Per Lutken (Danish 1916-1998), a Holmegaard green glass vasec.1963, signed Holmegaard, PL monogram 18111Gently flared vase with inherent horizontal bands, 23 cm high; together with an Orrefors smoky faceted and polished glass vase designed by Simon Gate, signed Orrefors GA 1505/13, 13.5 cm high; and another in green, signed Of. GA 417/1, 8.5 cm high; an Orrefors clear glass cut and polished vase by Ingeborg Lundin, engraved Orrefors DA 3658/4, and paper label, 15.5 cm high; together with a Nanny Still (Finnish 1926-2009), squat glass candleholder made by Riihimaen Lasi Oy, signed, 10.5 cm diameter; and a heavy green and clear glass ribbed and textured glass vase possibly by Poul Kedelv for Reijmyre, 14 cm high; and a small green glass vase, illegible signature, 7.5 cm high (7)(7)Holmegaard: a few scratches and wear and natural wear to baseOrrefors smoky vase: tiny nicks and nibbles to facet edges, heavy wear to foot. Orrefors green: wear to base.Orrefors clear: wear to base.Nanny Still: a few tiny abrasions. Light natural wear.Poosibly Kedelv: some small chips, nicks and nibbles around the edge of the foot. Heavy wear to foot. Some polishing to rim. General wear.Small green glasss vase: chip to the outer edge of the rim. Wear to base.
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Vicke Lindstrand (Swedish 1904-1983), a Kosta hand-formed cased glass vase1955-1956, engraved Kosta LH/1116The red centre streaked in white and cased, 13 cm high; together with a Vicke Lindstrand Kosta internally streaked vase, signed Kosta LH/1403, for 1958-1959; and an oval bowl, bears signature, 18.5 cm wide; together with a Kosta solifleur clear glass vase by Goran Warff, signed Kosta Y7800 Warff, 21.5 cm high; and an anonymous cased glass vase, 17.5 cm high (5)Red streaked vase: there are small nicks and nibbles around the edge of the foot. A few scratches and abrasions and natural wear to base.2nd LH vase: and few tiny abrasions and light natural wear to base.Oval bowl: bears an engraved signature on the foot, but not on the polished pontil where you'd expect. No factory mark with, just says "LH 1401". A few scratches and abrasions to the inside and natural wear to base.Warff: deposits and cloudy film on the inside. Some tiny abrasions. Wear to base.Anon: A few scratches and abrasions and natural wear to base.
Tapio Wirkkala (Finnish 1915-1985), an Iittala 'Tatti' vase 1955, engraved 'Tapio Wirkkala, ittala, 55 The mushroom shape with line cut decoration10.5 cm high, 13 cm diameter There are 3 small bruises and a small chip on the edge of the top and a small chip on a rib on outside of the base. Some tiny abrasions and light natural wear.
A Curta Type I mechanical Calculating Machine by Contina AG Ltd, Vaduz, Liechtenstein Mid 20th Century, in dust and shock proof carrying case, with instruction manual and computing examples booklet, calculator 11cm high, in case 12cm high Note: The Curta calculating machine was developed by Curt Herzstark as a successor to the design of Gottfried Leibniz's Stepped Reckoner and Charles Thomas's Arithmomete, but innovating with an extremely compact hand-held design. The manual accompanying this model has a publishing date of 1962.Condition Report:Outer case with some scuffs and general wear, causing some loss of colour. Heavier wear with some scratches to base.The calculator has some light cosmetic wear to the top carriage and the grip on the base and also to operating handle consistent with light natural use. Setting knobs move up and down through 0 to 9. The carriage lifts and rotates from 1 to 6.The operating handle rotates and makes the numbers change on the indicating dial and also on the answering dial. The handle can be lifted up and pushed down into its upper and lower positions. The clearing lever moves and locks in place.Please note Rosebery's do not guarantee the working condition of the mechanical elements, duration and accuracy of the calculator offered for sale.
