A GROUP OF 19TH AND 20TH CENTURY CERAMICS AND GLASSWARE, including an early Victorian sixteen piece hand painted part tea set, a late Victorian blue and white printed oversized cup and saucer, a cut glass fruit bowl, a late 19th Century Chinese Canton famille rose teapot with damaged cover, various drinking glasses, Wedgwood table lighter, etc (Qty) (Condition Report: the tea set is in poor condition, damage includes missing handles to the sucrier, milk jug is cracked, five cups are damaged, teapot finial is glued, most pieces are stained, Canton teapot has a broken lid, iridescent glasses have a rim chip, most other pieces appear to be in fair to good condition overall)
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A GROUP OF CERAMICS AND GLASSWARES, to include a fifty eight piece Crown Staffordshire 10677 tea set, comprising a teapot and stand, a hot water jug (cracked), two cream jugs, a slop/large sugar bowl, three cake plates (one cracked), eighteen tea plates, one breakfast cup and two saucers, eleven teacups (three cracked, some others sound dull when tapped) and seventeen saucers (one chipped), a boxed 'Doll's House Waterset in Jacobean Glassware' set of a miniature glass water jug and six glasses (chips to jug and one glass), a painted metal doll's tea set on a wooden tray, a pair of bisque figures with shaking heads, etc (qty) (Condition Report: generally fair condition, tea set as stated, otherwise ok, a little crazing and discolouration, some damage and as stated for other items)
ELEVEN PIECES OF 19TH AND 20TH CENTURY GLASSWARE, MOSTLY BOHEMIAN, including a Theresienthal style green stemmed liqueur glass with enamelled decoration, height 14.5cm, another liqueur glass with floral enamel decoration, a pair of uranium hock glasses on cut glass stems, a 19th Century ruby cut to clear vase engraved with a named church, a pickle jar with painted ruby coloured fruiting vine, etc (11) (Condition Report: the green stemmed liqueur glass has a spot of green paint and another in cream paint to the bowl, the other enamelled liqueur glass has a few spots of cream paint to the outer rim of the bowl, the hock glasses are ok, the vase with church has a badly chipped foot and other flea bites around the foot, the pickle jar and cover have several chips and a blemish but the other pieces appear to be in good condition)
Ca. 200-100 BC. A mould-blown green glass bowl with beautiful iridescence. The base leads outwards to rounded walls and a rolled rim. Noteworthy to this vessel are horizontal grooves that encircle the bowl just below the rim. For a similar see The Metropolitan Museum of Art, Accession Number: 57.11.6.Size: L:80mm / W:150mm ; 250gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 100-300 AD. A stunning glass bowl in a cobalt blue with a slightly everted rim, a squat bowl, concave base, and moulded vertical pillars. Glass was a major manufacturing industry in the Roman Empire, especially after the invention of glassblowing in the middle of the first century BC, when glass became used for a variety of purposes including vessels, jewellery and construction materials such as glass or tiles. Roman glassmaking reached the farthest corners of the Empire and flourished until about 400 AD, when the Roman Empire started to disintegrate, finally falling in the late 5th century AD.Size: L:32mm / W:50mm ; 35gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 100-300 AD. A glass bowl featuring a flaring body with a spout and lateral and back handles. It emerges from a circular base. This piece was made using a technique known as "mold-blowing" which allowed for intricate designs and shapes to be created. Glass was a highly prized material in the Roman world, and was only accessible to the elites of society during this era. This piece is a testament to the skill and craftsmanship of Roman glassmakers and is a reminder of the importance of glass to the ancient Roman world.Size: L:55mm / W:135mm ; 80gProvenance: Private London collection since the 1990.
Football, 1984 Olympics, boycotted countries qualifying matches, Poland Vs. East Germany 4/4/1984, two match pennants, DDR & Poland; cut-glass presentation basket from the Polish FA; presentation boxed set of cut-glass tumblers from the host city of Szczecin; 50 years of the Polish football League pennant; host club (Pogon) generic pennant and ceramic bowl. (7) Provenance: John Carpenter collection. By descent to the current owner. John Carpenter (1936-2021) was an Irish professional football referee who officiated in the League of Ireland from 1964 to 1984, as well as a FIFA international referee from 1969 to 1984. Carpenter took up refereeing in the early 1960s when a broken leg cut short his playing career with St Patrick's Athletic. He joined the League of Ireland panel in 1964. Carpenter had a distinguished career in European club competitions, refereeing 37 matches and culminating in the 1982 UEFA Cup Final. He refereed 15 full international matches between 1970 and 1983; and was a reserve referee for the 1974 FIFA World Cup. When the North American Soccer League was launched, Carpenter was one of a small number of European referees who were invited to officiate.
