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A magnificent example of an English Bloor Derby ornamental neo-classical urn. With extraordinary loop geometric handles and gilded body. The painted botanical border encircling the vase continuously, by the leading botanical ceramic painter of the day, William ‘Quaker’ Pegg. Restoration to lower sweep of one handle, otherwise fine condition.
A superbly carved mahogany library table, the pylon ends richly carved to the inner and outer faces with scrolled anthemions and modified Ionic capitals.
A very original Tasmanian Colonial period end of a grand sectional table, with finely turned legs, the top of one very large piece of Australian cedar, with reeding to the edge of the rail to four sides. The table would have comprised a pair of ends and central table of the same size.
A well painted miniature portrait of a happy lad, drinking a pint of ale, minus his top coat.
An important set of six Minton Aesthetic movement ‘jewelled enamel cloissonne’ dessert plates, with raised gilded geometric borders with inset enamel ‘floral jewels’, the central mons with hand painted reserves of English flowers and butterflies, in the Japanese taste. The plates and borders designed by the leader of the English Aesthetic movement, Dr Christopher Dresser, the painted mons by Owen Jones. The Bone china, thrown and turned, with overglaze enamel colours and gilt, relief-etched. This smart design of 1875 incorporates a number of fashionable features that an 1870s art-conscious clientele would recognise. It was made in Minton’s bone china and would have been more expensive than earthenware production. It was therefore designed to appeal to middle- and upper-class diners. Minton’s ‘cloisonne‚’ wares attracted enthusiastic reviews at the Philadelphia Centennial Exhibition of 1876