Central European Art Nouveau pink satin iridescent cabinet vase with openwork pewter collar, probably Bohemian and in the manner of Loetz and other makers, circa 1900–1915; softly iridized cranberry-pink satin glass of cylindrical form with rounded foot and flat polished base, surmounted by a silver-coloured pierced metal mount of scrolling Jugendstil design; approx. 12 cm (4¾ in.) high; very good condition with minor surface wear and light tarnish to the metal, no obvious chips or cracks.

Art Nouveau double cruet set with iridescent cranberry glass bottles and silver-plated stand, probably Central European/Bohemian, circa 1900; two hand-blown bulbous cruets in cranberry glass with golden iridescence, wheel-engraved with looped foliate and lattice bands and triple-ring detail to the necks, each with faceted clear glass stopper, resting in a pierced and cast silver-coloured metal stand of scrolling Jugendstil design on shaped base; approx. 23 cm (9 in.) high to stopper and 25 cm (10 in.) wide overall; overall very good antique condition with light surface wear and patina to metal, minor rubbing to iridescence, and a small, almost invisible chip to the rim of one bottle not affecting use.

Oval portrait miniature of a young lady in Rococo dress, seated in a landscape and weaving a garland of roses, more blooms gathered in her lap. Watercolour on thin ivory wafer, the reverse with characteristic wavy growth striations. Set behind convex glass in an oval brass bezel within a rectangular frame veneered with small ivory tiles and decorated with ink-drawn foliate scrolls. The card backing is made from a French printed text and bears an old collector’s label inscribed “Mme de Pompadour?”. French school, mid to late 19th century, after 18th-century prototypes in the manner of Boucher and his circle. Cracks and age-shrinkage to the ivory veneer, light rubbing and surface wear to the miniature and frame, consistent with age. Please note: export of ivory is subject to current regulations; buyers are responsible for obtaining any required permits.

Continental porcelain two-handled covered cup and saucer, late 19th century, decorated in the manner of Sèvres with monochrome printed scenes of frolicking putti on textured pink cartouches, scattered polychrome floral sprays and gilt scroll borders, domed cover with applied rose finial, underglaze blue script mark to base. Minor chips to cover rim and flower finial, light wear to gilding and enamels, no visible cracks.

Continental porcelain cachepot or flower pot, probably French or German, late 19th century, of cylindrical form with cream ground and pink and gilt banding, finely enamelled with a romantic riverside castle scene framed by profuse painted flowers, reverse with loose botanical sprays. Interior and base with light wear to gilding and surface rubbing, no major chips or cracks noted.

Circular hand-painted miniature after Raphael’s 'Madonna della Seggiola', probably early 20th century, finely executed on a thin translucent support and set behind glass in a gilt metal bezel on a square red velvet-covered strut frame. Inscribed to the back in Italian with subject and Florentine address. Light wear to velvet and frame, painting itself in very good condition.

Attributed to A. Leggett (British school, 19th century), oil on panel depicting an intimate cottage interior with three figures gathered around a candlelit table, rendered in warm browns and reds in the Victorian narrative tradition. Signed A. Leggett and presented in an ornate gilt-composition frame. Surface with age-appropriate craquelure and minor abrasions; frame with rubbing, small chips and losses to ornament.

Art Nouveau glass and metal-mounted vase by Württembergische Metallwarenfabrik (WMF), Germany, circa 1900–1910, the clear moulded glass liner etched with stylised lilies and set in an openwork pewter mount of flowing stems, ivy leaves and berries, underside stamped with WMF marks indicating antique silver finish. Glass in excellent condition; pewter with patina, rubbing and one applied leaf element detached and requiring reattachment.

French late 19th-century figural table lamp modelled as a standing winged cherub with gilt wings and drapery on an ornate Rococo revival base, originally made as a gas lamp and later converted to electricity with a C.G.E. Co. socket. Original painted and gilt finish with expected wear and rubbing; lamp in working order at cataloguing but professional rewiring is recommended for safety.

Late 19th-century English walnut-veneered jewellery or dressing box, approx. 12 x 8½ x 6½ in., with mother-of-pearl lid cartouche and escutcheon, fitted interior including letter compartment in the lid, lift-out tray and lower drawer, all lined in blue velvet. One mother-of-pearl escutcheon lacking, some veneer losses including one corner section, and wear to velvet lining consistent with age; no key present.

Chinese blue and white porcelain cylindrical vase, late Qing dynasty (probably Guangxu period), painted in underglaze cobalt with alternating cartouches of scholar-official and attendant in river landscapes, divided by dense floral scrollwork. Glaze with attractive iron-spot speckling, no crazing; one small old rim chip as shown, no cracks or repairs. Displayed on a later hardwood stand included with the lot.

Small Continental decorative wall medallion, late 19th–early 20th century, with a cast metal relief of a contemplative putto after Raphael’s 'Sistine Madonna' signed A. METRA(Y) to the lower edge, set within a beaded gilt frame and segmented cream surround described as ivory/ivorine composite. Relief with age patina and partial gilding loss; surround with age cracks and a more open split but stable, frame with rubbing and minor knocks.

Group of two Art Nouveau gilt-metal vanity pieces, early 20th century, comprising a clear pressed glass dresser jar with repoussé floral gilt lid and a small gilt jewellery or trinket box with scrolling floral decoration and pink fabric lining. Jar in very good condition with no chips or cracks and only minor base wear; both metal components with light rubbing, tarnish and small marks from use.

Arthur Gilbert (British, 1819–1895), oil on panel depicting a thatched cottage at sunset beside a lake, with two figures fishing in the foreground and rich evening sky beyond. Signed A. Gilbert and dated 1865. Set in an ornate gilt frame. Panel approx. 5½ x 4 in., frame approx. 12½ x 11 in. Painting with light surface grime and minor wear; frame with scattered chips and losses to composition and gilding, structurally sound.

Group of three mid-20th-century decorative items including an ornate cast-metal Rococo-style picture frame, a gilt sunburst oval frame, and a small gilt metal desk clock marked Made in Western Germany. Frames with minor rubbing and small losses to gilt finish; clock with age-related surface wear and patina, not tested for timekeeping at cataloguing.

Group of three ceramic pieces comprising a large hand-painted vase marked Made in Portugal with pink-edged scalloped rim and floral decoration, a tall unmarked white relief-moulded vase with chrysanthemum motifs, and an unmarked stoneware mixing or bread bowl with warm honey-toned glaze. All in good decorative condition with minor surface wear and small glaze imperfections typical of mid-20th-century production.

Pair of tall silver-plated candlesticks by Henry Birks & Sons, Canada, 20th century, each approx. 12 in. high, marked Birks Regency Plate St. James to the base and presented in the original Birks blue presentation box. Elegant tapering stems with circular bases. Light surface wear and polishing marks from use; box with age-related scuffs and edge wear.

Large studio pottery jardinière with deep cobalt blue glaze and applied three-dimensional grapevine, leaf and cluster decoration in contrasting stoneware, probably European, mid–late 20th century. Base with impressed shield-shaped cartouche containing a stylised S and an incised, indistinct potter’s signature. Approx. 11 in. wide. Overall very good condition with a few small chips to the tips and edges of applied leaves, no cracks or structural repairs.

