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A verdigris metal double inkwell, early 20th century, mounted with two dogs, w.26cm

A Victorian brass and cold painted figural three piece desk inkwell set, mounted with jockey figures painted in white and yellow, and horse's head to the front, two ovoid cut glass inkwells with brass covers, the inkwell section 26 by 7 by 19.5cm high. (3)

Bronze inkwell

Brass inkwell with glass insert

A late Victorian silver inkstand, comprising a stepped rectangular stand with canted corners, reeded edge and four winged lion paw feet, two recessed pen rests, the raised central section having a rectangular stamp box with flame finialled lift-off cover, flanked by two clear cut glass silver-topped removable inkwells, maker Mappin & Webb Ltd, London 1899 & 1900 (inkwell covers), w.30cm, weight 17.9ozt (excluding inkwells)

A George V silver inkstand, comprising two attached inkwells with clear glass liners and a pen tray, the stand of rectangular form with gadrooned and shell corners, standing upon four scroll feet, the inkwell covers having conforming decoration, maker C S Harris & Sons Ltd, London 1911, further staned for Robert Jones & Sons of Liverpool verso, length 21.5cm, 17ozt (excluding glass liners)

An early 20th century novelty spelter Elephant head inkwell - originally silver plated (plating now heavily worn), the finial in the form of a monkey playing a flute, on a circular socle, 13cm high, lacks glass liner.

A collection of Portuguese blue and white pottery - second half 20th century, painted with cockerels, other birds, flowers and butterflies amidst flowers and foliage, most pieces by Outeiro Agueda or Real-Ceramica, including a pair of candlesticks, 24.75cm high; a pair of covered vases, 16.75cm high; eleven covered boxes (the largest missing one foot); and two dishes, 10cm square (small chip and glaze frits); together with a similar French faience heart-shaped inkwell.

A French ebony, brass and Boulle inlaid desk-stand, 19th century – rectangular form, the top with central foliate capped reeded gilt-brass handle, over a single lidded compartment, two inkwell recesses (the wells missing) and two pen trays, the cavetto sides with a single drawer to the front, on turned bun feet, 31 x 26.5 cm, some brass inlay a/f.

A beaded footstool, a silver plated pot in the form of a conch shell, a small plated jug and an inkwell

A Walnut and Mahogany veneered correspondence Box with one inkwell, (some splits), 15" wide x 13" tall x 8" deep.

An ornate brass desk Inkwell stand with foliate scroll detail and cut glass inkwells, together with a small Art Nouveau figural mirror and photograph frame.

19th century Chinese porcelain famille rose inkwell, painted with figures from the Wu Shuang Pu to include Jiao Xiao Ran and Li Bai, mounted with ormolu style gilt metal mounts, including a floral hinged cover, pierced gallery base, on three rose stem supports, L13cm x H9cm

Victorian walnut correspondence box, the sides painted to produce a figured effect, the burr front with twin sloped doors opening to reveal a compartmented interior fitted with pen tray, inkwell recesses, letter rack and removable perpetual calendar, above a hidden lower drawer opened via spring action button to interior, H32.5cm W33.5cm D26cmCondition Report: General wear commensurate with age and use, including surface scratches, nicks and small indentations and knocks.Split to lower section of one door, and some small losses along lower edges of both doors, visible particularly when doors are open.Canvas of perpetual calendar with some discolouration, days, dates and months move to a degree but do stick and are in need to attention.A few pin holes to back beneath hinges.

An Edwardian London silver mounted capstan style cut crystal inkwell London 1904: h. x 8cm x w. x7.5cm

Draw opening small office Calendar and writing box with original inkwell with Artist Box and artist palette boxes.

French Bronze & Marble Table Inkwell - the lid with engine turned borders surmounted by a figure Diana the huntress, opening to a single glass lined well, raised on four recumbent stag figures mounted to a grey variegated marble quadripartite base on bronze paw feet

Vander and Hedges, Tessiers Ltd, a silver standish with inkwell and pounce pot, London 1938, 511g

An early 20th century horse hoof inkwell, having a chrome shoe and hinged cover, h.9cm.

A WWI trench art inkwell, a brass fuse hinged to create the inkwell with decorative bullets on a black marble base with brass plaque inscribed 'LILLE 1914-17' for the occupation of the city during the first world war'.

