COLLECTION OF ENGLISH TOBY JUGSCOLLECTION OF ENGLISH TOBY JUGS, consisting of two musical jugs, the green jug marked "Crown Devon" to underside, the other unmarked; two Royal Doulton jugs; majolica jug with hare, unmarked; white jug marked "The Van Heusen Charles Co., NY" with printed "Austeico?"; jug with lustre highlights, unmarked (7) Provenance: Two musical jugs and lustre jug with sticker for Livingston Antiques
Stoneware Pitcher with Shaker-made Wooden Cover, Mount Lebanon, New York, mid-19th century, mid-19th century, baluster-form pitcher with a Shaker-made carved maple cover, carved to conform to the rim of the pitcher, with turned hardwood knob; a note in the interior, inscribed in Faith Andrews's hand reads "Sadie Neale/Herb Shop/New Lebanon...," overall ht. 8 7/8 in. Literature: The Magazine Antiques, 1936; The Magazine Antiques, 1979; Gather Up the Fragments, p. 340. The ceramic pitcher was made by a non-Shaker potter, but the carefully crafted lid was made by the Shakers. It is carved from a single piece of hardwood, and carefully rounded on the top edges. The bottom has been relieved to fit the pitcher, and a turned hardwood knob is threaded into the top. Estimate $600-800 The pitcher has a few ships on the spout tip. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
FOUR CATAWBA VALLEY STONEWARE JUGS INCLUDING JFS(James Franklin Seagle, Lincoln County, North Carolina, 1829-1892) runny brownish green alkaline glaze, ovoid form jug, "JFS" and "1" stamp at shoulder. ringed neck, thick collared rim, applied strap handle, 11-1/2 in.; Catawba Valley stoneware jug, runny brownish green alkaline glaze, flared rim, applied strap handle, 11-3/4 in,; Catawba Valley stoneware jug, dark brown alkaline glaze with glaze runs from neck to shoulder, thick collared rim, applied strap handle, 14-1/4 in.; Catawba Valley stoneware jug, mottled brown and light green alkaline glaze, flared neck with tooled rim, small applied strap handle, 13-1/4 in.,
Provenance: Private North Carolina Collection
Condition:
glaze voids and anomalies as made, "JFS" jug with repaired handle and area of illumination on stamp under blacklight, other residue, runny brown jug with kiln debris as made, surface abrasions, chips to base edge as made with wear, dark brown jug with 3/4 in. rim chip, small handle chip, 2-1/2 in, firing separation to lower body as made, surface wear and abrasions, brown and light green jug with 7-1/2 in. hairline from neck to belly, areas of abrasions to belly of jar, other surface abrasions, firing hairlines along base edge as made, base edge chips and wear
Colonel Ellsworth Commemorative Pitcher Plus Lot of 4 featuring a molded stoneware pitcher illustrating the shooting of Colonel Elmer Ellsworth the first conspicuous casualty of the Civil War at Alexandria VA made by Millington Astbury and Poulson Trenton NJ ca 1861. A baluster form pitcher with spurred handle molded in relief on one side with a dramatic depiction of Col. Ellsworth who lies dead at the bottom of the stairwell while three soldiers one identified as F.E. Brownell struggle to fight the man who shot Ellsworth in the chest identified as J.W. Jackson / The Traitor on the pitcher. Brownell the soldier shown bayoneting Jackson was credited with killing the traitor and later received the Medal of Honor for his actions. The reverse side is imprinted with the phrase Union and the Constitution and features a molded relief of an American Eagle with snake in beak perched above a fallen Confederate Flag with an American Flag flying at right above a gathering of rifles. Approx. 8 in. at widest point 8.5 in. tall. This is believed to be the first commemorative pitcher made by a U.S. potter. The lot also includes 2 Civil War illustrated covers honoring Ellsworth plus 1 cent token from the Marshall House Tavern where Ellsworth was martyred dated 1859 .75 in. dia. Condition: Stress crack at junction where handle meets the pitcher itself. Illustrated covers have yellowed a bit.
COLLECTION STAFFORDSHIRE POTTERY FIGURES. 19th century. Including two Toby jugs, whippet, six spaniels of various sizes, young girl with goat, young girl on horseback, soldier on horseback, mother and child, cow creamer, small porcelain whippet - 7 1/2 in. high, tallest.
Each with crazing except the porcelain whippet.
Cow creamer: repairs to ears and one horn.
Girl with goat: large chip to foot, hairline from feet across to tail.
Girl with horse: horse missing back leg, repairs throughout bottom area.
Soldier with horse: repair to horse''s mouth/nose, hairlines/cracks throughout bottom half, chip to headress.
Mother and child: repair at neck, small losses to glaze on hair.
White spaniel: overall very good condition.
White/Green spaniel: repair to mid section, hairlines throughout bottom section.
Whippet: repairto top paw and tip of one ear, one ear missing.
Large Toby jug: small losses to glaze on hat, repair at wrist of hand holding jug, tiny chip to jug.
Small Toby jug: chip and hairline to hat.
Large Red/White spaniel: firing crack at hip and foot.
Medieum Red/White spaniel: vertical hairlines to back, firing cracks around face, vertical crack to front, repairs to base.
Small Red/White spaniel: repairs throughout bottom section, large chip to base.
Smallest Red/White spaniel: repairs to most of base.
Porcelain whippet: repair to one paw, chip to foot, losses of glaze at collar.
TWO PATRIOTIC LIVERPOOL JUGS. 1) Jug features a transfer of Washington's tomb on one side. Transfer entitled "Washington's in Glory, America in Tears". The monument features a portrait of Washington with his birth and death dates along with Lady Liberty and the American eagle both staring at the ground. The opposite transfer features an early American flag, map of America, Washington, Liberty, a herald and more. Under the spout is a large round wreath with the initials "MJH" in the center. Below that is a transfer of an American eagle. A floral garland transfer surrounds the rim. 2) Jug features a polychromatic decorated ship flying a Betsy Ross style flag and a pennant off the central mast. On the other side is a large Patriotic transfer featuring an early American flag, Liberty cap and more. Central oval reads "As he tills your rich glebe, the old peasant shall tell while his bosom with liberty glows. How your warren expired how Montgomery fell and how Washington humbled your foes." Under the spout is a large wreath transfer and the letters "EK". The base, handle, rim and spout are highlighted with lineal black decoration. SIZE: 1) 10" h x 9-1/2" at widest. 2) 8-1/4" h x 8-1/2" at widest. CONDITION: 1) Jug has had significant but professional restoration. There are restored areas on the spout, handle and base of this jug. Jug appears to be oversprayed with simulated glaze. 2) Jug has a wonderful appearance and magnificent luster. The only visible damage is a tight crack that extends from one side of the spout to the other and a small chip on the base. 50803-11
COLLECTION OF MOSTLY ROYAL WINTON AND OTHER MAKERS TEA AND BREAKFAST WARESCOLLECTION OF MOSTLY ROYAL WINTON AND OTHER MAKERS TEA AND BREAKFAST WARES, including a 'Nantwich' covered butter dish, 'Springtime sugar caster with metal top, 'Royalty' milk jug, 'Spring' cheese dish and slanted cover, 'Chelsea Chintz' footed biscuit dish, 'Grimwades' creamer, 'Name illegible' jam pot with metal lid, 'Marguerite' cream jug, 'Grimwades Flowers' tall teapot with wavy rim and short globular pot, 'Marion' milk jug, 'Kew' covered rectangular box, 'Grimwades' circular basket with rounded upright handle, small 'Welbeck' toast rack, tall 'Hazel' hot water jug, 'Cromer' two-handled sugar bowl with cover on a black geometric ground, 'Grimwades A' black ground teapot, 'Marina' milk pitcher, 'Beeston' and 'Shrewsbury' milk pitchers, 'Spring' small creamer, 'Welbeck' jam pot with cover, and 'Grimwade's Evesham' small teapot; together with a Midwinter Coral Plate biscuit barrel with metal rim, top and swing handle (24)
Staffordshire character jug of Queen Victoria as Flora Staffordshire traditional toby jug & Staffordshire satyr face character jug mid-19th century; 1) Queen Victoria - with grapevine wreath and spout protruding from head 6 in. H.; 2) traditional toby jug - seated figure 5 1/2 in. H.; 3) satyr face jug - 5 in. H. Estimate $ 250-350 Queen Victoria: flaking possible repair to bottom crazing; traditional jug: paint loss wear restorations; satyr face: wear staining repair to spout.
