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Lot 124
MULLER FRÈRES; France, ca. 1910.Art Nouveau vase.Acid-etched cameo glass. Signed "Muller Frères Luneville".Procedure: Private Collection, Spain between 1970-1990.Measurements: 11 x 10 x 6.5 cm.Acid-etched glass vase, composed of two layers of glass, the lower one of an amber tone and the upper one dark brown, almost black in the areas where it retains its full thickness, and almost orange, more translucent, where it has been thinned more. The acid-etched motif depicted is a lake landscape on two planes, which are clearly separated by the lake that runs between them. The difference in thickness (and therefore in tone) has been used to reflect the depth of the space in a naturalistic way.The Muller brothers began working for Gallé, and later established their own glassworks in Luneville. Years later, production moved to Croismare, and the pieces were signed "Muller Croismare". The firm produced mottled glass and acid-etched cameo glass, mainly between 1905 and 1937.Cameo glass has been known since ancient times, although it was revived at the end of the 19th century in France and England. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a quicker and cheaper form of decoration than the wheel-engraved cameo, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colours, which are then cut or removed by acid etching the bottom, thus leaving the motif in relief, in the colour of the top layer of glass.
Lot 17
RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Tray "Coquilles I". France, ca.1930Translucent and opalescent cut glass.Signed in the centre of the reverse "R. Lalique France, n.3009".Very slight chipping on the side.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 701, no. 3009, with photo.Procedure: Private Collection, Spain between 1970-1990.Measurements: 30 cm (diameter); 4 cm (height).Circular tray decorated with four reticulated shells. The piece is an exceptional combination of translucent and opalescent glass, the latter in a shade of blue in keeping with the marine theme.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.
Lot 18
Art Nouveau vase. BACCARAT, ca.1900.Carved glass.Signed "Baccarat" on the base.Procedure: Private Collection, Spain between 1970-1990.Size: 35 x 13 x 13 cm.Art Nouveau vase in cut glass, showing vegetal decorations worked in relief around the cylindrical body, slightly widened at the top. It combines different qualities and textures. The town of Baccarat has been recognised as one of the most important in refined glass design since King Louis XV granted Cardinal Louis-Joseph de Laval-Montmorency permission to found a glass workshop in the town, in the province of Lorraine.
Lot 33
Jugendstil LOETZ vase; Austria, ca. 1900.Iridescent blown glass.An iridescent blown glass vase from the Austrian Manufacture of Loetz, with an amphora-shaped body and an open mouth. Mottled decoration in red, yellow and brown. Handles and side decoration in vegetal forms in gilt metal.Provenance: Private Spanish collection, formed between 1970 and 2010.Good condition. Normal wear and tear due to use and the passage of time.Measurements: 30 cm (height) x 11.5 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest awards.
Lot 50
Jugendstil LOETZ tabletop centrepiece; Austria, ca. 1900.Iridescent blown glass.An iridescent blown glass table-top centrepiece (flower vase) from the Austrian manufacturer Loetz, with a circular base with wavy sides and a soliflower vase in the centre with conical forms and a wavy mouth, connected to the base by a piece of gilt bronze. Cobalt Papillon" decoration on blue marbled with metallic granules (oil stain). Provenance: Private Spanish collection, formed between 1970 and 2010.Good condition Normal wear and tear due to use and the passage of time.Measurements: 47 cm (height) x 27 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest distinctions.
Lot 61
Jugendstil LOETZ vase; Austria, ca. 1895.Iridescent blown glass.An iridescent blown glass vase from the Austrian Manufacture of Loetz, of conical form with circular mouthpiece, with "Phaenomen" decoration in purplish yellow tones. Decorated in relief with handles, side ornaments and a gilt metal base. Label on the back of the shop where it was first acquired in Barcelona in Calle Fernando VII, where the best shops of the time were located, between the end of the 19th century and the beginning of the 20th century.Provenance: Private Spanish collection, formed between 1970 and 2010.Good condition. Normal wear and tear due to use and the passage of time.Measurements: 42.5 cm (height) x 17.5 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest awards.
