Howgego Historic & Modern Vases

Large, striking, French, St Louis Crystal ribbed glass vase decorated with fine gold enamelled Iris flowers. The tops with fine gilded feathering. The base...

Large, French, St Louis Crystal ribbed glass vase decorated with a fine gold enamelled Convolvulus flower. The top with fine gilded feathering. The base of the vase with a gilded rin...

Beautiful translucent figuring Cylindrical tapering form with rope border Egypt Provenance Drue Heink Collection sold christies lot 166, C jork/ corr Measures: diameter 15cm.,...

Moorcroft, hibiscus pattern, bottle vase, upcycled into a table lamp, 13½ ” high Naturalistic, introducing the exotic floral garden into the interior Elegant, slender bottle form. ...

MASSIVE, PAIR OF VINTAGE, CHINOISERIE, PORCELAIN VASES, UPCYCLED INTO TABLE LAMPS, 70cm., 27½” high The massive size is softened by the pastel shades of pink, yellow, blue, green. Th...

An icon of British design, Geoffrey Baxter was the outstanding British glass designer of the post-war period. From 1954 until 1980 he worked for Britain's leading handmade glass manu...

Contemporary vessel, orange & grey, 24” high Striking, lively vessel exploring colour and texture juxtapositions The right orange is balanced by the grey background and the cont...

A COLLECTION OF THREE MINATURE COBRIDGE, POPPY & ICE PATTERN, HANDPAINTED VASES One of Cobridge Pottery’s most popular patterns, designed by artist Anita Harris...

Cobridge, Poppyfields Limited Edition vase, MARKED 18/75 UNDERNEATH, 2000, 10” high Delicate, injecting the beauty and delight of poppyfields into the interior Great perspective wi...

COBRIDGE SUMMER MEADOW, LIMITED EDITION VASE, MARKED 28/250 UNDERNEATH, 1999, 10” high Delicate, injecting the beauty and lightness of summer meadows into the interior Great perspect...

- Unusual pair of Victorian-style brass boots - Beautifully cast - Shoes are steeped in custom, symbolic meaning and stories; Cinderella, Dorothy. Shoes were offered as gifts on special occasions in the 17th and 18th centuries often exchanged between lovers as a symbol of good luck in marriage. - These boots were either made as ornaments, gifts, or vases Originally, boots and shoes were made one at a time by hand, often by groups of shoemakers, or cobblers (also known as cordwainers). In the 18th century, dozens or even hundreds of masters, journeymen and apprentices (both men and women) would work together in a shop, dividing up the work into individual tasks. A customer could come into a shop, be individually measured, and return to pick up their new shoes in as little as a day. Everyone needed shoes, and the median price for a pair was about one day’s wages for an average journeyman. The shoemaking trade flourished in the 18th and early 19th centuries but began to be affected by industrialization in the later 19th century. Traditional handicraft shoemaking has now been largely superseded in volume of shoes produced by Industrial mass production of footwear, but not necessarily in quality, attention to detail, or craftsmanship. Today, most shoes are made on a volume basis, rather than a craft basis. A pair of "bespoke...

A Cobridge stoneware vase, decorated with a repeat pattern of sea horses and foliage. Rare trial piece dated 8.8.2000, Cobridge impressed stamp on the underside which is marked trial with the initials PAS & ML and the date 8.8.2000. Measures: Height 29.5cm Diameter max 13cm Diameter (base of vase) 10.3cm A Cobridge stoneware cylindrical Cathedral pattern vase, designed by Samantha Johnson, copyright 2000 Cobridge Stoneware was a short-lived pottery company born out of the fascination of the head of one of the leading potteries for a process that died with its inventor early in the twentieth century. Cobridge Stoneware was in business 1998–2005. It was an Associate company of Moorcroft Pottery. The consequence of the business closing in down 2005. Is that the vases are now becoming very rare and demanding premium prices on the secondary market. Hugh Edwards, owner of Moorcroft, was keen to develop the ideas of William Howson Taylor, the man behind the closely guarded secrets of Ruskin Pottery. A new company and name was needed for the new range, Moorcroft is known and recognized universally by its distinctive appearance. Cobridge, an area of The Potteries, was featured in the Industrial Landscapes that were planned to furnish some of the designs for the new range. Its skyline was dominated in earlier years by bottle kilns, now mainly demolished, and Cobridge was chosen as the new name. The Cobridge Pottery was set up in a new imposing building a couple of hundred yards from the Moorcroft pottery and the official opening was in September 1998. The building was designed with future needs in mind. Only the outer walls are load-bearing, and the inner walls are built from blocks which can, if the need arises, be knocked down and re-built in another place. All the pieces were produced and hand painted here. The designs for Cobridge Stoneware Pottery vases were designed by well known ceramic designers. Many were also designing for Moorcroft Pottery. These designers include Philip Gibson, Kerry Goodwin, Nicola Slaney and Angela Davenport. Also Anita Harris...

