Per Lutken (Danish 1916-1998), a Holmegaard green glass vasec.1963, signed Holmegaard, PL monogram 18111Gently flared vase with inherent horizontal bands, 23 cm high; together with an Orrefors smoky faceted and polished glass vase designed by Simon Gate, signed Orrefors GA 1505/13, 13.5 cm high; and another in green, signed Of. GA 417/1, 8.5 cm high; an Orrefors clear glass cut and polished vase by Ingeborg Lundin, engraved Orrefors DA 3658/4, and paper label, 15.5 cm high; together with a Nanny Still (Finnish 1926-2009), squat glass candleholder made by Riihimaen Lasi Oy, signed, 10.5 cm diameter; and a heavy green and clear glass ribbed and textured glass vase possibly by Poul Kedelv for Reijmyre, 14 cm high; and a small green glass vase, illegible signature, 7.5 cm high (7)(7)Holmegaard: a few scratches and wear and natural wear to baseOrrefors smoky vase: tiny nicks and nibbles to facet edges, heavy wear to foot. Orrefors green: wear to base.Orrefors clear: wear to base.Nanny Still: a few tiny abrasions. Light natural wear.Poosibly Kedelv: some small chips, nicks and nibbles around the edge of the foot. Heavy wear to foot. Some polishing to rim. General wear.Small green glasss vase: chip to the outer edge of the rim. Wear to base.
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Vicke Lindstrand (Swedish 1904-1983), a Kosta hand-formed cased glass vase1955-1956, engraved Kosta LH/1116The red centre streaked in white and cased, 13 cm high; together with a Vicke Lindstrand Kosta internally streaked vase, signed Kosta LH/1403, for 1958-1959; and an oval bowl, bears signature, 18.5 cm wide; together with a Kosta solifleur clear glass vase by Goran Warff, signed Kosta Y7800 Warff, 21.5 cm high; and an anonymous cased glass vase, 17.5 cm high (5)Red streaked vase: there are small nicks and nibbles around the edge of the foot. A few scratches and abrasions and natural wear to base.2nd LH vase: and few tiny abrasions and light natural wear to base.Oval bowl: bears an engraved signature on the foot, but not on the polished pontil where you'd expect. No factory mark with, just says "LH 1401". A few scratches and abrasions to the inside and natural wear to base.Warff: deposits and cloudy film on the inside. Some tiny abrasions. Wear to base.Anon: A few scratches and abrasions and natural wear to base.
Tapio Wirkkala (Finnish 1915-1985), an Iittala 'Tatti' vase 1955, engraved 'Tapio Wirkkala, ittala, 55 The mushroom shape with line cut decoration10.5 cm high, 13 cm diameter There are 3 small bruises and a small chip on the edge of the top and a small chip on a rib on outside of the base. Some tiny abrasions and light natural wear.
Attributed to Dino Martens, a trefoil glass bowl with internal stripes in white, pink and pale green, 16 cm wide; together with a Seguso Vetri D’Arte bird and a pair of salts each with gilt leaf inclusions, and a cased scent bottle and stopper, rubbed label, 11.5 cm high; and a small green glass vase internally decorated, 6.5 cm high (6)Martens bowl: light natural wear.Bird: large chip and smaller chips to feet of bird, and light natural wear.Pair salts: light natural wear.Scent bottle: stopper wobbles in the neck. Light natural wear. Some chips to end of stopper shank.Sm Green vase: the base is frosted – un polished, Light natural wear.
Keith Munro (British 1958-), a pair of silvered vases 1988, impressed date and marks to base A pair of rounded ceramic vases with subtle vertical decoration to the main body and turned out rims 18.5cm high each (ARR)Provenance: One vase contains a Bonhams Label for Lot 74 (no mention of date or sale number)Both vases in good condition with no damages or restoration. Some minor marks to the matt exterior of both bodies of the vases.
