Gabriel Argy-Rousseau, (French, 1885-1963), a rare pâte-de-verre glass Ibis box and cover, signed 'G. ARGY-ROUSSEAU' to both base and cover 14 x 13.50 x 10cm (5 x 5 x 4in) Literature: Bloch-Dermant 23.25, model introduced 1923 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
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Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Cicada pendant, signed 'G.A.R' in the mould 6.50 x 5cm (3 x 2in) Literature: Bloch-Dermant 23.30, model introduced 1923 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Peony pendant, signed 'G.A.R' in the mould 6.50cm (3in) Literature: Bloch-Dermant 24.40, model introduced 1924 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Butterfly pendant, signed 'G.A.R' in the mould 5.75 x 5.75cm (2 x 2in) Literature: Bloch-Dermant 24.37, model introduced 1924 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Sea Thistle pendant, signed 'G.A.R' in the mould 6.50 x 5cm (3 x 2in) Literature: Bloch-Dermant 24.34, model introduced 1924 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Magnolia pendant, signed 'G.A.R' in the mould 6.50 x 5cm (3 x 2in) Literature: Bloch-Dermant 24.43, model introduced 1924 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Blue Lotus ashtray, signed 'G. ARGY-ROUSSEAU' in the mould 4 x 9.50cm (2 x 4in) Literature: Bloch-Dermant 24.14, model introduced 1924 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass twin-handled footed bowl, signed 'G. ARGY-ROUSSEAU' in the mould with original paper trade label to underside 10 x 21cm (4 x 8in) Literature: Bloch-Dermant 27.19, model introduced 1927 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass Parma Violets pattern vase, signed 'G. ARGY-ROUSSEAU' in the mould and 'FRANCE' to the underside 15cm (6in) Literature: Bloch-Dermant 18.01, model introduced 1918 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
Gabriel Argy-Rousseau, (French, 1885-1963), a pâte-de-verre glass bowl, the tapering cylindrical body moulded with stylised leaves and foliage or arrowheads, signed 'G. ARGY-ROUSSEAU' in the mould 7.50 x 10cm (3 x 4in) Literature: Bloch-Dermant 25.09, model introduced 1925 Other Notes: Joseph-Gabriel Rousseau studied at the Ecole Nationale de Céramique at Sèvres. Following his marriage to Marianne Argyriades, in 1913, Rousseau adopted the first four letters of his wife’s name. He first exhibited works in pâte-de-verre at the Salon des Artistes Français of 1914, and in 1921 founded his own company, the ‘Société des Pâtes de Verre’. Pâte de verre, literally translated, means glass paste. The process involves mixing finely crushed glass with a binding agent and adding colours or enamels. The paste is coated to the inner surface of a mould. Argy-Rousseau made his own wax models which were then handed over for serial production to his assistants. Argy-Rousseau’s company was unable to survive the economic crisis of 1929; it was dissolved on 31 December 1931, and the series production of pâte-de-verre came to an end. Argy-Rousseau, however, continued to work in his own small studio.
A French ormolu Sèvres-style mantel clock with blue celeste finial, floral-decorated Roman dial and cartouche panel decorated with cherubs to a blue celeste ground, height 30.5cm. CONDITION REPORT Age-related wear, areas of damage to the enamel on clock face, wear to the gilding. Some slight loss of colour in places to the enamel. Not currently in working order.
A Set of Six Copeland Porcelain Dessert Plates, circa 1870, painted with lakeland scenes within pierced borders, printed marks, 23cm diameter; Seven Various Victorian Porcelain Dessert Plates; A Similar Comport; A Sèvres Style Square Dish; A Paris Twin-Handled Vase; A Copeland Spode Cup and Saucer; and A Minton Cup and Saucer (qty)
A Staffordshire Enamel Snuff Box, late 18th century, of rectangular form, painted with landscapes on a bianco sopra bianco ground, 5cm wide; An Enamel Oval Patch Box, the cover painted with birds and a nest, 4.5cm wide; A Blue Enamel Snuff Box, painted en grisaille with cherubs, 7cm wide; An Enamel Patch Box, of palette shape, painted en grisaille with the Swing on a faux tortoiseshell ground, 6.2cm wide; and A Sèvres Style Egg Shaped Box, on gilt metal stand, 11cm high (5)
An Edwardian Mahogany and Satinwood Banded Twin-Handled Tray, of kidney shape, 67cm wide; A Similar Mahogany Oval Tray, 64cm wide; A Pair of Carved Oak Figural Book Ends; A Crumb Scoop and Brush; A 19th Century Paris Porcelain Lamp Base, painted with flowers on a pink ground, 59cm high; A Similar Sèvres Style Lamp Base, 45cm high, converted to electricity; and A Mahogany Folding Stand (qty)
A circa 1900 Sèvres porcelain gilt heightened hand painted oval casket, with hinged lid internally painted with floral sprays, and with figures in a landscape to the exterior, painted marks to base, width 22cm (af). CONDITION REPORT: The lid has been extensively and badly restored, pitting marks elsewhere. Some surface scratches, light rubbing to the gilding.