A Cobridge stoneware cylindrical Cathedral pattern vase, designed by Samantha Johnson, copyright 2000. - The striking pillars and arches create spaciousness in the design. - The different tones of blue capture the texture and coolness of the stone interiors of these magnificent centres of worship, learning, art and community. - Rare pattern illustrating medieval architecture in a contemporary context The underside bears the Cobridge Stoneware stamp and is marked S Johnson, J.S. c.o.o. and S.J. c.c.c. 2000. Measures: Height 20.7cm Diameter (top) 8.5cm Diameter (base) 9cm Cobridge Stoneware was a short-lived pottery company born out of the fascination of the head of one of the leading potteries for a process that died with its inventor early in the 20th century. Cobridge Stoneware was in business 1998–2005. It was an Associate company of Moorcroft Pottery. The consequence of the business closing in down 2005. Is that the vases are now becoming very rare and demanding premium prices on the secondary market. Hugh Edwards, owner of Moorcroft, was keen to develop the ideas of William Howson Taylor - the man behind the closely guarded secrets of Ruskin Pottery. A new company and name was needed for the new range - Moorcroft is known and recognized universally by its distinctive appearance. Cobridge, an area of The Potteries, was featured in the Industrial Landscapes that were planned to furnish some of the designs for the new range. Its skyline was dominated in earlier years by bottle kilns, now mainly demolished, and Cobridge was chosen as the new name. The Cobridge Pottery was set up in a new imposing building a couple of hundred yards from the Moorcroft pottery and the official opening was in September 1998. The building was designed with future needs in mind. Only the outer walls are load-bearing, and the inner walls are built from blocks which can, if the need arises, be knocked down and re-built in another place. All the pieces were produced and hand painted here. The designs for Cobridge Stoneware Pottery vases were designed by well known ceramic designers. Many were also designing for Moorcroft Pottery. These designers include Philip Gibson, Kerry Goodwin, Nicola Slaney and Angela Davenport. Also Anita Harris...

Cobridge, poppy and ice pattern, hand painted vase converted into a table lamp on a perspex base, 10½ “ high One of Cobridge Pottery’s most popular patterns, designed by artist Anita Harris...

A Cobridge, poppy and ice pattern, hand painted vase converted into table lamp on perspex base, 9½” high One of Cobridge Pottery’s most popular patterns, designed by artist Anita Harris...

A large Cobridge, poppy and ice pattern, hand painted vase converted into a table lamp on a perspex base, 12” high One of Cobridge Pottery’s most popular patterns, designed by artist Anita Harris...

Norman Stuart Clarke (b.1944): Seascape, wave vase, 1997 "I use bold, powerful colors; it's a consuming interest of mine, an obsession, placing d...

Lusia Robinson: Infinity Vase This vase is characteristic of Robinson’s work emphasizing materiality within form integrating indigenous materials with modern technology and applicat...

Robert Fournier (1915-2008), stoneware, tall flattened, bottle, circa 1960-1965 This bottle is from the same series as No.2008.658.18 in the Metropoli...

Alan Wallwork (1931-): Organic landscape sculptural vessel, 1960-1965 Exhibiting the articulated, inventive, organic qualities & tactility of Wallwork’s early oeuvre for which he is best known - This sculptural landscape vessel has been handmade by coiling, slabbing and shaping the clay. The totemic form and pitted and pierced surfaces draw on the abstract landscape and tactility of elements in nature. matte glazes and oxides have been skillfully used to enhance the rich textures of the surfaces and the organic aesthetic. - Wallwork is one of the great individualists in British pottery, developing an archetypal language that echoed some of the wider artistic obsessions of that period, what the art critic Herbert Read called the “postwar ferment” of sculptural activity. - This piece was made during 1960-1965, the time that Wallwork was sharing a studio in Greenwich with Bernard Rooke and comes from a private collection along with a waterscape vase by Rooke and a bottle by Robert Fournier...

Bernard Rook (b.1938): Organic Waterscape Vase, 1960-1965 Rare example of Rooke’s oeuvre demonstrating his inventive artistic talents to the full - A ...

Martin Freyer for Rosenthal Studio: Massive, black, porcelain, pleated or plissee vase, 1968 - The pleated vase is known as Martin Freyer’s best work ...

H&C Heinrich, massive, white, porcelain, sculpted, floor standing, vase, circa 1960 - The massive height, white monochrome and sculpted surface create a rare, floor standing, cera...