Chris Carter (British 1945-), a volcanic glazed vase c.1990, partially obscured seal to base A large vase of bulbous form leading up to a squeezed oval neck, glazed all over with a volcanic mottled brown and black glaze24.5cm high (ARR) Provenance: by repute Christie's, London, 26 March 1992(?), lot 157. There are a few tiny burst bubbles in the volcanic glaze which is to be expected. Otherwise the vase is in very good condition with no chips, cracks or restoration.
Daphne Garritt (British), a porcelain vase Contemporary, labelled to base and possible signature as wellA bulbous porcelain vase standing on a narrow foot with a cylindrical neck, decorated with fine inlaid blue lines and patterns to the neck and one side 17cm high (ARR) Vase in good condition with no damages or restoration. The exterior is slightly dirty / scuffed and could do with cleaning
Julian Stair (British 1955-), an earthenware vase c.1985, impressed seal to base An earthenware vase glazed in black and cream to the exterior with diagonal black decoration to the cream section 21.5cm high (ARR) There are a few small scuffs to the body otherwise no chips, cracks or restoration
Jon Williams (British 1969-), a large terracotta vase c.2000, impressed mark to base A large vase glazed in a pale brown colour covered with raised dots all over, the neck curving over back into the interior of the vase 24cm high (ARR) Vase in good condition with no damages or restoration. Some slight scuffing commensurate with age and general wear
Peter Layton (British 1937-), a flattened vase 1986, signed and dated to base A flattened glass vase with a small central opening, decorated with black and white swirled decoration over the clear frosted body 20cm long x 17cm wide x 11cm high (ARR) Please refer to department for condition report
Murano (Italian), a large flared vase c.1970, signed Toso Murano to base A large flared vase of ribbed form with rippled handles to each side, the main body a pale shade of yellow with enclosed bubbles and the two handles having tiny gold inclusions inside them 32cm high Please refer to department for condition report
Mintons (British), an Art Nouveau secessionist-style twin-handled earthenware vase decorated with a peacock 1901-1908, printed factory marks, England, various impressed marks with indistinct date code and pattern number 3378 Moulded with raised outline depicting a peacock on each side, coloured and with some gilding, printed background, covered in a clear glaze 28.5 cm highThere are some firing flaws on the underside of the foot. Some tiny chips to the edge of the foot affecting the gilt border. Some crazing to glaze overall in keeping with age. Some light natural wear. Some dirt to interior and a firing blemish to bottom of the interior which you can't see any traces of on the outside.
Mintons (British), two Art Nouveau secessionist-style twin-handled earthenware vases 1901-1908, printed factory marks, England, various impressed marks with indistinct date codes and pattern numbers 3379 and 3440 respectivelyEach moulded with raised outline, one with red flowers and the other with a bifurcated neck and yellow flowers, coloured and covered in a clear glaze23 cm and 29 cm high respectively (2) (restoration to one side of neck of bifurcated vase)Vase with pink flowers: a tiny nick to the glaze on the inside of the neck. A few specks and glaze shrinkage to the glaze, particularly around the raised outline and with some abrasions. Natural wear and crazing to glaze in keeping with age. A few firing blemishes to underside and natural wear to base. Restoration to one side of neck of the bifurcated vase. Also, a tiny nick to the glaze on the other side. Some firing flaws to underside of base. A few specks and bubbles in the glaze. Natural wear and crazing to glaze in keeping with age.
Amphora, a tall ceramic Art Nouveau ‘Bat and Berry’ vase designed by Paul Dachsel and made by Reissner, Stellmacher & Kessel c.1901, printed red factory marks, impressed Amphora in an oval, and with impressed numbers 668 41 The tapered vase having a broad reticulated neck carved with bats and berries, further embellished with three bats and slender stems in shallow relief, and lily pads and stems in high relief, coloured in mauve, cream, yellow and green with gilt highlights (some restoration to the open work stem) 53.5 cm highPlease refer to department for condition report
Zsolnay (Hungarian), an Art Nouveau Eosin glazed 'Landscape' vase c.1900, raised Zsolnay Pecs mark, impressed 5652, M, 20 The inverted baluster form with short neck decorated with rich colours and a lustrous Eosin glaze showing wind swept stylised trees and blood red clouds or smoke (restored) 25.5 cm high The vase has been restored around the neck and into the body and seems to particularly affect the red cloud/smoke and the blue sky and part of the beige colour between the two bands of red. I have taken some photographs with a UV light on if interested. There are some patches of wear to the side, on the neck and some old marks and scratches here and there. Some crazing to the glaze. The inside is very dirty and there are some deposits and marks. Natural wear to underside of the foot on the rim.
