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Kosta Boda, previously known as Kosta Glasbruk, is a Swedish glassmaking company founded by two foreign officers in Charles XII's army, Anders Koskull and Georg Bogislaus Staël von Holstein, in 1742.It is located in Kosta, Sweden. Early production consisted of window glass, chandeliers and drinking glasses. From the 1840s, the factory was at the forefront of new trends and technical developments, producing pressed glass, and in the 1880s setting up a new glass-cutting workshop. In 1903, the company merged with the Reijmyre glassworks but both retained their own names and Kosta went on to maintain its reputation as one of the leading Swedish manufacturers with a range of fine art glass and tableware by distinguished designers such as Vicke Lindstrand, artistic director from 1950-1973.

Print 1: This print depicts the weddings of Queen Victoria and Prince Albert and on the bottom depicts the marriage of Mary of Teck to the then Duke of York. The portraits surrounding these images are of the two brides and other royal family members. (numbered Plate 17)

Print 2: This print depicts the development in the modes of transportation during her reign. Clipper ship to steamer, carriage to train, walking and carriages to bicycles and automobiles. The portraits will be the inventors and visionaries of these developments. (numbered Plate XI)

Print 3: This print depicts the House of Commons with Prime Minister Salisbury and the House of Lords. The surrounding portraits are politicians of the day. The bottom centre is of Gladstone. (numbered Plate A)

Print 4: This print depicts the development of the Royal Navy during her reign. it starts with tall mast sailing ships (1836 fleet) and proceeds to steam ships (1853 fleet) and then finally to the most modern ships and even submarines (1897 fleet). The portraits are a bit random - but probably are naval officers and Royal family members. (numbered Plate IX)

Print 5: This print depicts three important battles during her reign. The portraits depict military officers and other influencers during these wars. (numbered Plate VIII)The portraits depict military officers and other influencers during these wars. (numbered Plate VIII)

Print 6: This print depicts the christenings of Victoria's first two children, Victoria Adelaide Mary Louise, Princess Royal and Albert Edward, Prince of Wales. The large portrait on the upper left is the Arch Bishop of Canterbury. (numbered Plate V)

Print 7: This print depicts the Queen's marriage to Prince Albert and the image below is a well known family portrait. The portraits are members of the Royal Family such as parents and possibly siblings. (numbered Plate IV)

Print 8: This print depicts Victoria's accession council, the opening of parliament and a royal procession. The portraits are very difficult to pinpoint but they would be politicians and influencers of the day. (numbered Plate III)

Print 9: This print depicts Queen Victoria's coronation in 1838. The top image is the ceremony followed by the procession with Buckingham Palace in the background. The portraits depict monarchs that came before here. Edward the IV is the large central top portrait. (numbered Plate II)

Print 10: This print depicts a later family portrait and three of her residences, Windsor, Balmoral and Osborne. The larger portraits are Edward Prince of Wales, George Duke of York and probably Prince Edward Albert.

This ‘swirling’ pattern is sometimes found on late nineteenth century polychrome plaques. Dating here is probably later, perhaps to around 1920, in the middle of the Taisho period (1912 – 1926), but care has been taken with this piece and the mark, which unfortunately cannot be deciphered, no doubt denotes the studio which created it.

The various figures were made in white glazed porcelain with coloured decoration. The compositions were sculptural and often accompanied by an inscription, as here. Many models are known. Two typical examples are 'Returning from the Ball' and 'Twelve Months after Marriage' but the most common example is represented here 'The last in bed to put out the light'. A couple are seen climbing into a covered bed at the foot of which stands a candle in a holder. These candles are usually broken off, most likely because of simple damage over the years but it has been suggested that this was done deliberately for good luck.

Some of the fairing figurines are marked, as here. In comparison with the previous Lot 4, this example has a glazed circular mark which reads 'Made in Germany'. These marks appear on the later productions of the Conta factory and indicate a dating here to shortly before the First World War. This is consistent with the rather 'brassy' looking gilding used which is typical of ceramic production generally post 1900.

It is interesting to compare Lots 4 and 5 and to see how consistent the manufacture was throughout the period. Only the glazed base with its circular mark and the type of gilt decoration separate this example from its earlier companion.

Fairings have been collectors' items for many years now and still hold a naif charm which makes them appealing display items, with a history of their own.

