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CAROLINE & STEPHEN ATKINSON-JONES, a pair of slip-cast trumpet vases, with silver lustre glaze, signed to base, height 19.5cmGood condition, no chips, cracks or restoration

CAROLINE & STEPHEN ATKINSON-JONES, an oval slip-cast trumpet vases, with gold lustre glaze, signed to base, height 23.5cmGood condition, no chips, cracks or restoration.

King 600 USA brass trumpet #458 with Holton & 7C mouthpieces in original carry case

Musical instruments - A Selma Invicta Trumpet, cased, with mouth-piece, and accessories; a Besson and Co. Class A Bugle, (2).

A collection of gold and gilt metal charms, comprising a gold fish charm, a gold rose quartz dice, both tested as approximately 18ct gold, a gold trumpet charm, tested as approximately 14ct gold, an enamel pennant flag, an Egyptian Horus, an enamel postcard, an enamel roundabout sign, a wishbone, a lion, an eyeglass, all hallmarked or tested as approximately 9ct gold, and eight gilt metal charms, weighable gold 12.20g total (18)Condition ReportChips to some enamel.Gilt metal surfaces worn.Marks and scratches to surfaces.Tarnish.As found.

Three instruments: A Yamaha flute; a Rosetti clarinet; and a Khart trumpet, all cased

A George V silver candle blower in the form a trumpet,  London 1922, Samson Mordan & Co., 30cm long, 47g.  M

A Chinese bronzed metal Gu vase. With flared trumpet rim and of archaic form, on a later wooden base, height 32cm, width 20.5cm, depth 17cm.We have uploaded extra images

A JOHN SCHEERER & SON PRIMO POCKET TRUMPET WITH CASE

A complete Roman 2nd Century Large Bronze Trumpet Brooch.

A pair of early 20thC Thai bud vases, of trumpet form, repousse decorated with a central band depicting a fisherman, and his wife cooking, amongst huts and trees, white metal, 6.07oz, 15cm high.

A large late 19th century Victorian glass trumpet vase. Circa 1890. 14x35.5cm

A cased Emperor trumpet in a fitted box .

A Victorian mahogany trumpet shaped work box the hinged lid with a fitted interior.- NO RESERVE

Volumes by Thomas Hardy: The Well Beloved (1st Edition 1897), Jude the Obscure (1st Edition 1896), The Trumpet Major (1st Edition 1896), The Dynasts (Political Vol II) 1921, Collected (Political Vol I), Tess of the Durbervilles 1904, Times, Laughing Stockjs 1915, Bibliography of Thomas Hardy (1865-1915) 1916 together with Thomas Hardy Society Review 1975/76/77/78/79, Thomas Hardy Yearbook 1978/79, Saint Michael Stinsford 'The First Mrs Thomas Hardy' 1979, 'The Second Mrs Hardy' 1979, Thomas Hardy's Wessex Scene 1948, 'Hardy' an illustrated dictionary 1980, Selected Poems by Thomas Hardy 1980, The Famous Tragedy of the Queen of Cornwall by Thomas Hardy 1923, arranged as a play for Mummers

Edwardian silver-mounted glass match striker, Birmingham 1903, 6cm; a pair of Edwardian trumpet-shape vases, Birmingham 1905 (damaged); silver and white-mounted bottles. (7)Qty: 7

James MacIntyre & Co., Burslem Aurelian porcelain spill vase of slender trumpet form, with another oviform spill vase, 10cm, 13cm high, (2)Condition report :Some loses to paint to trumpet vase floral panels.Scratches to gilt decoration to both vases. 

