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Small group of 19th century and later table glass, comprising: an etched blown glass celery vase, 24cm high; a panewl-cut drinking glass etched with hop, vine leaf and wheat on a star-cut square base, 10cm diameter x 14cm high; a stem glass with ivy decoration, and a George VI 1937 Coronation glass etched with Flowers of the Union, together with a glass pestle, (5)
Robert Wallace Martin for Martin Brothers, a salt glazed stoneware foliate vase, 1886, squat ovoid form with angular neck, sgraffito decorated with stylised flower heads in a foliate scroll ground, in the Mannerist revival, incised marks 4-1886, R W Martin & Bros London + Southall, 19cm high
A Vincennes porcelain candlestick, 1745-50, conical hyacinth vase form with ogee rim, the body painted in the round with a Meissen style Kauffahrtei scene of Moorish and European traders in a coastal encampment with ships in the distance, the external rim decorated with a Rococo border of foliate scrolls and diaper panels, the interior with floral sprigs, incised marks A M to underside, 11cm highNote: see the Metropolitan Museum of Art, New York, accession number 54.147.27, for an example of this form with similar border and painted decoration, also bearing the same incised marks to the underside; the French Royal Porcelain Works operated outside Paris in Vincennes from 1740 until its relocation to Sevres in 1756. The mark is illustrated in Dauteman, C C, 1986, Sevres Porcelain; Makers and Marks of the Eighteenth Century, New York: Metropolitan Museum of Art, p.174 and 218, 219
Christopher Dresser for Linthorpe, an Aesthetic Movement art pottery twin handled vase, circa 1885, of moonflask form, modelled in relief with quartered roundels of stylised honeysuckle motifs within beaded borders, the conical neck flanked by two curved buttress handles, streaky green ochre glaze with iridescent striations, impressed marks and facsimile signature, incised 337, 20cm high
Joe Juster for William De Morgan, an Arts and Crafts lustre vase, Fulham, circa 1890, bottle gourd form, the bulbous body painted in underglaze blue with alternating griffon and grotesque lion motifs in a foliate scroll ground, highlighted in iridescent yellow, the knopped neck with geometric lappets and concentric double lustre roundels, painted marks, 28cm high
A Bohemian heraldic cameo glass vase, circa 1835, heavy slice cut chalice form with petal base, the central intaglio engraved roundel of a coat of arms and crest within the motto and collar of the Hanoverian Royal Guelphic Order, between alternating amber glass and ruby enamelled panels of intaglio engraved floral specimens, 12cm high
Edwin Martin for Martin Brothers, a stoneware brambles and birds vase, 1899, footed and shouldered ovoid form, sgraffito decorated with finches in a fruiting blackberry bush of scrolling tendrils, on a blue lava textured ground, incised marks 9-1899, Martin Bros London + Southall, 24.5cm highNote: see Haslam, M. 1978, Martin Brothers Potters, p.157, fig. 255 for an illustration of this vase; exhibited in the Richard Dennis exhibition 1978, number 369
A Vincennes porcelain candlestick, 1745-50, conical hyacinth vase form with ogee rim, the body painted in the round with a Meissen style Claudian landscape of ruins with courting shepherd and shepherdess, figure on horseback and attendant overlooking a coastal view of ships, the external rim decorated with a Rococo border of foliate scrolls segmented rosettes, the interior with similar border, incised marks A M to underside, 10.6cm highNote: see the Metropolitan Museum of Art, New York, accession number 54.147.27, for an example of this form with similar border and painted decoration, also bearing the same incised marks to the underside; the French Royal Porcelain Works operated outside Paris in Vincennes from 1740 until its relocation to Sevres in 1756. The mark is illustrated in Dauteman, C C, 1986, Sevres Porcelain; Makers and Marks of the Eighteenth Century, New York: Metropolitan Museum of Art, p.174 and 218, 219
Peter Gardner for Dunmore Pottery, an art pottery vase, circa 1880, ovoid baluster form, marbled tortoiseshell glaze, piecrust rim and impressed marks, 10.5cm highNote: influenced by the work of Christopher Dresser at Linthorpe at the same time, the Scottish pottery of Dunmore developed a range of contemporary designs and glazes to match the trend and demand for the new Arts and Crafts forms.
A French Aesthetic Movement faience enamelled vase, probably Gien circa 1870, in the Persian style, flattened squat oval form on four bracket feet, decorated with geometric foliate motifs and leafy tendrils, the top border with ogee ruyi heads on a gilt textured ground, raised monogram mark and painted D214, 30cm wide
Edwin Martin for Martin Brothers, a stoneware vase, 1879, shouldered and footed form with cylindrical neck, sgraffito decorated with naturalistic birds in branches with a partridge below, the neck carved and tooled with Aesthetic leaf pattern, incised marks 163 11.4.79, RW Martin London + Southall, 27cm high
A Stourbridge threaded and combed triple cased glass vase, Richardson, circa 1860s, the ovoid body in amber with opaque combed swags, applied with pink threaded spiral decoration to the exterior, on three colourless coiled bracket feet, raspberry prunt pontil mark, 9cm high
Christopher Dresser for Minton, an Aesthetic Movement Kensington Gore vase and cover, 1871, flattened ovoid form on four bracket feet, painted in polychrome enamels with Kingfisher and butterfly amongst peonies, bamboo and chrysanthemums, the feet with Etruscan decoration, impressed and printed marks, 31cm high
The Martin Brothers, a stoneware Aquatic Gourd vase, 1904, square section ovoid baluster form, sgraffito and relief decorated with grotesque and characterful fish and and crustaceans in an underwater habitat, incised marks 2-1904 Martin Bros London + Southall, original paper retail labels Martin Bros Potters, High Holborn, London, 24cm high
Northwood for Thomas Webb and Sons, an Aesthetic Movement / Gothic Revival engraved glass vase, circa 1870, optic wrythen banded bulbous beaker form, engraved and etched with a panel of birds in branches within a rectangular frame, surrounded by prunus blossom and leaves, above a machine engraved Gothic foliate band, polished pontil, 11cm high
Northwood for Thomas Webb and Sons, an Aesthetic Movement / Gothic Revival engraved pale pink glass vase, circa 1870, optic wrythen banded bulbous beaker form, point engraved and etched with a band of naturalistic wildflowers, above a Gothic foliate band, polished pontil, 11cm highNote: the form and quality of the glass is typical of the major Arts and Crafts manufacturers, most notably James Powell and Sons at the Whitefriars works, which this vase closely resembles, in terms of the shape, optic moulding and the quality of the pontil. However, Thomas Webb in Stourbridge and also John Walsh Walsh in Birmingham produced similar quality glass in the Arts and Crafts style, with Webb manufacturing a wider range of colours and decorative patterns. Webb is also known to have collaborated with the engraving firm of John Northwood, also in Stourbridge, who almost certainly executed the applied decoration on this piece which combines the transitional styles of Aesthetic Movement and Gothic, both popular at the time.
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653833 item(s)/page