A French solifleur ceramic vase attributed to Félix Optat Milet, Sevres c.1890, printed 'Sevres', painted 'R' on underside of base The baluster form decorated with flowers and leaves in slip-trailing and colours, against a textured gilt ground 19.5 cm high A tiny nick to the foot on the base rim. Some texturing to the glaze on the end of the white flowers but this appears to be from the firing. Light natural wear to base.
Montieres-les-Amiens (French), a ceramic lustre vase c.1930, signed Montieres The vase of compressed form and decorated with chevrons; together with an Art Nouveau ceramic lustre vase, decorated in shallow relief with stylised leaves and covered with a blue/green lustrous glaze Montieres 15 cm across; 15 cm high respectively (2) Please refer to department for condition report
Maria Kirschner (Czech 1852-1931), a Loetz iridescent twin-handled glass vase 1903, engraved monogram with two stars The clear glass with elliptical neck, the handles pulled from the neck and partly trailed across the body on each side, pale iridescent hue 12.5 cm high, 13.3 wide Literature: Ricke, Helmut et al, ‘Lötz Bohmisches Glas 1880-1940, Band I, Werkmonographie’, Prestel-Verlag, 1989, p.209, 237 (twin-handled vase of similar form illustrated)A few scratches. Wear and some abrasions to the base. A few bubbles in the glass from the making process. Some water deposits.
Loetz (Austrian), an iridescent 'Papillon' glass vase c.1900 The clear glass body of inverted baluster form with trumpet neck and flared base, decorated with splashes of iridescence shading from gold to mauve at the foot 26.5 cm high An inclusion in the glass on the foot but this was how it was made. Light natural wear and natural wear to base.
AMENDMENT; THERE IS A SMALL FLAKE TO THE SILVER OVERLAY ON THE INNER EDGE OF THE TULIP NOT PREVIOUSLY STATED IN THE CONDITION REPORT - Attributed to Wilhelm Kralik & Sohn, an Art Nouveau iridescent glass vase with silver appliqué c.1900 The dimpled glass with quatrefoil rim decorated with coloured iridescent swirls and streaks, overlaid on the rim and on two sides with a stylised tulip and shaped leaves on sinuous stems 25 cm high
An Art Nouveau painted glass vase c.1900 The shaped and frosted vase shaded from green to clear, painted in white with flowers and buds on leafy stems 28.5 cm high Blown from the neck, so has a polished neck rim. A couple of tiny abrasions on the inside of the rim. A few scuffs and old marks and light natural wear. Some bubbles in the glass - how it was made. A few marks on the painting, but generally alright. Natural wear to the base.
Arsall (German), a cameo glass vase c.1925, signed in cameo 'Arsall' The frosted glass overlaid with purple glass and acid-etched with cyclamen flowers and leaves 21 cm high A tiny chip to edge of cameo on one flower. A few minute abrasion/nicks on the side and edge of foot. Some minor polishing to neck probably from the glassworks. A few marks and scuffs. Natural wear to base. Old sticky label on the side. Some deposits to interiors.
André Delatte (French c.1887-1953), a cased glass and wrought iron vase c.1925, engraved on the rim A Delatte Nancy, Made in France on the base The mottled glass with clear outer layer blown in to the metal armature 13 cm high, 14.4 cm diameter There is a fracture in the glass, seen from the inside, has a curve to it and is approximately 4-5 cm long, does not appear come through to the outer layer. There is also a slither chip to the out side of the neck rim.
