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European and Australian Decorative Arts and Fine Furniture — Leonard Joel Pty. Ltd.

Articles on this Sale

Auction House:Leonard Joel Pty. Ltd.Number of lots recorded:480
Sale Title:European and Australian Decorative Arts and Fine FurnitureLots with images:460
Auction Location:MelbournePrices available:299
Date:5-Jun-2011
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An ornate Victorian mother of pearl inlaid papier mache occasional table, the lobed circular tilt top finely painted with a romantic scene depicting a man and his lady seated in a boat, within a mother of pearl encrusted surround, raised on a lobed baluster stem and a tripartite platform base, 63.5 cm wide, 70 cm high.
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A Chinoiserie black lacquered storage box on stand 20th century, the hinged pagoda top above a drop front with a steel hinge mechanism, the whole finely painted with figural and landscape scenes, raised on delicate cabriole legs, 26.5 x 110 x 31.5 cm.
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A Chinoiserie red lacquered table vitrine, the glazed, hinged rectangular top opening to a velvet lined interior, above a shaped apron, the whole decorated in gilt with pictorial scenes, raised on square supports united by a cross stretcher, 46.5 x 69 x 42 cm.
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An early Victorian burr walnut combination work table/games table, the hinged, rounded rectangular top opening to a parquetry inlaid chess board, above a fitted frieze drawer and a fabric covered storage compartment, raised on lyre supports united by a cross stretcher carved with a fleur de lys, 51 x 72 x 35 cm.
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A 19th century mahogany framed wall mirror, the rectangular plate within a shaped surround, with carved and gilt highlights, 108 x 59 cm.
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A French painted leather and needlework three fold screen Late 19th/early 20th century, each rectangular panel of graduated height painted to the top section with a Romantic scene, the lower section with a foliate silk needlework panel, within a finely painted wooden surround, 181.5 cm at the highest point x 177 cm wide.
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A substantial Victorian mahogany framed toilette mirror, the original rounded rectangular plate housed within scroll supports, above a pinth base, 78 cm high, 77 cm.
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A Louis XVI style gilt metal mounted mahogany vitrine, the rounded rectangular gallery edged marble top above a single glazed door, the whole with foliate gilt metal mounts, raised on cabriole legs with sabots, 67 x 138.5 x 31.5 cm.
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A Victorian rosewood teapoy, circa 1860, the hinged rectangular top opening to an interior fitted with two central apertures for mixing tea and four lidded containers, above a lobed apron and a facetted stem, raised on a quadripartite platform base with scroll feet and porcelain castors, 42 x 73 x 37 cm.
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A Louis XVI style kingwood and marquetry vitrine late 19th/early 20th century, the rectangular top above a glazed panelled door and sides, the bombe lower section with a pictorial marquetry cartouche within a geometric surround, the whole with finely cast gilt metal mounts and strap work, raised on cabriole legs with sabots, 64 x 159.5 x 38.5 cm.
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A Regency rosewood tea caddy with mother of pearl inlay, circa 1830, the sarcophagus shaped caddy with chamfered lid and domed cornice on a tapered rectangular base with twin cotton reel terminals to each side, raised on bun feet, 35 cm wide.
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A small tortoiseshell tea caddy, circa 1860, the sarcophagus shaped caddy with chamfered lid inlaid to the full exterior with tortoiseshell veneer and included within the twin lids also inlaid with veneer all raised on bun feet, 16.5 cm wide.
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A pair of Victorian raspberry and citrine glass vases, circa 1890, each of a lobed ovoid translucent form set on rolled bases with an applied rippled rim and four globular tendrils terminating in beaded discs also of a translucent contrast glass, 28 cm high.
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A Moore Brothers porcelain clock, circa 1890, the central dial with an enamelled chapter ring and Arabic numerals, supported by a pair of putti to each side and decorated by an arrangement of cactus blooms all raised on an oval and gilded base, (hairline cracks throughout ), pink factory mark to base, 28 cm high.
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A Moore Brothers porcelain clock, circa 1890, the central round clockface with brass chapter ring and Roman numerals, set within a circular pleated surround and decorated by an arrangement of cactus blooms, all raised on an oval and gilded base with musical infants to each side, (some loss, hairline cracks), pink factory mark to base, 25.5 cm high.
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A Moore Brothers porcelain lamp base, circa 1880, the circular pressed metal surround supports a textured domed base with multiple flowering cactus branches extending to the top, (some loss to petals) 40.5 cm high.
