We found 653685 price guide item(s) matching your search
There are 653685 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
653685 item(s)/page
Lot 139
Jacqueline Marval (French 1866-1932)Still life with roses in a vase, coffee cup and wine glass on a tableOil on canvasSigned (centre right)69 x 49cm (27 x 19¼ in.)Provenance:Galerie Druet, ParisProperty sold to benefit a charitable trust created by the late William de GelseyThe authenticity of this work has been confirmed by the Comité Jacqueline Marval.
Lot 73
λ Lilian Hawthorn (née Leahy) (British 1909-1996)Blue vase, porcelain dog & lemonsOil on canvasboard39.5 x 29.5cm (15½ x 11½ in.)Painted circa 1970s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 1
Loetz (Austrian), an iridescent glass vase with unidentified decoration,c.1925, ground out pontil,Clear glass body with trefoil rim with slightly raised, gold, pulled-feather decoration on the diagonal,25.3 cm high,Property from a private collectionA few speck inclusions and some bubbles from the making process. A few small abrasions and a few tiny scratches. Natural wear to base in keeping with age. Overall good condition.
Lot 10
Loetz (Austrian), an iridescent Phaenomen Creta shouldered glass vase,c.1900, PG 1, ground out pontil,The green glass decorated in pale blue iridescence with horizontal and pulled bands,12 cm high,Property from a private collectionA few tiny abrasions. Natural wear to base. Overall good condition.
Lot 105
Ruskin Pottery (British 1898-1935), a ceramic mauve lustre vase, Impressed 1921, Ruskin England, Globular form with slightly flared, cylindrical neck, covered overall with a lustrous mauve glaze, 22.5 cm highCondition Report:A few fine scratches. Light natural wear. Crazing to glaze, but this is not obvious. Some dirt on the inside.
Lot 11
Loetz (Austrian), an iridescent Phaenomen lobed solifleur glass vase,c.1898, PG 6893, ground out pontil,The dark blue body decorated with silver and blue iridescent pulled threads and bands,17.5 cm highProvenance John Jesse c. 1989,Property from a private collectionTiny nick to edge of foot and few abrasions. A few inclusions and bubbles from the making process. Natural wear to base. Predominantly good condition.
Lot 117
Archibald Knox (British 1864-1933) for Liberty & Co, a silver vase with turquoise matrix cabochons,Mark of Liberty & Co, Birmingham hallmarks 1905,The tapered vessel with folded rim, set with three turquoise matrix cabochons on the side and further three on the top of the openwork arched supports,19.8 cm high (9.4 ozs)If you look straight down on to the top you can see that it is not a perfect circle. There are some abrasions on the top rim and the base. You can see the seam join on the inside. There is natural wear in keeping with age and use. Some old tarnishing. Some wear to turquoise with residual polish.
Lot 14
Loetz (Austrian), an iridescent and textured dark blue Phaenomen glass vase, c.1900, PG 377, ground out pontil engraved Loetz Austria,The shouldered oviform with sides textured in shallow relief covered with a silvery, green and gold surface, with splashes on the edge of shoulders, having a short foot,18.5 cm high, Provenance: John Jesse Gallery, London, 1995.Property from a private collection, Literature: Neue Galerie Museum for German and Austrian Art, New York, ‘Loetz – Bohemian Glass 1880-1940’, Witten & Edited by Jan Mergel, Ernst Ploil and Helmut Ricke, Hatje Cantz Verlag 2003, p.108, vase 54 (similar pattern and shape illustrated).Ricke, Helmut et al, ‘Lötz Bohmisches Glas 1880-1940, Band I, Werkmonographie’, Prestel-Verlag, 1989, p.159, pl.156 (similar decoration on 'dunkelblau' glass illustrated on a different form).A few tiny abrasions. The textured surface extends to the underside of the base - most of which has been polished away at the glass works - but some areas remain - this is how it was made. Natural wear to base in keeping with age. Overall good condition.
Lot 165
A Delvaux porcelain vase with textured and gilded decoration,20th Century, signed 'Fait a Sevres pour Delvaux rue Royale Paris' (Made in Sevres for Delvaux rue Royale Paris),The oviform with short cylindrical neck decorated overall with a textured and gilded ground,24.5 cm highLight natural wear, no damages detected.
