A collection of decorative ceramics and figures with floral and cherub decorated bowls including a pedestal Schumann Dresden example, a Dresden lobed lidded pierced floral encrusted dish, a floral encrusted inkwell, Royal Vienna twin handled vase with printed decoration of shepherdesses, height 21cm, a further smaller Vienna twin handled vase with printed decoration and printed signature 'Kaufmann', a single candlestick with applied figural decoration, cherub with floral encrusted basket (restored), a pair of Sitzendorf bowls/vases with encrusted and cherubic decoration (af), a Sitzendorf mantel clock, two pairs of floral painted glass vases, height of larger pair 35cm, also a group of teaware including Hammersley, etc (numerous items af).Additional InformationChrubic basket restored, as stated. One of the chrubs of the wall pockets has lost an arm, further chips to moulded foliage as one would imagine as well as moulded detail of cherub's wings, some further nicks, nibbles, some pieces with cracks, the Royal Vienna vase heavily crazed, the smaller Vienna vase with either a pronounced scratch or crack to the figural decorated panel, there is a pronounced ridge but it is impossible to identify whether it is a scratch or crack any further, rubbing to the gilt detail overall.
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A collection of ten ceramic fairings including two figural spill vases, 'I am off with him', and 'I am starting for a long journey', height 14cm, with five other similar ceramic items including a group titled 'Pat's Last Match', a pair of figural spill vases of a boy and girl with a chicken and hen, a model of a young girl sitting on a potty and a contemporary model of an Elizabethan timber frame house (17).Additional InformationThe figure of the rotund man spill vase has a chip to the rim of the hat. The fairing of the gentleman with the accordion has a chip to the surface of his blue hat. The fairing returning at 1am has a chip to the paddle behind the lady's head. The group of the girl with the hen has the basket in front of her restored as is one side of the fence which she is leaning against. Her companion figure of the boy with the duck has hairline cracks to the back of the spill vase. The figure group of the female figure holding a paddle beside a shell has the top of the paddle missing.
A large collection of David Winter Lilliput Lane and other house/cottages, including Inglenook Cottage, etc, also a Wedgwood 'Clio' patterned vase and a large collection of cut and moulded glassware.Additional InformationA number of the cottages with slight chips, knocks and losses. The glassware, a couple of the pieces with minor chips but overall good condition.
A late 19th century Staffordshire figure group of two toppers, height 21cm, with four glass fishing floats, a Bretby model of a cat, a Royal Doutlon flow blue loving cup, a silver mounted glass jug and a French glass vase (9).Additional InformationThe Staffordshire group is damaged; the arm of the figure in the red cloak, the hand where it joins the lantern and the lantern where is joins the knee of the figure have all been broken at these three points. General rubbing to the enamels throughout. The four glass floats with some light surface scratches but otherwise OK. The silver mounted jug is tarnished with many small knocks and scratches to the silver rim. The loving cup is finely crazed throughout and does not ring true. The Bretby cat has an old chip to one ear which has been coloured in, rubbing and some nibbles throughout. The glass vase with wear and scratches commensurate with age.
A selection of 19th century and later ceramics and glass to include three 19th century blue and white dessert bowls decorated with a scene of a maiden at a water well, diameter 25cm, a Bargeware documentary teapot and cover with two plaques named for Mrs W. Slater and dated 1876, height 18cm, a Royal Doulton 'Samarra' pattern part dinner service, a Beswick model of a King Charles Spaniel and a Royal Worcester blush ivory vase printed and painted with flowers.
A collection of 19th century and later cut glass to include four ale glasses cut with ribbon tied swags, height 19cm, a smaller ale glass engraved with vines and barley, a cut glass pedestal sweetmeat dish, possibly Irish, height 11.5cm, a cut glass ovoid vase, height 30.5cm, a modern cut glass vase engraved with a scene of a golfer in mid-swing, the other side engraved with a scene of golf green viewed from behind a tree, height 27.5cm, a pedestal vase, a flared rim vase, three jugs and eight other items.
A Chinese Famille Rose ginger jar and cover of bulbous form, converted to a table lamp, decorated with stylised figures below auspicious symbols, raised on wooden plinth base, height excluding fitting 24cm.Additional InformationThe vase has been converted and has a drill hole through the cover, general wear, scratches, rubbing to the glaze and decoration.
A Japanese Meiji period Satsuma vase of shouldered form decorated with Geishas within mountainous landscape, signed to base, height 19cm, and a later Satsuma vase of hexagonal vase, Satsuma button framed in later gilt frame, and a Chinese bronzed spelter model, embossed signature, height 9cm (4).Additional InformationWear to the gilding, heavy wear to the largest Satsuma vase especially to the gilt decoration, crazing to each of the Satsuma pieces. The frame on the button is af and has been broken into pieces.
A collection of Japanese Katani and Satsuma ware predominantly miniatures including a double gourd vase, height 8cm, various miniature items including footed bowls, koro, etc (24).Additional InformationAround seven of the pieces are damaged, these are either chipped, cracked or old repairs. General wear and scratches throughout.
A large and impressive Japanese cloisonne vase of ovoid form, decorated with exotic birds and prunus flowers, height 43cm, and a similar later Chinese cloisonne vase decorated with birds and floral detail, height 31cm and an Iznik-style bottle with metal overlaid detail, height 49cm (3). Additional InformationThe Iznik bottle with large cracks running through, there is also a large area of loss to the metal detail. Each of the vases are af, numerous breaks, dents, knocks etc.
