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"Decorative Arts Ceramic"

Dinner plate

Painted en grisaille by John Pennington, within an underglaze blue border with elaborate mercury gilding. The plate is from the well-documented Hope service, made for the Duke of Clarence, later William IV. Each piece is painted with a different scene of Hope and the anchor. John Pennington (c. 1765-1842) came to Flight in 1789. He became one of the company's finest artists, specializing in monochrome painting of figure subjects. The crown, Flight and crescent mark on base is very rare. (Kathleen Campbell, Curator Emerita, 'Focus Four: The Translucent Quality, 2001)

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Dish

Octagonal oval platter painted in underglaze blue with the "Image" pattern of a Chinese man and a boy in a landscape setting of flowering shrubs and rocks. Rim has a painted scalloped border and four precious objects are painted on the underside

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Teapot

The globular shaped teapot is decorated in the Japanese Kakiemon-style. Alternating vertical panels of orange (iron-red), having gilt diagonally crossed lines, each panel containing a simple white chrysanthemum flowerhead. Contrasting panels have floral sprays on white ground in orange, green and aqua blue. Flowers include chrysanthemums and prunus, two panels of each flower. The finial is a moulded flower and stem.

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Soup tureen

Covered soup tureen, rectangular in shape with a low foot rim. It is decorated with brown transfer prints taken from W.H. Bartlett's Canadian Scenery. On the body of the tureen are "Rapids on the Approach to the Village of the Cedars" and "The Chaudier near Bytown". The cover has Wolfe's Cove" (with minor adjustments to fit space), also "Village of Cedars, River St. Lawrence" (modified, without church and crucifix). Under the handles are vignettes of "Quebec" and "Port Hope". After engravings by W.H. Bartlett.

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Breakfast cup, saucer

Cup and saucer bearing the insignia of Admiral Lord Nelson. Imari pattern with three armorial reserves painted in underglaze cobalt blue and overglaze rust and green enamels with gilding.

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Jug

Slender jug, with tapering form, tube-lined with tulips beneath a band of hearts, washed in blue and green. Art Nouveau.

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Charger

The well of the charger is painted after Botticelli with a maiden in front of an ivy trellis, inside a band of waterlily flowers and leaves, in shades of blue, yellow, green and brown.

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Vase

Vase is incised with vertical linear decoration; covered with a blue lustre-glaze. Slender, shouldered form.

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Vase

Vase in baluster form with everted rim, pitted mint green and sang de boeuf spots, running to lavender base rim over white ground. Flambe glaze.

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Platter

Relief-moulded earthenware platter decorated with semi-translucent coloured glazes in mottled effect. Scalloped rim with dot-and-diaper pattern. Glazes: brown, green, yellow.

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Nut dish

Shaped majolica-glazed plate with raised rim-form comprising five overlapping leaves. At the stem area, a squirrel is sitting among a gathering of nuts. The leaves and squirrel are realistically modelled and glazed. Leaves: edged in yellow ochre, with the green glaze pooling in the veining giving contracting shades. The unshelled nuts are a lighter green and the squirrel (and shelled nuts) in shades of brown.

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Covered vegetable dish, strainer

All three components of the covered tureen [dish] and strainer contain the Dame au parasol decoration -- two women, one holding a parasol over the other. They stand amid tall grasses and four marsh birds (incl. a ruff and spoonbill, both native to Holland). There are also figures in each of the four corners of the tureen [dish] and cover. Rounded corners. The design is of Dutch origin, possibly taken from an engraving by Cornelius Pronck (1691-1759). An unusual example in the Japan-pattern category, painted and gilded in the Imari palette: rust-red, blue, gold. At this period, gilding at the Spode factory was of particularly high quality (especially the innovative matt-gilding). The pattern is well-balanced within the “frame”-borders; the white area of sky setting off the subject matter to advantage (although not of Kakiemon design). It also relates to the Chinese quail pattern, later used by most of the major English porcelain factories as a decorative element and well-represented in the collection. A strainer is not usually found in a vegetable tureen, and so is of added interest, especially as all three pieces are fully painted. The work is of the highest quality -- a fairly early example of Spode stoneware. (per Kathleen Campbell, Curator Emerita)

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Dessert plate

Dessert plate with wide moulded primrose-leaf border painted in two shades of overglaze grey enamel, with gilded veining. The leaves overlap each other and are realistically moulded. The centre decoration comprises a flower group painted overglaze in polychrome enamels. The plate is a rare example of Rockingham; not many dessert shapes were produced that follow natural forms. Although not marked (not unusual in Rockingham) the plate belongs in the red-mark period. Examples of this pattern may be seen at the V&A. (per Kathleen Campbell, Curator Emerita)

