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Lot 286
A Chinese famille rose longevity and blessings vase, early 20th century, painted with bats, lotus flowers and double Shou symbols above a band of false gadroons, 43.5cmA restored rim chip from which issues a 3.5cm hairline crack, and a further 5cm long hairline crack issuing from small knock on the rim.
Lot 287
A Chinese rolwagen vase, Republic period, finely painted with a lady with three attendants in a garden setting, the attendants carrying a platter of peaches & finger citron, a bamboo staff with chiming jade and fruit, and a vase of fruiting branches, between rockwork and plants, 27cm, in Japanese wood boxIn good condition with no obvious faults.
Lot 481
An Andrea Hunebelle art glass vase of heavy gourd form with "cracked ice" moulded surface decoration to the blue-tinted and acid frosted body. 19 cm diameter x 17 cm height. Together with two similar decorated double gourd art glass vases all marked with moulded factory marks 15 cm diameter x 22 cm height.Private estateThe primary items seems OKThe pair have slight chips to the rim
Lot 485
Four items of Moorcroft, comprising a large pansy vase, another smaller pansy vase, a small pedestal bowl, and a small vase, large vase 27 cm, medium vase 18 cm, small vase 7 cm, the diameter of bowl 11 cm, height 4.5 cm.Qty: 4In overall good condition, some crazing to large and medium vase, minor chip to the base of pedestal bowl.
Lot 488
A 20th Century Moorcroft flambe wisteria vase and a Moorcroft flambe leaf & berries vase, both signed in blue to the base, with impressed marks to base. Dimensions, the height of the wisteria vase is 19cm, the diameter of the rim is 7cm, the leaf & berry vase, height is 19cm, and the diameter of the rim is 9cm.Both vases appear to be in good condition, with some firing faults and typical crazing to the leaf & berry vase.
Lot 505
Four pieces of Royal Copenhagen aluminia faience by Nils Thorsson, lot consists of two vases & two dishes, large vase 19.5cm, width 14 cm, smaller vase height 13.5 cm, width 9.5 cm, diameter round dish 19.5 cm, diameter square dish 17 cm.Qty: 4The square dish and smaller vase appear to be in generally good condition however there is some crazing, round dish appears to be in very good condition, and the large vase is damaged with cracks and crazing.
Lot 509
A large French porcelain vase shape table lamp, 19th century, in the Sevres style, painted with a scene after Charles Andre Vanloo of a child artist in his studio with assistant and muse, verso a panel of a continental rural landscape, with gilt caryatid handles, all against a bleu celeste ground, with ormolu light fitting, 72cm overallConverted to a lamp.The neck has been reduced and now fitting with a light fitting. Gilding partially rubbed in each caryatid and around the base.,
Lot 512
Two early 20th Century Art Nouveau Willam Moorcroft vases for James Macintyre & Co, signed in green to the bases, with brown Macintyre mark, the first is of twin handle form and decorated with forget me nots & tulips, the other is of slender form and is decorated with purple pansies. Dimensions, height twin handle vase 20cm, max width 15 cm, slender vase, height 21.5cm, the diameter of base 7.2 cm.Both vases appear to be in good condition but display typical crazing
Lot 517
A Sevres style panel set into a gilt metal dish, 19th century, painted with a floral spray on a blue celeste ground, bordered by eight carved shell cameos within beaded frames, 22.3cm dia; and a pair of Minton porcelain vases, 19th century, with Greek key borders above four linked beaded panels containing floral sprays and gilt handles, impressed marks and date cypher for 1871, 20.5cm highOne vase restored, the other with a fine 2.5cm hairline rim crack
Lot 523
Four items of contemporary Lalique glassware, consisting of a Pinsions bowl, a Nogent tazza/bowl, a Dampierre vase, and a small leaf dish. Diameter Pinsions bowl 24 cm, height 9cm, vase, diameter 11 cm, height 12.5 cm, tazza, diameter 14 cm, height 9 cm, dish diameter 14 cm.Three items appear to be in overall good order with the exception of the leaf dish which has several chips.
Lot 528
Three items of Royal Copenhagen, comprising: of No 1847 'The Emperor & the Nightingale', No 1046-5144 Nils Thorson fish vase and No 1129 'The Sandman, boy with umbrella' figure. Dimensions, height vase 19 cm, width 10 cm, No 1847 figure, height 21 cm, width 12 cm, No 1129 figure, height 18.5 cm, width 7 cm.Qty: 3A small chip on the nose of No 1129 boy with the umbrella figure, other two figures appear to be in good order.
Lot 530
An early 20th Century William Moorcroft Pomegranette vase on an ochre background, base signed W Moorcroft 1914, together with a Moorcroft vase of tapered form with flowers on a cobalt blue background, signed Moorcroft in green to the base. Dimensions, height, pomegranate vase 15 cm, the diameter of rim 9 cm, the height of taller vase 21cm, the diameter of the rim 12cmcBoth vases appear to be in good condition, with typical crazing.
Lot 590
A pair of 19th century cornucopia vases, the glass horns with cut and frosted decoration seated in gilt metal rams head mounts, on a marble base, 23.7cm; and Leonardo Pezaro (19th - 20th century) a terracotta rams head and cornucopia table lamp, 28cmOne of the pair of cornucopia is cracked near the mouth of the glass vaseThe other one of the pair is cracked across the marble base.The composition cornucopia has an old repair to the bottom of the horn. See the images for clarification.
Lot 22
A late Yuan Early Ming Dynasty Longquan Baluster vase. From the Zhejiang province. The rounded sides rising from a slightly splayed foot to an everted rim. Carved around the body with a freely drawn peony scroll, a band of stylised lotus petals. Covered in a translucent celadon glazeDate: 1368-1644. A.D Late Yuan Early Ming dynastySize: 12.8cm highCondition: Tiny chip to top rim, some crazing& no restorationProvenance: The Hurdle Collection, Ormond Oriental Antiques September 1997.