Pair of mid-20th-century Chinese cinnabar lacquer items comprising a rectangular trinket box carved with scholars in landscape and marked CHINA to the base, approx. 4 x 2½ x 1½ in., and a small snuff or perfume bottle carved with floral motifs and bearing an apocryphal Qianlong mark to the underside. Box with minor lacquer loss to the interior edge not visible when closed; bottle in good condition with light wear.

Figural desk inkwell modelled as a running hare, likely British, early 20th century, cast in pewter with detailed fur and fitted with a circular brass collar for a now-missing glass or ceramic ink liner. Underside unmarked. Approx. 7½ in. long. Overall good condition with age-appropriate patina and wear; restoration to one rear leg visible on close inspection; glass liner lacking.

Set of five studio and Murano-school paperweights incl. millefiori, iridescent, and controlled-bubble examples.

A mixed collection of silver-plated table and serving wares, comprising: a large Victorian/Edwardian champagne bucket with lobed lower body; a rounded kettle-on-stand with burner; an ornate Rococo Revival teapot on cast stand with warmer (one side of stand broken, requiring repair); a tall engraved hot-water jug; a small tripod burner base; and a substantial Victorian meat dome engraved with the initial “J.” Executed in various English and American silverplate traditions between c. 1880 and 1915. A substantial group suitable for restoration or decorative display. Condition: Heavy tarnish; surface wear; one stand broken and detached; otherwise structurally sound.

A pair of Chinese cloisonné desk and decorative items, including a miniature baluster-form vase decorated with multi-colored plum blossoms against a black scrollwork ground and turquoise enamel interior, together with a rectangular cloisonné stamp box with matching blossom motif and hinged lid. Executed in fine-wire enamel technique on copper and brass bases. A charming coordinated group. Condition: Both pieces in very good condition with clean enamels and light expected patina.

Circular brass box finely decorated in cloisonné enamels, the domed cover with a front-facing five-clawed dragon coiled among clouds and pursuing the flaming pearl against a pale blue ground, enclosed by a dense gilt scroll border. The sides with upright lappet panels and continuous cloud scrolls on a black ground, the interior richly enameled in turquoise. A well-executed example in the tradition of late Qing imperial dragon wares. Condition: Very good condition with bright enamels and only light rubbing to gilded rims; no apparent chips or cracks.

A fine Art Nouveau iridescent art glass vase, probably Bohemian or Austrian, the squat bulbous body rising to a flared and ruffled rim, the whole finished in rich gold iridescence with pink and green highlights and an all-over raised web-like crackle texture. Polished pontil to the base. In the manner of Loetz and related Bohemian makers. Condition: Very good condition with strong iridescence and no apparent chips or cracks; minor light wear consistent with age.

A substantial Art Nouveau period iridescent art glass flower bowl, probably Central European or American, the broad circular body with mottled green lower section and satin pastel iridescence in pink and gold tones, fitted with its original brass collar and removable lattice metal frog for arranging flowers. A decorative centerpiece form in the Loetz/Steuben tradition. Condition: Glass in excellent condition with strong iridescence and no chips or cracks. Metal frog and collar with oxidation and wear to original gilding, consistent with age.

An English silver-plated cruet or condiment set, Sheffield, early 20th century, the shaped base on four ball feet supporting four matching cut and engraved glass bottles—two with faceted stoppers and two with hinged plated lids—held within wirework rings below a tall sinuous Art Nouveau looped handle. Underside stamped with Sheffield electroplate marks and pattern number 9162. Condition: Glass bottles in very good condition with no apparent chips or cracks. Stand with tarnish, plate wear, and pitting to the base and mounts, consistent with age and use.

American art pottery watering can by Roseville, in the “Zephyr Lily” pattern, moulded with pink and yellow lilies and leaves on a green ground, the circular strap handle rising over a flaring body with short spout. Base impressed 7T. A classic mid-century Roseville form. Condition: Minor chip to tip of spout; light surface wear to base; no cracks or repairs.

Comprising a smaller mahogany-veneered rectangular box with ebony-style stringing, round mother-of-pearl corner bosses and diamond cartouche to the lid, together with a larger burr-walnut veneered box with matching mother-of-pearl shield cartouche and escutcheon. Both likely English, Victorian, c. 1860–1885, originally used as work or stationery boxes. Condition: General surface wear, scratches and small veneer losses consistent with age; one corner chip to the larger box; both lacking keys but structurally sound, mother-of-pearl inlay intact.

LOil on tin panel, unsigned, depicting two peasants drinking and smoking at a table in a rustic interior, one figure raising a glass while the other leans back in laughter, a jug and other tavern objects on the floor and table. The work is set within its original gilt gesso frame, the scene painted in the manner of 17th-century Dutch tavern interiors. Condition: Painting with minor edge wear and small scattered paint losses, surface craquelure and light grime; metal support sound. Frame with noticeable rubbing, losses and chipping to the gilt gesso, consistent with age; structurally stable and presentable.

Cast brass miniature incense burner or shrine ornament, of cylindrical form with twin elephant-head handles, the domed cover pierced and moulded with lotus and foliate motifs above a band of floral decoration and a lappet-moulded base. Interior rim with cast numerals and partial foundry inscription. Warm brown patina. Condition: Good condition with light surface wear and rubbing to high points; no structural damage.

A charming Chinese carved soapstone figural group, depicting five monkeys climbing and playing atop an integral shaped base, the lower figure holding a small fruit or ball. Carved from a warm creamy-beige stone with natural veining and good detail to faces and limbs. A lively small scholar’s or desk ornament. Condition: Excellent overall condition with no apparent chips, cracks, or repairs; minor natural inclusions to the stone.

A Chinese porcelain plate, late Qing dynasty, with pale celadon glaze finely enamelled in the famille rose palette with birds, butterflies, flowers and scrolling foliage, the base bearing an underglaze blue seal mark, adapted in Europe and mounted within an elaborate French gilt-bronze frame modelled as rockwork with three naturalistic birds perched around the rim. Condition: Plate in very good condition with no apparent rim chips or cracks, enamels bright; small drilled hole to base from earlier mounting. Gilt-bronze mount with rubbing and oxidation to gilding, structurally sound.

A pair of tall Chinese porcelain bottle vases, each with rounded body and long cylindrical neck, the sides moulded in relief with a sinuous dragon among cloud scrolls, all under a very pale blue celadon glaze with intentional overall crackle. The unglazed foot rings show iron-red firing residue. A striking decorative pair in the tradition of late Qing and Republic-period dragon vases. Condition: Both vases in very good condition with no apparent chips or structural cracks; deliberate all-over crazing to the glaze with minor associated staining and small firing imperfections; light wear to the foot rims.

Comprising a small baluster vase, a circular covered box and a miniature covered jar, each worked in cloisonné enamel on copper with gilt-brass rims and bases, the exteriors decorated with scrolling flowers and foliage on a rich cobalt-blue ground, the interiors in turquoise enamel. Attractive matched group of mid-century Chinese decorative cloisonné. Condition: All three pieces in very good condition with only minor surface wear and tiny manufacturing pits to the enamel; no apparent chips, cracks or repairs.

