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Early 20th century Art Nouveau Epergne. Greenish glass and gilded metal. Measurements: 56 x 25 x 25 cm. An epergne is a type of table centrepiece consisting of a large central bowl or basket from which branches radiate to support small baskets, plates or candlesticks. In the specimen on offer, they take the form of soliflower vases joined at their base by a gilded metallic structure. The whole structure is characterised by the undulating appearance of Art Nouveau aesthetics. It can be used to contain any type of food or dessert.

Three plates. Catalonia, "Banyoles" series, 18th century. Glazed ceramic. With wooden stand. It shows signs of wear. Measurements: 20 x 5 x 5 cm. Three plates of 18th century Catalan pottery. Following the basic guidelines of Catalan pottery, the three plates have a figurative representation on their seats (birds and a flower), with yellow and green tones dominating over white engobe. The sensitivity of the craftsmen, European and Eastern influences and successive technical innovations gave the work of Catalan potters a unique character.

Art Deco Blessing plate from the first half of the 20th century. "Virgin of Montserrat". Metal. Measurements: 18 x 10 x 4 cm. Art Deco blessing box with the representation of the Virgin of Montserrat or La Moreneta, the black virgin, patron saint of Catalonia, but worshipped since medieval times beyond geographical frontiers. Benditeras are utensils that contain a container with holy water and are used to make the sign of the cross or to make the sign of the cross. They are a domestic version of the holy water fonts found at the entrance of churches, evoking the water fountains traditionally found in the surroundings or inside religious and magical places. In popular domestic use, they are usually placed by the front door or in bedrooms and are used by their owners to make themselves holy when they go to bed or get up. They can be defined as small plates or slabs, usually oval, on which various motifs have been carved or moulded, and which are decorated overall. Their lower front part includes a shallow receptacle for holding holy water.

Blessing box, late 19th - early 20th century. Wood, metal and porcelain. Measurements: 10 x 8 cm (metal); 17 x 11 cm (wood). Blessing box with a central enamelled porcelain plaque representing the Virgin in prayer, contained in an ebonised wooden structure dotted with porcelain hemispheres. This structure is in turn bordered by a sogueada metalised structure with a cross-shaped top. The basin of the benditera is made of porcelain. Benditeras are utensils that contain a basin of holy water and are used to make the sign of the cross or to make the sign of the cross. They are a domestic version of the holy-water fonts found at the entrance to churches, evoking the water fountains traditionally found in the surroundings or inside religious and magical places. In popular domestic use, they are usually placed by the front door or in bedrooms and are used by their owners to make themselves holy when they go to bed or get up. They can be defined as small plates or slabs, usually oval, on which various motifs have been carved or moulded, and which are decorated overall. Their lower front part includes a shallow receptacle for holding holy water.

Plate with metallic highlights from the Clavellinas series. Manises, 18th century. Hand-painted lustre-painted ceramic. It has some chipping. Measurements: 7 cm (height) x 29 cm (diameter). The Manises earthenware with the carnation decoration, which developed throughout the 18th century, is part of the Pardalot series which was still produced in the first third of the 18th century. In all of them, carnation flowers fill most of the surface of bowls and dishes. Their taste for small floral decoration is considered to be an Alcora influence, although Manises reinterprets it in a particular way. Lustre-painted ceramics would be the great art of the Nasrid period, although it was born in Almohad-era Spain between the second half of the 12th and the first half of the 13th century. In later times, it would develop particularly in Manises, where the Hispano-Muslim tradition would continue in both technical and decorative terms. This is glazed pottery, i.e. with a white glaze, very pure in the best examples, which is fired in the kiln. The cooled glaze is then decorated with a pigment composed of five basic ingredients: copper, silver, sulphur, almazarron (iron oxide) and vinegar. The final tone will depend on the proportion of these components, the more silver the more golden it is, and the more reddish it is if the copper predominates. Finally, the piece is fired for a second time at 650ºC in a reducing atmosphere to fix the decoration. Once the piece has been fired, the decoration is black in colour, so it has to be burnished to obtain the final shiny metallic gold tone.

Set of four plates. Late 19th century to first half of 20th century. Hand-painted porcelain. Slightly chipped in Pickman's. Measures: 24 cm (largest diameter). Set of four plates, a rare example in Sevillian porcelain by Pickman, another by the English designer Clarice Cliff for Newport pottery Bizarre and two others in Danish Royal Copenhagen porcelain. Set of four plates, a rare example in Sevillian porcelain by Pickman, another by the English designer Clarice Cliff for Newport pottery Bizarre and two others in Danish Royal Copenhagen porcelain.

Dish; Talavera de la Reina, 20th century. Painted ceramic. Measurements: 11 x 80 cm (diameter). A large ceramic dish with decorative elements and tonalities characteristic of Talavera ceramics. The great boom in Talavera manufacture took place between the 16th century and the mid-18th century, when French tastes were introduced into Spain, and the clientele began to prefer pieces from Alcora. However, Talavera experienced a new Golden Age at the end of the 19th century, with the historicism. Of Muslim origin, the ceramics of Talavera de la Reina acquired industrial importance from the 16th century onwards. Mentioned by Cervantes, Lope de Vega and Tirso de Molina, Talavera earthenware can also be documented in a large part of Spanish Baroque painting. Used by nobles and the humble, its commercial monopoly was in constant conflict with Sevillian earthenware. One of the architects of the recovery of Spanish Talavera ceramics was Juan Niveiro with the founding of the "El Carmen" factory; the incorporation of workers brought from Manises brought another important change in its decorative series.

