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Oran', a large and impressive René Lalique opalescent glass vase, designed 1927, model No. 999, decorated with large dahlias and foliage, signed and numbered to base 26½ x 27cm (10 x 11in) There is a large chip to the rim (long, not deep) and a number of further small nicks, as well as a bruise that has not chipped away yet.
§ Rolf Regele (German, 1899-1987) Still life of Gladioli, Carnations and Sunflowers in a vase signed lower right "Rolf Regele" oil on board 62 x 75cm (24 x 29in) Condition report: Few scuff marks along the lower edge. A four-inch scratch half way up on the right. Slightly yellowed. Corners of the frame splitting. Lower left corner of the frame chipped.
§ John Ward, (British, b.1938), a square form stoneware vase, to a tapering base, impressed seal mark and Peter Dingley paper gallery label to underside 16½ x 15 x 15cm (6 x 6 x 6in) Provenance: Peter Dingley Gallery, Stratford-upon-Avon Other Notes: John Ward studied at Camberwell School of Art and moved to Dyfed in Wales in 1979. Ward coil-builds his pots, and then cuts and rejoins the curved surfaces to create more angular shapes. He only uses matt glazes. He has been influence by ancient pre-glaze pottery and the legendary potters Hans Coper for form, Lucie Rie for light and colour and Ian Godfrey for texture. He describes his work as "Form above all, but expressed through light and colour". His work is in public collections including the Fitzwilliam Museum Cambridge, the Victoria and Albert Museum and MOMA New York.
§ Lucie Rie, (Austrian/British, 1902-1995), a fine porcelain vase with flared rim, with manganese glaze and sgraffito decoration, seal mark to base 19cm (7in) Provenance: Purchased by the vendor's mother directly from Lucie Rie at Albion Mews in the early 1980's Literature: British Studio Ceramics, Paul Rice, The Crowood Press, 2002 Illustration of Vase, Plate 88, page 91 Other Notes: Lucie Rie (1902-1995) was undoubtedly one of the leading ceramists of the 20th Century. She trained in Vienna and moved to London before the outbreak of the second world war. Initially her work was poorly received, Bernard Leach criticised her work as weak and "feminine" and the potter Michael Cardew once asked her whether "it was possible to like someone if you hated their pots". Gradually after the war she achieved recognition. Her tableware was the first of her work to be well received, seen as a product of a distinctively European aesthetic, and quite unlike the prevailing fashion of Oriental ceramics in Britain. Her training and roots in Modernism born in Austria and Germany profoundly reflected her design. She was never interested in mere ornamentation but in the balance and synthesis of the form. Her vases and bowls reflects this economy of form with flaring shapes and large recessed feet. She started to use sgraffito from the late 1940s apparently after looking at Neolithic and Bronze Age pottery in a museum in Averbury Wiltshire. Sgraffito is a form of decoration made by scratching through a surface to reveal a lower layer of contrasting colour; here achieved by scratching through the dark glaze with a needle to the underlying white glaze. Sgraffito allowed Rie to articulate points of transition in the form; the shoulder and necks of jars, or the springing point of a bowl. In the 1980s she introduced a new palette of brighter glazes, peacock blue, magenta and sage green. She continued to make pots in her favourite forms as well as some new shapes until a stroke in 1990 prevented her from working any more. Rie was awarded a CBE in 1981 and was created a Dame in 1990. Her impact on British, and world ceramics, is immeasurable. Ask any collector of ceramics why they should own a Rie and the answer will be because her work marks the cornerstone of modern contemporary ceramics. Condition: Appears to be in very good condition, however, upon inspection under UV light, there has been some restoration to the rim. To the best of the vendor's knowledge, this was not restored by his mother, and may, therefore, have been repaired by Lucie herself, as the vase was purchased from her directly. PLEASE NOTE, THE ESTIMATE HAS BEEN REVISED ACCORDINGLY.
