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A Norwegian birch peg tankard, 18th or 19th century, the domed lid carved in low relief depicting flowers in a vase, carved handle and feet, height 17cm, lid diameter 12cm (A/F)Inside of lid has an old metal repair, a fine old crack in the lid running from hinge to the centre and hinge is split, handle slightly loose from the body
Two Wedgwood Library Collection basalt and cane jasperware cylinder vases, 20th century, each decorated with applied relief moulded classical scenes below a continuous scrolled foliate border, impressed maker's marks to base, each 14.5cm high CONDITION REPORT:One vase shows slightly darker cane jasperware than the other. The darker vase shows a small loss to the white band below the foliate frieze, and a continuous dark line above the top band which is not present on the other vase. Both vases appear to show some leaching of colour from the basalt mouldings onto the white bands below them. The darker vase shows a line of dark marking around the white of the foot rim extending approximately 25mm. Apart from the above, neither vase shows visible chips, cracks, or evidence of restoration, however both are dirty and would benefit from cleaning.
A pair of Masons Ironstone China vases of large proportions, early 20th century, of ovoid form, decorated in an Imari palette with birds and peonies, each 47cm high(2) CONDITION REPORT:Both vases show fine surface crazing throughout and rubbing to the gilt highlights, particularly around the rim. The body of one vase shows a firing fault and two small firing frits. Neither vase shows visible chips, cracks or losses.
A selection of blue and green glassware, to include; an Orrefors blue bubble glass waisted bowl, numbered to base '04069-226', 20cm wide, a blue and green swirled glass vase, 17cm high, a blue and yellow glass compressed form vase, 13.5cm high, and a further five assorted bowls, vases and vessels (8)
Bengt Edenfalk for Kosta Boda, a late 20th century glass vase, of rectangular form with blue, green and white wave decoration, 15.5cm high (at fault), together with a Mdina blue and green glass bowl, 13cm diameter, a Mdina blue and green glass vase, 20cm high, a Mdina yellow and blue glass bowl, 14.5cm wide, a green and white cross-hatched rectangular vase, 13.3cm high, and a blue and purple urn shaped vase, 20.7cm high (6) CONDITION REPORT:The Kosta Boda vase shows a small chip to the rim with a further small loss adjacent. The other pieces appear to be in good overall condition, showing no visible chips, cracks or losses.
A selection of studio pottery ware, to include; a stoneware pot pouri, 20th century, of compressed circular form on three raised feet with pierced cover, mottled glazed decoration, 9cm high, a stoneware vase, 20th century, of compressed form with blue an purple drip glaze, 10.5cm high, a stoneware bowl, 20th century, of circular form on raised foot with blue-green mottled glaze, 14.8cm diameter, a ceramic vase, 20th century, with mottle green drip glaze, 19cm high, and further seven studio pottery vases and vessels of assorted shapes, styles and colours (11)
An Art Deco Lalique 'Ceylan' vase, early 20th century, designed by René Lalique (1860-1945) and introduced in 1924, the opalescent vase press moulded in high relief with pairs of budgerigars perched on a foliate trellis, frosted and polished with remnants of blue staining, wheel-cut 'R.LALIQUE' to base, 24cm high (minor faults) CONDITION REPORT:The piece shows fine surface scratching to the polished rim, with a small loss to the lower rim edge. There is a small air bubble within the the rim. One of the left facing birds shows nibbles to the feathers of the wing just above the leg. The same bird shows a small moulding fault near the top of the wing. The other birds show minor wear to the high points. The foot rim shows several small chips, including a flaked loss which extends approximately 8mm up the side of the foot rim. The interior is dirty and would benefit from cleaning.
A Chinese porcelain blue and white bottle vase, Jingdezhen, decorated in the prunus patter, blue seal mark to the underside, 43.5cm high CONDITION REPORT:The piece shows some fine surface scratching and the odd firing pit and frit across the body, but no visible chips, cracks or losses.
A Chinese porcelain blue and white lamp base, 20th century, the baluster shaped vase with flared neck, decorated with scrolling formal foliage, converted to a lamp base, upon an ebonised wooden base, 57cm high overall Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items. Condition report; This appears to be a decorative lamp base with contemporary light fittings. No obvious chips, cracks or restoration. Please see additional images.
A Chinese porcelain blue and white jar and cover, late 19th century, of baluster form and decorated with a scrolling four-clawed dragon, 41cm high (at fault)Condition reportTwo small chips to the rim of the cover, both 2cm long, three hairline cracks running down from the neck of the vase, two are 6cm long the third 3cm. Minor firing pits and frits and small glazing faults across the body.
