Charming hand-painted Limoges porcelain trinket box in the form of a pig waiter seated in a red-backed chair. Dressed in formal server attire, the pig holds a tray with a baguette and wine bottle, while a detailed belt with gold-tone clasp wraps the base. The lid opens to reveal the inscription "Le Paris gourmand" alongside a sketched Eiffel Tower and Arc de Triomphe motif on the interior. Measures 3"H. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
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Hand-painted Limoges porcelain trinket box in the form of a vintage suitcase with painted travel labels for Paris, New York, and USA. Interior features painted socks and toiletries. Signed Peint main Limoges France G.R and finished with a heart-accented clasp.Issued: 20th centuryDimensions: 2"HCondition: Age related wear.
A collection of Paris porcelain coffee and tea wares, comprising a cup and saucer, a further cup with plate as saucer, and five coffee cans and saucers, two as saucers the remaining plates and one coffee can, all marked 'Le Rosey Rue de la Paix', each gilt heighted and with monogram,5.5cm high cup13.5cm diameter cup saucer,together with a Sampson armorial coffee can and saucer,6.5cm high can13cm diameter saucer,and a Dresden cup and saucer,with a painted reserve to a brown field, with conforming saucer (19)Condition ReportOne of the saucers with hairline crack and chips to rim.Slight rubbing to gilding in places.
Rihouet, Paris, A 19th century Paris porcelain part dinner service, comprising, a vegetable tureen, 31cm wide, 21cm high, a sauce tureen and cover, 20cm wide, and two platters and another larger platter, seven soup bowls, 23.8cm diameter, all with a printed and painted crest for the Bernard Hancoch family and makers inscription to bases (15)Provenance: From the Collection of Nigell and Heather D’Oyly.Condition Reportlarge tureen base riveted to the body, one plate with two rim chips, sauce tureen cover riveted and lid cracked and discoloured, large platter with hairline cracksome wear
This elegant Lladro porcelain figurine titled Cafe de Paris (#01001511) was sculpted by Salvador Debon and captures a romantic Parisian cafe scene with remarkable grace. Crafted in soft pastel tones, it features a couple seated at a cafe table, evoking charm and sophistication in every detail. A classic example of Lladro's artistry and storytelling through porcelain, this piece was produced in Spain and is a standout in any collection. Artist signed. Measures approximately 14.5"L x 13.25"H.Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.
A collection of Halcyon Days enamel bonbonnieres and pillboxes, including twelve with or modelled as cats, one Owl and the Pussycat, one as a tiger and three others, sold together with a pair of small Paris porcelain models of cats, a further porcelain tabby kitten, a further trinket pot with birds and a late 19th century pressed glass paperweight modelled as a cat, possibly St. Louis works, tallest item 13cm (group, no boxes for enamels)
A collection of porcelain miniatures, comprising a Meissen jug, encrusted with flowers, crossed swords mark, a teapot and cover, with W.E. Toy Paris retailers mark, a further Coalport Coalbrookdale style teapot and cover and a pot lacking cover, similarly encrusted, and an English porcelain tea kettle, tallest item 6.5cm high; sold together with three English porcelain chambersticks, mid-19th century, painted with flowers, largest 6.5cm high (small damages, one chamberstick restored)Condition:Red panelled chamberstick crazedSmallest chamberstick restored to nozzle and underside of baseBlue chamberstick scone with stapled repairFloral encrusted teapots both with broken and repaired covers, one with a spout chip and reglued handleEncrusted items generally with foliage losses and petal chips throughoutTea kettle with chips to cover
A mixed lot, sewing, comprising an early Tunbridge ware whitewood rectangular box, probably by Wise, the lid with circular printed map of the coast at Margate, worn, 12.6cms, a print decorated Spa work box, 17cms, a 19th Century porcelain thimble (cracked), and two others, steel scissors by Creswick, three needle packets, two bone shuttles, bodkin, tortoiseshell thread winder, pin paper and a 19th Century printed trade card ‘Mme Louise Claret De Paris’, inscribed in ink ’13 Old Bond Street’, 7.6cms, and a stiletto. (16)
A Limoges Atelier Camille Le Tallec of Paris decorated porcelain leaf-shaped dish - painted marks, date code for 1959, with branch handle, the cartouche-shaped reserve painted with a spray of flowers within a gilt foliate frame, on a cerise pink ground, the exterior with a gilt foliate meander, painted blue and gilt marks, inscribed to base in iron red, 21cm diameter.
