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A collection of Mdina glass to include two paperweights formed as seahorses, another of globe form, another domed with upper knop, a vase of squat ovoid form with everted rim, and a vase of cylinder form, all with ochre trails against the blue ground, height of tallest 17cm. (6)
An early 20th Century Burmantofts vase, of squat ovoid form with tall collar neck and everted rim, shape 1610, decorated with a deep green streak glaze over a pale green ground, impressed marks, damaged, together with an attributed to Burmantofts candlestick in graduated pale to deep blue glaze and a small unglazed Linthorpe jug in the manner of Christopher Dresser, shape 626, tallest 30cm. (3)
A collection of Mdina glass to include a free form knot, a vase of ovoid form with everted rim, a sculpture of love birds, a basket, a paperweight formed as a seahorse and another of domed form, all with ochre trails over the blue ground, some signed, height of tallest 16cm. (6)
A large 1960s Scheurich floor vase in the Koralle pattern, the cylindrical body decorated with wave lines and graduated spots below a three ring neck with brown glazed finish, pattern 288-40, height 40cm, together with a matched paler example and a smaller Scheurich vase in the Onion pattern, 285-30. (3)
A studio pottery stoneware vase by Rodney Lawrence, of tapering cylinder form with square top rim, sgraffito decorated with figures in an art studio, stamped initials and flower mark, together with similar Rodney Lawrence vase, sgraffito decorated with figured in windows, tallest height 24.5cm. (2)
A 20th Century Linthorpe Pottery vase designed by Christopher Dresser, of ovoid form with tall flared neck, shape 124, decorated with stylised white daisies over a graduated ochre to grey matte ground, stamped marks, together with a two further Linthorpe Pottery vases, the first of footed ovoid form with frilled rim and the second of shouldered ovoid form with tall collar neck, shape 1691, both with a mottled and streaky tonal brown glaze, marked to the bases, tallest height 30cm, damage. (3)
An early 20th Century Ault Pottery earthenware vase by Christopher Dresser, of squat double gourd form with tall collar neck and twin handles, decorated with a stylised polychrome foliate motif to either side over a graduated green ground, raised Ault vase mark and inscribed Dresser signature, height 17cm, together with a Burmantofts jug decorated in a blue ground with a central band of crackle effect pattern, impressed marks, height 17.5cm, damage. (2)
A collection of Mdina glass, comprising two paperweights formed as seahorses in blue, one raised to a blue base, the other blue with trailing, two other seahorses in clear, a paperweight formed as an apple and a vase of ovoid form with everted rim, height of tallest 16cm. (6)
A Gustavsberg Verkstad KAPA series vase designed by Wilhelm Kage of compressed ovoid form with incised spiral lines with a deep tonal blue glaze, impressed marks, height 9cm, together with a matched rounded square section shallow bowl and a small squat cylinder vase. (3)
A large Charlotte Rhead for Bursley Ware fruit bowl of high sided circular form, tube line decorated with stylised fruits and flowers all over a cream ground, printed mark, together with a Charlotte Rhead Jug decorated in the Tulip pattern, a 1930s Charlotte Rhead for Crown Ducal box commemorating the 1937 Coronation of Edward VIII, a Wadeheath Flaxman Ware ovoid vase with birds in flight over a floral landscape and an A. E. Grey and Co. lustre jug with a band of floral decoration in purple and red, all with printed marks, damage. (5)
A pair of 20th Century Dartington FT101 Bark vases, designed by Frank Thrower, of square section with flared neck, the body with textured relief moulded decoration, all in a clear ground, height 11cm, together with a clear crystal Sklo Union Candle wax vase, a Ravenhead Bark vase in clear crystal, a Wood Brothers Glass Cascade circular dish in blue and two other similar bark vases, tallest height 21cm. (7)
A Linthorpe Pottery vase designed by Dr Christopher Dresser, of ovoid form with flared neck and twin handles, shape 337, decorated with moulded fan motifs in a central circular panel to both sides, all in a streaky brown, green and blue glaze, inscribed Dresser signature, height 20cm.
A studio pottery stoneware vase, possibly by Peter Lane, of shouldered ovoid form with flared rim, decorated with mottled trails in green, grey and brown, incised initials, together with a similar Studio Pottery vase with spiral decoration and a large Studio Pottery bowl with mottled brown glaze over a black ground, largest size 24cm. (3)
A Kralik style glass vase, of ovoid form with Jack in the Pulpit rim, all in an iridescent green ground, height 15.5cm, together with three similar continental iridescent vases of various forms and designs, also a Stuart & Sons clear crystal vase with green peacock trails, a continental vase with green crown decoration and a peach satin glass vase, tallest height 18cm, damage. (7)
A 20th Century Wortley Pottery Vase, Leeds Fireclay Company Burmantofts Association, of squat ovoid form with slender collar neck and frilled rim, shape 198, decorated in an amber to green and blue glaze ground, impressed mark, together with a small blue glazed ovoid vase with collar neck by the same hand and a small Bretby shouldered ovoid vase in a streaky amber and blue glaze ground, tallest height 12cm. (3)
A Royal Doulton Lambeth stoneware flask vase designed by Leslie Harradine, of compressed shouldered form with waisted neck and applied loop handles, the body relief moulded with cartouche panels of cherubs holding strands of pearls, picked out in tonal blue and lilac glazes, impressed and incised marks, height 21.5cm.
