We found 23407 price guide item(s) matching your search

A First Period Worcester part tea service, sparsely painted with green flowers within gilt rims, comprising six saucers, three small tea cups, two larger tea cups, two coffee cups and a sugar basin 

A late 19th/early 20th century Chinese export silver three piece tea service by Wang Hing & Co, Hong Kong, comprising teapot with hinged cover and ivory insulators, 13 cm high, twin handled sugar basin and cover, 10.5 cm high and milk jug, 8.5 cm high, all with simulated bamboo handles and embossed decoration of scholars and attendants in palatial garden landscapes on textured/speckled ground, all stamper 'WH' and '90' 34.2 oz gross c/w a textured paper covered wooden case with blue silk lined fitted interior and sliding front panel, 38 cm h x 30.5 cm w x 16.5 cm d Hinge on the teapot cover is worn/loose, some superficial surface scratches and general wear, case with wear and small tears to paper corners 

A Clarice Cliff Crocus pattern small cream jug, sugar basin and tea plate to/w a milk jug and a preserve jar and cover (5)Two 1mm chips in sugar basin, preserve pot heavily crazed and stained

A Victorian Aesthetic Movement china octagonal sugar basin on ep simulated bamboo stand with swing handle, an ep military cap-badge cast as an Indian elephant, two epns stuffing spoons, a sauce boat and four silver-handled tea knives

An Edwardian Wedgwood blue and white pottery ewer and basin, printed with 'Fallow Deer' pattern, to/w two matching soap-dishes and a chamber-pot

An Islamic copper and bronze miniature pedestal urn with text and vine decoration in relief, height 14cm and another similar bronze vessel.  Urn base and top are matched elements; basin in good condition.

A SILVER THREE PIECE TEA SERVICE, London c.1823, mark of Joseph Angell I, comprising a circular teapot, cream jug and sugar basin, with leaf cast rims and handles, with inscription 'Wise as a Serpent, Harmless as a Dove',  (42.64 troy ozs all in). The teapot 27cm wide, 15cm high

China posies, toilet jug and basin, children's book, etc.

Edwardian silver cream jug and sugar basin, Birmingham 1907. *Sold for the 100% benefit of St. Teresa's Hospice by arrangement of The Darlington Rotary Club*

A 19th century wash jug and basin

A Birmingham silver cream jug and sugar basin, hallmarks rubbed, 179g

A box containing assorted ceramics to include Royal Doulton Christmas plate, Sylvac vase, wash jug and basin, ceramic table lamp with shade

A box containing German beersteins, wash jug and basin, Newcastle jug etc

A tray containing assorted ceramics to include an Aynsley Dickens Series Mr Pickwick figure, Denby jug, Royal Worcester Evesham ramekins, Wedgwood Jasperware heart shaped dish, Regal bone china sugar basin and milk jug (boxed) etc

A Victorian Plumbing Company 400 floor standing minimalist compact cabinet with basin, gloss white, in box

Royal Copenhagen blue flower part dinner service, mainly for six, to include small and medium plates, tea and coffee pots, cream jug, sugar basin, leaf dish, soup cups and saucers and other items.Condition Reportin general condition fair and no apparent damage or restoration. Some of the dinner plates have stains, see images. Each image is of a different plate. The dinner plates measure 22 cms , 8 in total, the tea/side plates 18csm - 8 in total, 6 small bowls 14.5 cms, 6 soup bowls and saucers, 4 teacups and three saucers9 coffee cups and 9 saucersPlease do ring for more detail  01242 256363

Late Victorian silver tea and coffee service of five pieces, crested and decorated with embossed C-scroll and flowerheads, on scroll feet, the teapot, milk and coffee pot with bird finials, Dublin 1896, Charles Lambe, gross weight 95ozThe small jug, sugar bowl and lidded jug are 1896the lage coffee pot and teapot are 1895 Condition ReportSome general wear, scratches and tarnishing commensurate with age; the sugar basin appears good overall, lid of coffee jug is bent and does not fit properly, lid of larger jug is bent near the hinge and does not fit properly, also has a couple of dents to the lower body, the milk/cream jug has several dents to the lower body, the beak to the teapot spout is bent and the body also has a presentation inscription The small jug, sugar bowl and lidde djug are 1896the lage coffee pot and teapot are 1895 

A collection of small silver: including; a silver-mounted glass smelling salts jar; a salt with figural decoration; a sugar basin; and two candlesticks; various smiths.

