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A flat-topped stand, or disc, with applied and raised rim, supported on a moulded Silesian stem with a domed and folded foot.
A well-proportioned and substantial lifter with a flute-cut bulb, and neck terminating in a smoothly finished thumb-piece. The wide flute cutting is the most usual form of decoration, many toddy lifters are plain and uncut.
The blown-glass jug has a plain foot and looped handle, the latter shows tool marks formed during the process of application. The globular body contracts into waisted and elongated form, expanding again towards the rim and a generous pouring spout. This style of wine jug continued into the early 19th century. The pontil mark has been left rough.
Trumpet bowl wineglass with drawn and facet-cut stem and folded foot. Lightly engraved band below the bowl rim.
Trumpet bowl wine glass with drawn and facet-cut stem, and folded foot. Lightly engraved band below the bowl rim.
Blown, rib-moulded, trumpet-shaped wine glass with drawn stem, domed and folded foot.
Blown, trumpet-shaped wine glass with drawn stem, domed and folded foot.
A boat form, clear, cut-glass bowl with shaped rim. The walls are cut in a repeating pattern featuring a stylized six-petal flower, the pattern extending around the bowl from foot to rim. The base has a single eight-point star designed and cut to correspond to the boat form of the bowl.
Clear glass, light in weight. A circular, flat-based jug, the body drawn inward and then flaring out to form the rim and a generous pouring spout. The handle showing tool marks at the lower junction to the body. The gilding has worn away, leaving only the cut design of a leaf-garland and ribbon pattern. Enamelled decoration: colours are usually fired onto the surface of the glass at a very high temperature, and thus are permanent. Painted decoration: although sometimes lightly fired, is usually a "cold" technique and the colour or gilding is comparatively easily rubbed off the surface of the glass. The jug has an interesting shape. From a plain, simplistic base the curving lines of neck, rim and spout provide a graceful contrast.
Blown glass, footed jug on spreading base, attributed to an undentified Normandy glass house. Bulbous form with full convexity coinciding with the lower junction of the handle which is hollow. The extensive and cylindrical neck is encircled with applied threads of trailed decoration.
Typical drawn funnel shape, with applied rounded handle bearing tool marks from the process. The lower junction is turned-up. The shallow matt engraving has been outlined with gilding, more extensively than it presently shows. The engraved design shows a flower stem, with single daisy-like bloom, surrounded by stems and leaves in scroll form.
The patch box is of ivory, with a hinged cover and applied rectangular gold plaque at centre of cover for engraving (empty). The hinge and the hemispherical press-stud for opening are of gold. The interior of the cover holds a mirror, the backing wearing away at the edges and is of a general cloudiness. The box is divided into three vertical partitions. The two outer and larger have gold-hinged ivory covers, the centre and narrower partition is lined with velvet fabric and has no cover.
A spooner is a vase-like container to hold teaspoons. Mould-blown and tooled "coin-dot" Amberina glass. Fire-polished rim with well-polished pontil. The glass shades from transparent ruby at the base to pale amber above. Bulbous lower body rising up and widening to a four-sided opening.
Tea bowl, saucer
Mould-blown and tooled white opal glass. Painted enamel decoration of flowers in red with touches of blue, yellow and mauve with applied patches of gold leaf glued to the surface. Both the bowl and saucer blown into a mould with vertical pillars and having applied foot rings.
White opal glass blown in a dip mould. Enamelled floral decoration of roses with remains of gilding to wheel-cut flat rim of oval cylindrical body.
Caster bottle for sugar, mould-blown and tooled white opal glass with enamelled flowers and gilding in the neo-classical style. Neck cut with threads for a pierced cover. Fire-polished pontil. Oval reserve included in enamel decoration on side lettered "Z" for "Zucker" (sugar).
Small, pear-shaped jug, blown and tooled white opal glass with enamelled roses. Tooled and attached strap handle. Pontil to base and neck worked and roughened inside possibly for a stopper.
Mould-blown, tooled and cut and polished white alabaster glass. Depressed, bell-shaped body curving in at base to polished cylindrical foot disk.
Miniature tazza, mould-blown and tooled glossy khaki-brown glass, translucent with an opalescent cast. Integral foot with rough, domed pontil. Thick, hollow disk foot, constricted cylindrical stem, spreading out to shallow, cylindrical bowl with spreading horizontal rim tooled with sixteen ruffles. Body hollow from open tazza through to foot.
Thin, mould-blown opaque, white glass with gilded decoration. Integral foot and no pontil mark. Wheel-polished rim. The shape is classical, and the blown opaque, white glass resembles porcelain and was often decorated in a style comparable to ceramics.
Thin, mould-blown opaque, white glass with painted gilded decoration. Integral foot and no pontil mark. Wheel-polished rim. Neo-classical leaf and flower guilloche pattern around the side with gilt bands elsewhere.
Alabaster glass, mould-blown and tooled, cut and painted with gilt decoration. The epergne is made in nine pieces. Mould-blown spreading baluster pedestal with cylinder on top to accomodate tall trumpet vase, both white alabaster glass. Held between them is a thick glossy apple-green alabaster glass plate (probably blown and spun out because it shows concentric striations) which is held horizontally between the pieces. This is very well-polished and has notches around the edge to hold six removable horns or cornucopia with cut, bevelled and cusped edges. Similar edge to the large central vase. Gilt rococo motifs painted on the horn flower holders.
Tall, trumpet vase, blown and tooled opaque dark, sky-blue glass with glossy surface painted in opaque matt enamels and gilt trim. Made in two pieces with wheel-cut rim and foot. Elongated trumpet form flaring out at top. Flattened bead knop with spreading bell-form foot. Encircled by a painted, diagonal band of vine with dull blue, mustard and orange convolvus/morning-glory flowers and leaves. Gilt rim and gilt band around lower third of foot.
Mould-pressed white alabaster glass, polished and cut with enamel and gilt decoration. Formed as a small rectangular sarcophagus with projecting moulding around base and fitted cover with a small, reclining, three dimensional lion on top. Base and rims well polished. Lion gilded and Rococo Revival band of opaque white enamel leaves, scrolls and roses with gilding around the side and forming a carpet under the lion. Gilt trim.
Blown, tooled and cut white and pale green alabaster glass. Spreading, bell-shaped trumpet foot with convex ring at top all in green. Solid, elongated, pear-shaped baluster stem in white alabaster glass. Green alabaster glass candle cup rising from a convex ring to a short, constricted stem surmounted by a large cylindrical cup with overhanging rim. The rim is carefully cut and polished with six pointed petals with bevelled edges and incised divisions between. Base of foot and top bulge of baluster both carefully polished. No evidence of gilding.