155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

William Chare  Portrait of Robert Pierrepont, 1st Earl of Kingston-upon-Hull C. 1618 Oil on Canvas In a carved and gilded English frame The well-known Pierrepont family of the United States are direct descendants of the Pierrepont’s of Holme Pierrepont Hall, Nottinghamshire, England. The family and their descendants have lived at the hall since 1280. The first Pierrepont to be granted a title was Sir Robert Pierrepont, a loyal soldier of King Charles I, who went from the titles of Baron Pierrepont and Viscount Newark becoming the Earl of Kingston-upon-Hull in 1628. Provenance: Collection of the 1st Earl of Cork (1566-1643) By Descent in the family to the 12th Earl of Cork (1873-1967) Thence given to his Godson, Somerset De Chair (1911-1995) By Descent in the family until the present date Dimensions: 37 in. (H) X 32 in. (W)

To be sold without reserve A Collection of Thirty-four Books:  Albert Camus, The Myth of Sisyphus and Other Essays, 1960 Mordecai Richler, Cock-Sure, 1969 Sheila Gormely, Drugs and the Canadian Scene Georges Simeon, Three Beds In Manhattan, 1976 Tales for Males, 1945 Oliver Sacks, The Man who Mistook his Wife for a Hat, 1986 Guy de Maupassant, Bel-Ami and Other Stories, 1910 Irving Bacheller, The Master, 1909 Simon Raven, The Decline of the Gentleman, 1962 Akiyuki Nozaka, The Pornographers, 1968 E. Phillips Oppenheim, The Gallows of Chance, 1938 R. A. Fitzgerald, Wickets in The West or The Twelve in America, 1873 (first edition) Brian McFarlane, The Stanley Cup, 1971 George Lonn, Men and Mines Josephina Niggli, Step Down Elder Brother, 1947 The Vintage Book of Fathers, 1998 Josephus Daniels, The Wilson Era: Years of Peace 1910-1917, 1944 James Lincoln Collier, Louis Armstrong, An American Genius, 1983 Romain Rolland, Pierre et Luce Milan Kundera, The Unbearable Lightness of Being, 1984 In Search of Light, the Broadcasts of Edward R. Murrow Hermann Hesse, Demian, 1960 Violet Irwin, Wits and the Woman, 1919 Dornford Yate, As Berry and I were Saying, 1952 Marie Nightingale, Out of Old Nova Scotia Kitchens, 1971 Michael McDonnell, Great Moments in Sport: Golf, 1974 Robin Estridge, The Publican's Wife, 1948 Ivan Turgenev, A Sportsman's Sketches, 1906 Harriette Arnow, Hunter's Horn, 1949 An 1836 Almanack The Visitor or Monthly Instructor, 1839 Dornford Yate, As Berry and I were Saying, 1952 Charlotte Mary Yonge, The Heir of Redclyffe, 1855 Alfred de Vigny, Cinq-Mars ou une Conjuration Sous Louis XIII, 1876

Property of a lady English School Portrait of Charles II when a baby Later inscribed lower right: 'K. Charles II' Oil on canvas Provenance: Probably Robert Carey, 1st Earl of Monmouth (1560-1639);thence by descent to his granddaughter, Lady Martha Carey, who married Charles, 2nd Earl of Middleton;by descent to her daughter, Lady Elizabeth Middleton, wife of William Spelman (the picture is mentioned in her will dated 2nd November 1745);thence by descent until offered for sale, London, Sotheby's, 9th June 1998, lot 1;London, Sotheby's, 8th July 2010, Lot 222, Old Master and British Paintings Day Sale, bt. 85,250 GBPLiterature: K. Gibson, Best Belov'd Kings, The Iconography of Charles II, unpublished ph.D.Thesis, 1997, no. 2 Catalogue Note: Charles was born at St. James's Palace on 29th May, 1630, shortly before midday. On hearing that his wife, Queen Henrietta Maria, had given birth to a fine healthy son, the King mounted his horse and rode into the City to give thanks to God. Being given all the attention worthy of a future King, the baby flourished, leading the Queen to comment in a letter to her old governess, Madame St. George in Spetember 1630: 'He is so fat and so tall that he is taken for a year old and he is only four months; his teeth are already beginning to come'. She added: 'I will send you his portrait as soon as he is a little fairer, for at present he is so dark that I am ashamed of him'. Charles was, however, never to lose his dark complexion, earning himself the sobriquet 'the black boy'. Sir Robert Carey, from whom this painting probably descended, was closely involved with the Royal household. At the Court of James I his wife was appointed mistress of the Robes to the Queen and they both had the charge of the young Duke of York, later King Charles I, who was consequently brought up together with the Carey children. Upon the future Charles I becoming Prince of Wales Sir Robert was appointed his Chamberlain, and remained attached to him until his death in 1639. This sensitive portrait was painted in October when the young Prince was four months old. As with a similar version now in the National Portrait Gallery, the Prince is shown propped up on a cushion as if on his Chair of State. Dimensions: 49.75 in. (H) x 40.75 in. (W)

