There are 653685 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA set of Lurpak ceramics to include Lurpak butter dish, toast rack and two egg cups, a 'Teachers Highland Cream Scotch Whisky' jug, a vintage Denby floral coffee pot and a mid-20th century condiment set. CONDITION REPORT The elipse vases marked 'Ewenny', ribbed vase marked 'SD', everted sleeve vase 'Rick Willow Pottery', otherwise unmarked.There are no obvious signs of significant damage or repair to any of the items , blue preserve pots lacking one lid.
A good collection of ceramics to include a Della Robbia dish, a Moorcroft Flammian ware bowl, diameter 26cm, a Paris Porcelain Campagna vase, a Burleigh ware Lalique-style moulded ceramic vase decorated with swans in flight, a Bretby fan vase, a Delft tile, a Meissen Hausmalerei octagonal pin dish decorated with a fête galante printed reserve within a gilt pink ground. CONDITION REPORT Della Robbia with significant two piece chip restoration.
A small collection of mid-20th century ceramics to include a Copenhagen Angel fish dish with applied decoration, a Copenhagen pin dish decorated with blossom, two Radley vase, one of obovoid form, the other of waisted square form, Sylvac tobacco jar, Portmeirion Botanic Hummingbird pattern bowl in original box, etc.
A mixed group of ceramics to include a Carltonware English stamp Art Deco 'Sketching Bird' pattern trumpet vase with impressed number 217 to the base, height 15cm, a Royal Worcester flameproof dish, a small Mintons bowl and two Hancock Caulfield and Waller Burleighware ceramic drip trays, marked 'Williams & Humbert' to the rim (5).
Four non-matching Venetian Bristol blue colour and gilded glass vases to include a large baluster vase, a trumpet vase and a gilded vase with raised decoration of flora and a ruby red baluster vase with engraved gilded floral decoration, height of largest 36cm (5).
A small Japanese Kutani vase decorated in red, picked out in gilt, signed to the base and a miniature Chinese porcelain blue and white sleeve vase with figural decoration and a prunus and cracked ice decorated Chinese porcelain ginger jar, lacking lid, height 13cm (3).
A Satsuma baluster vase and cover with drumming figure knop, with painted and applied decoration heightened in gilt in the form of figures and animals in a naturalistic setting, height 39cm, a later Japanese Satsuma export vase with faux bamboo handles and a blue ground Japanese trumpet vase with applied enamel decorations (3).
A reproduction George 1 style ebonised gilt metal mounted bracket clock, the bell top with vase turned pineapple finials and ribbon tied floral swags and tassels, the arched dial with silvered chapter ring and Roman numerals, mask spandrels and flower filled vase surmount, the bevelled edge glass door with leaf cast border, flanked by caryatid mounted canted corners, pierced side grilles and carrying handles, on claw feet, the twin train movement striking on a gong, 56cm high.Illustrated
A large Chinese famille rose vase, 19th century, of baluster form, one side painted with a large scene of officials and attendants, the reverse with a battle scene, against a turquoise ground filled with birds and flowers, the shoulders and waisted neck applied with chilong and Buddhist lions, 62cm high.Illustrated
A tall CH Brannam red earthenware vase, dated 1908, of waisted cylindrical form, decorated in high relief with a dragon and stylised leaves against a blue and green ground, incised marks and date, 41cm high and a smaller C H Brannam green glazed cylindrical vase, incised with a bird of prey, impressed marks, 32cm high (2).
An Edwardian silver cream jug, Birmingham 1902, of tapering square form, a pair of late Victorian silver salt cellars, Chester 1899, lobed and fluted in George III style, Victorian vase shape pepperette, Birmingham 1892, a smaller similar and a silver mustard pot and spoon, 5ozs combined weight of weighable silver (7).
A late Victorian silver trumpet shape spill vase, Chester 1899, maker mark unclear, with beaded knop stem and spreading circular foot, 20.5cm high, a pair of small late Victorian silver spill vases, Birmingham 1899, 9.5cm high, another Birmingham 1973, 14.5cm high and an Edwardian silver fern tub, Walker & Hall, Sheffield 1903, of inverted baluster shape with crimped edge, 9cm high, 9ozs combined weight of weighable silver (5).