TWO SÈVRES TEA BOWLS AND THREE SAUCERS (TASSES A THE ET SOUCOUPES), 1765-1769 & CIRCA painted with flowers, two tea bowls and one saucer by Nicolas Dutenda, J-B-D Bienfait L'aine or Mathieu, saucers 12cm diam, blue enamel interlaced L's, date and painters' marks ++One of the saucers with no painter's mark with tiny flat chip outside the rim, one tea bowl with slight wear to gilding on the rim
A FRENCH SÈVRES STYLE PORCELAIN MOUNTED GILTMETAL MANTEL CLOCK, LATE 19TH C with bell striking movement, 39cm h, case stamped P H MOUREY and a pair of contemporary vases painted with putti, also stamped P H Mourey (3)++Complete and in good original condition requiring a clean, the movement in apparently working order
A VICTORIAN GILT BRASS MOUNTED KINGWOOD, TULIPWOOD AND MARQUETRY WRITING TABLE in Louis XVI style, c1860 the top in matched 'butterfly' veneers outlined with green stained banding and cube parquetry spandrels in husk border with penwork detail, the frieze with drawers and opposing blind drawers divided by oval bleu celeste ground Sèvres style porcelain panels painted with amorini, the legs headed by paterae and festoons, 74cmh; 59 x 107cm++One of the porcelain plaques damaged and incomplete but in otherwise excellent unrestored original condition. The top with old minor stains and scratches but no significant water damage etc
A 19th century French gilt bronze mantel clock under glass dome, the architectural case surmounted with twin cherubs over white enamel dial (hairlines), two winding holes for a brass eight day cylinder movement striking on a bell (bell missing), the case with Sèvres style porcelain panels (two end panels missing), twin Corinthian columns, and all on heavy turned feet, h.54.5cm, the whole housed under glass dome on ebonised plinth, gross h.57cm Condition Report / Extra Information Cracks to the dial.Hands are misshapen.Porcelain panels missing from either side of the base.Finials to either side are loose.Dial signed Frodsham Paris.Chips to outside edge of dial.Clock width 38cm.
Two Sèvres coffee cans; one with hand-painted reserve of figural landscape of gentleman with horse and washerwoman by a river on a blue and raised enamel ground, double Louis and date mark for 1778, height 7.5cm, the other with hand-painted circular reserve of village dance in the square to a white floral decorated ground, reverse of the cup with raised gilt to a turquoise ground, double Louis mark for 1779, height approx 6.5cm (2). CONDITION REPORT The dark blue ground can has a crack by the lower terminus of the handle, damage to some elements of the raised enamel decoration and losses to the gilt around the foot rim. The white ground can has some losses from around the pictorial reserve.
A large 19th century French mantel clock with figures of Venus and Cupid amidst casks of jewellery and doves surmounting the Sèvres-style pink ground painted porcelain dial and frieze, also decorated with cherubs, flowers and bust of Marie Antoinette, height 50cm, on gold-coloured socle base. CONDITION REPORT Please note that this lot is not suitable for postage.
19th century French, possibly Sèvres, bisque porcelain figure group of figures in conversation, signed - D'après Van Loo, 24cm high and another of two ladies (2) CONDITION REPORT Large figure group has various broken fingers, the standing figure to the left has had his hand broken and re-stuck, top of musician's instrument broken and missing. Other figure has various breaks / losses to applied floral decoration
A pair of Sèvres style porcelain urns and covers, each decorated figural and floral reserves to a bleu céleste ground, with gilt metal bud finials, ram's mask and ring handles on plinths, 38cm high/see illustration Condition Report: The ceramic body is unrestored and without damage, some of the white and red 'jewels' around the painted panels are lacking. Minor rubbing to gilding. One vase with oxidisation to the coronet finials on the rams mask, this is an earlier amateur repair the mount also loose and similar corrosion to the foot, both pedestals loose
A Matched Sèvres Coffee Can and Saucer, date codes for 1776 and 1779, the can painted with a boy sitting under a fruiting branch, the saucer with a basket and hat beside a tree, both in panels on a blue ground with gilt foliate scroll borders, painted marks in blueBoth in good condition with only minor wear to decoration, particularly to gilding on saucer. Underside of saucer with some staining.
