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Lot 376
A Victorian cranberry and clear glass epergne the fluted bowl supporting a large central tulip shaped centre with three barleytwist supports and hanging baskets to each, and three tulip shaped bowls (af). CONDITION REPORT Slight damage in two or three places where the epergne is rough to the touch but nothing too noticeable and no signs of major structural damage.
Lot 113
A George Elliott studio glass bowl (1933-1998), pink ground with chocolate brown swirls, signed, 24.5cm diameter George Elliot was a student at Stourbridge in the 1950s. After his National Service in the Navy he won a scholarship to the Royal College of Art and travelled on a bursary to Scandinavia. On graduation he joined Stevens and Williams as a designer, moving to Stourbridge College as a tutor in the early 1960s. There was still a strict demarcation between design and glassmaking, and George did not start to make his own glass until the small furnaces, developed by Harvey Littleton and Dominic Labino in Wisconsin were brought to Britain by San Herman. George soon transferred his energies to mastering the craft of freeblown glass, working on his own without the benefit of the traditional team. He also worked as a designer for Holmegaards Glassveark in Denmark and for Hadelands Glassveark in Norway. This meant that he had to develop unique ways of carrying out procedures, like casting on a foot to a wine glass. George's forms were, like him, honest, unpretentious, and quintessentially English. He, unlike many others, chose to devote his creative energies on the production of decorative domestic items, working at his studio in Bewdley, and after leaving teaching in the mid eighties, at his 15th century timber frame cottage in Herefordshire. Although his formal repertoire was, on the face of it, traditional, he imbued his forms, whether vases, goblets or bottles with distinctive character, both in shape and decoration. He specialised in applied, linear decoration which was hooked into festoons round the forms, and added 'splashed' applications of coloured shards onto clear and coloured backgrounds. His choice of the traditional was expressive of George as a person; he was, for example an expert with the English Long Bow, which he would make from scratch. His exact copies of Medieval glasses were much in demand from collectors and Museums.
Lot 137
A George III silver mustard pot and toddy ladle, the mustard having pierced body and engraving to cover, the punch or toddy ladle with engraved initials to under bowl on turned wooden handle (2) Mustard: Poor repair to thumb piece marks clear to base (Thomas Daniel, London 1774) engraved to cover with two crests and a spray of flowers, possibly denoting marriage with blue glass liner Ladle: connecting section of stem weak, bowl bruised, marks rubbed.
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