Georg Jensen (Danish 1866-1935), a pair of silver 'Blossom' pattern sugar nips Mark of Georg Jensen, 'GI' in an oval used 1915-1932, Sterling, 925, Denmark The spring loaded nips with openwork 'blossom' handles 9.7 cm longSome tiny, occasional indentations and abrasions, a few old marks and stains. Spring still functions. Light natural wear in keeping with age.
Attributed to Dino Martens, a trefoil glass bowl with internal stripes in white, pink and pale green, 16 cm wide; together with a Seguso Vetri D’Arte bird and a pair of salts each with gilt leaf inclusions, and a cased scent bottle and stopper, rubbed label, 11.5 cm high; and a small green glass vase internally decorated, 6.5 cm high (6)Martens bowl: light natural wear.Bird: large chip and smaller chips to feet of bird, and light natural wear.Pair salts: light natural wear.Scent bottle: stopper wobbles in the neck. Light natural wear. Some chips to end of stopper shank.Sm Green vase: the base is frosted – un polished, Light natural wear.
A pair of modern iron and glass uplighter floor lamps in the style of Louis Majorelle Late 20th Century The frosted glass shades of bowl form, the interiors with streaked blue and green enamel and having a separate border of leaded blue/green glass segments, supported within an openwork frame and three arms extending down to form the stems and tripod base, applied with berry and leaf decoration, with light fitments 178.5 cm high, the top approximately 46 cm wide (2)Condition Report:Visible glass appears to be in good order, although there is some natural wear and dirt and one shade has dropped slightly from the mount as there is a screw missing (attaches through the berries on the outside) and as such you can see that the top edge of the glass 'bowl' is a little uneven, but when the shade is properly fixed in place this would not be seen.The metal structure is sound and sturdy and there are some old marks and general wear in keeping with use and there is some oxidisation in places. Heavier wear to feet. The wiring and bulbs to the metal structure are quite obvious. Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed.
Alessandro Mendini (Italian 1913-2019), an 'Ollo' stainless wrist watch for Studio Alchimia c.1980, incised to reverse 'Alchimia' The stainless steel case with glass crystal, encasing polychrome geometric design dial, with black and purple polyester strap Dial - 32cm diameter not including crown Property from a Private Collection NOTE: Studio Alchimia was a design collective founded, pre-Memphis, in 1976 in Milan by Alessandro Guerriero and his sister Adriana Guerriero-Reali. Designers Alessandro Mendini, Ettore Sottsass, Michele De Lucchi, Bruno and Giorgio Gregori, Paola Navone, Daniela Puppa, Andrea Branzi, and Franco Raggi all contributed to the work of the group. They encompassed Architecture, theatrical design, decorative arts, product and clothing designs and their ethos was at counterpoint to the aesthetic of the Bauhaus and the other industrial and minimalist designers. They were interested in a colour and the play between forms and were happy to embrace modern technologies. The Studio Alchimia closed in 1992. Condition reportThe watch works but we have not checked its time keeping. There is some light wear to the front of the metal casing, the glass face is good. There is wear - some scratches to the back - and were the back has been removed in the past there is some lifting/indentations to the edge. The strap has some wear and a few loose threads.Please note Rosebery's do not guarantee the working condition, duration or timekeeping of clocks & watches offered for sale.
Bert Marsh (British 1932-2011), a turned wood bowl Late 20th century, signed to base A light turned wood bowl of goblet form, together with a large quantity of other treen objects to include a deep bowl by Richard Kell, a holly bowl by David Woodward, a lidded box by Peter Chatwin, a lidded box by Cecil Jordan and a further twenty two other wooden items Bert Marsh 8.5cm high (ARR) Please refer to department for condition report
William Hutton & Sons (British), an Arts & Crafts silver box with hinged cover Mark of William Hutton & Sons Ltd, London 1901 The rectangular form embossed with a frieze of foliate motifs, the cover with strap hinges set with orange cabochons, with a clasp catch, on shaped feet, with wood lined interior 8 cm high, 22 cm long, 13.3 cm deep Condition report:Silver: there is light natural wear, some scratches and some rubbing to high points and silver surface. There is rubbing to the edges of the makers marks. Some tarnishing and polish deposits. The wooden interior of the box has some old marks and stains and from the underside the bare wood is exposed. The are some abrasions on the orange cabochons. There is no peg for the clasp.