Lot 79
Jugendstil LOETZ ashtray; Austria, ca. 1905.Iridescent blown glass.An iridescent blown glass ashtray from the Austrian Manufacture of Loetz, with a circular body and three lateral ornaments in the form of a vegetal form. Crete Diaspora" decoration on a green background, with a touch of gold enamel.Provenance: Private Spanish collection, formed between 1970 and 2010.Very slight, almost imperceptible chipping on the mouthpiece. Normal wear and tear due to use and the passage of time.Measurements: 4 cm (height) x 12 cm (largest diameter).Johann Loetz Witwe was the most important maker of artistic glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. One of the oldest glassworks was located in Wottawattal, which was bought in 1850 by Johann Loetz, the founder of the company and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name "Joh. Lötz Witwe". The factory had previously been equipped with an important milling workshop. It was here that heavily cut glass and perforated enamelled intermittent glass was manufactured. The company began producing coloured glass in the 1860s. Loetz glass has always been special because of its purity and fiery colours, and was initially purchased as raw glass by the North Bohemian refineries, which refined it by painting and polishing. Later, due to the high regard for glass, the company started the production of special luxury items. The company was the first to produce so-called baroque glass (objects with applied glass decorations) in Austria. Sample warehouses were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, which soon gave the products a worldwide reputation. The glass ingeniously imitated all kinds of onyx, jasper, carnelian, malachite, lapis lazuli, inlaid glass, etc. At the anniversary exhibition in 1888, the "Kaiser Franz Josefs Vase", designed by Hofrat Storck and produced by the Lötz company in Grauonyx, was presented. It was the largest blown glass vase ever made. Most of the world exhibitions were filled with the company's special products and received the highest awards.
Lot 84
PALLME KÖNIG. Austria, ca.1910.Art Nouveau centre, ca.1910.Blown glass. Relief enamels. Silver-plated metal mouthpiece.Provenance: Private Spanish collection, formed between 1970 and 1995. Measurements: 10 x 23 x 23 cm.Centre in blown glass, decorated with enamels depicting sinuous water lilies floating amidst typically Art Nouveau delicacies.The Pallme glassworks was first established in Steinschonau, Austria, in about 1786 by Ignaz Pallme-Konig. In the 1880s and 1890s, Ignaz Pallme-Konig's firm manufactured and exported high-quality chandeliers and etched glass. Around the turn of the century they merged with Wilhelm Habel's Elizabethhutte glass factory near Teplitz and became known as "Glasfabrik Elisabeth, Pallme-Konig and Habel".During the Art Nouveau period, this glass company produced high quality iridised glass, and its finest production was of the type illustrated on the left. Hot glass trails were wound around the iridised glass to form a network, and the piece was blown into a mould so that the trails were pressed against the glass.Elizabethhutte's production was and still is highly appreciated in Austria. The production of this beautiful and highly specialised type of design continued until the early 1920s. Pallme-Konig vases often have cut-outs in the top and folded pieces in a way that emphasises the once molten nature of the glass.There were several factories with the Pallme-Konig name and many of them continued to produce glass until the industry was nationalised after the end of the war in Europe (1945). Pallme-Konig and Habel glass is not usually signed, and does not normally have a pontil mark. The entire vase, with its molten traces on the surface, was usually blown into a mould and then finished from the top.
Lot 89
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Vase, ca. 1920.Acid-etched cameo glass.Signed on the reverse.Procedure: Private Collection, Spain between 1970-1990.Measurements: 13 x 8 x 6 cm.Acid-etched cameo glass vase, with an ovoid body and curved mouth. It is decorated with floral decoration that is freely arranged on the surface, as is typical of Gallé cameo glass. It is composed of two layers of glass, yellow, white and green in colour, cut at different levels to create tonal variations and details that add three-dimensionality to the flowers.Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. It was a quicker and cheaper form of decoration, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.Nature is one of the main sources of inspiration for Gallé, whose style is characterised by the naturalistic rendering of the elements, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was Gallé's main industrial production technique. It is a cameo glass, which consists of making a piece with two or more layers of glass of different colours so that, after immersion in the acid, the decorative motif is in relief on a plain background of a different colour. The decoration in this case has three levels, with variations in relief, the dark motif on the light background and, finally, a twilight sky in ochre tones. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. This was a quicker and cheaper form of decoration, resulting in more affordable pieces, which were mass-produced but handmade, as no stencils were used and the motif was drawn by hand on each piece.