An American mounted glass perfume bottle, early 20th century, of pear shape, the cage mount foliate pierced and engraved with matching stopper, 10cm high, monogrammed, a similar perfume bottle, in green glass, detailed sterling, 10cm high, stopper damaged, initialled 'B' and a similar bottle vase in amethyst and green glass, 10.5cm high (3).
A tall Italian Maiolica bottle vase, late 19th/early 20th century, the globular body with three indented circular panels, two painted with foliage, the third with a head and shoulders portrait of young man with inscribed banner, against blue and ochre grounds, filled with flowers and foliage, blue painted mark 'AVF' beneath asterisk, 41cm high.
A Derby porcelain trio, circa 1790, of fluted form, painted in blue and gilt with a floral band highlighted in white 'jewelling', puce painted mark, pattern 69, a Stevenson & Hancock, Derby lozenge shape dish, painted with roses and cornflowers, 27.5cm wide, a Japan pattern milk jug and sugar bowl, a miniature crown Staffordshire baluster vase and cover, and a German porcelain figure of a gallant (8).
A group of coloured glassware, 20th century, comprising; a Strathearn pink glass tapered cylindrical vase with a whirl border, moulded mark, 19cm high, a pair of wavy edged blue and white latticino glass pedestal dishes, 13cm diameter, a glass bowl with internal blue and purple splashes, 14cm high and a tall two handled green glass flask, 34cm high (5).
Stephen McKenna PRHA (1939-2017)The LegacyOil on canvas, 150 x 213cm (59 x 83¾'')Signed with initials and dated 1982Provenance: Raab Galerie Collection, Berlin. Exhibited at the Museum of Modern Art Oxford, 1983 and at the Stedelijk Van Abbemuseum Eindhoven, 1984. One of the most significant representational painters to emerge in Europe in the latter part of the 20th century, Stephen McKenna was the son of a Scottish mother and a British Army officer from Co Tyrone. As a young child he witnessed devastated areas of post-war Europe - including London and Vienna - according to his father’s postings. He studied art at the Slade, but was increasingly ill at ease with the abstract idiom then in the ascendant. As the 1960s progressed, his work moved more towards representation. An offer of a studio led him to Berlin in the early 1970s. Not only was his artistic approach more acceptable there, he felt in touch with the entire tradition of European painting, visiting many museums to study the paintings at first hand.In the late 1970s, the international art world, including the art market, rediscovered figurative art, and McKenna found his work suddenly in great demand. He was also at a crossroads. He had become increasingly interested in the Germania-Italia divide in European culture, and he lived for a time in Brussels before moving to Italy. During this in-between period he made a number of works that seem to weigh up the arguments for the different, north-south approaches to life and culture, going through a veritable archive of the classical tradition.The Legacy is an inherited, living tradition. Around this time, McKenna made several works relating to Homer’s Odyssey, and the legacy includes an Homeric bust, a painted Etruscan vase, and the classical tradition in painting and sculpture. Natural abundance, including the glass of wine, suggests the southern reputation for luxuriant indulgence. Iconographically, apes symbolise vices, unfettered appetites, but also the arts of painting and sculpture, as in the phrase, “Ars simia Naturae” - “art is the ape of nature”, a motif that gained currency especially in Flemish painting.The artist’s years in Italy, as he consolidated his work, were among his most productive and happiest, but Ireland was always important to him as well. His father retired to Co Donegal and McKenna often stayed there and painted. Eventually, he settled in Bagenalstown, on the Barrow, and that local landscape became integral to his work. He curated a major exhibition ‘The Pursuit of Painting’ at IMMA in 1997. He himself showed regularly with the Kerlin Gallery and was the subject of many survey and retrospective exhibitions including, most recently, A Painter’s Life at VISUAL Carlow.Aidan Dunne, 2019
A rare pearlware anti-Napoleon vase and cover, c.1813, printed in blue to two sides with a Cossack and a Frenchman attacking each other on horseback, reserved on a pale yellow ground, raised on a faux marble circular foot, applied with rams head handles, some good restoration, 25cm. (2) This is an adaptation of a print by Samuel Knight that was published on 1st January 1813.
Loading...
