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Click here to subscribeLarge collection of mixed glass featuring boxed Gleneagles crystal champagne flutes, vertical cut cylinder vase, pair of French Luminarc red and clear vases, two square decanters, large green glass footed centre bowl, abstract centre bowl, coloured glass bud vases, ink well, jug, boxed Ianthe silver plated rose bowl, boxed Edinburgh Crystal wine glasses and a cranberry fruit bowl, etc
An Edwardian silver-topped scent or perfume bottle, the bulbous intaglio "Rock Crystal" glass body decorated with flowers and foliage, possibly by Webb, the silver mount with hinged cover, the top decorated in relief with flowers, the interior with fitted glass stopper, registered design number 426309, William Comyns, London 1909, height 11.7cm approx
A VICTORIAN MAHOGANY CASED STORM GLASST.W. WATSON, LONDON, CIRCA 1880The shallow arch white-opaque glass panel applied with a central cylindrical glass cannister filled with fluid, the upper margin inscribed T.W. WATSON, 4. PALL MALL, London over Storm, Glass and two columns of various INDICATIONS titled FOR FINE WEATHER opposing FOR RAIN, then HIGH WINDS, OR STORM and finally additional appearances for various polar currents to lower section, the bottom margin inscribed REGISTERED, 351867 set with a shallow-arched cross-grain moulded mahogany surround.52cm (20.5ins) high, 20.5cm (8ins) wide. Provenance:The Dr. Castle Collection of barometers and other weather instruments. Purchased at Dickens Fine Art Auctioneers, Middle Claydon, sale of the THE RICHARD COOKSON COLLECTION 20th April 2008 (lot 78) for £440 hammer. Thomas William Watson is recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as an optical, philosophical and mathematical instrument maker working from 4 Pall Mall, London 1878-84. The origins of this type of Storm Glass are unknown with Admiral Fitzroy in his 1863 publication The Weather Book noting that 'the inventor is now uncertain; but they were sold on old London Bridge, at the sign of the Goat and Compasses'. He studied them as curiosities and suggested that they served to indicate what he termed 'electrical tension' in the wind, hence were potentially useful as meteorological instruments. Edwin Banfield in BAROMETERS, Stick or Cistern Tube adds that such instruments are really an irregular form of thermometric barometer, and goes on to list the recipe for the contents of the tube which contains water, alcohol, ammonium chloride, potassium nitrate and camphor. The solution, once prepared, would then exhibit changes in the form of cloudiness, crystal formation etc. signifying atmospheric conditions as per the indications listed on the panel. Condition Report: Tube is filled with fluid. The glass panel has an edge chip at the centre of the lower margin otherwise is in fine condition with overall light wear to the annotations only. The case is in fine original condition with faults limited to slight shrinkage and other age-related blemishes; the rear panel has replacement securing screws. Condition Report Disclaimer
A group of four 'Glass Ball' table lamps by Charles Edwards, of recent manufacture, three decorated with four coloured-glass spheres of varied size, the other example with rock crystal spheres, each on a circular base and with a shade, 41cm diameter70cm high including shade (4)Provenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportAll in need of cleaning, the chrome finish slightly tarnished. The paper shades lightly marked.
A COLLECTION OF JEWELSincluding a rock crystal brooch in 9ct gold, set with a rock crystal cabochon, surrounded by a stylised border, no assay marks, c.2.5cm, a gem-set open heart brooch in 9ct gold, no assay marks, c.2.0cm, a pietra dura pendant, in 9ct gold, comprising a micromosaic of hardstone, to depict flowers, glass compartment to the reverse, c.3.4cm, a citrine swivel fob seal in 15ct gold, c.2.1cm, a pair of pearl stud earrings in 9ct gold, each set with a cultured pearl of c.6.0mm, secured with screw-backfittings, a citrine pendant in 9ct gold, set with an oval cut citrine, surrounded by a stylised border, c.2.3cm, a citrine brooch in gold filigree, set with an oval cut citrine, surrounded by a floral border, c.2.0cm, a bar brooch in 18ct gold, stamped '18CT', c.5.8cm, and a lid in 15ct gold, engraved with a stag crest to the top, c.2.8cm, (c.34.8g gross weight) (9)
A Bohemian crystal part serviceComprising: five water glasses, nine red wine glasses, nine white wine glasses, nine champagne coupes, eleven port wine glasses, nine liqueur glasses, one small wine glass, a decanter with stopper and a coupe_x000D_In clear and red Bohemian crystalH.: 44 cm (bottle)
A L'Equip omni juicer, in original box, together with an assortment of homewares, including a glass light fitting, Mondrian in style, a Thomas Webb crystal glass fruit bowl, and a large quantity of cigarette cards, makers to include Players and Park Drive, amongst other decorative items. (2 boxes)
A charming collection of four handcrafted glass elephant sculptures, featuring pieces by Rosenthal and Egermann. These beautifully designed elephants showcase a variety of glassmaking techniques, with clear and amber-toned hues. The Rosenthal pieces display the brand's signature fine clarity and smooth curves, while the Egermann piece features a rich amber coloration, demonstrating traditional Bohemian glass artistry. The set includes a mix of standing and stylized elephant forms, capturing movement and elegance in crystal-clear and colored glass. Elephants range in size from 3.5" to 4.75"H.Issued: 21st centuryDimensions: See DescriptionCondition: Age related wear.