A striking Chinese cloisonné covered cup in the form of an egg on a flaring pedestal stand, the exterior decorated with lotus blossoms and scrolling foliage reserved on an iron-red ground filled with key-fret pattern, all picked out in gilt wires. Fitted with a brass finial and rims, the interior finished in turquoise enamel. A colourful mid-century example of Chinese export cloisonné, impressive in height and presence. Condition: Very good condition with bright, intact enamels; minor manufacturing pits and light rubbing/tarnish to the brass mounts; no apparent chips, cracks, or repairs.

Charming mixed group comprising four small boxes: Suitcase-form box – navy enamel over metal with moulded straps and handle, hinged lid opening to a gilt interior lined with bright pink satin, approx. 2¼ in. wide. Square trinket box – silver-tone metal on cabriole feet, repoussé scrolling foliage, lid set with a domed yellow cabochon. Pair of heart-shaped boxes – each with blue-and-white floral porcelain plaques to lid and base, within engraved white-metal frames, side-hinged. Condition: all with age-consistent surface wear; suitcase box with scattered enamel losses; metal elements toned/tarnished; porcelain plaques without obvious chips or cracks; hinges functioning.

A grouping of three early 20th-century decorative vanity and miniature objects, comprising a Continental porcelain miniature vase painted with a Rococo pastoral courting scene; a molded opaline-blue milk glass powder shaker with hand-painted floral decoration and original tinned-metal perforated cap; and a small glass perfume bottle encased in fine petit point embroidery with gilt filigree shoulders and cap. Each piece representative of the romantic revival styles popular in European and American vanity accessories of the period. Light wear consistent with age, including oxidation to metal elements.

An extensive Royal Winton Grimwades “Golden Age” gold lustre service, comprising a wide selection of mid-century tea and dessert wares, including multiple coffee and tea pots, creamers, sugars, teacups with matching saucers, molded dessert plates, pedestal dishes, and a tiered-cake stand with hardware. Each piece finished in the pattern’s signature mirror-bright all-over gilt lustre over molded ceramic forms. A striking and desirable Royal Winton service ideal for display or special use. Overall light wear to gilding consistent with age and use.

Bohemian ruby cut-to-clear crystal vase of spherical form, deeply wheel-cut with hobstars, pinwheels, sunbursts, lattice panels, and leaf swags, executed in thick ruby overlay and polished to brilliance. A finely made Central European example from the interwar to mid-century period, notable for its crisp cutting and rich coloration. Perfect condition, with no chips or cracks.

A two-piece grouping of Continental porcelain comprising a tall baluster-form vase with elaborate gilt rococo revival handles modeled as scrolls with grape clusters, lavishly hand-painted with multicolored floral bouquets and enriched with raised and brushed gold, together with a footed compote similarly decorated with polychrome florals and gilt scroll borders in the Dresden manner. Both pieces display the high-quality late 19th-century European floral painting tradition. Good overall condition with no visible chips or cracks; light gilt wear consistent with age.

A pair of carved Italian alabaster bookends in stepped book-spine form, the stone displaying attractive grey veining and a smooth polished finish. Retaining the original Tirrenia workshop label for JIM, known for quality stonework in alabaster, marble, and onyx. Solid and weighty, ideal for display or functional use. Very good condition with no chips or cracks.

Assorted group of late 19th- and early 20th-century literary and devotional books, including: The Works of William Cowper: His Life, Letters, and Poems (Boston, Phillips, Sampson & Co., 1851, illustrated, Boston edition); The Life and Epistles of Saint Paul by W. J. Conybeare and J. S. Howson (Hartford, Conn.: S. S. Scranton & Co., 1859, “People’s Edition,” illustrated); Pictorial Lives of the Saints edited by John Gilmary Shea (New York, Cincinnati & Chicago: Benziger Brothers, 1889); Komtesse Käthe in der Ehe. Humoresken by Eufemia von Adlersfeld-Ballestrem (Leipzig, Philipp Reclam); Germania Jugendbibliothek – Die Ansiedler in Canada. Eine Erzählung für Kinder (Milwaukee, Wis.: Geo. Brumder); Elbert Hubbard, Health & Wealth (Roycrofters, East Aurora, N.Y., 1908); a Dionne Quintuplets booklet Here We Are Three Years Old; and several other small volumes. Mixed bindings including decorative gilt cloth and pictorial boards, some with engraved plates. Condition varies from fair to good: typical rubbing to boards and extremities, scattered foxing and toning, some loose or shaken hinges, one or two volumes with losses to spine ends and worn corners, but generally sound reading or display copies with attractive shelf presence. Approximate tallest height 9–10 in.

Group of four Chinese cloisonné on copper miniature covered containers, comprising a matching pair of cylindrical lidded canisters decorated with lotus and scrolling clouds on a deep blue ground, together with a small owl-form box and a bird-form box, each with lift-off cover. All with turquoise enamel interiors, fine wirework outlines and bright polychrome enamels in shades of blue, green, pink, yellow and white. The pair of canisters and the bird box likely mid- to late 20th century export pieces; the owl box slightly later but of similar quality. Condition: overall very good, with light surface wear and minor enamel pitting; one or two tiny flea-bite losses to enamel at rims and high points; interiors clean. Heights from approx. 1 3/8 in. (smallest) to 3 3/4 in. (tallest).

Pair of French spelter figures after Auguste Moreau, titled Vendange and Danse des Blés, each mounted on a simulated marble circular base with brass title plaque “VENDANGE Par Aug. Moreau” and “DANSE des BLÉS Par Aug. Moreau”. The male figure modelled dancing with a garland of grapes, the female figure dancing with her skirt filled with wheat. Dark patinated finish with remnants of gilt highlights. Both figures signed in-cast on the base. Condition: structurally sound but with notable wear and losses to finish; scattered rubbing, oxidation and small casting flaws; the female figure lacking part of her raised hand (missing palm) and with some roughness at extremities; bases with small chips and wear to faux-marble finish. Approximate height 13 1/2 in.

Group of two late Victorian wooden boxes, the larger a rosewood veneer jewellery or dressing box with mother-of-pearl escutcheon and stringing, fitted interior with red silk and compartmented tray; the smaller a mahogany box with simple brass escutcheon and later three-compartment interior. Both with hinged lids and brass locks (no keys). Condition: both boxes require restoration; veneers with cracks, lifting and losses, corners bumped, finish worn and scratched; interiors with staining, fading and fabric wear, one lid lining torn and detached in areas; hardware with oxidation. Larger box approx. 6 1/2 in. H x 12 in. W x 9 in. D; smaller approx. 5 in. H x 10 in. W x 6 in. D.

Continental hand-painted miniature portrait scene under convex glass, depicting an 18th-century gallant bowing to a lady on a stair within a richly panelled interior, rendered in soft pastel tones with fine detail. Signed lower right “René.” Presented in a deep faux-ivory and tortoiseshell-effect frame with angled panels and gilt inner slip, the back with patterned paper covering and old dealer labels. Condition: painting in very good condition, with only minor dust and light surface marks visible under the curved glass; frame with age-related cracks, toning and small chips to the faux-ivory finish, minor wear to corners and edges; hanging loop to top. Overall size approx. 9 1/2 in. x 8 in.; image sight approx. 4 1/2 in. x 3 1/4 in.

Victorian rectangular footstool, the padded top covered in brown corded fabric with wool needlework panel depicting a compote of fruit and flowers, raised on a low ebonised wooden base decorated to the sides with veneer classical urn-and-foliage scrolls. Condition: upholstery with general wear, light soiling and minor pulls to pile; colours still presentable; wood base with scattered scuffs, small edge chips and rubbing to painted decoration; structurally solid. Approx. 6 in. H x 14 in. W x 10 in. D.

