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A modern Art Deco style bronze figure of an young lady dancing, with outstretched arms and balancing on one leg, mounted on a red and black marble socle, 56cm high.

A pair of modern silver photograph frames with scrolling foliate decoration in the Art Nouveau manner (by Paul Vernon Fitchie, London 1996/7)

A portfolio of exhibition posters including Museum of Modern Art Oxford, 'Jackson Pollock Drawing into Painting' April 1979, Emily Bronte 'Spellbound', Blackwell's Book's, Oxford 'Jonathan Stphenson at The Rocket Press' August 1985, Science Museum 'Coal, British Mining in Art' February 1983, The Alcuin Society 1969, Ashmoleon Museum 'Samuel Palmer 1998', MOMA 'The subject of painting, 1982', Camberwell College of Arts Degree show '89, Bath Festival Contemporary Art Fair, Singling in the Rain, Oxfrod Polytechnic 'An Alphabet' 1980, The Fall of the House of Usher, Word as Image Module 5718, Stanley Spencer Gallery, City of Oxford Poster, First British Conference of Fine Prinlting and Dorothy Wellesley 'Poem Docks' (18)

White metal repousse study of a mother and child in an Art Nouveau frame and mount together with a modern white metal framed religious icon. (2)

* SIR NORMAN REID (1915 - 2007), CARNATIONS AND FRESIAS AGAINST THE LIGHT oil on board, signed with initials, inscribed verso 25.5cm x 32.5cm Framed Note: Sir Norman Reid is best known for being the celebrated Director of the Tate Gallery from 1964 to 1979 but he was also a talented painter, having won a scholarship to study at Edinburgh School of Art in the late 1930's under William Gillies. The Scottish National Gallery of Modern Art hold and have exhibited his work, which rarely appears at auction.

20th-21st century AD. A mixed group of exhibition catalogues and magazines on artistic themes including Imagines Imperatorum, Sotheby's African, Oceanic and Pre-Columbian Art catalogue (1), Christie's Watercolours, Drawings and Prints catalogue (1), Sotheby's Martin Bell catalogue (1), Sotheby's Preview (1), Sun Asian Stamps and Philatelic History catalogue (1), Bloomsbury Erotica catalogue (1), Bloomsbury Coins, Medals, Banknotes and Tribal Art (1), Bloomsbury Bibliophile (1), Numisart Antike Kunstobjekte (1), Bonhams Chines Art (1), Bonhams Medals, Banknotes and Coins (1), Spink Derek Clifford Lacquer collection catalogue (1), Spink Insider magazine (1), Sotheby's Irish Art catalogue (1), Financial History Magazine (1), Royal Academy of Arts magazine (2), Tate magazine (1), Anthony Frost catalogue (1), Art Quarterly magazine (1), Alain Bertrand catalogue (1), Apollo magazine (3), Celator magazine (2), Millner Manolatos catalogue (2), Alan Davie catalogue (1), E&R Cyzer Modern Masters catalogue (1), Danish Journal Hans Christian Anderson catalogue signed by the actor Tommy Steel, 1993 (1"). Ex Steinberg collection; acquired London art market, 1960s-1970s. 11.9 kg ("). [No Reserve, 32, No Reserve] Mainly fine condition.

A modern circular art glass charger, signed Annette Meech, 1976

MILES (W J): 'Modern Practical Farriery, the complete system of the veterinary art...' London, Gresham Publishing Company, circa 1880. Folio, contemp. half calf, a little rubbed, chromolitho frontis and num. plates, a good copy. (1)

A modern reproduction of an Art Nouveau period mahogany side table, having a pierced upstand, on a serpentine outline top, over two open tiers raised on stylised, fretworked and moulded splayed legs 34''h 18''w BSR

ILLUSTRATED AND TRAVEL:1. Du Fresnoy, C A; Dryden (translator); and Pope: The Art of Painting. Printed for B L and sold by William Taylor, 1716, 2nd edn. Contains the first edn. of Pope's Epistle to Mr Jervas; pplxviii, (iv), 397, (viii); with a frontis. Contemporary full leather; rubbed; o/w VG;2. The Modern Traveller. Three volumes. Only: Palestine and The Holy Land, 1824, complete with folding map, plan and two plate; Brazil and Buenos Ayes, volume1, 1825, with folding map and two plate; Mexico and Guatimala, volume 1, 1825, three plates only. Covers detached;3. Mavor’s British Tourist. Volumes five and six. 1798 and 1800; volume 6 with folding coloured map of London; Plus: Goldsmith Vicar of Wakefield, 1861 and Planche: History of British Costume, 1847 (8)

