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Lot 18
A FIVE-COLOR OVERLAY GLASS ‘CHILONG’ BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved through a single translucent layer of ruby red, dusky pink, emerald green, lemon yellow, and sapphire blue with a continuous scene of ten chilong, seven sinuously coiling on the body and three clambering around the neck chasing their own long multi-furcated tails, all against an opaque white ground. Four-character Qianlong nianzhi mark wheel-cut to the base and of the period.Provenance: French private collection, by repute acquired prior to the year 2000 in Paris.Condition: Good condition with minor wear and expected manufacturing flaws, such as pitting and open swirls, mostly to the interior of the neck, as well as minuscule nicks and losses, one old fill to the foot rim (ca. 3 cm long).Weight: 423.0 gDimensions: Height 19.4 cmThis superb glass vase, so finely decorated with a multi-color overlaid design of chilong and inscribed with a Qianlong four-character mark, is extremely rare. A small number of Qianlong reign-marked overlaid glass vases is recorded in museum collections, but none of the exact same style.Literature comparison: A ruby-red ground glass vase decorated in turquoise blue overlays with flowers and butterflies in the Palace Museum, Beijing is illustrated by Zhang Rong, Lustre of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 81, bearing a similar wheel-cut Qianlong nianzhi four-character mark, but within a double square. The same mark is also found on a small glass jar in the Palace Museum, Beijing, illustrated ibid, pl. 79 overlaid with a pair of chilong in emerald green against a rich cobalt-blue ground. For examples of unmarked Qianlong period white-ground multi-color overlaid glass vases of similar decoration style, see a vase decorated with chilong in the Suntory Museum of Art, cataloged as Qianlong/Jiaqing, illustrated in The Glass that Galle Adored, Glass from the Qing Imperial Collection, Suntory Museum of Art, Tokyo, 2018, p. 104, cat. no. 78, and a vase carved with flowers from the Shorenstein collection, illustrated in C.F. Shangraw and C. Brown, A Chorus of Colors: Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, 1995, cat. no. 78, and on the front cover, and sold at Christie’s Hong Kong, 1st December 2010, lot 2940.Auction result comparison: Compare with a closely related vase at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3428, bought-in at an estimate of HKD 800,000-1,000,000, and a related but slightly smaller vase at Christie’s London in Fine Chinese Ceramics and Works of Art on 6 November 2018, lot 131, sold for GBP 25,000.乾隆款及年代五色套料螭龍紋長頸瓶中國，1736-1795年。涅白地上使用寶石紅、粉紅、翡翠綠、檸檬黃和藍寶石藍等五色套料表現螭龍紋，蜿蜒曲折。底足“乾隆年制”四字款。來源：法國私人收藏，購於2000年巴黎。品相：狀況良好，有輕微磨損，並且可見製做缺陷，例如凹痕和明顯的旋流，主要出現在頸部內部，並且細微的划痕和缺損，圈足上有小補（約3厘米長）。重量：423.0 克尺寸：高19.4 厘米 拍賣結果比較：一件非常相似的長頸瓶見香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場2018年10月 3日lot 3428, 估價HKD 800,000-1,000,000； 另一件稍小的瓶子見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2018年11月6 日lot 131, 售價GBP 25,000.
