Two Wedgwood black basalt copies of the Portland or Barberini vase , late 19th century, typically sprigged in white with classical figures after the original Roman cameo glass vase in the British Museum, impressed WEDGWOOD , 26cm & 26.5cm high N.B. See accompanying letter from the Wedgwood Museum where they speculate that the vase with a small cut dash in the body next to the Wedgwood stamp could indicate the work of Thomas Lovatt who worked at Wedgwood from 1851 untill the early 20th century. The original Roman cameo glass vase was bought by Sir William Hamilton, Envoy Extraordinary to the Kingdom of the Two Sicilies from a dealer who had purchased it from the Barberini family who had owned it since the 17th century and in 1784 Hamilton sold it to the Dowager Duchess of Portland. The 3rd Duke lent it to Josiah Wedgwood to copy, who after four years of painstaking trials put the first example on display in 1790. There are two scenes about the vase with various interpretations including the marriage of Peleus and Thetis, Ariadne languishing on Naxos amongst several. The base with a figure wearing a Phrygian cap, possibly Paris. One the original vase, this disc was thought to have been added to cover an earlier break and is probably not original to it.
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A Portuguese walnut seven piece suite of seat furniture, circa 1780, comprising a chair back settee and six armchairs , each cartouche shaped rectangular back with carved scroll detail centred by a flowerhead, above a pierced vase shaped splat, each serpentine seat rail and cabriole legs carved with stylised foliage, centred by an H shaped stretcher and on carved claw and ball feet, the chair back settee 112cm high, 190cm wide, 60cm deep, each armchair 105cm high, 69cm wide, 60cm deep Please note: This suite comprises a chair back settee and six atmachairs and not as listed in the catalogue description
A large Sevres porcelain exhibition quality floor vase designed by A. Gumery , 1913, decorated in the Art Nouveau style with a continuous scene of a maiden on the seashore discovered by a group of mermen, above a black band of seashells and a grotesque medallion next to the inscription A. GUMERY . and date 1913 dividing it from a lower band of sea-life beneath the waves, the inside wall of the neck with printed factory marks bearing potting and decorating dates for 1913, 59cm high Note: Gumery* Adolphe Ernest: decors et peintures 1911-1917, listed in The French Porcelain Society's list of Sevres workmen as compiled by Tamara Preaud, Archivist, Manufacture Nationale de Sevres, 2003. Also see http://www.culture.gouv.fr/public/mistral/joconde_fr for a similar design of penguins in a polar landscape for a Vase de Bourges in the collection at Sevres, Cite de la Ceramique, Numéro d'inventaire E.1916.395 There are lodged in the archives at Sevres, documents on Adolphe Ernest Gumery suggesting he both worked for and gave designs to the manufactury between 1911 and 1917-18 and these are available for the public to view on request. Adolphe Ernest Gumery was born in Paris in 1861, son of the famous sculptor Charles Alphonse Achille Gumery. From 1891 to 1942 he exhibited at the Societe Nationale des Beaux-Arts and seems to have been a prolific artist with at least twelve hundred pictures known. He died in 1943. See Doyle New York, lot 500, 27th Sept.2011, sold for $6,250 including premium for a smaller Sevres vase designed by Gumery. Property of a Lady of title.
A pair of German faience figures of maidens of Damm type , circa 1800, one holding a hurdy gurdy, standing beside a classical vase, the other with her apron filled with flowers, standing beside a balustrade, 13cm & 13.5cm highPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A pair of George II oak chairs, circa 1735, each shaped top rails above a pierced vase splat and drop-on woven rush seat, above tapering cabriole legs joined by an H shaped stretcher and terminating in pad feetPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A Coalport cabinet cup and saucer, circa 1890-90, the pink ground and interior with turquoise jewelling and gilding, pattern Y1211, green printed factory mark, retailed by Ovington Brothers, cup 6.6cm high, saucer 12.5cm diameter together with a Coalport twin-handled jewelled and landscape vase, on four lions paw feet, green printed factory mark, pattern 5955/200 MIN, 12cm high (vase restored) (3)
A collection of Royal Worcester comprising a pot pourri vase and cover painted with a peacock by James Hadley, 14cm high, a further pot pourri and cover painted with daffodils amongst other flowers, 14cm high and a twin handled loving cup painted with roses by James Hadley, printed, painted, incised marks, 8.5cm high (3)
A large Continental twin handled pate-sur-pate vase, late 19th century, the black ground enamelled with Classical style figures and putto, with turquoise and gilt further detailing to the upper and lower rims, mounted on black and white veined marble base, overall height 56.5cm high
A Chinese blue and white baluster vase, Kangxi six-character mark but 19th Century, decorated with a continuous narrative scene of figures, probably immortals, standing on clouds above a landscape, some flying kites while others look on, the roofs of buildings emerging through the clouds above them, 44.5cm high.
