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Click here to subscribeTHREE BOXES AND LOOSE CERAMICS AND GLASS WARES, to include an eight piece Royal Albert 'Lynton' part tea set, six Hummel figures, a forty five piece Wade 'Hedgerow' dinner service, a Portmeirion Botanic Garden platter, a crystal fruit bowl, a Grindley 'Homeland' coffee pot, six boxed Franklin Mint Heirloom Collection 'Dolphin' collectors plates, etc (3 boxes + loose) (sd)
TWO BOXES AND LOOSE CERAMICS AND GLASS ETC, to include Royal Doulton 'Camelot' part dinner service comprising six each dinner plates, starter plates and side plates, two tureens with covers, oval platter and sauce boat - show signs of light use, Royal Worcester Evesham coffee pot and open sugar bowl, four Villeroy & Boch 'Meissen' soup bowls - one cracked, unbranded part tea set with thistle, rose and shamrock decoration, cranberry coloured glass, Caithness vase, assorted drinking glasses etc (2 boxes + loose)
A Booths British Scenery pattern seven piece hors d'ouvres platter on oval wooden tray, 42cm wide; a large walnut sarcophagus caddy, a/f; a 19th century gilt metal mounted pedestal jardiniere, 24cm high; a Mary Gregory type glass pedestal vase, 27cm high; a set of three 19th century Staffordshire jugs (7)
Two boxes of mostly china to include: TG Green & Co Ltd Church Gresley pottery 'Hunt Club' design plates, oval dishes, meat plates and lidded tureens, Masons Ironstone 'Mandarin' design dinner plates, oval dishes and meat plates, Carlton ware leaf shaped dish with two tomatoes, T Goode & Co, Copeland Spode floral design sugar bowl, green glaze three section pottery platter (possibly Ramsbury) and Murano glass style frilled edge bowl. (2) (B.P. 21% + VAT)
A ROYAL DOULTON BRAMBLY HEDGE TEAPOT, new and unused, together with four pieces of Aynsley 'Cottage Garden' and 'Pembroke' pattern giftware, an Aynsley pot of china flowers (nibbles and dusty), a blue and white Spode 'Italian' design cake platter, two Royal Worcester 'Evesham' pattern oven dishes, a Port Meirion 'Botanic Garden' pot, a Royal Doulton Dickens Ware jug 'White Hart Inn', a large amethyst carnival glass pitcher decorated with grapes and vine, etc. (13) (Condition report: would benefit from a wash, no apparent damage)
Two boxes of glass and metalware to include: blue glass bottles and vase with clear glass stem, clear glass serving platter, mirror, duck figures, miniature brass ewers, boxed wine galleries pulltaps, various silver plate; baskets, wine coasters, coasters, goblets, serving platter, cased teaspoons, salad tongs etc. (2)(B.P. 21% + VAT)
Four trays of fish design items to include: Crown Devon Fieldings 'Karen' design oval platter, plates and sauce boat on stand, Figgo Flint set of six fish design plates, set of four Danish Tove Svendsen blue and white fish design collectors plates, dark green glazed Invicta French pierced sardine placemat, two F Winkle & Co Ltd Whieldon ware plates; trout and perch, two blue and white square shaped Solian ware Soho pottery plates, Copeland Spode 'Squirrel Fish - Bermuda' plate, four moulded glass fish shape platters, two amber glass square shape shallow dishes with moulded fish and water lily design and a tray of Wood's Ivory ware to include; sauce boat, plates and oval serving platter. (4)(B.P. 21% + VAT)
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH ROSES Signed, oil on canvasDimensions:46cm x 40.5cm (18in x 16in)Provenance:Provenance: MacConnal-Mason & Son Ltd, LondonNote: Note: In 1929, Peploe declared ‘There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’ This reveals the inspiration he found in the still life genre throughout his distinguished career, as can be seen in Still Life with Roses.As Roger Billcliffe has explained:Peploe set himself as a target the perfect still-life painting…His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them in a series of works which includes many of his most satisfying paintings. (Roger Billcliffe, The Scottish Colourists, London, 1989, p.51)This lyrical painting is likely to have been created in Peploe’s studio at 54 Shandwick Place in Edinburgh’s West End, which he occupied from 1918 until 1934. His niece, Margery Porter, recalled visiting him there:How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly. (quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23)Peploe assembled a cast of objects which recur in his paintings like trusted friends, often crowned by the roses with which he is particularly associated and which he would often buy from the flower and fruit stalls of Princes Street; they were able to hold their shape long enough to satisfy his painstaking working process. The length of patterned fabric, be-ribboned black fan and platter in Still Life with Roses were all familiars by which he strove to create images of beauty and balance.The depiction of stems in water, seen through glass, was a painterly challenge from which Peploe did not shy away. Indeed, as can be seen here, it was often a way in which to show his mastery of applying oil paint to canvas in order to convey reflection, transparency and refraction. Works of this period show a relaxing of his technique from the tight control of the early 1920s, to a freer and more expressive approach to depicting form and light. Black and white provide the structural basis of the composition and a contrast to the decorative qualities and rich colour of other passages. Viewed from above and at an angle, Peploe seamlessly leads the eye from foreground to background, with particular attention paid to the variegated tones of the flower heads, their petals realised in thick, short brushstrokes.Peploe exhibited and sold still lifes regularly throughout his career and it is for his achievements in this genre that he is most celebrated as one of Scotland’s leading artists of the twentieth century.
