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Click here to subscribeA Royal Worcester vase, decorated fruit, 13 cm high, a similar cabinet cup, decorated roses, a blue and white plate, a Royal Doulton jug, and assorted other ceramics and glass (box)pottery jug has a piece missing from it's base, chips and losses to blue and white plates, some rubbing to guilt on Royal Worcester vase, cup and saucer, the saucer having a crack.
Lucie Rie (1902-1995, Austrian/British) Stoneware composite vase (circa 1979) Of compressed globular form, with tall neck and flared rim, in a spiralling olive green and beige pitted glaze, LR seal mark, 25.5cm high From the collection of the late Maurice Costley Lucie Rie (1902-1995) was born in Vienna and developed an interest in the decorative arts from a young age, studying under the Head of Ceramics, Michael Powolny, at the Vienna Kunstgewerbeschule. She later opened her own studio, to great acclaim, becoming a much sought-after ceramicist, exhibiting at the Paris International Exhibition in 1925 and wining a gold medal at the Brussels International Exhibition in 1935. Rie fled the approaching Nazi occupation, establishing herself as a Jewish émigré in London in 1938. She initially created glass and ceramic buttons for the Orplid Glass Studio, although she is most well-known for her collaborations with Hans Coper (1920-1981), a German émigré, whom she hired as a studio assistant in 1946. The partnership was a fruitful one; Coper was a huge inspiration for Rie, championing her experimentation and love of modernism. She continued to experiment with glazes, enamel colours and forms throughout her long career. Provenance Acquired from Peter Dingley Gallery, Stratford-upon-Avon, United Kingdom, with paper label. Condition ReportOverall in good order. The upper rim is undulating and the globular shape is somewhat uneven in potting. There are some remnants of what is probably glaze to the underside of the foot, visible under UV, although the footrim surface is solid and does not appear to have been restored. The provenance label is faded and worn.
Norman Clark glass vase, flattened oval with abstract design, iridescent blue on red and yellow mottled ground, etched signature to edge of footrim, with Peter Dingley Gallery label verso, 17cm high From the collection of the late Maurice Costley Condition ReportOverall in good order, very minor surface wear.
Lucie Rie (1902-1995, Austrian/British) Porcelain vase (circa 1960) Of cylindrical form, with tall neck and flared rim, with bronzed manganese body above bands of sgraffito white and blue bands, the flared rim and underside of the base with radiating sgraffito lines, with LR seal mark, 22.3cm high The upper rim with restored break From the collection of the late Maurice Costley See the similar vase from the Shipley Collection, sold MAAK, London, 11 May 2023, lot 11. Lucie Rie (1902-1995) was born in Vienna and developed an interest in the decorative arts from a young age, studying under the Head of Ceramics, Michael Powolny, at the Vienna Kunstgewerbeschule. She later opened her own studio, to great acclaim, becoming a much sought-after ceramicist, exhibiting at the Paris International Exhibition in 1925 and wining a gold medal at the Brussels International Exhibition in 1935. Rie fled the approaching Nazi occupation, establishing herself as a Jewish émigré in London in 1938. She initially created glass and ceramic buttons for the Orplid Glass Studio, although she is most well-known for her collaborations with Hans Coper (1920-1981), a German émigré, whom she hired as a studio assistant in 1946. The partnership was a fruitful one; Coper was a huge inspiration for Rie, championing her experimentation and love of modernism. She continued to experiment with glazes, enamel colours and forms throughout her career.Condition ReportApproximately 14 cm of the circumference of the upper rim has been cracked into three sections and restuck, with some small old areas of in-filling to the enamels. The glue has yellowed at the breaks. This could be cleaned and professionally restored. Some very minor footrim chipping, possibly occurring in the making.
Ronald Stennett-Willson (1915-2009) a collection of Wedgwood glass, c.1970, comprising two 'Snowflake' vases, 25.5 and 11cm high, a 'Snowflake' dish, 13cm diameter, a similar bowl, 12.5cm diameter, an amber glass vase, 15.3cm high, a similar sleeve form vase, 19.5cm high, a pedestal bowl, 13cm high, three matched smaller examples, 10cm high, a pair of moulded vase or candleholders, 10.7cm high, a glass mug, 10.7cm high, a footed glass, 9.4cm high, three stylised birds, 10cm high, and a posy bowl, with a wide rim, 15.8cm diameter (18)Condition ReportSmall 'Snowflake' vase with chips to the top of the rim. General surface wear and marks.
A collection of blue opaline glass 19th century, French, comprising three caskets, the largest 15.5cm high, and three vases, the largest 16.5cm high together with two pink opaline glass vases, c.1880, with painted scenes of children, to gilt borders, 34.5cm high Provenance: The property of the late Baron John Mauger Langin Condition ReportBlue opaline) One vase with a restored crack, another with chips to the stopper. The caskets and scent bottles without cracks or restoration. Pink vases) Both examples have chipped and cracked necks. Wear to the decoraiton. Both pink vases are broken and restored.
