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Islamic metalwares - To include three brass dishes, diameters 9cm, 10.5cm and 11.5cm, a copper vase, height 11cm, a white metal hexagonal jewellery box, height 6cm, a brass wood lined casket, height 5cm, width 7.5cm, depth 4.5cm and a circular brass box and cover, height 4cm, diameter 7.5cm.
Poole Pottery and Honiton Pottery - A jug decorated with flowers, printed dolphin mark and painted marks 'AW/BD' to base, height 17cm, together with two biscuit barrels with cane handles, both with printed dolphin marks to base, heights 16cm and 14cm, a small vase, height 9cm and a small jug, height 7cm and a Honiton Pottery dish, width 19cm.
Glasswares - To include, a 20th century Wedgwood Brutus hexagonal smoked glass vase, designed by Frank Thrower, etched 'Wedgwood' and with part of original label to base, height 21cm, an Art Deco glass perfume bottle and stopper, Reg. No.808435, height 25.5cm, together with other glassware.
Silver - A silver topped dressing table bottle, the clear glass body with wheel cut floral decoration, Birmingham 1934, height 14cm, a silver footed vase, Birmingham 1924, height 15cm, a Georgian silver salt spoon, weight 11.6g and a silver Queen Victoria 60th anniversary teaspoon, Birmingham 1896, weight 9g.
19th century Chinese spelter teapot - A spelter teapot with swing handle decorated to each side with three glass panels depicting images of figures in pavilions, the back embossed with a vase of flowers and butterflies, the front with calligraphy mark for 'Blessing', the base with four character calligraphy mark, height 16cm.
LATE 19TH/EARLY 20TH CENTURY GLASGOW NAUTILUS PORCELAIN FIGURAL SPILL VASE,modelled as a maiden beneath a bower, marked to base, 31cm highChips to the exposed rims of the spill sections, some of which have been gilded and restored, others unrestored; some rubbing as well as dust and dirt, firing cracks and other manufacturing imperfections, additional images available
CHINESE BLUE AND WHITE LIDDED JAR,23cm high, along with other Chinese vases and dishesThe large sleve vase has a chip to the rim as well as a small hairline crack.The blue and white vase with lid is in good condition. The lid has a chip to the inside. There are some very small chips to the Foo Dog. The tea pot has a slight stain to the handle and spout. The accompanying lid has a couple of very small flea bites. The pair of pierced pots/vases have some scratching to the top. One base has some cracks. There are some very small chips to the sections of both pieces between the panels. Both ginger jars are in good condition overall. The larger of the two has a section which is cracked and has possibly been reglued. The collection of plates are in good condition. The larger of the four has some flea bites/chips around the rim as well as on the main scene.
CHINESE BALUSTER VASE,24cm high, along with other ceramicsThe tallest Cantonese vase is in fair condition. There is one chip to the rim and another which starts at the rim and finishes at one of the Rose Mandarin scenes. There is some minor paint loss and loss of gilding to the vase and lion mask handles. Overall the vase is vibrant and has a good amount of gilding to the hair of the figures.The cylindrical Cantonese jar and cover are in overall good condition. The jar has some chips to the rim. The cover has been broken in several places, has several cracks and has been glued back together.The medium sized Cantonese vase has a lot of fading to the Rose Mandarin scenes. One of the lizards around the neck of the vase has a chip. The smallest Cantonese vase is in overall good condition, with some loss of gilding to the rim as well as on the main body of the piece. On the cloisonné jar and cover, there is a chip to the lid and some dents as well as some scratching to the base. The other cloisonné pieces are in good condition, with only a couple of chips to the small pin dish.
19th century table clock.Bronze, ebonised wood and porcelain dial.Measurements: 66 x 34 cm.Table clock made for the Turkish market, with ebonised wood structure, applied bronze decorations and porcelain dial, with Turkish numerals for hours and minutes in black and openwork hands. The design is historicist in style, inspired by pieces from the Baroque period, hence the combination of an architectural structure of mixtilinear forms and emphatic volumes with the application of bronze. Also typical of the decorative arts of the Baroque period was a taste for contrasting qualities, colours and textures, hence the use of contrasting materials such as ebony, bronze, tortoiseshell and ivory. The clock stands on a stepped base, supported on cut-out legs (the bronze front legs) and decorated with classical relief mouldings in bronze and, on the front, with a chiselled, openwork and cut-out plaque with a composition of sinuous stems, leaves and bunches of grapes. The body of the clock rises above this base, open at the bottom to form a curved-sided recess, flanked by openwork bronze plaques similar to the base. The dial is set in a frame formed by sunbursts, directly inspired by French models from the time of Louis XIV, the Sun King. On both sides of the case are vertical bodies that stand out in plan and are decorated with openwork plaques, mouldings with reliefs, pinjantes, classical vase-shaped finials and openwork side rosettes as handles, all in bronze with Baroque vegetal motifs. Finally, the piece is crowned by a cup-shaped body also decorated with bronze appliqués, which stand out against the black background of the ebonised wood, and culminates in a large classical vase with relief decorations.
Art Nouveau vase, possibly CAMILLE FAURÉ (Perigueux, 1874 - Limoges?, 1956).Soliflower vase.Enamelled copper.Unsigned.Measurements: 30 cm (height) x 14 cm (diameter).Modernist style vase with a copper structure entirely covered with enamel, except for the base, which remains with the metal exposed. The decorative motifs are the large, naturalistic but somewhat schematised flowers typical of French Art Nouveau.Camille Fauré was a French artist best known for his designs for Limoges, internationally renowned for his enamels. After a long apprenticeship, he established his own workshop in Limoges, France, where he worked for about fifty years, becoming the most famous and talented enamel artist in Limoges. He took part in the Paris International Exhibition of 1925, where Art Dèco was given the name by which the art movement is known. His early works, as well as those he would produce after the Second World War (more or less), are notable for floral and figurative patterns of a respectable size, often using bright colours. He made vases, cups, ashtrays, boxes, etc.; the vases in a wide variety of shapes and decorations. And it was his geometric decorations that led him to be considered the "enameller" of Art Deco. His delicate creations, of extraordinary quality, are preserved in important private collections all over the world, as well as in institutions such as the Musée des Beaux-Arts in Limoges, the French National Heritage collection, the Royal Ontario Museum in Canada, etc.
Table; Italy, late 18th century.Walnut wood. Ebonised wood, boxwood marquetry, and caywood appliqué.Presents adaptation of the legs from a later period.Measurements: 70 x 82 x 52,5 cm.Italian lyre-leg table from the 18th century, made of walnut, with a single-piece top, legs trimmed and decorated with simple carved details on the fronts and curved iron fasteners. The lyre-leg table originated in Italy in the 16th century as a table, often for representation rather than use. Inspired by the tables of classical antiquity (made of marble and with cross supports), they have two lateral supports which can be removed for transporting the piece of furniture, and which may have a lyre or vase profile. In some cases, these cross supports are decorated with classical Renaissance motifs. In the centre of these supports is an 'H' shaped foot.
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653833 item(s)/page