Decorative collection of framed floral needlework and embroidery pieces, nine in total, including a large octagonal frame with central urn of flowers, two circular framed woolwork floral sprays, several smaller oval and circular examples, and a single small framed print after embroidery. Frames of various materials and finishes including gilt, faux wood and painted composition. Condition: overall good decorative condition with expected minor fading and toning to textiles; a few with small loose threads or light staining; frames with scattered chips, scratches and rubbing, some with minor separation at corners. Largest frame approx. 18 in. x 15 in., smallest approx. 4 in. diameter.

Group of three Chinese cloisonné circular covered boxes, comprising a taller cylindrical example decorated with dragons and flaming pearls on a deep blue ground, and two lower circular boxes with turquoise and black grounds, each decorated with flowers, foliage and geometric borders. All with turquoise enamel interiors and gilt metal rims. Condition: overall good, with light surface wear, minor enamel pitting and a few tiny losses to high points; interiors with some spotting and tarnish to metal. Heights from approx. 1 1/4 in. to 3 3/4 in.; diameters up to approx. 4 1/2 in.

Substantial Middle Eastern cloisonné enamel on metal vessel of lobed form, likely intended as an incense burner or brazier, now suitable as a small jardinière or flower pot, decorated in alternating panels of dense floral scrollwork and hexagonal millefiori-style diaper in rich enamels of turquoise, red, blue, green and white. Raised on a separate carved hardwood stand with four bracket feet. Condition: enamel with scattered areas of wear, small nicks and minor losses at high points and along some panel edges; interior with oxidation and soiling, and missing its original metal insert; stand with scuffs and small edge chips consistent with use. Overall height with stand approx. 11 in., vessel height approx. 8 1/2 in., diameter approx. 11 in.

Royal Worcester blush ivory porcelain basket-form bowl, moulded and painted to simulate a woven basket, the interior finely hand-painted with scattered sprays of polychrome flowers and gilt tendrils, the rim set with two arched gilt handles. Printed green Royal Worcester mark to underside with additional painted numerals. Condition: in very good condition with light wear to gilding on handles and rim, minor surface marks and slight firing imperfections typical of the ware; no chips, cracks or restorations observed. Approx. 7 1/2 in. across handles x 3 1/4 in. high.

Small cast-brass figure in tribal style, probably India, depicting a stylised standing figure with elongated headgear and prominent facial features, holding a horizontal object before him, raised on a circular base. Likely made by the lost-wax (cire perdue) method, with visible casting seams and hand-finished details, retaining traces of dark patination and gilt wash. Condition: overall good with areas of oxidation, surface pitting and rubbing to high points; base rim with roughness and small casting losses; underside showing casting cavity and old residue. Height approx. 4 3/4 in.

Cast-brass low ritual stand, likely for puja or as a deity/platform stand, rectangular top supported on four sculptural legs, each formed as an openwork peacock with stylised head and long tail, rising from bell-shaped lotus bases. The thick, slightly dished rectangular top is finely engraved with concentric bands of scrolling foliage and geometric borders around a central circular medallion. Dark brown patina overall. Probably North or South India, mid–20th century, made in solid cast brass with hand-chased detailing, intended for supporting ritual objects, lamps or small icons, and now also suitable as a display stand. Condition: overall good, solid condition with honest age wear; surface with scattered small nicks, light scratches and casting imperfections, particularly along the underside and edges; patina uneven with areas of lighter brass showing on some high points; minor bending irregularities consistent with hand casting; stand sits essentially level and stable; no obvious cracks, breaks or repairs observed. Height approx. 5 3/4 in.; top approx. 7 1/2 in. x 5 1/2 in.

Hand-thrown Korean celadon glazed stoneware vase, ovoid form with short straight neck and slightly flared mouth, the pale blue-green glaze with allover crackle. The body is decorated in reserved cartouche panels with a subtle inlaid scene of ducks swimming among reeds, framed by a scalloped border. The surrounding ground carries a dense pattern of small raised dots, above a band of stylized petal lappets around the foot. The neck is encircled by a key-fret border and the shoulder with a cloud-lappet motif. The base is fully glazed with an unglazed footrim, inscribed with Korean characters and an impressed seal mark, indicating studio or artist production. A fine modern interpretation of traditional Goryeo-style celadon. Condition: no chips, hairline cracks, or restorations observed under normal inspection; glaze with intentional allover crazing typical of this ware, with a few darker craze lines more visible on the base; minor firing imperfections including small pinholes and glaze bubbles, especially to the underside, and a few tiny iron specks in the glaze; very light surface wear to the footrim from display. Height approx. 11 in.; max. diameter approx. 6 1/2 in.

Small sculptural art pottery vase, likely mid-20th century, of compressed ovoid form with short neck and stylised bird/owl handles. The body is heavily textured overall with closely packed circular impressions, creating a pebble-like surface, and decorated in a matte black glaze with applied ochre-yellow roundels and scalloped collar suggesting an abstract owl face and breast. Two wing-like side projections rise from the shoulders, reinforcing the bird motif. The underside is fully glazed and hand-inscribed in yellow “50E/61” (shape or decoration number), but otherwise unsigned. An engaging, tactile studio piece, displaying strong mid-century modernist design. Condition: overall good vintage condition with expected wear; surface shows scattered small rubs and minor glaze losses on the high points and base edge, particularly to some of the yellow roundels; no visible chips, cracks, or repairs; base ring with light abrasion from shelf contact. Height approx. 4 3/4 in.; width across “wings” approx. 4 1/2 in.

Wheel-thrown Japanese stoneware bowl, the creamy buff body covered in a clear glaze and painted in underglaze blue with loose, calligraphic floral or foliage motifs around the exterior and a simple blue line at the rim. The interior is left largely plain, with a circular double-line reserve enclosing a hand-painted signature in Japanese characters to the center. The foot is neatly cut with an unglazed footrim showing the coarse, sandy clay body. A pleasing piece of mid-20th-century mingei-style studio pottery with free brushwork and a warm, slightly rustic feel. Condition: no chips, cracks or repairs observed under normal inspection; minor firing imperfections including small iron spots, pinholes and a few tiny glaze bubbles; one small kiln inclusion/slag spot to the interior floor; very light wear to the rim and foot from use and display. Diameter approx. 5 3/4 in.; height approx. 2 1/4 in.

Barrel-form lidded ice bucket in polished copper with brass banding, the body constructed as a coopered barrel with two broad brass straps secured by domed rivet heads and matching brass foot and rim bands. The domed copper lid has a turned knop finial, and the bucket is fitted with a pivoting brass swing handle. Interior retains the original clear removable glass liner, sized to drop neatly within the metal shell. The underside of the base stamped with a diamond-form maker’s mark “TRADEMARK / LINTON / MADE IN ENGLAND”, identifying the maker as Linton. A handsome piece of mid-century English cocktail service, ideal for a home bar. Condition: copper body with overall surface wear, scattered small dents and scratches, and areas of spotting and tarnish consistent with age and use; brass bands and handle with oxidation and patina, some rubbing and minor verdigris around rivets; lid fits well, knob secure; glass liner present and free of cracks or chips, with light internal scratching and clouding from use; base with more pronounced surface wear and toning around the stamped mark. Height to top of lid approx. 6 1/2 in.; height to top of raised handle approx. 9 in.; diameter approx. 5 3/4 in.