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Sauceboat

Silver-shaped, painted in underglaze blue. Moulded gadrooning surmounted by a floral border with rococo-shaped rim. The crabstock handle entwined with a biting snake. The floral border is repeated at the interior rim. The handle also has underglaze blue decoration. A soapstone porcelain with added calcium that reacts to make a unique ingredient called diopside, and, once discovered, is useful in identifying Vauxhall. (as per Kathleen Campbell, Curator Emerita)

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Dinner Service

Dinner service consisting of one lidded soup tureen, two lidded sauce dishes, four lidded vegetable dishes, seven platters, nine dinner plates, nine dessert plates and nine soup plates. The pattern, Old Crown Derby Rose, is one of a number of patterns influenced by Japanese Imari. These patterns surfaced in the 18th century, increasing in use during the first quarter fo the 19th century when this service was made. The Japan patterns are still produced today to great demand. The colours are those of the Imari palette: cobalt blue, red and gilding. Green is also present. The cobalt blue present on the tureen is not as crisp, but rather has flowed and blurred.

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Pitcher

The contours of this coral pitcher are organic, soft, flowing and sensual. The handle emerges from the main body as a pulled, curved member; it is a natural not obvious element to the design.

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Teapot

Small 2 cup size teapot of pear shape with domed lid surmounted by a version of the Widow finial in white jasper. The teapot is blue jasper dip with classical decoration applied in white jasper. The sibyl finial is surrounded with four motifs from "Maternal affection, The Domestic Employment, Family School(?)" series all designed by Lady Elizabeth Templetown (1747-1823). The fourth motif is of shepherd and lambs. The body of the teapot has two classical female figures within niches, somewhat reminiscent of the revived Gothic style of arcaded moulding, foliate decoration around spout terminal and handle area. In ancient times, the sibyl represented a mouthpiece of the gods endowed with prophetic or oracular powers.

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Urn-shaped vase

Reticulated urn-shaped vase supported on a footed and stepped base. Designed and carved by George Owen.

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Urn-shaped vase

Vase and cover. Good example of pâte-sur-pâte technique and gilding is also of high quality. The ground colour shows the relief decoration in clear contrast.

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Urn-shaped vase

Vase and cover. Good example of pâte-sur-pâte technique and gilding is also of high quality. The ground colour shows the relief decoration in clear contrast.

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Vase

Gourd-shaped vase of earthenware with alkaline glaze. The decoration has been outlined in cobalt blue and lustred in different tones of silver and copper. This gourd shape was adapted by William De Morgan from Persian pottery. It was decorated with an unusual combination of different tones of copper and silver lustres, which give the vase a soft and subtle finish. The grouping of animals is in a manner reminiscent of a medieval bestiary embellished with swirling plant motifs. (per Kathleen Campbell, Curator Emerita)

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Salt

Three-sided Henri Deux ware salt, with the same decoration repeated each side. Three figures, each holding a crest, are set into the open centre, below the wreath-decorated salt well. Bearded figures are modelled to each of the three feet, columns above them. The salt is modelled in the style of 16th century Saint Porchaire faience and showing the interlaced crescents of Diane de Poitiers. Many pieces of Saint Porchaire incorporated armorial bearings. Elements of the Mannerist-style are evident: grotesque and strapwork. Saint Porchaire: French factory active c. 1542 and probable source of a highly individual type of lead-glazed earthenware. The wares were decorative, made of a fine-grained earthenware body. The decoration involved intricate inlaid patterns of strapwork, achieved by impressing the clay with metal punches and filling in the pattern so formed with clays of contrasting colours. Red, yellow and brown tones dominated, covered with a transparent and lead glaze. (per Kathleen Campbell, Curator Emerita)

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Comport

The scene depicted on the comport is The Assiniboine Rescues Bucephalus and covers the centre of plate. Two packhorses are floundering in a fast-flowing river. One, Bucephalus, is being rescued by Louis Patenaude, an Assiniboine and a First Nations guide. The spectacular scenery of the Rocky Mountains fills the background. The rim is hand-pierced in lattice design and gilded and links roundels also enriched with acid gold decoration. Five roundels are designed with a vase of flowers, the sixth (and top) roundel holds the Milton monogram. The lattice work is bordered on each side with gilded bands of laurel leaves. The base of the comport is circular, gilded, with a border of laurel leaves similar to the plate. Three scroll-footed legs, with the scroll placed over the pierced border, rise to a shaped platform comrpising three large and three small horizontal sections. Laurel leaf garlands are suspended from each side of the larger sections; a small pendant from the smaller. All are gilded. The platform in turn supports a cup-shaped form that holds the plate.

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Turkey Cock figurine

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Sauce boat, stand

The shape of the sauceboat is adapted from Chinese and Japanese vessels that take their inspiration from nature-leaves or blossoms. This particular example incorporates a sprig handle and leaf feet which appear to grow into the body of the vessel. Decorated on the top as well as underside with puce-molded veins and green leaves, the stand supports a sauce boat with stalk handle, applied and molded with strawberry blooms and buds.

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