Lot 167
Constance Spry (British), a model 'FMA 2' twin handled vase for Fulham Pottery, London,c.1930, impressed marks to base - 'The Fulham Pottery London', 'Made in England' and hand incised 'FMA2',The unglazed body, with clear glazed interior, having serpentine rim, with looped handles on flared oval base,19cm highPlease refer to department for condition report
Lot 174
René Lalique (French 1860-1945), a cased opalescent and blue stained 'Donremy' vase,Designed 1926, engraved signature 'R. Lalique France No.979',Moulded with stylised thistles and heightened with blue staining,21.5 cm highSome minor polishing to neck rim. Some abrasions and scratches to the underside base rim and the edge of the base. Cased glass.
Lot 175
René Lalique (French 1860-1945), a clear and frosted glass 'Avallon' vase, No.986,Designed 1927, stencil mark R. Lalique,Moulded with birds perched on sinuous stems with stylised leaves and cherries,14.5 cm highSome minor polishing to inside of neck rim. A few fine scratches and abrasions here and there. Base with natural wear in keeping with age and use. Some polishing to mould lines beneath the frosting around edge of foot - but this is from the glassworks.
Lot 18
Loetz (Austrian), an iridescent pink Phaenomen glass vase with polished pewter mounts by Van Hauten,c.1900, PG 1/473, ground out pontil, pewter with marks for Van Hauten and numbered 2072,The body of compressed form with extended neck decorated with bold splashes in silvery green, gold and blue, the pewter mounts embellished with flowers and buds and twin handles,19 cm high, 20.5 cm wide,Property from a private collectionThe is an anomaly on the neck rim - a slight dip - but this would appear to be how it was made as the surface finish on either side is intact. There are a few tiny nicks on the rim. A few speck inclusions and tiny bubbles from the making process. A few small scratches and some rubbing. Natural wear and marks to pewter which has been polished. Natural wear to base. Overall good condition.
Lot 186
Attributed to René Lalique (French 1860-1945), a design drawing for the 'Borneo' pattern, c.1930, unsigned, Brush and Ink over faint impression, squared in pencil, on paper, mounted, framed and glazed, Sheet 24 cm x 19 cm, frame 47.5 cm x 36 cm; together with a limited edition, 271/300, 1982 reprint of 'Catalogue des verreries de René Lalique' of 1932 and published by Kiya Gallery, Tokyo and Gallery '25, London, in presentation case, (2), Provenance Galerie Moderne, London. Note: 'Borneo' pattern vase, no.1056, was created 17th October 1930 and is a vase with flared plain neck, the body moulded with a frieze of birds perched amid serrated leaves. The vase is illustrated in Félix Marcilhac, ‘René Lalique 1860-1945 maitre-verrier, Catalogue Raisonnné de l’oeuvre de verre’, Les Editions de l’Amateur, Paris, Fourth Edition, 2011, p. 450. Not removed from frame. Sheet with a few spots.
Lot 187
Marc Lalique (French 1900-1977), a Group of Modern clear and frosted Lalique glass,All signed Lalique France, two without copyright symbol and one also signed M C Lalique and dated 16.11.90,Comprising: 'Ermenonville' vase of baluster form and circular spreading foot; together with a pair of 'Elizabeth' vases moulded with birds in high relief; a 'Nogents' bowl, the stem moulded with four birds; and a single vase with moulded decoration designed and signed by Marie-Claude Lalique and dated 16.11.90,Tallest 14.5 cm high; widest 14.1 cm diameter (5)Ermenonville: some scratches and wear to underside of foot.Elizabeth: one with some scratches and wear to underside of foot.Nogents: couple of tiny nicks to underside edge of foot and light natural wear.M C Lalique: a few tiny abrasions. Light natural wear.
Lot 19
Loetz (Austrian), an iridescent Phaenomen glass vase,c.1901, PG 7801, ground out pontil,Broad open form, the bronze-coloured ground decorated with pulled and shaped bands in gold and pale blue,12.5 cm high, 13.5 diameter, Provenance: Martins Forrest Antiques, London, 1970. Property from a private collectionMinute nick on the neck rim and abrasions/scratches. A few speck inclusions and bubbles from the making process. Natural wear to base.