Circle of Johann Zoffany (1733-1810) Portrait of Lancelot (Capability) Brown Dated, lower left: 1775 Oil on canvas Lancelot Brown (1715-1783), more commonly known as Capability Brown, was an English gardener and landscape architect, who remains the most famous figure in the history of the English landscape garden style. He is remembered as "the last of the great English 18th-century artists to be accorded his due" and "England's greatest gardener".  Dimensions: (Frame) 51 in. (H) x 40.5 in. (W) (Canvas) 46 in. (H) x 36 in. (W)

The Who - Ready Steady Who (592 001, UK first pressing, 1967, VG) and The Who - I Can See For Miles (604011, UK pressing, 1967, VG, lacking sleeve) (vinyl record)

10x Scott Hamilton LPs. Scott Hamilton and Warren Vache - Scott Hamilton and Warren Vache With Scott's Band in New York City (CJ-70, US first pressing, 1978, VG+), Scott Hamilton - Tenorshoes (CJ-127, US pressing, 1980, VG+), Scott Hamilton - Close Up (CJ-197, US pressing, 1982, VG+), Scott Hamilton - Scott Hamilton is a Good Wind Who is Blowing Us No Ill (CJ-42, US pressing, 1977, VG+), The Scott Hamilton Quintet - In Concert (CJ-233, US pressing, 1984, VG), The Scott Hamilton Quintet - The Second Set (CJ-254, US pressing, 1983, VG+), Ruby Braff and Scott Hamilton - A Sailboat in the Moonlight (CJ-296, German pressing, 1986, VG), Ruby Braff and Scott Hamilton - A First (CJ-274, German pressing, 1985, VG+), Concord Super Band - In Tokyo (CJ-80, US presiing, 1979, 2x LPs, gatefold sleeve, VG), Al Cohn, Scott Hamilton, Buddy Tate, Cal Collins, Jake Hanna, Bob Maize, Dave McKenna - Tour De Force (CJ-172, US pressing, 1982, 2x LPs, gatefold sleeve, VG). (vinyl records)

The Who - Meaty, Beaty, Big & Bouncy ( 2406 006 , UK mono/ enhanced stereo pressing, 1971, gatefold sleeve, VG+/ EX) (vinyl record)