Aynsley “Camellia” fine bone china bud vase, mid–late 20th century, of elegant elongated form with flared rim, moulded with soft Art Nouveau–style leaf and bud relief to the neck and shoulder, glazed in an ivory white with gilded rim and foot, underside printed in red “AYNSLEY CAMELLIA FINE BONE CHINA MADE IN ENGLAND” with crown mark. Height approx. 8 in. Very good condition with no chips or cracks observed; minor light surface wear and slight wear to gilding at rim and foot consistent with gentle use.

Group of three Chinese cloisonné enamel wares, early–mid 20th century, comprising a large low circular bowl with red ground and scrolling floral decoration to interior and exterior, a smaller straight-sided bowl with black ground and polychrome peony and foliate design, and a diminutive spherical covered salt or condiment with tripod feet and matching spoon, decorated with dragons on a black ground; all with turquoise or blue enamel bases. Largest bowl approx. 7 in. diameter. All with typical pitting, minor enamel losses, surface scratching, and patination to exposed brass edges; small salt with light wear to gilt interior.

Carved netsuke-style figure of a seated man, probably Japanese or Japanese-style, early–mid 20th century, carved in the round from a light organic material and stained to accent the facial features and textured robe, the figure modelled with a rounded body and expressive face, underside with central himotoshi-type drilling. Height approx. 1 7/8 in. Surface wear, handling patina and age-related hairline lines to the material; no obvious losses or repairs noted.

Continental porcelain vase, probably German or Austrian, early 20th century, of flattened pear-shaped form with tall square-section neck, the yellow-ground panels finely hand painted with polychrome floral bouquets to one side and romantic courting couples in landscapes to the others, within gilt and scroll borders, the base with underglaze blue pseudo-Meissen style mark. Height approx. 11 3/4 in. Light surface wear and minor rubbing to gilding; no chips or cracks observed.

Chinese cloisonné enamel vase, mid-20th century, of baluster form with flaring rim, decorated overall with purple chrysanthemum blossoms and green leaves reserved on a white “cloud” ground, bordered by ruyi-head and lappet bands in green and purple, base enamelled blue. Height approx. 8 in. In good condition with typical light pitting, minor enamel imperfections and small spots of wear to metal rims.

Pair of contemporary modernist bookends, likely resin or composite, each formed from interlocking arched elements in contrasting black and white to create a bold abstract stepped design. Each approx. 5 in. high and 3.5 in. wide. Minor light surface scuffs and a few small marks from handling; otherwise in good presentable condition.

Pair of modern stone bookends, probably marble or onyx, each of squared profile with opposing cut-out curves, the cream-coloured stone inset with contrasting brown stone panels at top and bottom. Approx. 6 3/4 in. high. General light surface wear, small edge nicks and natural veining; overall good decorative condition.

Pair of stylised seated cat bookends in cast metal with bronze-coloured finish, mid–late 20th century, each feline rendered in angular Art Deco style on a stepped rectangular plinth. Height approx. 7 1/4 in. Overall even patina with scattered rubs and small scratches; bases with minor wear, no structural issues noted.

Pair of carved stone Foo dog or guardian lion bookends, mid-20th century, each figure finely carved in pale grey and cream stone seated on a rectangular plinth with incised decoration. Height approx. 6 1/2 in. Minor edge nicks and natural inclusions to the stone, light surface wear; overall good condition.

Pair of solid grey marble bookends, late 20th century, each of tall half-round pillar form with softly rounded tops and attractive grey veining, polished on all visible surfaces. Approx. 6 3/4 in. high. Minor surface scuffs and small edge nicks consistent with use; overall very good decorative condition.

19th century Continental porcelain vase, probably French or German, of classical urn form on square plinth, richly decorated with gilt and hand-painted rural landscape panel to one side, flanked by gilt scroll handles modelled as stylised swans, with further gilded bands and detailing throughout. Height approx. 8.5 in. Some rubbing and losses to gilding, small firing and glaze imperfections, and general surface wear; no major chips or cracks observed. Profeccional restoration to handles

Pair of late 19th–early 20th century biscuit barrels, comprising a pink-ground enamelled glass barrel with Rococo-style painted reserve of courting couple and ornate metal mount with eagle finial, and a blue jasperware ceramic barrel with white hunting and pastoral reliefs and metal-mounted lid and swing handle. Heights approx. 10 in. and 8 in. including handles. Both with surface wear, tarnishing and patina to metal mounts; pink barrel with expected enamel and paint wear, jasperware-style barrel with a few small rim nicks and light staining to relief.

Pair of late 19th–early 20th century bud vases, each with white marble ovoid body mounted on gilt metal bases and collars cast with scrolling acanthus and Rococo ornament. Heights approx. 8 1/2 in. General surface wear, minor natural veining to marble; gilding with rubbing and small spots of tarnish; one vase slightly leaning from mount as assembled.

Group of three American art pottery planters, early–mid 20th century, comprising a pair of R.R.P. Co. (Robinson Ransbottom Pottery Co., Roseville, Ohio) jardinières moulded with stylised tulip or floral design in green and brown streaked glaze, each base impressed “R.R.P. CO. ROSEVILLE, OHIO USA” and size mark, together with a green-glazed novelty frog planter with moulded circular mark to base. Jardinières approx. 6 in. high. All with overall crazing, light glaze wear, minor factory firing imperfections and small base rubs; no major chips or cracks observed.

Lot of two miniature Holy Bibles, 20th century, including a New Revised Standard Version Bible housed in a small metal and enamel book-form case with white front panel and applied gilt cross, and a smaller earlier American miniature Holy Bible containing the New Testament, printed in U.S.A., in black paper covers, both originally contained within a small worn leatherette outer case. Larger Bible approx. 1 3/4 in. high. Wear, rubbing and small losses to outer case and paper covers; slight toning and handling to pages; enamel and metal book-form case with light surface wear.

Pair of cream-coloured onyx stone bookends, mid-20th century, each of stepped rectangular base surmounted by a vertical back plate and a polished stone sphere, creating a simple geometric architectural form. Approx. 5 1/2 in. high. Natural veining and colour variation, minor edge nicks and light surface wear consistent with age and use.

Early 20th century painted pine blanket or storage chest, rectangular with slightly overhanging plank lid and integral feet, retaining old black paint with worn edges revealing wood beneath, fitted with side carrying handles and iron lock with later key, the interior lined with patterned paper. Approx. 30 in. wide, 15 in. deep and 15 in. high. Overall wear to paint, scattered scuffs, chips and marks, interior paper with staining and tears; structurally solid and characterful.

Group of five Continental porcelain demitasse cups and saucers, late 19th–20th century, each richly decorated with gilt and hand-painted reserves including romantic figures and floral sprays, in cobalt blue, yellow and red grounds, some with pseudo-Sevres style marks beneath. Sizes vary slightly. Overall good decorative condition with minor rubbing to gilding and light surface wear; one or two pieces with small firing imperfections or minute rim nicks.

