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John Stinton for Royal Worcester, a Highland Cattle painted pedestal vase and cover, ovoid form, 1906, painted with cows in a mountain landscape, with landscape vignette to reverse, with blush ivory foliate moulded cover on knopped neck, and twin angular foliate moulded handles and circular swept blush ivory foot, Shape No. 2158, puce printed marks, 28 cm high
A Staffordshire porcelain sauce tureen, cover and stand, circa 1840, pattern 2538, retail mark for J Allsup, London, of Warwick Vase form, painted with cartouches of exotic birds within gilt foliate scroll borders, on a blue ground, punctuated with raised enamel floral sprays, the acanthus moulded foot with pierced detailing, 20cm wide
A Japanese satsuma ware baluster vase, Meiji period, 1868-1912, painted with a panel of fashionable ladies and infants and a landscape panel with birds and foliage against a mountainous river background, on a deep blue reserve ground with a tooled gilt foliage border, signed by Koyama Nanpo, 32cm high
Harry Davis for Royal Worcester, a sheep painted vase, circa 1910, baluster form with blush ivory reticulated neck and scalloped rim, the lower half with foliate moulded detail, decorated with Highland sheep in a mist shrouded mountainous landscape, and lanscape vignette to reverse, shape no. 1061 13.5cm high
Harry Stinton for Royal Worcester, a painted stag vase and cover, circa 1932, inverse baluster pedestal form, gilded domed cover with flower bud finial, with Greek key tasseled handles on gilded circular swept foot, decorated with a stag and doe in wooded mist shrouded mountainous landscape, signed, shape No 2713, 21cm high
An Art Deco leaf cut glass vase, Harbridge Crystal, circa 1936, beaker form, engraved with vertical tendrils of mitre cut leaves and flower heads, acid marks, 19.5cm highNote: similar to the popular Clyne Farquharson design for John Walsh Walsh circa 1938, the Harbridge example is illustrated in Benson, N and Hayhurst, J, 2003, Art Deco to Post Modernism, a Legacy of British Art Deco Glass, p.34 fig.175 and also Miller's Glass of the 20s and 30s, p.35
Y John Leach for Muchelney (b.1939), a studio pottery stoneware vase, iron drip glaze with unglazed bottom, impressed mark and stamped Muchelney, 16cm high, note: Examples of his work are housed in the V&A Museum, London. See British Studio Pottery, Oliver Watson p.211 and 278
Ernest Barker for Royal Worcester, a sheep painted vase, circa 1914, bottle form, shot silk foliate moulded trumpet form neck, on circular foot with foliate moulded collar, decorated with two Highland sheep in mist shrouded mountain landscape, signed, shape no.1661, 24cm high
Harry Stinton for Royal Worcester, a Highland cattle painted vase, circa 1914, ovoid form, with gilded trumpet shaped neck on circular gilded foot, decorated with two Highland cows in a mist shrouded mountainous landscape, with landscape vignette verso, shape no.H 302, 17cm high
George Owen for Royal Worcester, a reticulated vase and cover, 1919, the campana body supported on three dolphin scroll acanthus and beaded legs, on a circular platform base, pierced and gilt jewelled honeycomb band below geometric foliate rim, milled and raised gilt scroll motifs below, the splayed lid similarly decorated with interlocking bands of reticulation, raised beading and open laurel finial, incised signature, gilt marks model 2519, 25cm high Note: an almost identical example was sold at Bonhams, London, 2nd December 2009, lot 327 and also Bonhams, London, 10th December 1997, lot 573
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653833 item(s)/page