LAWRENCE GOWING: LUCIAN FREUD, 1982, 1st edition, original decorative cloth, printed glassine dust wrapper, plus STARR FIGURA: LUCIAN FREUD THE PAINTER'S ETCHINGS, New York, Museum of Modern Art, circa 2008, original cloth, dust wrapper, plus WILLIAM FEAVER: LUCIAN FREUD, Milan circa 2005, original cloth, dust wrapper, plus ROBERT HUGHES: LUCIAN FREUD PAINTINGS, 1987, original cloth gilt, dust wrapper, plus, CATHERINE LAMPERT: LUCIAN FREUD RECENT WORK, London, Whitechapel Art Gallery 1993, original pictorial wraps, plus WILLIAM FEAVER: LUCIAN FREUD, London, 2002, original pictorial wraps; [MARK HOLBORN (ED)]: LUCIAN FREUD 1996-2005, London, 2005, original cloth, dust wrapper, original shrink-wrap, plus LUCIAN FREUD ON PAPER, London 2008, 1st edition, original cloth, dust wrapper, plus BRUCE BERNARD AND DEREK BIRDSALL (EDS): LUCIAN FREUD, 1996 1st edition, original cloth, dust wrapper (9)

HOWARD HIBBARD: MASTERPIECES OF WESTERN SCULPTURE FROM MEDIEVAL TO MODERN, 1996 2nd edition, original cloth gilt, dust wrapper, plus JEREMY COOPER: NINETEENTH CENTURY ROMANTIC BRONZES, 1975, 1st edition, original cloth, dust wrapper, plus JOHN WARRACK: GREEK SCULPTURE, Edinburgh [no date], plus H H STANSFIELD: SCULPTURE AND THE SCULPTORS ART, 1919, original cloth, plus R M RILKE: RODIN, London 1946, 1st UK translation (5)

Four various modern Lalique plastic perfume bottles in the Art Deco style.

20th Century Art Nouveau style figural table lamp with two coloured glass shades together with another late 20th Century modern three branch table lamp

A modern art oil on canvas size 67cm x 103cm

A modern art oil on canvas approx size 97cm x 72cm

Three modern art oils on canvas, of which two approx 102 cm x 77 cm, and one 97 cm x 72 cm - (3)

A collection of antiquarian and interesting art books including Ruskin, modern painters vol.5, magazine of art illustrated 1878-79 and other volume, Watercolours by Bunyan, art journal 1862, Rembrandt etchings etc

G APPLEBY ? "Venice", study of a gondola with buildings in the background, watercolour, signed lower left, AFTER HENRY THIELE "Night snow", landscape, print, signed and titled in pencil and "Picasso - A Retrospective - The Museum of Modern Art, New York May 22 - September 16, 1988" framed poster

A series of four modern Limoges porcelain plates, variously decorated with reproduced Art Nouveau posters 10''dia OS10

Postcards, P Jones Collection, a small representative selection of 35+ cards in a modern album, mainly of postcard artists, including Philip Naviaski (signed RP), James Bateman, (RP), Queen's Dolls House (7), Inter Art Black Cats (6), A R Quinton (3), Lawson Wood, Gran-Pop (4), Richardson, Buxton, Japanese facsimile oils, Greetings, (gnome) etc (mainly gd)

Books - Postcard collecting and reference, modern titles, also to include softbacks and others on graphic art illustration (quantity)

A Wiener Werkstatte Ivy Prunt pierced silver decagonal frame designed by Josef Hoffmann, each side pierced with foliate panel design, stamped WW mark and Austrian silver hexagonal mark, missing glass liner, 9.2cm. diam. Literature Modern Art of Metalwork, Brohan Museum, page 529 catalogue number 471 for a cigar and cigarette holder with identical decoration designed by Josef Hoffmann.

A modern Art Deco style three-piece suite upholstered in dark brown leather, featuring Art Deco style polished wooden arms.