A Victorian Figured Walnut and Gilt Metal Mounted Credenza, circa 1870, of serpentine shaped form, the frieze with a blue oval Sèvres style porcelain panel above a bowfront glazed door enclosing a silk lined interior flanked by glazed doors with foliate mounts throughout, on a platform base, 198cm by 55cm by 114cm
PAIR OF SÈVRES STYLE GILT METAL MOUNTED PORCELAIN VASES 19TH CENTURY the lobed tops on baluster bodies painted with reserves of lovers and riverscapes on cobalt grounds with gilt details, the sides mounted with mask handles, on socles raised on gilt bases, mounted as lamps, with shades (2) 53cm high (excluding fittings)
PAIR OF GILT BRONZE MOUNTED SÈVRES STYLE URNS 19TH CENTURY with domed covers above baluster bodies with twin-handles, raised on gilt bronze bases, decorated with reserved scenes of lovers and landscapes on a cobalt ground, painted marks, 45cm high; together with a similar SÈVRES STYLE URN, depicting figures fishing and flowers, mounted as a lamp, 52cm high (including fittings) (3)
SÈVRES PORCELAIN PART COFFEE SET EARLY 19TH CENTURY each piece decorated with a band of pink roses and leaves on a brown ground, within gilt borders, painted marks M. LMPLE DE SÈVRES/ PEINT PAR BARRÉ, comprising a coffee pot and cover; a milk jug; a covered sugar bowl; six coffee cans and six saucers (15) Provenance: Yester House, Gifford, East Lothian
A pair of late 19th century French Sèvres style plate wall lights, each with a bleu céleste ground, with panels of flowers and gilt highlights, the centres painted with figures beside a well, with an attendant cupid, with gilt brass mounts, a tied ribbon surmount and a satyr mask pendant issuing scroll branches, with faux Sèvres marks and printed marks 'S. 75', 35cm high. (2)Click here to view the online page turning catalogue.
A collection of eight Worcester Aesthetic coffee cans and saucers, a pair of Royal Doulton game bird decorated plates, a Minton five piece toilet set, terracotta transfer decorated, a set of five Mintons dessert plates and a pair of 19th Century turquoise glazed figurines of children reading and writing in the Sèvres style CONDITION REPORTS The Minton five piece toilet set - all pieces have build-up of dirt, accretions, surface scratches, areas where the terracotta pattern is faded or worn. Small chips to some pieces. The long soap dish has been broken in half at some stage and has been repaired back together by glue. The large wash bowl and jug has crazing on both pieces all over and numerous accretions and there is also a crack in the large wash bowl - see images for further details. The eight Worcester Aesthetic coffee cans and saucers all show areas of crazing, some wear on the gilt work, a build up of dirt and accretions. On one of the cups there is a crack next to the handle going down about a third of the coffee can. Two of the saucers have cracks, one of them has been repaired and glued back together in three parts - see images for further details. The Minton dessert plates all have light surface scratches. Some areas of wear to the gilt on one of the plates. The pair of Doulton gamebird plates - both have light surface scratches, a build up of dirt, accretions, wear and tear commensurate with age. Both have small chips to the edge. One of the plates has substantial crrazing both on the back and in the centre on the plate. The pair of turquoise glazed figurines - both have surface scratches and build up of dirt in areas. Some wear and fading of the giltwork. There is a build up of some brown coloured substance on the base of one of the figures and a chip to the underside of one of the toes on one of the figures. The book that the other figure is reading has completely come away from the figurine and also to the underside of the figure there is a large crack and repair along the backof the leg and around to the other legs which goes all the way round to the base of the figure - see images for further details.
A Continental cabinet cup with painted decoration in the manner of Teniers of a girl reading a book with two onlookers, heavy gilt highlights and indistinct mark to base in the manner of Sèvres CONDITION REPORTS Large areas of loss, wear and fading to the gilt work both on the inside and outside of the cup and on the handle. Chip to the underside of the flared rim. Light surface scratches etc. General signs of wear and tear conducive with age and use. See pictures for details.
HIH Emperor Napoleon III of France - fine Sèvres porcelain breakfast cup and saucer with gilt crowned N cipher and gilt line borders on white ground - red Imperial crowned N Sèvres mark and date letter for 1859 CONDITION REPORT Both cup and saucer are in very good condition with no signs of damage or restoration and gilding is crisp
A 19th century French gilt bronze and porcelain inset mantel clock, under associated glass dome, the case surmounted with pedestal urn, the Sèvres style porcelain dial painted with a cherub and quiver of arrows within a jewelled, enamelled and gilded border, twin winding holes for an eight day brass cylinder movement striking on a bell, h.27.5cm, on giltwood plinth, the whole standing on further associated ebonised plinth, gross h.46cm
A mid-19th century French gilt metal and porcelain three piece clock garniture, the clock surmounted with a pedestal urn, having Sèvres style porcelain dial with pictorial reserves and Roman numerals, twin winding holes for a French brass eight day cylinder movement, having outside countwheel and striking on a bell, the case with further porcelain panels to the side, with applied gilt metal swags and feet, h.52cm, the garniture as a pair of urns having portrait reserves in bright enamels, also adorned with floral swags, h.35.5cm Condition Report / Extra Information All with areas of restoration.Both urns restored to bases and with areas of poor quality re-gilding.