A large Chinese blue and white vase, hu, Qianlong seal mark but late Qing Dynasty, of ovoid form with twin deer-head handles, the body decorated with archaistic style dragons amid formal stylised lotus flowers, scrolling foliage and ruyi forms above a lappet border, the rim with a complex mixed border, with carved hardwood stand, 37cm high.
The 'Empress' VaseA Chinese doucai pear shaped vase, yuhuchunping, probably Daoguang, of elegant ovoid form with a flared rim, decorated in underglaze blue and enamel colours with two ornamental pheasants perched on rocks amid flowering magnolia and peonies, 29cm high.Provenance: Private UK collector, acquired prior to 1980.Footnote: The elements in the decoration of this vase combine to represent the Empress. The pheasant is one of the twelve Imperial insignia, specifically signifying the Empress, as does the phoenix which is often interchangeable. The magnolia represents feminine beauty and gentleness while the peony, in addition to beauty, symbolises honour, richness and high social class.
A Chinese verte Imari dish, Kangxi, of plain circular form and decorated with three underglaze blue cloud panels around a panel border, the centre with a flower vase, the rim with two phoenix birds and a butterfly, in green, yellow, manganese and iron red enamels, 28cm dia.
A Chinese famille rose bottle vase, late Qing Dynasty, the globular body with wide neck and slightly flared rim, decorated in colours with a scene possibly depicting the Jade Emperor and his seven daughters accompanied by a priest, in a landscape with prominent tree, rocks, clouds and a river, 24.5cm high (rim reduced).
A Chinese flambe-glazed rectangular pear-shape vase, Hu, incised Qianlong mark, probably 20th Century, covered in a rich purple transmutation glaze streaked with mottled sky-blue, thinning to a light beige at the rim, the edges of the square tubular handles and the moulded neck, the body with moulded peach-shaped panels to each side, the base and inside foot rim with ochre glaze over the incised seal mark, 30cm high.
A large Chinese guan-type hexagonal vase, Qianlong seal mark and probably period, of elegantly proportioned baluster form and hexagonal section, covered with a pale blue-grey glaze suffused with a fine 'iron wire' crackle, the base glazed and with a six-character seal mark in blue, 48cm high.Provenance: S.Weinberg collection, thence acquired at Ruef Kunstauktionen, Munich, by Mrs Eben Richards in 1965. Purchased from the Richards family estate by the present vendor during the 1990s.
A Chinese celadon glazed bottle vase, Jiajing six-character mark, 20th Century, the globular base finely carved with dragons amid dense scrolling foliage and peony flowers beneath a fret border, the slightly flared cylindrical neck with a band of ruyi heads beneath stiff banana leaves, all under a pale green glaze, 42.5cm high.
A Chinese Canton carved ivory vase and cover, of campana form with twin dragon handles, the domed cover with a dragon and cloud finial, the body intricately carved in high relief with a continuous battle scene in a landscape with rocks, trees and buildings, above a knopped stem and stepped foot, carved with bands of lotus leaves and leafy scrolls, 26cm high.Provenance: Purchased by the present vendor at auction from Banks & Silvers, 6 May 1981, Oakhampton House, Dunley, Worcestershire, lot 447.Footnote: Oakhampton House in Dunley had been in the ownership of the Crane family since 1827, and was extensively modernised in 1883 at the behest of John Henry Crane who commissioned architect J.P.St Aubyn to carry out the work. The house was used by Banks & Silver as an auction venue during the early 1980s.
A small Japanese cloisonne vase and cover by Namikawa Yasuyuki (1845-1927), of compressed globular form with domed cover, finely worked in silver wire with birds in flight above mixed flowers and foliage against a graduated aubergine ground, signed to a silver lozenge, 6cm high (chipped and bruised)
A Caughley tea bowl and saucer painted with the very rare Vase and Lantern pattern, circa 1785-95, S mark to the bowl, tea bowl 9.2cm diameter, saucer 14cm diameter (small rim chip), sold together with a Chinese saucer in the same pattern 12cm diameter (3)Provenance: The bowl is Wright Collection no.649, purchased from Rod Jellicoe in 2001. The saucer is Wright Collection no. 878, purchased in 2011 from N. Gent. Literature: The Caughley Society, Caughley Blue and White Patterns, p.185 and Newsletter June 2008 No.34 p.9. Though purchased separately, distinct similarities can be seen in the painting of these two pieces lending credit to the idea that they were most likely by the same painter, with the sizing of each piece also appearing to match.
A Caughley breakfast saucer painted in the rare Vase and Lantern pattern, circa 1785-95, unmarked, 15.7cm diameterProvenance: Wright Collection no.679, purchased from Bonhams (7/5/03, Lot 232). Literature: See Ironbridge 1999 no.32, The Caughley Society, Caughley Blue and White patterns, p.82 of and Newsletter June 2008 No.34 p.9.
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653685 item(s)/page