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"Glass"

Cabinet on chest

Profile of the piece is serpentine and bombe. The chest has chamfered and rounded corners. The four drawers have alternating convex and concave profiles, following the contour of the corner design. The front feet are carved talon and ball; the back feet ogee. The deep apron piece at the base of the chest is characteristic of Dutch design. Rococo-style handles and keyhole escutcheons. Back and shelves have velvet lining.

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Self Sealing jar

A self sealing jar with wire fastening device and blue glass cover. Brown glazed in different tones of brown - almost irridescent in places. Approximately a one pint size.

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Salt

Circular base supporting pedestal bowl, which is decorated with a band of gadroon design below a series of rectangular 'cut-out' segements. Clear glass liner.

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Cruet stand

Sheffield plate cruet stand with eight cut glass condiment bottles. The cruet stand is square with centre handle - scroll, shell, and foliate decoration. Circular ribbed bands hold condiment bottles in place. Silver covers for mustard and pepper containers. The glass is flat-facet cut with radiating star motif on the base. Dry mustard bottle has a silver-plated spoon fixed to the stopper.

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Mustard pot, spoon

Slightly spreading foot, with body pierced in leaf pattern, containing a green glass liner. Domed and hinged cover with chrysoprase inset in both finial to cover and spoon.

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Salt

The bowl is of openwork form, with diagonal leaf-shaped banding on circular domed feet with raised dot decoration. The bowl has a green glass liner.

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Salt

The bowl is of openwork form, with diagonal leaf-shaped banding on circular domed feet with raised dot decoration. The bowl has a green glass liner.

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Vase

Two layer opaque coloured, cameo glass, acid-etched in stylized geometric pattern inspired by flowers (wisteria ?). The design is both abstract and decorative. The inner layer is yellow with pale yellow streaking. The surface is matte. The outer layer is a deep orange with red streaking around the base of the vase, rising to to mottled dark brown at the full convexity and everted rim area. The incised script 'Le Verre Francais' indicates a line of art glass, vases, bowls, lamps, urns and ewers that used this trademark exclusively.

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Inkstand

Victorian silver inkstand, the base with applied foliate and scroll border, cast in base metal and silverplated. It is accepted that applied borders are cast and plated. The inkstand is supported on four pierced feet. The raised center section has two square holders for the shaped, cut glass and silver mounted bottles for pen and ink. The bottles flank the central, urn-shaped wafer box, which supports a taper stick with scroll handle and a cone-shaped extinguisher attached to the handle by ring and chain. The bottle holders and the wafer box with taper stick are secured under the base with six wing nuts.

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Water pitcher

Pitcher has domed foot. Six slender beaded ovals extend around the body of the pitcher. Space between each oval contains a linear fan- shaped motif. High pouring spout, with the remaining rim area in scallop form. Half gallon.

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Marine Scene

Work is a combination of low relief, sculpture and painting, which depicts a marine scene. A sculpted tall ship navigates through a strait. throughout the composition, are numerous islands modelled in low relief in gesso. Three white buildings, two in relief, populate the islands. Two couples, too large for the scale of the buildings and islands, appear to be searching for something or someone. There is a woman stranded on a small island directly behind the tall ship. Waves are crashing against the shoreline of this island and she is in an agitated state. A small boat with six occupants can just be discerned in the water coming to her resuce. The background is flat, without relief, and shows a blue sky, brown mountains and a green tree line.

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Vase

Vase is ovoid shaped with onion shaped cover and metal side handles. Gilded decoration all over in scrolling design and slender branches of leaves. Ground is a regular spaced dot pattern in lines. Colour of glass is a emerald green. The centre medallion portrait is of a woman painted in enamel.

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Salt

Four, Adam-style salt cellars with blue glass liners. Gadroon-style rim. Pierced wall in linear ornament and applied husk festoon supported by three oval-shield paterae and a fourth shield with engraved crest. Ball and claw feet.

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Condiment set

Footed, triangular condiment stand with chamfered corners holding three faceted glass containers: open salt, silver-mounted pepper and mustard. Each item of silver is hallmarked. Design in the style of Christopher Dresser. The maker’s mark is yet to be identified (per Kathleen Campbell, Curator Emerita)

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Table lamp

Large table lamp consisting of a separate dome top over a tall tapered base - the dome top having large cut glass prisms dangling from the base. The cut design has been produced with a machine, not by hand - the cutting is very even in depth. Total height, 37”. Marked on the edge of cover with a three-leaf clover and GCCo. (per Helen Delacretaz, Curator of Decorative Arts)

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One Drawer Coffee Table

Glass-topped coffee table constructed from birch with an ebony finish. The table has one drawer with brass pulls.

