Decorating

Pink Wedgwood Monticello Dinner Plate

Wedgwood Monticello Dinner Plate Etruria and Barlaston

  • Vintage item
  • $47.00
  • Free USA Shipping

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This pretty plate was made by the famous firm of Josiah Wedgwood in Staffordshire, England. It’s made of the cream colored earthenware Wedgwood named “Queen’s Ware.” The transfer print in pink pictures Monticello, the plantation of Thomas Jefferson located outside of Charlottesville, Virginia. The central engraving is surrounded by a floral border edged in beading. The plate was made as a promotional piece for the Charlottesville Hardware Company.

There are two marks printed in pink on the reverse. One is the Wedgwood mark with Etruria and Barlaston that was used between the years 1940 and 1974 (in 1974, the © symbol was added). The other is for Jones, McDuffee and Stratton Company of Boston, importers who placed the orders for pictorial souvenirs on behalf of American businesses. They ceased business in 1960, which means this plate dates from the 20 year span of 1940-1960.

4693 Wedgwood Monticello Plate close up of info on back of plate-3648 x 2736.jpg

The plate measures 10 3/4 inches across and is in very good condition. There is crazing both front and back and one glaze pop on the reverse, but no scratches, cracks, chips or discolorations. It’s a lovely collector’s plate and a decorative piece of history.

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PYH 4693

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Candle Stand |Early 19th Century Style Wrought Iron

4662 Vintage Wrought Iron Candle Stand -without candles-WO-etsy slide-3000 x 2455.jpg

  • Vintage item
  • Sold – $150.00
  • Free USA Shipping

This hand wrought iron candle stand, meant for tabletop use, was made to replicate one from the early 1800’s. It has a central shaft that comes to a sharply tapered point, The cross arm, adorned with notching along its length, holds two candle cups and is adjustable by means of a friction grip to bring the light closer for reading, sewing, etc. The lower bar, joined by an arch, features two side ending in rat tails that were used to hold a candle snuffer on one and candles joined by their wicks on the other. The shaft is decorated with two shapely knobs and the tripod base ends in penny feet. All the parts are joined by hand hammered rivets and the finish is matte and unlacquered.

The candle stand was probably made in the second half of the twentieth century, when country Americana was popular for decorating as our country’s Bicentennial inspired new interest in hand made antiques. Published since 1970, Early American Life Magazine runs their annual Directory of Craftsmen and the category of metal crafters, including blacksmiths, has one of the larger number of members. Hand wrought iron items have always been popular among collectors and decorators.

This stand is in excellent condition with no rust or breaks in the iron. It measures 21 inches tall, 13 inches across the cross arm and the feet are about 7 inches apart. The candle cup openings are 1 1/8 inch in diameter (if your candles are narrower, a bit of tissue wrapped around the bottoms will make them fit just right). The stand weighs almost 2 1/2 pounds and looks great with primitives and country home décor. Early 19th century antique candle stands like this one-when they can be found-cost many hundreds of dollars, but you can get the look for far less.
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© PrimpingYourHome.com

PYH 4662

Black and White Carved African Soapstone Vase

4597-Kenyan Kisiistone black and white Vase full view close up

Sold – $48.00

OVERVIEW

  • Vintage item
  • Free USA Shipping

This narrow vase with its modernist, geometric designs in black and white was hand carved from Kisii stone. A type of soapstone, it is named for the people of western Kenya, Africa, who are famous for their carvings of this stone that they mine locally by hand. It’s carved with machetes, saws and knives, then sanded and polished. At this point, if color is desired, the piece is dyed with shoe polish or ink. Multiple people take part in creating each item and none of the steps is done by machine. Even if two or more items are the same shape, each piece is unique.

The kisii stone used for this vase is an off-white color and finely grained. The designs began with small squares carved into the entire piece. Half were painted black, then topped with painted white mazes. The other half are carved with horizontal stripes; alternating ones are painted black, the others were left natural. It measures 8 1/2 inches tall, with a rimless mouth and flat base both 2 inches in diameter. It is heavy for its size, weighing almost 2 1/2 pounds. The vase has a paper label on the bottom that reads “HAND CARVED MADE IN KENYA.” Because it is handmade, the bottom is not perfectly flat so the vase wobbles slightly when you set it down. This is a dry vase, not to be used with liquids in it–you can wipe it a damp cloth to dust it. It’s in excellent condition with no chips or cracks (white spots are light reflections only), and it plays well with both ethnic artifacts and modern decorative pieces. It’s a dramatic and tactile piece that adds an exotic note to any room.