Staffordshire transfer decorated ironstone jug copper luster jug and pewter-mounted china syrup jug 19th century; 1) ironstone jug - city scene urn and floral decoration 5 in. H.; 2) copper luster jug - blue band and house scene 4 1/4 in. H.; 3) syrup jug - blue transfer decoration geometric border 3 3/4 in. H. Estimate $ 60-80 copper luster jug - interior staining; syrup jug - staining; all with wear; prospective buyers may submit an inquiry requesting a more detailed examination and/or clarification of the condition report. Back   Inquiry   Email Lot  © Alex Cooper. Images descriptions and condition reports used on this site are originalcopyright material and are not to be reproduced without permission. Forfurther information telephone 410-828-4838 Schedule •  Catalogues •  Archives •  Login •  RegisterAbout Us | Consignors | Buyers | Catalogs | Contact Us | FAQ | Join Our Mailing ListHome | Oriental Rugs | Real Estate Auctions | Alex Cooper's Artfact Page | Alex Cooper Live! Blog908 York Road Towson Maryland 21204Baltimore: (410) 828-4838 | Fax: (410) 828-0875 | Toll-Free: (800) 272-3145antiques@alexcooper.comSite by Fastspot
SIGNED BASEBALL, 1950S MIXED TEAMS MOSTLY YANKEES & RED SOX Autographed by: Whitey Ford, Pitcher, Yankees; Mickey Mantle, CF, Yankees; Russ Kemmerer, Pitcher, Red Sox; Gene Stephens, OF, Red Sox; Pete Daley, Catcher, Red Sox; Ned Garver, Pitcher, Tigers; Carl Erskine, Pitcher, Dodgers; Jim Piersall, CF, Red Sox; Eddie Robinson, 1B, White Sox; Yogi Berra, Catcher, Yankees; Bob Porterfield, Pitcher, Senarors; Frank House, Catcher, Tigers; Grady Hatton, 3B, Red Sox; Bob Cerv, OF, Yankees; Hank Bauer, OF, Yankees; Billy Hunter, IF, Yankees; Jim MacDonald, Pitcher, Yankees; Bob Miller, Pitcher, Yankees; Al Kaline, OF, Tigers.
THREE CUT GLASS ITEMS. Crosshatch and fan pattern ewer with cut glass applied handle, a cut glass water carafe in hobstar with fluting and a cut glass vase with hobstar and notched fluting. SIZE: Ewer is 9-3/4 in. t. Carafe is 8-1/4 in. t. Vase is 8 in. t. CONDITION: Ewer has a chip and crack to spout. The carafe and vase are very good to excellent. Estate of Edwin Schiebel Sr. 5-60138, 5-60166
Group of five stoneware jugs, Whites Utica two gallon jug with blue painted bird; J. Fish Lyon's New York two gallon jug; along with. : Group of five stoneware jugs, Whites Utica two gallon jug with blue painted bird; J. Fish Lyon's New York two gallon jug; along with three one gallon jugs. heights 9 3/4 in. - 13 3/4 in. Condition Condition: All lots are sold "as is" The condition of lots can vary widely and are unlikely to be in a perfect condition.
SEVEN BRITISH CERAMIC PRATTWARE JUGSlate 18th/early 19th century, comprising: "Smokers and Drinker Jug", circa 1795, on one side depicting two men seated at a table with a jug of ale, two churchwarden pipes and a plate of food, the other side a soldier and civilian, the soldier with a sword in one hand, an ale glass in the other, the civilian smoking a long churchwarden pipe, pendant border, lower part of jug with stiff leaf border, 4-7/8 in.; "The Meet" and "Judgment of Paris" jug, circa 1790-1810, original scene by John Turner, depicting a group of gentleman in a landscape with horses and dog, preparing for a hunt, the other side depicts Paris under a tree, handing an apple to Aphrodite, whose attendant arranges drapery on her, acanthus and laurel leaf borders, 4-7/8 in.; "Mischievous Sport and Sportive Innocence", circa 1795, one side depicting two children, one holding a doll, the other a dog by the leash, the other side one child holds up a gruesome mask, frightening her companion who falls in alarm, each in heart form cartouches, leaf and chain link borders, 4-3/4 in.; "The Royal Sufferers and Duke of York" jug, circa 1794, one side depicting the profile of the Duke of York in medallion bordered by leaves and fruit, acanthus decoration below spout and handle, vine and ribbon border, fluted to lower half, the opposite side depicting Louis XVI, Marie Antoinette and the Dauphin, 4-3/8 in.; "Miser" jug, circa 1795-1800, depicting the bust of a man in a blue hat counting money to both sides, leafy and foliate borders, 5-3/4 in.; jug depicting two putti surrounding a column, cartouche of boy and lion under spout, brown linear borders, 4-1/2 in.; faceted jug with acanthus leaf and scrolling foliate borders, 5-7/8 in.
Note: First jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 61.
Second jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, pages 182 and 207.
Third jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 188.
Fourth jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 129.
Fifth jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 197.
Provenance: Private Charleston Collection
Condition:
discoloration, spotting, scratching, hairlines, anomalies (as made), chips (some with restorations), crazing, flaking to glaze, break and restoration to spout on one, spider cracks, dirty interiors, wear to bases
Group of Ten Pieces of Roseville Pottery, consisting of a 1325, Pitcher; 1-6, Bushberry Ewer; 963-6 Bleeding Heart Ewer; 916-6, Iris vase; 716-6 Silhouette vase; 22-6 Zephyr Lily Ewer; 1-6 Brown Bushberry Ewer; 716-6, Silhouette Ewer; 17- Clematis Ewer. (10 Pcs.) Provenance: Property from a distinguished French Quarter collection, New Orleans, Louisiana.
An assembled group of eight pieces of pink luster with printed and hand colored decoration
mid 19th century
Comprising pitcher with Masonic emblem, verse and 'A West View of the Iron Bridge', height 9 1/4in; pitcher with two verses and 'A West View of the Iron Bridge', height 8 3/4in; pitcher with clipper ship, verse and mariner's compass, height 7 1/4in; pitcher with 'Sunderland Bridge' and verse, height 5 1/2in; pitcher with plowing scene and verse, height 5 1/4in; pitcher with flags of England and France and verse, height 3 3/4in; mug with armorial, height 5 1/4in and a bowl with armorial and rustic scene, diameter 6in.
Collection of Eleven Pieces of Stoneware and Pottery, consisting of an American tall buff and red-glazed stone churn; a similar American stoneware single-handled jug; a brown-glazed single-handled whiskey jug; an unglazed terra cotta jug of similar form; a similar matte cinnamon-glazed jug; a smaller loop-handled gray stoneware jug; an American pebbled gray and brown stoneware jug with blue overglaze lettering; another brown-glazed stoneware jug; a small provincial matte brown-glazed single-handled churn of mortar form; a small rust-glazed stone swing-handled whiskey jug; and a Spanish provincial gloss flambe-glazed pottery wine jug with a double spout; all fourth quarter 19th/first quarter 20th century, the largest h. 20-1/2".
