A Collection of Seven Majolica Pitchers

Various Makers, Late 19th Century

two with molded product codes to underside, one also marked "Made in England."

Height 8 1/4 x width 7 1/2 x depth 6 inches (tallest).

Property from the Collection of Renny Reynolds

This lot is located in Philadelphia.

as depicted in first image: center pitcher: general crazing / crackling to glaze, including to interior bottom, indicative of use, the interior with some considerable glaze flaking / loss to surface, the rim with small chip close to spout; third from right pitcher: with crazing / crackling to glaze throughout, old chip along rim, the underside with a few surface hairlines, a few glaze / firing imperfections to exterior; third from left pitcher: in good overall shape, with some minor occasional areas of crackling commensurate with age and use, and a couple minute fleabites to raised areas to exterior body; left most pitcher: with some scattered crazing / crackling to glaze, the underside and bottom edge with hairline fracture, hairline around upper terminal of handle; right most pitcher: with old chips to spout edge, two old chips to rope twist band around lower body, one old chip to raised flower to body, and an old chip to base edge, overall with crazing / crackling to glaze, and some areas of discoloration, commensurate with age and use, the rim with a couple hairlines flanking the upper terminal of handle, a couple subtle surface hairlines to underside, and a visible surface hairline along "seam" parallel below spout; second from left pitcher: with old chips to spout edge, spout also with dark surface deposit / glaze imperfection, the interior with considerable wear commensurate with age and use, the upper part of interior rim with surface wear and discoloration, the rim with hairline which may be partially filled / restored, a couple hairlines along lower edge and to underside the exterior body with some drips of wax; second from right pitcher: with old chip at spout edge, with some crackling / crazing to glaze, particularly to interior, the underside with large darkened hairline that runs extent, with some accumulated drips of wax present to exterior lower body and rim

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold "AS IS," in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot's condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition. Condition reports prepared by Freeman's staff are provided as a convenience and may be requested from the Department prior to bidding.

The absence of a posted condition report on the Freeman's website or in our catalogues should not be interpreted as commentary on an item's condition. Prospective buyers are responsible for inspecting a lot or sending their agent or conservator to inspect the lot on their behalf, and for ensuring that they have requested, received and understood any condition report provided by Freeman's.

Please email paulinearchambault@hindmanauctions.com for any additional information or questions you may have regarding this lot.

Alasdair Nichol

EVP, Deputy Chairman

anichol@freemansauction.com 267.414.1211

Alasdair Nichol is Deputy Chairman of Freeman's. He previously served as Chairman of Freeman's, and he and two colleagues acquired the company in a friendly management buy-out in 2016.

He joined Freeman’s in 1999, and as an auctioneer of almost 30 years, has sold many significant collections, including The George D. Horst Collection of Fine Art, The Lehman Brothers Collection, The Collection of Dorrance "Dodo" H. Hamilton, The Stanley Bard Collection: A Life at the Chelsea, and numerous works that set new world auction records. He was instrumental in establishing Freeman’s departmental fine sales and has spearheaded the company’s mission of showcasing single-owner collections.

Born in Edinburgh, Scotland, he studied fine art at Gray’s School of Art in Aberdeen. He later graduated with a master's degree from the University of Ulster in Belfast, Northern Ireland. In 1985, he embarked on his career in the auction world in Edinburgh before moving to Glasgow, where he organized the first sale of Scottish contemporary art at the world-renowned Glasgow School of Art. He subsequently moved to a flagship saleroom in London where he specialized in Modern and Impressionist art before transferring to New York as Head of Fine Art in 1997. Since 1998 he has been a familiar face on the top-rated PBS television program Antiques Roadshow.

Adam Veil

VP, Head of Department, American Art and Pennsylvania Impressionists

adamveil@freemansauction.com 267.414.1221

Adam Veil serves as Vice President and a Fine Art Specialist at Freeman’s.

Veil joined Freeman’s in 2021 following years of experience in both the auction world and the academy. His area of specialization is pre-WWII American Art, although he has lectured and published on topics ranging from Mexican landscape painting and Old Master printmaking to art market economics.

Veil earned a Bachelor of Arts and Master of Arts in art history from Penn State University and pursued doctoral studies at Indiana University Bloomington. Prior to joining Freeman’s, Veil was Head of Fine Art at a Washington, D.C.-area auction house, and Executive Director of the Santa Fe Art Auction, where he oversaw market-setting auctions of classical and contemporary Western, Southwestern, and California art. He has also held positions in provenance research, art fair operations, and as editor and producer of The Conversation, a popular Los Angeles–based contemporary art podcast. Concurrent with his role at Freeman’s, Veil is a professor at Mansfield University of Pennsylvania, where he teaches courses in Renaissance, Modern, and American art history.

Garden Party: The Collection of Renny Reynolds

A Collection of Seven Majolica Pitchers

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