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A Ruby Overlay Glass Pedestal Vase, Moser type, circa 1920], the slender vessel with flared rim, cut with panels to the shoulder, with main girdle frieze worked in relief with a continuous classical chariot procession with figures picked out in gilt against a wrigglework ground, on a decagonal slice cut base and circular foot, 30.5cm high
A Gilded Glass Pedestal Fan Vase, French, circa 1885], with raised goldwork, scrolls and pendant flowers, gold "dusted" rims, solid flattened knop to the short stem, circular foot, 23cm high; [A Similarly Decorated Trumpet Vase], 19.5cm high; and [An Ovoid Vase], enamelled in mustard with ribbon tied swags, 16.5cm high (3)
A French Art Glass Trumpet Vase, probably Nancy, France, circa 1880], the light brown tinted vase of slender conical form, with upper cellular moulding and lower facet cut repeat hexagons, with raised goldwork of flowering prunus in the Japanese manner, on a circular foot, the base engraved "68", 59.7cm high
An Islamic-Style Enamelled "Mosque Lamp" Vase, Brocard, France, circa 1875], the conical neck with a broad continuous band of stylised kufic script against blue enamel, compressed circular body with three equally spaced hanging loops divided by foliate panels, a band of carnations to the lower body and six oval reserves with further stylised Islamic script, short circular foot, unsigned, 13.5cm high
A Moorcroft Pottery Flambé Orchid Vase, circa 1930], decorated with full-blown orchids of two types against a suffused dark blue ground, impressed "Moorcroft", script signature in blue/green, later printed paper Royal Warrant label "By appointment W Moorcroft Potters to the late Queen Mary", 25.5cm high (small glaze blemish)
A Wedgwood Fairyland Lustre "Jewelled Tree" Pattern Z4968 Vase and Cover, Shape 2046, 1920's], comprising four gold bespangled trees around which swirls a deep river with a gossamer bridge on one end of which sits a mouse stalked by a black cat, alternating with copper coloured tree trunks with sundry fairyfolk beneath a red rose and green leaf infested sky, gold printed Portland Vase mark and "Wedgwood England Z4968", 28cm high (large chunk out of rim and crack emanating from that loss) *For this pattern see; des Fontaines (Una) Wedgwood Fairyland Lustre, pg 133.
A Composite Wemyss Rose Painted Four Piece Bedroom Set, circa 1910], comprising chamber pot, sponge bowl and pierced drainer (printed "Ye Olde English T Goode & Co, London"), soap dish, pierced drainer and cover, and waisted vase, each painted with full-blown red roses, green/blue line rims, various impressed, script and transfer printed marks for both factory and retailer (4) (a/f)
An English Majolica Insect and Frog Vase, perhaps George Jones, circa 1870], the spherical vase decorated in relief with leafy ivy branches inhabited by four leaf beetles, on three squatting frog supporters, on a rustic concave sided plinth, in typical bright colours overall, no factory mark, script mark in black "I2557A", 15.2cm high (cover lacking?)
A Copeland Parian Pedestal Cup and Cover, circa 1880], the domed cover surmounted by a putto holding two cornucopia whose spilling contents of fruit form the handles, the main vase with continuous Bacchic precession in high relief, on a gadrooned and acanthus leaf decorated swept stem to a concave sided plinth, impressed "Copeland", 41cm high (small chips and restoration to putto wings)
A Royal Worcester Fruit Painted Vase and Cover, T Nutt, 20th century], the classically inspired slender pedestal baluster vessel with acanthus sheathed scroll shoulder handles, painted with two apples, two peaches, purple plums, brambles and a single strawberry on a mossy bank, signed, the domed solidly gilded cover with pointed finial (re-attached), on a swept circular foot, black printed crown and wheel mark and "2710L/S", 32cm high
A Royal Worcester Highland Cattle Vase, James Stinton, 1923], of quatrelobed cushion shape, the everted neck banded in gilt, frontally painted with two longhorn cattle in a misty glen, a mountainous vignette to the reverse, signed "Jas Stinton", puce printed crown and wheel mark, year mark and "H158", 7.9cm high
A Royal Worcester Porcelain Two-Handled Pedestal Vase and Cover, Edward Salter, 1901], the domed cover with fluted pointed finial, gryphon scroll handles, the frontal oval vignette painted with a Scottish castle on a loch, signed "E Salter", within an acanthus scroll frame, against a soft pink ground, on a swept fluted mulberry foot, on a concave sided plinth punctuated with satyr masks and strapwork, green printed crown and wheel mark, year mark and shaped number "2149", 49.5cm high (pink ground colour faded) *Edward Salter worked at the Royal Worcester factory from about 1886 to 1902, and was a fine painter of landscapes. Harry Davis was apprenticed to him. See Sandon (Henry): Royal Worcester Porcelain, page 104.