Lot 317
A RUBY-PINK ENAMELED CUP, LATE QING TO REPUBLICChina, 19th to early 20th century. Of tapering cylindrical form with a slightly everted rim, entirely covered on the exterior with an elegant pink glaze in stark contrast to the white interior.Provenance: Alberts-Langdon, Inc. Oriental Art, Boston, 10 May 1974. US private collection, acquired from the above, and thence by descent in the same family. The original invoice accompanies this lot.Condition: Excellent condition with minor wear and firing irregularities.Weight: 76.2 gDimensions: Height 8 cmApocryphal Yongzheng four-character mark neatly painted in blue enamels to the recessed base.Auction result comparison: Compare with a related puce-enameled cup from around the same period, but with a Xianfeng mark, at Sotheby’s London in Important Chinese Art on 6 November 2019, lot 267, sold for GBP 5,625.清末民初胭脂紅敞口杯 中國，十九至二十世紀初。敞口杯，外壁完全覆蓋著優雅的胭脂紅釉，與杯内白色釉形成鮮明對比。 來源：波斯頓Alberts-Langdon 東亞藝術藝廊。美國私人收藏1974年 5月10日購入，自此一直保存於同一家族至今。隨附原始發票。 品相：狀況極佳，輕微磨損和燒製不規則。 重量：76.2 克 尺寸：高 8 厘米 圈足内青花雍正四字款。 拍賣結果比較：一件相似同時期，但有咸豐印的敞口杯，售于倫敦蘇富比 Important Chinese Art 拍場，2019年11月6日, lot 267, 售價GBP 5,625。
Lot 364
A SAPPHIRE SNUFF BOTTLE, POSSIBLY IMPERIAL, QING DYNASTYChina, 1750-1850. Well hollowed with a small mouth, finely carved in relief to one side with a monkey seated next to a craggy rock, pointing with one raised hand towards a butterfly flying above, and to the other with a grazing horse.Provenance: From the private collection of Dr. Mary Kaufman, New York, USA. Thence by descent within the same family. Dr. Kaufman (1927-2013) was a well known NYC snuff bottle collector.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral stopper carved as a clambering chilong, gilt metal collar.Weight: 102.0 gDimensions: Height including stopper 63 mm. Diameter neck 19 mm and mouth 6 mmMonkeys are a popular subject partly because of their meaning in various rebuses, but also because of their longevity symbolism. The depiction of a monkey on a horse’s back for example represents the rebus ‘Ma shang feng hou’, which may be translated as ‘May you receive a swift promotion to a high rank of office’. The butterfly is likewise a symbol of longevity and appears in rebuses because the character ‘die’ is homophonous to another character meaning ’70 to 80 years of age’.This is one of the best from a group of early sapphire snuff bottles, several of which are of related form (see literature comparison). The color of the stone is extraordinary for so large a piece, deep, dense and vibrant, all equally spread throughout the bottle. Even the pattern of matrix and paler clouds, which inevitably run through a sapphire pebble of this size, are attractive and fascinating as texture.Harder than jadeite to work, and being a precious material and translucent, sapphire is almost never extensively hollowed, although this particular bottle is reasonably well hollowed, even by jadeite standards for the range of bottles of this general shape. A test reveals a Mohs hardness of 7-8 for the matrix areas and clearly above 8 (and some even above 9) for the purer areas. The hollowing is also achieved through a relatively small mouth, a common feature of the oval bottles in sapphire, ruby or jadeite which may offer a further clue to dating. In 1888, Zhang Yishu wrote some supplementary remarks to Zhao Zhiqian's Yonglu xianjie (see Richard John Lynn's translation, JICSBS Summer, 1995, p. 18). He comments that originally the size of a snuff bottle mouth might