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Copper hall lamp with colored stained glass, 90 cm high, 21x21 cm (1 diamond with crack)

STAINED GLASS FIRESCREEN & STAINED GLASS PANELS

AN EARLY 20TH CENTURY MAHOGANY BOOKCASE, the upper section with double lead glazed/stained glass doors, above a base with two drawers above two carved cupboard drawers, width 103cm x depth 41cm x height 196cm x height of base 87cm (condition:-plinth loose from base) (key)

A mid century teak headboard with two matching bedside cabinets, with raised stained glass panels by Chris Simpson, fitted single drawers, marked Uniflex (headboard: 92cm x 145cm)

A stained hardwood glass top vitrine/display table on shaped supports, 50 x 50 x 62 cm high

An Art Deco stained glass four panel window

An Art Deco stained glass door and side windows

Nine Art Deco stained glass windows

Seven stained glass windows and a panel

Five stained glass window panes

Five stained glass windows

Five Edward VII stained glass window panes

A collection of contemporary stained glass window panels and decorated glass panels

HEATON, BUTLER & BAINE - A framed and glazed ink and watercolour designs for a stained glass window, set in a maple frame, blind stamped, 44cm x 30cm

MAX INGRAND (Bressuire, France, 1908-Paris, 1969) for FONTANA ARTE.Pair of wall lamps model 1552, 1950s.Cut glass body with satin-finished glass shades and nickel-plated brass frame.Measurements: 40 x 20 x 8 cm.Pair of sconces designed by Max Ingrand for Fontana Arte. They have a cut glass body with satin glass shades and a nickel-plated brass frame. Famous French master glassmaker and decorator, Max Ingrand was artistic director of FontanaArte from 1954 to 1964. During that time he devised true design classics, such as the Fontana table lamp. He was educated at the École nationale supérieure des beaux-arts and the École nationale supérieure des arts décoratifs, studying with Jacques Grüber and Charles Lemaresquier. He was elected president of the Association Française de l'Illumination in 1968. That same year he founded the company Verre Lumière, one of the first producers of halogen lamps. Between the 1940s and 1960s, he created numerous stained glass windows for churches (in some cases replacing those destroyed in the Second World War), including those for Pontoise Cathedral (1955), Strasbourg Cathedral (1956), and the chapels of Blois Castle (1957). He has also worked on important civil buildings.

Modernist display cabinet, circa 1900.Carved wood, root veneer and leaded glass.Measurements: 187 x 61.5 x 38 cm.Modernist display cabinet made of wood and decorated with carvings, beautifully grained root veneer and leaded glass decorated with a beautiful and complex plant design. It has a classical, architecturally inspired structure, with chamfered corners decorated with corbels and columns, a base of cut-out skirts with a stepped top and a moulded frieze crowned with a small cornice.It is a two-part piece of furniture, the smaller lower part serving as a pedestal for the upper part. This lower body has a door with its handle, decorated on the front with the aforementioned root veneer, in a rectilinear recess topped by a segmental arch. This door is flanked by two typically modernist corbels, carved with sinuous, flowing forms that evoke the organic without actually making it concrete. The upper body follows a similar pattern, although it is more developed at a decorative level. The door is closed by a stained-glass window that combines leaded glass plates of different colours and finishes: marbled, pressed, tinted glass in different shapes, with different colours, composing a floral design halfway between realism and abstraction. The handle of this door has a more complex design than the one below it, based on sinuous, flowing lines that form an asymmetrical pattern. On both sides of this body we see turned columns made up of several superimposed bodies, located on chamfered corners that protrude from the ground plan, creating protrusions in the line of union between the two bodies. Inside this upper body is an open space, with a mirror covering the back that would multiply the light and, with it, the play of light and colours of the stained-glass window.

