Collection of studio pottery and other items including a continental Riva striped vase of impressed form in bright colours, a studio pottery stoneware small globular spill vase incised 'BAA' speckled in blue, various stoneware brown glazed models of cattle, a 1960's small shaped dish printed with stylised fish, a shallow bowl decorated with a sailing ship incised 'D Beckley' reserved on a green ground, an Irish Priory Ceramics Youghal ochre glazed pottery tankard, a green glazed vase and other items Condition Report D. Beckley bowl - good condition, light surface marks. 4cm high, 18.5cm diameterBird/animal model - Light surface marks, accretions. Overall good. 14cm high, 23cm long
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Antique gold-coloured metal, pearl and ruby set serpent brooch, the serpent entwined to form shaped oval, with large baroque-shaped pearl pendant drop Condition Report Weight approx 7 gramsLength 3cmSurface marks, light scratches and wear visible in places, commensurate with age and previous use. Overall condition appears to be good considering age.
Karl Svendsen, Valberget Norwegian hardstone and white metal pendant and chain of abstract form and holding a single purple stone, a Scottish silver openwork brooch by Orla Gorie in the form of interlinked hearts and a silver and hardstone Art Nouveau-style brooch, shaped oval and with iridescent striped stone inset, marked to reverse ‘NIC’ (3) Condition ReportOverall good condition. Light surface marks, accretions. The hinge on the Orla Gorie brooch is held with a piece of wire. General wear and tear.
David Andersen, Norway sterling and enamel butterfly brooch and 830 metal and green stone brooch, scroll design with central pendant drop (2) Condition Report Butterfly brooch in overall good condition with light surface marks, accretions. Antennae appear very slightly mishappen.Scroll booch with light surface marks, accretions, small dent to centre section. Both with general wear and tear.
Pair 18ct white gold, pearl and grey stone drop earrings with foliate decoration and a pair of 18ct yellow gold, green and white stone drop earrings having white stone set lozenge with green stone dropper (2 pairs) Condition Report Both in good condition. Light surface marks. General wear and tear.Pearl earings - weight approx. 4.7g, length 3.5cmGreen stone earings - weight approx 3.7g, length 2.5cm
Pair of Crown Derby imari pattern two-handled squat formed vases and domed covers, late 19th century, printed crowned D marks, indistinct painter's marks, each painted with lappet-shaped panels of Oriental flower sprays within blue and gilt borders, with gilt mask handle terminals (one cover cracked and restuck, one foot with hairline cracking), 14cm high (2) Condition ReportLight surface marks, accretions, wear to the gilt on both. One has extensive damage and repair to body and repair to lid. General wear and tear.
Royal Crown Derby bone china imari pattern assembled garniture, printed iron red marks, pattern no.1128, various painter's marks, comprising: two oviform two-handled vases and one cover flanking a central two-handled oval vase with pierced domed cover, decorated with the Old Imari pattern, on gilt scroll moulded base, tallest vase 20cm high (3) Condition ReportGood condition. One vase missing the cover. Very light surfavce marks. General wear and tear.
Royal Crown Derby bone china Old Imari pattern two-handled quatrefoil tray, decorated with radiating lappets of Oriental flower sprays reserved against a dark blue ground, gilt with leafy tendrils, 40.5cm wide and a ginger jar and cover, painted with pattern no.1128, both with cancelled iron red factory marks, various painter's marks (2) Condition ReportOverall good condition. Some light surface marks to both. The vase is a 2nd
Whitefriars glass knobbly bowl, streaky green and clear colourway, designed by William Wilson and Harry Dyer, pattern number 9613, diam 22cm, a Whitefriars glass vase with controlled bubble decoration and lobed base, in clear and amethyst colourway, height 19cm, an early 20th century Thomas Webb "Old English Bull's Eye" pattern glass footed bowl, from their "Gay Glass" range, amber colourway, acid etched mark to base and a blue glass vase (4)Condition ReportLight surface scratches and accretions to all. Whitefriars bowl with two chips to the rim, wear and scratches to the interior. Amethyst vase with scratches and light clouding. General wear and tear to all.