Ngoye (Côte d'Ivoire, né en 1980)Sans titre, (série Faces)2021signé 'Ngoye' en bas à droitehuile sur toilesigned 'Ngoye' lower rightoil on canvas 100 x 100 cm.39 3/8 x 39 3/8 in.Footnotes:ProvenanceGalerie Melbye-KonanCollection privée, AllemagneNgoye (Kouamé Jean Ngoran), diplômé de l'École nationale des Beaux-Arts en 2006, est un des artistes les plus percutants de la nouvelle scène ivoirienne. Les thèmes principaux de ses compositions néo-expressionnistes, quasiment abstraites, sont les phénomènes psychologiques et les dégénérescences liées au respect arbitraire des mœurs et des comportements sociaux.Ngoye compte Vincent Van Gogh, Pablo Picasso et Francis Bacon parmi ses sources d'inspiration, épousant l'approche avant-gardiste du remodelage constant, de la déconstruction et de la réorganisation des éléments de ses toiles. Dans une démarche de révélation intime du moi intérieur des sujets qu'il représente, les visages ne sont souvent pas reconnaissables. Les figures masquées se fondent les unes dans les autres, formant un tout universel. L'esthétique des masques occupe Ngoye depuis le commencement de ses expérimentations artistiques. Dans ses œuvres, ils sont une expression de méfiance, la métaphore d'un isolement et de l'obstruction de ses propres émotions face au monde.'Ces masques que nous portons cachent ce qui se trouve derrière eux : notre véritable identité. Car nous vivons dans une certaine méfiance. Depuis mon enfance, j'ai vécu tellement de crises, cette douleur pendant les guerres, les épidémies et encore aujourd'hui pendant le Covid : des crises qui nous épuisent et nous stressent. C'est la raison pour laquelle j'ai voulu explorer le monde qui se cache derrière la façade. C'est pourquoi j'ai commencé à peindre des masques et des visages. Ma tâche en tant qu'artiste est de montrer cela, mais aussi de tourner mon regard vers l'intérieur et de me demander qui je suis et comment je m'adapte à l'environnement changeant : est-ce que je reste celui que je pense être ?' (Ngoye, 2021)Ses œuvres font partie de collections privées et publiques renommées en Côte d'Ivoire ainsi que dans d'importantes collections en Allemagne, en Italie et en France. The Ivorian artist Ngoye (Kouamé Jean Ngoran) graduated from the École Nationale des Beaux-Arts in 2006 and impresses with his lively neo-expressionist compositions. The main themes of his works are hidden psychosocial phenomena and human dynamics. Ngoye's works can be found in renowned private and public collections in the Ivory Coast as well as in international collections in Germany, Italy and France. He also won the 47th Art Prize of the Société de Distribution d'eau en Côte d'Ivoire (SODECI).Ngoye counts Vincent Van Gogh, Pablo Picasso and Francis Bacon among his sources of inspiration, and his art follows their approach of reshaping, deconstructing and rearranging painted objects and figures. In his portrait works, the painter analyses the inner state of mind of people, it is sometimes so different from what is worn on the outside. The people portrayed are no longer recognizable, their mask-like faces fading into each other, almost forming a unity. The motif of masks has occupied Ngoye for a long time. They are not least an expression of mistrust, an isolation of one's own emotions from a hostile outside world.'These masks we wear hide what is behind them: the true identity. Because we live in a certain mistrust. Since my childhood I have experienced so many crises, this pain during wars, epidemics and even today during Covid: crises that drain us and stress us. That is the reason for me to explore the world behind the façade. That's why I started painting masks and faces. My task as an artist is to show this, but also to turn my gaze inward and ask myself who I am and how I adapt to the changing environment: am I staying who I think I am ?' (Ngoye, 2021)For further information on this lot please visit Bonhams.com