A stained glass lamp in the form of a teapot, 24cmH

Three leaded stained glass panels, the largest 29x45cm

Four stained glass panels with floral design, all af, 91x139cm

A collection of mainly Russian orthodox icons, together with a stained glass cross

A stained glass panel (af), approx. 38.5x51.5cm

French, circa 1820, With sectional-comb cylinder movement with the thirteen groups of five teeth each, on plain brass bedplate under glass-lidded and gilt paper edged compartment, with the piano-form case with full looking-glass lid interior, period silk cover protecting the complete fitted implement tray comprising finely finish part-gold mounted carved and pierced mother-of-pearl scissors, needle case with horse top, twin silk winders, mitré-cubre, thimble, cut glass scent bottle, stitch hook and opening wedge-keep, within the full-width pin-cushion tray with embroidered spandrel decoration and woven silk line inset traces, the flame veneered mahogany case with inlaid stained fruitwood keyboard, pressed and gilt metal appliqués including escutcheon, raised on turned legs with cast gilt lion paw feet, start/stop and winding spindle to underside -11 3/4", 30cm wide, cylinder 2 1/2", 6.5cmCondition report: Overall Excellent, some minor wear consistent with age; front left foot has been replaced; small area of loss to veneer on inside of lid bottom left corner; all teeth present, plays smoothly but with some buzz, no lock key

Stained glass lamp shade

TWO STAINED GLASS GLAZED AND LEADED WINDOW PANES

Three unusual modern art/stained glass blue and white abstract panels of circular form within a white circular frame. Indistinct signature possibly R.H.H and dated 2003. (3)(B.P. 21% + VAT)

Modern Tiffany style stained glass lampshade. (B.P. 21% + VAT)Small crack to edge of shade.

19th Century stained walnut tripod glass top tapestry decorated table of oval form. (B.P. 21% + VAT) No serious damage. Some splits in places and wear with age.

A 19th Century mantel clock, with black Roman numerals to the white enamelled face, within a beaded copper bezel, the 8-day movement striking on a bell; the dark-stained cartouche-shaped wood case carved with an hour glass, sickle, wings and acanthus leaves. 29.5cm tall. Hairline cracks to face

A Mid 20th Century Wall Hanging Stained Glass Panel, Dated 1959, Some Condition Issues, 29x20cm

Pair of late 19th Century coloured and stained leaded glass door panels with floral decoration and bulls eyes, 40ins x 10.25ins each (at fault)

A selection of decorative stained glass panels.

A stained glass window measuring approximately 108 cm x 53 cm. Item is located in the WN5 postcode area, the winning bidder will be able to arrange collection of the item by appointment after the sale has closed.

A stained glass window measuring approximately 82 cm x 84 cm. Item is located in the WN5 postcode area, the winning bidder will be able to arrange collection of the item by appointment after the sale has closed.

Picart, Bernard. The Ceremonies and Religious Customs of the Idolatrous Nations, Volume four part two. London 1733, folio, rubbed and worn, large plates dealing chiefly with Chinese Religion; together with Divers Works of the Early Masters of Christian Decoration, volume two. London 1846, large folio, attractive hand coloured plates of medieval stained glass and decorations. The binding worn, contents loose, otherwise good.

A dark wood stained corner cupboard with cut glass door panel. 70cm x49cm x Height 184cm (COLLECT ONLY)

Kleines Wandschränkchen, um 1900Laubholz, Nussbaum dunkel gebeizt, eine Tür mit einer Glasfüllung, diese bezeichnet "Cigarren". 45 x 35 x 18 cm Small wall cabinet, around 1900 Hardwood, walnut stained dark, one door with a glass panel, this inscribed "Cigarren".

A Medieval stained & painted glass panel from a window, depicts a female saint at prayer, 55cm x 33cm wide (at widest point)

An early stained and painted glass panel, depicts a scholar or clergyman in 17th century costume, holding a book, red ground within a blue inner border and a mostly clear outer border, 42cm x 37.5cmCondition report: lead a little weak and bent in places, a few cracks to side pieces of glass, the main figure glass is good, unsure of age, possibly 18th / 19th century.