Maker's mark indistinct, attributed to Feodor Rückert, Moscow, 1908-1917Rectangular, the base with convex sides, on four bracket feet, the hinged cover centering a reserve painted en plein with Rivals [Соперники], after the original by Sergei Solomko, enameled throughout with stylized shaded vegetal ornament and geometric motifs on blue and brown grounds.Height 1 5/8 inches, width 3 3/4 inches, depth 2 1/2 inches.Feodor Rückert Feodor Rückert (1840-1917) was arguably the most talented of all enamellers working in pre-revolutionary Russia. An exceptional example of the work from his later period, the present lot is decorated with delicately shaded enamel in the Neo-Russian style, inspired by Russian vernacular ornament but expressed in a thoroughly modern style and color palette. Like much of Rückert’s work, it incorporates a faithful reproduction in miniature of the work of a popular Russian painter, in this case Sergei Solomko (1867-1928). Miniatures were incorporated into a range of objects made by Rückert, from boxes to kovshi, which were retailed by Fabergé, Ovchinnikov and other select firms. Sergei Solomko Sergei Solomko participated in regular exhibitions in St. Petersburg before gaining international recognition by winning a prize at the Chicago Columbian Exposition in 1893. He soon found himself in demand as a magazine illustrator for publications such as Niva, an illustrator for stories by Pushkin, Chekhov and Gogol, and a designer of theater posters and a series of postcards depicting old Russia published by Maison Lapine of Paris. After 1900, Solomko created models for the Imperial Porcelain Factory, worked with the House of Fabergé and provided sketches for the historical costumes worn at the famous 1903 ball at the Winter Palace. Another enamel box by Feodor Rückert incorporating a miniature was sold in these rooms January 30, 2019, lot 169 (https://doyle.com/auction/lot/168-russian-silver-gilt-cloisonn-and-en-plein/?lot=1239531&sd=1). Further examples of works by Rückert with miniatures after Solomko include a box, sold Bonham’s, London, November 26, 2014, lot 103; a kovsh, sold Christie’s, July 21, 2020, lot 216; and a cigarette case, sold Christie’s, November 25, 2019, lot 261. A box by Rückert of similar form and with comparable decoration is held in the collection of The Walters Art Museum, Baltimore (accession number 44.925. https://art.thewalters.org/detail/82308/casket-with-a-miniature-of-kuzma-minin-at-nizni-novgorod/).In excellent original condition. No visible restoration under UV light. Minor surface wear and rubbing to gilding.In excellent original condition. No visible restoration under UV light. Minor surface wear and rubbing to gilding.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Vieux Paris, a Pair of Medici Vases, Polychrome Porcelain, in the Style of Jacob Petit, 19th century.Polychrome and gilded porcelain.Decorated with hand-painted figurative scenes and floral decorations.Mounted with faun heads.Not signed.(17 x 33 x 17 cm)Vieux Paris, ein Paar Medici-Vasen, polychromes Porzellan, im Stil von Jacob Petit, 19. Jahrhundert.Polychromes und vergoldetes Porzellan.Dekoriert mit handgemalten figürlichen Szenen und Blumendekorationen.Montiert mit Faunköpfen.Nicht signiert.(17 x 33 x 17 cm)
A Portico Mantel Clock, Ridel à Paris, Marble mounted with Bronze and Porcelain Plaques in Wedgwood style, Louis XVI.Portico mantel clock.White and black marble, mounted with fire-gilt bronze.Decorated with porcelain plaques in Wedgwood style, with classicist scenes.Dial signed 'Ridel à Paris'.The movement with a silk rope suspension.Louis XVI period, France.(35 x 52.5 x 12.5 cm)Portikus-Kaminuhr, Ridel à Paris, Marmor mit Bronze- und Porzellantafeln im Wedgwood-Stil, Louis XVI.Portikus Kaminsimsuhr.Weißer und schwarzer Marmor, montiert mit feuervergoldeter Bronze.Verziert mit Porzellanplatten im Wedgwood-Stil, mit klassizistischen Szenen.Zifferblatt signiert "Ridel à Paris".Das Uhrwerk ist an einem Seidenseil aufgehängt.Louis XVI Periode, Frankreich.(35 x 52,5 x 12,5 cm)
