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AN IMPORTANT MINTON GARNITURE in the Sevres style, the principal lidded vase of neo-classical form decorated in polychrome with panels after Francois Boucher on a bleu de roi ground overpainted in gilt with berried branches, ribbon-tied bands and circles formed from dots, the handles and body draped with berried husks, 201/4" high, the flanking, lidded vases with oval panels decorated in polychrome with musical trophies suspended from ribbon-tied bows and rural landscapes with figures in 18th century costume enclosed by "jewelled" and gilt borders on a bleu de roi ground enriched with gilt 151/2", the larger vase with a fleur de lis mark (3). The fleur de lis mark with dots is recorded by Godden as the Minton "ermine" mark of circa 1850, which was employed to indicate a soft glaze in imitation of Sevres. The mark was changed in 1860 (Goddens no. 2703). The central vase is based on a Sevres model "à de 1780", an example of which may be seen in the Walters Art Gallery, Baltimore, USA. The flanking vases are based on a Sevres model "De Côté de Paris", a pair of which may be seen at Waddesdon. It is recorded that Minton exhibited Sevres style vases of this type at the Great Exhibition staged at Crystal Palace in 1851, and it has been suggested that these vases may have formed part of that display.
FESTIVAL OF BRITAIN DESIGN of a vase presented to the "Borough and County of the Town of Poole by the makers of Poole Pottery in commemoration of the Festival of Britain 1951", painted in pale blues and yellows, on board, and a collection of Festival of Britain designs, on board, painted in colour. (a lot)
A CHINESE BLUE AND WHITE BOTTLE VASE in the Ming style, the globular body painted to simulate "heaping and piling" with a principal band of lotus and leafy tendrils enclosed by formalised and panelled borders, the neck with upright plantation leaves rising from a key pattern band and the flared neck with wave scrolls, the base with a Qianlong seal mark and of the period, 143/4" high. (drilled). Provenance: Private Collection, West Dorset. According to the vendor this vase was probably acquired by her great-grandfather, whilst travelling in the Far East. The family moved from Scotland to west Hertfordshire during the first half of the 20th century and for the last 40 years it has been used as a table lamp in the south west London home of the vendor’s Great Aunt. The base of the vase bears an old paper label inscribed in pen "No. 7. Pair blue and white bottles, 14/dollars ... Chienlung 1736-1796".
A Royal Doulton stoneware ewer by Hannah Barlow, incised with a band of grazing and resting sheep, between incised and applied bands, in shades of blue, brown and green on a buff ground, another Doulton Lambeth ewer and a vase impressed and incised marks, vase smashed and repaired, ewer 32cm. high
“Sycamore Tree” a Wedgwood Fairyland Lustre vase and cover designed by Daisy Makeig-Jones, shape no.2410, printed and painted in colours and gilt, with Feng Hwang bird swooping down and “Ship and Tree” pattern panel, printed and painted marks, cover smashed and repaired 25cm. high Literature Una Des Fontaines Wedgwood Fairyland Lustre, Sotheby Parke Bernet page 135 for this design illustrated
“The Bush-Velt” a rare Carter, Stabler & Adams Poole Pottery vase designed by John Adams, pattern LZ and painted by Anne Hatchard, painted with a lion leaping to attack a gazelle, in shades of brown, green, red and yellow on a white ground impressed and painted marks, damages 38cm. high Literature Hayward & Atterbury Poole Pottery Richard Dennis Publications, page 55 for a comparable example.
A Leach Pottery stoneware Unomi by Richard Jenkins covered to the foot with a salt glaze, and a Atsuya Hamada stoneware faceted vase impressed seal marks to Unomi 8cm diam. Provenance Richard Jenkins collection. The Hamada vase was thrown and decorated in 1958 on his visit to the Leach Pottery.
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