Two Masons Ironstone lamp bases, boxed. A Masons Ironstone jug and carriage clock, candle sticks, bowl and plate, together with other ceramics including Royal Jasmine, Sandford, Empire and more. Also including cut glass decanters, a Royal Doulton crystal glass by Webb Corbett and other cabinet pieces (4)
A Glass Rummer, circa 1820, the bucket-shaped bowl engraved with the Sunderland Bridge, the reverse with a monogram in a foliate cartouche, on a blade knop stem and circular foot, 14cm high, a similar mug, engraved with initials within a foliate cartouche flanked by roses and thistles above a faceted base,12cm high (2)Rummer - large chip to the foot rimMug - very small chip and other minor flakes around the foot
A 19th Century Coalport Green and Gilt Tea Service, painted with floral sprays; together with an early 20th century Royal Doulton powder blue gilt tete-a-tete; and a Wedgwood black basalt Heron with glass eyes, 13cm (two trays)Doulton: Teacup - with hairline crack. Teapot cover - hairline cracks. Wedgwood Heron - some surface scratches. Coalport: Sugar Bowl - with a large loss. Plates - all with some light surface scratches. One side plate with a hairline crack. Otherwise items appear OK.
18th Century and Later English and Chinese Ceramics, including a set of three pearlware plates decorated in coloured enamels with roses under ribbon and flower garlands, Newhall tea bowl and saucer, two similar Chinese tea bowls and saucers painted with figures, a Japanese plate with blue lappet boarder framing peonys, 20th century hardstone wine pot, together with various Victorian ceramics including teawares, press moulded glass, satin glass, Bristol blue flagon, binoculars, camera, medals, assorted antiques reference books,etc. (one tray and three boxes)
A Small Quantity of Georgian Glass, including a rummer etched with a lodge and a windmill, a beaker etched with a shepherd in a landscape and insribed John & Anes, Saxon, a wine glass with bell shaped bowl on airtwist stem with vermicular collar, another with U-shaped bowl on faceted stem and a similar, the bowl etched with fruiting vines (5)Faceted stemmed glass - with a chip to the foot. Airtwist glass - with a chip to the foot. Remaining stemmed glass - with a chip to the bowl. Tumbler - in good order. Rummer - with scratches to the main bowl, mostly around the rim. No chips or cracks.
A MUGHAL GILT AND 'GEM'-INLAID AVENTURINE BOWL, NORTHERN INDIA, 19TH CENTURYThe oval body with lobed sides rising from a short oval foot, the exterior neatly decorated with floral sprays inlaid in ruby-red and emerald-green glass within gilt-copper wire settings. The stone of a green color with distinct russet and mica inclusions.Provenance: French trade. Condition: Fine condition overall, commensurate with age. Some old wear, traces of use, little nibbling to the rims, minuscule chips, minor losses to the inlays and cloisons. The foot and rim possibly smoothened. The stone with natural inclusions and fissures, some of which have developed into small cracks over time.Weight: 912 g Dimensions: Length 24 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2006, lot 22Price: USD 28,800 or approx. EUR 38,500 converted and adjusted for inflation at the time of writingDescription: A rare Mughal pale greenish-white jade 'gem'-inlaid ewer and cover, 17th/18th centuryExpert remark: Compare the design. Note the numerous inlays made from glass, rubies, turquoise, opal, and coral.十九世紀印度北部蒙兀兒花口鎏金嵌寳碧璽花口碗橢圓形花口碗,橢圓形的圈足,側面有裂紋,外壁裝飾著纏枝花卉紋,鑲嵌鎏金銅寶石紅色和翠綠色玻璃。綠色寶石,帶有明顯的赤褐色和雲母夾雜物。 來源:法國古玩交易。 品相:整體狀況良好,一些磨損,使用痕跡,邊緣有輕微磕損,鑲嵌物和景泰藍的輕微損失。足部和邊緣可能變得光滑。 具有天然内沁和裂隙的石料,其中一些隨著時間的推移已經發展成小裂縫。 重量:912 克 尺寸:長 24 厘米 拍賣結果比較: 形制:相近 拍賣:紐約佳士得,2006年9月19日,lot 22 價格:USD 28,800(相當於今日EUR 38,500) 描述:十七/十八世紀蒙兀兒青白玉嵌寳蓋瓶 專家評論:比較設計。請注意不同的鑲嵌寶石,例如玻璃、紅寶石、綠松石、蛋白石和珊瑚。