A Royal Worcester Porcelain Rose Painted Vase, signed Roberts, 1908], the ovoid body frontally painted with a spider spinning a web in gilt against a background of red roses in vivid enamel colours, the reverse with naturalistic red rose spray, with angular and scroll shoulder handles to a panelled trumpet neck, short swept foot, puce printed crown and wheel mark, year mark, shape number "1200" 22cm high *Probably painted by Frank Roberts, a fine fruit and flower painter who could trace and raise gold, as witnessed on this vase with fine gold work on the spider and web.
A Royal Worcester Porcelain Two-Handled Baluster Floral Vase, 1900], the cup shape neck with outswept handles to maiden masks, the main body printed and painted with a spray of chrysanthemums and other flowers in soft enamel colours against a blush ivory ground, the reverse similarly decorated, upon a double domed foot picked out with scrolls and repeat anthemion motifs enriched with gilt throughout, green printed crown and wheel mark, year mark, shape number "2007", 37cm high
A Royal Worcester Hadley Ware Flower Painted Vase, 1905], of classical inspired slender pedestal baluster form with angular strapwork shoulder handles and cupped neck, painted with daffodils and dog violets on both sides in colours against a vanilla ground, with applied leaf silhouette detail in mainly blue, green and brown to the borders, on a circular foot, light blue printed crown and wheel mark, inscribed "Hadley Ware" and "247/101.38", incised initials "BSW", 21cm high (cover lacking)
A Royal Worcester Large Two-Handled Vase, 1895], of pedestal baluster form, the angular shoulder handles carved with grotesques amongst strapwork continuing around the shoulders and linking to the pedestal foot, the main fascia decorated with tumbling strings of orchid blossoms from palms and other flowers in enamel colours, the reverse with a more scant rendering of the same, against a blush ivory ground, picked out in gilt overall, puce printed crown and wheel mark, shape number "1732", 55cm high (small flake off one shoulder handle)
A Royal Worcester Pheasant Painted and Reticulated Vase, James Stinton, circa 1903], the semi-ovoid vessel with low everted rim frontally painted with a cock and two hen pheasants in scrub, a small woodland vignette to the reverse, signed "Jas Stinton", on three reticulated scrolled supports picked out in gilt, upon a conforming hexalobed base, in typical blush ivory tones picked out in gilt, green printed crown and wheel mark and indistinct year mark, probably 1903, and "G47", 13.2cm high
A Matched Garniture of Reticulated White Porcelain Ewers and a Vase, perhaps Grainger's Worcester, circa 1880], the pedestal baluster vase with inscrolled shoulder handles to a trumpet neck, pierced overall with repeat hexagon and floret motifs, on a bell shape base, 27.5cm high, and a pair of ovoid pedestal ewers, with S scroll handles and pierced all over with scrolls, on square pedestals with chamfered angles, 25cm high (3)
A Pair of English Porcelain Dwarf Campana Urns, circa 1830], the handles with lion mask terminals, the front half of each vase painted with a rich display of flowers including passionflower, convolvulus, pink roses and speedwell in enamel colours on a solid gold ground, the reverse with acanthus and anthemion floral devices, on swept circular feet, 14.2cm high (firing crack in one foot)
A Pair of Dresden Porcelain Figures of a Lady and Gentleman Gardener, circa 1880], he stands full length in 18th century attire and floral breeches, leaning on a spade, a watering can under his arm, she supports a basket brimming with flowers in her upheld pinafore flanked by a vase, in typical soft colours, with stylised Greek key pattern rustic bases, underglaze blue painted crossed swords mark, 19.5cm high (restored)
An Encrusted Porcelain Tripod Potpourri Vase and Cover, Carl Thieme, circa 1880], pierced cover with floral tower finial, foliate pierced shoulders to veiled female mask side handles, draped with fruit, painted to the front and reverse with neo-classical interior scenes, on inswept square section tripod legs and tri-concave base, blue printed "X" and "T" mark, impressed "164", 37cm high
A Pair of Dutch Delft Octagonal Panelled Baluster Vases, De Paauw (The Peacock), 18th century or later], the frontal panels painted with sailing barges entering port in blue within yellow glazed scroll frames enriched with florets and chinoiserie branches and motifs extending around the vase, in polychrome enamels overall, red painted "DAPW 13", 25cm high (lacking covers) (both chipped)
A Chinese Blue and White Porcelain Two-Handled Vase], of bulbous form with stag head shoulder handles, the trellis decorated upper frieze punctuated by panels of bamboo, prunus and chrysanthemums, above a collar of lappets and ruyi, the main body with a continuous and dense lotus scroll, basal leaf collar, high circular foot, 43.5cm high See illustration
A Japanese Imari Porcelain Barber's Bowl, early 18th century], centrally decorated in typical colours and green enamel with a vase brimming with peonies and prunus on a veranda, within a repeat wave pattern border of overlapped petals punctuated by cash coin motifs, the underside with flowering prunus branches, the border punctured with two holes for suspension, 26.5cm diameter See illustration
