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POINTON
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- ROYAL DOULTON PROTOTYPE BUNNYKIN, JACK
ROYAL DOULTON PROTOTYPE BUNNYKIN, JACK POINTOne of a kind. Modeled as a bunny designed as Jackpoint.
Royal Doulton backstamp. Marked The Property of Royal Doulton Tableware LTD Not Produced For Sale. #bunnykin #jackpoint #royaldoulton
Issued: 20th c.
Dimensions: 4.5"H
Manufacturer: Royal Doulton
Country of Origin: England
- POINTONS STOKE ON TRENT DECORATIVE PITCHERCream
POINTONS STOKE ON TRENT DECORATIVE PITCHERCream colored matte porcelain pitcher with flowers and leaves design with gold accents and handle. Pointons Stoke on Trent backstamp.
Dimensions: 5.5"L x 5"W x 5.25"H
Manufacturer: Pointons Stoke on Trent
Country of Origin: England
Condition:
Age related wear.
- 4 PIECE EUROPEAN VASE AND FERNER COLLECTION:
4 PIECE EUROPEAN VASE AND FERNER COLLECTION: Comprising; 1- Bisque ferner, having a surmounting boy playing a clarinet, with sheep & dog at his feet, underside bares a green maker's stamp, 1- Ernst Wahliss, Turn-Teplitz ferner, having a pierced rim, draping foliate design with a raised gold accenting, 2- Pointons, Stoke on Trent vases, having overall floral & foliate designs. Largest Approx. 9.75'' h x 6.75'' w.
CONDITION: No condition issues to be noted.
- POINTONS STOKE-ON-TENT JAPANESE STYLE
POINTONS STOKE-ON-TENT JAPANESE STYLE GILT ENAMEL DECORATED PORCELAIN VASE, RETAILED BY TIFFANY & CO, H: 6 IN. (15.2 CM.)Pointons Stoke-on-Tent Japanese Style Gilt Enamel Decorated Porcelain Vase, Retailed by Tiffany & Co,, Dimensions: H: 6 in. (15.2 cm.)
- A collection of Miniature Items to include
A collection of Miniature Items to include Treen Boxed Thimbles Small Boxes Enamel Badges a medal for Exemplary Service in the Fire Service awarded to L D G Arthur Pointon tins etc
- John Ruskin (British 1819-1900) "A Cave
John Ruskin (British 1819-1900) "A Cave Seen in Sunlight" and "A Cave Seen in Shade": a pair of drawings probably c. 1830s graphite watercolor and gouache on light buff wove papers (both sheets laid down) unsigned each 7 x 9 7/8 in. (both inscribed in a later hand en verso "17M"). Provenance: Joseph Arthur Palliser Severn (1842-1931) Brantwood Cumbria by 1900; Christie's London 24 October 1967 lot 13 (to Lamantia); James R. Lamantia Jr. New Orleans and New York. Cave in Sunlight Published: William R. Cullison III and James Lamantia An Eye for Architecture Tulane University Library (Southeastern Architectural Archive) New Orleans 1984 p. 25 no. 23. Note: One of the most important and influential critics of the entire 19th c. Ruskin was also a highly accomplished artist having been trained as a youth-especially in watercolor-by Copley Fielding (1787-1855) and James Duffield Harding (1798-1863; the latter had been a pupil of Samuel Prout [1783-1852] a near neighbor and lifelong idol of Ruskin's). The theme doubly presented here of grottos presented at different times of the day had been pioneered in various versions by Joseph Wright of Derby (1734-1797) showing Italian examples and following the precedent of such painters as Pietro Fabris (known active in Naples c. 1756-1779). These two dramatic and impressive sheets with their didactic aim of illustrating a similar but evidently landlocked natural feature in contrasting lights emphasize the fact that young Ruskin was an eager student of natural science especially of geology (and they were probably drawn in the English Lake District the northwestern home of the Fielding family). His watercolor studies of rock formations have always been judged particularly fine; and as Anne Lyles has remarked "Ruskin's drawings of mountains attempt something more than an intelligent grasp of geology.they seek to show the inner construction rhythms and tensions of form-to reveal in fact the underlying structural order of the natural world." After an enormously active lifetime of drawing and writing Ruskin withdrew in the late 1880s to his own Lake Country home at Brantwood on Coniston Water just a few miles from Windermere. There he was cared for by his cousin Joan Agnew Ruskin who in 1871 married the artist Arthur Severn; the Severns became the heirs of Brantwood and the owners of these drawings-which thus have an unbroken provenance directly from the artist himself. References: Anne Lyles and Andrew Wilton The Great Age of British Watercolours London and Washington 1993 pp. 85 138 308 320-321 pl. 164; Dinah Birch "Ruskin " Grove Dictionary of Art Jane Turner ed. 34 vols. London 1996 vol. 27 pp. 350-356; Marcia Pointon "Fielding " ibid. vol. 11 pp. 59-61; David Cordingly "Harding " ibid. vol. 14 p. 166; Scott Wilcox "Prout " ibid. vol. 25 pp. 661-662; Frederick Cummings and Allen Staley Romantic Art in Britain Philadelphia 1968 pp. 71-72 no. 30.
- Mary Cassatt ''Margot Wearing a Bonnet''
Mary Cassatt ''Margot Wearing a Bonnet'' drypointon laid paper. Plate: 9.25''H x 6.5''W; Sheet: 12.625''H x 9.375''W; Frame: 20.75''H x 17.5''W. Breeskin 179. Mary Cassatt (American 1844-1926). Circa - 1902.
- SET OF SIX ENGLISH PLATES AND A FRENCH
SET OF SIX ENGLISH PLATES AND A FRENCH BOWL 7 pieces: the plates by Pointons England Imari design 7.75''D; the bowl with hand painted floral motif and gold rim 9''L x 7.75''W x 3.5''H. The pieces are in good condition with light wear throughout and no visible chips or repairs.
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