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A quantity of Royal Worcester Evesham pattern oven to table wares including tureens and covers, serving dishes, tea wares etc, together with a small collection of Wedgwood green ground Jasper wares, Portuguese tin glazed earthenwares including a five aperture vase, together with an opaque pink glazed vase of lobed form, etc
A collection of chemist bottles with gilded labels to the front, together with a collection of hyacinth vases in blue, green and amethyst glass, a 19th century two handled campana shaped ceramic vase with painted and gilded floral decoration and a small spongeware type jug
A collection of 19th century and other ceramics including a pair of pink ground two handled vases with printed decoration of a continental style wedding and christening, a quantity of Wedgwood blue ground Jasper wares including vase with flower holder, pair of candlesticks, dressing table wares, etc a small collection of crested wares, a Wedgwood blue and white printed Ferrara pattern bowl, a blue and white printed biscuit barrel with plated mount, a pair of 19th century opaque pink glass vases with painted bird decoration, etc together with a small 19th century gilt metal and wirework model of a peacock with articulated back etc
A small collection of Victorian and later silver items to include an early 20th century vase, London 1910, a small silver specimen vase with flared rim, a small silver trophy by Walker & Hall, together with another small silver trophy on Bakelite stand, inscribed, approx 330 g
A small Poole Pottery orange ground vase, height 10cm, a further pair of Poole Pottery vases of cylindrical form with sloping rims and abstract brown glazed decoration number to base 582, height 15cm, a collection of Shelley tea wares with crested decoration, royal commemorative wares, Heat Master tea and coffee wares etc
A Royal Worcester blush ivory flat back jug with painted and gilded floral sprays and with puce printed mark to base number 1094, height 20cm approx together with a further Royal Worcester type ivory ground vase of conical form moulded with three further flower holders with painted floral sprays and further gilded detail, gilded number to base 23, height 14cm approx
A collection of ceramics including Paragon Country Lane pattern tea wares comprising tea pot, cake plate, milk jug, sugar bowl, six cups, five saucers and nine plates, together with a 19th century Staffordshire spill vase flanked by a pair of male and female characters, dressing table wares with printed rose decoration, Victorian blue and white printed dinner wares comprising a pair of serving dishes and covers and a tureen base, a cut glass decanter and stopper with globular body and drawn neck and two further decanters and stoppers, etc
A 20th century watercolour of an Irish coastal scene, signed bottom right Sam McLarnon, with Ballycastle address details verso, 28 x 46 cm approx in wooden frame together with a watercolour of a still life of a vase of tulips and daisies, signed bottom right Sarah Farwell, 36 x 46 cm approx and a further watercolour of a farmyard, all framed
A TURKISH SILK PRAYER RUG, MODERN the burgundy-red "mehrab" with a one-directional vase flower design amongst birds depicted in pale blue-green, walnut and rose twin columns, rose floral spandrels within a cinnamon palmette, vine and arabesque border, one inner and two outer guardstripes condition: good 93 by 64cm
A WILLIAM MOORCROFT FLAMBE 'WISTERIA' PATTERN TWIN HANDLED VASE, CIRCA 1928 in shades of orange, red and purple, impressed factory mark and MADE IN ENGLAND, painted initials, some crazing 26,5cm high Flambé glazes, termed "sang-de-boeuf" or ‘Ox Blood’ in French were being used by the Chinese from as early as the 11th century. The effect was achieved by using copper oxide as a colouring agent and firing the object in a temperature reduced atmosphere. Although the Chinese continued using these glazes into the 18th century, European potters were not able to master the technique until the early 20th century. In 1919 William Moorcroft had a special kiln built and started experimenting with high-temperature flambé techniques, producing intense glazes with vibrant colours.
A GALLE CAMEO GLASS VASE, CIRCA 1900 of elongated shape, the mottled green glass overlaid with etched leaves, signed in cameo 51cm high Cameo glass is produced by etching and carving through fused layers of alternate coloured glass. Emile Galle realized the immense potential of this technique and began to use acid in conjunction with enameling in the production of his art works. The vessels were covered in a resist layer of wax, and then repeatedly dipped in hydrofluoric acid. The delicate and detailed patterns were worked in with pointed instruments, wheels and drills, and finally polished.
A GERMAN ART NOUVEAU AMETHYST CUT-GLASS VASE WITH SILVER COLLAR, .800 STD, EARLY 20TH CENTURY the vase of square form, engraved with an Iris and leaves, the detachable pierced silver collar with conforming Iris and scrolling foliate decoration, 108g, 14,5cm high; A 19th Century Tear Catcher or Scent Bottle, the four sided body painted with orange and white enamel decoration, gilt highlights, glass stopper, 17,5cm long; A Victorian Cranberry Silver Mounted Scent Bottle, London, C.C. May & Sons Ltd, 1884, of teardrop shape with silver and gold inclusions, lacking stopper, dents to detachable silver cover, 11,5cm high; A Victorian Silver Mounted Scent Bottle, Birmingham, Hilliard & Thomasan, 1890, the white enamelled porcelain egg-shaped body painted with flowers and foliage, lacking stopper, dents to detachable silver cover, 4,5cm high; And a Group of Four Metal-mounted Scent Bottles, 19th Century, of various shapes, sizes and coloured glass, the tallest 13,5cm long (8)
A WILLIAM MOORCROFT 'LEAF AND FRUIT' PATTERN VASE, 1928-1935 with elongated neck, in shades of yellow, green, russet and blue, impressed factory mark and MADE IN ENGLAND, painted initials 42,5cm high Flambé glazes, termed "sang-de-boeuf" or ‘Ox Blood’ in French were being used by the Chinese from as early as the 11th century. The effect was achieved by using copper oxide as a colouring agent and firing the object in a temperature reduced atmosphere. Although the Chinese continued using these glazes into the 18th century, European potters were not able to master the technique until the early 20th century. In 1919 William Moorcroft had a special kiln built and started experimenting with high-temperature flambé techniques, producing intense glazes with vibrant colours.
A Victorian silver four-piece teaset, by Henry Wilkinson, London 1877, each piece of vase shape, with brightcut engraved foliate and scrolled decoration, cast egg and dart, and beaded mouldings, the teapot 25cm, and coffee pot 29cm, with ivory insulators to the handles, 62oz gross, (4).This lot is subject to CITES regulations if exporting outside of the EU.
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653685 item(s)/page