Mon 10 Jun

SUITE OF SIX PLATES including a pair in "Chinese Imari" porcelain, decorated in cobalt-blue and iron-red enamels with gold highlights with a garden featuring weeping willows, lotuses and pierced rocks. Four porcelain plates in famille rose polychrome enamel and gilding, decorated with floral compositions and furnishings. (One plate cracked on the base; one plate restored; chips). China, Compagnie des Indes and Imari, 18th century. SIX PORCELAIN PLATES, CHINA, COMPAGNIE DES INDES, AND IMARI 18TH CENTURY. DIAM. 22.7 CM (8 15/16 IN.) - 22.9 CM (9 IN.) - 21.8 CM (8 9/16 IN.) - 23.4 CM (9 3/16 IN.)

Mon 10 Jun

FLORIFORM PLATE in porcelain and celadon enamel, decorated in light blue enamel relief with the five wufu, emblems of longevity. (Minor chips). China, Guangxu period, circa 1900. A CELADON GROUND PORCELAIN DISH, CHINA, GUANGXU PERIOD, CA. 1900. DIAM. 25.5 CM (10 1/16 IN.)

Mon 10 Jun

SUITE OF TWO MATCHING COVERED BOUILLONS in porcelain, polychrome enamels in the famille rose style and gold highlights, decorated with a dignitary riding a dragon accompanied by his servant and a young woman and children on a wooded terrace, the lid repeating the decoration of children playing beside the young woman. The lid handle is in the shape of a double peach of longevity. China, early Republic period. A PAIR OF FAMILLE ROSE STYLE PORCELAIN POTS AND COVER, CHINA, REPUBLIC PERIOD. HEIGHT. 21.5 CM (8 7/16 IN.) - 22 CM (8 11/16 IN.)

Mon 10 Jun

PAIR OF CIRCULAR PLATES in porcelain and polychrome enamels, decorated with two dragons chasing the sacred pearl among flames on a yellow background; on the reverse, flowers and foliage. Emperor Guangxu mark on base. (One restored; enamel wear, scratches). China, Guangxu period (1875-1908). A PAIR OF YELLOW-GROUND CIRCULAR PORCELAIN DISHES, CHINA, GUANGXU MARK AND PERIOD (1875-1908). DIAM. 27,9 CM (11 IN.)

Mon 10 Jun

ROUND COVERED TERRINE in porcelain and polychrome enamels in the famille rose style, decorated with birds among water lilies, a calligraphic poem on the side, two pairs of small handles holding metal handles. China, Minguo period (1912-1949). A FAMILLE ROSE STYLE PORCELAIN TERRINE AND COVER, CHINA, MINGUO PERIOD, EARLY 20TH CENTURY. DIAM. 23 CM (9 1/16 IN.)

Mon 10 Jun

PAIR OF PLATES in famille rose enamels on copper, finely decorated in the central medallion with a young woman at her toilette accompanied by two children in a richly furnished interior, one presenting her with a digested lemon, the wing, decorated with three reserves animated with floral compositions alternating with dragons in medallions on a geometric background, is enamelled fuchsia pink on the reverse, the base embellished with a melon and floret motif. (Some crazing and wear to the enamel, restoration to one wing). China, Qing dynasty, Yongzheng period, early 18th century. A PAIR OF EXPORT FAMILLE ROSE RUBY-BACK ENAMELLED 'LADY AND BOYS' PLATES, CHINA, QING DYNASTY, YONGZHENG PERIOD, EARLY 18TH CENTURY. DIAM. 22 CM (8 11/16 IN.)

Tue 11 Jun

Teller von Tsuboshima Dohei (Osaka 1929–2013) - Plate by Tsuboshima Dohei (Osaka 1929-2013) Japan, 20th century ceramic. Embossed stamp. Square plate on three feet. Rim irregularly incised. Brown glaze with geometric decoration in gold. 17.5x18 cm. With tombako.

Tue 11 Jun

Platte von Suda Seika IV (Ishikawa 1940–) - Plate by Suda Seika IV (Ishikawa 1940-) Japan. Porcelain. Ko-Kutani style. Signed Kutani Seika. Plate with matching, slightly turned up rim. Polychrome decoration with a bird in the mirror and interlaced pattern with pine branches in the rim. D 25.5 cm. With tombako.

Tue 11 Jun

Lackteller - Lacquer plate Japan, 20th century Black lacquer with gold makie. Autumn grasses under the moon. D 29.5 cm. With inscribed tombako. - Conservation flaws.

Tue 11 Jun

Lot: 4 Teller - Lot: 4 plates China, late 19th/early 20th century Celadon. Underglaze blue marks Xuande, Chengua and Qianlong respectively. 1 plate without mark. Differently shaped in the form of chrysanthemums with incised leaf decoration. D 12.5-27 cm.

Tue 11 Jun

Teller - Plate China, Qing dynasty. Underglaze blue six-character Qianlong mark. The central medallion with a scaly, five-clawed dragon chasing a flaming pearl, repeated in a frieze of two green dragons around the outside. H 4.2, D 17.4 cm. - Damage.

Tue 11 Jun

Teller - Plate China, Qing dynasty. Porcelain. Underglaze blue Qianlong mark. Peony decoration in Famille rose over a yellow ground with tendril motifs in sgraffito. D 15.5 cm.

Tue 11 Jun

Teller - Plate China, early 20th century Porcelain, underglaze blue apocryphal Qianlong mark. Lotus flower decoration in the colors of the Famille rose, framed by a band with Ruyi heads. D 26 cm. - Chipped.