A few examples of appraisal values for
RENAISSANCE WARE

• RARE VENETIAN ENAMEL AND PARCEL
  RARE VENETIAN ENAMEL AND PARCEL GILT DECORATED COPPER CHARGER LATE 15TH/ EARLY 16TH CENTURY the well centred by a raised boss with white gadrooned border and green band enclosed by an outer gadrooned border in cobalt blue in opposing directions of rotation, on a white ground highlighted with gilt oak leaves, stars and acanthus, the reverse in cobalt blue enamel with gilt stars29.5cm diameterProvenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.Note:Venice in 1500 was enjoying a golden age as one of the richest and most powerful trade and cultural centres in Europe, trading extensively with the Byzantine Empire, the Muslim world, and beyond. Its strategic position as the nexus of the lucrative trade routes to the East and Africa enabled it to secure a monopoly on rare and exotic goods and materials, and the city grew rich. Its overseas empire spanned across the Mediterranean, to include territories from Friuli all the way to Cyprus. The production of luxury goods flourished, as producers could source the best materials, and wealthy merchant and aristocratic clients fuelled demand.The Venetian enamel wares represent a beautiful amalgamation of different influences and illustrate how well-connected Venice was in the Renaissance. They are generally of exceptional quality and have a very unique, easily distinguishable style. Many of the surviving examples were clearly for use in a religious context, however the present example with its central silver and green armorial indicates it must have been commissioned by an aristocratic family.Italian nobility in the Renaissance used a variety of elaborate and precious vessels for formal dining, but the most splendid tableware was displayed on sideboards or credenze around the sides of the room as a show of wealth. The shapes with their raised gadrooning are inspired by silver and other metal wares, which also inspired glass produced in the same region. Another source of inspiration may be the famous deep blue Lajvardina ceramics produced in Persia. This would not be unlikely, as Venice had been a crossroads for trade between Africa, Asia and Europe since medieval times.The technique is related to early Netherlandish examples. The objects were hammered from copper sheets, then fused with a thin layer of powdered glass using high heat with the main colours being cobalt blue, dark green, white and more rarely turquoise, red and black. The first layer of opaque white is the key to making the colours applied over it look luminous. Pieces were decorated with further enamels of different colours fixed with subsequent firings. Finally, patterns of gold foil were applied and fused to the enamel surface using lower, but still elevated, temperatures. These were applied to the surface of the enamel to create repeating patterns and were likely stamped with small tools used to apply fine metallic foil, called paillon, yielding a textured surface. Although the gold foil is very rubbed in most examples due to not having been fired, a few areas still show these original textures. Some of the stars on the present chargers still have their raised centres.The uniform style and the relatively short period in which all of the known Venetian enamel wares were produced date them almost exclusively from the late 15th century to the mid-16th century. Although Venice was well renowned as a centre of glass it remains largely unrecognised as a major centre for the production of enamels. Surviving pieces like the present two lots are rare, with only a few hundred known in private collections and museums.
• A collection of Royal Doulton
  A collection of Royal Doulton English Renaissance Dinner and Tea Wares (29)
• IMPORTANT PAULDING FARNHAM FOR