American cobalt decorated salt glazed stoneware batter pitcher and similar jug mid-19th century; 1) batter pitcher - cobalt foliate and sprig decoration 9 in. H.; 2) jug - cobalt sprig decoration impressed ''COWDEN & WILCOX HARRISBURG.PA '' 11 in. H. Estimate $ 200-300 Pitcher - large crack appropriate wear; jug - appropriate wear base chips.
THREE ROCKINGHAM PITCHERS. Tall dark brown mottled glazed pitcher with corn stalks. Design attributed to Josiah Jones. 1848-1870. 12''h. And pitcher decorated with ferns. Second half 19th century. 8 3/4''h. Together with brown glazed pitcher with hound handle and roses. 8 1/4''h. Hairline on the bottom. THE RELIEF MOLDED DESIGN DEPICTING A LUXURIANT GROWN OF CORN AN AMERICAN PLANT AND AN AMERICAN SYMBOL IS ATTRIBUTED TO JOSIAH JONES. AMERICAN 1848-1870. THE PITCHER IS ILLUSTRATED ON THE COVER OF CLANEY ROCKINGHAM WARE IN AMERICAN CULTURE AND THE ''CORN'' PITCHER IS DUSCUSSED ON P. 69. Pitcher #2 has rim chip and is from the 2nd half of the 19th century not 20th. Pitcher #3 has small rim chip.
ROYAL YACHTING INTEREST
A Royal presentation prize ewer; The Queens Cup, Royal Albert Yacht Club
Edgar Finlay and Hugh Taylor, London 1890-91, retailed by H.M.E. Manuel and Son, 12 and 13 Ordnance Row, Portsea
loosely modelled on the America's Cup by Garrard, of ewer shape, the bold C-scroll handle with acanthus clasping and rosettes, the everted lip with a bold mask of Neptune below, the whole body profusely chased with vinery and fruit, a small central oval cartouche with a crest, a leaf clasped cartouche with engraved inscription to one side, the other with a similar cartouche with a scene of yacht racing, all supported by a central leaf clasped column with three cast dolphinesque supports and shells between, lower gadroon border and inscribed around the circular base
61cm high, 110oz
Note:
Engraved to the front: 'Presented by her Majesty The Queen to the Royal Albert Yacht Club 1890' and to the foot rim '"Queens Cup" won by DEERHOUND August 18th 1890, Charles G Nottage./rTHE CUP
Like the famous 'America's Cup', fashioned by Garrards forty years earlier, the Queen's Cup given by Queen Victoria to the Royal Albert Yacht Club, Southsea, in 1890 is a silver wine ewer, probably - if any function was ever intended for it - for use as a claret, champagne or hock/moselle jug in the fashion of the day. By 1890, Queen Victoria had, for many years, given three cups annually for yacht racing: one went automatically to The Royal Yacht Squadron at Cowes, one was given to either a Scottish or Irish 'Royal' yacht club and one was given to an English 'Royal' yacht club - 'Royal' yacht clubs were those with a Royal patron or commodore, or both. In 1890, it was the turn of the Royal Albert Yacht Club, founded in 1865 and which had previously received a Queen's Cup in 1873, to receive a Queen's Cup - The Queen's gift to the club being ascribed by The Portsmouth Times and Naval Gazette of 23rd August 1890 to the 'co-operation of the commodore, H.R.H. The Duke of Edinburgh'. In 1890, H.R.H. The Prince Alfred, Duke of Edinburgh (1844-1900), second son of Queen Victoria, was an admiral in the Royal Navy and commander-in-chief at Devonport./rTHE YACHT
Yacht 'DEERHOUND's lines were drawn by the famous G.L. (George Lennox) Watson (1851-1904), the Glaswegian designer of H.R.H The Prince of Wales's famous racing yacht 'BRITANNIA' in 1893 as well as several British challengers for the America's Cup and many of the most famous British racing yachts of the last thirty years of the 19th century. Built in Southampton by Black & Co. for Charles Nottage and rigged as a cutter, she was launched in 1889, her Gross Registered Tonnage being 56 tons, overall length 72 feet 4 inches, waterline length 58 feet 10 inches and beam 13 feet 3 inches; her sails were by Lapthorn and Ratseys and her sail area 4,065 ? square feet. She was a '40 rater' in the ratings of the Yacht Racing Association and raced in that class. Immediately successful as a racing yacht, she won Nottage nineteen prizes in 1890 and was top of her class in that year. Nottage sold her to the Marquis Ridolfi in 1892 and her name was changed to 'ORETTA'. Based in Livorno and subsequently Naples for the next twenty years, she changed hands several times, being renamed 'LUISA' in 1898, when bought by Vincenzo Murolo, and 'LUISA M.' in 1903. Last owned by Ernesto Murolo from 1909 to 1911, she disappeared from Lloyd's Register of Yachts in 1912./rTHE OWNER
Charles George Nottage was the only son of George Swann Nottage (1822-85) and Martha Warner (1832-c.1914). In 1855, George Swann Nottage founded the London Stereoscopic and Photographic Company and was proprietor of that highly successful commercial business until his death; he was also an alderman of the City of London, its sheriff 1877-78 and died in office as Lord Mayor in 1885. Charles George Nottage was born on 1st October 1852 and, after an education at Jesus College, Cambridge (BA and LLB 1879), was admitted to the Inner Temple, being subsequently called to the Bar on 11th May 1881. Nottage, generally known in yacht racing circles as 'Captain Nottage' because of his rank as such in the Devon Militia Artillery from 1885, first owned yacht 'FOXHOUND' and raced her from c.1886. 'FOXHOUND' was a 58 foot cutter, built by Fife of Fairlie in 1870 and Nottage sold her to the American yachtsman Harry North in 1889 when he bought yacht 'DEERHOUND'. By 1890, Nottage was one of the notable yachtsmen of his day, belonging to eleven yacht clubs - ten of them 'Royal' - in Britain and featuring in the yachting press on a regular basis from 1886 to 1892 as he and his crews sailed yachts 'FOXHOUND' and 'DEERHOUND' in regattas in both British and Continental waters. A Fellow of the Royal Geographical Society, Nottage succeeded his father as proprietor of the photographic business in 1885 and appears to have given up yacht racing when he sold 'DEERHOUND' in 1892. His health failing, he went on a world tour during 1892-93, visiting Hawaii and California and subsequently publishing a book on his travels. Nottage died in London on 24th December 1894. In his will, he left 13,000 for the establishment of the Nottage Institute at Wivenhoe in Essex - from which area he had drawn the crews for his two racing yachts - in order to instruct yachtsmen and other sailors, especially those from the Wivenhoe area, in navigation: this Institute, now known as the Nottage Maritime Institute, still exists in Wivenhoe. He also left money to the Yacht Racing Association for the annual award of what was to be called 'The Nottage Cup' but this bequest failed to meet appropriate charitable trust legislation and so could not be implemented./rTHE RACE
Such was the interest at the time in yacht racing that the race for which The Queen's Cup of the Royal Albert Yacht Club was presented on 18th August 1890 was covered in both the national and the local press. The Portsmouth Times and Naval Gazette specified the details of the race and course in the Solent on 23rd August 1890, as follows. 'Handicap for yachts of an above 25 Y.R.A. rating, owned by members of the Royal Albert Yacht Club. First prize, the Queen's Cup, value 100 guineas, presented by Her Majesty the Queen; 2nd prize, 30; 3rd prize 10. Course, from the starting vessel near the Spit Fort, round the Nab lightship, thence round the [Ryde] West Middle Buoy, and back round the starting vessel. Twice round - say 45 miles'. The Portsmouth Times's report went on to list the names, rigs, ratings and owners of the competing yachts. There were twelve entries, six cutters and six yawls, ranging in size from the largest yawl, 'LETHE' rated at 123.79, and the largest cutter, 'THISTLE' rated at 121, down to smallest yawl, 'ANACONDA' rated at 25.43, and the smallest cutter, 'DEERHOUND' rated at 39.73. A detailed report of the race was contained in the Portsmouth Evening News of 19th August 1890, as follows. 'All started but Anaconda. Mohawk was first over the line, at 2 minutes 13 seconds after ten. Deerhound was seven seconds later, Vanduara 16 seconds after her, and then came Neptune, Thistle, Maid Marion, Lethe, Naeira, Castanet, Wendur and Foxglove in the order named. The yachts had all sail crowded on and made a stately progress down to the Nab without much change of position. On their way down, the breeze freshened very slightly and veered to the westward. The Thistle assumed the lead and was well to the front on the way back to the West Middle Buoy, being followed by the Castanet, which was a long way ahead of the third vessel, the Vanduara. Wendur hugged the Isle of Wight shore too closely, forgetting the set of the tide, which caused her to fall sadly behind, with Foxglove as a near companion. These were the last two and the remaining six yachts filled up in processional order the gap between them and the three leading vessels. The wind had now gone round to the south and increased somewhat in strength, so that the yachts had more way on, although their progress was still far from exciting. Off Cowes there was a calm and it was a matter of no small difficulty to round the West Middle Buoy. In the meantime the Sailing Committee held a conference on board the starting vessel and, in view of the improbability that the wind would improve or even maintain its then strength, they decided to shorten the course to one round. The race continued to be a drifting match and the glorious uncertainty of yachting competitions in a light wind was well exemplified towards the finish, for in rounding the West Middle Buoy the conditions of wind and tide favoured some of the yachts that before had failed to hold their own. They maintained this advantage and the times of arrival were:-
Deerhound (Queen's Prize) 5 hours 12 minutes 50 seconds
Vanduara 5 hours 13 minutes 36 seconds
Castanet (2nd prize by time) 5 hours 15 minutes 49 seconds
Mohawk 5 hours 24 minutes 18 seconds
Thistle (3rd prize by time) 5 hours 24 minutes 44 seconds
Maid Marion 5 hours 40 minutes 9 seconds
The others were not timed.'
