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Lot 1289

Two early 19th century oil on card and reverse painted glass landscapes, tondo, one inscribed 'View of Canterbury from Harbledown' verso, the watercolour of two figures on the road to Canterbury behind convex glass painted with trees, within a painted faux-marble frame; the other depicting fisherman on a lake, a village church distant, in stained beechwood frame, both , 5 3/8in. (13.7cm.) diameter. (2)* Condition: - Canterbury: VG cdn. with no faults.- Fishermen: Staining to frame faded and small edge chip. Colours toned and muted. Two patches of blistering to paint to sky on landscape. Has been out of frame - paper tape renewed verso.

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Lot 1305

A fine quality 19th century brass and leaded stained glass hall lantern, of rectangular form with pierced Gothic revival style frieze, the upper cornered by brass flower heads, arched tubular support above four leaded stained glass panels, centralized by embossed flower roundels within a geometric design, overall drop 19in. (48.4cm.).* Condition: One flower roundel put back in place the wrong way round, one panel with two broken pieces of red stained glass (bottom right corner edge), otherwise good.

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Lot 81

Collection of stained glass panels

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Lot 5140

A novelty intaglio lightbox, with leaded stained glass panels, wooden frame, 33cm wide

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Lot 622

Gordon Russell, an oak cheval glass, the rectangular plate on a square base, 145cm high CONDITION REPORT: Lot 622Right hand upright noticeably stained, back of baseboard noticeably stained and chromium side screws not straight.

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Lot 3544

René Lalique (French, 1860-1945): An Opalescent, Frosted and Blue Stained Glass Spirales Vase, No.1060, moulded with concentric protruding spirals, wheel engraved R LALIQUE FRANCE, 16.5cm (chip to rim)

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Lot 3546

René Lalique (French, 1860-1945): An Opalescent, Frosted and Blue Stained Glass Vezelay Ashtray, No.281, moulded with Feuilles de vigne, engraved R Lalique France No.281, and moulded R LALIQUE, 11.5cm square: and A Sabino Opalescent Squirrel, sat on its haunches eating a nut, moulded SABINO FRANCE, 7.5cm (2)

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Lot 112

A stamped John Hardman & Co. watercolour and pencil over image stained glass design depicting Saint Columbia of Iona, Wimbledon United Reform Church. Length approximately 97.5cm.

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Lot 115

A stamped John Hardman & Co. charcoal and watercolour stained glass design, inscribed Felpham Church of England school. Approximate length 162cm.

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Lot 117

A stamped John Hardman & Co. watercolour and charcoal stained glass design, inscribed St. Andrews, Muswell Hill, Lady Chapel. Approximate length 106cm.

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Lot 118

A stamped John Hardman watercolour and charcoal stained glass design, inscribed Church of St Bainabad, Lady Chapel. Approximate length 160cm.

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Lot 119

A stamped John Hardman watercolour and pencil stained glass design, saint with child. Approximate length 195cm.

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Lot 120

A stamped John Hardman watercolour and charcoal stained glass design, St Edmunds, Bury Street. Approximate length 150cm.

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Lot 121

A stamped John Hardman watercolour and charcoal stained glass design, Palmers Green Synagogue together with three other John Hardman charcoal designs.

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Lot 122

Three John Hardman watercolour and charcoal stained glass designs, Bury St Edmunds. Approximate length 84cm.

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Lot 123

Three John Hardman watercolour and charcoal stained glass designs, Bury St Edmunds. Approximate length 84cm.

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Lot 1412

A Stained Wood Raffle Box, and a yard of ale glass. (2)

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Lot 1289

ROYAL WORCESTER OVAL TRAY, painted with flowers in colours on a cream ground, printed marks in puce, 49cm long, along with a glass-topped stained wood display table

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Lot 198

Two pairs of 1920's Continental stained glass panels, one pair with geometric design within wooden frames, the others with floral motifs within rectangular panes with shaped cresting (4)

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Lot 6

PAIR OF STAINED GLASS OAK FRAMED FIRE SCREENS

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Lot 1003

Two stained glass window panels by J Powell & Sons from the vestry at St John's Harescombe - one a quatrefoil style window with griffin approximately W53cm x H52cm, the other of rectangular form approximately 102cm x 47cm 

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Lot 22

EDWARDIAN SCREEN PANEL WITH CIRCULAR STAINED GLASS PANEL WITH COPPER AND SATIN WOOD INLAY

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Lot 67

GROUP OF MIXED DAMAGED STAINED GLASS PANELS

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Lot 151

STAINED WOOD WALL CLOCK, with gilt detail to the glass, 47cm high

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Lot 362

DUTCH OIL LAMP STYLE CEILING LIGHT,in brass, with white glass shades, 60cm high, along with a Port Navigation lamp with red stained glass shade, 40cm high (2)

