Very Fine Blue John Chalice Old Tor Vein

Dauphins, an Art Deco glass bowl. Opalescent and clear glass, decorated over with reverse raised motifs of stylized dolphins swimming through ripples of water.  Signed R. Lalique ...

An Art Deco bronze pin dish with a ladies head looking outward. Signed 'B. Zach' and stamped 'Made in Austria' Artist: Bruno Zach (1891-1935) Dimension...

An earthenware model of a Duiker by John Skeaping for Wedgwood. Cream glazed with printed Wedgwood marks to underneath. Dimensions: H 12cm, W 18cm, D 10cm Origin: English ...

A patinated bronze sculpture by John Willis Good (1845-1878) depicting an English countryside Fox hunting scene. A saddled horse dutifully standing as...

Bulbes No.2', an Art Deco opalescent and frosted glass plate by René Lalique with bulb details. Signed R Lalique France to centre. René Jules Lalique (French, 1860–1945) was a renow...

Actinia, an Art Deco opalescent glass vase by René Lalique (1860-1945). Raised, swirling pattern in graduated blue green opalescence with a peach coloured tint. Etched 'R Lalique Fra...

A Very Fine 19th century Butter Dish, circa 1835 Additional information: Date : William IV-Victoria c1835 Origin : England Bowl Features : Pillar moulded and miter cut Marks ...

Large Chalice sapphire clear blue applied pattern on translucent blown glass attributed to Artistica Barovier (1919-1936) circa 1920. This goblet sits on a long stem with two decorated glass balls and a small central glass ball resting on a splayed foot. The name chalice is borrowed from Greek (kulix), cup. A chalice is often used for drinking during a ceremony or may convey a distinct symbolic meaning. After World War I the company changed its name to Vetreria Artistica Barovier...

Hammered nickel finish Chalice bowl by Jamie Young. 21st century, preowned.

Stoneware chalice with incised decoration by California artist, Joel Edwards. 1950s Joel Edwards. Los Angeles, CA. Studied at Otis Art Institute under Peter Voulkos. Creator of “Cre...

A fine 19th century French Orientalist period Cloissone and bronze centerpiece.

This important George III tazza is attributed to famed Scottish-Swedish architect Sir William Chambers. The magnificent piece features a base carved from statuary marble in the shape of a stylized dolphin, which relates to Chambers' extraordinary 18th-century architectural designs. A marvel of beauty and craftsmanship, the tazza is also inset with specimens of Derbyshire Blue John in both the plinth and bowl. Blue John is one of the most in-demand decorative stones in the world, and its inclusion in this piece elevates the tazza to a true Georgian masterpiece. Due to its popularity, the largest veins of Blue John had disappeared by the early 19th century, and only a small amount of the stone remains today. Because of its scarcity, most examples of Blue John furniture feature only small inset veneers. By contrast, this rare tazza features not one, but two substantial specimens of the stone. It represents some of the last ornamental wares created of such grand size and proportion, though other smaller examples still grace the stately British estates of Chatsworth, Hardwick, Kedleston and Haddon, among others. Not only does this tazza boast a highly rare material, but it was also designed by one of the most important architects and designers of the Georgian era. Sir William Chambers was a Scottish-Swedish architect based in London who was active during the reigns of Kings George II and George III. Celebrated for his combination of English Palladianism...