The Times of London devoted over a column in its edition of 19th August 1890 to a detailed story of the race, concluding that, 'the Deerhound owed her victory to the smart way in which she worked by short tacks on and off the Hampshire shore between Browndown and the Kicker [Gilkicker] point.' The description given in the above newspapers of the race and of the yachts' fortunes as affected by the changeability of the wind, or lack of it, will be familiar to most racing yachtsmen in the Solent today, one contemporary distinguished sailor giving it the term 'Solent roulette'.
Stephen Wood MA FSA
(with thanks to Hugh Boscawen and Liza Verity)
Engraved to the front; ''Presented by her Majesty The Queen to the Royal Albert Yacht Club 1890'' and to the foot rim ''"Queens Cup" won by DEERHOUND August 18th 1890, Charles G Nottage.
THE CUP
Like the famous ''America''s Cup'', fashioned by Garrards forty years earlier, the Queen''s Cup given by Queen Victoria to the Royal Albert Yacht Club, Southsea, in 1890 is a silver wine ewer, probably - if any function was ever intended for it - for use as a claret, champagne or hock/moselle jug in the fashion of the day. By 1890, Queen Victoria had, for many years, given three cups annually for yacht racing: one went automatically to The Royal Yacht Squadron at Cowes, one was given to either a Scottish or Irish ''Royal'' yacht club and one was given to an English ''Royal'' yacht club - ''Royal'' yacht clubs were those with a Royal patron or commodore, or both. In 1890, it was the turn of the Royal Albert Yacht Club, founded in 1865 and which had previously received a Queen''s Cup in 1873, to receive a Queen''s Cup - The Queen''s gift to the club being ascribed by The Portsmouth Times and Naval Gazette of 23rd August 1890 to the ''co-operation of the commodore, H.R.H. The Duke of Edinburgh''. In 1890, H.R.H. The Prince Alfred, Duke of Edinburgh (1844-1900), second son of Queen Victoria, was an admiral in the Royal Navy and commander-in-chief at Devonport.
THE YACHT
Yacht ''DEERHOUND''s lines were drawn by the famous G.L. (George Lennox) Watson (1851-1904), the Glaswegian designer of H.R.H The Prince of Wales''s famous racing yacht ''BRITANNIA'' in 1893 as well as several British challengers for the America''s Cup and many of the most famous British racing yachts of the last thirty years of the 19th century. Built in Southampton by Black & Co. for Charles Nottage and rigged as a cutter, she was launched in 1889, her Gross Registered Tonnage being 56 tons, overall length 72 feet 4 inches, waterline length 58 feet 10 inches and beam 13 feet 3 inches; her sails were by Lapthorn and Ratseys and her sail area 4,065 1/2 square feet. She was a ''40 rater'' in the ratings of the Yacht Racing Association and raced in that class. Immediately successful as a racing yacht, she won Nottage nineteen prizes in 1890 and was top of her class in that year. Nottage sold her to the Marquis Ridolfi in 1892 and her name was changed to ''ORETTA''. Based in Livorno and subsequently Naples for the next twenty years, she changed hands several times, being renamed ''LUISA'' in 1898, when bought by Vincenzo Murolo, and ''LUISA M.'' in 1903. Last owned by Ernesto Murolo from 1909 to 1911, she disappeared from Lloyd''s Register of Yachts in 1912.
THE OWNER
Charles George Nottage was the only son of George Swann Nottage (1822-85) and Martha Warner (1832-c.1914). In 1855, George Swann Nottage founded the London Stereoscopic and Photographic Company and was proprietor of that highly successful commercial business until his death; he was also an alderman of the City of London, its sheriff 1877-78 and died in office as Lord Mayor in 1885. Charles George Nottage was born on 1st October 1852 and, after an education at Jesus College, Cambridge (BA and LLB 1879), was admitted to the Inner Temple, being subsequently called to the Bar on 11th May 1881. Nottage, generally known in yacht racing circles as ''Captain Nottage'' because of his rank as such in the Devon Militia Artillery from 1885, first owned yacht ''FOXHOUND'' and raced her from c.1886. ''FOXHOUND'' was a 58 foot cutter, built by Fife of Fairlie in 1870 and Nottage sold her to the American yachtsman Harry North in 1889 when he bought yacht ''DEERHOUND''. By 1890, Nottage was one of the notable yachtsmen of his day, belonging to eleven yacht clubs - ten of them ''Royal'' - in Britain and featuring in the yachting press on a regular basis from 1886 to 1892 as he and his crews sailed yachts ''FOXHOUND'' and ''DEERHOUND'' in regattas in both British and Continental waters. A Fellow of the Royal Geographical Society, Nottage succeeded his father as proprietor of the photographic business in 1885 and appears to have given up yacht racing when he sold ''DEERHOUND'' in 1892. His health failing, he went on a world tour during 1892-93, visiting Hawaii and California and subsequently publishing a book on his travels. Nottage died in London on 24th December 1894. In his will, he left £13,000 for the establishment of the Nottage Institute at Wivenhoe in Essex - from which area he had drawn the crews for his two racing yachts - in order to instruct yachtsmen and other sailors, especially those from the Wivenhoe area, in navigation: this Institute, now known as the Nottage Maritime Institute, still exists in Wivenhoe. He also left money to the Yacht Racing Association for the annual award of what was to be called ''The Nottage Cup'' but this bequest failed to meet appropriate charitable trust legislation and so could not be implemented.
THE RACE
Such was the interest at the time in yacht racing that the race for which The Queen''s Cup of the Royal Albert Yacht Club was presented on 18th August 1890 was covered in both the national and the local press. The Portsmouth Times and Naval Gazette specified the details of the race and course in the Solent on 23rd August 1890, as follows.