ART BOOKS: TERRY FROST ETC. "Terry Frost - A Painter's Life", "The Prints of Wilhelmina Barns-Graham & "Modern Art & St. Ives".

* John Piper [1903-1992]- Menerbes:- signed bottom left, inscribed with title bottom right pen, ink and watercolour heightened with bodycolour 36 x 53cm * Provenance. Ernest Brown & Phillips Ltd, Leicester Galleries, New Year Exhibition January 1960, where purchased by the present owner. * Notes. Menerbes is a commune in the Vaucluse, South East France formed as a walled village on a hilltop in the Luberon Mountains. It became a mecca for artists; Nicolas de Stael and Picasso each owned properties here. The region grows lavender, mushrooms and a harsh red wine! * Biography. John Piper was a painter, notably of architecture and landscape, a designer of stained glass, theatre designer, author and writer. He was born in Epsom and in his early years studied law, [1921-1926], working in his father's law firm. From 1926 he went on to study Art at Richmond and Kingston, latterly at the Royal College, and it was here that he met and married his first wife Eileen Holding. He visited Paris and was absorbed by the abstract painters he met there, influencing his style from the early 1930s. But by the late 1930s he had reverted to representational work. In 1937 he worked, along with John Betjamin, on the famous Shell series of guide books. His first solo show, of collages and drawings, was at the London Gallery in 1938. At this time he was also a prolific writer, working for the New Statesman and the Athenaeum. John Piper went on to exhibit with the Leicester Galleries from 1940-1960. In 1942 he published the best-selling monograph, English Romantic Artists. His ballet designs included The Quest in 1943 and commissions for Benjamin Britten .He was an official War Artist from 1939-1945. In 1940 Piper persuaded the War Artists Commission that he should be painting the sights of bombed churches. As a recent convert to the Anglican Church and with the subject of ruined buildings being close to his heart, this agreed commission produced a number of his finest mixed media drawings. His stained glass window designs include Coventry Cathedral and Christchurch College Chapel, Oxford. He also created tapestries for Chichester Cathedral, Hereford and Llandaff. In the 1960s and 1970s Piper spent time painting extensively in Pembrokeshire. Retrospectives were held at The Museum of Modern Art, Oxford in 1979 and The Tate Gallery in 1983. Centenary shows were at Pallant House and Goldmark Gallery. John Piper lived in a derelict farmhouse at Fawley Bottom, Oxfordshire with his second wife Myfanwy Evans. In later life he suffered from dementia and died at his home in 1992.

A selection of vintage port wine glasses and a modern art glass vase in pink Strathern style

A collection of mixed ceramics and modern art figures to include Wade and Aynsley examples.

An Art Deco cameo glass vase of globular form etched with a modern pattern and signed by the artist. H21cm, W21cm. Βάζο Αρ Ντεκό από γυαλί καμέο. Inhouse Packing & Shipping: For EU countries €50.

An impressive WW1 trench art mantle clock made from a wooden propeller boss and standing on a section of propeller blade with a brass leading edge 18 inches wide by 9 inches high overall with a modern battery operated clock

MODERN ART NOUVEAU-STYLE MIRROR with pearlesque glass panel and Rennie MackIntosh style rose, pewter frame; together with a similar pewter frame with an image of a Rennie MackIntosh chair (2)

An early 20th century mahogany wardrobe with Art Deco style inlay either side of a hinged door set with an oval bevelled mirror above a drawer and bracket feet, a double bed head with floral inlaid central panel, with modern fixing attached, a chest of drawers with string inlay decoration with two short above two long drawers, squared legs and a matching tallboy with a pair of hinged doors above three drawers (4).

Equine Interest - Miles (W.J.), Modern Practical Farriery, A Complete System of the Veterinary Art, William MacKenzie, London [1880], large 4to, vi + 538 + 96 + vii pp, nineteen chromolithographic plates, others b/w, period half leather; The Horse: Its Treatment in Health and Diesease, With a Complete Guide to Breeding, Training and Management, edited by Prof. J. Wortley Axe, The Gresham Publishing Company, London 1908, 4to, volumes I and II, xxii + 512pp, xii + 491pp, period half leather

ART SCULPTURE. Modern moulded art part face sculpture

A modern Art Deco style bevelled edge wall mirror.