  IMPORTANT PAULDING FARNHAM FOR TIFFANY & CO STERLING SI...DESCRIPTION: An Important Tiffany & Co Sterling Silver Figural Centerpiece/Plateau. American silver and cut-glass Renaissance Revival pattern centerpiece mounted on a mirror plateau, designed by Paulding Farnham for Tiffany & Co., New York, circa 1905. Paulding Farnham openwork strap-work base hung with fruit swags and centered by a car-touche on each side engraved with arms, crest and motto, with winged putti flanking the central stem supporting a screw-on silver-mounted cut-glass vase, the mounts with male and female caryatid figures at intervals, flanked by two silver baskets topped by winged female figures and supporting cut-glass bowls, all screwed on to an oval mirror plateau with a matched silver rim. marked on base and numbered 16199-1121, Length 21.1/2" (54.6 cm). The arms are those of Bolle or Bolles. Paulding Farnham designed a monumental Renaissance Revival tea and coffee service for the 1904 Louisiana Purchase Exposition in St. Louis. The winged female figures that form the handles were based on similar figures by the artist Hans Holbein the Younger (1497-1543), an artist Farnham must have admired as he also produced a piece of jewelry after a Holbein design. The service was so successful that Tiffany introduced additional hollow ware forms and a flatware line in the Renaissance Revival pattern the following year. CIRCA: Early 20th Century. ORIGIN: USA DIMENSIONS: H 17" x 22" x 12" Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• Books: Fine art furniture
  Books: Fine art furniture decorative arts and travel guides Bernier Rosamond. MATISSE PICASSO MIRO: AS I KNEW THEM. New York: Alfred A. Knopf 1991. Bridgman George B. BRIDGMAN'S LIFE-DRAWING. London: John Lane the Bodley Head Limited 1926. Neuhaus Eugen. WILLIAM KEITH: THE MAN AND THE ARTIST. Berkeley California: University of California Press 1938. Peters Harry T. CURRIER & IVES: PRINTMAKERS TO THE AMERICAN PEOPLE. Garden City New York: Doubleday Doran & Co. Inc. 1942. Walker Phoebe Flory (et al). WATERCOLOR PORTRAITURE. New York: G.P. Putnam's Sons 1949. Watson Ernest W. COLOR AND METHOD IN PAINTING: AS SEEN IN THE WORK OF 12 AMERICAN PAINTERS. New York: Watson-Guptill Publications Inc. 1946. Weisberg Gabriel P. ART NOUVEAU BING: PARIS STYLE 1900. New York: Harry N. Abrams Inc. 1986. Conrad Barnaby (et al). INTERVIEWS WITH MASTER PHOTOGRAPHERS. New York: Paddington Press Ltd. 1977. Signed by author. Conrad Barnaby. JOHN REGISTER. San Francisco: Chronicle Books 1989. Signed by author. Fowler Don D. THE WESTERN PHOTOGRAPHS OF JOHN K. HILLERS. Washington & London: Smithsonian Institution Press 1989. ARCHITECTURAL MONOGRAPHS: JOHN SOANE. London: Academy Editions 1983. Inscribed: For Millei From the author London April 1984. Chaffers William. MARKS AND MONOGRAMS ON EUROPEAN AND ORIENTAL POTTERY AND PORCELAIN. California: Borden Publishing Co. 1946. With dustjacket. Giacomotti Jeanne. FRENCH FAIENCE. New York: Universe Books 1963. 1st edition. With dustjacket. Honey William Boyer. EUROPEAN CERAMIC ART FROM THE END OF THE MIDDLE AGES TO ABOUT 1815: A DICTIONARY OF FACTORIES ARTISTS TECHNICAL TERMS ET CETERA. London: Faber and Faber Limited 1952. With dustjacket. Schmidt Robert. EARLY EUROPEAN PORCELAIN AS COLLECTED BY OTTO BLOHM. Munchen: F. Bruckmann 1953. Limited edition 355/1500. With dustjacket. Tilmans Emile. PORCELAINES DE FRANCE. Paris: Editions Mondes 1953. CORONATION EXHIBITION:1953. London: The Antique Porcelain Co. Ltd. 1953. IRO-NABESHIMA: THE COLOURED NABESHIMA CERAMIC WARE. Japan: Heian-Do 1954. Limited edition. With dustjacket. STAATLICHE PORZELLAN-MANUFAKTUR: MEISSEN. Berlin:1978. Pamphlet. Aronson Joseph. THE ENCYCLOPEDIA OF FURNITURE. New York: Crown Publishers 1949. Jarry Madeleine. LE SIEGE EN FRANCE: DU MOYEN AGE A NOS JOURS. Paris: Paul Hartmann 1948. With glycin book cover. Oglesby Catharine. FRENCH PROVINCIAL DECORATIVE ART. New York: Charles Scribner's Sons 1951. With dustjacket. Viaux Jacqueline. FRENCH FURNITURE. New York: G.P. Putnam's Sons 1964. With dustjacket. Watson F. J. B. FURNITURE: TEXT WITH HISTORICAL NOTES AND ILLUSTRATIONS. London: William Clowes and Sons Ltd. 1956. M. HARRIS & SONS CENTENARY BOOK. London: M. Harris & Sons 1968. Limited edition numbered 121. Barton John. THE HOLLOW CROWN: THE FOLLIES FOIBLES AND FACES OF THE KINGS AND QUEENS OF ENGLAND. London: Hamish Hamilton 1971. With dustjacket. Fillitz Hermann. SCHATZKAMMER: THE CROWN JEWELS AND THE ECCLESIASTICAL TREASURE CHAMBER. Vienna Kunsthistorisches Museum 1963. Gudiol Jose. THE ARTS OF SPAIN. New York: Doubleday & Co. 1964. With dustjacket. Neuhardt Johannes. SALZBURGS ALTE SCHATZKAMMER: 11 JUNI BIS 15 SEPTEMBER 1967 IN DEN ORATORIEN DES SALZBURGER DOMES. Salzburger Domkapitel 1967. Steingraber Erich (ed). ROYAL TREASURES. London: Weidenfeld & Nicolson 1968. With dustjacket. Zucker Benjamin. GEMMES ET JOYAUX: MYSTERES PASSIONS MAGIES. Editions Saphir 1988. With dustjacket. LOUIS XIV FASTE ET DECORS: MAI-OCTOBRE 1960. Paris: Musee des Arts Decoratifs 1960. TREASURES OF BRITAIN AND TREASURES OF IRELAND. London: Drive Publications Ltd. 1968. 