A Continental cabinet cup with painted decoration in the manner of Teniers of a girl reading a book with two onlookers, heavy gilt highlights and indistinct mark to base in the manner of Sèvres CONDITION REPORTS Large areas of loss, wear and fading to the gilt work both on the inside and outside of the cup and on the handle. Chip to the underside of the flared rim. Light surface scratches etc. General signs of wear and tear conducive with age and use. See pictures for details.
A Set of Four Dinner Plates from the Sèvres ServiceIMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855) Diameter 26 cm. Circular plates, with white cavettos centring bouquets of flowers, with blue borders with reserves with similar floral sprays and gilt ornaments, oval platter with matching décor, with blue Imperial Cyphers for Nicholas I
A Set of Seven Dinner Plates and a Fish Dish from the Sèvres ServiceIMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855–1881) Diameter of the plates 26.5 cm, length of the platter 54 cm. Of circular form, with white cavettos centring bouquets of flowers, with blue borders with reserves with matching floral sprays and gilt ornaments, oval platter with similar décor, with green Imperial cyphers for Alexander II.
A Pair of Dishes from the Sèvres ServiceIMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855–1881) Length 44.5 cm (each).Of oval form, with white cavettos centring bouquets of flowers, with blue borders with reserves with matching floral sprays and gilt ornaments, oval platter with similar décor, with green Imperial cyphers for Alexander II.
A Serving Dish from the Sèvres ServiceIMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855–1881) Length 35.5 cm. Of elongated oval form, with white cavettos centring bouquets of flowers, with blue borders with reserves with matching floral sprays and gilt ornaments, oval platter with similar décor, with green Imperial cyphers for Alexander II.
A Sèvres stoneware lamp base,by Paul Millet, mounted by Gustave Keller, with a high shoulder in a mottled cream and trailing purple glaze, mounted with gilt bronze mounts, stamped 'G Keller', stamped marks, on an ebonised plinth, inscribed '1-8-94' and '3-2-95', impressed 'SÈVRES' and monogram,50cm high overall
A collection of eight Worcester Aesthetic coffee cans and saucers, a pair of Royal Doulton game bird decorated plates, a Minton five piece toilet set, terracotta transfer decorated, a set of five Mintons dessert plates and a pair of 19th Century turquoise glazed figurines of children reading and writing in the Sèvres style CONDITION REPORTS The Minton five piece toilet set - all pieces have build-up of dirt, accretions, surface scratches, areas where the terracotta pattern is faded or worn. Small chips to some pieces. The long soap dish has been broken in half at some stage and has been repaired back together by glue. The large wash bowl and jug has crazing on both pieces all over and numerous accretions and there is also a crack in the large wash bowl - see images for further details. The eight Worcester Aesthetic coffee cans and saucers all show areas of crazing, some wear on the gilt work, a build up of dirt and accretions. On one of the cups there is a crack next to the handle going down about a third of the coffee can. Two of the saucers have cracks, one of them has been repaired and glued back together in three parts - see images for further details. The Minton dessert plates all have light surface scratches. Some areas of wear to the gilt on one of the plates. The pair of Doulton gamebird plates - both have light surface scratches, a build up of dirt, accretions, wear and tear commensurate with age. Both have small chips to the edge. One of the plates has substantial crrazing both on the back and in the centre on the plate. The pair of turquoise glazed figurines - both have surface scratches and build up of dirt in areas. Some wear and fading of the giltwork. There is a build up of some brown coloured substance on the base of one of the figures and a chip to the underside of one of the toes on one of the figures. The book that the other figure is reading has completely come away from the figurine and also to the underside of the figure there is a large crack and repair along the backof the leg and around to the other legs which goes all the way round to the base of the figure - see images for further details.
A Continental cabinet cup with painted decoration in the manner of Teniers of a girl reading a book with two onlookers, heavy gilt highlights and indistinct mark to base in the manner of Sèvres CONDITION REPORTS Large areas of loss, wear and fading to the gilt work both on the inside and outside of the cup and on the handle. Chip to the underside of the flared rim. Light surface scratches etc. General signs of wear and tear conducive with age and use. See pictures for details.
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