made for the Eastern market, with ikat-style decoration, printed and impressed marks to base, 36cm diameter, Iconastas, Piccadilly Arcade, St James's, London, W1. Literature: Victoria Z Rivers, 'Culture on a Platter: Politicization of Central Asian Ikat Patterns', 2004. A similar example can be found in the British Museum, collection number 2019,8025.1. Condition Report, Condition Report, This lot does not have a condition report, if you would like further information, please click the 'Request A Condition Report’ button below. Request A Condition Report, Request A Condition Report

A Soviet pottery charger by the Kuznetsov Porcelain Factory early

to include 'Staffordshire Porcelain' edited by Geoffery Godden, Encyclopaedia of British pottery and porcelain marks' edited by Geoffrey Godden, 'The Watney Collection of Fine Porcelain', Phillips Auctioneers, 'Worcester Porcelain' by Henry Sandon, and others (qty), Please register to request a condition report

A collection of pottery and porcelain antique reference books

A late 19th century French porcelain coffee set with stylised fuchsia design in white and gilt, marked JP France to the base, possibly Limoges, comprising lidded sucrier, 12 coffee cans and 12 saucers, teapot, Please register to request a condition report

A late 19th century French porcelain coffee set with...

A SÈVRES PORCELAIN GREEN GROUND FLOWER POT AND PIERCED STAND (VASE 'HOLLANDOIS', 3EME GRANDEUR), A TWO HANDLED TOLE LINER AND AN ORMOLU STAND 1760, THE STAND WITH BLUE INTERLACED L CYPHER MARK ENCLOSING DATE LETTER G ABOVE A DOT AND SURMOUNTED BY TRACES OF THE MARK FOR A.-V. VIELLIARD, UNDERSIDE OF UPPER SECTION AND STAND INCISED cn, THE ORMOLU BASE 19TH CENTURY The flared upper part with tapering pilasters gilt with pendant flowering branches divided by four convex lobes reserved with oval panels painted with pastoral scenes, possibly after David Teniers, the front with a young couple drinking wine outside a tavern within an elaborate gilt scroll cartouche, the sides and reverse with further scenes enclosed by gilt band cartouches, one scene with a porcelain tankard and clay pipes in a porcelain jar resting on a table, the lower part with pierced apertures, the stand of conforming section, the large central oval aperture enclosed by a gilt caillouté ornament shoulder pierced with four smaller apertures edged with green and gilt scrolls and divided by green-ground panels, the green-ground sides below reserved with oval panels painted with rustic buildings in landscapes, above a gilt caillouté border, resting on an ormolu plinth of conforming section chased with strapwork and scrolling foliage divided by four paw feet, the interior with a two-handled tole liner the vase 17.6cm high, the vase and ormolu stand 22.5cm high overall Provenance: From the Estate of the Late Major Richard Wellesley, Buckland House, near Farringdon, Oxon, and thence by descent The vase was the property of Dame Amelia Catherine Bischoffsheim, who probably acquired it from her father Henri Louis Bischoffsheim (1829-1908) during the family's tenure of Bute House, South Audley St. London. Henri Bischoffsheim was the director of the London branch of a banking house of that name. He also founded Deutsche Bank, Société Générale and Paribas and on his death left an estate valued at £1,622,332. He was related to other prominent London banking families such as Hirsch, Goldschmidts, Sterns and Rothschilds. The latter it will be noted, famously owned a fabulous collection of Sevres porcelain at both Waddesdon Manor and Mentmore Towers. Amelia Bischoffsheim married Sir Maurice FitzGerald Bt. (1844-1916) in 1882 and in 1909 Sir Maurice acquired Buckland House, Farringdon, Oxon. On the death of Lady FitzGerald in 1947, the estate was left to her grandson, Major Richard Wellesley and the vase has remained with the family ever since. During the FitzGerald's time at Buckland, the house had many illustrious visitors including Winston Churchill and Queen Mary, and she stored works of art in the basements there during the war. As the family have other pieces associated with Queen Mary it is not inconceivable, though remote, that the vase came from that direction. Vases 'hollandois' were designed to grow living plants or bulbs in soil. The stand was filled with water which could permeate through to the soil in the flared upper part via the small pierced holes in the base of the upper part. When real flowers were out of season, this type of vase was also used for displaying porcelain flowers mounted on realistically-painted metal stems.1 By 1756 the factory records referred to these vases as 'hollandois', a name possibly derived from Dutch tin-glazed earthenware flower-vases. A small number have metal liners, as is the case here with present lot (Dame Rosalind Savill has suggested that these are probably later).2 Vases 'hollandois' were introduced at Sèvres in three sizes in 1754, although production of the third size appears to have been delayed until 1758. Vases 'hollandois' of the first and second