Whitefriars knobbly glass vase with green streaks, designed by William Wilson and Harry Dyer, height 12.5cm, an art glass vase with double lobed base, decorated with pink swirls and green rim, a cased glass bowl with black swirl decoration on white ground, diam.26.5cm (3)Condition ReportThere are some very small scratches and light scuffing to some of the items, but no apparent damage. There is a white mark from a label on one of the items, but this should wash off.
Bernard Joseph Artigue, French 1859-1936 - Portrait of a girl in profile; oil on canvas, signed lower left 'B. Artique', 48.5 x 40 cm (unframed)Note:Artigue was a pupil of Jean-Paul Laurens (1838-1921), one of the last French Academic artists. Unlike like his teacher, Artigue turned to pointillism like his friend Henri-Jean Guillaume "Henri" Martin (1860-1943). His mastery of light was inspired by the colours of his home in the South of France.
Margaret Mellis, Scottish 1914-2009 - Small White Relief, 1970; painted wooden relief, signed, titled and dated on the reverse 'Margaret Mellis White Relief Nov 1970' and with hand-numbered artist's stamp 'M Mellis 7.0762', 37.8 x 37.7 cm (ARR) Provenance: with Austin Desmond Gallery, London; private collection Exhibited: Piers Art Centre, Orkney, 'Margaret Mellis: Constructions, Paintings, Reliefs', 8th May - 10th June 1982 (according to the label attached to the reverse, which states the date of the work as 1971) Note: Margaret Mellis was a pioneer of abstraction from the 1940s in Britain, creating a highly innovative body of work that pushed the boundaries between painting and sculpture, always utilising a unique approach to colour. In the present work from the 1970s, the artist plays with light and shadow, in her use of relief and brilliant white. While artists as diverse as Mary Martin and Ben Nicholson were exploring similar techniques during the same period, through her distinct curved forms Mellis managed create a distinctly sensitive response to abstraction. Mellis played an important role in the history of Modernism in St. Ives during the Second World War, her home with first husband Adrian Stokes providing a focal point for artists including Naum Gabo, Barbara Hepworth and Wilhelmina Barns-Graham. Mellis has been subject to major museum shows across the UK, including at City Art Centre, Edinburgh in 1997, the Sainsbury Centre for Visual Arts, Norwich in 2008 and more recently at Towner Art Gallery, Eastbourne in 2022.
Sandra Blow, British 1925-2006 - Blue and White Stripes, 1998; acrylic on canvas, signed, titled and dated to the overflap 'Blow Blue and White Stripes March 1998', 121.8 x 121.5 cm (ARR) Provenance: Bonhams, London, Modern Pictures and Sculpture, 22 March 2011, lot 188; private collection, purchased from the above Note: Blow is considered to be one of the pioneering abstract artists of the 1950s who introduced a new form of expressive painting to Britain, often using everyday discarded materials such as sawdust, sackcloth and plaster. This practice was developed in tandem with her then-partner, the great Italian artist, Alberto Burri, with whom she travelled and worked in Italy during the late 1940s. Although considerably younger than many of her contemporaries of this early period, she was at the forefront of the abstract movement in Britain. The present work is an exemplary piece of her later period, following her move to St. Ives in 1994 and shows her brilliant synthesis of form, light, space, texture and rhythm.
Leonard Rosoman OBE RA, British 1913-2012 - A Winter Landscape; oil on canvas, signed lower right 'Leonard Rosoman', 61 x 50.7 cm (ARR) Provenance: Lady Ransthdowne; Duncan R. Miller Fine Arts, London; private collection, purchased from the above in 2010; Roseberys, Modern British, 15 February 2022, lot 29; private collection, purchased from the above Note: this artwork is a striking study in the representation of winter light, contrasting cooler tones with that of the landscape and snow. Leonard Rosoman OBE RA worked as a war artist, a printmaker, a painter and an illustrator. He is particularly well-known for his murals, completing commissions most notably for the 1951 Festival of Britain at the Southbank Centre, the Royal Museum of Scotland, the Royal Academy, and the ceiling of Lambeth Palace Chapel. Over his career Rosoman also taught at a number of noteworthy art schools, including Camberwell College of Art, Edinburgh College of Art, the Chelsea School of Art and the Royal College of Art, where his students included a young David Hockney.