Jean Marais (French 1913-1998), a glazed terracotta 'Quatre Visages' vaseSecond half 20th Century, signed 'Jean Marais'Modelled and cast with four merging faces, the tapered base with four tear-drop shaped indents, covered with a slightly lustrous black glaze31cm highNo damages detected. Light natural wear. Some dust inside.
Jean Claude Deveaux (French), a tall marquetry ribbon form Contemporary, rubber stamped mark to back A large marquetry sculpture in the form of a flowing ribbon constructed of light and dark wood marquetry mounted onto an MDF board; together with a smaller marquetry object in the shape of a pyramid with re and natural wooden veneers Ribbon form 45cm high pyramid form 30cm wide (2) (ARR) Please refer to department for condition report
Poul Henningsen (Danish 1894-1967), a set of three 'PH5' ceiling lights for Louis Poulson c.1960 Two lights in red enamelled finish, one light finished in purple, each with uplighter shade above three curved and graduated shades 28cm high, 50cm diameter (3)Please refer to department for condition report
An English Opalescent glass hanging light, probably Stourbridge, with brass mounts c.1900 The glass shade moulded with briar and having a pentagonal flared rim, supported from an openwork collar and brass column, with light fitments, chain and ceiling rose Shade 14 cm highThe neck of the shade that sits in the brass mounts has some small chips and a few nicks and nibbles all of which are concealed by the brass mounts. The metal elements have natural wear and tarnishing in keeping with age and could do with a polish.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed.
Gino Sarfatti (Italian 1912-1985), a pair of ‘Model 121’ brass and painted aluminium wall lightsDesigned in 1946 and produced by Arteluce, MilanShade adjusted with butterfly wing nuts, with brackets and light fitmentsFully extended 39.5 cm long, shade 17.5 x 16.8 cm diameter (2)Property of a Private Collector: purchased Tajan Paris 24th Nov 2015 Lot 174Some old marks, some scratches, general wear and tarnishing to brass. The shades have some small losses to colour around the rims and there are some finger marks, scuffs and light wear to colour in keeping with use. There is a Tajan label stuck on one shade.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed.
Børge Mogensen (Danish 1914-1972), a pair of 'model 3246' club chairs for Fredericia Stolefabrik c.1960, with applied manufacturer’s labels to underside Upholstered in red leather with loose seat cushion, on square section stained oak supports each 89cm high, 62cm wide, 69cm (2) leather with small stains, scuffs and light scratches throughout, the supports with light scratches and some minor indentations
After Ib Kofod-Larsen (Danish 1921-2003), a pair of ‘Seal’ lounge chairs produced by Brdr Petersons Polstermobelfabrik c.2010, manufacturer’s label to underside With tan leather upholstered seat on oak frame with tapered supports 75cm high, 81cm wide (2) Condition Report:Both chairs structurally sound and sturdy. Leather with small stains throughout and some minor scuffs, oak frames with scuff marks, light scratches and general surface wear throughout, one chair with visible restoration to one arm.
Ico Parisi (Italian 1916-1994), a unique sofa, commissioned for a private residence in Como, Italy c.1954-1955,upholstered in pink velvet fabric, on black steel supports 71cm high, 108cm wide Literature: Domus Magazine, edition 307, June 1955, p.21 (see sofa illustrated in situ) Provenance: This sofa was commissioned for a private residence in Como, Italy, c.1954-55 Nilufar Gallery Milan, where purchased by the present owner in 2012 Roseberys would like to thank Roberta Lietti, the curator of the Archivio del Design di Ico Parisi for her assistance in cataloguing this lotThis sofa has been fully restored, the frame powder coated, re-upholstered in pink fabric, screws have been replaced with new screws, original feet pads as seen in Domus Magazine, edition 307, June 1955, p.21, are lacking, light wear to upholstery, frame with scratches and scuffs throughout.