exceed 12 mm, but that later this changed so they would not exceed 6 mm. He puts no date on this change, but if we look to hardstone bottles with mouths of 6 mm or less for further information, it would seem that by the Qianlong period, and particularly the second half, the smaller mouth was already well established.Sapphire and ruby were among the stones classified by the court as 'precious' along with pearls, jadeite, cat's eye and diamonds, while the 'semi-precious' materials were tourmaline, nephrite, amethyst, amber, turquoise, lapis lazuli, coral, quartz, agate, seashells, and others (according to Guoli Gugong bowuyuan 1986, p. 30). The same source informs us that on court belts, the use of ruby and sapphire was reserved for the emperor (p. 31). However, this does not mean that the materials were generally restricted to the emperor, since the hat-finial of the first rank of civil or military officials was also of ruby.Both sapphire and ruby are of the corundum family and consist of crystals of aluminum oxide. If chromium ions replace the original crystal's aluminum, the result is ruby. The Chinese might have had supplies from Kashmir, famous for its deep cornflower-blue sapphires, but the most likely source on a regular basis would have been Magok in Burma, where mining for both sapphire and ruby had been carried out since the late sixteenth century. This source would certainly have supplied the court after the normalization of relations in 1784 ended a protracted period of hostilities between the two countries, although illicit trade would have been sporadic before that date. This event played a large role in the subsequent massive popularity of jadeite, which became well established as a precious stone only in the last decades of the eighteenth century (see Moss, Graham, and Tsang 1993, no. 60) and it seems likely that this group of early sapphire and ruby bottles, which so resemble their many jadeite counterparts, date from the same mid-Qing period and were probably made for the court. Burmese sapphire is characteristically quite heavily flawed, as is the ruby, but this is of little help in a snuff-bottle context where all material large enough to form a snuff bottle is going to be flawed. Another possible source was Thailand, where darker blue sapphires were found in quantity.There is, of course, no such thing as a gem-quality sapphire snuff bottle. Any stone imported to the Qing court that was of sufficient size for a snuff bottle would never have been hollowed out if it was flawless enough to be valuable as a gemstone, for hollowing would have recklessly destroyed its depth of color. The ruby or sapphire material used for larger-scale carvings in China – and snuff bottles were 'larger scale' for gem materials – was always heavily flawed. What is unusual here is that the flaws are pleasingly even and consist mostly of a fabric of thin grayish-white and distinct iron-red lines. Additionally, the inclusions and shadings to the stone have been skillfully incorporated into the depiction of the craggy rockwork and surely also played a role in determining the horse’s pose.Literature comparison: For the Count Blucher ruby, see Moss, 1971a, no. 103, and for the Beatty example, Chapman 1988 p. 61, fig. 9, where fig. 10 is a related plain sapphire. Another plain, early sapphire bottle similar to this is illustrated in Hamilton 1977, p. 55 no. S–58, and one of a different shape in Ford 1982, no. 58. Another, with mask handles and a band