Lot 399
SIX BOXES OF GLASSWARE, CERAMICS AND HOUSEHOLD ORNAMENTS to include Leonardo Collection cottages, Aynsley 'Cottage Garden' pattern trinket box, diameter 26cm, ginger jar, heart shaped trinket box, a Wade Golden Jubilee goblet, height 9.5cm, a Meissner Limoges porcelain dinette miniature soup tureen (glued finial), a Spode 'Sida & Acacia' Stafford Flowers celebration cake stand, a Wedgwood 'Sarah' pattern mantle clock, height 12cm, a Coalport 'Paradise' pattern pin dish, Coalport teacup, an Empoli style teal covered jar, height 34cm, a Carlton Ware Art Deco style dish - 1236 2 AG9/4875 4232, a St. Michael china 9185 Art Deco style tea set, a Midwinter Fashion Shape 9-63 gilt edged dish, a modern mantle clock, a boxed set of six fish knives and forks, a Hammersley HAM13698 pattern covered sugar bowl, a set of six 1970s Ravenshead bark texture aperitif glasses, a cut crystal sugar sifter, one Babycham glass, a set of six French Riems glass sundae dishes, a set of glass dessert dishes, with two serving bowls with a fruit decal, vase, decanter, etc (s.d) (6 boxes)
Lot 430
A COLLECTION OF CRANBERRY GLASS AND OTHER GLASSWARES, to include cranberry glass vases, jugs, drinking glasses, bowls and sugar casters, a plated cruet set and breakfast set, six red flashed cut crystal glasses decorated with birds, a bell with uranium glass handle (sd), a six piece painted glass dressing table set, a pale pink bon-bon dish, etc (Qty) (Condition report: overall pieces appear in fair condition, with cracks, chips and losses)
Lot 435
A QUANTITY OF CUT CRYSTAL AND GLASSWARE, comprising a 'Heron Glass' iridescent swan, height 10cm, a Caithness 'Tango' paperweight, two Stuart Crystal dishes, an Edinburgh Crystal thistle shaped vase, two Tutbury Crystal vases, a 1960s Murano style control bubble deep red and clear glass crested bird, heart shaped bowl, a pink and white speckled 'Avondale' art glass vase, height 19cm, a set of six wine glasses (one chipped), six whisky tumblers, six sherry glasses (one chipped), a sugar sifter, etc (52) (Condition report: damage is mentioned in description, other drinking glasses have nibbles on rim)
Lot 441
ONE BOX OF ASSORTED SUNDRIES TOGETHER WITH TWO LARGE SALTGLAZED BEER BARRELS, comprising two stoneware beer barrels, height 40cm, a glass chandelier (with spare crystals), a cut glass pot with lid (chipped), a brass mantle clock 'Bentima', a silver topped bamboo cane, leather novelty camel, three pale blue light shades together with a quantity of silver plate cutlery (1 box + loose)
Lot 448
SIX BOXES OF CERAMICS AND GLASSWARE, to include an Aynsley china flower basket of daffodils, an Aynsley 'Cheverell' pattern cream jug and sugar bowl, a Franz porcelain Papillion tray (broken butterfly wing in bag), Royal Worcester integral honey pot, an early Royal Albert tea cup (cracked and stained), NAO Lladro 'How Pretty' 1110 figurine, Lladro 'Ballerina', Lladro 'Ballerina' (broken left leg), a Coalport 'Paradise' pattern vase, height 15cm, studio glass swan, four Royal Worcester egg coddlers, height 6cm, two larger Royal Worcester egg coddlers, height8cm, Royal Stafford tea wares, a Portmeirion 'The Botanic Garden' pattern rectangle plate, cut glass decanters, vases, drinking glasses, two small wicker baskets, a gilt framed print, a small pink foot rest, etc (6 boxes + loose)
Lot 464
FIVE BOXES AND LOOSE CUT CRYSTAL AND OTHER GLASSWARES, to include a boxed set of four Webb Continental brandy glasses, partial sets of three Edinburgh Crystal International sherry glasses and five Edina Crystal wine glasses, loose drinking glasses, a Tutbury Crystal clear cat paperweight, an art glass swan paperweight, a group of cranberry glass, three pieces of marigold carnival glass, a bright blue textured trinket dish, a selection of storage jars with cork lids, etc (5 boxes + loose) (sd)