sizes were sold in greater numbers than the third size, which are rarer. The present vase cannot be identified with certainty in the Sèvres Sales Registers of 1760 or shortly after. In 1762 a pair of the third size with green grounds were sold for 168 livres cash. The present vase may perhaps be one of these vases, but the decoration is not specified, and nor is the buyer. André-Vincent Vielliard (père) was a long-serving painter who started at Vincennes in 1752, moved with the manufactory when it relocated to Sèvres and continued working there until 1790. A slightly earlier vase 'hollandois' (of 1756) by Vielliard is in the Frick Collection, New York.3 A slightly later garniture of three flower-vases of different forms4 painted by Vielliard with related pastoral scenes after David Teniers was sold by Poirier to Madame du Barry in 1769, and is now in the Wallace Collection, see Dame Rosalind Savill, The Wallace Collection, Catalogue of Sèvres Porcelain, London, 1988, Vol. I, pp. 101-105. 1. Savill, ibid., London, 1988, Vol. I, p. 72. 2. Savill, ibid., p. 72. 3. See Marcelle Brunet and John Pope, Porcelains in the Frick Collection, New York, 1974, Vol. VII, pp. 209-213, where Brunet notes other objects painted by Vielliard which also have the dot below the Royal interlaced L cypher mark, as is the case on the present lot. 4. Cuvette à fleurs 'Verdun' of the second size and vase 'à compartiments' or 'Choisy', of the third size. Please note, the first paragraph of this footnote has been updated and differs from the printed catalogue. Condition Report: An X-ray Fluorescence analysis was carried out by Cranfield University in November 2025 at Dreweatts. This indicates that the composition of the enamel decoration is consistent with 18th century practises. Condition report: Overall, the condition of this fine vase 'hollandois' is very good, with only small faults listed in detail below: Upper section: The principal faults, which are minor, and date from the time this vase was made, are the two firing faults to flat tapering pilasters on the reverse, and the very small black speckles / sanding in places, principally to this side, which also date from the time of firing. Vielliard must have considered these minor enough given that he painted the reverse with a scene (some vases 'hollandois' are blank on the reverse). There are some minute areas of wear to the interior due to use (these are extremely minor) and there is a very slight scratch to the enamels of the wheel-barrow in one of the scenes (which is also very minor). Lower section / stand: There are some areas of slight wear to the gilt caillouté decoration around the central aperture. There is a minute (approximately 1mm x 1mm) rim chip to the edge of the central aperture, and there is some slight chipping to the lower edge / footrim of the stand. In addition, there are some minute areas of mis-firing to the gilding - this is so small and minor that it is only visible under scrutiny. Condition Report Disclaimer, A SÈVRES PORCELAIN GREEN GROUND FLOWER POT AND PIERCED STAND (VASE 'HOLLANDOIS', 3EME GRANDEUR), A TWO HANDLED TOLE LINER AND AN ORMOLU STAND, A SÈVRES PORCELAIN GREEN GROUND FLOWER POT AND PIERCED STAND (VASE 'HOLLANDOIS', 3EME GRANDEUR), A TWO HANDLED TOLE LINER AND AN ORMOLU STAND 1760, THE STAND WITH BLUE INTERLACED L CYPHER MARK ENCLOSING DATE LETTER G ABOVE A DOT AND SURMOUNTED BY TRACES OF THE MARK FOR A.-V. VIELLIARD, UNDERSIDE OF UPPER SECTION AND STAND INCISED cn, THE ORMOLU BASE 19TH CENTURY The flared upper part with tapering pilasters gilt with pendant flowering branches divided by four convex lobes reserved with oval panels painted with pastoral scenes, possibly after David Teniers, the front with a young couple drinking wine outside a tavern within an elaborate gilt scroll cartouche, the sides and reverse with further scenes enclosed by gilt band cartouches, one scene with a porcelain tankard and clay pipes in a porcelain jar resting on a table, the lower part with pierced apertures, the stand of conforming section, the large central oval aperture enclosed by a gilt caillouté ornament shoulder pierced with four smaller apertures edged with green and gilt scrolls and divided by green-ground panels, the green-ground sides below reserved with oval panels painted with rustic buildings in landscapes, above a gilt caillouté border, resting on an ormolu plinth of conforming section chased with strapwork and scrolling foliage divided by four paw feet, the interior with a two-handled tole liner the vase 17.6cm high, the vase and ormolu stand 22.5cm high overall Provenance: From the Estate of the Late Major Richard Wellesley, Buckland House, near Farringdon, Oxon, and thence by descent, Provenance:, The vase was the property of Dame Amelia Catherine Bischoffsheim, who probably acquired it from her father Henri Louis Bischoffsheim (1829-1908) during the family's tenure of Bute House, South Audley St. London. Henri Bischoffsheim was the director of the London branch of a banking house of that name. He also founded