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Lot 217

Two item of Etched Crystal Glass; to include Anne Robertson, An etched glass goblet bearing the inscription Think Ye May Buy the Joys O'er Dear, Remember Tam O Shanters Mare' and a heavy glass vase with etched swan motif (2)

Lot 227

Royal Doulton Flambe 1617 Woodcut Vase, height 35cm

Lot 229

Crescent China George Jones Vase Decorated with Birds of Paradise, height 32cm

Lot 232

Large West German Mid Century Jug / Vase, height 45cm

Lot 236

Cloisonné Enamel Vase decorated with prunus , height 15cm

Lot 249

Two Japanese Baluster Vases, one Satsuma Rope Handled example and one modern vase depicting bustling village scenes. Height of Tallest: 61cm. (2)

Lot 311

Royal Doulton Snowman boxed mugs together with a vase ( 1 tray)

Lot 339

Moorcroft enamel Narcissus vase. Limited edition 8/250, made for Liberty . Height 10cm

Lot 34

Anita Harris blue & white lustre dragonfly triangular vase. Gold signed to base, height 28cm

Lot 345

William Moorcroft studio pottery ribbed vase c1930. Height 21cm

Lot 347

Moorcroft Moon Daisy vase. Height 14cm

Lot 36

Anita Harris Panda square vase. Gold signed to base, height 25cm

Lot 37

Anita Harris Bluebell minos vase. Gold signed to base, height 21cm

Lot 38

Anita Harris Green Treeman vase. Gold signed to base, height 20cm

Lot 39

Anita Harris Homage to Lowry @the Potteries@ purse vase. Gold signed to base, height 12cm

Lot 398

A collection of 19th Century Pottery to include Moore Bros relief decorated vases, restored Minton salt glaze figure vase & Crown Staffordshire bowl, tallest 19cm(4)

Lot 399

Royal Doulton Stoneware Vase, Langley Stoneware Jug & Lovatt Water Jug, tallest 22cm(3)

Lot 40

Anita Harris Snowdrop lustre purse vase. Gold signed to base, height 12cm

Lot 400

Five Royal Doulton Lambeth Stoneware Bowls, Planter and Vase (5)

Lot 41

Anita Harris stylised Butterfly skittle vase. Gold signed to base, height 17.5cm

Lot 421

Whitefriars tangerine bark glass vase . Height 19cm

Lot 424

Chameleon Ware Large Art Deco Vase & similar Candy Ware vase, tallest 23cm

Lot 43

Anita Harris Whitby Abbey by moonlight large skittle vase. Gold signed to base, height 25cm

Lot 432

Spode Italian ware to include 4 large mugs, tea for one set, vase, large cup etc ( 1 tray)

Lot 437

Large Spode Italian flared vase. Height 26cm

Lot 44

Anita Harris Deco dog ' Scottie sunburst' purse vase. Gold signed to base, height 25cm

Lot 45

Anita Harris Deco dog 'German Sheppard' sunburst purse vase. Gold signed to base, height 12cm

Lot 46

Anita Harris large vineyard peephole vase. Gold signed to base, height 32.5cm

Lot 48

Anita Harris Homage to Monet large purse vase, watercolour style imprssionist. Gold signed to base, height 20cm, width 20cm

Lot 482

Cauldon Ware Floral Decorated Centrepiece Vase , height on stand 17cm

Lot 489

Large Cauldon Ware Vase decorated in the Japan Style, height 29cm

Lot 513

Very large good quality crystal vase, possibly Czechoslovakia Bohemian. Height 36cm. Due to weight and size this lot can not be shipped, collection or courier only.

Lot 514

Vintage Bohemian crystal square fruit bowl ( small chip above one star on side) together with a large heavy crystal vase ( small chip to base rim). Height of vase 34cm , diameter of bowl 21.5cm (2)

Lot 515

Vintage crystal pedestal vase, possibly Waterford thistle design. Height 26cm

Lot 518

20th Century Japanese satusuma temple vase with cover and stand. Height approx 120cm. Collection or courier only on this lot

Lot 70A

William Moorcroft pomegranate vase, c1930,h.23.5cm.