of lappets around the base, was offered by Sotheby's, Hong Kong, 28 October 1992, lot 422, while an old, fruit-form sapphire bottle is illustrated by Stevens 1976, no. 632, where a range of green jadeite bottles of an ovoid form similar to that of the majority of sapphire and ruby examples is also shown (nos. 438–441 and 449).Auction result comparison: Compare with a related but smaller sapphire snuff bottle with a gold collar, dated to 1700-1820, at Bonhams Hong Kong, in Fine Chinese Art, on 28 November 2011, lot 48, sold for HKD 524,000, and a closely related sapphire snuff bottle, dated 1770-1850, at Bonhams Hong Kong, in Snuff Bottles from the Mary and George Bloch Collection Part I, on 28 May 2010, lot 13, sold for HKD 780,000.清代藍寶石鼻烟壺, 或爲御制中國，1750-1850年。掏膛良好，小嘴，一面雕刻一隻猴子站在岩石上手指蝴蝶，另一面雕刻著一匹馬。來源：美國紐約Mary Kaufman博士私人收藏，之後傳承於同一家族。Kaufman博士(1927-2013)是一位紐約知名鼻烟壺收藏家。品相：狀況極好，輕微磨損。藍寶石内天然裂紋，一些可能會隨著時間的流逝發展成細髮絲綫裂紋壺蓋：螭龍紋珊瑚蓋，鎏金金屬蓋托 重量：102.0 克尺寸：總高63 毫米；頸部直徑19 毫米；嘴部直徑6 毫米
Lot 376
A CARVED ‘CHRYSANTHEMUM’ TURQUOISE GLASS SNUFF BOTTLE, QING DYNASTYChina, 1730-1820. Of compressed globular form with a broad, oval foot ring and a large opening. Each side is decorated in high relief with a large ‘Mughal style’ chrysanthemum flower, the bud encircled by two bands of neatly faceted petals. The sides with fierce lion mask handles.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world’s most valuable collections of gems and minerals.Condition: Very good condition with some typical manufacturing flaws including pitting, open bubbles, some brown spots and glass swirls.Stopper: Rose quartz cabochon with gilt bronze fitting and spoonWeight: 66.1 g Dimensions: Height including stopper 70 mm. Diameter neck 16 mm and mouth 10 mmAuction comparison: Compare with a ruby red glass bottle with a related chrysanthemum design at Christie’s New York, The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part II, 16 March 2016, lot 422, sold for USD 4,000.清代菊花紋綠松石色料輔首耳鼻烟壺中國，1730-1820年。扁荷包形，寬闊的橢圓形圈足，開口較大。每面裝飾有高大的“莫臥兒風格”菊花紋。 側面獅面輔首。來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。圖片：Dr. Erika Pohl-Ströher品相：狀況良好，一些典型製作缺陷，包括開放性氣泡、褐色斑點和玻璃旋紋壺蓋：粉紅石英壺蓋，銅鎏金蓋托，小壺匙. 重量：66.1 克尺寸：總高70 毫米；頸部直徑16 毫米；嘴部直徑10 毫米 拍賣結果比較：一件寶石紅料菊花紋鼻烟壺見紐約佳士得The Ruth and Carl Barron Collection of Fine Chinese Snuff bottles: Part II拍場2016年3月16日 lot 422, 售價USD 4,000.
Lot 381
A THREE-COLOR OVERLAY GLASS SNUFF BOTTLE, QING DYNASTYChina, 18th-19th century. Of ovoid form with an oval foot ring, recessed base and convex top. The bubble-suffused ‘snowflake’ ground overlayed in transparent ruby red, sapphire blue and emerald green to depict fishes and lotuses atop a circumferential wave border, all in high relief and fine incision work.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world’s most valuable collections of gems and minerals.Condition: Very good condition with minuscule nibbling to edges of overlays and some expected manufacturing flaws such as bubbles and brown spots.Stopper: ‘Beijing’ style carved lapis lazuli and bone spoonWeight: 60.7 g Dimensions: Height including stopper 69 mm. Diameter neck 15 mm and mouth 7 mm清代雪花地三色套料鼻烟壺中國，十八至十九世紀。卵圓形，橢圓形底足内凹，頂部凸出。泡沫瀰漫的“雪花”地套透明寶石紅、藍寶石和翡翠綠料，描繪了魚和荷花，雕琢精美。來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。圖片：Dr. Erika Pohl-Ströher品相：極好的狀態，套料邊緣有磨損，一些預期的製造缺陷，例如氣泡和褐色斑點。壺蓋：京式雕青金石壺蓋，骨質小壺匙重量：60.7 克尺寸：總高69 毫米；頸部直徑15 毫米；嘴部直徑7 毫米
Lot 382