Deutsche Bank, Société Générale and Paribas and on his death left an estate valued at £1,622,332. He was related to other prominent London banking families such as Hirsch, Goldschmidts, Sterns and Rothschilds. The latter it will be noted, famously owned a fabulous collection of Sevres porcelain at both Waddesdon Manor and Mentmore Towers. Amelia Bischoffsheim married Sir Maurice FitzGerald Bt. (1844-1916) in 1882 and in 1909 Sir Maurice acquired Buckland House, Farringdon, Oxon. On the death of Lady FitzGerald in 1947, the estate was left to her grandson, Major Richard Wellesley and the vase has remained with the family ever since. During the FitzGerald's time at Buckland, the house had many illustrious visitors including Winston Churchill and Queen Mary, and she stored works of art in the basements there during the war. As the family have other pieces associated with Queen Mary it is not inconceivable, though remote, that the vase came from that direction. Vases 'hollandois' were designed to grow living plants or bulbs in soil. The stand was filled with water which could permeate through to the soil in the flared upper part via the small pierced holes in the base of the upper part. When real flowers were out of season, this type of vase was also used for displaying porcelain flowers mounted on realistically-painted metal stems.1 By 1756 the factory records referred to these vases as 'hollandois', a name possibly derived from Dutch tin-glazed earthenware flower-vases. A small number have metal liners, as is the case here with present lot (Dame Rosalind Savill has suggested that these are probably later).2, Vases 'hollandois' were introduced at Sèvres in three sizes in 1754, although production of the third size appears to have been delayed until 1758. Vases 'hollandois' of the first and second sizes were sold in greater numbers than the third size, which are rarer. The present vase cannot be identified with certainty in the Sèvres Sales Registers of 1760 or shortly after. In 1762 a pair of the third size with green grounds were sold for 168 livres cash. The present vase may perhaps be one of these vases, but the decoration is not specified, and nor is the buyer. André-Vincent Vielliard (père) was a long-serving painter who started at Vincennes in 1752, moved with the manufactory when it relocated to Sèvres and continued working there until 1790. A slightly earlier vase 'hollandois' (of 1756) by Vielliard is in the Frick Collection, New York.3 A slightly later garniture of three flower-vases of different forms4 painted by Vielliard with related pastoral scenes after David Teniers was sold by Poirier to Madame du Barry in 1769, and is now in the Wallace Collection, see Dame Rosalind Savill, The Wallace Collection, Catalogue of Sèvres Porcelain, London, 1988, Vol. I, pp. 101-105. 1. Savill, ibid., London, 1988, Vol. I, p. 72. 2. Savill, ibid., p. 72. 3. See Marcelle Brunet and John Pope, Porcelains in the Frick Collection, New York, 1974, Vol. VII, pp. 209-213, where Brunet notes other objects painted by Vielliard which also have the dot below the Royal interlaced L cypher mark, as is the case on the present lot. 4. Cuvette à fleurs 'Verdun' of the second size and vase 'à compartiments' or 'Choisy', of the third size. Please note, the first paragraph of this footnote has been updated and differs from the printed catalogue. Condition Report: An X-ray Fluorescence analysis was carried out by Cranfield University in November 2025 at Dreweatts. This indicates that the composition of the enamel decoration is consistent with 18th century practises. Condition Report:, An X-ray Fluorescence analysis was carried out by Cranfield University in November 2025 at Dreweatts. This indicates that the composition of the enamel decoration is consistent with 18th century practises. Condition report:, Overall, the condition of this fine vase 'hollandois' is very good, with only small faults listed in detail below:, Upper section:, The principal faults, which are minor, and date from the time this vase was made, are the two firing faults to flat tapering pilasters on the reverse, and the very, small black speckles / sanding in places, principally to this side, which also date from the time of firing. Vielliard must have considered these minor enough given that he painted the reverse with a scene (some vases 'hollandois' are blank on the reverse). There are some minute areas of wear to the interior due to use (these are extremely minor) and there is a very slight scratch to the enamels of the wheel-barrow in one of the scenes (which is also very minor). Lower section / stand:, There are some areas of slight wear to the gilt caillouté decoration around the central aperture. There is a minute (approximately 1mm x 1mm) rim chip to the edge of the central aperture, and there is some slight chipping to the lower edge / footrim of the stand. In addition, there are some minute areas of mis-firing to the gilding - this is so small and minor that it is only visible under scrutiny. Condition Report Disclaimer

