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Lot 376
A small boxed Moorcroft urn shaped bowl in "Anemone" pattern on a blue ground, impressed marks to base, height 9cm, and a modern boxed Moorcroft small baluster vase in "Anemone" pattern, impressed mark to base for 1994, height 10cm (2). CONDITION REPORT: Good condition, no sign of damage or restoration.
Lot 619
A pair of late 19th century Royal Bonn twin handled urn shaped vases with hand painted floral decoration on cream ground, against panels of gilt heightened royal blue, the gilt handles emanating from applied foliate shoulders, each raised on a circular base, each with impressed "1864" and painted mark "216 4596/II 4601" to base, height 39cm (one rim af). CONDITION REPORT: There is rubbing to the gilt handle of one of the vases. Some crazing to the glaze. A piece missing to the rim of one vase.
Lot 628
A Wedgwood green jasperware relief moulded urn (af), a further Wedgwood green jasper dip vase, signed to the base and no.1734, a Coalport Willow pattern decorated breakfast set comprising recessed circular tray, small bowl, jug and two twin handled cups and two further pieces of Wedgwood blue jasper. CONDITION REPORT: The green Wedgwood urn: handles are missing and there are chips to the base. Chip to blue vase. Otherwise good.
Lot 1331
A pair of George V hallmarked silver cruet in stylised square urn form, Goldsmiths & Silversmiths Co. Ltd, London 1920, height 8cm, and an Edward VII hallmarked silver sugar sifting spoon with scalloped shaped finial, Levi & Salaman, Birmingham 1902, length 11.5cm, combined approx 3ozt (2). CONDITION REPORT: A few minor dents but generally good.
Lot 1754
A Victorian hallmarked silver cased key wind open face pocket watch, the circular silvered dial set with Roman numerals to the chapter ring and centred with detailed gilt engraved urn of floral sprays above the subsidiary seconds hand, suspended on a watch chain with circular medallion fob, London 1870, diameter 5cm.
Lot 1852
A late 19th century French white marble gilt metal mounted three piece clock garniture, the urn surmount above circular white painted dial set with eight day movement signed CH with ribbon swag decoration, above six turned pillars and shaped base, width 26cm, together with the matching pair of baluster urns, height 27cm.
Lot 1956
An early 19th century Dutch marquetry inlaid side table, the rectangular top with stepped moulded corners, profusely inlaid and centred with an urn of flowers with bird above amongst foliate scrolls, a single drawer to the frieze and fluted square section tapering legs, width 82.5cm, depth 52cm. CONDITION REPORT: Split to top. Good colour. Some losses to marquetry. Some flecks of veneer missing. Re-handled and old holes plugged. Later feet.
Lot 132
Large Pair of Fine Russian Empire circa 1870 Carved and Gilt Wood Pilasters with Urn Top. Unsigned. Minor Losses and Rubbing Otherwise Good Condition or Better. Measure 10 Feet, 3 Inches Tall and 14 Inches Wide at Base. We will not ship this item due to its size. We will happily recommend a list of outside vendors upon request.
Lot 85
1950's Dunbar Walnut With Birch Burl Panel Snack Table #4856. Brass Handle and Pedestal Base on Brass Legs. Wear and Rubbing or in Good Condition. Vintage Chinese Carved Hardwood Urn Stand. Inset Marble Unsigned. Rubbing and Wear or in Good Condition. Measures 18 Inches Height, 15 Inches Diameter. We will not ship this item due to its size. We will happily recommend a list of outside vendors upon request.
Lot 352
A 19th century French ormolu and porcelain mantle clock By LeRoy & Sons of Paris, surmounted by an urn finial, the body with porcelain dial and a panel below decorated with a mother and children, the case with scrolled decoration. With plain movement striking on a single bell and stamped makers name, Leroy & Fils Paris 17526. 36 cm high.