ELIZABETH II NOVELTY SILVER MOUNTED GOURMAND CHEESE PLATTER BRAYBROOK & BRITTEN, LONDON 2008 the oval clear glass board with two applied cast silver mice and wedge of cheese, together with two silver mouse cheese spikes by the same maker and a set of silver plated cheese utensils bearing applied mice comprising fork, knife, server and further set of spikes set to base modelled as a wedge of cheesethe board 40cm x 30cmCondition generally good to fair. Each piece would benefit from a good clean, including the silver and mounts. With light use related wear, though no apparent damages. Additional images now available.
A Suite of Stuart Glen Gary pattern Crystal glass, to comprise 6 large wine glasses 15.5cm high, 4 smaller wine glasses 12.7cm high, 3 wine glasses 13.3cm high, 2 wine glasses 12.3cm high, 2 pint tankards 12.3cm high, 2 half pint tankards 10.7cm high, 4 brandy balloons 14.5cm high, 4 tumblers 10cm high, 4 whiskey glasses 8.9cm high, 8 sherry or port glasses in boxes, and other miscellaneous items to comprise, 4 glass jugs, 5 finger bowls and stands, 4 smaller beakers 8.7cm high, an Edinburgh Crystal presentation set with four champagne flutes within, together with a collection of glass to comprise, a cut glass platter on scrolling legs, 29.5cm diameter, ten sundae glasses, of differing design, six cut glass drinking glasses and four tumblers (Qty)
Clear glass pedestaled platter fits 9.5" cake and dome with ridged detail on base. This item can be turned over and used as a punch bowl. This item has its original box with measurements 13"L x 9"W x 13"H. Dimensions: 11.5"H x 12.5" dia.Manufacturer: Anchor HockingCountry of Origin: USACondition: Age related wear.
Three boxes of various china and glassware including blue and white willow pattern, Coronet ware by Parrott & Company, claret jug, Wedgwood and other collectors plates (boxed x 13), a tin, a box of various cutlery etc. and a Pointer and Hunting dog and game decorate oval meat platter, a Solida 1 leather cased camera, pair of binoculars and a hand decorated milk glass reservoired oil lamp on embossed brass base with extra chimney
Depicts Santa Claus in green and blue outfit, carrying a turkey on a platter. Hand painted glass with glitter accents. Christopher Radko backstamp to top. This item has its original box with dimensions: 4.75 in. L x 5 in. W x 4.75 in. H. Issued: 1999Dimensions: 2.25"L x 1.5"W x 5.75"HManufacturer: Christopher RadkoCountry of Origin: Czech RepublicCondition: Age related wear.
Five good pieces of modern kitchen ceramics and a Jerpoint (Ireland) glass bowl: two Royal Worcester casseroles (the larger 31 x 24 x 17 cm and the smaller 20 cm wide);a Maxwell & Williams 'Oliveri' bowl (26 cm in diameter);a Wedgwood 'Sarah's Garden' oval platter (41.5 x 35 cm);the Jerpoint Glass Studio comport,19 cm high and 24 cm in diameter.
TWELVE PIECES OF 19TH AND 20TH CENTURY CUT GLASS TABLE AND STEMWARE, comprising a set of three water goblets of facet bucket form, engraved with initials 'JMM' with swag and ribbons, a pair of glass rinsers, a pair of vases, height 13cm, a circular dish with domed cover, a small platter, diameter 15.6cm and a pair of comports with matching platter (12) (Condition Report: goblets, rinsers, vases and saucer all appear to be in good condition, the lid of the dish has several small rim chips, both comports have substantial chips to the rims and the platter has some chips)