An early stained glass panel, depicts the Arms of the Percy family of Alnwick castle, the lion and pikes armorial with the motto 'Esperance in Dieu', 42cm x 37cm (In the 1300's Henry Percy, 8th Baron Percy purchased Alnwick Castle, becomes the 1st L ord of Alnwick, he uses the Blue Lion of Brabant on a gold background as his device (a lion rampant azure on Gul) when Lord Percy's grandson marries Maude de Lucy, her family armorial crest of three pikes is incorporated, by Royal Decree of King Rich ard II)

A bronzed metal table lamp base in the form of flowers, stained glass shades

Two decorative platters and a stained glass hanging

A Japanese red lacquer four-fold screen, each panel relief set with stained and carved bone and mother-of-pearl, depicting birds and blossoms, each panel 28cm by 92cm, together with a Japanese two-fold screen painted in oils of landscapes, and a hexagonal lantern of two-tiered form with painted glass panels (3)

An Antique Stained Glass Panel Depicting a Bishop.

LEWIS CARROLL. 'Alice's Adventures In Wonderland,' illustrations by John Tenniel, eighty-third thousand, original red cloth, spine stained and loosening, library stamps, MacMillan, London, 1886; '.......and Through The Looking-Glass and What Alice Found There,' original red cloth, ninety-two illustrations, Macmillan, 1916. (2)

A FACETED GREEN GLASS SNUFF BOTTLE, 18TH CENTURYChina, 18th century. Probably Imperial, attributed to the palace workshops. The opaque green glass bottle with a flat foot, the neck with a characteristically large opening. Irregularly faceted and smoothly polished so that the bottle stands perfectly on each of the many sides, featuring two large circular medallions, resembling integrated snuff dishes.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world's most valuable collections of gems and minerals.Condition: Perfect condition with only miniscule manufacturing flaws, some glass swirls and surface scratches.Stopper: Red glass cabochon with stained bone spoon.Weight: 34.4 g. Dimensions: Height including stopper 52 mm. Diameter neck 13 mm and mouth 8 mm.Auction comparison: Compare with a related faceted glass bottle at Sotheby's Hong Kong, Snuff Bottles from the Mary and George Bloch Collection: Part VI, 27 May 2013, lot 236, sold for HKD $106,250.十八世紀綠料切面鼻烟壺 中國，十八世紀。有可能御制，可能是清宮玻璃廠所制。 不透明的綠色玻璃瓶，扁平底足，頸部大開口，不規則刻面，光滑打磨，使瓶子在各個側面上均能完美站立，帶有兩個大型開光，類似鼻煙碟。來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。品相：狀況幾乎完美，僅輕微製作缺陷，一些玻璃旋紋和表面劃痕 壺蓋：紅玻璃壺蓋，彩色骨質小壺匙 重量：34.4 克尺寸：總高52 毫米；頸部直徑13 毫米；嘴部直徑8 毫米拍賣結果比較：一件相似的切面料壺見香港蘇富比Snuff Bottles from the Mary and George Bloch Collection: Part VI 拍場2013年5月 27 日 lot 236, 售價HKD $106,250.