Silver epergne with four vases of trumpet shape with waved edges on plain spreading foot by Fattaini,  Birmingham,1920. 28cm (weight of detachable smaller vases 150g)

Set of eight cranberry cocktail glasses, each with large trumpet shaped bowl on clear glass stem and circular foot, 22.5cm high (8)

A pair of Indian silver spreading cylindrical mug, pedestal base, embossed in relief with foliage and scrolls, stamped Silver, engraved to base From M.P. Jaipuria, 365.3g ; a silver plain Christening mug, monogrammed SJW, Emile Viner, Sheffield, 1957, 191.8g; another smaller Angora Silver Plate Co Ltd, Birmingham, 1932, 48.59g; a novelty silver trumpet, Birmingham, 1912, 18.95g

A Victorian walnut work/games compendium,  inlaid in coloured woods with chessboard, conforming banded borders, trumpet column, four scroll legs,  c.1870Dimensions: 79cm high, 54cm wide, 40cm depth

THE MAJESTICS - (I LOVE HER SO MUCH) IT HURTS ME/ GIRL OF MY DREAMS 7" (US PROMO - LINDA - 101). A rare, original US 7" promo pressing of the uptempo trumpet heavy favourite (I Love Her So Much) It Hurts Me by The Majestics with soul ballad Girl Of My Dreams on the flip (121, 1965 US 7" promo pressing on Linda Records. Labels are bright and clean, B side label has a tiny bit of old sticker residue. The record is in nice VG+ condition, displays some hairline/ light paper marks).

A mid 19th century Victorian opaline trumpet vase. The vase of red ground, featuring intricate gilt Greek key pattern design and scrolling border. With label underside reading Prize Medal 1862. Measures approx. 32cm tall. 

The clubs of trumpet form.97cm longQty: 2In generally good condition.

Made from Gonçalo Alves timber following a design in the Gillows book. The chairs with a foliate carved top rail and splat, above drop-in seats and raised on trumpet turned front legs and sabre back legs.50cm wide x 87cm high.Qty: 12The frames are stable and with minimal play in the joints throughout. Extensive high quality repair throughout. dents, nicks and scuffs throughout commensurate with age and use, particularly notable down the back legs and around the rails.Chair 1: With damage to the back rail. Lifting to the veneer. Loss to the varnish. Scuffing to the back legs. Extensive heat damage to the varnish on the back of the top rail and splat.Chair 2: Similar signs of heat damage to the back. A notable crack down the left hand back support on the lower third.Chair 3: With a small piece of damage to one of the feet which is on the outside of the right hand foot. Cracks down the right hand back leg at the point at which the side rails meet the leg. Scuffing at heat damage down the back of the chair. Repair to the back left support running the whole length. Repair to the back left leg.Chair 4: Significant repair to the front left leg running from the foot all of the way to the top of the top rail. Signs of more obvious repair to the front right leg where it appears to have been snapped off and recently re-glued.Chair 5: Scuffing throughout. Signs of cracks and repair to the back support on the left.Chair 6: Signs of historic work on the back rail. Damage to the right hand side rail. Repairs to the back legs.Chair 7: Significant repairs and re-glueing to the joint of the front left leg to the frame of the chair. Cracks in the left side rail. Cracks in the right side rail. Repairs to the back left leg. Mild loss on the left hand side on the join of the top rail to the back support.Chair 8: Repair to the front left leg. A loss to the top rial on the left hand side of the corner. Some glue residue, notable around the join of the top rail to the right hand back support.Chair 9: With a notable patch in the front left leg. Signs of damage to the top rail on the right hand side with nail holes and loss to the varnish. some minor cracking on the back of the left hand support.Chair 10: Notable repair to the top of the left leg of the join of the top rail. Minor losses to the carving on the splat. Cracking in the back of the splat.Chair 11: Small signs of repair to the back legs. Glue residue around the join of the top rail to the back of the chair. Losses to the carved top rail. Small loss at the point at which the top rail meets the back support.Chair 12: Notable spots of damage, possibly from nails, on the left side rail. Signs of heat damage and wear on the right side rail. Cracking on the back legs. Repairs to the carving on the splat. Cracking on the left hand back support.