''Handicap for yachts of an above 25 Y.R.A. rating, owned by members of the Royal Albert Yacht Club. First prize, the Queen''s Cup, value 100 guineas, presented by Her Majesty the Queen; 2nd prize, £30; 3rd prize £10. Course, from the starting vessel near the Spit Fort, round the Nab lightship, thence round the [Ryde] West Middle Buoy, and back round the starting vessel. Twice round - say 45 miles''.
The Portsmouth Times''s report went on to list the names, rigs, ratings and owners of the competing yachts. There were twelve entries, six cutters and six yawls, ranging in size from the largest yawl, ''LETHE'' rated at 123.79, and the largest cutter, ''THISTLE'' rated at 121, down to smallest yawl, ''ANACONDA'' rated at 25.43, and the smallest cutter, ''DEERHOUND'' rated at 39.73. A detailed report of the race was contained in the Portsmouth Evening News of 19th August 1890, as follows.
''All started but Anaconda. Mohawk was first over the line, at 2 minutes 13 seconds after ten. Deerhound was seven seconds later, Vanduara 16 seconds after her, and then came Neptune, Thistle, Maid Marion, Lethe, Naeira, Castanet, Wendur and Foxglove in the order named. The yachts had all sail crowded on and made a stately progress down to the Nab without much change of position.
On their way down, the breeze freshened very slightly and veered to the westward. The Thistle assumed the lead and was well to the front on the way back to the West Middle Buoy, being followed by the Castanet, which was a long way ahead of the third vessel, the Vanduara. Wendur hugged the Isle of Wight shore too closely, forgetting the set of the tide, which caused her to fall sadly behind, with Foxglove as a near companion. These were the last two and the remaining six yachts filled up in processional order the gap between them and the three leading vessels. The wind had now gone round to the south and increased somewhat in strength, so that the yachts had more way on, although their progress was still far from exciting. Off Cowes there was a calm and it was a matter of no small difficulty to round the West Middle Buoy. In the meantime the Sailing Committee held a conference on board the starting vessel and, in view of the improbability that the wind would improve or even maintain its then strength, they decided to shorten the course to one round. The race continued to be a drifting match and the glorious uncertainty of yachting competitions in a light wind was well exemplified towards the finish, for in rounding the West Middle Buoy the conditions of wind and tide favoured some of the yachts that before had failed to hold their own. They maintained this advantage and the times of arrival were:-
Deerhound (Queen''s Prize) 5 hours 12 minutes 50 seconds
Vanduara 5 hours 13 minutes 36 seconds
Castanet (2nd prize by time) 5 hours 15 minutes 49 seconds
Mohawk 5 hours 24 minutes 18 seconds
Thistle (3rd prize by time) 5 hours 24 minutes 44 seconds
Maid Marion 5 hours 40 minutes 9 seconds
The others were not timed.''
The Times of London devoted over a column in its edition of 19th August 1890 to a detailed story of the race, concluding that, ''the Deerhound owed her victory to the smart way in which she worked by short tacks on and off the Hampshire shore between Browndown and the Kicker [Gilkicker] point.''
The description given in the above newspapers of the race and of the yachts'' fortunes as affected by the changeability of the wind, or lack of it, will be familiar to most racing yachtsmen in the Solent today, one contemporary distinguished sailor giving it the term ''Solent roulette''.
Stephen Wood MA FSA
(with thanks to Hugh Boscawen and Liza Verity)
STAFFORDSHIRE POTTERY PINK LUSTRE PITCHER, WITH A SMALLER LANCASTERS JUG HEIGHT OF TALLER JUG: 6 3/4 IN. (17.1 CM.), HEIGHT OF SMALLER JUG: 3 IN. (7.6 CM.)STAFFORDSHIRE POTTERY PINK LUSTRE PITCHER, WITH A SMALLER LANCASTERS JUG, the larger jug, with a ribbed body punctuated by landscape cartouches containing cottages and trees below the beaded border to shoulder and a wide band of molded flowers, shaped handle; and a small jug, green factory mark under base, pink, white and lustre decoration (2) Dimensions: Height of taller jug: 6 3/4 in. (17.1 cm.), Height of smaller jug: 3 in. (7.6 cm.)
Group of Staffordshire copper and pink lustre pitchers england, circa 1830 Including a copper lustre water pitcher with an oval reserve enclosing a pink house; a copper lustre pitcher with figure of "Faith"; a pink lustre pitcher with figure of "Charity" and verse; a Sunderland-type pitcher with black transfer depicting humorous scenes; a copper lustre creamer; and a copper lustre pitcher with figure of "Charity" (6). PROVENANCE: From the collection of James and Candace McIlhenny, Alexandria, Virginia Largest pitcher with spout chips, roughness to foot ring, and some surface scratches. The larger Charity pitcher with chip to foot ring and wear to lustre at rim and spout, also with roughness to rim, and surface scratches; Faith pitcher with chips to spout and foot ring, crow''s foot to base, handle with repair; small Charity pitcher with chip to spout and wear to lustre at rim.
Group of 4 Edwin Meaders Pottery Jugs & Pitchers Edwin Meaders (American, Georgia, 1921-2015). A collection of four glazed stoneware pottery pieces comprising two jugs and two pitchers. Both jugs and one pitcher with an olive green glaze and one pitcher in a dark olive glaze. All signed on bases "Edwin Meaders". Approximate height of tall jug 6.75". Approximate height of small jug 4.75". Approximate height of taller pitcher 6.25". Approximate size of dark glaze pitcher 5.62". Provenance: From the Estate of Liz Howell Bloodworth, Atlanta, Georgia.
Belleek creamer, ivory porcelain with pink apple blossoms, marked, 3.25"h; with a Buffalo China handled creamer, white stoneware, marked, 2.5"h; with an Onondage Pottery gravy boat, white porcelain with gold highlights, marked, 3.5"w x 3.5"h; with a K.T.K. ewer, pink flowers and gold trim, marked, 6"h; with a Belleek dish, ivory porcelain with pink apple blossoms, marked, 4"w x 1.5"h; with a Lotus Ware creamer, bulbous form with peach roses and gold highlights and handle, marked, 5"w x 3.75"h; with a Lotus Ware creamer, footed form with lavender flowers, marked, 3.5"h; with a K.T.K. creamer, horizontal panel of molded flowers, marked, 4"w x 2"h
Three Wedgwood Crimson Jasper Dip Jugs, England, c. 1920, each with applied white classical figures in relief, a tall jug, ht. 6 1/2; etruscan jug, ht. 4 1/2; and barrel-shape jug, ht. 5 5/8 in.; impressed marks. Estimate $700-900 Tall jug: In very good condition throughout. Etruscan jug: Patches to side of handle and along footrim where crimson dip did not take. Barrel shape jug: Restored chip to external side of spout. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
SIX STERLING PITCHERS. All marked ''Sterling''. A four pint pitcher. 7'' h. A pitcher marked ''925''. 7'' h. A pitcher with cornered mouth. 12'' h. A Whiting pitcher. 9'' h. A repousee pitcher by Gorham. 6 3/4'' h. And a pitcher marked ''P.S. & CO''. 9 1/4'' h. 116.32 oz.t.