A Chinese Export blue and white tureen and associated cover, the cover with a moulded pomegranate finial and decorated with peonies, the base with twin handles and decorated with a pavilion in a garden, height 20cm, together with a pair of blue and white prunus pattern ginger jars and covers, a prunus pattern vase and cover, a smaller pair of prunus pattern ginger and cover, a prunus pattern vase and cover, and two other Chinese blue and white vases (af) (9).Additional InformationThe tall vase and cover has several chips to the base and also to the cover and the finial is badly damaged with sections missing, the tureen lid does not fit flush and is slightly small for the base, the general light with glaze wear scratches throughout and some glaze imperfections throughout, one of the larger ginger jar covers has an iron red blemish to the underside of the rim, the small vase has staining within the glaze.
DOULTON LAMBETH; an Art ware preserve jar and cover with silver plated mounts, cover and swing handle, height including handle 15cm, together with a Siliconware vase with trailed floral detail, height 19cm (2).Additional InformationThe Siliconware vase has a firing crack to the foot rim, the swing handle is bent/warped on the preserve jar and cover, minimal wear throughout.
ROYAL DOULTON; a large pair of Art ware vases with flared necks with applied stylised floral detail, impressed mark to the underside, height 47cm (2).Additional InformationSadly each vase has suffered damage, one of the vases with a large old repaired chip to the foot rim, the second vase with old restoration to the neck and shoulder, light scratches to the body on each example.
A Japanese polished bronze lamp modelled as a twin handled vase, decorated with birds and prunus in detail, with a brass Corinthian column table lamp, height 32cm (2).Additional InformationThe bronze lamp with small holes to the detailing here and there throughout, age wear, scratching and tarnishing throughout, there is a 4 x 3cm panel at the bottom of the fluting which is a crude repair, the brass lamp with age wear, knocks and scuffs throughout, a few dents to the detailing of the base and the lamp fitting doesn't fit entirely central to the column.
A group of three Attic red-figure krater fragments Possibly by the Dinos Painter, circa 430-410 B.C.most likely depicting an Amazonomachy battle scene, the triangular fragment with a man (possibly Hermes) wearing a petasos and chiton, holding a stick in his right hand, behind him the left knee and shield of a warrior, the second fragment depicting the body of a nude warrior striding forward with his left arm holding a shield and his right a spear, a quiver strung across his chest, in the foreground the arrow and hand of another warrior, the third fragment with the waist and legs of a woman, likely an Amazon, wearing a short dress, a fallen male warrior with arms reaching overhead at her feet 12cm, 11cm and 16.5cm long respectively (3)Footnotes:ProvenanceP. Sharrer, New JerseyA.S. Richter collection, California, acquired from the above 4 May 1989Acquired by the current owner from the above's estate, 2017The ancient Greek male body has been an ideal of Western Art for over 2000 years. The idealised male is nude, his defined muscles and slender body holding an athletic pose to show off the skill of the sculptor or painter. Just as we are inundated with images of the perfected male form in modern advertising media, the ancient Greek would have encountered the idealised nude male body in the vase-painting and statuary that surrounded them. In Classical Greece, male nudity was not the taboo subject it is today. It was common for men to exercise together naked, and participate in sporting events, such as the Olympic games, in the nude. It was this training and exercise that would prepare men for the gruelling nature of war. A soldier needed to be fit to fight. Due to the design of their shields, a warrior counted on the man to his right to protect him from oncoming attacks, just as he was counted on by the man to his left to do the same. It was this trust built up amongst soldiers which the Greeks relied on for their success in battle. A Greek warrior would not enter combat nude, yet warriors were often depicted without clothing when the battle had a semi-mythical setting, as with this Amazonomachy scene. The nudity reflects the combatants' heroism and bravery.In opposition to this was the Greek perception of the female body. In the visual arts the female is pale, her soft skin without muscle definition and her body (almost) always covered. This reflected daily life in Classical Greece, where women were kept behind closed doors, protected their bodies from the sun and had limited interactions with men outside of their family unit. When women were depicted nude in art, it was to show their weakness, vulnerability, or sexuality, with the latter demarcating the woman as an outsider, such as a prostitute or musician. The figure of the Amazon breaks with the norms of a respectable Greek woman. Where the traditional Greek woman was demure and functioned as a bearer of legitimate children, the Amazon was athletic, independent and frequently challenged men in battle. The Amazons were a semi-mythical race of women who were thought to be the offspring of Ares (the god of war) and the nymph Harmonia, meaning they had demi-god status. They lived on the fringes of the known Classical Greek world which reinforced them as an 'Other' in Ancient Greek society. The Amazons did not marry, and were known to cut off their right breasts for greater agility in battle. Battles which took place between Amazons and Greek heroes, such as when the Amazons fought against the Greeks in the Trojan war, are known as Amazonomachies. The Dinos Painter, named for his many depictions of Dionysiac scenes, was a student of the Kleophon Painter.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Royal Worcester Ex Artist Brian Cox Signed and Hand Painted Pair of Lidded Fruit Vases ' Fallen Fruits ' Still Life to All round the Vase - Grapes, Peaches, Raspberries and Apples Leaves, Embellished with Gold Borders. Each Vase Stands 9.5 Inches - 23.75 cms Tall. Both 1st Quality and Mint Condition.
An eastern white metal overlaid brass vase, engraved with stylised foliage and script, within borders of strapwork, 11cm high; a Thai silver cigarette box, with Niello decoration and burr wood lining, 12cm wide, a paper knife with coin inset terminal, stamped 925, a pair of Danish silver small spoons by Georg Jensen, and a small quantity of assorted silver plated items including a large circular lazy susan (qty)
A late 19th century German silver beaker, embossed and engraved with a continuous riverbank, with frogs, a newt and a dragonfly, between borders of stylised foliage, foot rim inscribed and dated 1888, stamped 800, 8cm high; and a continental silver baluster small vase, the neck with applied floral spray, stamped 900, 12cm high (2)
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