A collection of four art glass heart paperweights, featuring designs from notable glass artists. The set includes one signed by renowned American glass artist Robert Eickholt (3"), dated 2007, known for his intricate, vibrant fused glass designs. Another heart is marked by Robert Held (2.25"), a Canadian glass artist celebrated for his hand-blown and colorful glasswork. The remaining two hearts include one faceted clear crystal (3.5") example and a multicolored art glass heart (2") with swirling iridescence. Each piece showcases unique craftsmanship and artistic detailing, making this an excellent addition to any glass art collection.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
An Important Collection of Early English Silicon Microchip Wafers,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.
Document Concerning Lean Foucault's Gyroscope,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.
Cartier Panthere 18k yellow gold ladies wristwatch. White dial, Roman numeral hour markers, an 18k yellow gold 21.5mm case, diamond bezel, winder with a diamond, bracelet and folded clasp, sapphire crystal glass and quartz movement. Also with booklet.70gms. Battery expired.Watch has a quartz movement and is not running. Comes complete with original box and a Cartier International Service booklet detailing a complete service in 1998. The watch is in very good condition with little sign of any wear.
GLENMORANGIE 18 YEAR OLD WITH CRYSTAL TASTING GLASS 43% ABV / 70cl Famous for their unique stills, each as tall as an adult giraffe, and their passion for innovation, Glenmorangie remains one of the best-selling single malts in the world. They were one of the first distilleries to experiment with cask finishing; the process of transferring spirit from one cask type to another in order to impart additional characteristics and flavours. To further this agenda of innovation, in September of 2021 Glenmorangie began production at their new “Lighthouse” facility, a futuristic R&D department protruding from the heart of their traditional distillery complex like a monolith from 2001: A Space Odyssey. Off limits to the public, it is home to a “sensory lab” as well as two of Glenmorangie’s signature stills, each of which plays host to several classified modifications. Only time will tell what exciting innovations will filter down to the rest of the industry.
GLENMORANGIE 15 YEAR OLD WITH CRYSTAL TASTING GLASS 43% ABV / 70cl Famous for their unique stills, each as tall as an adult giraffe, and their passion for innovation, Glenmorangie remains one of the best-selling single malts in the world. They were one of the first distilleries to experiment with cask finishing; the process of transferring spirit from one cask type to another in order to impart additional characteristics and flavours. To further this agenda of innovation, in September of 2021 Glenmorangie began production at their new “Lighthouse” facility, a futuristic R&D department protruding from the heart of their traditional distillery complex like a monolith from 2001: A Space Odyssey. Off limits to the public, it is home to a “sensory lab” as well as two of Glenmorangie’s signature stills, each of which plays host to several classified modifications. Only time will tell what exciting innovations will filter down to the rest of the industry.
A mid 19th century Bohemian crystal cranberry glass tazza/pedestal bowl with scalloped rim abover circular body, overlaid with alternate portrait and floral hand painted circular panels over flaring stem, with gilt and florally decorated panels, height 29.5cm, diameter of bowl 21.5cm.Condition Report: One small chip to rim of bowl.
BROADWAY; a modern hallmarked silver mounted crystal glass decanter, Birmingham 2006, height 31.5cm, a further cut glass ship's decanter with hallmarked silver whisky label, London 1972, height 28cm, a further cut glass ship's decanter, two further decanters and wine pouring vessel, height 27cm (6).
Four items of art and decorative glass, comprising a large and impressive cut glass crystal vase, height 36cm, diameter 17.5cm, a Bohemian blue on clear glass vase of tapered form with cut decoration, height 16.5cm, diameter 15cm, a blow moulded and cut glass ship's decanter and stopper, height 29cm, and a Murano glass vase of tapered form, hand painted with enamels and 18ct gold overlay, marked with factory sticker to the side, height 28cm (4).Condition Report: The vase has a chip to the underside of the foot rim
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