SEVEN PIECES OF MAJOLICA. Plate with leaf and basketweave pattern marked ''ETRUSCAN'' 9''d. Creamer with foliate floral and branch handle decoration with impressed ''Griffen Smith & Hill'' mark 4.38''h. Pitcher with deer and forest lanscape decoration with branch handle 6.25''h. Cup with shell and seaweed patten 2.38''h. Brown pitcher with green foliate decoration and a twisted rope handle 5.63''h. Brown and green barrel creamer decorated with grapes and a branch handle a long with a fitted metal lid 4''h. Small vase with lily pad decoration 5''h. Plate has a .5'' crack on base. Floral and basketweave creamer has a .75'' hairline on the interior side of the lip and there appears to have been some glue applied to the lip near the handle. Deer pitcher has a crack running from bottom of handle around the underside of the base which is also visible on the interior. Shell and seaweed cup has some color loss and staining on its interior as well as a 1'' sized segment of lip that has been restored and repainted. Brown pitcher has a few hairlines on the lip some cracking at the bases of the handle. Barrel creamer displays slight wear to its base.
Assembled Tiffany & Co. Seven-Piece Sterling Repousse Tea and Coffee Service, 1875-91, comprising ovoid teapot, creamer, covered sugar, waste bowl, with all-over foliate repousse, straight reeding to lower section of bodies, and shell and scroll waist bands, teapot ht. 5 1/4, with a similar coffeepot, with rocaille scroll waist band, ht. 8 3/4, a similar kettle on stand with burner, ht. 13, and similar creamer/sauceboat, all with monogram to underside, with shell and scroll waist, and diagonal reeding to base, approx. 140 troy oz.
Provenance: A member of the Roosevelt family.
creamer with small old solder repair near upper rim, and with a few rim nicks. all monogrammed=JHO
creamer and waste bowl with a few minor pinpoints to interior.
pots, covered sugar, waste bowl, creamer all numbere 1982 7387
sauceboat/creamer: 70 2944
kettle: 7029 6400 5489
minor age/usage wear.
American cobalt decorated salt glazed stoneware pitcher and a brownware jug second half-19th century; 1) pitcher - cobalt wing decoration 9 in. H.; 2) jug - 7 in. H. Estimate $ 150-250 Pitcher - appropriate wear from use; jug - glaze loss especially on handle and spout.
Staffordshire pearlware satyr face character jug and a canary yellow Staffordshire satyr face character jug first quarter-19th century; 1) pearlware jug - satyr's face with silver lustre decoration 5 3/4 in. H.; 2) canary jug: satyr's face with painted sprig decoration 4 3/4 in. H. Estimate $ 150-250 Pearlware jug: flaking and restoration handle restored wear to silver lustre; canary jug: paint loss scratches wear.
Seven English porcelain milk jugs and a cup and saucer
19th century
Including Derby pitcher in an Imari pattern; Derby pitcher with spiral garlands; pitcher in Blue Willow pattern; pitcher with swirl molded decoration; pitcher with 'Japan' flowers on green ground, no. 116; pitcher painted with landscape vignettes, 2/3268; pitcher with floral sprays and cobalt blue border, 5050 P, and a teacup and saucer, 4164.
Two English 19th century porcelaneous pitchers. The first is an English china pitcher of barrel form with a tap spout cast with acanthus. It has a white foreground with gilt rim and transfer print in black of a portrait of the head of Tennyson within a lyre. Marked on side ''Tennyson in Memorium Born 1809 died 1892.'' Marked on base ''Doulton Burslem England RdNo. 219346''. Second pitcher is a semi-porcelain jug of baluster form. Cobalt blue glaze on the upper body with a natural polished clay tone cast hunting scene on the lower body. Both circa mid-late 19th century. The first pitcher measures 7'' tall x 5'' diameter and the second jug measures 6.25'' tall x 5'' diameter. Condition: Transferware pitcher has a hairline to rim and the cobalt jug has a very slight chip to rim see images. Total weight 3 lbs.
FIFTEEN PIECES OF CREAMWARE ATTRIBUTED TO ROSEVILLE Circa 1918-35Unmarked unless noted. 1-3) Three baby's plates decorated with illustrations and nursery rhymes. Diameters 7.75. 4-6) Three baby's plates decorated with animals, two chicks and one rabbit in a jacket. Printed factory mark. Diameters 7.5". 7-8) Two plates, one with chicks and one with rabbits. Diameters 6.75". 9) Milk jug decorated with rabbits. Height 3". 10-11) Milk jug and bowl decorated with a girl in a bonnet against a red band. Milk jug with printed factory mark. Height 3.5". 12) Pitcher decorated with an orange band. Printed factory mark. Height 6.25". 13-15) Three bowls with blue/gray band along rim. Diameter 6.25"."ConditionAge-typical wear throughout. All baby's plates with crazing and staining, hairline cracks (chicks are the worst), and light wear to designs (one chicks is particularly faded), Chicks also have numerous small chips. Plates with crazing and significant wear/loss to decoration. Milk jug: Several chips to spout, crazing and associated staining. Girl with bonnet: Milk jug with series of tiny chips to tip of spout, light crazing and light wear to decoration. Bowl with significant wear to decoration. Pitcher with orange band with chips to rim and spout and wear to decoration. Blue/gray band bowls with light usage wear.
Four Salt-glazed Stoneware Jugs and Two Crocks, America, early 19th century, two approx. half-gallon "CHARLESTOWN" jugs, Frederick Carpenter, Charlestown, Massachusetts, 1812 to c. 1827, swollen ovoid vessels with reeded neck and base, and applied ridged handles, the shoulders impressed "CHARLESTOWN," two similar form jugs impressed "BOSTON" on the shoulder, three with ochre glazed base and shoulders; a gallon-size jar with lug handles and cobalt trefoil designs on the shoulder, and a wide mouth jar with open handles and cobalt swag and scroll designs on the shoulder, (chips), ht. 9 5/8 to 1 1/4 in. Estimate $1,500-2,000 Jugs: Charestown two-tone: 1 1/4 dia. pot stone burst on side in the making. Charlestown brown - small interior rim chip, several rough spots/ potstone bursts on body. Two tone Boston jug- a few base chips, and several small potsone bursts. Boston jug - small lip edge chip, and a few potstone bursts. Swag and scroll dec. jar- several rim small to 1/2 in. and base chips, small to 5/8 in., trefoil dec. jar- couple base chips, approx. 1/2 in. lg. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Group of Ten Pieces of Roseville Pottery, consisting of 617-10, Gardenia pitcher; 216-8, Wincraft Ewer; 981-6, Cosmos Ewer; 825-15 Thornapple Ewer; 17-10 Clematis Ewer; 17-6 Water Lily Ewer; Two 18-7 Snowberry Ewers, and a 1-6 Bushberry Ewer, and a small Ewer. (10 Pcs.) Provenance: Property from a distinguished French Quarter collection, New Orleans, Louisiana.
Group of redware and stoneware items harrisburg and other origins, 19th century Including unglazed redware flowerpot with free-hand decoration, two brown glazed tapering jars, one impressed "F.H. Cowden Harrisburg," a greenish-brown glazed jug impressed "Cowden and Wilcox," a brown-glazed pitcher, a green glazed jar and a mottled yellow ware mixing bowl, and a large brown glazed pitcher, impressed E. and L.P. Norton, Bennington, Vt. Stoneware jar with chip to mouth. Stoneware jug with chip to mouth and handle. small pitcher with chips to mouth, glaze loss and scattered and some paint to body. large pitcher with no handle, hairline beside spout, scattered losses to glaze. cauden pot with rim chps. redware flower pot with unstable surface.
COLLECTION ENGLISH CHARACTER JUGS & A TOBY JUG: 5 pieces, including the Wood & Sons Toby Jug, "Toby" (Incised No. 2), 6" H.; and four character jugs: 2 Shorter & Son Ltd. jugs: "Beefeater, 6" H., and "Fisherman", 4" H.; together with 2 Old Court Ware jugs: "Little John", 5" H., and "Sheriff of Nottingham", 5" H. Maker's marks underfoot each. Condition Report
Group of Nine Pieces of Roseville Pottery, consisting of 12-15, water lily ewer; 24-15 Zephyr Lily Ewer; 21-15 Freesia Ewer, Green; 21-15 Freesia Ewer Brown; 14-10 Magnolia Ewer; 8-10 Peony Ewer; 12-15 Water Lily Ewer, 132-7 Zephyr Lily Vase, and 23-10 Zephyr Lily Ewer. (9 Pcs.) Provenance: Property from a distinguished French Quarter collection, New Orleans, Louisiana.