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An associated George III marquetry inlaid tea caddy, circa 1820, with a hinged rectangular cover inlaid with floral patterns border by a striped trim opening to reveal a later fitted interior containing a lidded jar and vase each of cut crystal, the box 25 cm wide.
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A Victorian mother of pearl inlaid tea caddy, circa 1860, the sarcophagus shaped caddy inlaid with mother of pearl throughout to the exterior in a chequered and blocked fashion and edged with abalone shell, opening to reveal the original fitted interior with twin lids also of chequered mother of pearl inlay, 19.5 cm wide.
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A Moore Brothers porcelain comport, circa 1880, the triangular base with a painted and gilded Greek key border supports the base of a trio of cherubs holding aloft a deep bowl with fluted rim and a cactus stem with a yellow and gilt flower each in their hands, impressed Moore to base (hairline crack to bowl), 26.5 cm high.
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J.A Turner 1850-1908, the Diggers oil on canvas signed lower left and dated 1904 37 x 19.5 cm
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Robert Gallon (1845-1925) i) Lake district scene ii) Lake district with boat scene oil on canvas signed R. Gallon 87 lower left 24 x 39.5 cm (each)
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European School 19th century Portrait of a young lady oil on canvas 95 x 64.5 cm
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A 19th century mahogany commode, the rectangular top above two panelled doors, the lower section forming a drawer, the whole with boxwood shell medallion and string inlay, (modified), 52 x 76 x 46 cm.
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A 19th century mahogany wine table, circular, with a facetted baluster standard, raised on a tripartite platform base with reeded feet, 64 cm diameter x 74.5 cm high.
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A large Royal Worcester pot pourri, signed W. E. (William) Jarman, circa 1909, spherical, painted with roses on a mottled ground and with a moulded faux basket base, the cover also moulded as a faux basket shape with pierced top and decorative finial, (lacking the internal cover), puce factory marks to base and numbered 1286, 30 cm high.
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A Royal Worcester porcelain vase, signed, a (Albert) Shuck, circa 1907, of compressed lantern form, set high upon a stepped foot, decorated with vignettes of pheasants and pine cone branches, flanked to each side with decorative scrolled handles and terminating in a short waisted neck, signed to front and with puce factory marks and numbered 2303 to base, 24 cm high.
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A Royal Worcester porcelain vase, signed A. C. (Arthur) Lewis, circa 1905, of teardrop form, raised on stepped foot decorated with a vignette of pheasants to front band a woodland to verso, flanked to each side with pierced terminals and rising to a slender neck, signed to front and with green factory marks to base, 26 cm high.
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A group of two Royal Worcester plates, signed (Brian) Leaman/Telford, circa 1960s, each of alternating size with a central cartouche of peaches and pears respectively and encircled by a gilt embossed reserve, signed to front and with gilt factory mark to verso, 23.5 cm diameter/27.5 cm diameter.
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A Royal Worcester porcelain plate, circa 1955, signed P. Love, the plate with flattened rim hand painted in full with a scene of seasonal fruit, signed lower right and with black factory mark to verso, 27 cm diameter.
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A group of two Royal Doulton porcelain plates, circa 1950s, the first painted with a scene depicting cattle grazing set within a gilt embossed band, signed to front Kelsall and with puce factory mark to base; the second decorated with a band of green and gilt embossed overlaid, green factory mark to base, 22.5 cm diameter (each).
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A Royal Worcester porcelain plate, signed Telford, circa 1960s Circular, painted with an arrangement of apples set within a reserve of mint green with gilt overlaid patterns, signed to cartouche and with gilt factory mark to base, 27 cm diameter.
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A hand painted porcelain plate, signed W.A.E. Birkbeck, circa 1950s, the scallop edged plate decorated with a scene of grouse nesting, signed lower right, 25 cm diameter.
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An assembled Royal Worcester porcelain dessert service bearing multiple signatures; R. (Richard) Sebright circa 1917, F. (Frank) Roberts circa 1912, G.H.Cole circa 1912., the twelve piece set comprising ten scallop edged plates and two scallop edged oval dishes, each decorated with various fruit vignettes within a decorative cobalt and gilt worked border, each signed to front and with puce factory marks to verso, the plate 22.5 cm diameter, the dish 27.5 cm long.