Rosso Verona fountain, sculpted red marble with black and grey veins, in the centre half round basin with coat of arms an drain hole, the top with volutes, arched in the centre, flower with drill hole for water; on central curved foot, signs of use, collapsible in three parts; North Italian 18/19th Century. 140X60x40 cm

Dutch Basin, round bowl shape with chased ornaments fluted, on three lion feet and lion heads on the side, brass polished, damages, 18th Century. Diameter: 34cm height: 20cm

Copper basin in baroque style, oval shape with outbowed floral decorations, two handgrips, four feet, 19th Century. 38X26x22cm

A white marble and grey flecked basin of circular form with slightly dished lugs, approx 50cm diameter at widest point x 28cm high

A Georgian mahogany square cut wash stand of usual form, together with a blue and white jug and basin

An amethyst flashed glass basin and jug.

A CHINESE FAMILLE ROSE PORCELAIN BASIN, 19TH CENTURY, circular, enamel painted with peacocks and other birds amidst rockwork and blossoming prunus, the high sides similarly decorated with birds, peacocks, insects and sprigs of foliage, the broad turquoise-glazed rim enamel painted with foliate sprigs and four reserves. 40.5cm diameterCONDITION REPORTHairline crack to the base of the basin. In otherwise good condition. 

A vintage white enamel basin and bucket together with three steel sectional trays.

A 19th century child's bedroom room wash basin and jug, having a white body with blue and gilt bands, the gilt bands having white panels decorated with polychrome enamel floral sprays, bowl 26 cm dia. jug 20 cm high.

Jane Austen interest, an 18th century pewter bowl from Adlestrop, made by Samuel Ellis who worked from 1721 to 1765, stamped ADDLESTRAP CHURCH BASON 1738, 27cm diameter Note: Jane Austen visited Adlestrop several times and had a close relationship with the Reverend Thomas Leigh, who would use the basin during communion, see Victoria Huxley 'Jane Austen and Adlestrop'

MASON'S WASH BASIN AND EWER,along with a Doulton 'Willow' pattern bowl and a blue and white serving dish

20TH CENTURY BLUE AND WHITE WASH BASIN AND EWER,along with a smaller wash basin and ewer, two other basins, two chamber pots and a jugCondition report: General dirt, grime and surface wear present, in keeping with age and use. Crazing to one of the smaller wash basins. A chip to a large beighe basin at the rim. Crazing to the square form ewer. Additional images available.

19TH CENTURY BLUE AND WHITE VASE,of campana form, along with a Doulton wash basin (2)