A box of postcards together with a small quantity of mixed 1939 modern Navy cigarette cards, an album containing a collection of Burlington Art Miniatures postcards and a small postcard album.

Modern bronze of an Art Deco style dancing lady on marble plinth 55cm high

Modern bronze of an Art Deco style dancing lady on marble plinth 28cm high

Tony Venison, former Gardening Editor of Country Life, great friend of Cedric Morris and frequent visitor to both The Pound and Benton End, has kindly contributed the following biography and notes.'Cedric is one of the most exceptional colourists in twentieth century British art' wrote Richard Morphet, Keeper of Modern Art at The Tate Gallery, in the catalogue to the Tate's retrospective exhibition of Cedric’s paintings in 1984. Cedric had first gone to Paris to study art in 1914, initially at the Académie Delecluse, but on the outbreak of war, he volunteered for the Artists' Rifles, being discharged unfit months later. In 1917, he went to Cornwall to paint, and in 1918 he met Arthur Lett Haines, who thereafter was his lifelong companion. From 1921-27, they were mostly in Paris, but travelled to paint in Majorca, Collioure, Cerat and Senegal. Back in London in 1924, Cedric’s reputation soared, he was elected to the London Group and the Seven & Five Society, where he exhibited along

*Sir Anthony Caro RA (1924-2013)'LEANING'Signed and dated 92, inscribed 'For Laura and Neil with every good wishes from the Caros, Tony and Sheila' on paper label verso, charcoal40 x 30cmProvenance: Christie's, anon. sale, February 2007.Anthony Caro studied engineering at Cambridge University before switching to sculpture at Regent Polytechnic and then the Royal Academy Schools. He worked as an assistant to Henry Moore and taught at St Martin’s School of Art from 1952-1979. Caro had a stellar exhibiting career, including Venice and Paris Biennales, a retrospective at the Museum of Modern Art, New York in 1975 and other major shows at the Tate Gallery and Tokyo's Museum of Contemporary Art. *Artist's Resale Right may apply to this lot.

A Modern Figural Art Deco Style Table Lamp in The Form of Nude Maiden, 36 Cm High.

An unusual modern art display, comprising a gilded full size model skeleton contained in Perspex coffin with various accessories including laptop for a headrest, mobile phone, Ferrari key, numerous credit cards and a Financial Times, Commemorating the demise of the banking sector, Black Monday September 2008, 186cm long overall

Lesbos, Mytilene EL Hekte. Circa 454-427 BC. Head of Athena wearing crested Corinthian helmet to right / Two confronted female heads, their faces overlapping; all within incuse square. Bodenstedt 55; HGC 6, 981; Boston MFA 1693; de Luynes 2555. 2.53g, 11mm, 1h. Extremely Fine. Very Rare (Bodenstedt lists only 8 examples), and among the finest known. This coin seems like a perfectly ordinary hekte when the obverse is first viewed; it is only when the coin is flipped to reveal its highly unusual reverse does the importance and novelty of the type become apparent. Employing a simple but effective form of optical illusion, the reverse appears to show the same female portrait both to the left and to the right. The design is deliberately intended to confound the eye and engage the viewer's attention in attempting to resolve both portraits independently of the other, which is of course impossible, thus presenting the viewer with a visual paradox. The image works by confusing the brain's figure-ground perceptual grouping process by giving it contradictory cues, thus preventing it from assigning definitive edges to the observed shapes. As a result, the human visual system will settle on one of the portraits, facing either left or right, and alternate between them. The importance of this type, both in terms of numismatic art and in the wider context of Greek art in general, cannot be understated. It is a thoroughly novel, and never to be repeated experiment in paradoxical illusion on the coinage of a Greek city-state. The Greeks were certainly familiar with the concept of a visual paradox - Plato describes the ourobouros 'tail-devouring snake' as the first living thing; a self-eating, circular being: the universe as an immortal, mythologically constructed entity. They were also aware of the power of illusions - Greek architects would apply a technique known as entasis in the construction of their temple columns. Columns formed with straight sides would appear to the observer to have an attenuated appearance, and their outlines would seem concave rather than straight. Therefore a slight convex curve would be built into the shaft of the column, resulting in a swelling in the middle parts, in order to correct this disagreeable trick of the eye. Why then, when they were clearly aware of the power of illusion and paradox, did Greek artists not employ such techniques? The answer most likely lies in the cultural shift away from the static representational art of the archaic period driven by new realistic and idealistic paradigms; artists now sought to demonstrate their skill through attempting to attain aesthetic perfection based on both observational study, and occasionally improvement of nature through idealisation of the subject's features. Thus non-practical forms of optical illusion were most likely dismissed as curious, but unlikely to earn an artist everlasting fame. It was therefore left to relatively modern artists such as Oscar Reutersvärd, who created the Penrose Stairs (also dubbed the impossible staircase), and psychologists such as Edgar Rubin, who developed the familiar Rubin's vase (sometimes known as the Rubin face or the figure–ground vase), to explore the visual and psychological implications of these images which trick the brain. The significance of this coin therefore is that it pre-dates the work of both of the aforementioned celebrated 'illusionists' by well over two millennia, and demonstrates an appreciation and understanding of optical illusions as an art form, not just a necessary practical expedience.

