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Click here to subscribeA small Chinese porcelain vase modelled in bamboo effect and decorated in gilt and painted tones with cockerel and foliage, red character and impressed marks to base (20cm) together with a blue and white Oriental lidded pot, decorated with flowers together with two Japanese bone china beakers (both af). (R12)
A collection of Northfleet United programmes, the earliest a home v Gillingham 7.4.23, from the 1930s 7 homes including a public trial game 22.8.31 & 13 aways variously at Tunbridge Wells Rangers, Gillingham, Dartford, Folkestone, Harwich & Parkeston, Bromley & Gravesend United; the lot also including Kent County F.A. Senior Cup s/f Northfleet v Gillingham played at Chatham 18.3.39, Kent v Essex Schools at Gravesend & Northfleet 1.1.47 & a Gravesend & Northfleet away at Chelmsford City 7.1.50; and three other non-Leagues including Southern Counties v Northern Counties at Dulwich Hamlet 25.9.26, Chelmsford City Public Trial Match 14.8.48 & Billericay Town v Sheffield F.A. Challenge Vase Final replay at the City Ground, Nottingham, 4.5.77 (27)
Joe Juster for William De Morgan, an Arts and Crafts Persian bottle vase, 1882-1888, of necked globe form, decorated with pelicans and foliate tufts, below a spiked border, impressed tulip mark to base and painted JJ, 18cm high Note: De Morgan used the tulip mark during his Merton Abbey period of production when he shared the premises with William Morris
Emile Galle (1846-1904), Passion Flower vase, a large and important Art Nouveau exhibition art glass vase, 1900, of ovoid, pedestal form, acid etched and engraved with a naturalistic passion flower on sinuous stem, highlighted with gilt and a verse by Marceline Desbordes Valmore 'O vie, o fleur d'orage, O menace, O mystere, O songe aveugle et beau', mottled and cloudy purple, blue and green glass draining to a red amber base, incised to the socle Galle, Expo 1900, 51cm high Note: created for the Exposition Universelle de Paris, 1900, as a one off example of Galle's glass making expertise and innovative design, the vase would have been displayed with other similar examples. It uses a pate de verre type technique to create the mixture of contrasting colours. Other vases displayed at the same exhibition are in the collections of the Victorian and Albert Museum and the Musee d'Orsay. Galle's botanical training and interest in horticulture is evident in the design of this piece, created at a time when his enthusiasm for vegetables and gourds was emerging in new naturalistic pieces. The 1900 exhibition vases normally represented accurate and unusual species, in the same year which Galle attended the International Botanical Conference in Paris, presenting a paper on orchid varieties. The poem etched around the lower section of the vase talks about the passion and turbulence of life, symbolic of Galle's own sentiments in his writings: "we know well that the eloquence of a flower, thanks to the mysteries of its organism and its destiny, thanks to the synthesis of the plant symbol evoked by the artist's pencil, exceeds sometimes the intense suggestive power of the human face". The significance of symbolism in Galle's work, and his combination of the natural aesthetics of flowers and poetry, was explained in an essay he gave in 1900. Titled 'Le Decor Symbolique,' it was delivered to the Academie de Stanislas at precisely the time when this vase would have been conceived. As well as Desbordes Valmore, whose verses appear on another Galle vase (Garner, p.96), Galle was inspired by poets such as Victor Hugo, Beaudelaire and Rimbaud, amongst others. See: Garner, P. 1979, Emile Galle, London, pp. 44 and 92, and p.96 for an illustrated example of another Valmore vase. Provenance: Exposition Universelle de Paris, 1900 By descent to the current owner
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