1/10, bronze127cm x 66cm x 46cm (50in x 26in x 18in)Provenance: Purchased directly from the artistExhibited: Gerald Laing: Sculpture at Chisenbury Priory, Chisenbury Priory, 2002Literature: Gerald Laing: Sculpture at Chisenbury Priory exhibition catalogue, 2002, p.3 (titled Woman with Wet Hair)Footnote: Note: Artist's catalogue raisonne no. 476. This work is the one illustrated in the catalogue raisonne. It was conceived in Laing's New York studio in 1987.The 20th century produced a number of significant British sculptors. A common course charted across many of these careers was the departure from or outright rejection of the traditional. In many cases the figure, if it remained discernible at all, was typically heavily abstracted. Broadly speaking, the classical tradition became an increasingly inactive reference point, unless that point was to consciously subvert it. What makes Gerald Laing so fascinating is the fact that he chose to gravitate back towards sculpture’s formal roots, completely against the grain of his peers and indeed the general trajectory of Modern art.Originally heavily involved at ground zero of the UK and America’s Pop Art scene, Laing made an extraordinary pivot away from the radically minimalist and abstracted forms of his early career and, from the 1970s onwards, saw out his remaining decades as a master figurative sculptor in the classical manner.It is recorded that he underwent this transformation at the end of the 1960s. Apparently disillusioned with the art scene, he returned to Britain from the States in 1969 and headed northwards, acquiring the ruins of the medieval Kinkell Castle in the Black Isle, Scotland. Over the course of three years he meticulously restored the castle using local craftsmen and traditional techniques. By the end of the 1970s he had a large-scale foundry in full operation on the estate. As well as the life-changing undertaking that was the restoration of Kinkell, Laing spoke of his “epiphany” in 1973 while looking at Charles Sargeant Jagger's great First World War Artillery Memorial at Hyde Park Corner: “As a result of this experience I changed my entire method of working”. He had found his new visual language.This move away from the hegemony and narrow definitions of ‘the avant-garde’, a radical action in itself, had been a huge risk. Gradually, however, his career went from strength to strength and the commissions - public and private - rolled in, with no project seemingly too ambitious in scale or design.In 1987, the work offered here was conceived and sculpted in clay from life in New York, and later that same year it was cast in bronze at Kinkell. An edition of only 10, the piece is conceived as a garden statue and water fountain. The model was a professional dancer, and her elegant figure, redolent in style of the French 19th century greats like Maillol and Rodin, throws her head gently backwards while a stream of water pours through her hair. Though visually it seems to possess the domestic intimacy of a Degas bather, she is standing not in a basin but a clam shell like a Renaissance goddess. Laing’s work is full of these pleasing art historical reference points, evidencing a scholarly understanding and appreciation of the evolution of figurative sculpture.

A very rare and important Dutch delft basin, Adrianus Kocks, De Grieksche A, 1686-1701Modelled after a metal shape, moulded on the sides, two indented larger sections, decorated with dense floral patterns including a border of cabbage roses and sprays of mixed flowers, the borders with Chinese porcelain inspired elements, the well with a band of coin-pattern alternated with lozenges with four dots, 46cm x 36.2cm, AK mark for Adrianus Kocks, owner of De Grieksche A, 1686-1701Footnotes:Provenance:European private collection;Thence by descent to the present ownerDe Grieksche A factoryAdrianus Kocks and his wife Judith Kocks-van Eenhoorn took over the Grieksche A factory from Lambertus van Eenhoorn in 1686. It is known that Kocks, together with Lambertus Cleffius, owner of De Metaale Pot, tried to expand into the French market. But the height of Adrianus Kocks's commercial entrepreneurship was undoubtedly the reputation he built up as the main supplier of Delftware to the court of King William III and his wife Queen Mary. After having left the Netherlands for England, William and Mary ordered Delftware in large quantities from Adrianus Kocks. In January 1701, Adrianus Kocks passed on the workshop to his son, Pieter. He died only five months later and his coffin was carried by 18 bearers, an indication of the high esteem in which he was held in in Delft. For more information on the factory history of De Grieksche A, see Delfts Aardewerk: Geschiedenis van een Nationaal Product (1999), pp.64-153.William and Mary as patrons of De Grieksche A factoryMuch of the evidence about the orders placed by William and Mary is circumstantial, partly because the factory records have mostly not survived. Archaeological research conducted in the gardens around the Dutch Royal Palace of 'Het Loo' in Apeldoorn has revealed some exceptional objects marked SVE for Samuel van Eenhoorn, the owner of De Grieksche A before Adrianus Kocks such as garden ornaments and tulip vases. The Royal couple was passionate about Delftware and Mary certainly played an important role placing orders and defining its use in the Royal interiors. In one of his poems, Jan d'Outrein (1662 – 1722), suggested that it is highly possible that some of the most remarkable pieces were made after the Queen's specifications. She also probably contributed to the spread of the taste for expensive luxurious Delftware amongst the English aristocracy. It is now widely accepted that Queen Mary contacted Samuel van Eenhoorn shortly after she moved to the Netherlands. After Samuel's death, De Grieksche A factory stayed under the patronage of the House of Orange for many years. In her recent publication Koninklijk Blauw (2020), Suzanne Lambooy notes the influence of Daniel Marot, who joined the Household in 1684 and was charged with most of the designs for the gardens and interiors of the various Royal Palaces. Marot was instrumental in introducing a new Baroque style which was met with enthusiasm in the courts of Europe. Wall-covering textiles and mirrors were combined with carved giltwood consoles and monumental Delftware, and by cleverly integrating various previously more isolated interior elements, Dutch Delftware was promoted to play an integral role in the conception of a Royal interior. More and more elaborate and ambitious shapes were designed for the Royal Court, such as the famous tulip vases and large garden vases, produced, amongst others, by De Grieksche A. It is likely that this exceptional basin can be seen in the context of these expensive and technically highly accomplished pieces made for the Court of William and Mary or one of their entourage.For further reading on Royal patronage of De Grieksche A see also: A.M.L.E. Erkelens, 'Delffs Porceleijn' van koningin Mary II: Ceramiek op Het Loo uit de tijd van Willem III en Mary II. Queen Mary's Delft porcelain': Ceramics at Het Loo from the time of William and Mary, Zwolle.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Black painted washstand with jug and basin, 82cm x 45.5cm x 100cm high