 

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PYH 4597

Internationally Renowned Potter Clary Illian Vintage Stoneware Bowl

Vintage Stoneware Bowl, by Clary Illian Bernard Leach Protégée Internationally Renownedifull view-whiteout-etsy slide-3000 x 2455.jpg

$249.00

This large yet graceful, beautifully glazed stoneware bowl was made by Clary Illian of Ely, Iowa. Producing ceramics since the early 1960’s, she is now 50 years into her career and is internationally known. Ms. Illian apprenticed under Bernard Leach at the famed Leach Pottery in St. Ives, Cornwall from 1964 through 1965. Seventeen of her ceramic pieces are in the David and Louise Rosenfield Collection. which includes at present count 2681 contemporary ceramics by 562 artists. Her pieces are also in the collection of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, where she was a ‘Visiting Artists and Workshop Instructor’ in the 1970’s, along with luminaries such as Peter Voulkos, and was also an ‘Artist in Residence’ there in 1981. We’ve included a photograph of Ms. Illian at work, along with a picture of the cover of her book, “A Potter’s Workbook.”

This expertly hand made piece is simple in form, with a wide, flattened dry rim and a lovely curve to the body that exhibits Ms. Illian’s finger marks inside and out. This master potter, however, has embellished that simple form with a row of tiny rectangular notches on the inner and outer rims and then applied a gorgeous chocolate brown glaze. It’s variegated and dripped, ending in small pools here and there at the outer base. On the interior bottom the glaze forms a whirlpool and the bowl is finished with a high gloss clear top glaze. Ms. Illian’s distinctive maker’s mark is impressed near the rim, shown close up in our photograph # 4.

The bowl is 14 inches across the top, tapering to an unglazed bottom 8 1/2 inches across. It stands 4 3/4 inches high and weighs a whopping 7 3/4 pounds. The bowl is in outstanding condition, with no chips, cracks or crazing. It’s a handsome piece of 20th century stoneware by a famed artisan.

Shipping Note: Due its weight and size, we will definitely ship this bowl Parcel Select Ground Insured (read: cheaper and slow) unless you choose otherwise at checkout.

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PYH 4585

Fox Hunt Scene, Antique English Cecil Aldin Chromolithograph 1900 Original Fallowfield Hunt Series

Antique English Fox Hunt Scene, Cecil Aldin Chromolithograph 1900 Original Fallowfield Hunt Series

This vivid, humorous English sporting print is an original chromolithograph of ‘Breakfast at the Three Pigeons’ by Cecil Charles Windsor Aldin, R.B.A. (1870-1935). It’s from his first set of hunting prints, entitled “The Fallowfield Hunt,” which he began to publish in 1899. The set instantly became popular in both the U.K. and the U.S. and has remained so for over a century.

This scene shows the fox hunters breakfasting at the Three Pigeons Pub in Fallowfield, a suburb of Manchester, England. Their hounds are baying at the open door of the beamed ceiling dining room, no doubt anxious to get a taste of the side of ham on the long trestle table. The artwork is inscribed lower right in the matrix ‘Cecil Aldin 1900,’ his hand lettered signature a lovely example of an Arts and Crafts era font. Photograph #10 pictures Cecil Aldin with one of his beloved dogs.

The print is 15 inches by 24 inches ( 21 inches by 30 inches overall), surrounded by a 3 inch’ wide, grooved oak frame painted flat black. There is a half round gilt fillet and the covering glass is somewhat wavy. A hanging wire is installed on the back and it appears the intact paper dust cover is original. The frame, which we believe is original to the print, is in very good condition, with some scattered rubs to the paint and slight separation at the corners. A portion of one edge about 4 inches long on the left side was brushed with gold paint (see photograph # 7); this could be covered with flat black paint—we leave that to the buyer’s choice. The print itself is in excellent condition, no stains or tears, the colors fresh and perhaps even more vibrant than we were able to capture in our photographs. It’s a handsome, elegant way to bring rural England to your home.