Lot 2
Loetz (Austrian), an iridescent Phaenomen double-gourd glass vase, 1899, pattern number PN 1/8050, ground out pontil,Blue glass body, with silvery-blue decoration,11.5 cm high,Property from a private collection,Literature: Neue Galerie Museum for German and Austrian Art, New York, ‘Loetz – Bohemian Glass 1880-1940’, Witten & Edited by Jan Mergel, Ernst Ploil and Helmut Ricke, Hatje Cantz Verlag 2003, p.298, B66 (similar pattern and shape illustrated)A few tiny abrasions on the side and a fine scratch. Natural wear to underside of base. Overall good condition.
Lot 20
Loetz (Austrian), an iridescent Phaenomen ‘acid-yellow’ glass vase,c.1905, PG 829, ground out pontil,Globular form with everted neck, decorated with silver and blue threads and banding pulled to a point towards the base,13.5 cm high,Property from a private collectionA few speck inclusions and bubbles from the making process. Light natural wear to base. Overall good condition.
Lot 22
Loetz (Austrian), an iridescent Phaenomen glass vase,c.1898, PG 7499-1, ground out pontil engraved Loetz Austria,The bulbous form of amber colour decorated with gold and blue iridescent undulating bands,11.5 cm high, 13.7 cm wide,Property from a private collectionA few speck inclusions and bubbles from the making process. Light natural wear to base. Overall good condition.
Lot 228
Carlo Scarpa (Italian 1906-1978), A ‘Tessuto’ glass vase for Venini, Italy,Etched to underside, 'Venini Italia, 1982, Paolo Venini' and with partial applied label to body 'Venini, Made in Italy',With bottle neck top and narrowing in the main body, comprising vertical fused red, black and white canes,22cm highPlease refer to department for condition report
Lot 23
Loetz (Austrian), an iridescent Medici decorated glass vase on a yellow ground,c.1902, ground out pontil,Having dimpled sides and everted rim, with pink and green iridescence on a yellow ground,11 cm high,Property from a private collectionA few speck inclusions and bubbles from the making process. Light natural wear to base. Overall good condition.
Lot 236
Erté (Romain de Tirtoff, Russian 1892-1990), a patinated and cold-painted limited edition ‘Oriental Mystery’ bronze vase,Signed Erté and stamped with a Copyright symbol, 1990, Sevenarts Ltd. 147/395,The heavy bronze vase of shouldered tapered form with small neck, cast in high relief with two elegant ladies wearing elaborate costumes and stylised oriental symbols and wave motifs at the bottom,29.5 cm highSome marks and light wear and rubbing.No certificate or box.
Lot 238
Erté (Romain de Tirtoff, Russian 1892-1990), a patinated and cold-painted limited edition bronze vase with shaped neck,Dated 1985, signed on the side Erté, stamped on the base edge 73/250, con.kerf.A.1985, foundry seal, The sides cast in relief with two elegant ladies in nineteen twenties costume, on hexagonal base,31 cm highSome old marks and a few scratches. Light wear and rubbing. Wear and tarnishing to foot.No box or certificate.
Lot 24
Loetz (Austrian), an iridescent ‘Orbulin’ glass vase with dimpled neck and trefoil rim,c.1910, ground out pontil,The pink glass body with cratered surface, the raised decoration covered with a pale silvery-blue iridescence,17 cm high,Property from a private collectionA small loss to the side, you can feel it more than see it, and some tiny nicks on edge of one of the ‘craters’. Natural wear to base.
Lot 244
Trevor Corser (British 1938-2015), a rotund vase, 20th century, potters mark and St Ives seal impressed to base, Earthenware, with gloss glaze, 17.8cm high; together with a jardinière, 20th century, indistinct potters mark to base, earthenware of square form, 18.5cm long, and three mixing bowls, 20th century, indistinct potters marks to bases, in cream glaze with incised banding decoration and pouring rim, 20cm, 17.5cm, 14.5cm diameter (ARR) (5) Corser: in good conditionJardinière: general crazing, good condition Bowls: Largest : In good condition mid : Multiple chips to top rim, some further losses o glaze on inside, considerable surface dirt, chips to bottom rim also Smallest : minor chips to top rim,
Lot 25
Loetz (Austrian), an iridescent Phaenomen glass vase,c.1900, PG 29, ground out pontil,The baluster form decorated with silvery-blue shaped banding on a bronze-coloured ground, the inside of the neck also decorated in silvery-blue,13.3 cm high,Property from a private collectionA few tiny abrasions/fine scratches. Some tiny bubbles from the making process. Light natural wear to the underside of the base in keeping with age. Overall good condition.
