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Please note this is now lacking teapot and the Gordon Plahn vase. Attributed to Ray Finch (born 1914), a Winchcombe Pottery stoneware teapot and cover, glazed to the foot with tenmoku over ash glaze with simple combed decoration, together with a small Winchcombe pottery wall pocket, a vase by Gordon Plahn, and two further studio pottery vases (5)
§ Dame Lucie Rie (Austrian, 1902-1995), a rare dolomite glaze vase, the compressed bottle form with wrythen fluted body and slightly flared rim, seal mark to base and Peter Dingley Gallery paper trade label 20cm (8in) Dame Lucie Rie, DBE (1902-1995) is one of Britain's most eminent potters. She was born in Vienna and fled Nazi Austria in 1938 to England where she set up her studio in London, working with Hans Coper from 1946. Her goal was to make vessels that would harmonise in a domestic setting, concentrating on the simple bowl or cylindrical forms which relied upon textured or coloured glazes for surface interest. Her repertoire of forms, including the footed bowl and lipped vases such as the one now being offered at auction, balanced simplicity of line with bold and strong design. Her impact and contribution to British and world ceramics is immeasurable. Her pieces are part of the permanent collections of museums throughout the world; the Victoria and Albert Museum has a reconstruction of her studio and you need go no further than the Fitzwilliam Museum and Kettle's Yard in Cambridge to study her work.
A collection of Wiener Werkstätte and other Austrian glass, comprising a glass ashtray by Koloman Moser, a pair of Moser green glass solifleur vases designed by Josef Hoffman, etched marks, a hanging light, a small glass bon bon dish with etched WW mark, six tot glasses, a bottle vase attributed to Koloman Moser for Loetz and a pink glass vase (13)
Lena Kurovska (Ukrainian, 20th Century) Still life of chrysanthemums in a white vase, with apples and peaches on a table signed lower right "Kurovska '88" oil on canvas 65 x 75cm (25 x 29in) Other Notes: Lena Kurovska was born in Kiev, Ukraine in 1969. She studied at the Kiev Academy of Art under the well-known Ukrainian artist A.Lopukhov and her work is still displayed at the Academy. Her work is also held in collections internationally. Condition appears fine.
A Porsgrund porcelain teapot, painted with a white rose, the handle with a bee, together with a similar twin handled vase and an ovoid form vase, printed marks (3) Other Notes: This collection of Danish and Norwegian Art Nouveau porcelain was formed by Millie Copeland, most probably received as royal gifts and from visits abroad. The fine quality of the porcelain, the art nouveau style and the factory back stamps all suggest the collection was formed in the period 1900 to 1920. Millie Copeland and her family served the Royal Household in a number of roles and lived on the Sandringham Estate. Millie was Dresser (and close friend) to Princess Victoria, the fourth child of King Edward VII and Queen Alexandra. Princess Victoria never married but remained a companion to her parents, especially her mother with whom she lived at Sandringham until the death of the Dowager Queen in 1925. In 1907 Queen Alexandra purchased, with her sister, the Dowager Empress of Russia, a villa Hvidore, north of Copenhagen, which they both used as a summer residence. The Royal Collection contains a photograph taken around 1908 of the Royal Household staff, including Millie, at Hvidore. It seems highly probable that this collection of porcelain was gifted to Millie by Princess Victoria and other members of the Royal Family, on visits to Hvidore or other special occasions. In addition, Princess Victoria was very close to her younger sister, Princess Maude who married King Haaken of Norway. This is the most likely explanation and connection to the inclusion of the Norwegian Porsgrund porcelain in the collection. The collection comes by descent to Millie's niece, Alfreda and is now offered for sale for the first time.
A collection of Linthorpe Pottery, comprising a near pair of scalloped bowls designed by Dr Christopher Dresser, No. 874, facsimile signatures, a small baluster vase, also by Dresser, No. 811, a pair of bottle form vases, No. 848, possibly by Dresser, an inverted baluster form vase, No. 967, a basket, No. 1485 and another vase, No. 1446 (8)
A Martin Brothers stoneware vase, the tapering gourd form incised and painted with grotesque birds and insects, impressed marks to base and dated (19)37 26cm (10in) Other Notes: This vase was produced at the Southall works after Robert Martin's death in 1923 under the supervision of Clement Martin, Robert's son
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653833 item(s)/page