A Chinese cloisonné baluster vase, 19th century, converted to a lamp base, decorated with floral sprays against a yellow ground, 46cm high, with a smaller Japanese Cloisonne lamp base, 46cm high overall (2) (at fault) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A late 19th century French onyx and gilt metal Egyptian revival clock garniture, the breakfront case surmounted with a gilt metal classical figure, above a 9cm integrated dial applied with Roman numerals and encasing the French two train movement stamped 'Inge Dienst' striking on a saucer bell, the case applied with a a gilt metal frieze embossed with classical Egyptian figures, 36cm high, along with a pair of vase garnitures each with a removable cover and conforming gilt metal frieze on onyx plinths, 38cm high, weight and pendulum (one vase garniture at fault) Your attention is drawn to our important notice regarding the Trevanion sale of clocks, watches & timepieces found in our Terms & Conditions, please read this prior to bidding.Condition reportChip to one corner of vase garniture, with a second discoloured corner.Second garniture has minor chips to cornersOverall tarnishing to the gilt, classical figure is loose with play in the fixing joint, probably lacking instrument or implement to her hand. Minor chips and nibbles to the clock onyxWorking condition un tested
BERNARDÍ ROIG (Palma de Mallorca, 1965). "Homage to Jan Gossaert", 1995. Oil on canvas. Frame made by the artist himself in wrought iron as a tray. Signed, dated and titled on the back. Size: 75 x 135 cm; 81 x 150 cm (frame). The work presents a composition that alludes to the Flemish painter Jan Gossaert (Maubeuge, ca. 1478 - Antwerp, 1532), better known by the pseudonym of "Mabuse". Vanitas becomes a recurring theme in Jan Gossaert's work, with works featuring skulls, the quintessential symbol of vanitas, accompanied by objects alluding to wealth, knowledge and military power, all of which disappear with death. On this occasion Bernadí offers a modernised composition in which the skull is accompanied by plants, a candelabrum and a vase, as well as a "+" sign that reinforces the symbolism of the vanitas. The Latin term "vanitas" designates a particular category of still life, of high symbolic value, featuring objects that allude to the fragility and brevity of life, the passing of time and death. Vanities denounce the relativity of knowledge and the vanity of mankind, subject to the passing of time and death. It is a genre that was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). The message it conveys is the futility of worldly pleasures in the face of the certainty of death, encouraging the adoption of a sombre view of the world. In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas. One of the most interesting young artists on the Spanish scene, Bernardí Roig has been awarded important prizes such as the Special Prize of the Fundació Pilar i Joan Miró, the Sotheby's Prize, the Egypt Biennial in 2001 and the official prize of the XXI International Biennial of Graphic Art in Slovenia. Since the mid-1990s, he has held solo exhibitions in leading galleries, museums and art centres such as the Miró Foundation (1995), the Totem il Cannale gallery in Venice (1996), the Museum of Contemporary Art and Design of San José in Costa Rica (1997), the Ludwig Foundation in Havana (1999), the Museo Jacobo Borges in Venezuela (2000), the Museo de Bellas Artes in Oviedo (2000), the Max Estrella Gallery in Madrid (2000), the Adriana Schmidt Gallery in Cologne (2000), the Claire Oliver Gallery in New York (2002) and the Ludwigsburg Museum in Stuttgart (2002). He has also taken part in the Venice Biennale (2001), the Egypt Biennale (2001) and the Arco fair in Madrid. He is currently represented at the AENA, Miró and La Caixa foundations, the Jacobo Borges and Sofía Imber museums in Venezuela, the Ministry of Culture in Mallorca, the Saikade Museum in Japan, the Gille Collection in Belgium, the Ludwig Foundation in Cuba and the Museum of Contemporary Art in Costa Rica.
MATÍAS PALAU FERRER (Montblanch, 1921-2000). "Woman with flowers". Oil on canvas. Signed in the upper left corner. Size: 98 x 78,5 cm; 106 x 87 cm (frame). In this work Maties Palau Ferré offers us a beautiful scene of colour and light, based on a rigorous composition starring a young woman who offers the spectator a vase with flowers, and a clearly modern concept of space, of cubist heritage. In this way, Palau Ferré overcomes classical forms to show us another way of seeing reality, freed from the chains of learning, the fruit of experimentation and reflection. He studied at the Royal Catalan Academy of Fine Arts of Saint George, Barcelona, and moved to Paris in 1957, where he was one of Pablo Picasso's disciples. He began with some cubist-inspired works on oil canvases. Over the years he also did some ceramics and a few sculptures. After coming to fame in Spain he exhibited in several foreign countries, including France, the UK and the USA. His most important works are Woman and Moon, Montblanch and Guer-Blanc. Palau Ferré became notorious for his sudden mood swings, which led him to burn his oil paintings in 1974 after a dispute with a gallery owner. As a protest against what he defined as the "prostitution of art", he continued to systematically burn all his oil paintings that came into his possession over a period of about twenty years. He usually scattered the ashes of his paintings ceremonially in the Francolí River in his homeland, but some of the ashes of his canvases were saved and became part of an art exhibition in Pennsylvania, USA.1 His prolonged protest led him to stop painting oil canvases and to prohibit the few that survived from being exhibited until 1989. In his last artistic phase he painted only in India ink on thick paper using a technique of his own invention. He always signed his works with his two surnames "Palau Ferré". Palau Ferré died on 1 January 2000 in Montblanch and the town council named a street after him that same year. Months later, the Palau Ferré Art Museum was inaugurated, where some of his works are exhibited, including some rare canvases that were saved from burning.
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653685 item(s)/page