Lot 252
Katherine Pleydell-Bouverie (British 1895-1985), a small bowl,20th century, painted no. to base, A small stoneware dish with ash glaze, 9.2cm diameter; together with a Paul Barron (British, 1917-1983) squat vase, impressed mark to base, 20th century, stoneware with slip glaze design, 10.2cm high, (ARR) (2)Both in good condition.
Lot 253
Sheila Fournier (British 1930-2000), a squat vase,Mid 20th century, incised and painted mark,A hand-built squat vase with stylised layers and cut-away form, 15cm diameter: together with a Sheila Casson (British, b.1930), vase, impressed mark to base, thrown porcelain with salt glaze, 17cm high; and a Rachel Wood (British) vase, 20th century, coil-built, with layered slip, 14cm high (ARR) (3)All three pots in good condition.
Lot 254
Karin Hessenberg (British b.1944), twin-handled bowl, 20th century, impressed mark to base,A porcelain twin-handled bowl with oxidised mint glaze, 25cm long: together with a Fiona Bourke (British) cup and saucer, painted marks to base read 'FB.Nec 1.141.98', in porcelain on corrugated porcelain saucer (13cm x 14cm), and a John Jelfs (British, b.1946) vase, impressed mark to side, in stoneware with celadon ash glaze, 24cm high (ARR) (3), Footnote: Fiona Bourke was selected for the Ceramic Contemporaries exhibition and went on to win the overall prize. Her installation, "Necropolis 1", originally comprised 144 handmade porcelain cups, each on a corrugated porcelain mat and representing memories and images of Irish life.All three pieces are in good condition.
Lot 256
William Marshall (British 1923-2007), a large vase,c.1980, impressed mark to side of base,A large and impressive stoneware vase with oxidised, splashed glaze, 39cm high (ARR)Provenance: Purchased from Bonhams in 20120.9cm across chip to outside of top rim, otherwise in good overall condition.
Lot 258
Peter Layton (British b.1937), a studio glass 'Paradiso' series tall 'stoneform' vase, c.2000, with engraved signature,Of ovoid form, cased in clear crystal, the orange and red ground with turquoise banding, together with an 'Aurora' series 'stoneform' vase and a 'Lagoon' series 'stoneform' vase, each signed,Paradiso vase - 19.5cm highAurora vase - 14.3cm highLagoon vase - 12cm high (3) Paradiso vase - very minor flea bite chip to base, otherwise only very minor/light general surface wear from handling. Generally good overall condition.Aurora Vase - very minor flea bite chip to underside of base, otherwise only very minor/light general surface wear from handling. Generally good overall condition.Lagoon vase - very minor/light general surface wear from handling. Generally good overall condition.
Lot 26
Loetz (Austrian), an iridescent Rubin Phaenomen double-gourd glass vase, 1899, PG 7624, ground out pontil,Red glass body, decorated with silvery-blue and green pulled banded threads on the diagonal, 22.5 cm high,Property from a private collection,Ricke, Helmut et al, ‘Lötz Bohmisches Glas 1880-1940, Band I, Werkmonographie’, Prestel-Verlag, 1989, p.89, pl.46 (similar form and decoration illustrated)Has a slightly more mat feel to the surface. Some shadowy patches and horizontal line. Light natural wear with a few tiny abrasions. Some tiny bubbles from the making process. Light natural wear to underside of base. Overall good condition.
Lot 27
Loetz (Austrian), an iridescent Phaenomen Candia glass vase,c.1900, PG 7501, ground out pontil engraved Loetz Austria, The pale glass of bulbous form with cup neck, decorated with fine feathered banding in gold and pale silvery-blue,11 cm high,Property from a private collectionA few tiny bubbles form the making process. Light natural wear. Some dirt to the interior. Light wear to base. Overall good condition.
Lot 274
Nils Thorsson (Danish 1898-1975), a 'Baca' series faience vase for Royal Copenhagen,c.1970, manufacturer's marks to underside,Of square section form with squat neck, decorated with fish and abstract forms in cream, white and brown enamel colour way, 28.5cm high Please refer to department for condition report
Lot 276
Arsall (German), a double overlay cameo glass vase, c.1930, acid-etched signature 'Arsall',The white body overlaid with red and green and acid-etched with strawberries and leaves,35.2 cm highA small nick to edge of the foot and some tiny abrasions and scuffs on the sides. Wear to the underside of the foot. Some wear and dirt to interior.