Lot 496
A GROUP OF CUT CRYSTAL comprising of a Royal Doulton decanter, two footed fruit bowls, two smaller pedestal bowls, a large cut brandy glass, bell (slight chips), beer glass, together with two Luminarc wine glasses with green ribbed stem, decorated with a scene of Schloss Vaduz (Furstentum Liechtenstein) (10)
Lot 498
A LARGE GROUP OF CERAMICS AND CUT CRYSTAL, comprising a pair of Royal Doulton 'Real old Willow' pattern bud vases, height 14cm, a Wedgwood blue Jasper ware pin dish 'Soroptimist International', bud vase with original box, height 14cm, Coalport 'Ming Rose' pattern miniature rose bowl and bell, Limoges pill box, a Royal Doulton jug decorated with Dutch children and windmill, height 13cm, a Portmeirion ' The Botanic Garden' pattern coffee pot, a Royal Albert '25th Anniversary' two tier cake stand, five glass sundae dishes, cream jug, three cut crystal fruit bowls, two other glass bowls, six vases, three decanters, Royal Worcester The Dam Buster series collector's plates 'Hold at 60ft' and 'Prelude: Low over the Lake', Royal Doulton Heroes over Home Territory series 'Spitfire over St Pauls', 'Mosquito over Blackpool Tower', 'Hurricane over the White Cliffs', ' Convoy Duty', a larger Sheltonian plate 'The Spitfire' , eight Wedgwood collector's plates in The David Shepherd Wildlife Collection comprising Zebra, Cheeta, Hippopotamus, Lion, Elephant, Rhinoceros, Giraffe, Tiger, an Indian leather purse, character jug, etc (s.d) (Qty)
Lot 514
A GROUP OF CERAMICS AND GLASSWARES, comprising a set of six Royal Worcester Torquay pattern coffee cans and saucers, in original fitted box, a thirty seven piece Cauldon China willow pattern tea set, comprising two cake plates, a milk jug, a sugar bowl, twelve tea plates, nine teacups and twelve saucers, together with seventeen decorative bells, including cut crystal, pressed glass, ceramic and a cloisonne enamel example (Qty) (Condition report: most pieces including the Royal Worcester set appear in good condition, sd to a few other pieces)
Lot 516
THREE BOXES AND LOOSE CERAMICS AND GLASSWARES, to include a Royal Rudolstadt blue, cream and gilt vase painted with fruit and flowers, a Beswick Sairey Gamp teapot 169, an Aynsley B1494 seventeen piece part tea set, a Royal Doulton Bunnykins teacup, a Royal Doulton Spaniel (leg broken), a TG Green Cornish ware egg cup, a Denby Greenwheat cruet set, a rectangular Denby casserole, a red cut to clear glass decanter, a boxed Sibond porcelain badger figure, etc (3 boxes + loose) (sd)
Lot 569
FOUR BOXES OF CUT CRYSTAL AND COLOURED GLASSWARE, to include a Josef Inwald frosted glass Pansy vase, height 15cm, cut crystal decanter, nine twisted stemmed 'Roman Style' wine glasses, a hand painted Czechoslovakian decanter (green, white and black stripes, small chip on neck), an amber glass fruit bowl with curled glass feet and six matching dishes, a 1960's Murano style blue glass dish, two chemists jars, height 34cm, a large clear glass cheese dish, a mid-century turquoise glass genie bottle, wine glasses, cocktail glasses, two matching crystal decanters, etc (s.d) (4 boxes + loose)
Lot 572