A RARE .704 PERCUSSION 1840 PATTERN SERGEANT OF FOOT GUARDS RIFLED MUSKET, manufactured in 1843, with 33in. blued two-groove barrel marked with ordnance stamps, proofs and 'ENFIELD 1842', applied blade fore-sight, standing notch rear-sight with additional folding leaf, Hanoverian bayonet catch at muzzle, borderline engraved back action lock signed 'RL. MANUFACTORY ENFIELD' together with a crown over 'V.R.' device and the date '1843', refinished walnut full-stock stamped on the right side with an Enfield roundel behind wrist (faint), brass furniture including large patchbox, spurred lower tang and two trumpet ramrod thimbles, iron saddle-bar and swivels, tapering iron ramrod.

A POSSIBLE TRIALS PERCUSSION CONVERSION OF A .76 FLINTLOCK PATTERN 1796 CAVALRY CARBINE, no visible serial number, with round iron 26in. barrel (lightly pitted externally), Georgian and later William IV proofs at breech, solid top-tang with radiused tip, radiused lock of flint form with borderline engraving and marked 'W.R.' below a crown together with 'RL. MANUFACTORY ENFIELD' along the bar and 'TOWER' at the tail, walnut full-stock with brass furniture, Board of Ordnance stamp to right side of butt, provision for a long saddle-bar on the left hand side (absent), open ramrod channel with single trumpet pipe and iron ramrod.

EX. SHIRBURN CASTLE ARMOURY AN EXTREMELY RARE 25-BORE FLINTLOCK RIFLED CAVALRY CARBINE OF UNUSUAL FORM BY DURS EGG, rack no. 2, circa 1780 and made for the Fourth Earl of Macclesfield, with slightly swamped round 24in. barrel rifled in seven grooves, applied boat-shaped fore-sight, moulded standing notch rear-sight applied to the short flat sighting plane, the flat signed 'D. EGG, LONDON' and with a small number '2' forward of the plain solid top-tang, borderline engraved lock with distinctive double ring-necked cock and signed 'D. EGG' below the pan, walnut full-stock with unusual comb-less hand-rail butt capped with a flat brass oval heel-plate, single side-nail, moulded brass trigger guard and lower tang, long iron saddle-bar, single iron horseshoe swivel behind ramrod throat, brass pipes, the front of large trumpet form with an iron flat-spring behind tensioning the captive iron ramrod and three iron barrel-keys, together with a file of notes on the castle, the armoury and family history.

THE FOLIO SOCIETY, an eleven volume collection of the novels of Thomas Hardy comprising a six volume set in one slipcase of Tess of the d'Urbervilles, The Woodlanders, The Mayor of Casterbridge, Jude the Obscure, The Return of the Native, Far from the Madding Crowd and five single novels in individual slipcases comprising The Wessex Tales, Under the Greenwood Tree, The Trumpet Major, A Laodicean and Desperate Remedies, conditions generally good

An Edwardian silver trumpet vase, London, 1906, 23.3cm, weighted and a silver mounted inkwell.

A TRUMPET WITH CARRY CASE

An Edwardian silver epergne centre-piece, the central trumpet form vase raised on a spreading moulded circular foot engraved with presentation inscription dated 15th April 1909, and issuing sinuous brackets to suspend two silver baskets with lobed arched over handles and band of pierced decoration, marks for Sheffield 1908, maker Elkington & Co Ltd, 23.5cm high, 558grams gross

A pair of 20th century Chinese globular vases With trumpet necks, decorated with figures and flowers on a black ground, marked, each 32cm high. (2)

Victorian Trumpet Workbox with Chessboard Top

Three Agriline half-shaft trumpet oil seals, a TJQFF0109 fuel filter, a Bepco 30/460 - 2 bearing kit (new), an Agriline 8073 wheel bearing kit, a spring, paint brushes, a poppet valve, etc.,

A vaseline glass and silver plated table centrepiece or epergne - early 20th century, with four trumpet shaped, fluted vases with frilled rims, on a scrolled openwork stand, 37 cm high.