GROUP OF TWO HISTORICAL JUGS. 1) Liverpool style jug. A scarce transfer of Commodore Preble adorns one side. Transfer features a well known portrait of Preble in the center surrounded by an American flag, arms an Indian and a herald. The other transfer is entitled "Commodore Preble's Squadron Attacking the City of Tripoli Aug 3 1804" and features a large transfer of Preble's ships bombarding the fort at Tripoli. There is a lengthy 5-line transfer describing Preble's squadron and its actions in Tripoli. Under the spout is the well-known transfer of an American eagle with the words "Herculaneum, Pottery Liverpool". There appears to be remnants of gold highlights around spout. 2) Later jug with pearlware body. Jug features a black overglaze decoration of a spread wing American eagle on one side and ship flying the British flag on the other. Under the spout is a shoreline scene of a woman embracing a sailor. SIZE: 1) 8-1/3" h x 8-1/2" at widest. 2) 7-/2" h x 9-3/4" at widest. CONDITION: 1) Unrestored but generally stained to a tan color. There are numerous small chips around foot. Spout has small chip on side. 2) Jug has been restored. Restoration includes extensive work on the lip and handle of the jug. There is also restoration to the rim that includes a significant chip. There is further damage that has not been restored including numerous tight cracks in the base and one extending 5" into the body of the jug. 50803-10
Three American salt glazed cobalt decorated stoneware jugs mid-19th century; 1) jug with foliate decoration impressed ''COWDEN & WILCOX HARRISBURG.PA '' 11 in. H.; 2) jug with floral decoration impressed ''S.H. COWDEN HARRISBURG '' 12 in. H.; 3) jug with cobalt highlights 11 in. H. Estimate $ 300-500 Cowden & Wilcox jug - chips around base wear; Chesapeake Cowden jug - scratches wear; unmarked jug - fire and glaze flaws wear.
Majolica Woven Jar with Lid unmarked 3.25''h hairline on rim of jar and worn glaze on the flowers lid has been glued and has chip on the inside rim. Majolica Flower Plate marked 21 with 19 in ink 8 3/8''w small crack on rim. Majolica Flowered Teacup unmarked 2.5''h chip and multiple hairlines on rim. Majolica Basket Pitcher with Flowers unmarked 6''h chip at the spout. Majolica Corn Creamer unmarked 4 3/8''h hairline on inside of rim manufacturer defect on handle. Majolica Bamboo Pitcher with Flowers unmarked 5''h chip at base and around rim and spout tiny glaze chips on design as well. Majolica Flowered Creamer unmarked 4.25''h several slight chips around and on the inside of rim. Majolica Textured Pitcher with Flowers unmarked 7.75''h tiny hairline on rim and small fire crack just under the handle. Majolica Woven Platter unmarked 14 1/4''w rim and base have some chips and bruises face has some bruising as well one handle has hairline. Majolica Etruscan Creamer marked with GSH impressed monogram E3 tiny glaze chip at base fine hairline on base and rim small glaze bruise on spout 4.25''h. Majolica Shell Jar with Lid unmarked glaze chips on base chips on inside lip of rim interior rim of lid is chipped and has a hairline one handle is missing from side of jar 5.25''h.
? SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935)
STILL LIFE WITH WHITE JUG AND PEARS Signed, oil on canvas18in x 16in (45.7cm x 40.7cm)Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1479, as ‘Still Life with Pears (The White Jug)’Portland Gallery, LondonExhibited: London, Portland Gallery, The Scottish Colourists, 14 June-19 July 2002, no.52London, Portland Gallery in association with The Scottish Gallery, Edinburgh, S. J. Peploe (1871-1935), 7-29 November 2012, no.18, Ill.col.p.29.Still Life with Jug and Pears of c.1925 reveals Peploe’s mastery of the still life genre, which came to maturity in his practice during the 1920s. He summed up his dedication to the theme, even beyond the landscapes and portraits for which he is also celebrated, in 1929, when he declared: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’[i]The still life was the primary focus of the work made in his longest-serving studio, at 54 Shandwick Place in Edinburgh’s West End. Peploe moved there in 1917 after it was vacated by his friend, the artist James Paterson and maintained it until a move to nearby Castle Street in 1934. The Director of the National Galleries of Scotland, Stanley Cursiter, described it thus: ‘the room had a large, high and well-placed window. The scheme of decoration was…kept in a very light key and he surrounded himself with brilliant colours.’[ii]As Roger Billcliffe has explained: ‘Peploe set himself as a target the perfect still-life painting. It had been his first love and his first serious achievements had been in still-life. His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them.’[iii]A sense of this dedication is clear in a description of visiting Peploe in his studio by his niece, Margery Porter: ‘How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’[iv]Alongside a cast of cherished objects, including jugs, plates, bowls and various lengths of fabric, Peploe would introduce flowers or fruit to his still lifes according to the season. The apples and pears of Still Life with Jug and Pears would suggest that it is an autumnal painting. This caused some consternation amongst the purveyors of such produce, as explained by Cursiter: ‘When he selected his flowers or fruit from a painter’s point of view he presented a new problem to the Edinburgh florists. They did not always understand when he rejected a lemon for its form or a pear for its colour and he remained unmoved by their protestations of ripeness or flavour.’[v]Still Life with Jug and Pears contains all the hallmarks of Peploe’s work of the mid-1920s as he developed from the highly-complex and high-pitched still lifes of earlier in the decade and progressed towards the more raw and expressive style of the early 1930s. There is an overall feeling of dignity in the arrangement, subtle palette and natural lighting of this painting. The depiction of the pears in the foreground is a masterclass in perspective, whilst the warm tones of the apple to the right provide the colour focal point of the composition.Peploe’s enduring interest in the work of Paul Cézanne is clear, for example in the strength of form created by defined planes of colour, particularly in the fruit. Deliberately distinct brushstrokes convey shadow and reflection. The arrangement of objects is asymmetrical yet perfectly balanced, presided over by the jug. The edge of the table on which they are presented is aligned to the lower horizontal plane of the canvas, as Peploe skilfully plays with notions of reality and representation. Moreover, the cropping, such as of the dish on the left, suggests the space beyond the table and the frame.Peploe was to explore these concerns further in works such as the related and slightly later Still Life with Jug and Grapes (The Courtauld, London, acc.no. P.1992.XX.1). In this painting, the same jug has taken centre stage in the foreground, drapery plays a more significant role on the table-top and Peploe has extended the sense of distance by including a covered chair in the background. The poise and classical simplicity of Still Life with Jug and Pears has given way to a less polished vigour.Still Life with Jug and Pears dates from a particularly propitious period in Peploe’s career. During the 1920s his reputation was cemented in Scotland and spread to London, Paris and New York. He had regular solo exhibitions at The Scottish Gallery in Edinburgh and La Société des Beaux-Arts in Glasgow. When the latter business merged with the Lefèvre Gallery in London in 1926, Peploe’s work was also shown there.In 1923, paintings by Peploe, Cadell and Hunter were shown at the Leicester Galleries in London and again in 1925, joined by the work of John Duncan Fergusson. The four artists were celebrated in an exhibition at the Galerie Barbazanges, Paris in 1924, from which a painting by Peploe was acquired for the French national collection. In 1927, he was elected a full member of the Royal Scottish Academy and the Tate acquired one of his still lifes, meaning that he was represented in the British national collection. In 1928 a solo exhibition of his work was staged at the C. W. Kraushaar Galleries, New York and a room was dedicated to his work in the newly extended Kirkcaldy Museum and Art Gallery.Corsan Morton, Curator at Kirkcaldy, summed up Peploe’s achievements of the period in his catalogue foreword: ‘It is in his still lifes, his arrangements of flowers, fruit, utensils and so on, that he has of late years achieved a very definite personal style of great beauty, which places him in a class by himself…He handles with distinction everything he touches.’[vi][i] As quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Edinburgh 1947, p.73.[ii] Cursiter, op.cit., p. 41.[iii] Roger Bilcliffe, The Scottish Colourists: Cadell, Fergusson, Hunter, Peploe, London 1990, p.51.[iv] As quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23.[v] Cursiter, ibid., p.55.[vi] As quoted in Cursiter, ibid., p.63.