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Lot 344

A 19th century mahogany sewing box, together with a pair of Green Kat binoculars, silver plate tray, a stained glass panel in stand, and an ebony and antler walking cane with silver collar

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Lot 7

A fine George II lacquered brass, shagreen, and lignum vitae Culpeper double-reflecting compound microscope Edmund Culpeper, London, circa 1730 With sliding brass shutter to eyepiece threaded into ogee shaped moulded lignum vitae top section above gilt-tooled green vellum covered draw-tube with inked focus staging lines sliding into a brass and lignum collared green rayskin outer tube and fitted with long tapered brass tube objective lens to lower section, the whole raised on three fine baluster turned supports with circular stage fitted with a slider clamp to central oculus and pivoted light condenser lens, the lower section with three further taller brass canted baluster supports over circular ogee moulded base fitted with pivoted concave mirror to the concentric ring decorated top surface, in original oak pyramidal box with an apron drawer containing frog plate, two additional objectives, five bone sliders and canister for glasses and brass wire retainers, a circular glass fish plate engraved with three concentric lines and signed Culpeper Fecit within brass outer rim and other items, the interior back panel applied with crossed daggers and instrument trade label inscribed E. Culpeper Sculp. London to lower left, (eyepiece holder incomplete, box lacking most of its mouldings and door lock) the instrument 36cm (14.25ins) high closed; the box 44.5cm (17.5ins) high excluding later ring handle. Edmund Culpeper is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working 1700-37. He adopted the Crossed Daggers motif of his former master Walter Hayes to whom he was apprenticed in 1684. In 1706 Culpeper took over Hayes' shop located at ‘The Crossed Daggers’ in Moorfields London, later moving to the ‘Black & White House’ in Middle Moorfields in 1731 and finally ‘Under the Piazza’ at the Royal Exchange, London, where he is believed to have remained until his death in around 1740. The Culpeper trade card shows instruments made by his firm, these included surveying devices, quadrants, sundials, globes, and optical instruments such as the screw-barrel microscope and spectacles. Culpeper invented the tripod compound microscope sometime between 1725 and 1730, and made at least five major modifications in the years before his death. All models consisted essentially of two platforms, each supported by three turned brass pillars, with one set of pillars alternating in position with the other. The first model had platforms of wood. All later models, including the current lot, had brass platforms. Attached to the upper platform is a tube covered in stained shagreen. The microscope body draw tube, made from vellum covered cardboard, fits within the outer support tube. Focussing is accomplished by pushing the body tube up or down, with the position being maintained by friction between the vellum covering of the draw-tube and the inner surface of the support tube. There are also inked lines drawn on the body tube corresponding to the parfocal position of different objectives. The current instrument has survived in fine original unrestored condition having been in the same family ownership for as long as anyone can remember. It also retains almost all of its accessories which include a glass fishplate scratch-engraved with Culpeper’s signature.

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Lot 275

A SWISS CARVED AND STAINED WOOD 'BLACK FOREST' PULL STRING HANGING BEAR, WITH BLACK GLASS BOOT BUTTON EYES, 25CM H

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Lot 53

A German stained glass panel in 16th century style, the top panels depicting a man and a woman in a bedchamber and then a murder, above two well dressed figures flanking a column and with a coat of arms with a motto 'Better Rutarda, 19th century, 34.2 x 24.6cm.

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Lot 54

A Scottish stained glass armorial panel, of shield shape and decorated with the arms of the town of Forfar, with a stag and bull head flanking a tree above the old Castle of Forfar with triple towers, 18th / 19th century, 24.2 x 21cm.

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Lot 56

A German stained glass panel in 16th century style, decorated with a pair of armour clad knights flanking a double headed eagle armorial, the top with battle scenes and with panels of Bishops, with the date '1557', 46.5 x 33cm.

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Lot 421A

A stained glass sample , in a folding frame, each leaf 44 x 51cm

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Lot 1100

A quantity of stained glass windows

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Lot 47

TWELVE PANEL STAINED GLASS WINDOW (A/F)

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Lot 53

GROUP OF MIXED DAMAGED STAINED GLASS PANELS

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Lot 1152

A wrought iron stained glass hall lantern

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Lot 1183

Two framed designs for stained glass windows, one after Matisse 27cm sq.

