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Carved, gilded and polychromed Eucharist chest. Possibly France. Gothic. Circa 1300.21 x 27,5 x 18 cm.A marvellous chest for liturgical use that retains most of its original polychromy and gilding, although with some losses.The front and back, although not identical, have very similar decoration based on thin, stylised pointed arches with a marked Gothic aesthetic, finished with a half-pointed arch with three cavities inside, resembling stained-glass windows on the front. The sides are identically decorated with geometric and vegetation elements.It has a gabled lid that, on its front side, is decorated with branches which hide different types of flowers amongst them. On the other side it has two large rosettes like those found in the stained-glass windows of the most prominent Gothic cathedrals.The decoration is enriched by borders of dotted gold, sometimes single and sometimes double, which, when it was placed there, was intended to resemble goldsmith's work.The chest still has its original hinges, but the lock is missing.Inside, the lower part is painted red and the upper part depicts a blue sky with red and gold stars.The lower natural-wood strip that runs around almost the entire perimeter is modern, to complete what had been lost and  strengthen the structure.

Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.

Arts and Crafts style stained glass window with handpainted central roundel of girls playing Ring a Ring o' Roses. Approx. 46/47 cm square

Nicola DanesLarge oil painting ''Stained Glass church window'', unsigned.[160x120cm]

A Glasgow School glazed copper lantern, the conical hood above the hexagonal body with leaded and stained glass panels33 x 26cm

Victor Noble Rainbird (1887-1936)Cathedral interior with stained glass windows, signed, watercolour, 36 x 26cm; and two further similar works by the same hand (3)

Amsterdam school: A 1920s turned wood lamp attributed to De Nieuwe Honsel. With lead and stained glass bell shaped shade (with multicoloured geomatrical pattern), topped with a wooden conic finial and with a copper rim at the base. Mounted on a walnut tapered stem on spreading foot. 74cm high - shade approx 25cm high and 22cm diameter at the widest.

A matching set of large carved oak angel corbels circa 1450-1480, each holding a polychrome painted heraldic shield, the angels with hair in wavy rolls and with feathered wings, each surmounted by a crenelated parapet, one shield indigo with a gilt cross motif and the other red shield with a central horizontal gilt line and three gilt carved buckles, 53cm high and 50cm high The Cell, Wyesham, Monmouthshire. During the Medieval period Wyesham was the site of a chapel, the Church of St Thomas the Martyr; the site is first mentioned in 1186 in a papal bull of Urban III and was known as the King's Chapel by 1500. Its later history is somewhat chequered; it remained in use as a place of worship until becoming the vicarage of Dixton Church in 1740, subsequently by 1815 the local Poorhouse. It has been a private house since the end of the nineteenth century. This pair of corbels exhibit characteristics which are typical of 15th Century workmanship including the arrangement of hair in rolls and the carved feathering detail seen here on the wings. Also characteristic are the crenelated parapets, which can be seen on three 15th Century angel corbels in the V&A Museum Collections (collection number W.21-1911; W.22-1911 and W.23-1911).The red shield appears to bear the arms of Sotterley (Soterly) of Suffolk. The Dictionary of British Arms (Vol. III, p.379) notes the arms as: ‘Gules a fess between three buckles argent’ (ref. Ca Ms. L1 603, 4 and Suff. HN 26 - Suffolk Heraldic Notes by William Hervey [Society of Antiquaries Ms. 676]) where the buckles in Sotherley [sic] Church are described as ‘flory’. The church of St. Margaret of Antioch, Sotterley, Suffolk was built in the 14th century and corbel heads there depict the three buckles as the arms of the Sotterley family. Various other ecclesiastic artefacts and carvings have been documented at Sotterley church bearing the family arms.Although the family that originated with Edmund de Soterle in the early part of the 14th century was based mainly in Suffolk and Norfolk, they also owned further estates in Cheshire. The present corbels would most likely have originated from the Sotterley church or an associated building or tomb.The indigo shield bears a medieval merchant mark. Merchant marks are regularly found in everyday medieval life as carvings above door frames or in letters and deeds validated by these distinctive devices in lieu of signature. Merchants’ marks may also be found inside churches - either engraved in stone or rendered upon stained-glass - to indicate donation toward restoration or otherwise an endowment. Upon the passing of a merchant, their mark would occasionally appear on their gravestone. It is likely that this mark may either refer to the merchant mark of a member of the Sotterley family, another possibility may be that the mark was used as an emblem of a non-armigerous benefactor's generosity. An interesting parallel may be found in Lavenham Church, Suffolk, which owes its building chiefly to the rich clothiers who took advantage of the wool trade. His merchant's mark is on the plinth of the tower and at that time he had no coat of arms. A tantalisingly close design of a merchant's mark can be bound in that of John Gosse (Ipswich 15th century, see: Harleian Society vol. 108 (1959) ed. by Leslie Dow, Mark #84We are indebted to Thomas Lloyd and Robert Colley for their kind assistance in this research.