A RUBY-RED OVERLAY SNOWFLAKE GLASS ‘HORSES AND PINE’ SNUFF BOTTLE, QING DYNASTYChina, 1750-1850. Carved in relief through the translucent ruby-red layer to the snowflake ground to either side with two horses under a pine tree, one horse has fallen to the ground with its genitals exposed. The flattened globular body rising from a short oval foot to a slightly waisted cylindrical neck.Provenance: British private collection. Condition: Good condition with wear, some nibbling to mouth and foot rim, manufacturing flaws such as bubbles and black speckles, possibly minuscule smoothened losses.Stopper: Pink tourmaline with silvered metal fitting and spoonWeight: 43.6 gDimensions: Height including stopper 61 mm. Diameter neck 19 mm and mouth 7 mm清代雪花地套寶石紅料駿馬圖鼻烟壺中國，1750-1850年。雪花地上套寶石紅料雕琢松下駿馬圖。扁平的球狀體，橢圓形底足，呈圓柱形的脖子。 來源：英國私人收藏 品相：良好狀態，有磨損，口和底足邊緣有些磕損，製造瑕疵如氣泡和黑色斑點，可能有些磕損処經過打磨。 壺蓋：粉紅電氣石壺蓋，鍍銀金屬蓋托，小壺匙 重量：43.6 克 尺寸：總高61 毫米；頸部直徑19 毫米；嘴部直徑7 毫米
Lot 383
A RUBY-RED OVERLAY TRANSPARENT GLASS ‘CHILONG’ SNUFF BOTTLE, QING DYNASTYChina, 1760-1840. Carved in relief through the transparent ruby-red layer to the clear transparent ground to either side with a pair of sinuously coiled confronting chilong.Provenance: British private collection. Condition: Excellent condition with minor wear and manufacturing flaws, such as pitting and bubbles.Stopper: Glass in imitation of apple green jadeite, good spoon Weight: 47.5 gDimensions: Height including stopper 74 mm. Diameter neck 16 mm and mouth 9 mmThe slightly flattened ovoid body rising from an oval spreading foot to a cylindrical neck.Literature comparison: Another crystal-clear colorless ground glass snuff bottle carved through ruby-red overlays with a design of chilong is illustrated in Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Hong Kong, 2002, no. 886.Auction result comparison: Compare with a related snuff bottle of globular form at Sotheby’s Hong Kong in Chinese Art on 28-29 November 2019, lot 531, sold for HKD 40,000.清代透明料套寶石紅螭龍紋鼻烟壺中國，1760-1840年。透明玻璃地上套紅寶石料雕琢蜿蜒盤旋的螭龍。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和製造缺陷，例如點蝕和氣泡。 壺蓋：仿翠色玻璃，精美小壺匙 重量：47.5 克 尺寸：總高74 毫米；頸部直徑16 毫米；嘴部直徑9 毫米 扁平式，橢圓形底足，直頸。 拍賣結果比較：一件鼓泡式鼻烟壺見香港蘇富比Chinese Art拍場2019年11月28-29日 lot 531, 售價HKD 40,000.
Lot 385
AN IMPERIAL ‘CHILONG AND LINGZHI’ OVERLAY GLASS SNUFF BOTTLE, 18TH CENTURYChina, 1750-1790. Probably Imperial, attributed to the Beijing palace workshops. Of compressed globular form, the mouth with a characteristically wide opening and the recessed base with an oval foot ring. The transparent ruby red overlay glass carved on top of an unusual transparent pale-yellow ground, with two finely detailed chilong chasing after a flaming pearl, one with a lingzhi sprig in its mouth, a bat carved on one side.Provenance: German private collection, acquired between 1980-1985 (by repute).Condition: Superb condition with only some minimal manufacturing flaws such as open bubbles.Stopper: Carnelian and finely carved organic material spoonWeight: 30 g Dimensions: Height including stopper 64 mm. Diameter neck 12 mm and mouth 7 mmAuction comparison: Compare with a related ruby red overlay on yellow glass bottle at Sotheby’s New York, Fine Chinese Ceramics & Works of Art, 31 March 2005, lot 365, sold for USD 4,200.十八世紀御制透明底套寶石紅螭龍靈芝紋鼻烟壺 中國，1750-1790年。可能為御制，出自北京清宮玻璃坊。扁圓形，通體透明。腹部套寶石色二龍戲珠飾，屬清三代料鼻煙壺之珍貴藏品。兩隻螭龍自前到後盤繞整個壺面，生動活潑，與龍珠之間形成欲拒還迎之態，栩栩如生。一隻龍口中吐出靈芝，另一面還可見一隻蝙蝠。 來源：德國私人收藏，據説購於1980至1985年間。 品相：狀況極佳，只有一些極其輕微的製造缺陷，例如氣泡。 壺蓋：紅玉髓蓋，有機材料小壺匙 重量：30 克 尺寸：總高64 毫米，頸部直徑12 毫米 ，嘴部直徑7 毫米 拍賣結果比較：一件相近黃地套寶石紅料鼻烟壺，見紐約蘇富比 Fine Chinese Ceramics & Works of Art拍場，2005年3月31日 lot 365, 售價USD 4,200.
