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Preisdatenbank abonnierenViolin labelled Joseph Hel, Luthier á Lille 1902; also stamped Exposition Universelle Paris 1829 Medaille D'or. to the inner back and stamped J. Hel on the lower ribs above the end button, the one piece back of medium curl with similar wood to the sides and head, the table of a medium width grain narrowing to the flanks and the varnish of a light reddish-brown colour on a golden ground, 14 1/16", 35.70cm
Good French violin by and labelled Ch.J.B. Collin-Mezin, Luthier á Paris, Rue du Faubg Poissonniere, no. 29, 1889; also signed to the lower inner back on the treble side, the two piece back of broad curl with similar wood to the sides and head, the table of a medium/fine width grain and the varnish of a light reddish-brown colour on a golden ground, 14 3/16", 36cm
Lucian Ercolani - Ercol - A retro 1970's vintage 20th century Ercol model no 458 Windsor 3 tier butlers serving buffet trolley. Light beech and elm wood having three tiers all with stub gallery edge sides to the tiers being and raised on the original ball original castors. Measures approx H74 x W71 x D46cm
A set of four early 19th century English hand-painted plates; with four further; a pair of Royal Crown Derby plates; and a Continental part dessert service (qty) CONDITION REPORT: Each item with some light surface scratches, rubbing and wear. Some plates with light crazing. Derby plates painted by F Garnett. Otherwise OK.
Follower of Gaspard Poussin (1615-1675) A romantic landscape with figure and cattle at dusk oil on panel 41 x 44cm. Lot 148 – Large scratch line across the pictures middle area, other surface scratches, board is not cracked, frame has gilt loss and light scratches. Measurements including frame 53 x 62cm please see extra images online
John Buckland Wright (1897-1954) "Belgian Congo", 30/100, signed and numbered in pencil (in the margin) wood engraving 29 x 44cm.Lot 231 – Condition of the Image appears to be good, the paper is slightly time stained/light brown, back board is slightly loose, measurements including frame 42.5cm x 53cm please see extra images online
Ronnie Copas (1936-2017) "Bad Hobbling Weather of St Michael's Mount", 1978 signed and dated (lower left) egg tempura on board 43.6 x 38.7cm. Provenance: Portal Gallery, London.Lot 321 – light surface wear/surface scratches bottom right side + top overall condition appears good frame, frame in good shape please see extra images online
John Piper (1903-1992) ''Bastle House, Doddington'', Northumberland, 1975 signed and dated (lower) gouache, pen and ink 58 x 39cm.Lot 362 – This work appears to be in good condition, no signs of damages etc. not stuck down, frame in good order some light surface wear/loss of gilt please see extra images online, measurements including the frame 77cm x 58.5cm
Auguste Blanchard after Sir Lawrence Alma Tadema Dedication to Bacchus engraving published c.1892 by L.H Lefevre signed in pencil by the artist and engraver (in the margin) 36 x 84cm.Lot 54 – Some small spots of foxing, in acid mounts, light marks to margin, otherwise okay, frame in good order (one small break). Measurements including frame 74 x 120cm please see extra images online
A pair of diamond hoop earringsEach pavé-set with round brilliant-cut diamonds, of various near colourless and light brown tints, length approximately 50mm, post fittings with security clasp, estimated total diamond weight approximately 8.00-10.00cts, diamonds have not been tested for natural colour or treatmentFor further information on this lot please visit Bonhams.com
An open face pocket watch, Victorianwith light cream enamelled dial, black Roman numerals and outer border of Arabic numerals, the case with off-set push-button to one side and engraved vacant cartouche, within a fastened garter, to the reverse, with key-wound movement, approximate diameter 52.70mm, stamped 18ct, British hallmarked, approximate gross weight 113.50 gramsFor further information on this lot please visit Bonhams.com