A Collection of Porcelain Figurines, Meissener marks, Samson and others, 19th/20th century.Polychrome porcelain.A set of three crowned female figurines (with rose, with apples, with lute). Meissener marked, probably Samson, Paris. H: 18,5 cm / 18 cm / 18 cm.A pair of figurines, a boy with a goat, a girl with a goat. Meissener marked, probably Samson, Paris. H: 14 cm / 15,5 cm.A pair of figurines, fishmonger and fishmonger's wife. Not marked, probably Saxon. H: 21,5 cm / 22 cm.A figurine, putti with flower basket. Not marked, model number 430, probably Saxon. H: 12 cm.A jewellery box, in the shape of a bouquet of flowers. Not marked, probably Saxon. H: 6,5 cm.A vase, decorated with putti heads and flowers. Not marked, probably Saxon. H: 8 cm.(7 x 22 x 6.5 cm)Eine Sammlung von Porzellanfiguren, Meissener Marken, Samson und andere, 19./20. Jahrhundert.Jh. Polychromes Porzellan.Ein Satz von drei gekrönten weiblichen Figuren (mit Rose, mit Äpfeln, mit Laute). Meissener gemarkt, wahrscheinlich Samson, Paris. H: 18,5 cm / 18 cm / 18 cm.Ein Paar Figuren, ein Junge mit Ziege, ein Mädchen mit Ziege. Meissener gestempelt, wahrscheinlich Samson, Paris. H: 14 cm / 15,5 cm.Figurinenpaar, Fischhändler und Fischhändlerin. Nicht markiert, wahrscheinlich sächsisch. H: 21,5 cm / 22 cm.Figurine, Putte mit Blumenkorb. Nicht markiert, Modellnummer 430, wahrscheinlich sächsisch. H: 12 cm.Schmuckkästchen, in Form eines Blumenstraußes. Nicht gemarkt, wahrscheinlich sächsisch. H: 6,5 cm.Vase, verziert mit Puttenköpfen und Blumen. Nicht gemarkt, wahrscheinlich sächsisch. H: 8 cm.(7 x 22 x 6,5 cm)
A French Paris (Clignancourt de Monsieur) porcelain bough pot, painted with fox attacking a cockerel, with a rectangular cartouche and gilt intertwined leafy scrolls, the side panels with hounds and foliage, stop fluted columns to angles, pineapple finials, 23.5cm wide, 15.5cm high, red mark, c.1790
Brocot & Deletrez, Paris, a French slate marble combination clock and calendar, with a visible escapement, to the enamelled dial and chapter ring, with Roman numerals, over a secondary enamelled dial, with month, day and date, and moonphase, flanked with two painted porcelain plaques, and a cast bezel with a bevelled glass front, the French drum movement numbered '28379' and the secondary dial '29171', with gilt bronze mounts, with an arched back door, 36.5cm wide 15.5cm deep 43.5cm high Condition ReportOne porcelain panel cracked. Wear, chip to the back panel on marble on the right, slate chipped to the back edge and to the back aperture. Top dial with smudging to dial. with key.further image added,
A French Neo-Classical style portico clock, by Piolaine of Paris, the two train drum movement with a painted porcelain dial inscribed with the maker, surmounted by a gilt finial and flanked by columns with applied gilt foliate mounts centered with Jaspware plaques, over a plinth base on gilt feet 43cm high
THE PHANTOM OF THE OPERAA Broadway Stage Worn Phantom's Mask. Mounted in a black shadowbox frame. This mask stage worn in a late Broadway production of The Phantom of the Opera. The mask about 9 x 6 inches, the shadowbox frame 12 x 12 x 5 inches. Light wear and small losses from stage use, not examined out of frame.Perhaps the most identifiable silhouette in Broadway history, the adaptation of the mask worn in The Phantom of the Opera has a complicated history. In Gaston Leroux's original novel, the Phantom, a tortured musical genius named Erik, is first introduced to us wearing a full black mask to cover a facial deformity. For the 1925 film adaptation, Lon Chaney famously rarely wore his mask, revealing his ghastly deformed face in full view in nearly every scene. In the 1943 remake starring Claude Rains, a bluish-white mask, stolen from the theater's prop department, covers 3/4 of the Phantom's face. But for Andrew Lloyd Webber's 1986 musical adaptation of Phantom, the famous split mask that we know today was not originally intended, and in fact a half mask was featured in previews and on the show's original poster (a discrepancy that remains to this day). According to the article Behind the Mask: The