Pair of wooden boxes, comprising a larger mahogany veneered tea caddy or storage box with shaped domed lid and bun feet, the interior with twin covered compartments flanking a central circular well, and a smaller inlaid wooden box with domed lid, likely late 19th–early 20th century, the latter with geometric parquetry panels and green painted interior. Both with age-appropriate wear including scratches, small losses and interior marks; the larger with veneer losses and lifting to the lid, the smaller with interior scuffing and an absent key.

Group of three Royal Doulton “Pretty Ladies” bone china figurines with original boxes, late 20th–early 21st century, each modelled as an elegant lady in swirling blue or violet gowns, finely hand painted and titled to the undersides (titles not fully checked), together with three original Royal Doulton boxes. Figures generally in very good condition with no obvious chips or cracks noted; light shelf dust; boxes with tape residue, writing, creases and general storage wear.

Mixed lot of Birks and other silver-plated flatware, early–mid 20th century, including four dinner forks, three smaller forks, two tablespoons, four hollow-handled knives and three additional knives of related patterns, many pieces bearing Birks marks, together forming a useful group for the table or for polishing projects. All with varying degrees of plate wear, scratches, tarnish and small dings from use; some handles with minor distortions, knives with typical edge wear and light staining; an attractive mixed group for everyday use or decorative display.

Inlaid bone and wood bangle bracelet, probably Indian or African export, mid-20th century, formed as a wide laminated band of carved bone panels over a turned hardwood core, the upper edge decorated with a continuous band of black triangular inlay creating a bold geometric border. The bone with attractive creamy patina, minor surface wear and small age-related hairline cracks at some joints; interior wood with light abrasions consistent with normal use.

Pair of wooden storage boxes, comprising: a late 19th–early 20th century mahogany document or jewellery box, the rectangular case with plain exterior and hinged lid opening to a fitted interior tray divided into numerous small compartments with a central well and a narrow red-velvet lined section, brass hinges and lock, together with a steel key; and a smaller mid-20th century plain hardwood rectangular box with dovetail corners and hinged lid, likely for stationery or general storage. Larger box approx. 15 1/4 in. wide; smaller box approx. 13 in. wide. Both with surface scratches, minor bruises and general wear consistent with age and use; the larger box with small veneer losses and repairs to lid corners, interior velvet worn, but overall presentable and usable.

Unmarked bowl-back teardrop mandolin, probably European factory production, circa 1920–1940, with ribbed bowl back, spruce top and oval soundhole, fitted with a floating bridge above a painted tortoiseshell-effect pickguard decorated with scrollwork and small dot inlays, plain headstock with eight tuners for four string courses. Approx. 24 in. overall length. In fair, decorative condition with heavy surface wear, scratches and dirt to top and pickguard, wear and possible repair at the tailpiece area, oxidized hardware and worn fingerboard; strings old and instrument not guaranteed playable, sold as found for restoration or display.

Pair of Birks dark-stained wooden presentation / flatware boxes, mid–late 20th century, likely Canadian. The larger long rectangular box with hinged lid and full-width pull-out drawer, fitted with bright turquoise textile-lined interior for flatware or serving pieces, front set with three small circular brass mounts. The slightly smaller companion box with shaped front edge, hinged lid and small brass latch, similarly lined, both interiors undivided and suitable for repurposing as storage or display.

Cylindrical carved onyx and brass-lipped lidded canister, mid–late 20th century. The body in translucent cream-toned onyx with warm russet and honey veining, fitted at the mouth with a simple brass collar, the flat circular lid carved from matching stone with pronounced veining and a shallow, dish-form underside. Likely intended as a small vanity or desk canister for cotton, cigarettes, or trinkets; attractive natural stone patterning and minimalist, modernist profile.

Assorted group of late 19th–early 20th century porcelain, comprising two English Imari-style coffee cups with matching saucers and associated side plates, together with two small porcelain scent bottles. The tea wares finely decorated in cobalt blue, iron red and gilt with stylised flowerheads and scrolling giltwork on white ground, one side plate with central flower spray roundel, the other with radiating geometric and floral panels in the classic “Japan” / Imari palette, both cups with gilded handles and interiors with gilt rims. The scent bottles including a small cylindrical bottle painted with red and blue flowers and foliage, fitted with a metal hinged cover, and a squat square green-ground bottle with canted gilt feet, each face reserved with hand-painted floral sprays and enriched with raised gilt scrollwork, the neck with metal-mounted screw cap.

Victorian brass and glass paraffin / oil lamp with Young’s screw-fitting burner, late 19th century. The lamp with clear moulded and wheel-engraved glass shade decorated with radiating starburst and foliate motifs above a clear glass font similarly decorated with stylised foliage, fitted with brass collar and twin disc winder stamped YOUNG’S SCREW FITTING to each side. Reeded column stem rising from a domed and stepped brass socle, all mounted on a circular black glass plinth, complete with clear glass chimney. An attractive period example retaining its original burner and fittings.

Assorted group of 20th-century European ceramics comprising: a Royal Doulton character jug modelled as a jovial gentleman in tricorn hat, titled to the side “DICK TURPIN,” brightly enamelled in polychrome glazes and marked beneath with printed Royal Doulton lion-and-crown backstamp, “Made in England”; a pair of Meissen porcelain plates with gently lobed rims, each decorated simply with an orange-red line to the rim and inner well and bearing underglaze blue crossed-swords mark; together with two blue jasperware-style pieces, including a small jug and a cylindrical pot with metal cover, each applied in white relief with classical figures and foliate borders, in the manner of Wedgwood.

1847 Rogers Bros. silver-plated flatware service in original fitted wooden canteen, mid-20th century, by The International Silver Company of Canada Limited. The stain-finished rectangular box opening to a bright red fitted textile interior with maker’s plaque reading 1847 Rogers Bros. / The International Silver Company of Canada Limited. The upper rack fitted with eight table knives, the lower section with assorted forks and spoons (a part service), each piece with bright-cut floral and scroll decoration to the terminals in the typical 1847 Rogers Bros. style. A classic mid-century plated flatware service, ideal for everyday or special-occasion use.

Set of three small 19th-century hand-coloured steel engravings, each framed and matted. The first a marine or riverine view inscribed “Painted in 1797 by S. F. Serres, Esq., Marine Painter to His Majesty George III, and engraved by W. Floyd”; the second an architectural view after Thomas Allom, engraved by F. J. Havell; the third a pastoral landscape “painted by W. Linton from a painting in the possession of Benj. Hick of Belton, engraved by Higham.” All three impressions with fine original or early hand colour, now presented in later cream mounts with peach-coloured slips and matching gilt-edged dark wood frames, ready for display.

After Albrecht Dürer (German, 1471–1528), Melencolia I, 20th-century facsimile reproduction by Bundesdruckerei, Berlin. Black-and-white printed facsimile of Dürer’s celebrated 1514 engraving, depicting the seated winged figure surrounded by geometric solids, tools, magic square and distant seascape. The sheet bears on the reverse a round stamp reading “Faksimile Reproduktion Bundesdruckerei Berlin,” indicating issue by the German state printing office. Presented in a simple gilt-wood frame with beaded inner edge and cream mount, glazed and ready to hang.

