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Lot 134
Movado attractive platinum diamond set fob watch on a bow brooch, signed silvered dial with Arabic numerals, 15 jewel movement, the bezel and bow attachment set with old-cut diamonds, 18.2gm, the bow 34mm wide - Condition Report: - Movement - currently functioning. Dial - surface marks consistent with the period. Glass - light marks. Hands - good. Case - light marks, generally good. Crown - adjusts correctly. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 160
Very attractive Le Roy & Fils 18k and enamel diamond set fob watch with a matching necklace, cylinder lever movement branded 'Grand Prix Paris 1900', signed engine turned dial with Arabic numeral roundels, Breguet style moon hands and subsidiary seconds dial, the cuvette with Le Roy inscription, the case back with fine cast relief decoration set with five old-cut diamonds on a salmon pink guilloche enamel ground, case no. 5882, 21.2gm, 27mm; with a matching white metal enamel and pearl necklace, 7.5gm, 18" long with two spare links - Condition Report: - Movement - currently functioning. Dial - good, some light marks - see image. Glass - light marks. Hands - light marks. Case - nice quality in good condition. Crown - adjusts correctly. Necklace - at least thee links are showing wear to the enamel, with two spare links. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 10
A late Victorian silver and tortoiseshell inkstand with pierced three-quarter gallery, pen-rest and square-cut glass ink bottle with hinged silver cover, on claw feet, J. Batson & Son, London 1899, retailer's stamp for A. Barrett & Sons, 63/64 Piccadilly, 21 cmNo damage but natural fault in tortoiseshell to right of bottle
Lot 412
A pair of Victorian long neck decanters, the hexagonal cut neck finely notched along its length, the main body etched with fruit and vine, star cut base, facetted stopper, 28 cm high to/w six straight sided tumblers, 8 cm high and ten liquour glasses with similar etched decoration, a Victorian blue and amber glass fluted decanter and a square decanter, possibly Irish, 24 cm highRims to the pair of decanters chipped. Small frits to rim of amber/blue decanter. Square decanter - wear to base but no chips or cracks.Tumblers and glasses in good condition - no chips or cracks
Lot 43
A pair of George III cut glass oil and vinegar bottles with silver collars and handles, Peter & Ann Bateman, London 1798, on George V stand in the manner of the earlier period, London 1911, to/w a pair of cut glass bitters bottles with silver collars and spouts, Birmingham 1912/13 with Victorian labels for 'Peach Bitters' and 'Orange Bitters', Henry Holland, London 1875 (6)
Lot 281
Two early 19th Century gilt decorated decanters and stoppers, each with ceramic wine label, one inscribed "Sherry", the other "Whisky", a 19th Century decanter with facet cut decoration, two air twist champagne flutes, three 19th Century glass rummers and two further glasses CONDITION REPORTS Decanters - there are general surface scratches, some water marks to the interior. One has a small chip to the bottom corner. Wear to the gilding on both. Some flaws to the base and one to the side.
Lot 180
Three pieces of later 20th Century Scandinavian glass, two Orrefors vases by Sven Palmqvist, the first of compressed ovoid form engraved with thistles, engraved signature, height 20cm, the second of square section with canted slice cut corners, engraved with a woman watching birds, engraved signature, and a Holmegaard soap bubble vase designed by Per Lutkin, in a smoke grey tint. (3)
Lot 229
A post war Stuart and Sons crystal glass jug in the Ellesmere pattern designed by John Luxton, of footed ovoid form, decorated with a band of mitre cuts above cut leaves, acid marked, height 22.5cm, with five matching glasses each with funnel bowl with cut leaf decoration, wrythen stem and circular spread foot. (6)
Lot 252
An early 20th Century clear glass decanter of footed ovoid form, with cut decoration including diamonds and fans, with conforming stopper, height 32cm, a claret jug of spherical footed form with collar neck, similarly decorated, and a mid 19th Century Richardsons Vermicelli wine glass with cup bowl with an acid etched pattern, above a faceted baluster stem and circular spread foot. (3)
Lot 266
A late 19th Century Bohemian spa glass, the petal edged faceted foot rising to a faceted knopped stem and faceted bowl with basal petal decoration, flashed in amber over the clear crystal ground with cut printie panels each engraved with a titled spa, height 16cm, S/D, together with two other drinking glasses with knopped stems and ovoid bowls, each flashed in amber over clear and decorated with leaves and berries. (3)
Lot 389
An Orrefors 'Äpplet' green glass vase, designed by Ingeborg Lundin, designed in 1955, inscribed 'Orrefors Expo 32-57 Ingeborg Lundin', 37cm high For the nearly thirty years between 1947 and 1971, that Ingeborg Lundin designed glassware for Sweden's Orrefors glassworks, her designs were prized for their originality, simplicity and grace. Founded in 1898, Orrefors originally manufactured bottles, window glass, and tableware. In 1914, the firm started to produce cut crystal, and by 1925 had become internationally renowned for its engraved art glass. By the late 1940s, the young Lundin and her contemporaries at Orrefors and other Scandinavian glassworks were developing new forms that expressed the spirit of a softer, organic type of modernism. In 1955, Lundin designed the Apple (Äpplet) vase for the Helsingborg 1955 Exhibition, a world’s fair dedicated to modern design. The simple transparent form of her Apple vase is a beautiful luminous shape that needs no ornamentation. The slightly imperfect sphere, topped by a thick-walled cylindrical neck reminiscent of an apple’s stem, relies on the play of light on and in the colourless glass itself. The form exploits the transparency of glass exceptionally well. When shown at the Milan Triennale of 1957, the Apple vase won a gold medal. Produced in both clear and light green transparent glass, it is the best known of Lundin’s designs for Orrefors.
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