A small collection of decorative glass - including an aquamarine painted shell-shaped glass bowl, 32.5 cm diameter; a large lettuce leaf style clear moulded glass salad bowl, 31 cm diameter; a similar smaller salad bowl moulded as a flower; a large conical, green-tinted clear glass salad bowl; a similar water or lemonade jug; and a pair of tall, clear and ruby glass trumpet-shaped candle holders, 40 cm high, rim chips. (7)

A Victorian walnut trumpet shaped octagonal lady's sewing table

Mechanische Trompete Trombino, um 1920Deutschland, 18 Tonstufen, Zungenstimmen, vernickelte Trompete, ungetestet, mit 3 neuen Notenrollen. Start Price: EUR 180 Zustand: (3/-)Trombino Mechanical Trumpet, c. 1920Germany, 18-note automatic bugle, reed instrument, nickel-plated trumpet, untested, with 3 new note rolls. Start Price: EUR 180 Condition: (3/-)

A small blue and white trumpet vase, decorated with typical panels of floral or natural history designs, 18.5 cm high, Kangxi. Provenance: The Property of a Lady. From a Private UK Collection.Condition Report: The top edge has a repair, approx. 6-7cm wide and approx. 3cm deep. The colour difference to the decoration is noticeable with the naked eye.

Large post impressionist painting on canvas by Postwar and Contemporary artist Jean Lamouroux. Painting features a close up view of a shrub with yellow trumpet-like flowers and pointed leaves over a light gray background. Unsigned. Part of a series of four paintings by Jean Lamouroux. White frame with gloss finish. Sight size: 59"H x 23.5"W; frame: 60.5"H x 25"W x 1.5"D. Artist: Jean LamourouxIssued: 1993Country of Origin: FranceProvenance: Private Collection of Marie-Claude Lalique Condition: Age related wear. Minor chip to top of frame.

Mouth organs, music stand, pitch pipes, trumpet, penny whistle

Collection of 19 Corgi Icon Collectible Scots Guards Bandsmen Figures to include Mounted Scots Guard, 2 x French Horn, 2 x Saxophone, 2 x Clarinets, Fife Scots Guards, Tenor Horn, Side Drum, 2 x Cymbals, 2 x Trombone, Bass Drum, Tuba, 2 x Trumpet and Drum Major, all in ex condition, boxes vg overall with some light signs of storage and edge wear, but mainly vg

A Della Robbia earthenware vase, with trumpet neck, the body decorated with flowers, height 13insCondition Report: There is a small area of glaze pitting the the body.  At the top of the neck there is some crazing and these lines have stained.  No cracks or chips.

A Lalique clear glass vase, of trumpet form in the Chataignier pattern, height 5insCondition Report: Good condition, no chips or cracks

A pair of 19th century bronze figurines of cherubs, French, one holding a trumpet with playing a drum, both mounted on a sienna marble plinth 

A Lalique clear Epis glass trumpet shaped vase, with a ribbed body, height 7ins Condition Report: No chips or cracks, there are two very minor blemishes to two of the ribbed but hardly noticeable

A Ruskin tapered inverse trumpet vase, decorated with a pink ground, impressed marks, dated 1925, height 9.25ins Condition Report: Good condition, no chips, cracks or restoration

A trumpet shaped spill vase embossed with flower motif, Birmingham 1905 by WS & Co and a half fluted pepper

A small group of silver and silver plate, including a small silver pin cushion in the form of a frog, two plated pin cushions, a chick and a Dutch clog, a pair of small silver filled trumpet vases, a miniature silver coloured duck, a circular shell and plated pill box, a milk jug and two nail buffers

Battuto a Mano silver vase marked 925, trumpet vase with weighted base, Sheffield 1924, shell shaped butter dish, egg cup, spoon and serviette ring cased set, 5 tea spoons and a pepperette, weighable silver 20oz 635gm

