William Moorcroft for MacIntyre, near pair of 'Macintyre' vases,…
click the photo to enlarge
William Moorcroft for MacIntyre, near pair of 'Macintyre' vases, c. 1898, 'Aurelian' pattern, transfer printed and hand painted with red and blue motifs, highlighted with gilding, with brown and black printed 'MacIntyre marks (2), height 15.5 cm. Provenance: The Estate of Mary Smart

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.
  • Transfer Printed / Decorated Transferware - Transfer printing is method of decorating ceramics, reducing the cost of decoration when compared to employing artists to paint each piece. A print was taken on transfer-paper from an engraved copperplate, covered in ink prepared with metallic oxides, and the image on the paper was then applied to the biscuit-fired ceramic body. The print was fixed by heating the object in an oven, and then glazed, sealing the picture. Early transfer prints were blue and white, as cobalt was the only colour to stand firing without blurring. Early in the 19th century advances in the composition of the transfer paper resulted in better definition and detail, and enabled engravers to combine line-engraving with stipple.
  • 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 Chinese cloisonne vase on stand, with calligraphy of Longevity, height 30 cm

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

A Japanese cloisonne vase, Meiji period. 30 cm high

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

A pair of cloisonne baluster shape vases, the black ground decorated with cloud motifs, patterned with brightly coloured blossom branches and birds. Raised on a wooden stand. Height 23 cm

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

A mid-20th century Chinese finely hand painted famille rose baluster vase, decorated with two seated gentlemen playing the board game 'Go' within a landscape including a gnarly overhanging rock with tree, very fine blue decorated rims. Six character marks

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