Aldam (W.H.). A Quaint Treatise on "Flees, and the Art a Artyfichall Flee Making," by an Old Man well known on the Derbyshire Streams as a First-Class Fly-Fisher a Century ago. Printed from an Old Ms. Never before Published, the Original Spelling and Language being Retained, with Editorial Notes and Patterns of Flies and Samples of the Materials for Making each Fly, 1st ed., 2nd issue, John B. Day, 1876, half title, two mounted chromolithographed plates, 22 samples of flies and materials displayed in sunken oval mounts on six thick card leaves, a little light spotting, previous owner signature to front endpaper, all edges gilt, original green pictorial cloth gilt, upper joints discreetly repaired, joints and edges a little rubbed, modern cloth dropover box, 4to Westwood and Satchell p. 3. It is believed that only around 220 copies were printed. (1)

Dreyfus (John). A History of the Nonesuch Press , 1st edition, 1981, original cloth in dust jacket, (limited edition 337/950 copies), together with Marderstaig (Giovanni), Die Officina Bodoni, Das Werk einer Handpresse 1923-1977, edited Hans Schmoller, Hamburg, 1979, a few illustrations, original cloth in card slipcase (one of 1500 copies), plus Arnold (John), The Fanfrolico Press: Satyrs, Fauns & Fine Books, 1st edition, 2009, black and white illustrations including frontispiece, original cloth gilt, (one of 900 copies), all folio, plus Needham (Paul, editor), William Morris and Art of the Book, Oxford University Press, 1976, black and white plates including portrait frontispiece, original cloth in dust jacket, a little faded and chipped at head of spine, 4to, plus other modern private press and related including some in wrappers (36)

Cescinsky (Herbert). English Furniture of the Eighteenth Century, volumes 1-3 (complete), circa 1920s, numerous black and white illustrations, uniform contemporary green half morocco, boards rubbed, spines slightly faded and rubbed to head and foot, 4to, together with Mackenna (F. Severne), Chelsea Porcelain, the Red Anchor Wares, 1st edition, 1951, 207/500, numerous black and white illustrations including tipped-in frontispiece, original red cloth, spine faded and slightly rubbed to head and foot, 4to, plus King (William), Chelsea Porcelain of the Victoria and Albert Museum, 1st edition, 1922, numerous black and white illustrations, some slight toning and marks, original gilt-decorated brown cloth, spine slightly faded, 4to, plus other modern porcelain, architecture and art reference, all original cloth, many in dust jackets, G/VG, 8vo/4to (3 cartons)

Meteyard (Eliza). The Life of Josiah Wedgwood, from his private correspondence and family papers... , volumes 1 & 2 (complete), 1980, limited edition of 1000, numerous black and white illustrations, original gilt-decorated blue cloth in slipcase, slipcase rubbed to head with minor loss, 8vo, together with Frankau (Julia), John Raphael Smith, His Life and Works, 1902, 30 black and white photogravures with tissue-guards, some light spotting, original gilt-decorated cream cloth, boards and spine toned and slightly marked, 8vo, plus Opp‚ (A.P.), Thomas Rowlandson, his drawings and water-colours, The Studio, 1923, numerous colour and black and white illustrations, original gilt-decorated quarter vellum, some minor marks to boards and spine, 4to, plus other modern art reference, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)