Fibre optic tree and a box of CD's, soft toys, tins, window bird feeder, stained glass nativity scene jigsaw puzzle (sealed)

A French green-stained tortoiseshell, ebonised and gilt-brass mantel clock by Henri Marc of Paris - second half 19th century, the signed, 11 cm white Roman dial fronting a twin train Japy Freres movement, no. 28634, further signed by Henri Marc, with outside countwheel strike, half-hour striking on a bell, in a drum case atop an architectural base with Corinthian columns and a bevelled glass front with visible enamelled pendulum, 42.25 cm high.

A circa 1900 Chinese ebonised urn stand with grotesque mask decoration on three cabriole legs to scroll feet, united a pierced undertier with associated green marble top, approx 45 cm wide x 77 cm high, a green onyx topped brass occasional table, painted occasional table with fruit decoration on a pedestal tripod base, a smoked glass circular two-tier tea trolley, a marble top stained beech side table on fluted legs and an ebonised and gilt decorated salon chair

19th Century, Possibly German School, gentleman conversing in a grand sunlit interior with another looking through a stained-glass window, oil on canvas, 33" x 41" (84 x 104cm).

Edwardian metal framed square hanging hall lantern with leaded stained and clear glass panels, 31cm high

Collection of Halcyon Days porcelain, comprising an oval candle holder printed with angels, boxed, another printed with stained glass, boxed, a Queen Elizabeth II 1952-2012 diamond jubilee two-handled mug, boxed and two Oscar Wilde pencil vases, limited edition nos. 45/250 and 46/250 with certificates (5) 

A mixed lot of works of art and metal wares comprising a small bronze sundial inscribed 'Henry Meek, London, 1736', 20cm; a small cast iron pedestal basket, 17cm high; a set of four Louis Philippe ormolu candelabra branches; a set of five 18th century-style pierced brass hinges; a stained glass portrait panel; a Japanese print after Okumura Masanobu etc.

A late Victorian brass and stained glass ceiling lantern, circa 1900; of square section, the sides each with a blue triangle within clear and red leaded glass borders; with openwork upper and lower edges; the ceiling hook above an openwork canopy descending to projecting rods at the corners; 53cm high overall

Three fragments of stained glass, 17th century, reputedly from St Sidwell's church, Exeter and retrieved after its 1942 bombing; comprising two loosely circular examples portraying the heads of a male and a female saint, 11cm wide; and a foliate decorated section, 21cm long; and two printed advertising bills, for 1882 and 1913, both framed and glazed

A c1950s Jaeger LeCoultre mid sized stainless steel wristwatch, 30mm, silvered dial with part batons and roman numerals and subsiduary seconds dial, pitted and stained, glass with crack and scratches, case and cover with typical wear, needs some attention including new sealing ring, movement runs but needs servicing and has some pitting and light rust spots, on later leather strap