A RARE SÈVRES PORCELAIN GREEN GROUND FLOWER POT & PIERCED STAND, 1760

Porcelain. 22 dinner plates, diameter approx. 25 cm. 24 starter plates, diameter approx. 21.5 cm. 18 deep plates, approx. 21.5 cm. 2 candlesticks, height approx. 13.5 cm. 12 coffee cups with saucers, cup height approx. 6.5 cm, saucer diameter approx. 14 cm. 1 gravy boat, length approx. 23 cm. 1 sugar bowl, height approx. 10.5 cm. 2 deep serving dishes, diameter approx. 23 cm. 5 octagonal serving dishes, length 26-39 cm. 1 tureen with lid, length approx. 31 cm.

Rosenthal, an 88-piece 'Classic Rose' dinner and coffee service, Germany.

Porcelain with hand-painted, polychrome floral decoration. Model 1542/1644. Height of the cup with lid 8 cm. Saucer 10.5 x 10.5 cm.

Royal Copenhagen, twelve cream cups with saucers, 'Saxon Flower'

With handpainted floral decoration, gilded details. Height approx. 9,5 cm.

A Russian porcelain Easter egg from around the turn of the 20th Century.

Monkey orchestra. Monkeys playing various instruments. Polychrome painted. Meissen-like mark. Height 10.5-16.5 cm.

Figurines, 8 pcs, porcelain, Germany, 19th century.

Porcelain with hand-painted floral decoration in blue. 6 deep plates (175), diameter 25 cm 2 bouillon cups with lids (2199) Tureen (2144), length 32 cm.

Royal Copenhagen, service pieces, 9 pcs, "Musselmalet half lace", Denmark.

Porcelain with hand-painted floral decoration in underglaze blue. 1 bowl 1018, diameter 21 cm. 1 bowl 1020, diameter 21 cm. 17 cups 1035, diameter 7 cm, on saucers, diameter 14 cm. 16 plates 1087, 17.5 cm. 1 sugar bowl 1112, height 8 cm. 1 creamer 1031, height 8 cm.

Royal Copenhagen, a 37-piece coffee service, 'Blue Fluted Full Lace', Denmark.

Consisting of; 1 coffee pot model no. 1202, 1 sugar bowl model no. 1113, 1 cream jug model no. 1032, 1 cigarette holder model no. 1016, 1 ashtray model no. 1004, 1 footed bowl model no. 1023, 6 cups with saucers model no. 1035, 6 plates model no. 1087,

Service 18 pcs "Blue Fluted" Royal Copenhagen Denmark porcelain.

A LATE 19TH CENTURY PORCELAIN TUREEN AND COVER A twin handled lidded bowl of lobed form, decorated with hand painted floral cartouches against a cobalt blue ground, richly embellished with gilded grape vine overlays and heavy gilt banding to the pedestal foot and finial, marked to underside with iron red pattern number, Circa 1880 - 1900. Condition: repair to lid

A LATE 19TH CENTURY PORCELAIN TUREEN AND COVER A twin handle...

Late 19th century, Haviland and Morel stamped on bottom, large decorative wall plates, each painted with charming French country farm scenes with figures, gilt rims, 13 1/2 in. Sq.

Two Limoges Porcelain Plates

2nd quarter 19th century, English possibly Coalport, with green and gilt painted and pierced borders, raised on base, 2 1/2 in. H., 11 in. L., 8 1/2 in. W.

A Pair of Rococo Style Porcelain Dessert Servers

A rare and charming baluster shaped and ribbed Meissen pounce pot. Delicately decorated with flowers and incised decoration. Late 18th century. The pounce pot also known as a sander, functions in a very similar manner to a salt shaker, and would have been filled with a finely ground powder (pumice, gum-sandarac rosin, or the crushed bones of cuttlefish) occurs in Chinese porcelain from the end of the 18th century, probably modeled on a tin or silver shape. The Pounce Pots perforated top allows fine powders to be gently shaken over a writing surface. It could be fashioned from a variety of materials besides porcelain including pewter, silver, brass, bronze, wood, or bone. The first known technique for this tool was to shake a small amount of the substance over clean paper or parchment that could exhibit a residual greasiness, and gently buff the particles so as to soften and brighten the surface. By doing so, the paper would become smoother and would make the scripted text less susceptible to bleeding in the fibrous texture. The second technique, employed around the late 18th century, utilized the pounce dispersed from the pounce pot/sander to lightly sprinkle the fine powder over freshly scripted text. For this method, the pounce could also be made from fine sand or a powdered mineral, such as sandstone or talc (by then, sandarac-resin had fallen out of fashion). The pounce would absorb any excess ink from the paper's surface, expediting drying time on the newly-introduced coated paper. This was a precursor to blotting paper. Although scribes would ideally want to let the ink dry on its own, this took time. Pounce accelerated the time it took for wet script to dry so the reverse side could be worked on more quickly or as the case might be, the book or ledger could be closed shut. Condition Minor small chips to the rim and foot. Condition, Condition Minor small chips to the rim and foot

18th century Meissen Porcelain Pounce Pot

Media: Porcelai Size: Height 29 cm Price: £600