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A Royal Worcester porcelain vase and cover, circa 1900, the ovoid body with pierced terminals to each side and with fitted cover above a slender neck decorated with a pair of cranes on a butter yellow ground, puce factory mark to base, 20.5 cm high.
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An Edwardian sterling silver tea service, maker's mark Daniel & John Wellby, London, 1904, comprising a teapot, a creamer, a sugar vessel and a spirit kettle, each of compressed ovoid form with gadrooned borders, the teapot with an ebonised loop handle and a hinged cover surmounted by an ebonised finial, the teapot 15 cm high, 3582 grs. Total weight.
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An associated Victorian sterling silver chatelaine bearing various British hallmarks, the pierced belt hook with five fancy chains suspended, with a pen knife, scissor guard and thimble holder, chain mail purse, a scent bottle and a mechanical pencil surround, 214grs. Total weight, 33 cm long
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An Edwardian sterling silver two handled cup, makers mark Thomas Bradbury & Sons Ltd, Sheffield, circa 1902, the low set footed cup with a repousse motif of acanthus leaves to the bowl and flanked to each side by foliate scrolled handles, stamped to the side, 368 grs. Total silver weight, 13 cm high.
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An Edwardian sterling silver vanity set, makers mark marks & Cohen, Birmingham, circa 1906, the six piece set housed in its original velvet lined box includes two clothes brushes, two hair brushes, one mirror and one comb, each decorated with a simple laurel leaf in repeat as border trim, the box 43 cm wide
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A boxed set of gilt metal mounted perfume bottles, circa 1900, the dome topped casket with fancy gilt metal bracketing opens to reveal a fitted interior containing twin perfume bottles, each of cerulean glass with gilt metal mounts and porcelain capped lids, the box 12 cm high, the bottles 8 cm high
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A late Victorian sterling silver nautilus shaped spoon warmer, maker's mark William Hutton & Sons Ltd, London circa 1898 fashioned as a segmented nautilus shell with enclosed top and hinged lid mounted upon a stylistic rocky base with shell shaped handle, stamped to side, 542grs. Total silver weight, 17 cm wide.
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An ebonised tantalus with cut crystal decanters, circa 1865, the cubic sarcophagus shaped lidded box with a Sheffield plate Crown and lion paw finial above inscribed Salutem Sola Virtute (salvation by virtue alone), the lid opening to reveal a fitted interior containing twin decanters each engraved Ascot cup day 1865 and with General Peel and Ely respectively, 35 cm high.
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A Victorian cut crystal and Sheffield plate collared claret jug, circa 1860, the bulbous crystal base cut and facetted in geometrical patterns with a decorative collar and spout with repousse foliate patterns and scrolled handle incorporating a hinged leaver for lifting the fitted lid, 29 cm high.
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A Victorian sterling silver commemorative cup, makers mark William Wrangham Williams, London, circa 1869, the large cup raised on a footed stem and incised with a dedication 'Presented By Colonel Lord Alex. R. Russell to Mr Alex R. Frazier, As a Mark of His Esteem, and in Return For Valuable Services Rendered By Him, During Many Years to Himself and Other Members of the Russell Family, 1870', 372grs total weight of silver, 21.5 cm high.
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A George III sterling silver tureen and cover, makers mark Thomas Heming, London circa 1780 and included with the French Minerva mark, the low set octagonal dish with ribbed rim and with cover of corresponding shape decorated with a repousse pattern of fruit and flowers with a ribbed band terminating in a scalloped finial, hallmarked to base as stated, 852grs. total silver weight, 30 cm long.
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A George IV sterling silver tea set, makers mark J E Terrey & Co., London circa 1823, the three piece set comprising a teapot of squat bombe form decorated with a chased foliate and bulrush motif repeated in the round all drawn towards a figural spout cast as a bacchanalian figure and with a relief floral finial to the recessed lid, the cream jug and twin handled sugar bowl of a corresponding form also with a matching chased pattern, stamped to side and base, 1560 grs. Total silver weight, the teapot 25 cm…
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A sterling silver bread basket set, makers mark Sibray, hall & Co., Sheffield/London, circa 1908/1911, the set includes a large basket with four matching individual baskets each of a scallop edged and pierced lozenge shape with scroll end handles, 650 grs. Total weight, the large basket 33 cm long.
