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An impressive three-part slop bucket (also known as a slop pail or slop jar) with bucket, liner and lid, decorated in the Art Nouveau inspired Seymour pattern. Decoration is applied via transfer print as well as hand enamelling. The bulk of the vessel is a white reserve with abstracted rams’ heads; tiny green hearts descend from just beneath the ram’s horns. Bands around the base and top of the vessel, as well as the liner and lid is on a gray ground, with a undulating green leaf motif and further hearts, these in white. Applied knobs to the side of the vessel feature an attached wicker handle. There are knobs on either side of the bucket complete with a carrying wicker handle.
An oval shaped cake plate with molded, scalloped edges and shell handles. Central design of flowering peonies in a basket; the edges of the plate carrying floral sprays. The overall palette is puce red and turquoise with some green and yellow. Somewhat mimicking the kakiemon palette and asymmetrical composition of Japanese examples, however the hues, balance and rendering are completely Victorian English being quite stilted, vibrant and slick.
Round pot lid with outdoor scene of Queen Victoria inaugurating the National Rifle Association. She is grasping a string attached to a rifle. She stands beneath a tent canopy, surrounded by various dignitaries and soldiers; a British guard stands nearby with the Royal Standard. Various other flags fly in the distance.
Footed canoe basket
An oval basket on raised foot with molded decoration emulating basket weaving. The upper band of the basket with pierced arches. Inside the basket, just below the pierced arches, is a band of cobalt and gilded feathers.
Octagonal plates, reflecting the Japanese influence of asymmetrical decoration in the late 19th century, manifested in the Aesthetic Movement. Foliate and flowering branches cut across the plate surfaces, each featuring a specific bird from the Essex area of the UK
Small vase with high shoulder and ruby flambé glaze with decoration of fish and seaweed and sandy, sea floor
White body with bold, large decoration of three birds [in the Chelsea style] in vegetation. Central bird is the largest with vivd pink, purple, red, grey and yellow feathers and crested head. It stands on a purple rock and is flanked on either side by two smaller, but similarly coloured and plumed birds, perched on foliate branches.
Plate with bird decoration painted in iron and cobalt on a grey slip ground. The iron has been lustred
An altered cylindrical vase, broader at foot, pinched at waist and then rising, everting slightly to shoulder prior to inverting to mouth with inset lid. Near mouth, above shoulder, are four raised protrusions; the lid features an small arched handle. The jar is uniformly covered by a thick brown glaze. Inside of vessel is unglazed stoneware.
Tall, narrow vase of square circumference which rises to a flat square lip surmounted by a peaked handle (providing a triangular profile). This profile is echoed in the small triangle which juts out from the side of the vase close to the mouth of the vessel, as well as the two diamond-shaped cartouches at approximately 2/3 of the vessel’s height. The vase carries a band of bronze glaze at the base, which is reiterated at the top of the vase, as well as carried on the mouth rim and handle. The diamond cartouches and the triangular form which juts from near the top of the vase are also bronze coloured. The rest of the vase consists of a blue glaze with rivulets of white slip trailed down the height of the vessel.
Wide, compressed, lidded jar. From foot, the body angles out quite strongly, featuring a wide band of textured surface before beginning to angle inwards on the wide lip. The high lip veers outwards and the relatively large lid is inset within it. Olive green glaze with passages of brown. The interior of the vessel is white glazed and exposed stoneware where lid is inset.
Grey body with central well painted blue. Incised [to grey body] in well is an abstract image of what appears to be a bird with a large eye. Black glaze is freely applied to border areas (with overlap on blue well) in freehand, abstracted designs. It recalls the ceramics of Juan Miro.
Tea bowl, saucer
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