AMENDED DESCRIPTION Pair of silver pepperettes with weighted bases, pair of two handled pedestal salts, Birmingham 1898, art nouveau trumpet vase with weighted base, H 13cm, six fiddle pattern tea spoons, London 1831, silver pusher, silver top dressing table jar, silver backed hair brush and mirror and other items of small silver, total weighable silver 10oz 336

Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rom, nachACHILLES UND DIE TÖCHTER DES LYKOMEDESÖl auf Leinwand. Doubliert.158,5 x 126 cm.In dekorativem Rahmen.Die Darstellung geht auf eine Erzählung in der griechischen Mythologie zurück: Um ihn vom Trojanischen Krieg fernzuhalten, sandte die Meeresnymphe Thetis ihren Sohn Achilles zu Lykomedes, dem König von Skyros, der ihn in Mädchenkleider steckte. Die Griechen konnten ihn aber nicht entbehren und schickten Odysseus auf die Suche, der Achilles auf Skyros durch eine List entdeckte. Er breitete vor der Mädchenschar Geschenke aus, neben Schmuck auch ein Schwert und einen Schild, und ließ auf der Trompete ein Angriffssignal blasen. Daraufhin griff Achilles instinktiv nach den Waffen und folgte dem Ruf des Odysseus (Ovid 13, 162 ff.). Auf dem vorliegenden Gemälde ist auf der linken Seite am Hof des Lykomedes Achilles zu sehen, wie er das vorgelegte Schwert ergriffen hat und es aus der Scheide zieht, während die drei Mädchen neben ihm aufmerksam den vorgelegten Schmuck betrachten und teils probieren.Anmerkung:Das Originalgemälde von Pompeo Batoni, Öl auf Leinwand, von 1746, befindet sich in den Uffizien in Florenz. (1391112) (1) (18)Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rome, afterACHILLES AMONG THE DAUGTHERS OF KING LYCOMEDES Oil on canvas. Relined. 158.5 x 126 cm.The depiction is based on a legend from Greek mythology: The sea nymph Thetis sent her son Achilles to Lycomedes, the king of Scyros to keep him away from the Trojan War. The king dressed Achilles in girls’ clothes to disguise him. However, the Greeks could not do without Achilles’ help and sent Odysseus in search of him. He discovered Achilles on Scyros by means of a trick: He laid out gifts in front of the group of girls, including jewellery, a sword, and a shield, and then sounded an attack signal on a trumpet. Achilles instinctively grabbed the weapons and followed Odysseus’ call (Ovid 13, 162f.). In this painting Achilles is depicted at the court of Lycomedes on the left, having taken hold of the presented sword and pulling it from its scabbard, while the three girls next to him attentively look and try on some of the presented jewellery. Restored, with retouching in places. Notes:The original painting by Pompeo Batoni, oil on canvas, dated 1746, is held at the Uffizi Galleries in Florence.

A Victorian walnut and marquetry trumpet shaped work box, the octagonal top with a marquetry chess board, hinged to reveal a fitted interior, on carved tripod base, 79cm high, 45cm wide.

Three resin clown figures, each seated, comprising one playing trumpet, another cello, 25cm high. (3)