Lot 454
A late 19th century rosewood ivorine strung and inlaid rectangular occasional table, the top with central scrolling leaf inlay, the frieze with classical urn inlay, the legs with ribbon and bell flower decoration to the top, each of slender square tapering form terminating in a spade foot, united by an X stretcher, the table on brown saltglazed castors (at fault), 91cm wide, 71cm high, 45cm deep
Lot 494
A George III harewood, mahogany, and marquetry serpentine commode , circa 1770 A George III harewood, mahogany, and marquetry serpentine commode , circa 1770, with gilt metal mounts throughout, the top centred with a marquetry reserve depicting an urn, above three long drawers decorated with conforming neoclassical marquetry including swags and floral sprigs, on square section outswept legs and sabots, 83cm high, 154cm wide, 64cm deep Provenance; The Property of a Lady The overall design and use of marquetry alongside the use of high quality mounts, and obvious continental influence naturally places this commode as being in the manner of Pierre Langlois. For a related commode see Sothebys Important English Furniture, London, 26th November 2003, Lot 107
Lot 516
A Victorian satinwood serpentine fronted desk, circa 1890 A Victorian satinwood serpentine fronted desk, circa 1890, the tooled green leather inset above a central leather inset slide and an arrangement of nine drawers, the central drawer decorated with marquetry depicting an urn, on plinth bases, 76cm high, 153cm wide, 84 cm deep
Lot 25
Garden Urn: A pair of Val d'Osne foundry cast iron lidded urns on associated pedestals French, late 19th/early 20th century 160cm.; 63ins high overall A similar pair of urns are illustrated in the late 19th century Val d'Osne catalogue, plate 483, No. 19. (see engraving) Founded by J.P.Andre in 1835 and based at the Val d'Osne, in the Haute-Marne, the company took over rival firms such as Barbezat and Ducel. The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893.
Lot 43
Garden Urn : After the Antique: A pair of rare and monumental Coade stone Medici and Borghese urns stamped Coade Lambeth, one indistinctly dated 1815, on Portland stone pedestals 259cm.; 102ins high Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade's Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar's Lane exhibition Gallery. The firm became Coade and Sealey from this date and following Sealey's death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade's manufactures resembling a fine-grained natural stone, have always been famed for their durability. The Medici and Borghese urns are illustrated in the 1784 Coade catalogue, Nos 81 & 82. (see engraving). The Borghese Urn was recorded in the garden of Carlo Muti in 1594 by Flaminio Vacca who added that it had been discovered along with the Silenus and Infant Bacchus on Muti's estate near present day Casino Massimo. In 1645 the urn had found its way into the Villa Borghese where it stayed until purchased by Napoleon in 1807. By 1811 it was on display in the Louvre where it remains today. From the mid 17th to the late 19th Century the Medici and Borghese urns or |vases| were the most admired of all the antique models and were often paired together. The Medici urn is first recorded in 1598 in the inventory of the Villa Medici, Rome although there is evidence that it was there at least thirty years earlier. In 1780 it was removed to Florence and soon entered the Uffizi where it remains today. It is believed that the original was executed in the second half of the first century A.D. Provenance: Newtown Park House, Dublin, Bought on 20th September 1976, at an auction held by Christie, Manson & Woods Ltd., and Hamilton and Hamilton and thence by descent. A photocopy of the catalogue title page and photographs of the urns are available to the purchaser. For further information on Newtown Park House, go to; http://www.newtownparkhouse.ie/about-us/history
Lot 57
Garden Urn: A set of three Compton terracotta apple pots early 20th century with small circular manufacturer's stamp 41cm.; 16ins high by 53cm.; 21ins diameter The Compton Potters Art Guild was started by Mary Watts, the wife of G.F. Watts the Victorian allegorical painter. In 1895 work began on the Watts Mortuary Chapel. Designed by Mary Watts, it was to be built from local clay by the villagers of Compton, near Godalming, Surrey. Mr and Mrs Watts were dedicated supporters of the growing Home Arts and Industries Association, a voluntary movement launched by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes. The idea was that young uneducated artisans should have their eyes opened to the wonders of art. They would be rescued from idleness, gambling and drinking -so the notion ran- during long winter evenings. Uplifted and taught how to use their hands with skill they would acquire a hobby to be proud of and develop this hitherto unknown talent, where possible to professional standards. The Pottery Art Guild continued from strength to strength, winning medals at the Royal Botanical Society and the Home Arts' highest award, the gold cross. They received architectural commissions from Lutyens, Clough William-Ellis and Goodhart Rendel. Recommended by Jekyll, they made miniature versions of their pots for the garden of Queen Mary's dollshouse in the early 1920's. The Guild became a limited company run by George Aubertin and continued to produce works based on Mrs Watts' designs until after her death in 1938. These Apple pattern pots are illustrated in the Art Potters Guild catalogue page 11. Literature: The Watts Chapel, An Arts and Crafts Memorial by Veronica Franklin Gould, Arrow Press, Farnham, Surrey
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68875 item(s)/page