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534325 Los(e)/Seite
Los 5182
A Mcintyre Gesso Faience teapot and cover, of spreading cylindrical form, tube lined in white with stylised flowerheads and leafy scrolls, picked out in blue on a light green ground, banded in olive green, 16.5cm high, printed mark; another, Wisteria pattern, 10cm high (lacking cover, broken spout) (2)
Los 5338
Perthshire Paperweights - a concentric Bouquet weight, blue and ruby red buds interspersed with light blue buds, jet black ground, domed top with fluted faceted edge, conforming waisted sided, eight faceted foot rim, hand engraved P24, 54mm diameter, cased with certificate 24/75, dated 2001
Los 582
An impressive modern Dutch design brass chandelier, central baluster column with two rows of eighteen scroll shaped arms supporting candle type bulb, approximately 117cm (46in) diameter, also a long chain which would allow a further extension for ceiling suspension. Condition report: Although removed from a local property the light fitting remains in virtually as new condition, one arm slightly bent.
Los 280
A TILGMANS KERAMIK POTTERY LAMP BASE, by Marian Zawadzki, incised with a band of butterflies above abstract and geometric designs, impressed marks to base including Aa Fehl, incised AMZ and 1966 mark to body, with period conical light shade, height to top of light fitting approximately 72.5cm
Los 462
A Minton secessionist vase designed by Léon Solon and John Wadsworth, circa 1900, tubelined in light brown and turquoise, printed marks including 'No.42', 13cm highAnglosia or Secessionist ware as it came to be known was a widely produced type of pottery which falls under the loose descriptive term of 'Art Nouveau'. An exhibition of the Secession had been held in Vienna in 1898, and Minton's own bold adoption of the name came as part of a move to be identified in the public mind as a part of this progressive European movement of design.Ironically, Minton's 'Secessionist' ware follows little in form from its European counterparts. Instead, an influence from the Glasgow School of Arts and Arts and Crafts takes precedence beyond the continental Art Nouveau from which they took their name.
Los 718
Walenty Pytel ( Polish. B. 1941- ) A light green patinated bronze of a Siamese cat , limited edition 100/100, 44cm high overallWalenty Pytel is best known for the Jubilee sculpture standing in New Palace Yard, Westminster, outside the Houses of Parliament, the 20ft high sculpture was commissioned by the Department of the Environment and members of Parliament to commemorate the 1977 Jubilee year of Her Majesty the Queen, it was unveiled by Her Majesty. Other commissions of note include a unicorn commissioned as a gift by Her Royal Highness Princess Anne to the Portuguese government and a large metal sculpture for J. C. Bamford Company's factory in Staffordshire which at the time at 45ft high was the largest metal sculpture in Europe circa 1970, the sculpture is recognised throughout the world of art and a large number of sculptures are owned by private collectors, mostly stylised birds and animals in both steel and bronze
Los 105
A Caughley dessert plate with a blue painted scene within a gilt spangled border, circa 1785-93, impressed Salopian mark, 20.8cm diameter (gilding rubbed)Provenance: Wright Collection no. 875, purchased in 2011. From the Star and Spangles service, the painting on plate may be influenced by a Continental or Fantasy scene. It was Gaye Blake Roberts who first shed significant light on these designs in 1974 within an English Ceramic Circle Transaction paper in which it was reported that the source of several scenes from a Bright Landscapes dessert service were taken from Paul Sandby's Virtouosis' Museum published in 1778. The Gold Star Border and Spangles dessert service was first illustrated in 1969 by Godden. Research has shown that there are at least two dessert services with this gilt design.
Los 162
A Caughley mask head cabbage leaf jug, circa 1796-99, transfer-printed in underglaze blue with the Fisherman or Pleasure Boat pattern, unmarked, 19.3cm highProvenance: Wright Collection no.768, purchased on Ebay from Indiana in 2006. A late example, probably using a 1796 mould, the pattern is a light blue and the transfer has run. This running is most likely because of both the factory cutting corners and the variability of availability of resources in the late period.
Los 21
A Caughley punch bowl transfer-printed with the Punch Bowl Sprays pattern and the monogrammed initials 'E.H REA', unmarked, 26cm diameter (light glaze craze to foot rim)Provenance: Wright Collection no.992, purchased in 2016 from D. Norley.Literature: Newsletter May 2016 no.66 p23.This is a very interesting piece with three of the Punch bowl sprays (4, 5 & 6) round the outside and several butterflies and insects, including a dragonfly. It also has the Iris pattern which is part of the third Punch bowl spray and not strictly speaking another pattern despite being including as such in the Caughley Blue and White Patterns on the basis of a bowl in Shrewsbury Museum. The border is the printed Peony one. Caughley did both painted and printed whilst Worcester did only a painted version. So the join gives it away. The style of lettering of the monogram matches of the examples illustrated page in The Caughley Society, Caughley Blue and White Patterns, p233-236.
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534325 Los(e)/Seite