Lot 489
A NEPALESE COPPER FIGURE OF INDRANepal, 15th-17th century. Cast seated in elegant maharajalilasana, the right hand resting on the raised knee, the other holding a lotus stem surmounted by a vajra, richly adorned in jewelry with inlays of ruby and turquoise glass paste.Provenance: French private collection.Condition: Good condition with minor wear and casting flaws, losses, small nicks here and there, light scratches.Weight: 1,255 g (incl. base)Dimensions: Height 17.5 cm (incl. base)The face showing a serene expression with heavy-lidded eyes and slender lips, flanked by lotus-form earrings, the hair surmounted by an ushnisha behind the large and distinctive crown. With a temple tang at the back and mounted on an associated Chinese zitan wood lotus base from the Qing dynasty. (2)The combination of the maharajalila asana and the mitre-like tall crown are iconic elements seen only in Nepalese depictions of the god Indra. The figure is cast in copper and adorned with the distinctive combination of ruby and turquoise colored settings typical of Kathmandu Valley metal sculpture. Indra’s characteristic seated position, asana, evoking luxurious royal ease, embodies the sensuous quality of Nepalese sculpture in one of the most elegant iconographic postures in all Himalayan art.Indra is worshiped in Nepal by Hindus and Buddhists alike. In the Hindu tradition the god is often referred to by his epithet Sahasraksha, meaning ‘The One with a Thousand Eyes’. In Buddhist mythology Indra is regarded as devaraja, the king of the gods. Indra Jatra, a pageant in honor of the god, takes place in Kathmandu each year in one of the most important religious festivals of the Newar community.Literature comparison: Compare to another bronze of Indra from the Nasli and Alice Heeramaneck Collection, in P. Pal, Art of Nepal, 1985, p.119, cat. no. S42. Compare the asana and crown style of a fifteenth century gilt copper Nepalese Indra from the Duke of Northumberland’s collection, Sotheby’s New York, 17 September, 2014, lot 442, and a thirteenth century example in the Norton Simon Museum, Pratapaditya Pal, Art of the Himalayas and China, New Haven and London, 2003, p. 85, cat. 52.Auction result comparison: Compare with a closely related but larger and slightly older copper figure of Indra at Christie’s New York in Indian and Southeast Asian Art on 14 September 2010, lot 75, sold for USD 122,500.尼泊爾帝釋天銅像 尼泊爾，十五至十七世紀。帝釋天優雅地坐於蓮座上，右手放在抬高的膝蓋上，左手握著一個由金剛杵頂著的蓮花莖，上面飾有紅寶石和綠松石玻璃鑲嵌的珠寶。 來源：法國私人收藏 品相：狀況良好，有輕微磨損和鑄造缺陷，缺損失，局部有小刻痕，輕微划痕。 重量：含底座1,255 克 尺寸：縂高17.5 厘米 拍賣結果比較：一件十分相近但更早的帝釋天銅像售于紐約佳士得Indian and Southeast Asian Art 拍場，2010年9月14日, lot 75, 售價USD 122,500
Lot 147
Federico Armando Beltrán Massés (Spanish, 1885-1949)Portrait of an elegant lady in a landscape wearing a blue dress and a ruby ring signed 'F.Beltran Masses' (lower left)oil on canvas 130.8 x 97.2cm (51 1/2 x 38 1/4in).unframedFootnotes:ProvenanceAnon. sale, Drouot-Richelieu, Paris, 19 December 2005, lot 114.For further information on this lot please visit Bonhams.com
Lot 148
A collection of glassware, predominantly 19th centuryincluding two fly catches, claret jug and stopper, firing glasses, custard glasses, a ruby claret jug with silver-plated mount, etc (qty, two trays) Part of a Herefordshire Country House EstateCondition report: clear jug on left with some clouding to base, no cracks or chips. Claret jug with no clouding or cracks to main body but several chips to edges of striations on handle. Press moulded pedestal jar and cover with small rim chip. One fly catcher missing stopper, chips to rim. Water jug with clouding to base. Glasses and jellys generally good with no cracks or chips.
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