Note: This print complete with glass and frame weighs 7 pounds, 6 ounces

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PYH 4490

Murano Glass Trumpet Vase Signed Vincenzo Nason

Vincenzo Nason Murano Glass Trumpet Vase Signed Original Label

OVERVIEW

  • Vintage item
  • Ships worldwide from United States
  • Free USA Shipping

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This fabulous cased glass trumpet vase was mouth blown by Vincenzo Nason in Murano, Italy, in the 1990’s. The thin walled glass is an unusual color on the exterior, appearing a smoky grey or a grey tinted greenish, depending on the lighting. The cased layer on the interior is a vibrant cherry red. Standing 11 1/4 inches tall, it weighs a considerable 4 1/4 pounds. The flared mouth is 7 1/4 inches across while the bulbous base is 6 1/2 inches in diameter. The vase retains its original V. Nason & C. Murano Italy label with its white lettering printed on clear and also bears the diamond-engraved signature V. Nason on the bottom of the piece, shown in our photograph # 7. The bottom also exhibits a very large polished pontil scar. It’s in spectacular condition, showing virtually no wear.

After training at the famous Venini glassworks in Venice, Vincenzo Nason established his own glassworks called Vincenzo Nason & Cie in 1967, the name changing to V. Nason in 1989. The firm is no longer in business, having closed around the turn of the 21st century.

© Linda Henrich

PYH 4467

Qing Dynasty Antique Wedding Basket

Antique Chinese Wedding Basket Rattan and Bamboo Qing Dynasty

Overview

  • Antique item from the 1800s
  • Sold
  • 20 1/2 inches tall
  • 16 inches across

This handsome basket exhibits the exceptional workmanship and detailing that was given to both useful and ornamental objects by Chinese craftsmen. Baskets like these are commonly called wedding baskets but they are actually betrothal baskets. The two lidded compartments, finely woven of rattan, were used to transport gifts such as tea sets, linens, incense, candles and snacks and beverages.

The frame is dark reddish brown bamboo, the two sides beautifully carved with auspicious symbols and fastened with brass circlets. They form “feet” at the bottom and a stationary handle at the top, which can be used to carry the basket when it is filled and quite heavy. The wooden handle is surmounted by a heavy hand-wrought brass carrying handle set on an ornamental back plate pierced with symbols. The rattan portion of the topmost lid was woven in two colors to form a shòu character, symbol of longevity, wishing long life to the betrothed couple. There are also two small feet that support the basket, which is 20 1/2 inches tall to the top of the bamboo handle and about 16 inches across including the side supports. The basket weighs a sturdy 7 pounds, 4 ounces.

This example has seen use and shows obvious age, having been made in the latter part of the 1800’s in the late Qing Dynasty (1644-1912). The rattan basketry is rubbed along the sides from carrying, so there are areas that are lighter in color. The brass has developed a darkened patina and there is minor chipping along the bottom edges and on the feet. As is common with Chinese lidded baskets, the most wear is to the rim of the lid, where there is some loss of the bamboo edge (pictured). Overall, the basket is in very good condition. It displays beautifully and is large enough to be used as a side table, as well as a fabulous wedding gift.

© primpingyourhome.com
PYH 4379

Original 1932 Impressionist Oil “Camp Fire”

1932 campfire oil painting with tee-pee-by lake and mountains-3-full frontview-WHITEOUT-2636 x 2094-jpg.JPG

Overview

  • Vintage item from the 1930s
  • PRICE – $220.00 USD
  • Ships worldwide from United States

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An interpretation of the artist’s emotional response to a majestic landscape, this handsome original oil on academy board is signed lower right “M. Gross.” On the verso, it’s titled “Camp Fire” and dated 1932, lower right on the dust paper over the stretcher. A snow-covered peak towers in the background– possibly Mount Dana in the Sierra Nevadas at the eastern boundary of Yosemite–fronted by a sparkling blue lake and immense fir trees. In front of the teepee-style tent is seated a man, alone in the wilderness and relaxing in front of his campfire.

Overall, the work is 17 1/2 inches wide and 14 1/2 inches top to bottom and weighs 1 pound 10 ounces. The 1 inch wide frame is original to the painting. It is matte gilded wood, with a narrow inner gilt molding, a center strip of sponge-grained dark brown with gilt and an outer gilt molding with a simple geometric design. The painting is in great condition, with a few white flecks to the upper right of the tent against the trees the only blemish. The dust paper is torn and ragged; we’ve left it in its as-found condition but it’s easily and inexpensively replaced (be sure to preserve the title and date). The frame is good structurally, with tight corners, but has a few subtle chips here and there. There’s a double wire for ease in hanging this wonderful Impressionist landscape painting.

© Linda Henrich

PYH 4386