A LONGQUAN CELADON TRIPOD CENSER, SOUTHERN SONG DYNASTYChina, 1127-1279. Covered overall with a soft blue-green glaze suffused with black and golden-brown-stained crackle and superbly pooling in thick drops at the bottom of the legs to expose the fine grayish ware. Note the old scent to the interior of the censer.Provenance: From an old southern French private estate. Condition: Excellent condition with some wear, particularly to the rim, and firing flaws, such as dark spots and pitting. The rim with calcifications consistent with soil or sea finds. While the unglazed areas of the feet appear dark brown, a closer inspection under a magnifying glass reveals this to be due to soiling, with the fine grayish ware clearly visible underneath.Weight: 885.5 gDimensions: Height 12.7 cm, Width 16 cm (at the widest points)The compressed body raised on three slightly splayed conical supports and surmounted by a cylindrical neck rising to a broad everted rim, with three narrow tapering flanges beginning at a ridge on the shoulder and trailing down each leg.Incense burners of this li tripod form were produced at the Longquan kilns during both the Southern Song and the Yuan periods. See P. Hughes-Stanton and Rose Kerr, Kiln Sites of Ancient China, London, 1980, pp. 20 and 125, no. 97. They have been excavated from widely scattered sites in China from Jining in Inner Mongolia in the north (see Wenwu, 1979:8, pl. VI, no. 3), to the Song port at Dongmenkou, Ningbo in the southeast (see Zhejiang sheng wenwu kaogusuo xuekan, Beijing, 1981, pl. XI, no. 5), and Sichuan in the west, where a similar vessel was unearthed at Jinyu village, Nanqiang, Suining in 1991 (see Longquan Celadon - The Sichuan Museum Collection, Macau, 1998, pp. 210-11, no. 83). They were also greatly appreciated in Japan, where they are known as hakama-goshi, a reference to the similarity of their pouched leg to the appearance of someone wearing the type of loose trousers known as hakama.It is possible that the crackle in the glaze of the present censer was a deliberate attempt to imitate Guan wares. A number of Song vessels from the Longquan kilns were made in this distinct style, some of them with a dark colored body, others pale as seen on the present censer. While it is difficult to be sure whether a reference to Guan ware was intended in the making of this piece, it may be significant that a Guan ware vessel of the same form is in the collection of the National Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum: Kuan Ware of the Sung Dynasty, op. cit., pp. 48-9, pls. 19a, 19b, 19c. A Guan ware censer of this shape was also found at the Jiaotanxia kiln site in Hangzhou. See Nan Song Guanyao, Beijing, 1996, pl. XX, no. 2.Literature comparison: There are examples of this Longquan censer form in the collection of the Palace Museum, Beijing. See The Complete Collection of Treasures of the Palace Museum 33 Porcelain of the Song Dynasty (II), Hong Kong, 1996, pp. 135, 136, 139, 140-41, nos. 121, 122, 125, 126. A slightly larger Longquan tripod censer of similar construction in the collection of the National Palace Museum, Taipei, is illustrated in Porcelain of the National Palace Museum - Lung-ch'üan Ware of the Sung Dynasty, Hong Kong, 1962, p. 58, pl. 16. Three examples are also housed in the Percival David Foundation (accession numbers PDF 228, 276 and 279). One of these, formerly in the collection of the Imperial Family, is included in Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, rev. ed., London, 1997, p. 34, no. 228.Auction result comparison: Compare a closely related Longquan celadon tripod censer, also dated to the Southern Song dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 30 March 2005, lot 321, sold for USD 102,000. 南宋龍泉青瓷三足爐 中國，1127-1279年。爐呈鬲形，下承三乳足，上飾凸棱。玲瓏端秀，釉色粉青。色澤悅目，黑褐色的開片紋，足底形成積釉，並露出灰色内胎。 注意香爐內部的舊時氣味。 來源：法國南部私人老收藏。 品相：品相極好，邊沿一些磨損，燒製缺陷例如黑點和麻點。 鈣化現象與在土中或海中發掘相似。 雖然足部未上釉的區域呈深褐色，但在放大鏡下仔細觀察，發現這是污跡造成的，其下清晰可見精美的灰色陶胎。 重量：885.5 克 尺寸：高 12.7 厘米, 寬 16 厘米 (最寬処) 拍賣結果比較：一件相近龍泉青瓷三足爐，同樣為南宋，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2005年3月30日 lot 321, 售價USD 102,000。

An Oriental stained beechwood glass top occasional table second half 20th century, the top with painted silk panel beneath depicting three peacocks and prunus blossom (lacks glass to cover), raised on square legs with pierced keywork corner brackets and shaped peripheral stretchers, 19½in. (49.5cm.) square, 15¾in. (40cm.) high.