Small antique intaglio print, probably 19th century, printed in brown ink within an oval reserve and showing a finely drawn study of a stylised object or figure (subject indistinct under glass), set against a softly worked background. The print is mounted on a cream ground and presented in a simple black-painted wooden frame. The reverse bears an old gallery or dealer label together with a later handwritten note describing the work as an “antique – museum piece,” suggesting earlier collection or exhibition history. Unsigned.

Pair of small 19th-century Berlin architectural views, each titled in German and signed E. Gaertner in the image, after Johann Philipp Eduard Gärtner (German, 1801–1877). Each work shows a lively urban scene framed by an arched border with foliate scroll corners and inscribed title to the lower margin: “Die Hercoles Brücke” and “Die Königs Brücke.” Figures, carriages and trees animate the bridge approaches with the city beyond. Delicately hand-coloured in watercolour over printed outlines (probably steel engravings or lithographs) on paper. Both presented in period-style black frames with gilt slips and buff mounts, glazed.

Original 19th-century British steel engraving of a young woman at a lattice window, after Edmund Thomas Parris (1793–1873), engraved by H. Cook. Three-quarter length, the sitter turned slightly to the left, wearing a voluminous gown with richly shaded sleeves and a broad lace collar, one hand resting on the window frame, the other holding a letter, her hair dressed in ringlets. Finely worked in mixed engraving and stipple, printed in warm black on wove paper. Inscribed in the lower margin “Drawn by E. T. Parris” and “Engraved by H. Cook” (title hidden by the mount, likely from one of the popular Victorian “female portrait” series issued in the 1830s–1840s). Presented in an ornate period-style copper-bronze painted moulded frame with rope-twist and leaf borders, cream mount, and glazing.

Early 19th-century British stipple engraving in sepia tones depicting a seated young woman in classical dress, identified in the lower margin as “The Hon. Anne Damer”. Shown three-quarter length in an outdoor setting, a laurel wreath in her hair, holding a spray of flowers and resting one arm on a stone ledge, with trees and distant landscape beyond. Finely worked stipple and line engraving on wove paper, with full title and publication details printed below (partially obscured by the mount). Presented in a later gilt-composition frame with plain cream mount, glazed.

Graham Clarke (British, b. 1941), Great Shakes, large hand-coloured etching with aquatint on wove paper, c. 1970s–80s. Characteristic bustling harbour-and-town scene with boats in the foreground and a medieval-style town under reconstruction behind, the composition contained within an architectural arch and watched over by a smiling sun. Richly printed and delicately hand-coloured in pastel tones with Clarke’s typical humorous detail and crowded narrative vignettes. The work bears the artist’s small red monogram chop to the lower image, with the title and edition number inscribed in pencil in the lower margin and signed at lower right “Graham Clarke.” Unframed.

Collection of twenty-one small 19th-century engraved portraits, each presented in a narrow ebonised frame with gilt inner beading. The prints, finely worked in black on cream paper, depict various named historical sitters—predominantly ladies in early 19th-century dress with a few male figures—each identified in script in the lower margin. Most appear to be stipple or line engravings after contemporary painted portraits, likely issued as book or portfolio plates and subsequently framed en suite. Several retain remnants of old backing labels to the reverse. An attractive, period set for decorative or scholarly display.

Group of four framed contemporary artworks, comprising: 1. Owl in flight – Large watercolour or gouache on paper depicting an owl flying head-on towards the viewer against a pale sky, wings fully outstretched. Signed and dated in the upper left (illegible in photo), double-mounted in a cream mat and slim bronze-tone metal frame. 2. City street scene – Pen-and-ink architectural drawing of an urban street with tram or streetcar, tall buildings and streetlamps, executed in a precise, almost technical style. Image mounted on a red mat and housed in a narrow dark metal frame. 3. Beach landscape – Small watercolour on paper of dunes and beach grasses leading to the sea under a bright sky, signed lower right, in a champagne-tone metal frame with pale mat. 4. Mountain photograph – Black-and-white photographic print of a snow-capped peak reflected in a lake, titled in pencil to the mount (indistinct in photo, likely a Canadian Rockies view) and signed lower right, in a gilt-composition frame with cream mat. Together a varied decorative ensemble of later 20th-century original works and prints.

Rectangular wall-hanging shadow box / display case, mid-20th century, constructed from a moulded gilt-composition picture frame fitted with a hinged glazed front door. The frame with raised scrolling leaf-and-shell ornament, the interior lined in rich purple velvet to the back and sides, providing a plush ground for displaying small objects, medals or jewellery. The door closes flush within the frame; designed to be wall-mounted.

Group of four framed landscape and architectural views, 20th century, comprising: 1. Riverside town in winter – colour print or watercolour of a European town with river, tower and snow-covered banks, viewed from an elevated perspective, in a simple wood frame with white mount. 2. Cliffside monastery / castle – colour print or watercolour showing a dramatic rocky gorge with a church or monastery complex nestled among trees, similarly framed and matted en suite with the first. 3. Small clifftop landscape – smaller watercolour or print of wooded cliffs in autumn tones against a pale sky, in a box-style reddish wood frame. 4. Sepia castle view – small sepia-toned print of a castle or cathedral by water with distant hills, double-matted in dark and cream mounts and housed in a black frame. An attractive decorative ensemble of European scenes, suitable for grouping on a wall.

Extensive mixed archive of mostly 19th–20th century prints and book plates, comprising several dozen loose sheets (unframed), many already tipped to small mounts. Subjects include naval and military portraits, historical personages, battle scenes and ships, topographical and architectural views, landscape vignettes, and reproductions of manuscript pages and letters. Techniques range from monochrome photogravure, collotype and halftone plates after earlier paintings and engravings, to occasional colour plates and small etched or line-engraved views. A useful lot for reference, study, or decorative mounting.

Continental School, late 19th–early 20th century, oil on steel plate tavern interior, showing two rustic figures seated at a table smoking pipes, one in a red cap leaning back on a bench with his feet up, the other turned toward him in conversation. Warmly lit interior with cupboard and hanging utensils beyond, painted with rich colour and smooth enamel-like finish typical of oils on metal support. Set in a period carved and gilt-composition frame with reeded inner moulding. Unsigned.

Assorted group of mainly 19th–20th century Continental and English porcelain cabinet cups and saucers, finely hand-painted and richly gilt, comprising: a blue and white Coalport footed cup in stylised floral pattern, underside with printed green crown mark “England / Coalport / A.D. 1750 / Leadless Glaze” and painted numeral; a German floral cup with moulded lobed body and underglaze blue crossed-swords mark in the Meissen manner; a further German floral cup with gilt handle, painted inscription to the side and underglaze blue cross mark, likely Dresden / Leipzig studio; several small cabinet cups and beakers with portrait and figural reserves, fan and floral panels, some with matching saucers; together with additional hand-painted saucers displayed on a black stand, including polychrome landscape and floral examples. A decorative mixed lot of quality cabinet porcelain for display.

Tall tapering square-section glass vase of vivid yellow-green shading to clear, the body finely wheel-engraved with scrolling foliage, ferns and trelliswork cartouches, rising from a darker ground at the base. The rim and foot with applied pierced rococo scroll mounts in gilt metal, chased with beaded texture and strapwork panels that frame the corners. Unsigned, but in the refined engraved and mounted luxury style associated with Moser, Bohemia, late 19th century. An impressive decorative vase with strong vertical presence and richly worked surface detail, suitable for display as a centerpiece or cabinet piece.