Evolution of the Phantom's Makeup on Andrew Lloyd Webber's website, it dawned Director Harold Prince during development that a full mask not only stifled star Michael Crawford's to fully belt out his songs but restricted the range of emotion the character could show with this face. Further, a split mask would visually juxtapose "the two conflicting sides of the Phantom’s character. The light and the dark, the good and the bad." The split mask was realized by original designer Maria Bjornson, who, as opposed to the earlier versions that had relied on stage props, envisioned the mask as made of porcelain with a glass eye, similar to the custom-made masks worn by World War I soldiers to obscure facial disfigurement caused by battle.Technical Production Manager Jake Bell's memories of The Phantom of the Opera:This Phantom mask was presented to Technical Production Manager Jake Bell upon the closing of the musical in April 2023, by then the longest running in Broadway history at 13,981 performances. Jake Bell had been with Phantom from the beginning, having been first hired by British Producer Cameron Mackintosh for the Broadway production in 1988 and continuing through decades of national and international tours. The show’s technical requirements were so advanced that many theaters had to undergo extensive renovations to accommodate it. An excavator was brought in to dig the basement 10 feet deeper, allowing the candles and candelabras—212 in total—to rise seamlessly from the stage floor. The expanded basement also provided space for a trap door, a retractable staircase, and the rising Paris Opera House roof dome. Further, steel support structures were installed to hold the massive proscenium and chandelier both of which hung over the audience. Suspended above the audience, the chandelier dramatically crashed onto the stage in one of the show’s most spectacular effects. The original Broadway chandelier remained in use throughout the show’s 35-year run. It was never replaced, thanks to meticulous maintenance—including rewiring, re-welding, replacing globes, repainting, and continuous cleaning. The chandelier was named “Ruthie II” after its London counterpart, “Ruthie I.” The name was in honor of Ruth Mitchell, Hal Prince’s formidable assistant, who was known for her strong personality and unmatched dedication.At the Majestic Theatre on 44th Street, Phantom was one of the first major productions to incorporate a fully computer-automated system. With 52 computer operated automated effects controlling both the deck scenery and fly system, manual operation would have been impossible due to the sheer volume of simultaneous cues. Computerization became essential.The show’s costumes were equally legendary. The beading, fabric selections, and intricate designs were breathtaking. The Masquerade Ball scene alone featured 50-60 costumes, with some discreetly placed on mannequins to enhance the grandeur. Christine’s wedding dress bustle weighed nearly 35 pounds. The U.S. National Tour required 1.5 full 48-foot tractor-trailers solely for transporting costumes. With its technical achievements, Phantom became a global phenomenon, captivating audiences across the world.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
A Chinese Export polychrome porcelain plate, Qianlong,decorated in enamels with the Judgment of Paris, within gilt scrollwork border; together with a Persian crackle-glaze earthenware dish, probably 18th century, handpainted in blue with fish and foliagefirst diameter 22cm; second diameter 24cmCondition: plate with heavy crack and small chips; dish with chips to rim; both with general wear commensurate with age
AN ASSORTMENT OF PARIS PORCELAIN DESSERT WARES, MOSTLY LA COURTILLE VARIOUS DATES FIRST HALF 19TH CENTURY Including the remnants of a dessert service with an ice-pail, blue arrow marks Various sizes; largest: 14cm high, 31.5cm wide, 22.5cm deep smallest: 21cm diameter Condition Report: Mixed condition throughout, much damage and wear.Condition Report Disclaimer