1st edition. With dustjacket. Together with pamphlet. THE COURT OF JEWELS: AN ASSEMBLY OF FABULOUS GEMS FROM THE WORLD-FAMOUS WINSTON COLLECTION. Ambriere Francis. LES GUIDES BLEUS: ALLEMAGNE REBUBLIQUE FEDERALE BERLIN; AUTRICHE; BOURGOGNE LYONNAIS; ITALIE; PORTUGAL MADERE ACORES; and YOUGOSLAVIE. Paris: Hachette 1962 65 68 70 & 72. (6 vols). Two with slipcases. Ambriere Francis. LES GUIDES BLEUS: HOLLANDE; GRECE; and EGYPTE. Paris: Hachette 1956. (3 vols). With dustjackets. Ambriere Francis. LES GUIDES BLEUS ILLUSTRES: VERSAILLES ET LES TRIANONS and MOSCOU LENINGRAD. Paris: Hachette 1953 & 63. (2 vols). Baedeker K. MIDI DE LA FRANCE; NORD-EST DE LA FRANCE; and SUD-EST DE LA FRANCE. Paris: Leipzig 1892 97 and 99. (3 vols). Champigneulle Bernard. VERSAILLES: LE CHATEAU LES JARDINS LES TRIANONS. Paris: Bordas 1949. Chettle G. H. HAMPTON COURT PALACE. London: Her Majesty's Stationery Office 1969. Clyne Douglas. YOUR GUIDE TO PORTUGAL. London: Alvin Redman 1965. With dustjacket. Delalle Ivo. TROGIR. Trogir: L' Association de Tourisme de la Commume de Trogir 1969. Foder Eugene (ed). FODER'S SCANDINAVIA 1970. London: Hodder and Stoughton 1970. With dustjacket. Gebelin Francois. THE CHATEAUX ON THE LOIRE. Paris: Editions Alpina 1950. Joffet Robert. BAGATELLE: HISTOIRE ET GUIDE. Paris: La Maison Rustique nd. Kininmonth Christopher. THE TRAVELLERS' GUIDE TO SICILY. London: Jonathan Cape 1972. Levron Jacques. ANGERS: SON CHATEAU SES MONUMENTS. Paris: B. Arthaud 1952. Muirhead L. Russell. SHORT GUIDE TO PARIS. London: Ernest Benn Limited 1951. With dustjacket. Pillement Georges. LES HOTELS DU FAUBOURG SAINT-GERMAIN. Paris: Editions Bellenand 1950. Segogne d' Henry De. LES CURIOSITES TOURISTIQUES DE LA FRANCE: SEINE ET OISE (2); EURE ET LOIR; and MANCHE. France: Kleber-Colombes 1952. (4 vols). With dustjackets. Vernes Suzanne. GUERMANTES. Paris: Editions Proba 1949. Author signed. ATLAS HISTORIQUE. Munich: Stock 1968. LES GUIDE LEBEY: DE RESTAURANTS DE PARIS. Paris: A. Leconte 1988. With dustjacket. Together with pamphlet. VERSAILLES. 1950-51. BUTTERFIELD & BUTTERFIELD: THE ESTATE OF MICHAEL TAYLOR: SAN FRANCISCO. 1987. With dustjacket. CHRISTIES INTERNATIONAL MAGAZINE: OCTOBER-NOVEMBER 1988; JANUARY-FEBRUARY 1989; and FEBRUARY-MARCH 1989. (3 vols). CHRISTIES: REVIEW OF THE SEASON: 1972-80 & 1988-89. (11 vols). With dustjackets. CHRISTIES: REVIEW OF THE YEAR: 1970/71. With dustjacket. CHRISTIES: CATALOGUE OF MAGNIFICENT JEWELS: 1969 & 1970. (2 vols). COLLECTION LADY KENT: ET A DIVERS AMATEURS. 1959. COLLECTION LOUIS MANTE. 1956. ETUDE COUTURIER-NICOLAY. 1983. SOTHEBY & CO: THIRY RENAISSANCE JEWELS AND WORKS OF ART FROM THE COLLECTION OF THE LATE ARTURO LOPEZ-WILLSHAW. 1970. With dustjacket. SOTHEBY & CO: THE RENE FRIBOURG COLLECTION (vols III & VII). With dustjackets. SOTHEBYS: PARKE BERNET LOS ANGELES: 1976. SOTHEBYS: THE IVORY HAMMER. (vols I & II). SOTHEBYS: THE JEWELS OF THE DUCHESS OF WINDSOR. 1987. With dustjacket. SOTHEBYS: THE PATINO COLLECTION. 1986. With dustjacket. THE BURLINGTON HOUSE FAIR. 1982. THE CONNOISSEUR YEAR BOOK: 1956. With dustjacket. THE GROSVENOR HOUSE ANTIQUES FAIR. 1984. VENTE DES FLORALIES. 1966. (97pcs) Provenance: From the literary collection of a titled French lady. 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• A 117 PIECE REED & BARTON