A Franklin Mint Collector's Edition Monopoly game, stained mahogany with pull-out drawers, gold -plated and silver plated pieces, no glass top or cards etc, outer card carry case.

A modern leaded and stained glass panel depicting the Saltire flag 37cm high x 77cm wide Condition report: Available upon request

A lot comprising a painted plaster lamp base modelled as a horse, a resin and brass lamp base modelled as an eagle, a leaded brass lamp with a leaded and stained glass shade, a brass and hardstone bankers desk lamp Condition report: Not available for this lot

A WILLIAMITE GOBLET,Circa 1900Attributed to Franz Tieze at the Pugh Glass House, Dublin, the bucket-shaped bowl engraved with an equestrian portrait of William III, and the motto, 'The Glorious Memory of King William, Boyne, 1st July 1690', 20.1cm high, a Bohemian amber stained goblet engraved with an equestrian portrait of William III, 14cm high, a Staffordshire flatback figure of William III titled in cold gilding 'William III, Derry, Enniskillen and the Boyne', 35cm high, together with another similar example. (4)For further information on this lot please visit Bonhams.com

A COLLECTION OF ART DECO GLASSIncluding a blue stained vase, 23cm high, three Lalique green stained tumblers, a Bohemian decanter set with six shot glasses, four blue flashed sundae glasses and liners, together with a post-war Lalique figure of a dove. (20)For further information on this lot please visit Bonhams.com

A ceiling light with central frosted domed shade and three similar branches; a pair of faux marble effect table lamps, with shades 65cm overall; a painted wooden table lamp; a small lamp with stained glass shade (5)

Two stained and leaded glass panels, one probably for Pembroke College, Cambridge, 22 x 18cm, the other probably for Viscount Sidmouth, 22 x 19cm Blazon: barry of ten argent and azure, an orle of martlets gules (Valance) - impaling - gules, three pallets vair, on a chief or a label azure (St. Pol), probably for Pembroke College, Cambridge The arms are for Aymer de VALANCE (1275-1325) 2nd Earl of Pembroke during his second marriage in 1321 to Mary de St POL (1303-1377) daughter of Guy IV (1254-1371) Count of St Pol, France. Their short marriage was childless and after Aymer's death Mary de St POL was styled Countess of Pembroke, baroness Wexford, Ireland and baroness Bellac and Rancon, France. After the death of Aymer Mary never remarried and continued to use the arms of her husband until her death. This would usually mean that the arms can be dated 1321-1371 but on this occasion Mary de St POL went on to found in 1347 Pembroke College Cambridge, an the College have assumed the arms as their own ever since. This mean that the glass could be of any date since 1347 to the present day but the use of a dimidiated form suggests an earlier date.    Blazon: per pale ermine and ermines, on a chevron between three fleurs de lis, five lozenges all counterchanged (Addington), probably for Viscount Sidmouth No grant of arms to the ADDINGTON family has ever been recorded and exemplification during a Herald's Visitation has not taken place, however there is a record in the College of Arms manuscripts of the arms being used c1520 with four lozenges rather than five as in this lot. This is then confirmed in the later Burkes's Armory (1884), when the arms are used by the ADDINGTON family of High Bickington Devon who were from London. Burke's Armory also records arms derived from the original with five lozenges and fleurs de lis or for the Viscount Sidmouth (created 1805). Condition Report: Sidmouth:The lower section has been bent and consequently two of the glass panels are cracked and will repairing. This can be seen in the online image but not clearly - please see additional image for better detail. The Cambridge panel overall appears intact wihtout serious cracks to the glassPlease refer to additional images for visual reference to condition Condition Report Disclaimer