A 1950s Omega manual wind stainless steel wristwatch, 33mm, silver dial with particla numbers and batons and a subsiduary, later plastic glass with some marks and dial stained and pitted, movement relatively clean but some marks and running well, case with marks and dents, on a later black leather strap

A PAIR OF CONTINENTAL STAINED GLASS PANELS EARLY 20TH CENTURY, depicting the arrival of Christopher Columbus, each within arched reserves and fashioned in tones of blue, yellow and indigo with overlaid divisions, framed. 121cm high, 75cm wide

Beautiful Tiffany style window panel stained glass medallion with lead that features a central stylized flower and petal shapes expanding to outer marbleized glass parts. Stained glass dimensions: 0.50"W x 24"dia. Size with hanging chain: 34"H. Issued: 20th centuryDimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

A leaded stained glass table top terrarium with red, orange and clear glass

A stained glass panel of a church 40cm x 33cm

A 19th century heraldic lead-glazed stained glass panel, framed. 36 x 59 cm overall.

Two stained glass mirrors and a lead-glazed brass-framed fire screen. The latter 51 cm wide.

Two Victorian painted and stained lead glass panels. The largest 23 x 28 cm.

Fourteen stained glass and metal roundels depicting signs of the zodiac by Jane Gray Studios. The largest 14.5 cm diameter.

Rene Lalique (French, 1860-1945), a "Druides" vase, no. 937, in cased and opalescent blue-stained glass, designed 1924, engraved "R. Lalique, France, No. 937". Height 17.5cm

MOON KNIGHT LOT PART 2 (39 in Lot) Includes MOON KNIGHT #1-3, 10, 12-29 (1980/1983) + MOON KNIGHT VOL.2 #1-6 (1985) + MARC SPECTOR: MOON KNIGHT #1-10, 12 (1989/1990) - Includes the first appearances of Bushamn, Khonshu, Stained Glass Scarlet & Dr. Arthur Harrow + the debut of his new costume & powers

Loxton Lighting Ltd Tiffany style stained glass hanging ceiling light, 50.5cm diameter

Three stained glass windows, one rectangular H 39.5cm x W 35cm, two arched, H 69.5cm W 29cm

An oak framed stained glass mirror

Stained glass and cast iron electric fireplace, arched top with decorative finials, stained glass front panel with floral motifs, flanked by cast iron scrolls, raised on scroll supportsDimensions: Height: 64cm  Length/Width: 58cm  Depth/Diameter: 37cm

Early 20th century oak bookcase top, projecting moulded cornice over plain frieze, two arched lead glazed doors with stained droplet decoration, enclosing three glass shelvesDimensions: Height: 104cm  Length/Width: 98cm  Depth/Diameter: 28cm

Patrick Reyntiens (British 1925-2021): Limited edition stained glass panel 'The Silver Sea', with green, blue and yellow glass sections each painted with a continuous seascape, signed by the artist and dated 2010, numbered 23/60, H24.5cm, W34cm

Pair of Tiffany style table lamps with stained and leaded glass shades, H40cm

Three square old wood frame windows with stained glass decoration Each section measures 50cm wide x 49cm high x 5cm deep

Two old stained and leaded glass panels, 52.5 x 49cm, (s.d.). (2)

A good set of six Bohemian stained and parcel gilt glass goblets, 21cm high.

A German Stained Glass Panel, dated 1644, painted en grisaille and stained amber with a Green Man mask and inscribed Peeter Sophie ... AD 1644 18cm by 20.5cm

T. M. COX framed hand coloured stained glass window design, Parish Church, Southport. Approx. 45 x 23cm Appears in reasonable used condition

Artists & Architects etc.- Collection of letters, including: Noel Paton, John Buonarotti Papworth (1775-1847), architect and designer, asking David Roberts to dinner and requesting he brings some drawings with him; William Pickering, advising a customer that an imperfect Becke's Bible 1549, "does not exceed £1"; Samuel Drummond, Charles Cockerell, John Tenniel, Harry Furniss, Sidney Herbert to Sir George Hamilton, on the purchase of two stained glass windows from Mr Cortazzi of Cordona "stolen I supose from the Cathedral at Arezzo", and a letter in Italian on the same subject; Sir William Chase Ross, John Prescott Knight, F Gerard, Walter Hindes Godfrey, John Gilbert, George Cruikshank (signature), William Sherlock, Myles Birket Foster etc., together c.  50 letters, numerous pp., 8vo & sm. 4to, folds, 19th century (c. 50).