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Lot 1287

A wrought iron stained glass hexagonal hall lantern

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Lot 421

SET OF 8 STAINED LEADED GLASS WINDOW PANELS

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Lot 461

Early 20th century light oak bureau bookcase, stained and leaded glass doors enclosing two adjustable shelves above fall front with fitted interior, three graduating drawers W91cm, H194cm, D39cm

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Lot 103

A late Victorian coromandel and silver plated tantalus, by Mappin & Webb, having Betjeman's patent 49772 locking mechanism (lacking key), three hobnail cut glass square decanters and stoppers, 36cmCondition report: Decanter one - small chip to very tip of stopper and further small chips to base of stopper, chip to rim of decanter and chips to corners of base. Decanter two – chips to top and rim of stopper, crack and hole to corner of decanter. Decanter three – chip to tip and base of stopper, small chip to corner of base. Decanters appear original and of very good quality (although we cannot tell if crystal). Locking style plate worn, very loose as is the locking mechanism, Veneer missing from corners of base. Stained to back edge.

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Lot 343

Hanging, leaded stained glass, Tiffany style light shade.

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Lot 297

Four Art Nouveau Stained Leaded Glass Panels, Formerly been used as panels for doors in a bookcase, 117cm x 55cm, (4)Condition reportAge staining and surface marks to glass,Age colour fading to glass,Generally in good condition

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Lot 271

An English school or dial clock, 18 inch/ 46cm dial in a mahogany surround, signed to the white dial Mahon, West St, Brighton (Thomas Mahon listed by Loomes as 1870 to 1886), cast brass bezel, large chain fusee movement, repair notes indicate the clock saved from scrap in 1984 by H Gent, CMBHI, Wells, Somerset, at which time the associated backbox was probably manufactured, with pendulum rod.Condition: glass loose, pendulum bob missing, backbox is a well made replacement and stained to match, dial background painting looks original, lettering redone/ renovated, movement ticking.

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Lot 123

Collection of three Victorian mechanical/pop-up chromolithographic Christmas cards: card depicting three wise men, opens to reveal intricate 3-D depiction of the Nativity; 'Glory to God in the Highest', opens to reveal die-cut 3-D depiction of Mary with baby Jesus and angels inside a church, the stained glass windows with red glass effect; large Christmas card depicting angels, opens to reveal vibrant three-dimensional representation of the Nativity with verse by Charlotte Murray (3)

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Lot 128

Collection of seven Victorian chromolithographic Christmas cards, mechanical and pop-up/3-D, c.1860-1890, comprising: three-dimensional free-standing Nativity scene with stained glass window effect; elaborate embossed card depicting roses and doves with pull-tab that flips out illustrations of angels; 3-D silvered paper lace card depicting altar with cherubs; 'Joyous Christmas' ivory effect card, silk tab opens doors to reveal 3-D angels and baby Jesus; die-cut card of cherub beneath snow-covered arch, pull-string makes cherub ring bells; heavy card depicting crowds entering church recto, stained glass verso, front doors open to reveal triptych panel illustrating interior church service; 'The Star of Bethlehem', unfolding embossed and die-cut calendar depicting biblical scenes (7)

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Lot 558

An unusual 20th century fibreglass 'stained glass window' effect abstract artwork painting. Gold coloured moulded border, with various abstract iconography. Measures approx; 167cm x 104cm. 

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Lot 565

Two Victorian stained and leaded glass panels

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Lot 2612

A pair of stained glass windows in box frames, approximately 69.25" high, 24.75" wide and 11" deep.

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Lot 69

A framed leaded window with stained glass panes - Approximately 39 1/4 x 47 3/4" A/F

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Lot 128

TONY MORRIS FOR POOLE POTTERY: A STUDIO "CLUB" SHAPE VASE, c.2000, long slender neck, decorated in a stained glass window design, impressed and painted marks, 42cm high

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Lot 388

AESTHETIC MOVEMENT BRASS FRAMED LEADED STAINED GLASS HALL LANTERN, decorated with birds in segmented panels, 95cm high x 27cm sq.