Piero Fornasetti (Italian 1913-1988), an ‘Amphitheater’ low table c.1980, applied label to underside – ‘Fornasetti, Milano, Made in Italy’ Of convex form, in lacquered wood lithographically printed with classical architectural design, with glazed top 51cm high, 118cm wide, 57cm deep Condition Report:Light surface wear throughout, one small chip loss to top edge, some scuff marks towards lower edge of base. Glass top with light surface wear commensurate with age and use.
Piero Fornasetti (Italian 1913-1988), a ‘Grattacielo del Rinascimento’ four fold screen c.1990, with applied label to one edge - 'Fornasetti, Milano, Made in Italy' In lacquered wood lithographically printed with architectural designs, raised on castors 206cm high, 200cm wide Condition Report:Minimal light surface wear throughout, with some very minor chip losses to two edges, one screen with small dents/chips, otherwise in overall generally good condition.
Piero Fornasetti (Italian 1913-1988), an ‘Archittetura’ trumeau cabinet Numbered and dated ‘6-8-89’, with label to one drawer ‘Fornasetti, Milano’ In lacquered wood lithographically printed with classical architectural designs, the shaped top centred by concave niche with two doors enclosing six glazed shelves, above fall enclosing illuminated storage space and writing surface, over three graduated drawers, on later plinth base 216cm high, 86cm wide, 44cm deep Condition Report:Minimal light surface wear throughout, with some very minor chip losses around key holes and to base section top drawer to base is a little stiff, otherwise in overall generally good condition.
Hervé Van Der Straeten (French B. 1965), a pair of bronze 'Volubile' Lampsc.2006, one with designers 'HV' monogramBrown patinated and polished bronze, with tricorn shade46.5 cm high including shade (2)One with designers monogram and one without. Some natural wear in keeping with use and some light rubbing to patina. The lamp with the HV monogram has a metal light fitment and the one without it has a brown plastic light fitment, the plastic wobbles a little and currently the shade does not sit quite straight and would some attention. The shades has some light wear to the tops, one small area fraying and some dirt collecting along the seams.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed
Heal & Son (British), a limed oak cabinet c.1930, one drawer inset with ivorine disc - 'Heal & Son Ltd, London. W' With two panelled cupboard doors enclosing one shelf, above three graduated drawers, on square section feet 140cm high, 78.5cm wide, 47.5cm deep Property from a Private London Collection.Condition report:Top with some old marks, fading in patches and some stains. Left side, top panel there is a split/age separation. Splits to side upright left side at the top and middle. There are a few marks on the front of each of the drawers which can be seen in the images available online. Lime has faded. Overall light natural wear with occasional marks to both interior and exterior in keeping with natural use.
Hannah Barlow (British 1851-1916), a Doulton Lambeth stoneware mustard pot with silver plated mounts and spoon 1877, impressed roundel and date, incised artists monogram and numbered 377 The slightly tapered form incised with four sheep, with hinged cover and a spoon stamped 'AJR' in a clover leaf 8.5 cm high (2)The handle has a riveted repair with cracks at the top and bottom. Light natural wear. The plated elements are tarnished and with natural wear. Hinge is a bit loose and wobbles.
Liberty & Co (British), a Mahogany Display cabinet c.1905, stamped on lock plates Liberty & Co Ltd London The moulded cornice surmount with shaped three quarter gallery, over an arrangement of panelled recesses and shelves, with tapered column supports, flanked by glazed and leaded doors set with abalone and mother-of pearl flowerhead and snail motifs, enclosing green velvet lined interiors and glazed shelves, on tapered supports raised on block feet 197cm high, 188cm wide, 40cm deep Purchased: Christie’s King Street, sale of 'Art Nouveau, Art Deco & Studio Pottery', 3rd March 1981, lot 196 and sold with original Christie's catalogue Literature: John A. Bartlett, British Ceramic Art 1870-1940, Schiffer, USA, 1993, p.4 (a similar cabinet is illustrated) Condition Report:Glass panes are original, with light signs of wear to surface, no chips or cracks. Interiors are most likely later velvet lined and have a few compression marks from use. Mahogany surfaces with general wear throughout to include light scratches, scuffs. There are some minor indentations to edge of central bow front shelf. The upper back panels with some fading/areas of discolouration. Some aging to varnish in places. The brass escutcheons with some tarnish marks.