Dean of Westminster Abbey.- Stanley (Arthur Penrhyn, dean of Westminster, 1815-81).- [Album of material relating to the funeral of Dean Stanley in Westminster Abbey], manuscripts, ephemera, newspaper cuttings and a contemporary photograph of Lady Augusta Stanley's memorial stained glass window in the Henry VII Chapel (destroyed in the Second World War), 54pp. excluding blanks, browned, original half morocco, worn, upper cover cloth cockled, gilt spine, leather label, 4to, 1881. 

Literature, various. ELIOT (T S) Four Quartets, 1st edition, in book form, London: Faber & Faber, 1944, 8vo, slight ripple to contents in places, cloth in dust jacket; GREENE (G) Our Man in Havanna, 1st edition, 1958, dust jacket, slightly stained rear panel; The Comedians, 1966, 1st edition, dust jacket; CARROLL (Lewis) Through the Looking Glass, 1928, colour plates, calf, chipped spine; BARBER (Mary) Some Drawings of Ancient Embroidery Thirty Specimens, Sotheran 1880, folio, colour plates, contents loose, original cloth; DULAC (E) Picture-Book for the French Red Cross, no date, 4to, tipped in colour plates, some toning, cloth; DICKENS (C) & W. COLLINS. No Thoroughfare, Christmas Number of All the Year Round, 1867, 8vo, paper wrapper; The Ladies' Cabinet, Nov. 1834, 12mo, 4 coloured costume plates, paper wrapper;

English mahogany display cabinet with beautiful intarsia, curved front and original stained glass. Circa 1920. One pane with crack. Dimensions: 165 x 107 x 40 cm. In good condition.

A very large mahogany framed double sided panel with 2 stained glass windows. 149x240cm

A 1920’s Art Deco oak framed lantern light fitting, with 4 stained glass panels. 27x27x37cm

A very large mahogany framed double sided panel with 2 stained glass windows. 151x245cm.

A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.

A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.

A vintage stained glass Lamb and Flag leaded circular panel. W.25cm

AVERY; a pair of early 20th century scales, with two graduated sets of weights, a stained glass panel, 17 x 15.5cm, a late 19th century oversized key, door hook, brass pound symbol etc, also a mid century wall hanging collector's shelf, 83 x 37cm (9).

An Arts and Crafts stained glass door or window light, first half 20th c, painted with the face of a stylised young woman, 39 x 25cm Good condition

Art Nouveau Mahogany Music Cabinet having a Leaded and Stained Glass Door

A collection of 20th Century studio glass items comprising of tall jug, circular bowl signed to base, splash vase and a yellow glass bowl. Together with a stained glass / tiffany style vase in turquoise.29cm tall approx.

Alison Harper (b.1964), a charcoal drawing on paper in a conservation grade stained and distressed ash frame, under uv/non-reflective glass, signed and dated A Harper. H.80 W.93cm

A pottery table lamp with stained glass shade and one other table lamp

A set of three stained glass panels, 50 x 50cm. Condition - one section of glass missing and some leading missing

A LEADED STAINED GLASS CEILING LIGHT, of rectangular form with four geometric stained glass panels, and decorative top edging, with separate chain, height 33.5cm x approximately 20cm square (1 box) (Condition Report: one clear piece of glass at the edge of one panel is broken, some tarnish and wear to metal, chain requires attention before hanging)

A decorative leaded glass and stained panel, approx. 101 x 24cm