Emma Irlam Briggs (British, 1867-1951)Portrait of the artist's sister, Mrs F. J. Butts in green signed 'E.Irlam.Briggs' and inscribed 'Mrs F.J. Butts/The Salterns Nr Parkstone/Dorset' (on the reverse)oil on canvas64.2 x 50.8cm (25 1/4 x 20in).Footnotes:ProvenancePrivate collection, UK (acquired from the artist's great nephew).When purchasing a painting by Emma Irlam Briggs in 1937, the curator of the Russell-Cotes Art Gallery and Museum, Norman Silvester (1894-1969), asked Briggs for a brief summary of her life. Despite popularity and success with her portraits, her religious images and her more Pre-Raphaelite works, Briggs apologised that her life had always been 'very uneventful'. It was true that despite early successes with Pre-Raphaelite pieces and a high profile as a religious painter, Briggs had remained a local artist at home, favouring the galleries of Dorset to those in London. However, the Briggs family motto might well have been 'triumph over adversity' as their fortunes were certainly a mixed bag.Briggs was born in Kent on 31st January 1867, the fourth of six sisters. Her father James Briggs was described as never being of stout health, and the family had not settled long in Poole before he died of pneumonia aged only forty-four. He left his wife and his five daughters (the sixth and eldest, Annie, dying in infancy) to make their own way. Eldest sister Ada (1861-1951) became Poole's first female alderman in 1919 and wrote novels. Agnes (1872-1940) was a violinist and a miniaturist. Monica (1871-1901) was interested in botany, tragically drowning while collecting samples of fungi and stones from round the local pond. Mary (1863-1944), acknowledged in the family as the prettiest, married a man old enough to be her father and found herself a wealthy young widow. When Emma caught measles as a child, she lost almost all her hearing, relying on an ear trumpet. Like her sister Agnes, she turned to art, attending the Bournemouth Municipal Art School to begin with, then studying in conjunction with South Kensington, where she won several prizes. She then completed a course at Wimbledon Art College and was offered a scholarship, but was unable to accept it. She instead did a year at St John's Wood Art School, followed by the Royal Academy schools where she was awarded the Landseer Scholarship. Again, she declined the scholarship and instead went to Paris, before returning to Hampshire to begin her career.Briggs's reputation in the twentieth century was that of a religious artist. Her best loved and most reproduced paintings were In Joseph's Workshop or The Workshop at Nazareth (1904), St Joseph's Dream (1906), both still in private hands. She went on to produce ten paintings, including The Divine Son for the interior of St Paul's Church, Cheltenham. However, the beginning of Brigg's career was marked with Pre-Raphaelite subjects and portraits. Possibly her debut exhibition was in Bournemouth in 1886 and she remained an active member of the Bournemouth Art Society alongside other Hampshire artists such as equestrian artist Lucy Kemp Welch (1869-1958). In early reports of her work she went by 'Irlam Briggs' without any hint of gender, which was corrected over time to 'Miss Irlam Briggs'. Her debut at the Royal Academy in 1892 was with a pair of portraits of Petronell and Dorothy Barrett, followed the year after by a portrait of her sister Agnes, known also as The Violinist (1893, Russell-Cotes Art Gallery and Museum, Bournemouth). 1894 saw The Lost Bower, which was accompanied by a couplet by Elizabeth Barrett Browning from the poem of the same name, which marked a start of a series of literary inspired female figures drawn from Shakespeare and poetry, including Juliet (1896), The Blessed Damozel (1900), Elaine and The May Queen (1902). These were interspersed with female portraits and a rare historical piece, again a female figure, a girl resting against a large open Bible, Elizabeth, second daughter of Charles I, died Sept 8, 1650 (1901).With her propensity for female figures and portraiture, it is unsurprising that her sisters were subjects of her art throughout her career. Agnes's portrait was relatively early, with Ada's official portrait as Poole's first woman councillor presented to the corporation in 1927. This image of her sister Mary, as Mrs Frederick John Butts, might have been painted for her marriage in 1889 or possibly after the birth of her daughter Mary Francis Butts (1890-1937), the modernist writer and acolyte of Aleister Crowley (1875-1947). Mary Briggs's marriage to Butts resulted in her living in Salterns, an 18th century house overlooking Poole harbour, with a collection of William Blake watercolours inherited from Frederick Butts grandfather who was a friend of Blake. Once widowed, Mary sold the watercolours, for which her daughter never forgave her. The portrait would naturally predate Mary's second marriage to Frederick Musgrave Colville Hyde, a retired army officer and friend of her first husband and possible father of her son Anthony (1901-1940). Despite only marrying in 1907, as her second husband was a heavy drinker, she was again widowed in 1919.Briggs remained in Poole for the rest of her life, supporting local charities such as the orphan's home and both the Bournemouth and Poole Art Societies, the latter for which she served as honorary assistant secretary. Prints of her religious images remained popular Sunday School prizes and she continued to exhibit locally until the Second World War. She died at home in Dorset in 1951.We are grateful to Kirsty Stonell Walker, Independent Art Historian and Author, for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Two bases for Trumpet Vases, Schwartzwald or Black Forest. Circa 1880.Wood-sculptured bases with glass trumpet vases, decorated with birds.  Condition report: - The glasses are probably a replacement. - One glass chipped. Dimensions: (L:14,5 x W:14,5 x H:40 cm)