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Inkstand

Rectangular-shaped stand. The applied border and feet are of a plated base - metal alloy. Two cut-glass bottles with slip-on covers: one a pen holder (cover has three holes), the other an ink holder (cover has one hole), together with a Sheffield Plate candle holder. Sheffield Plate is constructed of copper rolled between, and fused with, sheets of silver. An inexpensive substitute for solid silver. Sheffield plate is usually unmarked but this example has the impressed star marks of Matthew Boulton.

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Inkstand

The main body of the inkstand is hemispherical with an applied band of decoration. The band is of pierced design with two reeded threads twisted to form repeating ovals. In some places the band has been either damaged during application or mis-cast. The join is not perfect. The damaged or mis-cast areas in the band should not affect the aesthetic or historical value of the work. Errors or miscalculation during the process of manufacture are not considered detrimental, and the inkstand is in the same condition as when sold. The inkstand is supported on three ball and bead feet. The hinged and domed cover, and glass inkwell, are set in a widely-flaring rim and surrounded by six vertical supports applied under the rim to the main body. The surface has a manner-mark surface.

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Sugar basket

Pedestal basket, with swing handle and original blue glass liner, used for sugar although the possibility of it being a cream pail could be considered. The handle is formed in an alternating plain and twisted rope design. The foot and bowl rims have applied and strengthened bands of beading, particularly useful at the bowl rim to take the stress of the swing handle. The stepped foot and the main body are pierced in geometric linear, circle and oval patterns and incorporate two bands of slight dot-and-oval engraving. A small oval for engraved initials on crest is left vacant. The deep blue glass liner effectively reveals the pierced work.

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Tray

Pâte-de-verre tray, moulded and coloured in the form of a lily pad and flower, on which a bee has alighted. The tray is a light shade of green, darkening in the flower and bee area due to the high relief providing additional density. The moulding is naturalistically sculpted, and typical of Walter design. Some works also bear the name of a collaborator, for example, Henri Bergé, but not in this case.

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Inkstand

Moulded, circular inkstand, with grooved pen rest and covered inkwell. The stand is coloured in a greenish-yellow at the front, (before the pen rest) then merges to an orange-brown tone from which rises the inkwell. The inkwell is sculpted to resemble the main stem of a wild rose bush, while strewn over the stand are branches coloured deep green with red-brown thorns and rosehips, the latter in a particularly rich red-brown. The cover is surmounted by a bee which acts as the finial. The moulding is naturalistically sculpted, and typical of Walter Studio productions.

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Preserve Jar, Cover

Clear, cranberry glass jar with an interior raised dot design, giving added interest to the exterior surface which then appears to be "dimpled". The rim of the jar has a brass collar mount with attached swing handle, applied with a decorative motif. The slightly domed brass cover has small floral designs stamped into the metal, a cut-out space for the spoon, and an attached finial. The exterior surface is painted in white enamel, the design being a series of wild flowers rising from the base. The flowers include daisy, harebell, Queen Anne's Lace (or cow parsley), and additional leaf stems. The painting is freely done, emphasizing the lightness and delicacy of the flowers. Shading is achieved through a varied density of enamel application.

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Wine glass

The glass is a deep, aqua-green. The mould-blown, hollow stem has a flared foot, a band of decorative raspberry prunts (impressed with a tool, and a feature of German römers), and a flat angular knop. The focal is somewhat hemispherical or ovoid in shape. The pontil mark is left rough,

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Toilet bottle, stopper

The bottle is of press-moulded, two-part construction in Lozenge shape, with sloping shoulders, high neck, and an everted rim. The interior of the neck is unevenly frosted to receive the octagonal facet-cut stopper. The mould seams show a denser shade of blue. The neck and rim areas had a gilded linear decoration, now mostly worn away. The white enamel painting is in the "Mary Gregory" style, depicting scenes of children in landscape or fanciful settings. The dress and leaning forward stance of the child is typical. The quality and detail of "Mary Gregory" painting is variable.

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Sugar Bowl, Cream Jug

Blown glass, the pontil mark left rough, particularly so on the sugar bowl. The bowl is clear glass, with an applied pale green base and pinch-work feet. The applied pinch-work band encircling the bowl is clear, and above it the pale cranberry shade has been partially reheated to bring out the opalescence. The colours reflect upon each other, and in various lights and different angles the glass takes on blue, mauve and white tints. The cream jug has the same decorative elements and colours, with the addition of a handle in the pale green shade. The rims of both bowl and jug were formed by pressing on to fixed bars to set the formation required.

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