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A pair of Wedgwood black basalt and gilt vase in the Aesthetic manner, design number 443, each 24cms high (2).Condition ReportThere is rubbing to the gilt decoration, especially to the top rims, some marks to the basalt, three small areas of loss to the tube lining, as per images, no chips, cracks or repairs, good overall condition
A pair of early 19th century Miles Mason vases, the Chinese clobbered style baluster bodies with tall slender necks with ring handles, decorated with dragons and flowers on a gilt ground, spurious Kangxi mark to the underside, 28cms high.Condition ReportOne vase has a 4.5cms restored chip to the upper rim and hairline crack to the base, the other has a 3cm chip to the upper rim and small chips overall.
Garrison with clock and candlesticks; France, XIX century.Onyx and bronze.Measures: 44 x 28 x 15 cm (clock); 40,5 x 18 x 18 cm (candlesticks).French 19th century furniture composed of a table clock and two matching candlesticks of four lights. The three pieces combine in their structure gilded bronze and onyx, of a beautiful marbling. The clock follows an architectural design, with a stepped base in slope, main body flanked by four columns with base and capital in bronze, upper entablature with frieze and cornice and upper finial composed of the round figure of a lion resting a paw on a sphere, symbol of power.The base is unornamented, derived from Empire models, but under the clock face we see a bronze plate cut, fretworked and worked in relief, with cornucopias, sphinxes and a central laurel wreath. The dial is of great richness, in gilded bronze with chiseled central rosette, Roman numerals in black and openwork hands. The entablature is also decorated with classical bronze motifs.The candelabra have a stepped base to match that of the clock, although the columns have a papyrus-shaped capital, Egyptian-inspired, different from the columns that adorn the centerpiece. Above this capital rises the body of lights, entirely made of bronze, with vegetalized turnstones, cornucopias and lighters in the shape of a classic vase.
Art Deco vase by CRISTALLERIES DE NANCY; France, ca. 1925.Acid-etched cameo glass.Limited edition, copy 15/100.With mark on the base.Measurements: 34 x 15 cm.Vase of classic profile, with rounded foot, circular and low, stylized flared tank, narrow and high, which opens at the top to form the mouth. It is made using the cameo glass technique, combining an upper layer of shiny emerald glass, for the flower and bird motifs of synthesized design, and a lower layer of white opal glass. Unlike Art Nouveau cameo glass, the motifs are worked on two planes, that is, in silhouette and without details in relief, and are contained in a central strip, flanked by decorative borders, in a classicist, orderly composition, very different from the open and asymmetrical, oriental-influenced, typical of modernism.The cameo glass is a technique known since ancient times, although resumed in Europe in the late nineteenth century. The main innovation will be the use of hydrofluoric acid instead of carving, which will allow a wider dissemination and cheaper production. The technique consists of blowing a bubble of two or more layers of glass of different colors, which are then carved or removed to acid remelting the bottom, thus leaving the motif in relief, in the color of the top layer of glass.
Small Phoenician vase, 5th century BC.Glass.Measurements: 12 x 6.5 cm.The Phoenicians surpassed the Egyptians in perfection and fame as far as the technique of glass was concerned. Thanks to the fine sands supplied by the Belo River, the Phoenicians developed a transparent and colorless glass, which later evolved into a vitreous paste made with the core technique. Like their Egyptian masters, the Phoenicians made necklaces, false stones, amphorites and glass alabastrines, among many other types.
Nazca vase; Peru, I-VII century AD.Polychrome terracotta.Measurements: 16 x 11 cm (diameter).The Nazca culture developed in Peru in the valleys of the current department of Ica, between the I and VII centuries, and had its main center in Cahuachi. Its pottery is one of the best considered of ancient Peru, both for its quality and its variety. The Nazca used a peculiar technique, which consisted of painting the entire surface of the vessel before firing, with polychrome pigments applied in up to eleven gradations of color, with a wide variety of shades. Most Nazca vessels have a globular belly with two spouts and a bridging handle.