PEARLWARE PITCHER AND LIDDED CREAMER, EARLY 19TH CPearlware pitcher and lidded creamer, early 19th c. , the pitcher with relief of a windmill and birds tending their nest, 8" h., 6" h.
Competitive in-house shipping is available for this lot.
Condition:
Pitcher-firing crack to base. Creamer-small flake to tip of spout. 1/2'' next to spout. Small rim repair to lid.
THREE CLEATER & BILLIE MEADERS FACE JUGS Three Cleater & Billie Meaders face jugs, including a double face jug with strap handles, clay teeth, blue eyes on one side, and brown on the other, signed and dated 1991 underneath; a tall face pitcher with brown eyes looking to the side, signed and dated 1994; and a small cream jug with teeth and and crossed eyes, signed and dated 1990, all with olive tobacco spit glaze. Provenance: From the Private Collection of Bebe & Earl Lou Leonard, Atlanta, Georgia. Approximate dimensions: double face h. 9. 5", dia. 7"; tall pitcher h. 10. 5", dia. 6. 5"; small pitcher h. 4. 5", w. 4", d. 4. 25".
Eight Assorted Toby Jugs, two Wood & Sons "Toby" jugs with green shirts and yellow stockings, a "Sterling" character face jug, a Sylvac Staffordshire "Old Toby," two Lancaster & Sandland Ltd. face jugs, a "Tony Wood" Staffordshire jug, and an Irish "Sean" face jug, ht. 2 1/2 to 7 1/2 in. Estimate $200-300 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Three South Carolina Stoneware Jugs: likely attributed to Landrum or Baynham, Edgefield District, mid to late 1800's, three jugs with mottled brownish tan alkaline glazes, applied ridged strap handles to shoulder, thick collared rim, 11, 12 and 14-1/2 in. , large jug with 2 circular impressions near handle - Provenance: Collection of Dr. Joseph T. and Gaile E. Wingard, Jacksonville, Florida Condition glaze voids and anomalies as made, small jug with 1 in. rim loss and base edge chip, medium jug with 1/2 in. rim chip, glaze wear and frit at belly, large jug with BB hole to side of jug with associated hairlines radiating out, sizes ranging 12 in. , 2 in. , 4 in. , 1 -1/2. , other minor associated glaze hairlines, 1/4 in. plugged hole at shoulder, other glaze wear and losses, base edge wear
Eight pieces of copper lustreware: 7 1/2" pitcher with large handpainted rose and florals; 5" pitcher with lavender band, chip to spout; 4" pitcher with blue band, chip to spout and some roughness to rim; 3 1/4" pitcher with blue striped band; 3 1/4" pitcher with blue and gold striped band; 3 1/4" pitcher with green and gold striped band, small chip at spout; 4" mug with gold band; and 2 1/2" mug with blue band.
Six Wedgwood Olive Green Jasper Items, 19th and 20th century, including a syrup, a bowl, a creamer, a covered sugar, a small jug and a pitcher, ht. to 6 1/4 in. Estimate $300-500 there is a flake to a bowl, cracking to the relief of the pitcher and creamer, and pitcher with touchups to relief at handle The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Nine Assorted Pottery Items, two small blue-glazed pearlware mugs: one with black seaweed mocha decoration, one with black transfer sheep and stag designs; four pieces of yellowware: a pint mug with three white bands, two pitchers with white and blue bands, and a small teapot with blue seaweed mocha decoration on a white band flanked by thin blue bands, (lacks cover), an unrelated cover with green seaweed mocha band, a whaite-glazed ceramic pitcher with a band of red stick spatter designs and green stripes, and a red pottery pitcher with white band and a green drip glaze, (imperfections), ht. 2 7/8 to 10 3/4 in. Estimate $600-800 Blue mug with mocha design- couple shallow minute rim chips, interior hairlines with brownish discoloration. Blue mug with transfer designs- vertical crack on side by handle. Yellowware: Pint mug- two small rim chips. Larger pitcher with blue bands- base hairline, brownish discoloration. Smaller pitcher with white and blue bands- good condition. Teapot- lacking cover, a few small chips on spout rim, spreading hairlines on base. Cover- three chips to interior fitter rim. white pitcher with stick spatter dec.- hairline and overpaint on spout. red pottery pitcher- some superfluous foam type material has been applied to the bottom of the interior. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
RARE AND UNUSUAL PATTERN GLASS PITCHER ON STAND. Clear glass pitcher with a pattern of interlocking leaves in a clear glass. Large pitcher has a hook under its large spout to hold a cup and sits atop a cradled stand with identical decoration. Stand allows for the pitcher to be tipped for pouring purposes. Piece is unmarked. Also included is a pattern glass cup with does not match. SIZE: Pitcher is 8-1/2” h. Stand is 7-1/2” h. CONDITION: On the rim of the pitcher is an imperfection bubble in the making.. Also another imperfection line that was formed in the making on the rim. Otherwise very good with some minor roughness to edges. 9-72293 ($300.00-$500.00)
4 GA FOLK POTTERY ITEMS, INCL. SNAKE JUG, HOG VESSEL, F...Four (4) Georgia stoneware folk pottery items, including snake jug, hog vessel, and face jug. 1st item: Cream slip-glazed, closed-mouth rattlesnake jug by Michael (Georgia, b. 1956) and Melvin Crocker (b. 1959) with alternating tan and brown crossbands to body, light brown rattle, and incised scale and facial detailing. Signed, titled, and dated to underside, "Michael A. Crocker + Melvin S. Crocker #1 Snake Jug 1989". 10 3/4" H x approximately 8 3/4" dia. Note: This piece is one of the earliest snake jugs made by the Crocker pottery. 2nd-3rd items: Two (2) green alkaline-glazed pottery items by C. J. Meaders (Georgia, 1921-2003), including one (1) hanging hog face vessel with tan inset eyes and four teeth, open nostrils, and hanging loop; signed, titled, and dated to inside, "C. J. The Hangin Hog 1994"; and one (1) face jug with pairs of grey inset teeth and eyes with blue painted irises having a pinched spout; signed and dated to underside, "Cleater and Billie Meaders 1990". Ranging in size from 4 1/8" H x approximately 4 3/8" dia. to 8 3/8" H x 10 7/8" W x 9 3/4" D. 4th item: Green alkaline-glazed mug by Lanier Meaders (Georgia, 1917-1998) with applied handle and line detail to body. Signed to underside "Lanier Meaders". 3 3/4" H x 4 3/4" W x 3 1/4" dia.
The Collection of Dr. Joe Newsom Rawlings, Davisboro, Georgia.
Condition:
1st item: Minor surface grime; previous repair evident to snake's neck with corresponding hairline along the circumference. 2nd-3rd items: Hog with minor hairline to back of left ear measuring 1 1/8" L; minor loss to glaze at nostril measuring 1/4" x 1/8". Face jug in overall very good condition. 4th item: Overall very good condition.