A SELECTION OF PARIS PORCELAIN TEA AND COFFEE WARES VARIOUS DATES LATE 18TH/EARLY 19TH CENTURY Including examples from the Duc D' Angoulême Factory (Dihl et Guérhard) Condition Report: Some damage. Please see additional images of each cup and saucer.Coffee can with Hussar: Minute chip to base of handle, no saucer. img. 7013-15 Coffee can with mottled choc. ground: crack to base of handle, no saucer img. 7016-18 Choc. ground and gilt cup and saucer, band of stars: No serious damage issues noted, some scratches to saucer well, img. 7019-23 Slop bowl, hair-line cracks, img. 7024-6 Teacup and saucer chevron band, no serious damage issues noted, img. 7027-31 Duc D'Ang. shipping scenes coffee can and saucer, no serious damage issues noted, img. 7032-7 Choc ground T-cup and saucer gilt shell band, cup has a hole in the base, img. 7038/9 Miniature Duc D'Ang. yellow-ground coffee can and saucer, no serious damage detected. img. 7033/4 Choc ground teacup 7 saucer with diaper band, cup handle cracked to base, saucer surface scratched, chip to rim, img. 7045-51 Three other choc and gilt cups and saucers, some wear, scratching, img. 7052-57 Yellow ground t-cup and saucer, chip to saucer, img. 7058-62 Green ground cup and two saucers similar, wear to the green ground, img. 7063-68 Pair of scroll-ground cups and saucers, both saucers with rim chips, img. 7069-79 Pair of Potter blue-ground cans and saucers, one cup with rim chip, img. 7080-90 Duc D'Ang. blue-ground can and saucer with Dutch scenes, slight wear, img. 7091-5 Duc D'Ang. blue ground T-cup and saucer gilt scrolls, no serious damage issues noted, img. 7096-7100 CP cup and saucer, polychrome diapers, cup chipped, wear to saucer, img. 7101-5 CP cup and saucer similar, handle cracked, img. 7110-13 last CP cup and saucer, cup cracked, possibly matched from the same service, img. 7114-20. Please note this is not exhaustive and potential purchasers are advised that the lot is available to view. This is an attic sale and these items were placed in storage for a reason so do not buy this lot assuming it is 'perfect' or in trade ready condition. It is not. Overseas buyers, please be certain of condition before purchase, we will not wish to re-import this lot from you two months down the line. Condition Report Disclaimer
A PAIR OF PARIS PORCELAIN CAMPANA URNS CIRCA 1840 Each painted with a vista of ornamental deer in an enclosure, on black slate bases 35cm high Condition Report: Estimate reflects condition. Severe damage and loss. Please see additional images available from the Dept. upon request.Condition Report Disclaimer
A PARIS PORCELAIN JARDINIERE AND STAND SECOND QUARTER 19TH CENTURY Painted with panels of fruit, flowers and foliate swags, 25cm high Literature: Illustrated 'Powderham Castle II', Mark Girouard, Country Life, July 11th 1963, Vol. CXXXIV, p.83, in the White Drawing Room Condition Report: The stand with rim chip, the vase with star crack to the lower section, please see additional images available from the Dept. upon request.Condition Report Disclaimer
A hound, porcelain sculpture probably from Paris, polychrome decoration, French, 19th C., marked. Notes: the brand purposely tries to imitate Meissen porcelain brands. vd. GRAESSE, Dr et JAENNICKE, E. - "Les Marques des Porcelaines Faiences et Poteries - Europe, Extrême-Orient". Paris: Les Editions de L`Amateur, 1987, p. 215, Dim. - 27 x 43 x 15 cm
A pair of plates, Chinese export porcelain, polychrome and gilt decoration "The Bath" after engraving by Claude-Augustin-Pierre Duflos (1700-1786), Chinese - Qianlong period (1736-1795), 18th C., minor faults in the rim glaze, wear on decoration. Notes: vd. similar decoration in HERVOUET, François et Nicole; BRUNEAU, Yves - "La Porcelaine des Compagnies des Indes à Décor Occidental". Paris: Flammarion, 1986, pp. 124-125, Nos. 6.28 to 6.34., Dim. - 23 cm
Vintage growling Teddy 46cm long, French porcelain headed doll 26 France SFFJ 60 Paris, Two brass pestle and mortars along with a selection of vintage tins to include Paynes poppets, Rileys Toffee, Kemps, Souvenir of Houses of Parliament with shirt studs inside and a miscellany of crested ware.