A SAPPHIRE-BLUE OVERLAY 'MONKEY KING STEALING THE PEACHES OF IMMORTALITY' GLASS SNUFF BOTTLEChina, c. 1700-1780, probably Imperial, attributed to the Palace Workshops, Beijing. Of compressed globular form, supported on a wide oval foot with recessed base, and cylindrical neck flaring slightly towards the rim, carved through the sapphire blue layer to the bubble suffused 'snowflake' ground, one side depicting a crane striding through lotus, water, and rockwork, the reverse with a monkey perched on a branch bearing peaches, decorated with a butterfly, bat, and lingzhi, the neck encircled by a band of stiff leaves.Provenance: From a private collection in Pennsylvania, USA. The collection was assembled over a period of 30 years specializing primarily in glass, jade and hardstone snuff bottles. Condition: Minor wear, few nibbles to rim and foot, minor manufacturing irregularities, possibly with a small repair to the neck.Stopper: Glass in imitation of jadeiteWeight: 64.1 gDimensions: Height including stopper 74 mm. Diameter neck 16 mm and mouth 8 mmHomophones for monkey, hou, include the Chinese words for 'nobleman', 'high official', and 'descendants'. The monkey therefore represents the wish for the success of one's descendants. The representation of monkey and peach relates to the legendary Sun Wukong, also known as the Monkey King, who stole the peaches of immortality. Similarly, the crane is a symbol of longevity, as the animal has a life expectancy of more than 20 years. Therefore, the present lot bestows auspicious wishes for success and longevity for generations.Auction result comparison:Type: RelatedAuction: Christie's New York, 29 March 2006, lot 55Price: USD 24,000 or approx. EUR 33,500 converted and adjusted for inflation at the time of writingDescription: A Rare Blue Overlay 'Fruit Bowl' Glass Snuff Bottle Expert remark: Compare the form, the superb quality of the carving, the translucent sapphire-blue overlay on snowflake ground, and the peach subject.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 5 April 2004, lot 826Price: HKD 262,900 or approx. EUR 49,500 converted and adjusted for inflation at the time of writingDescription: A Very Rare Blue Overlay Bubble-Suffused Glass Snuff Bottle Expert remark: Compare the form, the superb quality of the carving, the translucent sapphire-blue overlay on snowflake ground, and the peach subject.雪花地寶石藍套料《猴王摘桃》鼻煙壺中國,約1700-1780年,或爲北京御用工坊製作。直頸溜肩,橢圓形圈足。雪花地琉璃套藍寶石色。一面描繪蓮池白鶴,另一面描繪猴王摘桃,四周可見蝴蝶、蝙蝠和靈芝。 來源:美國賓夕法尼亞私人收藏,三十多年收藏琉璃與玉石鼻煙壺。 品相:輕微磨損,邊緣和足部有輕微磕損,製造過程中輕微的不規則性,頸部可能有小修。 壺蓋:仿翡翠玻璃 重量:64.1 克 尺寸:含蓋高74 毫米,頸部直徑16毫米,口部直徑8 毫米 猴與“侯“諧音,因此猴子象徵了高官厚祿的願望。猴和桃與傳說中的孫悟空有關,孫悟空偷走了長生不老的桃子。同樣,鶴是長壽的象徵。因此,本拍品寄託了子孫後代功成名就、長壽吉祥的意願。 拍賣結果比較: 形制:相近 拍賣:紐約佳士得,2006年3月29日,lot 55 價格:USD 24,000(相當於今日EUR 33,500) 描述:雪花地寶石藍套料《水果盤》鼻煙壺 專家評論:比較外形、精美雕刻、雪花地琉璃套藍寶石色,以及壽桃主題。 拍賣結果比較: 形制:相近 拍賣:香港佳士得,2004年4月5日,lot 826 價格:HKD 262,900(相當於今日EUR 49,500) 描述:雪花地寶石藍套料鼻煙壺 專家評論:比較外形、精美雕刻、雪花地琉璃套藍寶石色,以及壽桃主題。
A TRANSLUCENT AQUAMARINE GLASS 'COSMIC EGG', HAN DYNASTYChina, 202 BC to 220 AD. The ritual object of ovoid form, the deep-blue glass of high translucency.Provenance: Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition, commensurate with age. Extensive wear, small losses, nicks, scratches, cracks, extensive signs of weathering and erosion. Displaying remarkably well overall.Weight: 852.2 gDimensions: Height 9.5 cmIn Chinese history, glass played a peripheral role in arts and crafts when compared to ceramics and metal work. The limited archaeological distribution and use of glass objects are evidence of the rarity of the material. Literary sources date the first manufacture of glass to the 5th century AD. However, the earliest archaeological evidence for glass manufacture in China comes from the Warring States period. The Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians. Imported glass objects first reached China during the late Spring and Autumn and early