SEVEN BOXES OF CERAMICS AND GLASSWARE, to include four Wade Bells height 16cm, 20cm and two 25cm, Hof Bauer cut lead crystal 'Byrde' basket, vase and lidded jar, an Amherst 'Japan' ironstone footed bowl, two Anchor Hocking ruby red pressed bubble glass cups with two saucers, a 1960's blue and white lined handkerchief ruffle top vase, a lime green uranium glass posy ring, a 1960's pressed glass amber lotus flower, Dunn - Bennett & Co 'The Hong Kong & Shanghai Hotel' six tea cups, Pyrex tableware oven dish with a clear lid decorated with a hunting scene, six tea cups in the Royal Albert 'Brigadoon' pattern, a quantity of blue and white ironstone tureens, serving dishes and plates, a three tier cake stand, various china tea sets, glass dessert dishes, etc (s.d) (7 boxes)
Lot 577
FIVE BOXES OF CERAMICS, GLASS AND SUNDRY ITEMS, to include twenty four pieces of Masons Regency dinner wares, a Denby Rondo coffee pot and five mugs, a Royal Albert Old Country Roses vase height 17cm, two Hummel figurines: Sister and Apple Tree Girl, a copper and brass tea caddy stamped Linton with embossed oak leaf and acorn panel, a Poole pottery blue cockerel trinket dish, two boxed Wedgwood pale blue jasperware trinket dishes, a boxed pair of Tutbury Crystal liqueur glasses, other cut crystal by makers including Royal Doulton, etc (5 boxes) (sd)
Lot 116
A BAG OF SILVER JEWELLERY, LOOSE SEMI-PRECIOUS INSERTS AND OTHER ITEMS, to include a silver hinged bangle decorated with a foliate design, hallmarked 'Joseph Smith & Sons Ltd' Chester 1949, 11.5 grams, an orange cut glass scent bottle fitted with a silver collar hallmarked 'TH' Birmingham 1904, a white metal multi-link bracelet, stamped 835, a gold plated AF curb link bracelet with heart padlock clasp, a white metal and carnelian single drop earring stamped 925, a silver ring set with a large faceted paste within a marcasite surround, hallmarked Birmingham, three white metal rings, a white metal paste set AF riviere necklace, a small bag of loose paste stones, a lava cameo depicting a lady in profile, loose cameos, other loose semi-precious gemstone cabochons, two rectangular onyx panels displaying gold tone initials, semi-precious gemstone beads such as banded agate, a yellow metal locket unmarked, a carved jet cross pendant, coral beads etc (condition report: used conditions, light wear, some require attention)
Lot 128
A SMALL BOX OF SILVER AND OTHER ITEMS, to include a silver rattle designed as a bear, hallmarked 'W H Collins & Co' Chester 1958, fitted with a white circular teether, a silver medallion, hallmarked 'A H Darby & Son' Birmingham 1921, a silver lidded cut glass jar, hallmarked 'Levi & Salaman' Birmingham 1900, approximate gross weight 44.5 grams, 1.43 ozt, together with a white metal novelty vesta, and a boxed sewing kit (condition report: rattle has heavy wear, remaining general moderate wear, some thinning and distortion to lid)
Lot 170
A WOODEN DISPLAY CASE AND OTHER ITEMS, to include a rectangular hinged display case, with glass lid, approximate length 460mm x width 360mm, together with two cut glass scent bottles, one fitted with a silver and striped wooden lid, hallmark rubbed, the other missing the stopper, a faux tortoiseshell wooden box AF, a white metal funnel with a gilt interior unmarked, two jewellery cushion displays etc
Lot 283
A cobalt blue glass decanter with gilt lettering 'Brandy', 18cms; a cranberry glass decanter with clear barley twist handle, 18cms; a green glass decanter with ringed neck, 18cms; a cut glass decanter with faceted sides and stopper, 21cms; a cut glass decanter with stopper, 20cms. Estimate £20-40.
Lot 13
A GEORGE III IRISH SILVER BRIGHT-CUT MUSTARD POT, in the Neoclassical taste, Dublin c.1790 (date mark rubbed), makers mark of Christopher Haines, of oval form, the dipped lid with urn finial, the body with pierced fluted decoration and bright-cut engraved floral swags, with applied cast handle and blue glass liner (c.3.4 troy ozs). 8cm high, 7.5cm wide
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