A glass and London silver mounted inkwell

AN IMPRESSIVE RENAISSANCE-STYLE VICTORIAN SILVER EWER by Frederick Elkington, Birmingham 1871, designed by Benjamin Schlick and adapted from designs by Francois Briot and Caspar Enderlein, the tapered ovoid body with a central band depicting three continents, Europe, Africa, the above band decorated with the seasons Autumn, Winter and Spring, further decorated with masks, the handled formed as a caryatid terminating in a grotesque mask, with a knopped stem supported on a stepped circular base, stamped 978, 30cm high 1,080gms / 34.72oz This ewer's extravagant design belongs to one of Elkington's most interesting periods of production which saw the company employ foreign designers to create decorative silver in various styles. This early period also heralded Elkington’s foray into the Electroplating process. Benajmin Schlick was a Danish-born designer and architect who, in the early years of his life, had spent time in Italy and France and was directly exposed to Classical visual and material culture. In 1839 he become one of the leading figures in the restoration and preservation of the ancient remains at Pompeii, making observations and sketches which would influence his designs made for Elkington. Shlick’s ewer makes direct reference to two makers, Francois Briot (1550-1616), the Huguenot die-cutter and medallist, as well as Casper Enderlein (1560-1633), a Master pewterer who was active in Nuremberg.  Francois Briot’s most famous design is undoubtedly the ‘Temperantia’ basin, his only known signed work and a prime example of ‘Edelzinn’ (precious pewter) that was produced in France and Germany during the late 16th and early 17th centuries. The basin featured a figure of Temperance in the centre, surrounded by four plaques depicting the four elements. The patron was most likely Friedrich I, Duke of Württemberg and Count of Montbéliard. Briot moved to Montbeliard in 1579 and a few years later he was appointed seal-engraver to the count and is known to have made medals for Friedrich.  The ’Mars’ basin is another masterwork of Briot’s that follows a similar allegorical composition to the ‘Temperantia’ basin. The God Mars replaces the figure of Temperance, while the elements are now depictions of Pax, Invidia, Abundantia and Bellum. The outer border features depictions of famous commanders (Caeser, Cyrus, Julius, Alexander) and the four continents, of which the latter group draws on a series of prints by Jan Sadeler the Elder (1550-1600) after Dirk Barendsz (1534-1592). Basins such as the Temperantia and Mars basin nearly always accompanied ewers with complimentary decoration. Briot seems to have designed ewers at around the same time as the basins, circa 1585. See Hanns-Ulrich Haedeke 'Zinn' 1973. Abb. 129-130 & 134 in the Germanischs Nationalmuseum Nurnberg. Briot’s moulds were made to be copied. His basins and ewers were disseminated widely and in different materials such as Palissyware. Caspar Enderlein’s reproduction of Briot’s Temperance basin brought him great fame. Like many artists who take inspiration from others, Enderlein embellished Briot’s moulds and forms. An ewer made by Enderlein was sold at Sotheby’s (L12230, lot 47) which lifts from an example by Briot in the Metropolitan Museum of Art (accession number :1975.1.1473, Robert Lehman collection). The three continents (minus Asia) represented in Shlick’s design feature an inscribed cartouche below, an addition Enderlein made to Briot’s work. Shlick’s design further incorporates designs from another dish made by Enderlein from a later date. The dish, made around 1628 (an example is found in the Victoria and Albert Museum, accession number 1203-1903) depicts the creation of Eve in the centre surrounded by four allegorical figures of the four seasons. Shlick’s ewer design takes three seasons (excluding Summer) to be used as the top band of decoration. The form also differs – Shlick’s handle is longer and straighter, while the foot differs in decoration and is slightly taller. Most works by Briot and Enderlein that Shlick used as reference material are held in the Victoria and Albert Museum. The museum also holds an identical example of the ewer, though theirs is electroplated parcel-gilt rather than silver. Henry Cole, the first director of the Victoria & Albert Museum (then known as The South Kensington Museum) quickly grasped the potential of Elkington’s newly-bought patent for the process of Electroplating, as they shared a belief that classical source material should be disseminated to aid in the development of good taste. Cole agreed with Elkington to take moulds of ancient objects in the museum and others around the world and reproduce electrotypes of them. These were a huge success and by 1920, the museum held over 1000 electrotypes. Schlick also shared this belief and was instrumental in procuring source material for Elkington. As one of the company’s earliest commissioned designers, Schlick provided direct source material, with his designs being patented by the firm and reproduced as early as 1845.  During excavations at Pompeii, he had patented a form of pantograph to make reproductions of works discovered in the ruins. One such example is the famed inkwell / taperstick in the form of a roman lamp, based on Shlick’s sketches from Pompeii and given by Queen Victoria to Prince Albert on their wedding anniversary in 1850. Schlick’s relationship with Elkington’s was not without its problems and their relationship ended in 1851, possibly due to the fact that Elkington was mainly a commercial enterprise. The company continued to produce and sell Shlick’s designs, namely international events such as the Great Exhibition and the 1867 Paris Exposition. To buy an electroplate example of the ewer being sold would cost £9, 9s in 1854. An example in silver would have been much more expensive and of which there are scarcer examples. The lot above provides a detailed and varied insight not only into the commercial activities of the silver and plate industry at a key time in its history and how these objects were used as educational tools for the improvement of general public taste, but also the constant adaption of artists’ works across myriad mediums which produced a wholly different piece that simultaneously looks towards the past and future. Condition Report:There is a dent to the left of Winter (Hyems). The top band is slightly uneven below autumn probably caused by a fall. Some unevenness to the bottom band also.The foot appears to have solder repairs below the knop, the decoration is disrupted - the underside base may have been a later addition