Warring States periods, c. early 5th century BC, in the form of polychrome 'eye beads'. These imports created the impetus for the production of indigenous glass beads. During the Han dynasty, the use of glass diversified. The introduction of glass casting in this period encouraged the production of molded objects, such as bi disks and other ritual objects.The cosmic egg is a mythological motif found in the cosmogonies of the Proto-Indo-European culture and several other major civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.In the myth of Pangu, developed by Taoist monks hundreds of years after Lao Zi, the universe began as an egg that symbolizes the primordial state of Taiji. A primeval hermaphroditic giant named Pangu, born inside the egg, broke it into two halves: the upper half became the sky, while the lower half became the earth. As the god grew taller, the sky and the earth grew thicker and were separated further. Finally Pangu died and his body parts became the sun, moon, different parts of the earth and living things. The first writer to record the myth of Pangu was Xu Zheng during the Three Kingdoms period. Recently his name was found in a tomb dated AD 156, during the later Han period.Literature comparison: Compare a related “glob” of glass, 3.5 cm high, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.698. Compare a related glass bi disk, 17.8 cm diameter, dated to the Western Han dynasty, in the Metropolitan Museum of Art, accession number 2006.404. Compare a glass bowl, 8.3 cm diameter, dated to the Western Han dynasty, excavated from Tomb 70 at Wenchangta, Hepu county, Guangxi, 1987, lent by the Guangxi Zhuang Autonomous Region Museum, exhibited in The Metropolitan Museum of Art, Age of Empires: Chinese Art of the Qin and Han Dynasties, 3 April to 16 July, 2017.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 48Price: EUR 7,584 or approx. EUR 8,600 adjusted for inflation at the time of writing Description: An aquamarine green glass bi disk, Han dynasty Expert remark: Note the size (14.3 cm)Auction result comparison: Type: Remotely related Auction: Christie's Hong Kong, 1 December 2010, lot 2902 Price: HKD 620,000 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A very rare early translucent aqua glass cup, Han dynasty Expert remark: Note the diameter (7.7 cm)漢代海藍寶石色玻璃蛋中國,公元前202 年至公元 220 年。半透明海藍寶石色玻璃,橢圓形禮器。 來源:Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子,Hettabretz 是一家著名的義大利時裝公司,客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品,其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來,他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術,他編輯了兩本關於亞洲藝術的重要書籍,《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目,以及《滿者伯夷-來自被遺忘王國的傑作》。 品相:狀況良好,磨損、輕微的缺損、刻痕、劃痕、裂縫、風化和侵蝕跡象。 重量:852.2 克 尺寸:高9.5 厘米
A THANGKA OF RA LOTSAWA DORJE DRAG, MONGOLIA, 19TH TO EARLY 20TH CENTURYDistemper and gilt on cloth. Depicting Ra Lotsawa seated on a tiger skin, dressed in a red and blue robe decorated with a gilt floral design, his hands held in dharmachakra mudra, a severed head with a skull crown and flaming hair in his lap, his face with a wrathful expression, open mouth bearing sharp fangs, and bulging eyes, surmounted by a shanak with flaming peaks centered by a skull, a skull bowl and dagger before him on the altar table. The background with a mountainous landscape, fruiting branches, scrolling clouds, and with the sun and moon to the upper corners.Inscriptions: To Ra Lotsawa's chest, 'Hum'. The altar table inscribed 'Drapchen Sarpa Ralo Banza Pha Namo'. To the reverse, 'Om Ah Hum Sawa Ha'.