Ivy Encrusted Coalport Vase, 1880s

A Coalport Ivy encrusted vase, circa 1880s pattern number A9106,…
click the photo to enlarge
A Coalport Ivy encrusted vase, circa 1880s pattern number A9106, of ovoid form with an undulating gilded rim, triform leafy feet, and twig form upright bracket handles flowing onto the body, profusely decorated with applied and moulded trailing ivy leaves and stems in russet and green hues with gold and shot colours on a white translucent ground, as found; green backstamp underside. Height 15.5 cm

You must be a subscriber, and be logged in to view price and dealer details.

Subscribe Now to view actual auction price for this item

When you subscribe, you have the option of setting the currency in which to display prices to $Au, $US, $NZ or Stg.

This item has been sold, and the description, image and price are for reference purposes only.
  • Circa - A Latin term meaning 'about', often used in the antique trade to give an approximate date for the piece, usually considered to be five years on either side of the circa year. Thus, circa 1900 means the piece was made about 1900, probably between 1895 and 1905. The expression is sometimes abbreviated to c.1900.
  • Oviform /ovoid - The outline loosely resembling the shape of an egg.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

This item has been included into following indexes:

Visually similar items

A Coalport vase, circa 1880s, the translucent white porcelain ovoid bowl raised on tripod ivy leaf feet, with a gilt fluted rim, twig style handles flowing onto the body and encrusted all over with applied bottle green, russet and gilt ivy leaves; green ba

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

A Satsuma earthenware Koro censer and cover, ovoid shape raised on three feet, decorated in relief and enamels with Buddhist figures, lion mask and ring handles issue from the sides, the lid surmounted by a foo dog finial, all highlighted with gilding. Hei

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

A Japanese covered earthenware vase. Showa period, mid 20th century, the ovoid pot with a broad neck and ruffled rim, raised on three scrolling feet, with bracket handles with ribbon motifs and a domed lid with temple dog finial, decorated in deep bottle g

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

Antique Japanese Satsuma vase, with three temple lion feet & dual side handles, 31.5 cm high approx, repaired

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.