Charder Le Verre Francais (French), a tall 'Rhododendron' pattern vase c.1930, signed on the foot 'Charder Le Verre Francais' The mottled white body overlaid and acid-etched with stylised pink flowers and deep aubergine leaves and circular spreading foot 38.5 cm highSmall chip to edge of foot - about 3mm . Light natural wear to base. Some dirt to the interior.
Schneider (French), an art glass vase c.1925, acid signature Schneider on the side, etched France on the underside of the baseThe bubble suffused orange glass body with flared neck applied with black glass shapes engraved with a pattern reminiscent of a tortoise's carapace 22.5 cm high Some abrasions on the edges of the engraved pattern but this was mostly how it was made. A few marks and abrasions. Small chip to edge of foot. Natural wear to base of foot.
AMENDEMENT : There is a small patch of resin in-fill on the waisted stem above the foot, not previously mentioned in the condition report - 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 43 cm high
Gallé (French), a cameo glass triple overlay vase of lobed and shouldered form c.1910, signed in cameo Gallé The frosted body of shaped form with oval neck overlaid with white, mauve and green glass acid-etched with climbing flowers and leaves, possibly clematis 16 cm high, 27.5 cm wide, 18.5 cm deep Condition Report: The vase is quite substantial and heavy and the cameo thicker than some and there are a number of small nicks and chips to the edges of the cameo. Some polishing to the neck. Some old marks and scuffs and a few inclusions. Some deposits to the interior. Wear and some abrasions, and some minute open bubbles to the base.
Gallé (French), a twin handled cameo glass vase c.1910, signed in cameo Gallé The vessel of flattened flask form with a bulbous neck and short twin-handles, the frosted body overlaid with green glass and acid-etched with pendant branches of eucalyptus30.5 cm high, 25 cm wide Some old marks, scuffs and abrasions. Some polishing to the ends of the handles but probably form the glassworks. Some bubbles in the glass. A few abrasions on the edge of the foot and quite heavy wear to the underside of the foot in keeping with age.
Gallé, a cameo glass vase c.1910, signed in cameo 'Gallé'The yellow glass body of oval section overlaid and acid-etched with bleeding heart flowers and foliage, circular foot23 cm highSome minor polishing to the neck and foot rims. A few old marks. Some abrasions to the top of the foot. A few tiny nicks to the underside of the foot. Natural wear to base. Overall presents well.
Gallé (French), a mould-blown triple overlay ‘Water Lily’ vase c.1925, relief signature Gallé The vase of elliptical section and mould-blown, the blue body overlaid in mauve, green and black and acid-etched in the round with waterlilies, buds and partly furled leaves and lily pads, having a short foot 25.5 cm high Literature: Victor Arwas, Glass - Art Nouveau to Art Deco, Academy Editions, London, 1977, p.85 (similar mould-blown vase illustrated in a different colourway) There is a small bruise/slither/oyster chip on one side, on one of the lilies that is partly opened - green part - opposite side of the signature. There are a few other tiny nicks and abrasions to the cameo. There are a couple of shiny patches on the blue glass and a few old marks, scuffs and an occasional scratch. Some minor polishing to the edges of neck and foot rim - possibly from the glassworks. Natural wear to base and with an old paper label in the centre. There are a few bubbles in the glass but this is how it was made.
Emile Gallé (French 1846-1904), a cased, wheel carved and fire-polished glass vase c.1900, elaborate signature underside of foot, inscribed Cristallerie de Gallé Nancy around a flower Of shouldered form, shallow wheel carved with orchids , some occasional martelé, fire-polished, short circular stepped base 26.5 cm high Some light wear and a few tiny abrasions. There are a few bubbles and a few tiny open bubbles in the glass but this is how it was made. A few minute spec inclusions and a few blemishes in the glass from the making on the foot - again how it was made. Light natural wear to base.
Emile Gallé (French 1846-1904), an enamelled glass vase c.1900, signed in relief Gallé The globular form with pentagonal neck-rim acid-etched in relief with trailing flowers and stems, heightened with enamels, against a textured ground 9.5 cm high, 12.5 cm wide Some small nicks, tiny losses and abrasions to the enamel. Some polishing to the rim, possibly from the Glassworks. A few marks and light wear to the interior. Natural wear to underside of the foot.