Norman Adams RA, British 1927-2005 - Faint Light Shining Through Rain - Hebridean Study, 1978; watercolour on paper, signed with initials, titled and dated lower left, 20.5 x 26.2 cm: together with 'Rocks and Wild Sea - Scarp, 1978', 26.5 x 28.5 cm and 3 other works on paper by the same artist of a similar size and same medium (unframed) (5) (ARR)
A selection of manufactured and collectors teddy bears, including two Alresford Crafts Ltd, white plush unjointed seated bears, with labels to base, the larger-- 25in. (63.5cm.) high; two R.Dakin bears with black collars, Chesley, a Real Soft Toys light brown plush bear, Hero, a Lefray unjointed bear with yellow plush muzzle and tummy and 13 others
Seven manufactured teddy bears with interesting and original tags, including a Happy Child Toys, with light brown plush, orange and black plastic eyes, black stitched nose and mouth, swivel head jointed limbs and darker brown pads-- 14in. (35.5cm.) high; A Real Soft Toy Panda with large black tag, a Koala night case and four others (slight wear)
Two Chiltern post-war standing Bruins Teddy Bears, with light brown mohair, white mohair fronts and muzzles, one musical with head mechanism, the other with inoperative squeaker, both with velvet pads and card lined foot pads-- 15in. (38.5cm.) high (head mechanism not working, back seam undone, both with some thinning and wear) - the larger bear is known as Sykes
A 1930's Chad Valley teddy bear, with light golden mohair, orange and black glass eyes, black stitched nose, mouth and claws, metal button in ear, swivel head, jointed limbs with card lined feet, inoperative squeaker and label to foot pad-- 14 1/2in.(37cm.) high (nose stitches need attention)
A very large selection of unjointed teddy bears, in a variety of sizes and colours, including a Real Soft Toy, with arm in sling-- 12 1/2in. (32cm.) high; a bright yellow plush with blue plastic eyes and black plastic nose, a smaller pale blue bear with white muzzle and inner ears, a large pink bear, a Koala with light brown and white plush, a small light brown bear and a panda head hanger (missing black of inner eye) and others
SALEROOM ANNOUNCEMENT - Description has changedTwo early teddy bears circa 1910-20's, including a blonde mohair with clear and black glass eyes, (backs look to be repainted) black stitched nose, mouth and claws, slotted in ears and pin jointed limbs-- 10in.(25cm.) high; and another in light brown burlap (thinning, pin joints loose, wear)
Three post-war Schuco miniature teddy bears, comprising of an apricot mohair bear, light brown mohair bear and a golden mohair example, all with pin eyes, black stitched noses and mouths and metal framed jointed bodies, all probably 1950s-- 2 3/4in.(7cm.) high (two missing one ear, one missing both ears)
Attributed to Carel van Falens (1683-1733) - Cavalier on a White Horse Halting to take Refreshment at a Fountain amongst Peasants, their Dogs and Pack Animals, oil on panel, 42 x 51cm Provenance: Anon Sale, Sothebys, April 23, 1998, lot 49 Old restoration, the varnish now requiring a light clean, in stained walnut and mock tortoiseshell veneered frame
Interior Decoration. A miniature George III design mahogany three-tier dumbwaiter, late 20th c, 34cm h, a composite bust of Diana, 48cm h, a cold-painted figure of a conquistador, 52cm h, etc,. (4) The dumbwaiter good. Bust with some light wear, minor nibbled losses. The cold-painted figure worn with pigment losses.
Architectural Salvage. A stained glass oval portrait of John Wesley, the Methodist cleric, 19th/20th c, inscribed William C Langford, 30.5 x 26.5cm, ten further pieces of stained glass, mixed designs, shapes and sizes, (11) Wesley generally good condition, some light surface scratches and wear, its outer-border with stable cracks. The rest in mixed condition.
English School, early 20th c - Boer War Memorial Design, inscribed COPYRIGHT DESIGN, watercolour and gouache on paper, 133 x 104cm, typed label to verso, another four conforming, mixed sizes, (5) The colouring fresh, some light wear and occasional foxed portions - mostly affecting the image. Tatty edges.

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534325 item(s)/page