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A sterling silver punch bowl, makers mark Henry Williamson Ltd, Birmingham, circa 1900s, the deep scallop edged bowl with gadrooned exterior raised on a footed base, worn hallmarks to side, 636 grs. total silver weight, 20 cm diameter.
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An early 19th century sterling silver mounted horn snuff mull hallmarked stg silver, possibly Scottish, the tapering body with applied strapwork, terminating in a hinged cover with an inscription, 23 cm long.
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A collection of horn and tortoiseshell snuff boxes Early 19th century Including a sterling silver mounted hoof snuff box, 5 cm wide; a sterling silver mounted horn snuff mull, 7 cm high; and a pear shape Sheffield plate mounted tortoiseshell snuff box, 8.5 cm wide. (3)
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A 9ct gold snuff box and a sterling silver snuff box, maker's mark for J.C Vickery, hallmarked 375, inscribed, the rectangular rose gold snuff box of maker's mark J.C Vikery, with engine turned decoration, opening to a gilt wash interior, hallmarked 375, 36 grs. total gold weight; the rectangular, George III sterling silver snuff box of maker's mark Liberty & Co., Birmingham, date mark indistinct, 7 cm wide, 72 grs. total silver weight.
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Two Victorian tortoiseshell, bone and ivory letter openers, comprising one sterling silver mounted letter opener with an ivory blade and a whale's tooth handle, 39 cm long; together with a further letter opener with a tortoiseshell blade and a carved bone handle, 41 cm long.
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A 19th century French silver gilt mounted scent bottle and a 14ct gold scent bottle one with a body of teardrop form with applied silver lattice and floral swags, beneath a hinged, foliate embossed cover enclosing the original glass stopper, 11.5 cm high; the other of flattened form with a hinged, bright-cut gold cover (tested as gold), 10 cm high
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A collection of early 19th century horn, tortoiseshell and treen snuff boxes, of various designs and sizes, comprising two horn snuff boxes, one bowed rectangular tortoiseshell snuff box, a leather shoe snuff box and a burl wood snuff box. (5)
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A collection of three sterling silver card cases, comprising one rectangular Victorian card case, of maker's mark Deakin and Francis, Birmingham 1882, 9.5 cm wide; one Victorian card case, maker's mark rubbed, 1897, 10 cm wide; and one Edwardian case cast with cats, of maker's mark C and N, Birmingham 1907, 10 cm wide, 494 grs. Total weight of silver.
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A Victorian papier mache work box with mother of pearl inlay, circa 1880, the rectangular body decorated with hand painted scenic plaques and bordered by mother of pearl bands and applied gilt decoration, with a hinged lid opening to reveal a series of sewing related compartments, and a further pair of hinged doors opening to reveal a fitted interior of drawers and a folded writing plane below, 29.5 cm high.
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A French cut brass inlaid and ormolu salon clock, circa 1890, the shaped and waisted case with steeple top inlaid throughout with cut brass motifs and ormolu bracketing, the central dial of ormolu and an enamel chapter ring with Roman numerals and blue steel hands, all raised on ormolu scrolled feet, stamped to the backplate AD.Mougin, Deux Medailles, 34 cm high.
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An Edwardian sterling silver vanity and dressing set, makers mark Henry Matthews, Birmingham, circa 1901 fashioned in a neoclassical manner with repousse patterns of scrolled shields, masks and partridges within a ground of flora and lattice, the eighteen piece set including two trays, two hair brushes and a mirror, three clothes brushes, four cut crystal jars, one lidded box, one comb, one shoe horn, one button hook, one curling tong and one glove stretcher, housed within the original velvet and satin…
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A small collection of sterling silver items, comprising a tubular sugar castor with pierced top and decorated throughout with repousse floral and foliate patterns, Henry Matthews, Birmingham, 1894, a green glass jar encased in a pierced silver surround with covered lid, G E Walton & Co Ltd, Birmingham, 1902, a small ruby glass jar enclosed in a pierced silver surround with covered lid, G E Walton & Co Ltd, Birmingham, 1911, the sugar castor 13.5 cm high. (3)
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A collection of four antique card cases and change purses, comprising a rectangular late Victorian card case, Brimingham 1887, 10.5 cm wide, with a projecting pencil and an ivory notes page; a rectangular sterling silver mounted mother of pearl change purse of maker's mark D and D, 7.5 cm wide; a rectangular envelope form card case of maker's mark S and C, Birmingham 1913, 9 cm wide; and a rectangular tortoiseshell card case, 7 cm wide.