Lot 70B

William Moorcroft pomegranate vase, c1930,h.23.5cm. (1.5cm chip restored to top rim)

Lot 71

Large Moorcroft Peony squat vase. Designed by Phillip Gibson, dated 1999. Height 17cm

Lot 72

Moorcroft anemone vase on blue background. Paper potters to the late Queen Mary label to base. Height 215cm

Lot 73

Large Moorcroft Flame of the Forest vase. Dated 1997, Height 21cm

Lot 74

Moorcroft vase decorated with trees and orange thistles. Dated 1999 to base. Height 16cm

Lot 77

Moorcroft Holly Berries vase dated 1996 ( gold signed and dated to base) together with Winter Harvest small ginger jar dated 2003. Height of tallest 13.5cm (2)

Lot 79

Moorcroft Anemone large vase. Limited edition 53/100 Height 31cm

Lot 80

A limited edition Moorcroft vase, decorated with an eagle owl, 131/500, 32cm high

Lot 821

Group of small hallmarked silver & silver mounted items including Mother of Pearl, silver & silver plated knife rests, enameled commemorative spoon boxed, match striker, pill box, vase, decorative pin tray, perfume bottle & silver topped jar.

Lot 196

A late 19th century German porcelain vase, depicting a boy standing next to a flower bud shaped vessel, decorated with garlands of flowers. H25cm

Lot 199

A collection of glass and ceramics to include a Beswick ware green vase, 28.5cm, and two glass hanging light shades.

Lot 205

Oldcourt ware, a group of ceramics to include a clock, a twin handled vase, and jugs.

Lot 1

A beautiful orange glazed vase with white, yellow, and red glowers with stunning detailed tube lining. Moorcroft and artists' markings on the base. This item has its original box: 11.5"L x 5.25"W x 5"H. Artist: Emma BossonsIssued: c. 1997-1998Dimensions: 4"W x 8.25"HManufacturer: MoorcroftCountry of Origin: EnglandCondition: Age related wear.

Lot 2

White ground footed bow-shaped glazed vase decorated in a coral-pink hibiscus pattern with excellent tube lining. Moorcroft marked. Artist marked. Artist: Jayne HancockIssued: 20th centuryDimensions: 5.25"W x 5"HManufacturer: MoorcroftCountry of Origin: EnglandCondition: Age related wear.

Lot 21

Gorgeous vessels of various size, decorated with Sumptuous blue and white china with a delicate floral designs. Introduced in 1775, the same year Royal Copenhagen was founded in Denmark, this pattern is referred to as Service No. 1. Royal Copenhagen backstamp. Tallest vase measures: 3"W x 5.5"H. Shortest vase measures: 1.5"W x 3"H. Manufacturer: Royal CopenhagenCountry of Origin: DenmarkCondition: Age related wear.

Lot 4

Ovoid-shaped vase depicting a tranquil lake with cattails and water lilies. Excellent tube lining. Moorcroft mark. Artist's marking on the base. Issued: 1995Dimensions: 3.75"W x 7.25"HManufacturer: MoorcroftCountry of Origin: EnglandCondition: Age related wear.

Lot 6

A small gray and blue ground squatted vase decorated with violets and excellent tube lining. Moorcroft marked. Artist's markings on the base. Artist: Rachel BishopIssued: c. 2013-2014Dimensions: 4.25"W x 3"HManufacturer: MoorcroftCountry of Origin: EnglandCondition: Age related wear.

Lot 90

Beautifully colored cut to clear vases depicting floral and geometrical patterns. Features a round vase or bowl and a three-footed vessel with slight flared rim. Factory labeled to vases. Tallest measures: 4.5"W x 6"H. Shortest measures: 6.5"W x 5.75"H. Issued: 20th c.Country of Origin: GermanyCondition: Age related wear.

Lot 85a

Ai Weiwei (Chinese 1957-), 'Glass Vase', 2023, cast vase in translucent red glass, engraved with the Artists signature to the base, published by Avant Arte; 19cm x 21cm x 21.2cm19cm x 21cm x 21.2cmIn Very Good Condition/Artists ConditionNo chips or cracks to the vaseSome irregularities/imperfections to the vase, this is a result of the hand-made production process and not later damageNo apparent issuesStored inside it's original packaging from the publishersIn Very Good Condition

Lot 7100

Konvolut PorzellanManufaktur KPM, Vase, 3 Mokkatassen, 1 Kaffeetasse mit Unterteller, 8 Unterteller, Blumendekor und Goldrand, Bodenmarke