Two stained glass and leaded window panels, early 20th century, of Masonic interest, one dated 1912 and inscribed for George Traill, mounted in a window frame 77cm high, 57cm wide, the other with the Traill family motto 'Discriminae Salus', mounted in a window frame 109cm high, 57cm wide These panels appear to relate to George TRAILL (1874-1940) shipowner of Hampstead, Middlesex the son and heir of George TRAILL (1833-1887) merchant and shipowner by Julia ELWICK (1844-1928). In 1901 he married Clara Louise PARKER (born 1876).  In 1876 George TRAILL (sr) was initiated at the Grenadiers Lodge 55. In 1907 his son George TRIALL (jr) was initiated at the Lodge of Fortitude and Old Cumberland, Lodge 12 of St James, London. The motto DISCRIMINE SALUS is that used by TRIALL of Holland and earlier by the TRIALL family of Ballyhough House, Co.Antrim, whose earliest ancestry is found in Scotland. The modern adopted crest as per the second panel here is: a beacon tower issuing from waves of the sea proper. The original crest is derived from a 15th century shipwreck and rescue experienced by the family.Condition Report: Flaming Torch panel:As catalogued this is 109cm high, 57cm wide fitted in a window frame - the panel itself is approximately 102cm x 50cm. It is puttied in place and Dreweatts make no guarantees how cleanly or easily it may be removed from this setting. The handle is stiff but operable to use this as a window if required. The glass to the panel surround in good order - the decorative central element with old breaks and repairs. The window frame is distressed black paintedGeorge Traill panel:As catalogued this is 77cm high, 57cm wide wide fitted in a window frame - the panel itself is approximately 68 x 50cm. It is puttied in place and Dreweatts make no guarantees how cleanly or easily it may be removed from this setting. The handle is operable to use this as a window if required. The window frame is more uniformly black painted than the other. The glass to the panel surround in good order - the decorative central element with some old breaks and repairs - there is a crack through GEORGE TRAILL panel that hasn't had a repair.The surrounding clear glass to both panels in good order, but with surface dirt, these would benefit to a clean on installationPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

A group of twelve stained glass and leaded window panels, early 20th century, each incorporating a central motif with a sign of the Zodiac, various sizes, some mounted in window frames, the largest 110cm high, 57cm wide, the smallest 71cm high, 51cm wide Condition Report: Overall the panels need a clean to the glass and the leadwork, some need remounting and some are in various window mounts.Scorpio (Scorpion):The glass to the panel surround in good order - the decorative central element appears in good order and sectional as manufactured. Dirt and discolouration to the glass and to the lead bars - there are copper ties to attach to a window frame, these are present and intact, some are slightly bent out of shape. Not mounted in a window surround, the panel is 102 x 50cm Leo (Lion):Ditto the condition of Scorpio, the copper ties in different places, Not mounted in a window surround, the panel is 104 x 52cmSagittarius (centaur):Ditto the condition of Scorpio, the copper ties in the same place, Not mounted in a window surround, the panel is 102 x 50cmCancer (crab):The glass to the panel surround in good order - the decorative central element appears in good order and sectional as manufactured. Dirt and discolouration to the glass and to the lead bars - there are copper ties to attach to a window frame, these are present and intact, some are slightly bent out of shape. Not mounted in a window surround, the panel is 71 x 52cmAries (Ram):Ditto Cancer, but with some rust and red corrosion to the lead bars. Not mounted in a window surround, the panel is 71 x 52cmGemini (twins):Ditto Cancer, Not mounted in a window surround, the panel is 71 x 52cmTaurus (Bull):Ditto Cancer, Not mounted in a window surround, the panel is 71 x 52cmAquarius (water-bearer):Overall 109 x 57cm the panel is approximately 105 x 52cm. It is puttied in place and Dreweatts make no guarantees how cleanly or easily it may be removed from this setting. The handle is operable to use this as a window if required. The window frame is fairly uniformly black painted. The glass to the panel surround in good order - the decorative central element appears in good order and sectional as manufactured. Dirt and discolouration to the glass and to the lead bars with white build up to the glass surrounding these. Mounted in a window surround bars utilising the ties to attach to the frame. The handle stiff but operablePisces (two fish):Ditto Aquarius and in matching (opposing) frame surround, the panel measurements also appear to be identical. There appears to be an old crack to the tail of the lower fish that has not been repaired - the white surface residue has settled in this area also. Virgo (Plenty):Condition similar to Aquarius but in older window frame, with rust and surface corrosion to the metal areas. The front black painted but less uniformly than Pisces and Aquarius. Handle twisting slightly but very stiff - probably not aided due to the rust on the frame. 109 x 57cm overall, the panel approximately 104 x 52cmCapricorn (Goat):In differing frame again, but condition of frame less good than the previous windows. Again exterior painted black but less uniformly. the glass dirty and in need of a good clean. Some later putty. 110 x 57, the panel approximately 103 x 53cm, handle to window operableLibra (scales):Same frame as Capricorn, the outer clear glass with some cracks and breaks to some panels. Otherwise in condition similar to the previous windows. Handle stiff but opperable. again this window with dirt and in need of a clean. 109 x 57cm overall, the panel approximately 103 x 52cmPlease refer to additional images for visual reference to condition for these windows, please note measurements given for the framed window panels are approximate as they are puttied in place and mounted. Potential purchasers need to satisfy themselves before biddingCondition Report Disclaimer