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A Scottish sterling silver coffee and tea set, makers mark J. Muirhead & Sons, Glasgow circa 1868, the four piece bombe form set comprising coffee pot, teapot, cream jug and sugar bowl, each decorated with a heraldic cartouche within an engine turned ground, stamped to side and base (replacement base to coffee pot lacking marks), 2080 grs. Total weight of silver.
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A late Victorian mother of pearl inlaid drop dial wall clock, signed Slack, Brampton, the circular enamelled Roman numeral dial above a rectangular body, the whole with foliate mother of pearl inlaid decoration, 61.5 cm high.
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An early 20th century painted rocking horse, carved and with applied polychrome decoration, leather saddlery, mane and tail,117 cm wide.
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A Victorian mahogany tea poy, circa 1860, the hinged oval top opening to a velvet lined interior, above a lobed frieze, raised on a baluster stem and a leaf carved tripod base, 47 x 68.5 x 39 cm.
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A tall Victorian fluted opaline glass floor vase, circa 1900, the translucent pale blue and self striped base supports an azure blue trumpet of narrow stem which stretches tall, flaring at the mouth and with rippled rim, 101.5 cm high.
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A pair of Bohemian green glass portrait vases, circa 1880, each of baluster form on a footed base and with trumpet necks, overlaid in white with a hand painted portrait cartouche of a women alternating on each, framed with further applied gilt enamelling and a patterned ground, 35.5 cm high.
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A Victorian green and white glass epergne, circa 1900, the square base with turned in corners and folded with frilled rim supporting a central single trumpet and with three corresponding curved trumpets also each with frilled rims,48 cm high.
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A collection of three Victorian green glass dumps, of graduated size, each decorative with an internal pattern, the largest 12 cm high.
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A pair of Mary Gregory cerulean glass vases, circa 1880, each of a baluster form on footed base and with peaked rim, displaying a hand painted alternating figurative scene of fashionably dressed ladies enjoying the outdoors depicted in white, 38.5 cm.
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A large pair of Mary Gregory tangerine glass vases, circa 1880, each of a lobed almond shape on rolled feet and displaying a hand painted corresponding scene of a seasonal goddess above floral garland depicted in white, 46 cm high.
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A carved Carrara marble bust, circa 1900, signed Giusto Viti Realistically carved as a coy young maiden, her head averted, a textured cloth adorns her shoulder raised on a block base, incised signature to side, 49.5 cm high.
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A pink alabaster pedestal, with a circular swivel top, above a cylindrical standard and an octagonal foot, 107 cm high.
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A carved alabaster bust, circa 1880, signature indistinct, carved as a fashionable young woman wearing a large straw bonnet upon her head, and to her neck a pearl collar, incised signature verso, 50 cm high.
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After Joseph Chinard (French, 1756-1813), marble bust of Madame Recaimer, circa 1890 classically resolved, depicting a woman with curled hair arranged high upon her head with a wrapped scarf, she clutches a cloak to her shoulders, raised on a block base, 63 cm high.
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An alabaster pedestal, the cylindrical stem above an octagonal foot, 103 cm high.
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An Italian carved alabaster bust, circa 1890, signed Lot Corelli, Firenze, carved as a stylish young Italian lady wearing a traditional pinned kerchief upon her head, her neck adorned with a pearl and medallion necklace, incised signature verso, 42 cm high.
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A French gilt metal mounted marble pedestal, the square top raised on a cylindrical stem with a leaf cast gilt metal capital, above a square foot, 108.5 cm high.
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A large classical style carved white marble bust, circa 1860, signed C. F. Fuller, styled as the Roman goddess Diana reflectively poised, her hair adorned with a laurel wreath, her shoulders draped in a pleated tunic, incised signature to verso, 58 cm high.
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A French gilt metal mounted onyx pedestal, the square top raised on a cylindrical stem with a leaf cast gilt metal capital, above a square foot, 107 cm high.
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A classical carved white marble bust, circa 1890, carved as the Roman goddess Aphrodite, her head cast down and free of adornment, unsigned, 46.5 cm high.
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A carved and coloured marble bust, circa 1900, depicting a medieval maid in quiet resolution, her hair styled and with applied patination, her dress carved from a coloured breche marble with distinct grey striations, all set upon a shaped dark grey marble base, unsigned, 53 cm high.