A mid 20th Century Soholm Northen Lights vase designed by Maria Phillippi, glazed in grey and brown, unmarked, retains partial foil label, height 20.5cm, together with a celadon crackle glazed vase and a Royal Copenhagen Studio candle stick affixed to a high sided bowl all glazed in celadon. (3)
A studio pottery vase of ovoid form with flared neck and twin handles modelled as stylised bird heads, the body decorated with floral motifs in green, blue and yellow over a pale green ground, stamped marks to the body, together with a studio pottery pilgrim flask and jug both with incised decoration, all different hands, largest size 20cm, damaged. (3)
A Ben Arnup stoneware trompe l'oeil sculpture, of ovoid form with a semi circular aperture, decorated in sections of blue and cream, painted marks, damaged, together with a group of studio pottery items, including a blue salt-glazed mug, conical form lustre glaze bowl and a small vase with banded grey decoration, largest size 34cm. (4)
A 20th Century Gmunder Keramik vase, of footed conical form with cup rim, decorated in a mottled green glaze with two incised antelopes and cream bands, signed, together with a 1920s Reco Capey for Royal Doulton large hexagonal jug, with checkerboard design of alternating bird and scroll motifs in green, white and black, height 16cm, damage. (2)
A mid century Roth Keramik Fat Lava vase, of squat ovoid form with tall cylinder neck and loop handle, decorated with a textured mottled ochre glazed to the rim over a deep green glaze ground, impressed 112/27, height 27.5cm, together with a similar smaller Fat Lava vase with a textured zig zag pattern and a matt orange example with textured decoration to the neck. (3)
A post war Czech glass vase in the 19th Century Bohemian taste, the pedestal body with flared rim, cased in opal over ruby and flash cut with printie panels with hand enamelled flowers and gilded highlights, height 22cm, together with a matched pedestal bowl, width 20cm. (2)
A studio pottery stoneware vase by Rodney Lawrence, of shouldered cylinder form with collar neck, sgraffito decorated with figures in a terrace, stamped initials and flower mark, together with a similar Rodney Lawrence vase sgraffito decorated with standing figures and inscription 'The Fountain of Youth and Knights Rewarded for Their Valour', tallest height 22cm. (2)
A large Dartington vase designed by Frank Thrower, of square section with a relief moulded Greek Key design all below a flared neck in an iridescent pale grey tint, height 24cm, together with three other Dartington clear crystal glass vases of varying designs and a small Strathearn vase, circa 1970, decorated with a graduated mottled brown to citron ground. (5)
A 1930s Art Deco pressed glass vase by Jobling, of shouldered cylindrical form, relief moulded with stylised carp amongst zig zag lines in a deep golden amber finish, unmarked, height 28cm, together with a further Jobling glass vase of shouldered ovoid form, relief moulded with stylised Art Deco flowers over chevron bands to the deep electric blue ground, unmarked, height 30cm, both damaged.
An early 20th Century Thomas Webb & Sons clear crystal glass vase of footed shouldered ovoid form with collar neck, intaglio cut with a stork to a pond setting with bulrushes, flowers and foliage, acid mark, together with a 1930s Thomas Webb & Sons crystal cameo glass bowl, hand cut with stylised flowers and foliage over a planished ground, acid mark to the base, tallest height 24cm. (2)
A 20th Century Cobridge stoneware vase, of shouldered form with tall collar neck and flared rim, decorated in a Sang de Boeuf style glaze, printed mark, height 16cm, together with a Dunmore Art pottery jug of squat ovoid form with twisted rope handle, all in a deep blue glaze, also a Bullers Pottery vase of ovoid form in pale blue ground, impressed marks to base, damage. (3)
An early 20th Century Moser clear crystal glass Art Nouveau vase, circa 1900-1910, of square sleeve section with shaped petal edged upper rim, heavily cut and engraved to all sides with wild poppies and iris flowers and foliage to the clear ground, unmarked, engraved numerical codes to the base, height 15cm. NB - From the collection of Gary D Baldwin, illustrated on plate 132, page 126 of Moser Artistic Glass by Gary D Baldwin.
A Candy Wescontree ware stoneware vase, of double gourd form decorated with mottled green streaky glaze over orange ground, mark to base, height 20cm, together with a large Clews Chameleon Ware high sided bowl in a mottled green ground, also a stoneware jug of ovoid form with tall collar neck, and an Ashtead Potters warming plate in an ochre glaze, damage. (4)
A Bohemian glass vase, of footed compressed ovoid form with flared neck, cased in white over blue with hand painted enamel floral motifs and flash cut with bands of printie cuts, all above a domed foot in the matching pattern, height 20.5cm, together with a similar Bohemian footed dish, cased in white over green with enamel floral motifs and flash cute decoration, height 11.5cm. (2)
A studio pottery stoneware vase, of ovoid form, decorated with incised wavy bands over a mottled brown, blue and grey ground, stamped R to the base, height 26cm, together with an ovoid Studio Pottery vase with mottled brown and grey glaze and a Studio Pottery jug of low shouldered form with a band of blue swirls over a mottled cream ground. (3)
A collection of Lorna Bailey ceramics, comprising a vase in the Roman pattern, limited edition 153 of 200, height 19cm, a vase in the Mexicana pattern, limited edition 28 of 250, a jug in the Bridge and Stream pattern, and another in the Chetwind pattern, all signed. (4)
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653833 item(s)/page