Haughwout, a major New York City retailer of porcelain, glassware and silverware. This form, with a bridge near the spout for holding back ice cubes, is also known as a “sweetheart pitcher,” because of the vaguely heart-shaped wreath on either side. In that wreath on this pitcher is painted a view of the Green river in Wyoming and on the other side in gilt the name, “Mathew...

A set of tiles with a letter of the alphabet on each tile; one side with the small letter and the other side with it in capitals. Interestingly the small “s” is in the form of a small “f”, known as a “long s.” Its use was archaic by the early 19th century and since these types of tiles are thought to be used to teach spelling it seems likely that they would date from no later than the early 19th century. The box in which they came is later, though the map of the Azores which is used...

Two pairs of plates with underglaze blue transfer decoration of a woman holding a tray of cakes with a child pulling at her dress and an oriental jardinière to one side surrounded with an elaborate floral swagged border. The smaller are more like shallow bowls than like plates. These two are porcelain and both marked with Hilditch and Sons mark for the period 1822-1830. The larger plates have overglaze lustre highlights and are not porcelain. I suspect that they are slightly later very close im...

A pair of tall Sheffield plate candlesticks with conforming bobeche. On round bases with lines alternating with elongated ovals up the base, column and socket. This style was current around 1800. The wear or “bleed” where the copper shows is on the high places. They are 12 inches (30.5 cm) tall and 5 ½ inches (14 cm) diameter at the base. No marks. Probably English.

Condition: no breaks or repairs. As with most old and real Sheffield plate polishing has taken the silver off of the high ...

A William Ridgway “Oriental” green transfer printed platter with a vaguely Middle Eastern fantasy scene in the well surrounded by a border of alternating floral bouquets and Middle Eastern buildings against a sprigged green ground. On the back the Ridgway mark of an urn and beehive over the subject name, “ORIENTAL.” and the initials, “WR.” printed in green. The initials for William Ridgway were used from 1830 to 1834. The platter is 14 ¾ inches (37.5 cm) long and 12 inches (30.5 cm)...

A set of four blind molded dinner plates 8 7/8 inches (22.5 cm) diameter with charming overglaze hand painted floral decoration and gilt rims. Though unmarked, this molded lip is unique to Coalport and dates to around 1820. The arrangement of the floral bouquets on the plate was a popular one, starting in the 18th century.

Condition: All with some wear to the gilding and with black spots and small lines from the ash in the kiln. One with a burst spot and the same plate with an internal spi...

A pair of porcelain dinner plates with molded basketweave edge and swirl ribbing with the lines extending into the well. Decorated with hand painted overglaze flowers and a gilt edge. The style closely resembles Meissen, but these are unmarked. The four ribs in four groups of four is identical with a plate pictured in Godden's book on Coalport that he dates from c. 1805 to 1810. 10 inches (23.5 cm) diameter. Unmarked.

Condition: No hairlines or repairs. Small amount of stacking wear to bo...

A blue transfer printed “Stone China” or ironstone dinner plate by John and William Ridgway, marked on the back with the pattern and ‘J. W. R.” 10 ¼ inches (26 cm) diameter. Gadroon edge and good clear printing in dark blue. Circa 1820.

Condition: No cracks or hairlines. Two chips to the foot ring and a minute flake to the glaze on the rim and one at the edge of the well. Very minor knife scratches.

An oil on mahogany panel of a Claudian landscape with trees to the far left above figures approaching a river, while figures on the opposite side stand beneath a rise in the landscape with mountains in the distance under a cloudy sky. The composition and manner suggest a late painting by the Scottish Alexander Nasmyth (1758-1840) or possibly his eldest son Patrick Nasmyth (1787-1831), though the brush strokes are looser than usual for either. 8 11/16 x10 ¾ with margin, 7 1/8 x 10 1/8 w/out. Fra...

An albumen photograph of Lake Como and the town of Como by Giacomo Brogi (1822-1881). He was a successful photographer with shops in Florence, Rome and Naples. The business was continued by his son Carlo Brogi (1850-1925) who according to Wikimedia is responsible for photographs in the series with numbers above 8000. As this one is 9005a, it is probably Carlo’s rather than his father’s. Titled in the lower margin, “9005a. COMO – Panorame della Citta col Colfo” and in the far right, “...