Mintons (British), an Art Nouveau secessionist-style twin-handled earthenware vase decorated with a peacock 1901-1908, printed factory marks, England, various impressed marks with indistinct date code and pattern number 3378 Moulded with raised outline depicting a peacock on each side, coloured and with some gilding, printed background, covered in a clear glaze 28.5 cm highThere are some firing flaws on the underside of the foot. Some tiny chips to the edge of the foot affecting the gilt border. Some crazing to glaze overall in keeping with age. Some light natural wear. Some dirt to interior and a firing blemish to bottom of the interior which you can't see any traces of on the outside.
Zsolnay (Hungarian), an Eosin glazed pill box and cover c.1900, printed Zsolnay Pecs, indistinct impressed numbers possibly 4996, 23 Covered in a lustrous Eosin glaze 25.5 cm high Some small losses/abrasions to the underside of the foot on the rim. Cover a little dull, inside more vibrant. Light natural wear.
Zsolnay (Hungarian), an Art Nouveau Eosin glazed 'Landscape' vase c.1900, raised Zsolnay Pecs mark, impressed 5652, M, 20 The inverted baluster form with short neck decorated with rich colours and a lustrous Eosin glaze showing wind swept stylised trees and blood red clouds or smoke (restored) 25.5 cm high The vase has been restored around the neck and into the body and seems to particularly affect the red cloud/smoke and the blue sky and part of the beige colour between the two bands of red. I have taken some photographs with a UV light on if interested. There are some patches of wear to the side, on the neck and some old marks and scratches here and there. Some crazing to the glaze. The inside is very dirty and there are some deposits and marks. Natural wear to underside of the foot on the rim.
A French solifleur ceramic vase attributed to Félix Optat Milet, Sevres c.1890, printed 'Sevres', painted 'R' on underside of base The baluster form decorated with flowers and leaves in slip-trailing and colours, against a textured gilt ground 19.5 cm high A tiny nick to the foot on the base rim. Some texturing to the glaze on the end of the white flowers but this appears to be from the firing. Light natural wear to base.
An Art Nouveau bronze table lamp with Loetz glass shade c.1900 The small domed frosted glass shade with orange/pink splash decoration fixed in a bronze hoop with weighted drop, supported by a half hoop and open foliate stem and base, with light fitments 26.5 cm high The shade is fixed in to the hoop with plaster so cannot be removed and appears to be in good order. The light fitment wobbles a bit. There are some old marks and wear to bronze elements and the metal has dulled with age. The lamp has lost the securing nuts for the hooped shade and the half hoop supports. Wear to base.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed
Loetz (Austrian), an iridescent 'Papillon' glass vase c.1900 The clear glass body of inverted baluster form with trumpet neck and flared base, decorated with splashes of iridescence shading from gold to mauve at the foot 26.5 cm high An inclusion in the glass on the foot but this was how it was made. Light natural wear and natural wear to base.
An Art Nouveau painted glass vase c.1900 The shaped and frosted vase shaded from green to clear, painted in white with flowers and buds on leafy stems 28.5 cm high Blown from the neck, so has a polished neck rim. A couple of tiny abrasions on the inside of the rim. A few scuffs and old marks and light natural wear. Some bubbles in the glass - how it was made. A few marks on the painting, but generally alright. Natural wear to the base.
Charder Le Verre Francais (French), a tall 'Rhododendron' pattern vase c.1930, signed on the foot 'Charder Le Verre Francais' The mottled white body overlaid and acid-etched with stylised pink flowers and deep aubergine leaves and circular spreading foot 38.5 cm highSmall chip to edge of foot - about 3mm . Light natural wear to base. Some dirt to the interior.