Skyphos. Gnathia century, IV BC.Black glazed ceramic.Measurements: 8 x 9,5 cm.Skyphos made in the workshops of Gnathia, decorated with the black glaze technique, combined with synthesized geometric and vegetal motifs brushed in red and white colors, organized in concentric bands, following a typical style of Gnathian pottery. The skyphos is a deep wine cup, with two handles and a low, wide base, or without a base. The handles may be small and horizontal, projecting from the rim (in Corinthian and Athenian forms), or they may be loop-shaped, set on the rim or protruding from the base. The black glaze technique employs the same glaze used on the red and black-figure ceramics, but covering the piece completely, without figurative decoration. It was a transparent raw glaze, which adopted its characteristic black tone, intense and shiny, once fired.Gnathia vases are a type of pottery belonging to ancient Apulian painting from the 4th century B.C. They owe their name to the ancient city of Gnathia (now Egnazia) in eastern Apulia. There, the first examples of the style were discovered in the mid-19th century. Its production began in Apulia around 370/360 BC, paralleling the local version of the red-figure style that developed trends toward polychromy at that time. Gnathia vases are characterized by the application of different paints directly on the body of the vase. The subjects depicted include erotes, images of women's lives, theatrical scenes and Dionysian motifs. Painting was often limited to the upper half of the vase body, while the lower half often had only ornamental decoration. The most common forms were bells, pelicans, oinochoai and skyphos.
Vase with handle of the Etruscan civilization, IV century BC. Terracotta. Measures: 11,5 x 10 x 11 cm. Small vase entirely made of terracotta, with globular body and wide mouth. It has a single handle. Its surface is decorated with reddish pigments, arranged as bands. The Etruscan culture was already surrounded by an aura of mystery in antiquity; even their Greek contemporaries were intrigued by the sudden emergence of this people as a maritime and commercial power, by this ancient people who, according to Dionysius of Halicarnassus, "resemble no other in their language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans.
A collection of cranberry glass, including overlaid etched design floral bowl, 18cm diameter, two plain glass scalloped and shaped bottle coasters, candlestick and two overlaid vases, footed trumpet example with cross hatch and circular design 17cm high waisted example with fern and spray pattern, 16.5cm high together with a small specimen vase.
Large quantity of ceramics, to include pair of Chinese-style dogs (height 21cm each), Aynsley trophy vase, various different plates, pair of larger ceramic dogs, large ceramic swan-shaped vase, ceramic lidded box in the shape of a German-style townhouse, among other items. (1 shelf)
Flynn Silver (Australian) Lyre Bird tea spoon, boxed, pierced silver trumpet vase with cranberry glass insert, Birmingham 1910, pair of silver bon-bon dishes with pierced border, Birmingham 1926, small sterling silver beaker, seven serviette rings, marked Mexico 925, together with various white metal items to include a pair of spoons with figural terminals, middle eastern dish with inset coin, Dutch style ashtray and bon-bon dish
A Collection of Various Ceramics to comprise Boxed Coalport Cake Slice, Royal Copenhagen Calendar Plates, Butterfly Dish (Chip to Rim) Continental Cup and Saucer, Wedgwood Cleo Coffee Can and Saucer and Two Coalport Gilt Red and Decorated Dishes, Wedgwood Vase, Wedgwood Lidded Pot, Jasperware Dishes, Rectangular Trays Etc
A Collection of Various Ceramics to comprise Three Coalport Hat Ornaments to include Two Hats for Wimbledon and One For Ascot, All Hand Decorated by Jenny Oliver together with a Boxed Royal Worcester Gilt and White Cake Plate, Coalport Ming Rose Vase, Ming Rose Lidded Pot and a Royal Doulton Miniature Margarette Lady Figure
Quantity of Brass, Copper & Plated Ware Items, comprising a pair of plated ware vases, maker L & W, No. 2859, 8" tall, pair of 7" brass candlesticks, a plated ware vase by T W & Sons No. 4735, two 4" diameter plated baskets by T W & Sons and a larger 5" diameter basket, six pewter coasters, two small brass candle holders, a brass candle snuffer with a wooden handle, a pair of carved wood cherub wall plaques, and other items.
Quantity of Collectibles, Ceramics & Wood, comprising a decorated elephant plant stand 10" tall, a vintage green perspex musical jewellery box with a decorative jewel to top, an inlaid mother of pearl jewellery box, a wooden jewellery box decorated with birds and lined in green sateen fabric. Together with a blue and white Studio art jug marked Schofield of Penrith to base, and an Oriental blue and white ginger jar with lid, a blue fluted top vase. Also, two Caithness glass bowls in pale pink hue.
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653833 item(s)/page