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‡ Dame Lucie Rie DBE (1902-1995) a stoneware bottle vase with ovoid body and flaring rim, covered to the foot with a pitted white glaze, the top rim with running bronze band impressed seal mark, 23cm. high Provenance Purchased for the vendor from Liberty & Co in the early 1980s. Literature John Houston & David Cripps, Lucie Rie, Crafts Council, page 77 figure 123 for a comparable vase.
A Martin Brothers stoneware gourd vase by Walter Fraser Martin, compressed form with everted rim, covered in a tan glaze, the rim a dark umber, incised No.1 WFM, 7.5cm. diam. Provenance Sidney Greenslade Reverend William Henry Spottiswood Webb, thence by descent. Catalogue Notes the unusual signature on this vase suggests it might have been a trial vase made by Walter Fraser Martin.
A large Chinese porcelain vase, of bulbous form with wide trumpet neck, finely enamelled with precious objects amidst scrolling foliage and lotus flowers, the foot decorated with quails, rockwork and flowering chrysanthemums, the neck with birds in flight and chrysanthemums, Guangxu six character mark in red, probably Republic period, 45.7cm approx.
A pair of Moorcroft MacIntyre small bottle vases, of squat form, c1904-13, the cream ground tubelined and glazed with pink roses, forget-me-nots and swags, gilt bands to rim and footrim, brown printed mark and green script signature to bases, numbered M2653, 8.5cm high approx; together with a vase in the same pattern, numbered M2612, 16cm high (3)
A Chinese monochrome Qingbai type glaze vase, Qianlong, the moulded vase of flattened pear shape with double barrel neck and small scroll handles, all under a pale blue-green monochrome glaze, with dark brown footrim, the base with an underglaze blue six character mark, 19cm high approx.
Michael Ayrton (1921-1975) Still life with flowers in a vase, the ace of diamonds and two dice on a table oil on canvas 43 by 34 cm Provenance: Tom Livesey and then by descent to his widow. This work was gifted by Michael Ayrton to his friend Tom Livesey; the present owner (Tom Livesey's widow) believes their friendship was forged in wartime (they both served in the RAF, Ayrton only briefly). Some correspondence remains between them such as an invitation to a 1951 exhibition at the Redfern Gallery which is inscribed on the reverse by Michael Ayrton, 'What has become of you? It must be two or three years since we met, yours ever M.A' Lot 418, Au Cirque, signed etching by Michael Ayrton, is from the same estate.
A MINTON FLORAL ENCRUSTED INDIAN VASE AND COVER, c1830 with cisélé gilt dragon handles and leaves, painted to either side with fancy birds, 36cm h ++A well preserved example with some typical chipping of the leaves and petals but no substantial faults, the handles undamaged, minor short horizontal crack just beneath the rim of the neck of the vase, no restoration
A WEDGWOOD QUEEN'S WARE VASE PAINTED BY EDOUARD RISCHGITZ, 1865 with birds attacking a wasp's nest, signed, 49cm h, impressed marks This vase would appear to be the pair to that in the Earl Buckman Collection; see Reilly (R), Wedgwood, 1989, vol II, fig 120. ++Lacks handles; some professional restoration but an important vase of exhibition quality by the artist for Wedgwood
A GEORGE III BLUE JOHN, MARBLE AND ASHFORD BLACK MARBLE VASE, EARLY 19TH C 48cm h Provenance: Colonel Charles Brocklehurst (d1981) of Hare Hill Hall, Cheshire. ++Old repair and small damage. Originally a shield shaped vase, the neck slightly reduced and with early replacement affixed ovoid element surmounted by an acorn knop. An impressive vase, no recent or professional restoration
A CHINESE CLOISONNÉ ENAMEL ARCHAISTIC VASE, FANGHU, SECOND HALF 17TH C with finely chiselled lion mask and loose ring handles, the sides decorated with suspended 'jewels' above phoenix and horses a top waves, 32.5cm h Provenance: In a private English family collection since the 1920s, or earlier. ++In fine condition
A JAPANESE GIN BARI GROUND CLOISONNÉ ENAMEL VASE, EARLY 20TH C with a bird in a cherry tree, 12cm h, signed Kawaguchi-zo ++Very slight surface crack around the bird, in our opinion resulting from a slight difference in the conducting properties of the silver cloisons of the bird to the surrounding work at time of manufacture, no restoration
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653685 item(s)/page