The Doulton factory began production in 1815, first at Vauxhall and later moving to Lambeth. In 1882 it opened an additional factory at Burslem, Stoke on Trent in the centre of the English pottery. Known at first mainly for utilitarian works it began to develop decorative wares more extensively in the 1860s and soon gained a reputation for its distinctive designs. As the mark indicates, this piece was made at the Lambeth factory and the absence of ‘England’ in the Doulton mark, which has the typical design of interlocking ‘D’ at its centre, indicates that it dates to before 1891. The decorative technique, employing impressed designs was known as ‘Chine’ ware and protected by the patent ‘Doulton and Slaters Patent’ which is clearly marked underneath. Pieces of linen, lace, net or other fabrics were pressed onto the unfired soft clay shortly after potting, leaving a corresponding pattern behind. This piece has elaborately modelled lotus strands in addition as well as gilt flower heads, an unusual combination which does not seem to often occur. On the base are found stamped numbers and letters which should indicate the pattern number and artist decorator but it has not been possible to identify these accurately. Dating though is confirmed and this was clearly a deluxe item amongst the range of pieces produced at that time.

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Bay Ceramics was founded by Eduard Bay in the 1930s and based in Ransbach Baumbach, the heart of the main West German pottery producing region. Their productions included vases in a wide variety of shapes and designs which continued in production until the 1980s. Bodo Mans was amongst their most famous designers working in the 1950s and 1960s. He seems to have concentrated on organic semi abstract designs and ewers in this form, with the same pattern number but in a variety of different glazes, are attributed to him. This monochrome mustard glaze seems particularly attractive and complements the design very successfully producing a striking and decorative item which might enhance a wide variety of interior settings.

Vases in this form were produced by the well known French maker Daum in the 1950s and the 1960s. The sizes and designs can vary with some examples measuring up to two feet and intended as table ornaments. This piece is rather smaller and perhaps more elegant. The crystal glass is of extremely high quality and reflects the light in a very attractive way. The weight is good and the glass itself is thickly blown and expertly formed, The flat base shows signs of bevelled edging at the exterior and one of the sides bears the typical etched Daum mark with 'Daum' and 'France' separated by a device comprising an upright line with two crosses.

The more petite size and the quality of the manufacture and design make this a most appealing example of Daum's work at its best. Dating can be assumed to be around 1960 if not slightly before. A desirable piece indeed for collectors of twentieth century art glass.

Galalith is a a synthetic plastic made out of the interaction of casein and formaldehyde and was introduced to the fashion world by Coco Chanel in 1926. The commercial name is derived from the Ancient Greek words 'gala' (milk) and 'lithos' (stone).

The panel is framed by a broad band of dark beige coloured fabric with a repeating diaper design, typical of early twentieth century work. The stitching is bold rather than subtle which again conforms to the period, but the overall effect is both amusing and decorative. The European frame may well be contemporary.

Please note that the original double strap handle has been recently remodelled to a simple loop as being more practical and consistent with the overall design of the piece.

The style of decoration here is typical of the art brass hanging plaques produced by the metalworkers of Thanjavur, formerly known as Tanjore, from the late eighteenth century onwards. A Tanjore Art Plate consists of three components: the base plate (brass), a circular central relief panel of a deity worked in silver surrounded by relief panels in copper and silver often depicting flowers. Various deities are depicted here including the well known many armed Shiva. All the reliefs have milled borders but the wells are finished differently, some with engraved designs and one with circular bosses. Dating is probably to the mid C20th but the style of these pieces was continuous and relatively unchanging so an earlier period of manufacture is quite possible.

NB Stands for display purposes only and not included

Founded by Eduard Bay in the 1930s and based in Ransbach Baumbach in the heart of the main West German pottery producing region, Bay Keramik grew to be one of the most prolific producers of ceramics in the ‘West German’ style and continued production into the 1990s. This piece retains its original paper label and the format of this allows dating to the 1970s/1980s. The jug has almost a slightly rustic feel and recalls much earlier German ceramic items. The numbers on the base indicate the form number but it has not been possible to identify this.

Although not marked with their name (few pieces were until the later years of production) this vase has all the hallmarks of the Scheurich factory founded in 1954 by Alois Scheurich who had been a partner before then in the firm ‘Scheurich and Greulich’ (S&G) since 1927. While founded later than many of its competitors, Scheurich grew to become the principal exporter of West German ceramics through until the 1980s and beyond, making vases in a wide variety of shapes and designs. This piece is rather more austere than many of their productions and the clean lines of the form combined with the rather stark decoration perhaps make it particularly suitable for a contemporary interior.

Although of relatively recent manufacture, the quality of these pieces continues the Chinese ceramic productions of the late nineteenth century and together they form an attractive decorative ensemble for the contemporary interior.