A set of Victorian Derbyshire specimen marble scales, with five brass weights, stamped, 'S Mordan & Co London', W 34cm, an Edwardian brass inkwell, with greyhounds, H 12cm, and a late Victorian brass scroll form inkwell, L 26cm, (3)Condition Report: The scales have a couple of small chips to the top rim and small losses to some of the inlay. The brass weights are probably not original as they do not sit fully in the recess.

DESK ORNAMENTS INCLUDING: A Regency gilt and patinated inkwell, of twin end boat prow form, snake head handles, 30.5cm wide; a cold painted spelter mounted ashtray, huntsman and hound decoration, 18cm wide; a WMF inkwell in the form of a knight's helm, stamped mark, 15cm high; Asian brass and wood paperweight in the form of a reclining buddha; two modern Chinese glass snuff bottles; a gilt metal mounted small agate bowl; 19th century enamel box, turquoise ground with Bianco Sopra Bianco detailing, interior to lid with comely young woman, 8cm wide; a pair of Japanese cloisonné vases and a pair of Chinese cloisonné vases (2) Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches, abrasions commensurate with age and use. Minor surface wear, some pitting and marks to gilt and metalware. Bases and rims of vases have wear and marks. The inkwell has imperfections and discolouration. The smaller black and grey snuff bottle's cork has broken off. The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly.Condition Report Disclaimer

A pair of Art Nouveau Ernst Wahliss Austrian pottery bottle vases, early 20th century, decorated with gilt enriched flowers and foliage against an ivory ground, the green glazed necks with a stylized black and gilt foliate pattern, blue printed, painted and incised marks to bases, height 22.5cm (one rim with glued repairs), together with a French porcelain gilt metal mounted inkwell painted with pink roses, height 10.5cm, and a similar oval box with hinged lid, length 8.8cm.

A Moorcroft Pottery silver plate mounted Pomegranate pattern inkwell, circa 1920, of flattened circular shape, indistinct impressed marks and green painted initials, diameter 11.5cm.

A silver octagonal capstan design inkwell with an outset hinged cap  A&J Zimmerman  London 1912

18th/19thC pewter artefacts: to include a range kettle with an animals head spout; and a pewter inkwell with a rotating domed cover

Doulton Lambeth stoneware inkwell, after a design by George Tinworth, of stepped form with cylindrical neck flanked by four winged putti, each modelled seated cross-legged their arms folded, raised on lobed square stepped base impressed to base ‘Doulton, Lambeth, 1875’ within lozenge and artist’s monogram, 9cm x 7cm high

An Edwardian tortoiseshell inkwell, with gold-coloured metal mounts, the exterior applied with a pierced cast rim of floral tendrils in hallmarked 9ct gold, the hinged cover opens to reveal an internal removal glass liner, mounted in gold-coloured metal, with retailer's inscription "LUND, 57, CORNHILL, LONDON.", the hallmarked elements with sponsor's mark of J Batson & Son, London 1907, actual gold weigh indeterminable, height 7.5cm, diameter of base 11.1cm approx

A Jugendstil gilt brass desk stand inkwell, circa 1900, in the style of Kayserzinn, the conical inkwell with organic relief embossed panel, turned conical knopped finial, flanked by two whiplash arms attached with spherical beads, pn a sweeping bracket base with rectangular pen trough, 32cm long