A group of six Georgian wine glasses, mid-18th century, five with plain teardrop stems, comprising: two large glasses with flaring trumpet bowls and folded feet, the largest 20cm high; a similar smaller glass, 17.2cm high; a glass with bell bowl, single-knopped stem and domed foot, 16.8cm high; and a glass with bell bowl and folded foot, 16.5cm high; together with a glass with bell bowl above triple knopped stem and folded foot, 18.2cm high (6)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Condition Report: The two large trumpet bowl glasses in good condition with only tiny air bubbles to the stems and one bubble to each bowl.  The smaller glass with trumpet bowl with multiple tiny air bubbles.  The tear drop to the stem with a slight fault present since manufacture - there is a slight 'drag' to the mid-point.The bell bowl with single knop to the stem has a flat chip to the folded foot and a miniscule nick to the rim.  Air bubbles also present.The bell bowl with straight stem - the tear drop continues down the stem in two sections.The glass with the triple knopped stem - impurities to the stem and the join of the bowl to the stem is quite rough, possibly indicating a repair.

A group of Georgian cordial glasses, 18th century, comprising: a glass with round funnel bowl and clear spiral and multi-series twist stem, 15.8cm high; a glass with ogee bowl and opaque double-series twist stem, 12.6cm high; a glass with cup bowl and opaque gauze with red and opaque double spiral stem, 13cm high; and a glass with trumpet bowl engraved with a laurel band, 11.2cm high; together with a wrythen moulded dram glass with drawn conical bowl, 10cm high (5)Condition Report: The glass with multi-air twist stem - minor scratches to the bowl and foot, a few minor air bubbles to the foot. The glass with opaque double series stem - minor scratches to the underside footrim and top of the foot. The glass with red and opaque spiral stem - a small chip to the rim, a couple of minor scratches to the exterior of the bowl, some minor air bubbles to the foot. The glass with trumpet bowl - a couple of minor scratches to the bowl and foot. The dram glass - minor scratches to the exterior of the bowl and to the underside footrim. 

A group of Georgian wine and ale glasses, 18th century, comprising: a glass with bell bowl on a collared and double knopped multi-series air twist stem,16.2cm high; a glass with rib moulded ogee bowl with flaring rim on an opaque gauze and spiral twist stem, 16.1cm high; an ale glass with drawn trumpet bowl engraved with hops and barley, 16.5cm high; a glass with round funnel bowl on a plain stem and folded foot, 15.2cm high; and a large glass with drawn funnel bowl and teardrop stem, 17.1cm high (5)Condition Report: The glass with collared and knopped stem - minor scratches to the bowl and to the foot, minor scratches to the collar and join at the stem.The glass with opaque gauze and spiral stem - a small air bubble to the base of the bowl, a small air bubble to the foot, minor scratches to the bowl and footrim. The ale glass - very minor impurities to the foot and one to the bowl, minor scratching to the bowl and foot. The glass with plain stem - minor scratching to the bowl and footrim. The large glass with teardrop stem - a small impurity to the underside of the foot, minor scratching to the bowl and foot.