Lot 277
Arsall (German), a double overlay cameo glass vase, c.1930, acid-etched signature 'Arsall',The white body overlaid with mauve and dark green and acid-etched with flowers and leaves,35.5 cm highThe is a large open bubble/fold in the glass on the inside of the neck but this is how it was made and is not damage. A few tiny nicks to edge of cameo and quite heavy wear to the underside of the foot. Some wear and dirt to interior.
Lot 279
Lino Tagliapietra (Italian b.1934), a fine glass vase, c.1980, engraved signature to base, A fine 'Filigrana' glass vase with gently diagonal red glass canes going all the way from the rim to the foot within the clear glass body, 15.75cm high (ARR) Please refer to department for condition report
Lot 28
A Secessionist opalescent glass vase in the manner of Koloman Moser,Early 20th Century, unmarked,The oviform with everted rim, decorated with vertical rows of spots in a dark aubergine colour against a milky ground exhibiting a nacreous hue,9.5 cm high, 12 cm wide,Provenance: John Jesse Gallery, London, c. 1990, Property from a private collectionA small chip to the edge of the neck. A fairly large open bubble in the glass on the inside of the vase and a few smaller ones - this is from the making process. Light natural wear.
Lot 30
Royal Bonn (German 1755-1931), a tall ceramic vase,Early 20th Century, printed maker's marks, Germany, painted D5819 290 C.4112/1, painter's signature 'B. GÜssgeu' on the side,Decorated with gilded raised outline of a tall flowering plant with glossy green and cream leaves against a background of a wooded landscape painted in mat green on a cream ground,61 cm high There is a chip on the rim of the foot and two glaze flake/losses on the green leaves. Some old marks, dirt and natural wear and some gluey label residue. Some rubbing and wear to gilding on both rims.
Lot 35
A Pink iridescent glass vase with pewter mounts, possibly by Otto Thamm for Fritz Heckert,c.1900, ground out pontil, The pink glass with quatre-foil neck decorated with fine pale blue pulled threads, having an iridescent sheen, held by a pewter mounts and feet,25.3 cm highA few tiny bubbles and speck inclusions from the making process. Light wear. Light wear to pewter.
Lot 36
An iridescent glass vase attributed to WMF 'Myra',c.1930, The vase with everted rim covered with an iridescent surface of pink tone that disperses on the edge; together with a blue glass vase with broad wavy rim, ground out pontil, decorated with a blue iridescence that disperses on the rim,10 cm high and 18 cm diameter respectively (2)Vase with pink: Small chip to edge of rim. Light wear and light wear to base.Blue: short fine hairline on the underside on the rim. Some tiny nibble to the rim which you can feel more than see. Light wear to base.
Lot 37
Attributed to Loetz (Austrian), an Iridescent glass vase with Pampas decoration, c.1900, ground out pontil,The broad blue glass vase with dimpled sides, decorated with raised ribbons, the recesses decorated with green gold iridescence,16 cm high, 18 cm wideThere are some bubbles in the glass from the making process. A few abrasions and scratches and some paint splatter. Wear to underside of base.
Lot 39
Loetz (Austrian), an iridescent Papillon oviform vase,c.1900, ground out pontil,The clear glass vase with everted rim decorated with splashes of gold iridescence,23.5 cm high,Some dark speck inclusions and bubbles from the making process. Light wear. Some dirt to interior. Natural wear to base.
Lot 4
Loetz (Austrian), an iridescent Phaenomen dimpled glass vase with everted rim,c.1900, PG 202, PN 11/888, ground out pontil engraved Loetz Austria,Pale glass body decorated with silvery-blue and blue shaped banding pulled to a point,17.2 cm high,Property from a private collectionA few spot and speck inclusions on the surface and some tiny bubbles in the glass - all from the making process. A few small marks and light natural wear. On the edge of the ground pontil there is a small slither/oyster blemish from the making that was not removed at the time. Overall good condition.