  A 117 PIECE REED & BARTON STERLING SILVER "FRANCIS I" F...A 117 PIECE REED & BARTON STERLING SILVER "FRANCIS I" FLATWARE SERVICE, MARKED, 20TH CENTURY, each piece modeled in traditional pattern and verso with maker's marks, comprising six dinner forks, fifteen luncheon forks, fifteen salad forks, four shrimp cocktail/oyster forks, one tea fork, nine dinner knives (HH), four luncheon knives (HH), two large place knives (HH), two place knives (HH), one fruit knife, fifteen soup spoons, eight teaspoons, three demitasse spoons, three iced tea spoons, one butter knife flat handle, one butter knife (HH), three butter spreaders (HH), three pierced serving spoons, three serving spoons, one tablespoon, one small pierced olive/pickle fork, one sugar "shell" spoon, one melon spoon, one sterling silver and black plastic salad serving spoon (HH), one sterling silver and black plastic salad serving spoon with fork edge (HH), two large cold meat forks, one gravy ladle, one punch ladle (HH), one sliced tomato flat server, one cheese serving knife (HH), one pie/cake serving knife (HH), one cake comb (HH), one roast carving fork (HH), one roast carving knife (HH), one bar knife (HH), one salt shaker, height: 3 1/2"; together with two Reed & Barton sterling silver "French Renaissance" salad forks, one same pattern lemon fork, and one S. Kirk & Son sterling silver "Repoussé" pie/cake serving knife (HH), length: 10 1/2"; total approximate weight not including hollow handle wares; 143.645 ozt. (121) Provenance: Estate of Del'losso Gaido, Galveston, Texas Condition: Surface scratches, dings, some spoons with slightly "guest bent" handles, two pieces with small colored residue in crevices, tarnish, and buildup throughout. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.”
• A LATE 19TH-CENTURY GILT-COPPER
  A LATE 19TH-CENTURY GILT-COPPER ELECTROTYPE TANKARD Elkington Mason & Co. of Birmingham circa 1860, of cylindrical form, with S-scroll handle, the hinged lid with baby Bacchus finial, after a 17th-century ivory tankard with silver mounts, representing the drunken Silenus, scroll handle and baby Bacchus finial, the underside inscribed 'From the original ivory in the possession of Henry Bedford Esqr, executed by Elkington Mason & Co. 1348'Height: 29cmNote:The Victorian era brought much invention and discovery, both industrial and for the arts. The firm Elkington & Co. were the epitome of innovation and were at the forefront of developments of electro-metallurgy.Elkington & co. honed their skills to create electroplate masterpieces and in particular electrotype facsimile copies of museum quality artefacts. They were also the only British company to consistently win the highest awards at all seven of the International Exhibitions held from 1851-1878.Founded by cousins, George Richards Elkington and Henry Elkington, and financed by the steel pen magnate Josiah Mason the company formed a relationship with the pre-cursor to the Victoria and Albert Museum, the South Kensington Museum to produce facsimile copies of museum artefacts for educational purposes known as a ‘type pattern’.In order to re-produce these type patterns, a mould is first made of the original piece and then sprayed with a silver paint to help conduct electricity, dipped in a solution with copper wires this first helps connect the copper and then the silver. The complex process produces a product that can be handled and examined for further research.Elkington & Co. was a commercial enterprise and did sell their electrotype wares. The Bedford tankard was the third project between the South Kensington Museum and Elkington & Co. It is the only known example where the name of the owner was credited on the piece. Various options were provided for the tankard with entirely copper costing 7l 7s to gilt or parcel gilt with a price of 10l 10s.Francis Bedford (1815-1894) loaned the 17th-century tankard to the museum in 1854. He was the founder of the Photographic Society of London (later the Royal Photographic Society), Prince Albert had commissioned him to photograph items in the Royal Collection and even purchased an image of the tankard taken by Bedford which still resides in the Royal collections today RCIN 2906112. The Bedford family were primarily civil servants, but their link to Sir Horace Walpole (1717-1797) might explain their interest in the arts. Horace was the youngest son of Sir Robert Walpole, Britain's first Prime Minister. His house Strawberry hill in Sussex became a living museum itself encompassing Renaissance maiolica, Holbein drawings, arms and armour among other collections. Bedford consequently was keen for further investigation on his museum worthy tankard.The purpose of their exercise was to provide educational tools, but with Elkington's success, they began to use the elements of the original 'type patterns' such as a handle, for other designs. This created a conflict