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Lot 458

Three early 20th Century stained glass window panels, each 28cm x 104cm (3)

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Lot 740

Leaded stained glass hall lantern, height 17.5cm

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Lot 835

A LARGE ART NOUVEAU STAINED AND LEADED GLASS WINDOW AND FRAME.OVERALL SIZE H.196 x W.142cms

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Lot 878

AN IMPRESSIVE BRONZE FRAMED HEXAGONAL HALL LANTERN WITH STAINED GLASS PANELS. MAX Dia.80cms x H.115cms (APPROX)as with all electrical items- we recommend a proffesional rewire will be required

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Lot 263

Unusual Victorian stained wood wall fitting or table standing bow front display cabinet of narrow proportions, having D-shaped curved glass, 30cm wide (max) x 19cm deep (max) x 107cm tall

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Lot 1300

Mrs Mary Todd Lincoln’s opera glasses, dropped in her theatre box on April 14th, 1865, the fateful night that her husband the President was shot. In lacquered brass adjusting on a thread, with ivory mounts, engraved in a cursive script: ‘Mrs Mary Lincoln left these glasses in the box at Ford’s Theatre, Good Friday, April 14th, 1865, when our beloved President and Leader was cruelly assassinated, found by William Kent Esq.’, 10.5cm wide x 4cm deep x 6.2cm high NB: Whilst the lineage of these glasses cannot be traced the supporting evidence is compelling. William Kent is a well known figure in the proceedings of the assassination. He was near the Theatre by chance on the night and assisted others caring for the wounded President. On later discovering that he had mislaid a key in the mayhem, he returned to the Theatre where he famously discovered the Derringer pistol which fired the fatal shot. His testimony was delivered on May 16th 1865 and published in the New York Times: Judge Holt - ‘State whether or not the pistol you have before you was picked up by you in the box of the President on the night of the assassination? William Kent ‘- Yes, Sir; this is the pistol’ Judge Holt - ‘What is it called?’ Willia Kent ‘A Derringer, I believe, and I see that name marked on it.’ Judge Holt - ‘How long after the President was shot did you pick it up? William Kent ‘I do not know exactly how long. I suppose about three minutes after the President was shot I went into the box. There were two persons in there then. The Surgeon asked me for a knife to cut opon the President's clothes. I handed him mine, and with it he cut the President's clothes open. I left the theatre afterward. I missed my night-key and thought I had dropped it there. I hurried back to the theatre, and when I went into the box my foot knocked against a pistol lying on the floor. I picked it up and cried out "I have found the pistol." Some person then told me to give it to the police, but there was a gentleman who said he represented the Associated Press, and I handed it to him. The next morning I went round to the police station, and recognized it as the pistol I had picked up.’ William Kent was in the President’s box when he lent a knife which the physician Dr. Charles Leale used to loosen the President’s collar, the same blood-stained collar was later taken by William Kent’s friend Newton Feree when both men returned to the theatre box, it seems plausible that whilst William Kent recognised the importance of handing in the found pistol, that he may also have taken the opera glasses at this time as his own keepsake of the occasion. The Ford’s Theatre Museum display an opera glasses case recovered from the theatre box and believed to be that of Mary Todd Lincoln. The case is property of the National Park Service and came into their possession directly from the National States Army where it had been kept as part of items used in evidence in the trial of the conspirators. The artefact is catalogued as follows: "Leather Case. Mrs. Lincoln's opera glass case - 3 3/4" x 4 3/4" across the top x 2 1/8" (at inax.) Black soft leather with gilt clasp. It was said to have been dropped by Mrs. Lincoln in the Presidential box at Ford's Theatre. Case lined, in coral satin.” The dimensions and style would appear to be a fit for the current lot. Correspondence in the National Park files cites historic reference to a pair of glasses in the possession of a Mrs Heath which purported to be Mrs Lincoln’s glasses and which fitted the case although it’s stated in the records that ‘ Since this was a standard case and glasses, it is quite possible that other glasses will turn up to fit the case as well.’ The same records also show that at least three donors approached the National Park Service in the 1960s purporting to have Abraham Lincoln's glasses that were picked up by their ancestors on the night of the assassination. Other academics reference at least three pairs which purport to be Mary Lincoln’s opera glasses. Various academics and Lincoln scholars have been consulted with reference to the current lot. There is a consistent harmony in the opinion that the glasses are of the correct period and style, the engraving is convincing, the script similar to dated scrimshaw work of the period. Lincoln scholar and author Ed Steers said of these opera glasses ‘There is no doubt in my mind that the inscription is authentic and of the period leading me to conclude that if the piece is a fabrication it was done a century ago quite cleverly. Having seen or handled dozens of alleged artifacts associated with Lincoln and his assassination, all bogus, I have a different feeling about your item.’

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Lot 1488

A GERMAN CUCKOO CLOCK, with a jahresuhrenfabrik movement (two weights and pendulum), together with a stained glass shade table lamp and a Goodmans 18' LCD TV (3)

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Lot 11

FROSTED GLASS WINDOW TOGETHER WITH A PAIR OF ARTS & CRAFTS STYLISED STAINED GLASS DOORS (3)

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