Lot 7179

VaseGlas, Frankreich, modern, bunter Farbverlauf, H. 17 cm, D. 31 cm

Lot 135

â—† GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PEONIES IN A BLUE AND WHITE VASE Signed, oil on canvas Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: The Fine Art Society Plc, London, Edinburgh and Glasgow, October 1987 (11383) Note: Having lost most of his early work in the San Francisco earthquake of 1906, Hunter moved to Glasgow later that year and developed a distinct approach to still life painting that encompassed art history, a sophisticated use of colour and light and a sense of serenity, all of which can be seen in Peonies in a Blue and White Vase.Hunter soon became ensconced in Glasgow’s art world, including eventual election to Glasgow Art Club. His first solo exhibition in the city, held at Alexander Reid’s La Société des Beaux-Arts gallery in 1913 proved to be a professional breakthrough, with subsequent shows mounted there attracting not only positive press coverage but also sales. As the critic of The Bailie remarked in a review of his 1916 exhibition: ‘He has three or four examples of still life that are superlatively strong. Such work is bound to live, for they show a mastery of form and colour that takes one back to the triumphs of the Dutchmen.‘ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937 p. 76).The subject matter and composition of Peonies in a Blue and White Vase, with the titular flowers set in contrast to a plain background, reveal Hunter’s interest in the Dutch Old Masters that he encountered during extensive visits to the cultural centres of Edinburgh, London and Paris, as well as in the public galleries of Glasgow. His rich technique, working ‘wet on wet’, layering up colours and tones to create form and suggest the play of light on petals and glaze recalls the work of Edouard Manet, whom he is known to have admired. Sophistication is the order of the day, in the asymmetrical arrangement of the flowers and the delicate placing of a single bloom in the foreground, in an image infused with tranquillity. It was with such still lifes that Hunter came to the fore before and during World War One and which were to provide the foundation of his reputation as one of Scotland’s leading artists of the twentieth century.

Lot 143

â—† SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.

Lot 164

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no. 20Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015Note: This painting dates from c.1964 Note: As the undisputed matriarch of Edinburgh’s art world after World War Two, Redpath’s mature career was characterised by a pattern of regular solo and group exhibitions in Edinburgh, London and elsewhere. Her professional standing continued to grow, not least by becoming the first Scottish woman artist to be elected an Associate member of the Royal Academy of Arts in London in 1960 and with the acquisition of her painting, Landscape at Kyleakin, by the newly established Scottish National Gallery of Modern Art in 1962 (GMA 814).Redpath remained as active as ever in the affairs of institutions such as Edinburgh College of Art, the Society of Scottish Artists and the Royal Scottish Academy, on whose council she served four times between 1953 and 1962. As a result, she was aware of, if not directly involved in, the presentation of contemporary European art in the annual group exhibitions staged in the Scottish capital, including the work of Georges Braque, Oskar Kokoschka and Nicolas de Staël.This keeping abreast of developments in Continental painting can be seen in the expressive handling of paint in the late work Marguerites in a White Vase. Deploying her material and using a palette - based on harmonious tones of white, blue and grey with brightly coloured highlights - as only an artist of great experience and technical ability could achieve, it is an example of the still life genre infused with joie de vivre for which she is renowned.Redpath explained about her works of this period: ‘I think I have always been interested, for instance, in the textural quality of paint and painting and while, in a way they are more abstract to see than they were before, yet they are still quite real and I don’t think they ever will be completely lost in abstraction.’ (quoted by Alice Strang, Queen of Edinburgh: Anne Redpath and her Circle, lecture given at the Scottish National Gallery, Edinburgh on 24 January 2023).Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960: ‘Anne Redpath’s latest exhibition…confirms her position as one of the finest painters to-day…[Her work]…provides an admirable example of how paint can be handled with enormous verve and can be all the more exciting for being closely controlled…Above all, it is her use of colour that is so moving… Her painting appeals both to the emotions and to the head.’ (Daily Telegraph and Morning Post, 25 August 1960, p. 19) Redpath’s death in 1965 was marked in multiple ways, including memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Art Club. The Scottish Committee of the Arts Council of Great Britain mounted a major touring memorial exhibition of eighty-six works, which opened in Edinburgh later that year, as did an exhibition at the Scottish Gallery in which Marguerites in a White Vase was shown; it was acquired from there by the painting’s previous owner.

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