Lot 40
Loetz (Austrian), an iridescent Papillon oviform vase,c.1900, ground out pontil,The clear glass vase with everted rim decorated with splashes of gold iridescence,23.6 cm high,A few abrasions on the sides and some paint marks. A few speck inclusions and bubbles from the making process and a few anomalies on the edge of the rim, again from the making and not damage. Some dirt to interior. Natural wear to base.
Lot 41
Loetz (Austrian), an iridescent Papillon glass vase with silver appliqué,c.1900, ground out pontil,The green body of waisted form with crimped neck rim, decorated with splashes of gold iridescence and overlaid with silver appliqué in a floral design, (losses to the silver),30 cm high There are large losses, and some lifting, to the silver, mostly on the lower half. There are some splashes and drips of paint on the vase and silver and some silver paint on the base. Some tiny bubbles from the making process. Light natural wear and wear to base.
Lot 43
Loetz (Austrian), an iridescent Papillon vase with dimpled sides,c.1900, ground out pontil,The clear glass vase with everted rim decorated with splashes of gold iridescence,20.7 cm high,A few scratches on the sides. A few speck inclusions and bubbles from the making process and a few anomalies on the edge of the rim, again from the making and not damage. Light natural wear. Some dirt to interior. The base with typical wear and a slither/oyster chip on the edge of the ground out pontil.
Lot 44
Loetz (Austrian), an iridescent Papillon vase with trefoil neck, c.1900, ground out pontil,The vase of twisted triangular section decorated with splashes of gold iridescence,20.7 cm high,A few scratches on the sides. A few speck inclusions and bubbles from the making process. Light natural wear. Some dirt to interior. The base with light typical wear.
Lot 45
Attributed to Otto Thamm and Fritz Heckert (German), an iridescent glass vase with ‘Jack in the pulpit’ neck,c.1901, ground out pontil,The yellow body decorated with green threads and an iridescent surface,34.5 cm high Stefania Zelasko, ‘Fritz Heckert - Kunstglas Industrie 1866-1923’, Glasmuseum Passau 2012, p. 230, Cat. Ref. 417 (similar design drawing of shape illustrated p. 194 & 196)Some bubbles and speck inclusions in the glass from the making process. A few fine scratches and some light wear. Light wear to underside of base. Some dirt to interior.
Lot 47
Otto Thamm for Fritz Heckert (German), an iridescent glass vase of compressed form,c.1901-1902, ground out pontil,The clear glass body of compressed form with dimpled shoulders and wavy rim, decorated with undulating threads and splashes of gold iridescence,10.5 cm high, 20.5 cm wideLiterature: Stefania Zelasko, ‘Fritz Heckert - Kunstglas Industrie 1866-1923’, Glasmuseum Passau 2012, p. 186, 187, and 189 (similar shaped vases in varying sizes and pattern illustrated)A few speck inclusions and bubbles from the making process. Light natural wear. Some spots and wear to interior. The base with light typical wear.
Lot 48
Gallé (French), a tall cameo glass vase, c.1910, signed intaglio Gallé, The tapered oviform of dark frosted orange glass overlaid and acid-etched with marguerites/daises with broad leaves, having a tapered stem and circular spreading foot, (small restoration), 43 cm high Small area of restoration - resin infill on the waisted part above the foot. Some old marks, scuffs and scratches. Some small occasional acid marks form the making around the foot/base and a few tiny abrasions. Some minor polishing to neck rim, on the body and base probably from the glassworks. A few bubbles in the glass but this is how it was made. Natural wear to base in keeping with age.
Lot 49
Gallé (French), a mould-blown double overlay ‘crocus’ vase, c.1925, cameo signature Gallé,The vase of flattened oviform and mould-blown, the yellow body overlaid in mauve and pale blue and acid-etched with crocuses,20.7 cm highTiny abrasion/inclusion near the signature. A few tiny abrasions and light natural wear. Some bubbles in the glass, but this is how it was made. Natural wear to base
Lot 5
Loetz (Austrian), an iridescent Phaenomen Argus pattern glass vase,c.1902, PG2/351, ground out pontil,Clear glass body covered overall with an apricot coloured ground decorated with iridescent silver-blue combed threading, 11.5 cm high,Provenance: John & Joan Collins Antiques, Portobello Road 1968.Property from a private collectionA slightly anomaly on the neck rim, slight dip, but this is not damage as it was made this way. A few tiny bubbles from the making process. Natural wear to base. Overall good condition.
Loading...-
653685 item(s)/page