Daum (French), an enamelled glass vasec.1910, signed in relief 'Daum Nancy' with Cross of Lorraine, and some indistinct numbersOf baluster form on a circular spreading foot, the mottled glass acid-etched in shallow relief and enamelled in colours with flowers and leaves 31.5 cm highA few old marks and scuffs. Some tiny bubbles in the glass and enamel from the making process. Light natural wear. There is one open bubble on the inside of the rim and some open bubbles on the stem of the vase. The vase leans slightly. Quite heavy wear to the base.
Daum (French), a 'pillow-shaped' cased glass winter landscape vase c.1895, painted signature 'Daum' with Cross of Lorraine 'NancyThe vase of elliptical section, acid-etched in relief and enamelled in colours with a wooded scene with snow10 cm high, 11.5 cm wideThere is a tiny slither chip to the outside edge on the neck rim. And possibly tiny chips to inside edge of rim at one of the ends. There is a small open bubble on the edge of the foot rim - but this is not damage as how it was made. Light natural wear to base.
Daum (French), a vitrified cameo glass vase decorated with rose-hips c.1910, wheel engraved Daum Nancy with a Cross of Lorraine The frosted and mottled body overlaid and acid-etched with leafy branches and rose-hips, a short base 20 cm highThere is some strange crazing to the glass, visible on the outside around and between the cameo areas; some of it refracts. Polishing to foot and some abrasions and marks. Wear to the underside and with some inclusions.
Daum (French), an enamelled and cased glass vase with quatrefoil neck c.1910, enamelled relief signature 'Daum Nancy' with Cross of Lorraine The mottled glass acid-etched in shallow relief and enamelled in colours with flowers and leaves 11.5 cm highA few tiny abrasions to the neck rim. Some tiny bubbles in the glass and enamel, but this is how it was made. A few old marks. Quite heavy wear to base and a few longer scratches.
Lalique (French 1860-1945), an ‘Yvelines’ clear, frosted and sepia stained glass vase No.975, Designed 1926, wheel cut R. Lalique France The oviform with lug handles moulded with a deer and leaves, the leaves partly extending on to the plain body 19.8 cm highThere are some horizontal scratches on one side, one quite long; with some further abrasions and scratches. Wear and fine scratches to the top on the neck rim. A few bubbles and in the glass and two mould stress lines on the bottom inside, but these are how it was made.
Daum (French), a clear glass vase c.1938, signed Daum Nancy France with the Cross of LorraineThe thick walled vase of flared form and oval neck, with applied, rippled, lug handles19.5 cm high Literature: Noel Daum, Daum Maitres Verriers, Lausanne, 1980, p.173 (similar form illustrated)A small slither chip to the underside of the foot and some tiny nicks to the edges of the foot. A tiny bruise to the side near the base. Some scratches/wear to the sides and handles and top of neck. Wear to base.
Legras (French), an Art Deco globular glass vase c.1930, signed in intaglio 'Legras', etched 'Made in France' on base The mottled white and brown vase cased in clear glass and acid-etched in intaglio with three stylised buds united by decorated ribbons heightened in brown enamels 15.5 cm highA few tiny abrasion to the neck rim with some acid-texturing from the making. Light natural wear, some rubbing to enamel. Natural wear to base.
George III silver cream jug, together with a pair of silver specimen vasesJug weighs 162g, it has various small dents to the body otherwise in reasonable condition.Vases - both are hallmarked, both are slightly dented. One is weighted, the other appears to have lost one weight.Unweighted vase is 40gWeighted vase is 157g
Modern Royal Worcester two handled pedestal vase and cover, painted with fruits by S. Roberts, black printed mark to the base and No. 2363, 8.5ins highThis is painted back and front.Under close inspection we cannot find any signs of restoration to the finial.The vase is in good condition with no chips or restoration.
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