Quantity of silver items to include, George VI silver cream jug and sugar basin, Birmingham 1945, napkin rings, etc, 220 grams approx

Crate containing pair of Leeds style reticulated vases wooden cigarette dispenser Victorian hand painted milk glass vase etc together with a crate containing various love cups Victorian jug and basin set etc

A Chinese painted softwood storage container, decorated with panels of figures, height 49cm, width 66cm, depth 54cm, together with a Chinese softwood and brass bound basin, width 51cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A hallmarked silver coffee and hot water pot each with reeded banded decoration, with a conforming sugar basin, total weight 24oz, Sheffield 1932, Walker & Hall. (3)

A Victorian hallmarked silver sugar basin decorated with pierced oak leaf and acorn design below foliate scroll border, all encompassing a blue glass liner below conforming swing handle, height 10cm, Sheffield 1845, Hawkesworth, Eyre & Co, S/D.

Hendrik Frans van Lint, 1684 Antwerpen – 1763 Rom ANSICHT VON VENEDIG MIT DEM MARKUSBECKEN UND DEM BUCINTORO Öl auf Leinwand. Doubliert. 26,5 x 41,5 cm. Rechts unten signiert „H Fran van Lint F 7“. In dekorativem, vergoldetem Rahmen.Beigegeben eine Expertise von Ralph Toledano vom 1. Oktober 2020. Venedig, Blick über das Markusbecken auf die Piazetta mit den Säulen des Hl. Theodor und dem Markuslöwen, seitlich davon links die Bibliotheca Nazionale Marciana und rechts der Dogenpalast. Im Hintergrund der Markusdom, der hohe Campanile und der Uhrturm. Sehr ungewöhnlich ist diese Frontalansicht des Markusbeckens, das von den meisten Venezianern in Anlehnung an die theatralische Kultur der Lagunenstadt aus der Ferne oder aus der Nähe dargestellt wird. Diese Frontalität, so Toledano, kennzeichnet van Lints Bestreben, die Realität von Orten wiederzugeben ohne sie inszenieren zu müssen. Auf dem Wasser sind mehrere besetzte Gondeln zu sehen sowie am Ufer rechts ankernd der teils abgedeckte, prachtvolle Bucintoro, das offizielle Staatsschiff des Dogen. Von der ehemaligen Datierung auf dem Gemälde ist nur noch die „7“ zu erkennen. Es ist anzunehmen, dass dieses Gemälde während einer der Reisen entstanden ist, die van Lint zusammen mit Gaspar van Wittel, genannt „Il Vanvitelli“ (1653-1736) in die Lagune unternahm. Die Art und Weise, wie das Wasser gemalt wird, ist grundlegend Il Vanvitelli zu verdanken: Es bewegt sich und wirbelt mit der für den Künstler typischen Flüssigkeit. Die genaue Beschreibung der Sehenswürdigkeiten, die Aufmerksamkeit des Miniaturisten für die kleinsten Details entsprechen den akribischen Bemühungen van Lints. Diese topografische Treue verbindet sich mit der Atmosphäre, mit der die Helligkeit des Himmels und das warme Licht dargestellt werden. Zusammen bringen sie van Lints besondere Genialität auf einen Nenner.Anmerkung.Hendrik Frans van Lint wird in Antwerpen als Sohn des Historienmalers Pieter van Lint (1629-1719) und dessen zweiter Frau Anna Moeren geboren. Da sein Vater starb als er erst 6 Jahre alt war, wurde van Lint 1696 Lehrling bei Peeter van Bredael, einem Maler von italianisierenden Landschaften. Van Lint blieb nicht, um seine Lehre zu beenden, sondern ging