A set of silver and alabaster postal scales, early 20th century, with six stacking weights, and six others, 16cm wide, together with a 'Nauticalia' magnifying glass, adjustable 20cm highand silver plate twin handle vase, 25.5cm high (3)Condition ReportPostal scales loose on stand. Tarnished vase.Sacles loose on base - tiny nibbles to all corners
A collection of Victorian glass, to include, peach blow, Burmese, satin air trap, and gilded examples, tallest 15cm high (9)Provenance: The property of the late Baron John Mauger Langin. Condition ReportThe satin air trap bottle is lacking its fitting. The cameo vase is associated and chipped. Wear and losses to the gilding throughout. lots of photos added, small blemishes visible in places, mostly made in the manufacturing process
A group of glass items 19th century and later, comprising a facet cut rule with wrythen opal and blue threads, possibly St Louis or Clichy, 25.5cm long two enamelled beakers, one cased, 10cm high, a yellow flashed mug, 12.5cm high, a cased Bohemian glass vase base, 9cm high, and a blue glass saucer dish, in the manner of Moser, with gilt Classical style mask decoration, 9cm diameter (6) Provenance: The property of the late Baron John Mauger Langin Condition ReportWear to the gilt and enamel decoration. Minor nibbles and frits. Small bruise to the rule.
An Art Deco Legras glass vase c.1930, of shouldered form, acid etched and enamelled with swirled motifs to a mottled red ground, acid etched and enamelled 'Legras' signature,20.5cm highCondition ReportMinor surface scratches, particularly to the underside of the foot rim. Small frits to the edge of the foot rim.
A collection of opaline glass, late 19th century, comprising a near pair of scent bottle, each with an applied snake, 15.5cm high, a pair of yellow footed vases, 20cm high, a green scent bottle with Greek key border,14.8cm high, a white opaline vase enamelled with floral sprays, 13.7cm high together with a baluster form vase with pink interior, 15.5cm high and three plates, each approx 21cm diameter, (10)Condition ReportNibbles to the pegs of the stoppers, both snakes with losses to the ends of the tails. Wear rubbing to the gilding throughout. The yellow vases and green scent bottle are uranium glass.
§ Jean-Claude Novaro (1943-2015), a large art glass vase, of baluster form and polychrome decorated and modelled in high relief with trailing abstract filament design, etched signature and dated 1989 to underside43cm highProvenance: Collection of the late Samuel Alper, OBE (1924-2002)In good condition, with no apparent damages or repairs.
§ Ada Loumani (1959-), a pair of blown and encased art glass vases, each of flattened oval form and internally painted with foliage in the manner of Henri Rousseau, one with acid etched signature and dated 2004 to underside22cm and 20.5cmNoting a few air bubbles within the glass, both are in good condition. One vase with a number of bubbles around the rim in particular.
Geoffrey Baxter for Whitefriars, a willow glass ‘Shoulder’ vase, pattern no.9678, with moulded textured finish to one side22.5 x 20.5 x 6cmA slight scuff to shoulder on both sides, otherwise good. Image Nos. 1, 6, 7, 8 and 9 are more accurate representations of colour. Comparing colour to images in Lesley Jackson's book, it appears Willow (or very possibly Pewter) rather than Indigo, although there is a blue hue when lit.
Émile Gallé (French, 1846-1904), a cameo glass vase, early 20th century, of shouldered form with a shaped rim, cased and cut with flowers to a graduated ochre ground, cameo 'Gallé' signature, 23.7cm highCondition ReportLight wear commensurate with age. No chips of cracks. All in good order. Please see additional photos.
An iridescent glass 'Pampas' vase, c.1900, attributed to Loetz or Kralik, of low-shouldered form with a 'garlic' neck, decorated with whiplash trails to a cobalt-blue iridescent ground,20.9cm highCondition ReportMinor surface wear commensurate with age. There is some unevenness to the inner part of the rim due to the way these items were finished. Please see the additional images.
A Daum cameo glass vase, c.1910, of squat ovoid form, cased, etched, and enamelled with physalis in relief to a mottled orange ground, cameo 'Daum Nancy France' signature and the Cross of Lorraine,15cm wide11cm highCondition ReportMinor surface marks, commensurate with the porous nature of the acid etched surface. No chips, cracks or restoration.
Émile Gallé (French, 1846-1904), a cameo glass vase, early 20th century, the ovoid body tapering to a tall cylindrical neck with a flared rim, cased and cut with foliage, cameo signature,10cm diameter38cm highCondition ReportThe inside with some colour deviation contemporaneous with manufacture. With some scratches and marks to the exterior. No areas of repolishing or restoration detected. The base with some scratches and marks, just above the foot rim. Please see additional photos.
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