Charder Le Verre Francais (French), a cameo glass vasec.1930, signed in cameo 'Charder', signed in script 'Le Verre Francais' on top of foot, engraved France on underside of foot The mottled glass of oviform overlaid and acid-etched with stylised trees, with knop and circular spreading foot31.5 cm highSome light natural wear and a few tiny abrasions. Wear to underside of base. Some dirt inside.
Gallé (French), a cameo glass ewer with associated metal mountsc.1910, signed in intaglio GalléThe glass of flattened disc form (damaged neck) mounted with an associated plated neck, cover and handle, the yellow/white frosted glass body overlaid and acid-etched with a mountain landscape17 cm high When you look inside the collar of the mounts you can clearly see that the neck has been reduced and that it is chipped. The body has a tiny nick to the edge on the base, there are a few abrasions, and light natural wear.The metal mounts do not quite sit properly on the shoulders of the vessel and are later associated. There is a repair where the handle joins the collar and there is age related wear so surfaces.
Emile Gallé (French 1846-1904), a cased, wheel carved and fire-polished glass vase c.1900, elaborate signature underside of foot, inscribed Cristallerie de Gallé Nancy around a flower Of shouldered form, shallow wheel carved with orchids , some occasional martelé, fire-polished, short circular stepped base 26.5 cm high Some light wear and a few tiny abrasions. There are a few bubbles and a few tiny open bubbles in the glass but this is how it was made. A few minute spec inclusions and a few blemishes in the glass from the making on the foot - again how it was made. Light natural wear to base.
Emile Gallé (French 1846-1904), an enamelled glass vase c.1900, signed in relief Gallé The globular form with pentagonal neck-rim acid-etched in relief with trailing flowers and stems, heightened with enamels, against a textured ground 9.5 cm high, 12.5 cm wide Some small nicks, tiny losses and abrasions to the enamel. Some polishing to the rim, possibly from the Glassworks. A few marks and light wear to the interior. Natural wear to underside of the foot.
Daum (French), an enamelled glass vasec.1910, signed in relief 'Daum Nancy' with Cross of Lorraine, and some indistinct numbersOf baluster form on a circular spreading foot, the mottled glass acid-etched in shallow relief and enamelled in colours with flowers and leaves 31.5 cm highA few old marks and scuffs. Some tiny bubbles in the glass and enamel from the making process. Light natural wear. There is one open bubble on the inside of the rim and some open bubbles on the stem of the vase. The vase leans slightly. Quite heavy wear to the base.
Daum (French), a 'pillow-shaped' cased glass winter landscape vase c.1895, painted signature 'Daum' with Cross of Lorraine 'NancyThe vase of elliptical section, acid-etched in relief and enamelled in colours with a wooded scene with snow10 cm high, 11.5 cm wideThere is a tiny slither chip to the outside edge on the neck rim. And possibly tiny chips to inside edge of rim at one of the ends. There is a small open bubble on the edge of the foot rim - but this is not damage as how it was made. Light natural wear to base.
WMF, a German Art Nouveau metal and green glass centrepiece c.1905, stamped maker's marks to base With openwork foliate decoration and twin handles, inset with a shaped glass liner with cut decoration 40.7 cm long Marks, wear and tarnishing to to metal surfaces. Some tiny indentations scattered on the various edges and feet and some slight bending to top tendrils of openwork sides.Glass: light natural wear.
An Art Nouveau electroplated and glass trumpet epergne c.1910, partial stamped marks possibly S.T & Co, EPNSThe scrolling tripod frame having four holders to support the the frilled opalescent glass trumpets32.5 cm highMetal frame: structure good. Surfaces with light natural wear in keeping with age and use; some tarnishing. Blemish to underside of hoop base. Of the makers marks the first letter is indistinct and may be an S.Glass: it is possible that the top trumpet maybe a replacement as the colour at the ends is not quite the same as those on the sides and is slightly smaller. The end of the central trumpet has chips to it. The three side trumpets have ground ends and are in overall good condition.