zwischen 1697 und 1700 nach Rom. 1697 trat van Lint den Bentvueghels bei, einer Vereinigung von hauptsächlich niederländischen und flämischen Künstlern, die in Rom arbeiteten. Bei den Bentvueghels war es üblich, sich einen ansprechenden Spitznamen zuzulegen. Van Lints Name war „Lo Studio“. Dieser Spitzname mag ihm wegen seiner akribischen Technik gegeben worden sein. Van Lint scheint sich zudem im Kreis des holländischen Vedutenmalers Gaspar van Wittel bewegt zu haben, der in Rom als „Il Vanvitelli“ bekannt war. Van Wittel hatte sich 1675 in Rom niedergelassen, wo er mit seinen topografischen Ansichten zu einem der meistgefragten Künstler seiner Generation geworden war. Van Lint blieb für den Rest seines Lebens überwiegend in Rom.Literatur: Vgl. Andrea Busiri Vici, Peter, Hendrik e Giacomo van Lint, Rom 1987. (1260732) (2) (18)Hendrik Frans van Lint,1684 Antwerp – 1763 RomeVIEW OF VENICE WITH SAINT MARK’S BASIN AND BUCiNToro Oil on canvas. Relined.26.5 x 41.5 cm.Signed “H Fran van Lint F 7” lower right.In decorative, gilt frame. Accompanied by an expert’s report by Ralph Toledano, dated 1 October 2020. Depiction of Venice with the Saint Mark’s Basin towards the Piazetta di San Marco with the two columns of Saint Theodore and the Lion of Saint Mark, the Bibliotheka Nazionale Marciano to the left and the Doge’s Palace to the right. The painting was formerly dated but only the number “7” is still visible. It can be assumed that the painting was created during van Lint’s travels to Venice that he undertook with his colleague Vanvitelli . Literature: cf. Andrea Busiri Vici, Hendrik e Giacomo van Lint, Rome 1987.

A Sindy Pedigree Doll, Barbie Buggy, parts missing, Sindy boxed wash basin, bath, Toilet, unboxed wardrobe, 5 dolls, plus nine original empty Sindy boxes, accessories boxes, in near mint original condition, including Super Home, Bed, Bath, Toilet, Vacuum cleaner, Dressing Table, Hob Unit, Fridge, Wash basin.(A.Lot). Condition Report: one Sindy is in mint condition,five other dolls have no bite chew marks, one Sindy doll has five missing hair plugs, one barbie doll has some biro graffiti to one arm (tattoo Love)

GEORGE III IRISH PROVINCIAL TWO-HANDLED SUGAR BASIN on claw feet with gadrooned borders, by Carden Terry & Jane Williams of Cork ("CT" over "IW") 1818, weight 310g

WW2 British Army Officers canvas wash basin maker marked "Waring & Gillow (1932) Ltd". WD Marked and dated 1942. Pouch to hold a bar of soap. Complete with wooden stand and sackcloth cover. Bowl width 37cm x 37cm. Height 78cm.

A VICTORIAN WASH JUG AND BASIN

Two trays of 19th Century Welsh pottery to include: an 'Amherst Japan' jug and basin, (jug is repaired) a smaller 'Amherst Japan' jug and plate, two 'Bombay Japan' soup plates and four South Wales Pottery 'Florentine' china saucers and one cup. (11)(B.P. 21% + VAT)

Staffordshire pottery black ground fruit decorated jug and basin set, to include; jug, bowl, two chamber pots, dressing table tray, various jars, hatpin holder, vase, candlesticks etc. (15)(B.P. 21% + VAT)

Shelly lustre china shell-shaped jug and basin, jug with gilded handle. (2)(B.P. 21 + VAT) Some wear to gilding. Chip to base of jug. Bowl appearing good.