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a dark amethyst example, CUPID TAKING AN ARROW FROM A QUIVER, "Jamais de repos", (no.1405), 2cm wide; a dark orange example, CUPID GUIDING A SMALL SAIL, "Never despair", (no.399), 2cm wide; a light amethyst example of hexagonal section, SHIP, "Friend", (no.279), 1.5cm high; and three others Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF FOUR INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large dark blue oval example, possibly depicting the Abduction of Helen, 5.5cm wide; a clear oval example, LION LOOKING IN A MIRROR, "toujours le meme", (no.1344), 2.5cm wide; a dark blue oval example depicting the psyche of Roma as a winged Nike, 'MARCHANT ROMA', 3.25cm high; and a light amethyst oval example depicting an ecstatic Bacchante, 2.5cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangule dark blue example, REPONSE, S'IL VOUS PLAIT, (no.1056), 1.7cm wide; a rectangular light red example depicting A PIG, "I will a Tail unfold", (no.348, variant), 1.5cm wide; an oval light blue example depicting the head of an eagle, 1.5cm wide; a rectangular dark amber coloured example, TRUTH, set into a gilt metal fob, 2cm high; a clear rectangular example, A GOOSE ON THE TOP OF BATTLEMENTS, "L'Ennemi arrive", (no.1293), 1.8cm high; a white paste profile relief of the head of a Roman, 2.3cm high; and an unengraved oval amber coloured 'gem' Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large oval mid brown example depicting the head of a maiden, 3.1cm high; an oval light pink example with a dancing amorino holding a thyrsus, 1.9cm high; a clear oval example with three amorini in a sailing vessel, 1.3cm wide; a purple rectangular example, CUPID DRESSED AS A MONK, "L'Habit ne fait pas le Moine", (no.1403), 1.5cm high; and two miniature plaster examples, Cupid with a dog on a lead, 1.1cm high; and Cupid seated on a plinth, 0.7cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangular light blue example, TOUJOURS, "Always", (no.1073), 1.4cm wide; a rectangular green example, AN HOUR-GLASS, "Le tems passe, mais l'Amitie reste", (no.1141), 1.4cm high; an oval amethyst coloured example with the head of Hermes, 2.9cm high; a rectangular dark red example with a recumbent hound, 1.7cm wide; a blue oval example, PIGNUS, depicting a sow, 1.7cm wide; and an oval brown example depicting Venus and Cupid, 2.3cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
ITALIAN STRIATED ALABASTER AND GILT BRONZE MOUNTED DISH LIGHT, early 20th century, suspended by four chains from a lanceolate leaf cast, knopped and waisted ceiling fitment, the dish exterior with four scallopshell mounts above foliate clasped husks, descending to an inverted stylised pineapple terminal, 62cm high overall, 60cm wide overall
PAIR OF CONTINENTAL GILT BRONZE AND PORCELAIN MOUNTED THREE LIGHT CANDELABRA IN ROCOCO REVIVAL TASTE, mid 19th century, the foliate cast sockets and drip pans rising on tendrilous stems from behind the seated figures of a young man and a maiden, on rocaille cast bases, 31.5cm high, 27cm wide
PAINTED AND PARCEL GILT WALNUT SINGLE LIGHT WALL APPLIQUE, IN EARLY 18TH CENTURY STYLE, second quarter 20th century, the backplate with a floral still life painted within a framed cartouche, the arched top applied with a relief carved wild boar in flight, the projecting electrical sconce below, 63cm high, 38cm wide
PAIR OF CONTINENTAL POLYCHROME PAINTED WROUGHT IRON THREE LIGHT WALL APPLIQUES, 20th century, the sockets with pressed metal floral drip pans on scrolling foliate arms, issuing from openwork backplates, each with twin fleurs-de-lys and scallopshell terminal, 58cm high, 50cm wide, 30cm protuberance
PAIR OF GILT BRONZE AND MARBLE MOUNTED FOUR LIGHT FIGURAL CANDELABRA, second half 19th century, in Empire style, each with two pairs of engine-milled sconces held out by a standing winged maiden, the cylindrical plinths with conforming mounts and engine-milled collars, on square bases with toupie feet, 51cm high x 24cm wide
GILT METAL AND CUT-GLASS HUNG EIGHT LIGHT CHANDELIER, Continental, probably French, early 20th century, in Empire style, the electrical fitments and sockets on drip-pans above scrolling branches, issuing around an openwork circlet, with pressed metal leaves rising above, with five further openwork circlets hung above and below the principal, hung overall with faceted glass pendants, bead swags and flowerheads, c.112cm high x c.61cm wide
GILT BRONZE SIX LIGHT CHANDELIER IN REGENCE STYLE, early 20th century, the electrical fitments in urn sockets on broad drip pans, on rectangular section scrolling foliate cast arms issuing horizontally from the knopped, waisted and foliate cast shaft, with hanging ring finial, 58cm high, 86cm wide
A Large Chinese Glazed Stoneware Storage Jar - 19th Century. With four wide vertical light impressions to the upper body, and coated in a thick dark brown / black glaze. Height 43cm.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
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