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A verde marble pedestal, with a tapering cylindrical stem, above an octagonal foot, 94 cm high.
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A carved and coloured marble bust, circa 1910, styled as a joyous young lady, her head covered in a swathed cloche, her shoulders carved from a mottled breche marble of grey and pink, unsigned, 51.5 cm high.
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A verde marble pedestal, the circular top above a twist turned cylindrical stem, raised on an octagonal foot, 110 cm high.
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A carved and painted hardstone statue 20th century, depicting a seated Buddha styled in the East Asian manner, with applied enamel decoration all set upon a triangular plinth, 48 cm high.
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A carved and painted marble bust, circa 1900, depicted as Joan of Arc, shrouded in an armoured fashion with applied gilt enamel detailing throughout all set upon an oval base, unsigned, 28.5 cm high.
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A George III style mahogany compactum, the stepped breakfront cornice above a central arrangement of five drawers and a secretaire, flanked by four panelled doors, raised on bracket supports, 132 x 175 x 57 cm.
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A Louis XVI style burr walnut and kingwood marquetry table a ouvrage Late 19th/early 20th century, the hinged, lobed circular top opening to a fitted interior with four circular apertures, above a tapering apron with finely cast foliate gilt metal mounts, one housing a lock escutcheon, the whole with stylised foliate inlay, raised on slender cabriole legs, the lock stamped Nettlefold Patent, 46 cm at the widest point, 83.5 cm high.
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A Japanese Arita floor vase Taisho period (1912-1926), the tall elongated globular form decorated in figurative cartouches to front and verso and to the reserve peacocks amongst a peony garden, signed to base, (top has been ground down and restored), 70 cm tall.
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A Japanese Imari vase Taisho period (1912- 1926), the ovoid vase rising to a slender neck with a moulded tie terminating in a flared and rippled rim, decorated with a figurative folk cartouche to front and verso set within a patterned ground, 38.5 cm high.
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A Chinese export silver tea set, maker's Mark Wang Hing & Co., Hong Kong, circa 1910, comprising a teapot, cream jug and sugar bowl each decorated with a dense repousse pattern of birds amongst flowering cherry trees on a hand stippled ground edged with faux bamboo rims and punctuated by branch style handles, stamped to base, 1114grs total silver weight, the teapot 14 cm high.
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A group of two Japanese bronze vases Meiji period (1868-1912) signed, each of a low set compressed lantern form with tall slender neck and featuring individual relief motifs, the first a small water bird perched on a lily pad, the second a small frog resting on a lotus pod, each signed to base, 33 cm high.
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A Chinese wucai porcelain vase 19th century, the globular vase with tall sender neck decorated with a scene of mounted warriors to the base and above a band of repeated ruyi heads a pattern of butterflies and peony,( hairline crack to neck), 33.5 cm high.
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A Japanese bone and mother of pearl inlaid floor vase, the baluster body finely inlaid with foliate motifs, raised on a separate base, 90.5 cm high.
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A Chinese rosewood and marble pedestal, the circular, marble inset top, above a foliate carved apron and scroll legs, 42 cm diameter x 44 cm high.
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A Chinese rosewood pedestal, the rectangular marble inset top, above a foliate carved apron and legs of conforming design, 40 x 45 x 40 cm.
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An Orrefors sommerso glass vase, circa 1955, the mallet shaped vase, flattened and compressed in clear glass with a submerged translucent green glass layer rising to the tall tubular neck, incised Orrefors, vn, 3538/1 to base, 36 cm high.
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A Carlton Ware charger, circa 1938-1942, the shallow platter with flattened rim displays the new Stork pattern number 4280 on a mottled lustre ground, black factory mark to base and with further hand painted notations, 37 cm diameter.
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A Rene Lalique Mossi glass vase, circa 1960, the tapering cylindrical body punctuated by a repeated pattern of scaled blisters in clear glass to the exterior, incised to base Lalique France, 20.5 cm high.
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A Rene Lalique glass carafe, circa 1925, the flat bottomed conical form with flared rim and a tapered stopper, with a fine vertical striated pattern and a moulded collar, incised Lalique to stopper and R. Lalique to base, 29 cm high.
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A Cenedese glass aquarium block, circa 1950s, design attributed to Riccardo Licata fashioned as three clear slabs of glass fused together encasing an underwater scene of a colourful fish swimming amongst seaweed, (small crack to base), 12.5 cm high
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