Hayes (John). The Landscape Paintings of Thomas Gainsborough, a Critical Text and Catalogue Raisonn‚, volumes 1 & 2, 1st edition, 1982, numerous colour and black and white illustrations, original green cloth in dust jackets and slipcase, large 4to, together with Foskett (Daphne), Miniatures Dictionary and Guide, 1st edition, Antique Collectors' Club, 1987, numerous colour and black and white illustrations, original blue cloth in dust jacket, large 4to, plus Siltzer (Frank), The Story of British Sporting Prints, circa 1925, 20 colour and black and white illustrations including frontispiece, some light spotting, original gilt-decorated red cloth, boards and spine slightly rubbed, 8vo, plus other modern art reference and related, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

Ray (Peter, [editor]). Designers in Britain 1851-1951, a biennial review of graphic and industrial design compiled by the Society of Industrial Artists, 1st edition, 1951, numerous black and white illustrations plus colour frontispiece, original red cloth in dust jacket, covers slightly marked and rubbed with minor tears to head and foot, 4to, together with other modern art, architecture and cookery reference and related, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)

Hayward (Allyson). Norah Lindsay, The Life and Art of a Garden Designer, 2007, numerous colour and black and white illustrations, original grey cloth in dust jacket, 4to, together with Hunt (John Dixon), Garden History, Issues, Approaches, Methods, USA, 1992, numerous black and white illustrations, original green cloth in dust jacket, 4to, and other modern gardening reference, including publications by Antique Collectors' Club, Garden Art Press, H.M.S.O., all original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)

Jones (Chester H.). Ancient Architecture, Prehistoric, Egyptian, Western Asian, Greek & Roman, numerous black and white illustrations by the author, black and white portrait frontispiece with tissue-guard, some light spotting, original blue cloth, boards and spine slightly marked and rubbed to head and foot, 8vo, together with Toman (Rolf, editor), Baroque, Architecture, Sculpture, Painting, 1st edition, 1998, numerous colour illustrations, original red cloth in dust jacket, spines slightly rubbed, large 4to, and The Pelican History of Art, 39 volumes, circa 1950s-60s, numerous colour and black and white illustrations, all ex-library with associated stamps, all original red cloth, large 8vo, plus other modern art and architecture reference, mostly hardback publications, some in dust jackets, many ex-library with associated markings, G/VG, 8vo/folio (6 shelves & 2 cartons)

Ettlinger (L.D.). The Cistine Chapel before Michelangelo, Oxford University Press, 1965, monochrome plates, original black cloth gilt in rubbed and marked dust jacket, 4to, together with Dacos (Nicole), La Decouverte de la Domus Aurea et la formation des grotesques a la Renaissance (Studies of Warburg Institute 31), 1969, monochrome illustrations, original cloth, 4to, plus Hauser (Arnold), Mannerism, The Crisis of the Renaissance and the Origin of Modern Art, 2 volumes, 1st edition, 1965, monochrome plates, original cloth in dust jackets, rubbed, some minor fraying to extremities, large 8vo, and others on the Italian Renaissance and related, including Berenson, Italian Pictures of the Renaissance (Florentine School), 2 volumes, 1963, John Pope-Hennessy, The Portrait in the Renaissance, 1st edition, 1966, some paperbound editions, etc. (6 shelves)

A pair of pewter Art Nouveau spill vases, with copper liners, a modern Chinese Archaic style vase, and a bronze nude on a marble plinth

A MODERN ART TRIPLE CANVAS PICTURE TOGETHER WITH A CIRCULAR MIRROR, WALL CLOCK & DECORATIVE LIGHT SHADES

A modern art glass bulbous vase in the Ditchfield/Heron lustre style

A box of miscellaneous items to include modern issue Corgi, Superhaulers diecast toy vehicles, Art Nouveau style spelter figure, bottle opener etc

A modern blue art glass ice bucket with bubble inclusions signed verso Farinelli numbered 06410BIOT

A modern plaster (durastone) figure 'Du Soir', by Austin Sculpture, modelled by S. Romo, of an Art Deco lady fanning her dress out, dated 1993, 39cm high.

An modern art glass vase, in the Murano style, the blue ground with abstract striated design, with red rim, 31cm.

A silver Art Deco style sauce boat, Birmingham 1942, two modern silver spirit labels and a small octagonal dish, marks rubbed, ___ 6 1/4oz.