of interest and may have been a contributing factor to why the relationship ended.There is today still a silver-gilt mounted ivory tankard carved with the same version of the Silenus story but with a different finial, in the Victoria & Albert Museum (accession number 880-1882), from the bequest in 1882 of John Jones, and is on display in the Whitely Galleries. More recent research has deemed that Ivory drum attributed to Flemish Baroque sculptor François Duquesnoy is now thought to be Augsburg Germany.Lots 3 and 4 offer an interesting insight into the Victorian period where the commercial industrial drive meets the desire to improve social and public order.
• RARE VENETIAN ENAMEL AND PARCEL
  RARE VENETIAN ENAMEL AND PARCEL GILT DECORATED COPPER CHARGER LATE 15TH/ EARLY 16TH CENTURY the well centred by a green and white armorial, enlcosed by a raised boss with an inner gadrooned border and an outer gadrooned border in white in opposing directions of rotation, against a cobalt ground highlighted with gilt oak leaves, stars and acanthus, the reverse in cobalt blue enamel with gilt stars 28cm diameterProvenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.Note:Venice in 1500 was enjoying a golden age as one of the richest and most powerful trade and cultural centres in Europe, trading extensively with the Byzantine Empire, the Muslim world, and beyond. Its strategic position as the nexus of the lucrative trade routes to the East and Africa enabled it to secure a monopoly on rare and exotic goods and materials, and the city grew rich. Its overseas empire spanned across the Mediterranean, to include territories from Friuli all the way to Cyprus. The production of luxury goods flourished, as producers could source the best materials, and wealthy merchant and aristocratic clients fuelled demand.The Venetian enamel wares represent a beautiful amalgamation of different influences and illustrate how well-connected Venice was in the Renaissance. They are generally of exceptional quality and have a very unique, easily distinguishable style. Many of the surviving examples were clearly for use in a religious context, however the present example with its central silver and green armorial indicates it must have been commissioned by an aristocratic family.Italian nobility in the Renaissance used a variety of elaborate and precious vessels for formal dining, but the most splendid tableware was displayed on sideboards or credenze around the sides of the room as a show of wealth. The shapes with their raised gadrooning are inspired by silver and other metal wares, which also inspired glass produced in the same region. Another source of inspiration may be the famous deep blue Lajvardina ceramics produced in Persia. This would not be unlikely, as Venice had been a crossroads for trade between Africa, Asia and Europe since medieval times.The technique is related to early Netherlandish examples. The objects were hammered from copper sheets, then fused with a thin layer of powdered glass using high heat with the main colours being cobalt blue, dark green, white and more rarely turquoise, red and black. The first layer of opaque white is the key to making the colours applied over it look luminous. Pieces were decorated with further enamels of different colours fixed with subsequent firings. Finally, patterns of gold foil were applied and fused to the enamel surface using lower, but still elevated, temperatures. These were applied to the surface of the enamel to create repeating patterns and were likely stamped with small tools used to apply fine metallic foil, called paillon, yielding a textured surface. Although the gold foil is very rubbed in most examples due to not having been fired, a few areas still show these original textures. Some of the stars on the present chargers still have their raised centres.The uniform style and the relatively short period in which all of the known Venetian enamel wares were produced date them almost exclusively from the late 15th century to the mid-16th century. Although Venice was well renowned as a centre of glass it remains largely unrecognised as a major centre for the production of enamels. Surviving pieces like the present two lots are rare, with only a few hundred known in private collections and museums.