A Glasgow Style 'The Queens' stained glass window, 1970s, after a design by Margaret Macdonald Mackintosh for panels,65.5cm wide95cm high, in a hinged frame, 79cm wide109.5cm highBy repute, from Keith Moon’s house in Wimbledon. Condition report: With its original wooden inner and outer window frame. Some panels with cracks.

*Wilhelmina Geddes (1887-1955),Faith, Hope and Charity,a stained glass window, from St Paul's Church, St John's Hill Battersea, and made by Charles F Blakeman (1907-1989), with three two-part tracery panels, a quatrefoil panel and four spandrels, inscribed 'This window was designed by the late W. M. Geddes and made by C. F. Blakeman, 1956', also with cleaning instructions,lower panels 52cm wide, 42cm highcentral panel 52cm wide, 80cm highside panels 52cm wide, 95cm highcentral roundel 32cm wide, 33cm hightwo triangular larger 26 x 19cm two triangular smaller 21 x 11.5cm (11)Wilhelmina Geddes (1887-1955)Ulster-born Wilhelmina Geddes is widely regarded as one of the outstanding designers and makers of stained glass working in the first half of the twentieth century. Trained at Belfast Art School and the Metropolitan College of Art in Dublin, Geddes absorbed the expressive and technical principles of the Arts & Crafts Movement, translating these into a uniquely powerful personal idiom.Some of her earliest work was shown at the important Exhibition of British and Irish Decorative Arts at the Louvre, Paris, in 1914. Subsequently she was given the prestigious commission for a war memorial window (1919) in the Governor-General’s Church (St Bartholomew’s) in Ottawa. Made at the ‘Tower of Glass’ studio in Dublin, it was exhibited to great acclaim in London before its installation in Canada. Moving to London in 1925, she thereafter worked at the renowned ‘Glass House’ studios (Messrs Lowndes & Drury) in Fulham, London. Amongst the commissions she completed in the inter-war period, were windows for churches at Laleham in Middlesex (1926), Northchapel in Sussex (1930), Otterden in Kent (1933) and for St Martin’s Cathedral at Ypres, Belgium (1938). These and other works profoundly impressed younger artists such as Evie Hone and John Piper.The 3-light window depicting Virtues (Faith, Hope and Charity) was commissioned by the Rev. Chad Varah, a radical Anglican priest (and future founder of the Samaritans) who had been appointed rector of St Paul’s Church, St John’s Hill, Battersea (near Clapham Junction) in 1949. Intent on restoring and embellishing the church after war damage, Varah had contacted John Piper, seeking a recommendation for a modern stained glass artist. He was advised to contact Geddes who, despite poor health and struggling with work on two other commissions for London suburban churches – All Hallows, Greenford (1951-2) and St Mildred’s, Lee (1953-4) – agreed to make a design.By now, Geddes’ style had evolved into a remarkably distilled form of monumental expressionism, which was quite unique in British stained glass and which entailed subtle choices of coloured glass and intricate craft processes in the glass-painting. With the assistance of two young craftsmen, Donald Drury and Charles Blakeman, Geddes was able to finish the windows for Greenford and Lee, but her deteriorating eyesight and other ailments made it impossible for her to complete the full-size