Assembled group of approximately sixteen antique skeleton keys in iron and steel, all strung on a circular metal key ring. The keys of various forms and sizes, including barrel and solid shank examples with turned collars, notched bits and oval, trefoil and bow-shaped handles; several with remnants of nickel plating. Likely originating from furniture, cabinet and interior door locks, continental European and American, late 19th to early 20th century. A decorative and useful lot for collectors, restoration projects, or display.

Assembled group of approximately twenty small antique cabinet and furniture keys in steel and iron, all suspended from a circular metal key ring. The keys of various closely related forms, most with hollow barrel shanks and multi-notched bits, several with flat, rounded or shield-shaped bows and others with simple looped handles; finishes range from dark patinated iron to brighter nickel-plated steel. Dating to the late 19th–early 20th century and likely intended for wardrobes, desks, chests and similar case furniture. A useful assortment for restorers and an appealing decorative group.

Assembled group of approximately twenty small to medium-sized skeleton and cabinet keys in steel, iron and brass, loose (not on a ring). The lot includes hollow-barrel and solid-shank examples with round, oval and trefoil bows, together with several flat stamped keys; some with stamped numerals or letters, others plain, and finishes ranging from dark patinated iron to brighter nickel-plated and brass surfaces. Likely originating from furniture, cabinet, wardrobe and interior lock mechanisms, European and American, late 19th to mid 20th century. A varied and decorative assortment ideal for collectors, artists or furniture restorers.

Black-and-white steel engraving on paper depicting a sentimental woodland scene with a seated woman supporting a fainting or injured figure, a child at their side, all set beneath heavily shaded trees. The print is mounted within a wide peach-colored moiré silk mat with an inset title plate (illegible in image) and presented in a simple black frame with gilt inner slip. English School, 19th century, the subject typical of Victorian narrative genre scenes. Later 20th-century framing, with framer’s label “Morgan” to verso and wire for hanging.

Collection of four small blown art glass pitchers in vibrant transparent colors, comprising: a squat ruby red pitcher with wide flaring neck and applied amber handle; a taller rose-pink pitcher with bulbous body and applied opaque white handle; and two smaller optic-molded examples in emerald green and aqua blue, each with slightly shouldered body and clear ribbed handle. All pieces with pinched spouts and polished pontil marks, the bodies showing a honeycomb/optic thumbprint pattern that catches the light. Likely American studio or decorative glass, mid-20th century. A cheerful tabletop grouping for use as bud vases or creamers.

Group of three substantial art glass paperweights comprising: a spherical ruby-red example with numerous controlled air bubbles throughout; a flattened circular weight in smoky grey with internal radiating lobes and central bubble, retaining an oval foil label for FM Konstglas, Sweden; and a clear domed weight with internal blue and gold flecked “volcano” or mountain-form decoration, the inclusions resembling aventurine. All three with polished bases and good optical clarity. Likely mid–late 20th century studio and factory art glass, one Scandinavian and the others probably American or European.

Pair of English polychrome plates, each with floral decoration. One example in an “Indian Tree”–type chinoiserie pattern, the center with a standing figure and flowering shrubs, within a wide border of stylised blossoms, scrolls and panels in green, grey, pink and blue; underside with green printed crown-and-scroll mark and “England,” likely early 20th-century Staffordshire. The companion plate with multicolour bouquet to the center and a garlanded floral border edged in brown, of slightly shallower form and unmarked apart from impressed and painted factory codes. Both earthenware/ironstone bodies with clear glaze, suitable for decorative wall or cabinet display.

Chinese export underglaze blue and white porcelain plate, the center well painted with a scholar’s garden scene of bamboo and flowering peony issuing from pierced rockwork beside a fenced terrace, with butterfly in flight above. The cavetto left plain, the wide rim decorated with alternating floral sprays and auspicious objects between double-line borders, enclosed by a trellis diaper band at the edge, the lip with a brown-dressed rim. Plain glazed underside with neatly cut footrim and unglazed buff biscuit showing kiln grit. Probably Qianlong period, mid–late 18th century. A classic export plate with well-balanced cobalt painting.

Shaped square cabinet dish with scalloped rim, the interior divided into four panels radiating from a central floral cartouche. Two opposing panels painted with Romantic “Watteau” courting couples in wooded landscapes, the other two with exuberant mixed bouquets and scattered blooms, all reserved on a rich yellow ground within gilt scroll borders. The rim with further gilt scrollwork on white. Underside with an underglaze blue crossed-swords type mark and raised footrim. German porcelain, probably a Dresden or related Saxon factory working in the Meissen manner, early 20th century. A finely decorated display piece with strong colour and lively figural scenes.

Comprising a dark-stained wooden storage chest with hinged lid, relief-carved borders and applied floral carving, the front and top painted with large cream blossoms against a deep brown ground, raised on bracket feet with a small brass lock escutcheon; together with a mixed group of thirteen 19th–early 20th century English transfer-printed earthenware plates and dishes. The ceramic group includes: several blue transfer pieces with romantic landscapes and floral borders, a small “Willow” pattern plate, two mulberry/black transfer plates with figural scenes, pierced-rim blue plate, two flow-blue bowls with scrolling borders, a green transfer-printed bowl, and a pink/red aesthetic rectangular dish inscribed “1882” in ink, along with other floral and scenic patterns. Most with molded rims and typical Staffordshire bodies in various colour palettes—blue, black/mulberry, green and red. An appealing study lot for the transferware collector, sold together with the decorative painted chest in which they were found.

Assorted group of seven transfer-printed earthenware plates and bowls comprising: a large blue transfer plate with rural river landscape and floral border; a polychrome plate in an Imari/dragon style palette of blue, green and iron-red with central roundel and scrolling border; a scalloped plate with chinoiserie buildings and trees in red, blue and green; a deep blue transfer bowl with romantic landscape and figures in a boat; two small portrait plates with central half-length figures within printed cartouches and broad floral borders; and a small plate with simple blue scalloped border on a white ground. Most pieces are printed underglaze on cream/white earthenware bodies; several with molded or scalloped rims. Backstamps on the reverse include various printed crests and cartouches, confirming production by multiple English Staffordshire and related factories, with at least one probable continental (French or German) maker among the portrait plates. Together they form a representative study group of 19th-century transferware in blue, polychrome and Imari-style palettes.

Portrait miniature of an elegant lady in late 18th-century court dress, her powdered hair dressed with pearls and wearing a blue gown, lace fichu and bow at the décolletage. Finely painted in watercolour on a circular ivory wafer, mounted behind glass in an ebonised wood block frame with gilt slip. Continental, probably French, mid to late 19th century, after 18th-century prototypes in the manner of Vigée Le Brun. Minor specks and light rubbing to background; frame with wear and losses to backing paper, all consistent with age. Please note: export of ivory may be subject to local regulations; buyers are responsible for compliance.

Pair of Austrian porcelain cabinet vases, each of urn form with twin loop handles, rich cobalt blue ground and squared spreading pedestal foot on a stepped square base. Both vases with oval reserves to the front finely decorated with polychrome mixed garden flowers within scrolling raised gilt cartouches, the bases and rims further enriched with gilt tracery and borders. Handles, neck rims and details picked out in burnished gilt. Undersides with blue printed circular Royal Austria mark. Early 20th century.