A George V silver novelty inkwell, modelled in the form of a bell, the hinged cover opening to reveal a gilt interior, and fitted clear glass liner, with loaded base, actual silver weight indeterminable, A&J Zimmerman, Birmingham 1913, height 7.2cm approx

A First War shell head inkwell on wooden base "This inkwell stand is made from piece of German gas shell, the oak base was a piece of Moislains Church France", a brass shell fuse mounted on wooden base and one other bronze plaque depicting the Menin Gate Memorial (3)

A silver capstan inkwell, maker's mark rubbed, dented, weighted base, Birmingham 1931

A Clarice Cliff Fantasque Gardenia pattern inkwell. Circa 1932, of cube form, shape number 458, printed Newport Pottery mark, height 5.5cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024 There is no damage and no restoration.

Hallmarked silver novelty inkwell in the form of a sauce pan, Birmingham 1924, Williams Ltd, 11.5cm wide.

A collection of decorative Arts and Crafts metalware, comprising a large pewter lidded jug, inset with cabochon enamels, 21 cm high, a copper lidded jug with repousse decoration, 18 cm, a cylindrical hammered copper inkwell on three feet, 7 cm high, and three further items.General wear throughout, commensurate with age and use. No holes visible to the copper, although polish residue is present. Dent to the body of the caddy, and it also has an uneven footrim (see images).

An 18th-century Vizagapatam worked Macassar ebony and penworked ivory Anglo-Indian deed box, the top inlaid with a central spray and within borders of flowers and vines, the hinged cover opening to reveal a lift-out tray and concealed sovereign drawers. 56 cm wide x 40 cm deep x 14 cm high, 10.5 kg gross weightIvory certification reference M14H94FL.Please be aware, that if you are bidding from outside of the UK, the receiving country may have restrictions on the transportation of Ivory across their international borders. The top panel has an old crack across the centre that is filleted and secured but could use a sympathetic colour job to blend it in. The top also has a smaller fine crack near the floral border. The inlay is slightly recessed in places but seems intact. Some wood around the inlay is a little chipped (ebony is brittle in use).The front top mould is bumped to the corner at one end, the front bottom moulding has a fine crack.The right-hand top return moulding has a corresponding bump where it mitres into the front moulding, and the bottom return mould on the same side.The back top moulding has a rather clumsy composition repair near the hinge and the bottom moulding has an old scarf jointed repair.The left-hand side has some well-done splices to the top and bottom return mouldingsAll faces of the carcass are without cracks or splits or missing inlay.The interior of the cover shows old cracks between planks that make up the "Wide Boarded" top, The underside looks to have strange bloom like a vapor bloom from a CA glue, the removable insert i n the base shows some old CA glue repairs, this would account for the bloom (it rubs off )The facia is intact but the lock is missing.The interior is fitted with probably the original silver-plated and glass sander and inkwell and two other close-plated and glass potsThe central removable tray has a chip that has been crudely glued back and I can see evidence of glue fixing the bottom board of this tray.The hidden (ish!) sovereign drawers are intact but could do with easing to make them easily opening.The bottom panel is intact without splits.Please see the extra images that illustrate the above points. 

Late 18th/early19th century French shagreen and white metal traveling inkwell with pen and two screw in nibs and a French silver pocket snuff of navette form, engraved with an urn, 7cm

Silver plated desk stand with glass inkwell, set of twelve kings pattern fish knives and forks, boxed, pair of tureens with covers, pair of bottle coasters, pair of candle sticks, cased grape shears, salver, assorted cutlery,

Two silver sovereign holders, cut glass and silver mounted inkwell, vesta case, pill box, hexagonal pepperette and small white metal and gilt box the interior with a hinged glass lens, contains key,and a white metal amulet

A good silver plated inkwell together with a camera etc. Est. £20 - £30.

A mixed collection of pottery and porcelain, comprising a Worcester pickle leaf dish, circa 1765, 9cm wide; a new oval pattern cream jug, pattern 7, armorial vase, 11.5cm high; a Coalport cache pot and stand, painted with flowers; teapot and cover painted with flowers, 14cm high; miniature lion's head, a Continental porcelain model of a pair of boots, small green glaze piggy bank, a delft inkwell liner; a Derby pot and cover, circa 1775, painted panels of birds, unmarked, 7.5cm high; a Mason's ironstone lavender dessert saucer tureen and cover, painted in blue with flowers, together with a further Mason's ironstone open pot pourri and Mason's baluster vase and cover in the Chinese style; a landscape sucrier, lacking cover, painted by Zachariah Boreman at Williams Simms workshop on a Derby porcelain blank, a New Hall cream jug, pattern 2313, painted with birds; New Hll saucer, printed with Bruce Castle, and a small 19th century cordial glass, three Paris porcelain saucers, Paris coffee can, a Vienna saucer, Meissen coffee cup, once cancelled crossed sword marks, etc (group, two trays)(damages and repairs)