working cartoons for Battersea. After collapsing in the street and being admitted to St Pancras Hospital, Wilhelmina Geddes died, aged 68, on 10 August 1955.It was decided that the Battersea window, Geddes’ final commission, should be completed from the artist’s designs by Charles Blakeman, who was also working at the Fulham Glass House. Blakeman admired Geddes’ work immensely, having closely observed her design and craft techniques as she carried out her Greenford and Lee projects, and he was determined to do justice to her ideas for the window. The artist’s biographer, the late Dr Nicola Gordon Bowe, recorded that by ‘using Geddes’s sketches and cartoons, however illegible, Blakeman was able to adhere to her designs relatively faithfully while still producing a window clearly his own’. The window was finally unveiled in 1956, when it was seen by Rev. Chad Varah, who was ‘highly impressed’ by it.The window depicts Faith, Hope and Charity as three female angelic figures, whose seated forms fill each lancet. At the base of the window are two of the Evangelists and, in the centre, a scene of the Annunciation. Above the figure of Faith is a vignette of St Thomas and Christ, while Hope holds a miniature scene of Noah’s Ark and above Charity is a figure of St Mary Magdalene. The upper tracery lights contain depictions of the Moon and Sun with, in the centre, the Christ Child. An inscription in the right-hand light records that ‘THIS WINDOW WAS DESIGNED BY THE LATE W. M. GEDDES AND MADE BY C. BLAKEMAN 1956'.When St Paul’s church was amalgamated with another parish in the 1970s, the Geddes-Blakeman window was obscured by internal alterations to the building and was effectively inaccessible. The church was finally declared redundant in recent years and later converted to housing. As part of the structural alterations, the stained glass window was removed. Literature: Nicola Gordon Bowe, David Caron and Michael Wynne, 'Gazetteer of Irish Stained Glass', Irish Academic Press, Dublin, 1988;Nicola Gordon Bowe, 'Wilhelmina Geddes, Life and Work', Four Courts Press, Dublin, 2015;Peter Cormack, 'Arts & Crafts Stained Glass', Yale University Press, New Haven & London, 2015. We are very grateful to Peter Cormack for his assistance in the cataloguing of this lot.*Artist's Resale Right may apply to this lot. Condition report: All the panels have been kept in plastic boards, taped both sides. Three lowest panels - structurally sound in the lead frames. No visible defects or cracks. Faith - two cracks to panels. Fourth panel from the bottom on the left - crack to the base of the wing. Fourth panel from the right on the bottom (knee) this panel has a crack.Hope and Charity - both appear without cracks. Both are structurally sound in the lead. All three slightly bowed. Left hand top - yellow crescent moon - cracked panel. The other top panels again appear to be OK. Lead work good on all others.

A glass 'Sultane' box and cover by René Lalique,of square form decorated with stylised leaves, the handle modelled as a girl seated cross-legged, wheel cut 'R Lalique France', 14cm square15cm high (2) Condition report: Chipped to the cover on one corner and to the base. Also to another edge on the cover. Base possibly matched as stained - cover is not.

An antique stained glass leaded sash window in frame