An early 19th Century Miles Mason Bat printed porcelain sugar basin and cover, circa 1800, the twin handled body transfer printed with Inn to front and House with river landscape to reverse, the cover with gilt pagoda finial transfer printed with Castle, 

Burrows, London 1801/1802, comprising teapot and stand, twin handled sugar basin and milk jug, all of oval form, bright-cut engraved decoration throughout and laurel cartouche to the centre of each, with threaded angular handles, the stand raised on four bracket feet, teapot with ivory handle and turned finial Height of teapot: 16.5cm, weight (all in): 30ozFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Aird, Thomson & McKeller, Glasgow 1918, comprising waterpot, teapot, twin handled sugar basin and milk jug, all of oval panelled form, stylised cast swirl border, the handles of S scroll form, all raised on four leaf clasped scroll feetHeight of waterpot: 22cm, combined weight: 64oz

Charles Thomas Fox, and William Bateman I, London, 1827, comprising teapot, milk jug, and twin handled sugar basin, all of squat circular form, embossed with foliate detail, vacant cartouches with scroll borders to body, teapot with rose finial, each raised on four bracket rose and paw feetHeight: 14cm, combined weight: 46oz

William Cunningham, Edinburgh 1831, of baluster form, all overall embossed floral decoration, crest and motto engraved to cartouche to one side, the hinged lid with budding finial, leaf clasped S scroll handle, raised on a circular foot with similar decoration; together with a twin handled sugar basin, Robert Hennell I & David Hennell II, London 1799, of oval outline with bright-cut engraved borders and angular handlesHeight: 17cm, 11cm, combined weight: 34.4ozFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Edward & Sons, Glasgow 1899, comprising teapot, hot water pot, cream jug, and twin handled sugar basin, each of baluster form, heavily chased depictions of Classical scenes in amongst cherubic masks and garland decoration, engraved monogram to the centre panel, S scroll handles, the domed lids with knopped finials, ivory insert to teapot and waterpot handles Height of waterpot: 27cm, combined weight: 60ozFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Edward & Sons of Glasgow, Birmingham 1938/9, comprising coffee pot, water pot, twin handled sugar basin and milk jug, all in the style of the 19th-century silversmith, Paul de Lamerie, each with a panelled body, chased shell and diaper border with ivory handles and knopped finialsHeight: 18.5cm, weight (all in): 53.8ozFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

The Barnards, London 1869/70, comprising coffee pot, teapot, twin handled sugar basin, and milk jug, all of pear form with chased floral and fan decoration within beaded borders and further engraved decoration, engraved initials to the centre of each, with C scroll handles and knopped finials, ivory insulators to handlesHeight of coffee pot: 24cm, combined weight: 65ozFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

R & W Sorley, Glasgow 1913, comprising waterpot, teapot, twin handled sugar basin and milk jug, all of oval panelled form, stylised cast swirl border, the handles of S scroll form, all raised on four leaf clasped scroll feetHeight of waterpot: 24cm, weight (all in): 65oz

A three-piece tea service comprising a bullet-shaped teapot, cream jug and sugar basin, with engraved floral and leaf rim and monogram, maker Charles & Richard Comyns, London 1923, total weight ___35½oz.

An Edwardian three-piece tea service, comprising a teapot of circular form, sugar basin and milk jug, Chester (date letter rubbed), maker George Nathan & Ridley Hayes, total weight ___19½oz.

BEKE, Charles T - The Source of the Nile : being a general survey of the Basin of that River, and its Head-Streams : with the History of Nilotic Discovery : org. cloth,folding map frontis. 8vo, James Madden, 1860.

A tray containing assorted ceramics to include Maling springtime milk jug and sugar basin, Hornsea storage jars, two oversized Portmeirion teacups and saucers, Portmeirion planter etc