• § JOHN WADSWORTH (BRITISH
  § JOHN WADSWORTH (BRITISH 1879-1955) EXTENSIVE ARCHIVE OF ORIGINAL DESIGNS AND SKETCHES mixed media (pencil; pen and ink; watercolour; bodycolour) some 150 items in total, on various paper and card stocks, various dimensions, including 10 items signed by Wadsworth, the remaining material unsigned but most attributable either to Wadsworth or an associate on external evidence or stylistic grounds: 1) Signed items: a) Design for a Sun-Dial to be executed in Irish-Green Marble with Brass Fitting (watercolour; with caption); b) Design for an embroidered doyley (watercolour; with caption); c) Design for Wadsworth's personal bookplate (black and gold ink with lilac watercolour; mounted); d) Designs for decorative friezes (on a single sheet, red and black ink heightened with gold, possibly gold leaf); e) Repeating foliate design (sepia ink with pencil); f) Calligraphic Christmas card design ('With best wishes from Mr and Mrs J. W. Wadsworth, Xmas 1910' in black ink, with 'Draycott Le Moors, Stoke on Trent' in pencil); g) Cover design for an edition of Dante (black ink and pencil, annotations verso; together with another design, unsigned but near-identical); h-j) Three watercolour views (a country church; a view in the Colosseum; a crooked tree with cottages; the latter with heavy outlining and shading in black ink);2) Views (watercolours, 13 in total, including wooded landscapes, beach scenes, architectural studies, and boats moored in a harbour);3) Bookplate designs, including two for Leon V. Solon (on 20 sheets, a few containing multiple designs, together with a few printed specimens);4) Lettering specimens and copies of illuminated initials from medieval manuscripts (28 sheets, most with multiple designs);5) Pattern designs after historical fabrics (watercolours, 6 in total, annotated on verso '17th century Italian', 'Italian damask, 17th century', 'Linen, Italian, 16 century', '15 or 16th-century oriental', '16th century Renaissance', 'Velvet, Persian, 17th century');6) Exhibition catalogue or poster designs for the North Staffordshire Art Society (5 in total), together with 3 similar designs for the Catalogue of the Malvern Art Club Exhibition,1928, woodblocks differentially hand-coloured;7) Large collection of assorted designs and sketches, including various floral patterns and motifs, a vase, book illustrations and embellishments (including 4 designs for publisher's devices or colophons: 'FINIS' written within scrolling foliate cartouche; two satyrs embracing beneath text 'THE END'; large sketch of an angel and supplicant with the text 'Carl Hentschel & Co. Photo-engravers' at the head; an allegorical female figure with robe and shield beneath text 'Bemrose & Sons Ltd. Printers, Derby & London'), and numerous female figures, several sketches evidently preparatory (approx. 50 in total);8) 3 engraved Christmas cards from Leon V. Solon addressed in pencil to John Wadsworth (for 1903, 1905 and 1909, spotted); 2 photographs of works by Leon V. Solon (one of Elizabeth I, the other captioned verso 'Le bain des nymphes'), both signed in the negative, mounted and inscribed by Solon to Wadsworth in pencil on mount, heavily spotted; and 1 further engraving inscribed by Solon to Wadsworth in pencil (device for a menu at 'Uplands'?);9) Other items including: a copy of Wadsworth's Designing from Plant Forms, 1910, first edition, original cloth; 1901-2 syllabus for Macclesfield Techincal and Science School and School of Art (8vo, original decorative wrappers, front cover design signed J. W. Wadsworth); dust jackets possibly designed by Wadsworth, etc. This lot includes a typed letter to Phillips auctioneers from C. J. Hancock requesting a catalogue for the sale.(approx. 150)Provenance: 'The Ceramic Art and Paintings of John and Philip Wadsworth', the auction of their estate, Phillips, Knowle, 8th April 1992, various lots including 55, 89 etc.Note: John William Wadsworth is best remembered as a designer of ceramics, but this extensive collection of material is an engrossing record of his interest in other fields including book decoration, bookplate design and landscape painting, and promises to reward further study. Born in Macclesfield, Wadsworth studied at Stockport School of Art and the Royal College of Art. In 1901 he was appointed assistant art director to L. V. Solon at Mintons, designing Secessionist ware, and became full art director soon after in 1905. He was art director at Royal Worcester from 1915 until returning to Mintons in 1935, where he remained until his death.