A Japanese Imari Porcelain Barber's Bowl, early 18th century], centrally painted with a stylised vase brimming with flowers on a veranda, the border with four reserves depicting tea pavilion landscapes, against mottled brown/black ground, in underglaze blue, iron red, green enamels and gilt, the underside with flowering prunus branches, the border punctured with two holes for suspension, 27cm diameter
A Japanese Imari Porcelain Barber's Bowl, early 18th century], centrally painted in typical colours in gilt with a vase brimming with peonies and chrysanthemums on a veranda, within a border enclosing three oval panels of flowers and scrolls punctuated by chrysanthemum heads, the underside with flowering prunus sprigs, pierced with two holes for suspension, 26.5cm diameter See illustration
A Japanese Bronze Koro and Cover, Meiji period (1868-1912)], of compressed spherical form with four dragon mask lugs on the shoulders, the domed cover pierced and carved with peonies, shi-shi dog finial, the body with four panels of poultry, sparrows, storks and a fenhuang bird, on a wave cast base with four knurled feet, upon a carved wood stand, the vase 27cm high, 32cm high overall
A Japanese Carved Ivory Tusk Vase, late Meiji period (1868-1912)], worked in high relief with an all-round frieze of seven of the Gods of Good Fortune, three admire a scroll in the presence of a stork, the others gather around a rat, with cloud carved rim, the flat cover carved in low relief with recumbent stag flanked by a ruyi sceptre and flaming pearl, and with rat handle, the base applied with a white metal mount, flat carved stylised seal mark on the base, 25cm high
A late 19th century French rosewood veneered floral marquetry commode, of small proportions, having a rouge and grey veined marble top above the bombe body fitted with two short drawers, the upper drawer stamped "From S & H Jewells, Furniture Warehouses, 29, 30 & 31 Little Queen Street, Holborn", each drawer front with foliate marquetry and ormolu scroll handles with shaped apron beneath with further ormolu mount and flanked on either side by mask appliques, each side panel with scroll, vase and foliate marquetry and raised on short legs terminating in sabot feet. Width 29.5ins.
A Pair of Regence Style Ormolu Table Candlesticks, French, circa 1870], vase shape socles, baluster stems decorated with flowers, on bracketed circular bases engraved with fleur de lys motifs and cast with shells, 24cm high, with associated pans; and [Another Pair], with octagonal bases, 24cm high (2 pairs)
A Gilt Metal Baluster Table Lamp, French, early 20th century], of pedestal vase form with swan neck and wing shoulder handles, the body cast in relief with a scene of a chariot on one side, figures and a bull at a sacrificial altar on the other, bearing signature “E Picault”, on an anthemion decorated swept and fluted stem to a verde antico marble plinth, converted to electricity, vase only 55cm high
A French Eight-Branch Electrolier, circa 1900], with anthemion decorated ceiling boss with four outward angled rods with calyx knops to a flattened vase body with flambeau finial supporting S scroll branches with candle nozzles and pans, later fitted for electricity, 118.5cm high (damaged, requires restoration)
A French Ormolu Mounted Marble Mantel Clock, Planchon a Paris, circa 1870], of vase form, surmounted by a vase of fruits and flowers over a billing dove over rowing boat brimming with bulrushes, flanked by two tritons, on an octagonal plinth applied with seven small watercolour and gouache country scenes in Dutch 17th century style, button feet, the movement with platform escapement (stamped "Planchon Paris 2100"), countwheel striking on a bell, 50.5cm high
A Mahogany Eight Day Longcase Clock, G.Brabbs, Asselby, circa 1825], the case with pagoda inlaid pediment, central inlaid with a marquetry vase of flowers, reeded columns with brass Corinthian capitals, the trunk of good patination flanked by ebony inlaid canted corners, rectangular inlaid plinth raised upon 'later' shaped feet, 12-inch painted arched dial with Roman chapter, dial centre with subsidiary seconds, date aperture and signed "G.Brabbs, Asselby", the corners and arch with painted scenes depicting ruins of churches and monasteries, four pillar movement with attached falseplate stamped "Wilson", anchor escapement and rack striking on a bell, 243cm high
A Mahogany Eight Day Musical Longcase Clock, signed Edwd Shepley, Manchester, circa 1820], the swan neck pediment centred by a fleur de lys finial and inlaid fleur de lys medallion and stringing, the 16 inch painted arch dial with rolling moon disc, subsidiary dial for days of the week and specified tunes (named Carpet Weaver, d. of Yorks March, St Bride's bells, and Life Let us Cherish), the central reserve painted with angels and symbols of the Passion, one of the four Evangelists to each spandrel, the movement striking the hours on a bell, with pin barrel and graduated bells for seven tunes, in a richly figured mahogany case, the bracketed door with turned bone vase finial, cluster column stiles and husk inlay, on ogee bracket feet, 261cm high
A Dutch Mahogany and Marquetry Inlaid Foldover Card Table, early 19th century], with green baize lined playing surface edged with repeat flowerhead motif, the top inlaid with a vase, bird, flowers and scrolls in profusion within a double stringing line, further detail to the frieze and tapering square legs, 84cm by 41.5cm by 78.5cm
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653685 item(s)/page