Collection of four compacts to include a Volupte black and brass purse, a Helen Rubinstien compact with an enamel image of a deer and a tree, a brass compact in the style of a chest with a watch in the middle, and a Triangle Elephant Rajah powder refill compact with original label to back saying "Faberge Paris New York Toronto Porcelain Honey" (4)
French-Gilt-metal mantle clock c1870, with a seated figure of a lady holding a pair of scales, on a scroll base with a porcelain panel on a blue ground depicting a floral spray of flowers, with brass castings of fruit and foliate decoration, enamel dial signed Henry Marc, Paris, with Roman numerals and steel moon hands, twin train countwheel striking movement sounding the hours and half-hours on a bell. With pendulum and key.Dimensions: Height: 27cm Length/Width: 36cm Depth/Diameter: 13cmCondition Report:Enamel dial cracked in several places.
A GROUP OF THREE SÈVRES PORCELAIN CUPS AND SAUCERS CIRCA 1825 with printed blue interlaced 'L's' marks the largest 6cm high, 12cm diameter TOGETHER WITH A SELECTION OF FIVE PARIS 'DAGOTY' PORCELAIN PLATES 19TH CENTURY A pair painted en grisaille and sepia with horses and equestrian figures in landscape within gilt and mauve borders The reverses inscribed 'Retour de la Foire' and 'On le mêne à la Foire', numbered 14, transfer marks in iron-red each 21.5cm diameter. Another with the centre finely painted in polychrome with an Alpine lake scene and figures on a track within gilt and pale eladon border, iron-red stencil mark 22.5cm diameter. Another, with the centre finely painted with a Flemish man and woman drinking at a tale, after Teniers, within gilt and pale celadon border, iron-red mark of Dagoty 22cm diameter. Another with the centre finely painted in polychrome with two mules on a track in a wooded landscape within gilt and pale mauve border, the reverse inscribed 'Les Deux Mulets' 22.5cm diameterProvenance: The Davies-Cooke Collection from Gwysaney Hall, North WalesFor further details about the collection, visit: www.dreweatts.com/news-videos/gwysaney-hall-a-welsh-family-s-portrait-of-british-history-14767/ Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEWIn good condition overall Some surface deposits and dust Some sticker residue to plates, please see additional images Minor wear to undersides, glazing spots ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer
A Collection of 19th Century and Later Continental Porcelain, including a Paris vase, with parian mask handles, blue ground and with a band of roses, similar Empire shaped breakfast cup, Dresden coffee wares painted with Duetsche Blumen, similar pedestal specimen vase, tea canister and cover, Paris plate decorated with a portrait of a noble Lady, Sèvres style cache pot with gilt metal mounts, Italian cherub mounted inkwell, Limoges dish painted with cherubs signed Boucher, Sitzendorf putti posy bowl, spill vase painted with a landscape , Victoria & Albert collection "Mennecy" miniature teapot and cover etc. (qty)Paris vase - heavy gilt lossDresden Meissen style hot water jug, sucrier and jug - slight chips to the knops onlyCobalt ground jug - some slight gilt wearMetal mounted cache pot - no damage, needs a cleanSevres style coffee can - handle missingDresden trumpet vase - good conditionParis breakfast cup - some slight gilt lossSquare pink sucrier, cover and stand - good conditionDresden tea caniser - good conditionSamson Chelsea plate - good conditionLimoges "Boucher" cherub plate - good conditionParis Antoinette plate - good condition"Mennecy" teapot - good conditionItalian inkwell - good condiitonDesden pot and cover - good conditionSmall Dresden vase - slight gilt wearDresden pepperette - loss to knopSpill vase with beasded rim - heavy gilt loss, heavy chipping to the footGilt mounted small lozenge dish - good conditionAR mark quatrefoil saucer - good condition

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