§ Basil Jonzen (British, 1913-1967) Still life of flowers in a vase signed lower right "B Jonzen" oil on canvas, in a white painted frame 64 x 49cm (25 x 19in) Other Notes: The artist and art dealer Basil Jonzen studied alongside Bernard Meninsky at the Central School of Arts and Crafts before finding great success with the Redfern Gallery which led his practice to France, Spain and the Canary Islands. During his career, Jonzen exhibited works at the New English Art Club, Tooth and the Royal Society of British Artists. Jonzen lectured in Edinburgh on his involvement with camouflage during the Second World War in Norway and Nigeria. With his wife the sculptor and teacher Karin Jonzen (1913-1967) he renovated Sir Hugh Lane's studio house in London, and together they held a Weekend Art Gallery. Later in life Jonzen worked with St George's Gallery, and his son Martin Jonzen also became a respected artist. The Arts Council holds a number of Jonzen's works. Under glass which is dirty. Dirty and with craquelure overall.
*Mirror. A late 18th-century walnut dressing table mirror with brass vase finial, the rectangular glass on a single drawer base, 57cm high together with an Edwardian pottery mantel clock, with circular white enamel dial, black roman numerals steel hands, 26cm high (2)
*Studio Pottery. A pair of Winchcombe pottery lidded jars by Ray Finch (1914-2012), each with domed lid, and two handles, impressed seal mark to base, 14cm high, together with a two bowls, two vases and a pair of small plant pots all in the Winchcombe style, plus an Ashby Guild pottery vase with a light brown glaze and streaks of darker brown, the base incised 'Ashby', 20cm high plus a twin division slipware dish with white scroll decoration on a brown ground (9)
Two Poole Pottery Stoneware Barbara Linley Adams Mini Plates Wren & Rabbits, a milk jug, a small ceramic bowl of white ground with green leafs and bird, a japanese wooden box, two enamel vase of grey ground with flowers and birds, two glass reservoir oil lamps and a mushroome shap vwhite vase decorated with two roses
A repousse silver picture frame by Henry Matthews, Birmingham 1900 hallmark inside frame 13.8 x 9.5cm , a white metal picture frame with Acanthus decoration, inside frame 13 x 8.5cm together with an engraved brass vase H 21cm and a silver and porcupine quill cigarette holder from Henry Perkins & Sons London
*Sampler. A sampler by Ann Payne, early 19th century, worked in red cotton cross-stitch on linen, with alphabets and numerals in various scripts, incorporating patterns (flowers, stars, Greek key border, volute cornerpieces, etc.) and a coronet at foot, some very faint toning, 31 x 25cm (12 x 10ins), framed and glazed, together with four other framed needlework pictures, including a Victorian embroidered felt collage of a wreath of flowers, and a large embroidery on canvas of two parrots amongst volutes and floral sprays, plus an unworked printed canvas in a gilt moulded frame depicting 'Flowers in a Vase' by Van Huysum, plus a watercolour of an elderly lady in a gilt moulded frame, and five other framed items Most probably a Bristol Orphanage sampler, which were typically worked in red and with many of the decorative motifs seen here; all such samplers worked by children at George Mller's Bristol orphan houses have a similar format and style, indicating that the teachers had templates and standard patterns which the girls could copy, although the variation amongst samplers shows that pupils had an element of choice in what to include on their samplers. (12)
2 Venetian glass gondolas , probably Murano , along with a Medina Angel fish glass single stem vase of small proportion together with Clarice Cliff transfer patterned plate depicting Westminster Bridge ' There'll always be an England ' Newport Pottery, printed to underside .Plate W28cm
A 19th century Victorian Doulton Lambeth Faience Ware vase. Of baluster form being decorated in the Persian taste with flowers against a yellow ground bearing faint circular impressed factory marks, dated 1875 letter W and decorator's signature for Minna L Crawley. Measures 28cms high
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653833 item(s)/page