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundacion “La Caixa”, Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art.Condition: Very good condition with some old wear, little creasing, few minuscule touchups, soiling. The frame with few scratches and nicks.Dimensions: Image size 30.8 x 24.2 cm, Size incl. frame 43.3 x 36.2 cmFramed behind glass. (2)Ra Lotsawa Dorje Drag (1016-1198), born in Nyenam, is one of the most controversial Buddhist teachers in Tibetan history. While today he is universally celebrated for being the great translator who brought the Yamantaka tantras to Tibet, he was thought of as a murderer and a proliferator of the dark arts during his lifetime. He allegedly murdered thirteen Lamas, among them the famous translators Gyu Monlam Dragpa and Go Lotsawa Kugpa Lhatse.Literature comparison:Compare a closely related thangka of Ra Lotsawa Dorje Drag from a private collection, illustrated on Himalayan Art Resources, item number 60628, and on the cover of Ra Yeshe Senge, The All-prevailing Melodious Drumbeat. The Life of Ra Lotsawa, Penguin Classics, 2015.十九至二十世紀初蒙古熱譯師多吉紮唐卡布面膠彩描金。熱譯師 - 多吉紮呈寂忿相,頭飾戴骷髏冠和氈帽,手施轉法輪印,成遊戲坐坐在虎皮上,身著紅藍相間的金色花卉紋長袍,膝蓋上有一個頭髮飛揚的頭顱;熱譯師張尖咧嘴,大眼圓睜;面前的祭桌上有一個一個頭骨碗和匕首。身後山地景觀、果樹、祥雲以及太陽和月亮。 款識:熱譯師胸前有 'Hum'字樣,祭桌上'Drapchen Sarpa Ralo Banza Pha Namo'。唐卡背面'Om Ah Hum Sawa Ha'。 來源:喜瑪拉雅藝術 Triay Collection收藏。Ian Triay是西班牙銀行業高管和不丹王國駐西班牙名譽領事。他積極參與了西班牙與不丹的建交以及兩國共同關心的項目。 歷時 40 年,Triay 系列著眼於不尋常和抽象的事物,是喜馬拉雅藝術的獨特組合。 許多藏品曾在 2000 年馬德里“La Caixa”基金會、2002 年巴黎吉美博物館、2003 年洛杉磯藝術博物館和 2010 年紐約魯賓藝術博物館的展覽中展出, 使佛教儀式藝術的迷人的光芒閃耀世界。該收藏的一個特別焦點是屍林主。 在藏傳佛教藝術傳統中,死亡和來世的象徵——收藏家特別著迷的一個領域——被用來提醒人們生命轉瞬即逝,我們必須行善。 品相:狀況極好,有一些磨損,輕微摺痕,小修補,汙漬。框架有劃痕和刻痕。 尺寸:畫面30.8 x 24.2 釐米, 總43.3 x 36.2 釐米 玻璃裝框 (2) 熱譯師,全名“熱羅·多吉紮”(1016-1198),又稱“熱羅雜瓦”,簡稱“熱羅”,是藏傳佛教偉大的佛學家、高僧、大成就者。文獻比較: 比較一件非常相近的私人收藏熱譯師多吉紮唐卡,見Himalayan Art Resources,編號60628;以及封面Ra Yeshe Senge,《The All-prevailing Melodious Drumbeat. The Life of Ra Lotsawa》,Penguin Classics,2015年。
Art Deco malachite glass liqueur set attributed to Carl Schlevogt, comprising decanter and six glasses, the decanter moulded with gulls in flight beneath faceted tapered neck and tapered hexagonal stopper and six cups, each with hexagonal bowl and conforming decoration to the stem, 32cm high and smaller (7)
Group of Scandinavian silver comprising; a pair of Marius Hammer salts, each in the form of a two-handled kasa or ale bowl, with mythical beast handles, stamped MH 830 S, 7.8cm across handles; two silver and enamel-lidded glass pepperets, stamped Sterling 925S Norway;David Andersen pickle fork and knife with knotwork handles, stamped D-A 830S; pair of sugar tongs stamped 830S NM [Norskt Monster], and a match case embossed with a tavern scene, stamped 'Denmark', 9cm x 5.7cm
Dagobert Peche (attributed), a Secessionist enamelled glass footed jar and cover, probably made by Johann Oertel, Haida circa 1918, for the Wiener Werkstatte, the rounded bowl with knopped and splayed foot, the domed lid with ball finial, banded with concentric rings in graduated orange, black and yellow enamel, 16.5cm high Note: Austrian artist and designer Dagobert Peche designed textiles, enamelled glass and ceramics for the Wiener Werkstatte, many with similar concentric rings of fading colours.
A Dutch Saxon engraved glass Shipping goblet, second quarter of the 18th century, circa 1740, probably Dutch East India Company, the round funnel bowl decorated with a coastal marine scene of ships in full sail, firing canon against a fortress and other Oriental domed building, on an inverse baluster facet cut hollow stem, basally knopped, on conical foot, incised numeral I to the foot, 21.5cm high
Gordon Russell for Stevens and Williams, a Lygon style wine glass, circa 1920, the optic conical bowl on wrythen twist stem and conical foot, acid mark Brierley, 13.5cm high Note: Gordon Russell designed a series of drinking glasses based on traditional 18th and 19th century designs, for the Stourbridge glass factory Stevens and Williams (known as Royal Brierley), retailed through his Broadway showrooms under the Lygon range (named after the Lygon Arms hotel)
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