An Art Nouveau brass table lamp with a Gallé cameo glass light shadec.1910, glass signed in cameo 'Gallé'The yellow glass shade with flared rim overlaid in red and acid-etched in relief with a branch of magnolia; held by a collar with screws and light fitments on a sinuous stem with scrolling leaves and a triangular shaped and lead weighted base44 cm highGallé glass shade: a few small nicks to the glass neck as supported by the mounts. Some bubbles in the glass. Some polish residue in the crevices. Bronze base: the collar and light fitment, although old, may not be original or may have had something done to it as it is not a neat fit and the shade is loose in the collar - the light bulb is required to make sure the shade stays in place. Tarnishing and wear to metal surfaces and joins showing. Some old marks and wear. The base is lead weighted for stability.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed
Frédéric Kiefer (French 1894-1977), a stoneware high-fired vasec.1930, impressed potters mark F Kiefer, and impressed number 530Of baluster form with slightly lobed sides, covered with a variegated sang de boeuf glaze with turquoise spots23.5 cm high Some grinding to the edge of the foot where the glaze probably pooled - probably from the pottery. Light natural wear.
Lalique (French), a Champs-Élysées smoky glass and chromium plated one tier six light chandelier after a design by Marc Lalique (French 1900-1977)Late 20th/Early 21st Century, Signed Lalique ® FrancePolished and frosted glass, the six broad leaves with a central hexagonal panel supported from a chromium plated column and arms, with light fitments, and having a matching glass ceiling roseApproximate drop 50 cm; 55.5 cm wideNo damages detected. Light natural wear and occasional splash of paint.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed
Legras (French), an Art Deco globular glass vase c.1930, signed in intaglio 'Legras', etched 'Made in France' on base The mottled white and brown vase cased in clear glass and acid-etched in intaglio with three stylised buds united by decorated ribbons heightened in brown enamels 15.5 cm highA few tiny abrasion to the neck rim with some acid-texturing from the making. Light natural wear, some rubbing to enamel. Natural wear to base.
Stuart & Sons, a set of clear glass and enamelled cocktail glassesIntroduced 1935, etched 'Stuart England'Each ovoid bowl engraved with a spiders' web and transfer printed with spiders (2 blue, 2 red, 1 yellow and 1 black) and various insects, pedestal foot8.5 cm high (6)Literature: Edited by Roger Dodsworth, Exhibition Broadfield House Glass Museum, 'British Glass between the Wars', 1987, title page and p.58, cat.61 (similar glasses illustrated)Small nick to rim of glass with yellow spider. Enamel overall in good condition. Light natural wear, some dirt and deposits.
An Art Deco enamelled glass cocktail setc.1935Comprising: cocktail decanter with cover, and six glasses with flared bowls, plain stems and a circular spreading foot, each piece decorated in colours with cockerels, with red rims, 21.5 cm high and 11.5 cm high respectively; together with another cocktail glass set comprising: a decanter and stopper and five glasses, each enamelled with a cockerel, 20 cm and 10.5 cm high respectively; together with a set of 12 glass cocktail sticks, probably Italian, each terminating with a bird, in card box, sticks approximately 11.5 cm long (25)First set with red rims: Some wear to stopper shank with some chips to the ends and wear to edges and in collar of decanter, plus a few tiny nicks; wear to base. Glasses in overall good order with light wear. Enamel good.2nd Cocktail set: some aging and wear to the enamel, with some traces of gilt to edges, but mostly faded. Natural wear in keeping with age. There are a few chips to the stopper. Chip to foot of one glass.Glass cocktail sticks: no damages detected. Some dirt. Plain card box old and falling to bits.
An early-20th century live steam stationary engine, the spirit-fired horizontal boiler fitted with pressure gauge, weighted safety valve, whistle and detachable chimney linked to a dynamo with electric light and a single-cylinder engine with flywheel, all mounted on a green-painted metal base, 28 x 23cm.
Asprey & Co. silver double cigarette case with engine turned cover, the gilt inside engraved with a map of the Thames, with sliding locking mechanismNumerous light marks to the exterior due to general wear and tear. Lock mechanism is stiff and needs cleaning and lubricating. 204g in weight.
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534338 Los(e)/Seite