A mixed group of ceramics comprising a pair of Victorian dessert plates, centrally painted with floral arrangements within turquoise and gilt border, pattern number 8795X, 225cm diameter; a John Rose Coalport plate, profusely and finely painted with garden flowers including roses interlinked by gilt leaves and pineapples, printed Society of Arts mark, 22cm diameter three further later Coalport dessert plates, a pair of miniature Coalport baskets, cobalt and gilt exterior and full gilt interiors, 7.5cm high, a miniature Coalport 'Moonlit Owl' mug, printed marks, 3.8cm high and a Meissen floral inkwell and cover (group)Condition:Some close-packed crazing to the underside of the base of one miniature basketMeissen inkwell cover finial re-gluedJohn Rose plate with some glaze crazing to underside of base

Black Forest novelty carved wooden inkwell formed as a dog's head and front paws, height 9.5cm

Edward VII hallmarked silver inkwell formed as a castle, London 1906, maker Edward Barnard & Sons Ltd, diameter 9cm, weight 168g

18th / 19thC carved treen figure of a dog, 19thC walking stick handle and a hinged boxer dog inkwell, probably olive wood, tallest 9.5cm

Victorian hallmarked silver mounted horse hoof inkwell, engraved '"Cornet" my first horse 1876-1897', Birmingham 1897, maker Thomas Hayes, length 15cm, together with a Victorian hallmarked silver butter knife

JOSEPH GLOSTER LTD; a George VI hallmarked silver cigarette case, Birmingham 1942, with a pair of hallmarked silver napkin rings, inkwell, open salt, pepper, fork and a further cigarette case, combined approx 7.42ozt/231.1g.

ARCHIBALD KNOX FOR TUDRIC PEWTER; an Arts & Crafts inkwell of square form with embossed cartouche and roundels, impressed marks and numbered 0141, height 9cm, width 15cm.

An Art Deco inkwell, stamped to the bottom '229', and a crumb scoop and brush.

A collection of 18th century and later ceramics including a blue and white mug, assorted tea bowls, saucers, a part service by Copeland's China produced for Cupley & Co of Chicago, Staffordshire inkwell, etc.

BARKER BROS; a George V hallmarked silver desk stand with two detachable glass inkwells with silver mounts, Sheffield 1911, weighable 5ozt/157g. Condition Report: One inkwell with large slither chip, second example with large chips to corners, tarnishing and light surface scratches to stand.

STOKES & IRELAND LTD; an Edward VII hallmarked silver inkwell of cylindrical form with four pen holders, the hinged cover enclosing glass liner, Chester 1901, approx. 4.4ozt/138g.

WALKER & HALL; a George V hallmarked silver octagonal shaped Capstan style inkwell with panelled and scalloped shaped border, Sheffield 1911, with glass liner (weighted)

WALKER & HALL; a George VI hallmarked silver twin handled pedestal trophy cup, on octagonal plinth base, Sheffield 1940, height 9cm, approx 4.2ozt/133g, a hallmarked silver Capstan inkwell, further hallmarked silver mounted inkwell and a glass inkwell with hallmarked silver base (4).

Various collectibles and advertising items, including a Pears Soap wooden ruler, Hudson's Soap small hand mirror, three Bakelite string dispensers in the form of beehives, an Edward VII Bakelite circular desk calendar, a Bakelite carousel cigarette dispenser, portable picnic seat, various picture frames, inkwell, etc.

An oak writing box, England, 19th century. Behind the slanted lid interior with letter holder and inkwell, h 29 x w 39 x d 21.5 cm.

A Directoire mahogany architect's table, c.1800, French, with a leather-lined adjustable top and slides, the long frieze drawer fitted with a slide, compartment and an inkwell and pen tray, raised on tapering square legs terminating in brass sabots, loose but present, 80cm wide53cm deep74cm high

A 19th CENTURY INKWELL OR ENCRIER MODELLED AS NAPOLEONseated on a reversed chair, 'blanc de Chine' style porcelain 12.5cm high, and an unmarked enamelled porcelain figure of 'Good night', probably Minton 7.5cm high (2)