Lot 39
A Qing Dynasty small two handles baluster vase the rounded faceted body rising from a stepped foot to a narrow neck, with two handles applied to the neck covered in a green crackled glaze.Date: 17th-18th century, Qing DynastySize: 15.2cm highCondition: Two chips to foot rim, few scuffs & no restorationProvenance: The Hurdle Collection
Lot 51
A Chinese Yaun/Ming Dynasty Vase and cover, decorated with a pale grey coloured glaze, The cover slightly domed with a round flattened finial.Date: Yaun/Ming DynastySize: 19.5cm high inc coverCondition of Vase: Some fritting otherwise, in good condition. Condition of Cover: Chips in inner flange, some fritting & no restoration. Provenance: Private Collection
Lot 4
A Royal Crown Derby Imari dessert comport, together with a collection of Royal Crown Derby Imari in pattern No. 1128 including a plate, coffee can, and saucer, two cinquefoil dishes; cased set of tea knives, and a flared vaseThe plate is 22.5cm, the tazza is 24cm, the vase is 12.5cm high by 14cm, the small dishes are 11cm wide, the condition of this lot is in good order, the knife handles with minor scratches in parts, otherwise in good condition
Lot 43
A quantity of ceramics and glass including a gilt decorated cranberry glass casket, a pair of cranberry claret jugs, four Wedgwood coloured bisque figures, a Royal Doulton figure "Sweet Seventeen", a Mettlach vase, and an early 19th century English porcelain dessert basket, etc. (three trays)
Lot 63
Two early 19th century Bloor Derby rosewater sprinklers, one formed as a watering can, together with a quantity of 19th century and later English porcelain including a pair of Copeland Spode ice cups, Royal Worcester blush ware, Aynsley cup and saucer, Coalport covered vase, a potpourri basket and cover with applied flowers probably Coalport and a similar chamber stick (one tray)Both water sprinkler with small chips to the floral encrusted decoration, and small chips, some of the gilding slightly rubbed in parts, the Coalport lid has been completely restored, other with gilding rubbed in parts, little scent bottle with some scratches, Royal Worcester blush ivory vase with lid missing
Lot 7
A collection of Chinese porcelain in coloured grounds, including a yellow double gourd vase, sang de beouf minature snuff bottle, clair de lune bowl etc (one tray)The oval shape bowl with damage to the side, with signs of old restoration to the damage, top rim of the same bowl is rubbed, the other items look in good condition
Lot 15
A collection of mainly 19th Century Chinese blue and white porcelain including tulip vase (a.f.), Cafe au lait ground bowls, moon flask etc (one tray)The small moon shape flask with restoration to both sides of the pierced top finials, the same flask with a chip to the top rim, and signs of other restoration in parts, other items with damages and parts missing, and some other items with chips and cracks, the tulip vase with cracks, chips, and losses
Lot 2
Three Royale Stratford china stirrup cups, together with a Duneford pottery figure by Will Young, a similar figure, continental cherubs, and a Whitefriars vaseOne of the silver collars on the back of the bear stirrup is loose and is now detached, one of the figures is with small scratches, another chip on a finger, the figural groups with cracks and chips and pieces missing, white friars vase with small scratches
Lot 22
A collection of Chinese polychrome porcelain including figure of Buddha, pair of knife rests and hexagonal vase, etc.Some items with cracks and chips, some decoration is rubbed, some old restoration marks in places, one of the figures with signs of white paint marks visible touch-ups around the figure,
Lot 214
Leslie Wainwright (English, 1936-1997). Acrylic on masonite still life titled "Lilacs," depicting a glass vase filled with purple and white lilac branches. Signed along the lower right. Further signed, titled, and dated 1984 along the verso.Unframed; Height: 24 in x width: 36 in. Framed; Height: 27 in x width: 39 1/4 in.
Lot 359
Group of three glass and ceramic objects including one red glass bowl by Ian Forbes (Canadian, 20th/21st c), one globular form ceramic by Richard Zakin (American, 1937-2018), and one American school tall green and white glass vase.Forbes bowl; Height: 4 in x diameter: 7 1/2 in. Zakin ceramic; Height: 7 in x diameter: 9 3/4 in. Tall vase; Height: 21 1/2 in x width: 4 in x depth: 3 1/2 in.
Lot 383
Large Dutch Delft blue and white porcelain eight-tiered pyramidal tulipiere. The porcelain pedestal is supported on lion's paw feet and painted with mythical scenes. Each tier with four molded dolphin spouts at the corners and decorations depicting flowers, country scenes, and gamboling putti. Illegibly signed and with a Delft vase mark. On a painted wood plinth.(Without wooden plinth) Height: 57 1/2 in x width: 16 1/2 in x depth: 16 1/2 in.
Lot 1
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 127
Flavio PoliVase, model no. 7724/6441, 1939-1940Bollicine glass with gold foil inclusions.18.7 x 13.8 x 13 cm Produced by Seguso Vetri d'Arte, Murano, Italy.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 133
Fontana Arte'Cartoccio' vase, model no. 2072 A, designed 1935Glass.19.5 cm highProduced by Fontana Arte, Milan, Italy.Footnotes:LiteratureDomus, no. 96, January 1935, n.p.Quaderni Fontana Arte 6, 1964, p. 200Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell'epoca, Genoa, 2012, p. 63'Design Italia 1928-2016, 100 Record', Domus, no. 1000, March 2016, p. 152This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
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653685 item(s)/page