Ernesto Shikhani (Mozambique, 1934-2010)The Last Supper1977 signé et daté 'Shikhani, 1977' en bas à droitehuile sur toilesigned and dated 'Shikhani, 1977' lower rightoil on canvas100 x 200 cm.39 3/8 x 78 3/4 in.Footnotes:ProvenanceHotel Pinhal Ofir - Esposende, Portugal (don de l'artiste)Collection privée, PortugalPuis par descendance au propriétaire actuelErnesto Shikhani est né en 1934 dans la région de Muvesha au Mozambique. Dès le début de son apprentissage artistique il se consacre à la sculpture, guidé par le maître portugais Lobo Fernandes alors enseignant au Núcleo de Arte, à Maputo. Son travail est empreint d'un mélange audacieux, à mi-chemin entre les pratiques artistiques traditionnelles mozambicaines et les propositions plastiques contemporaines de l'époque. Cette toile est réalisée en 1977, trois ans après la signature du traité d'indépendance du Mozambique. Accord précédé d'une lutte pour la liberté qui entraina dix années de guerre civile avec le Portugal, laissant derrière elle un pays profondément marqué par la violence. Ernesto Shikhani, comme d'autres artistes mozambicains témoins de l'injustice sociale des anciennes colonies portugaises, met son art au service d'un nationalisme mozambicain naissant et assumé. Beaucoup d'entre eux seront cependant censurés par la Police de renseignement portugaise (PIDE) sous l'égide d'un gouvernement encore en proie aux maximes religieuses et racistes de l'époque. Cette œuvre représente une des plus célèbres scènes bibliques, la Cène, illustrant Jésus entouré de ses apôtres. À la seule différence que les personnages sont ici de couleur noire, une attaque évidente à la mentalité suprémaciste blanche qui imprégnait alors les mœurs coloniales portugaises au Mozambique.Lors d'un séjour au Portugal à l'été 1977, il fait cadeau de cette toile à l'hôtel de Pinhal Ofir – Esposende, où il réside. L'Hôtel confie alors la toile à une société d'encadrement, appartenant à la famille de l'actuel propriétaire. Dans le contrat, chose assez classique à l'époque, est mentionné que si l'œuvre n'est pas récupérée au bout d'un an elle deviendrait la propriété de l'encadreur.L'Hôtel Pinhal Ofir n'alla jamais chercher l'œuvre, jugée trop polémique par le gouvernement portugais.When commencing his artistic training in Mozambique, Ernesto Shikhani first dedicated himself to sculpture, guided by the Portuguese master Lobo Fernandes who was then a teacher at the Núcleo de Arte school of Maputo. From 1970, he expanded his practice to also focus on painting. Shikhani's work is marked by a bold hybridity – he fuses traditional Mozambican artistic practices with contemporary approaches to artmaking. The present work was created in 1977, three years after Mozambique secured independence from Portuguese colonial rule. This liberation was preceded by a struggle for freedom that had resulted in a decade-long civil war, leaving behind a country deeply marked by violence.Ernesto Shikhani, like other Mozambican artists who witnessed the social injustices of the former Portuguese colonial rule, put his art to the service of a nascent nationalism. Many of his works were censored by the Portuguese Intelligence Police (PIDE) who worked under the aegis of a government still caught in the grip of the religious and racist maxims prevalent in this period. The work represents one of the best-known biblical scenes, The Last Supper, and portrays Jesus and his apostles gathered around a table. The only difference in Shikhani's work is that the characters are portrayed as black, a provocation to the white supremacist mentality that impregnated the lingering colonial ideologies prevalent in Mozambique at the time. During his visit to Portugal in the summer of 1977, Shikhani donated the present work to the Hotel de Pinhal Ofir-Esposende, where he stayed. The hotel entrusted the painting to a framing company belonging to the family of the current owner. In the framing contract it was written that if the work was not recovered within a year, it would become the property of the framer – a stipulation common at the time. The Hotel Pinhal Ofir-Esposende never sent for the work, which was considered too controversial by the Portuguese government who had threatened to close the establishment if they decided to exhibit the painting.For further information on this lot please visit Bonhams.com

Alexander 'Skunder' Boghossian (Ethiopie, 1937-2003)The Devil and the Crescent1970signé et daté 'Skunder 70' en bas à droite; titré au revershuile sur panneau signed and dated 'Skunder 70' lower right; titled on the reverseoil on panel47 x 41 cm. 18 3/4 x 16 1/4 in.Footnotes:ProvenanceAcquis auprès de l'artiste en 1971The Art Lending Service of the Museum of Modern Art, New York, de avril 1971 à mai 1972Collection privée, Etats-UnisVente: Bonhams, Londres, Africa Now, 20 mai 2015, lot 22Collection privée, FranceExpositionNew York, African-American Institute, African Art Today: Four Major Artists, du 14 mai au 31 aout 1974, no. 701-717.Skunder Boghossian grandit en Éthiopie, mais passe la majeure partie de sa carrière à Washington DC, aux États-Unis. Après avoir suivi une formation artistique en Europe, Skunder retourne en Éthiopie entre 1966 et 1969, période durant laquelle il travaille aux côtés du célèbre artiste contemporain (et autre 'pionnier' de l'art éthiopien) Gebre Kristos Desta, en tant que professeur à la prestigieuse école des beaux-arts d'Addis-Abeba. De nombreuses œuvres réalisées à cette époque ont contribué à ce que l'on appelle « la Renaissance du printemps d'Addis », une incroyable période de créativité et de fécondité pour l'art éthiopien, grâce à l'introduction de nouvelles influences et aux apports de ceux qui avaient étudié à l'étranger. Au cours de ces années, l'œuvre de Skunder s'est avérée incroyablement populaire et a été exposée dans trois studios à Addis-Abeba.De nombreux élèves de Skunder ont ensuite suivi ses traces, soit en émigrant aux États-Unis pour continuer de suivre son enseignement, soit en s'inspirant de ses expérimentations artistiques pour devenir les figures de proue d'un nouveau modèle d'art éthiopien contemporain. Cette aura auprès de la jeune génération d'artistes lui valut le titre de 'père des arts éthiopiens'. La renaissance du printemps d'Addis sera malheureusement cruellement réprimée en Éthiopie à l'époque du Derg, tandis que des artistes comme Skunder - qui choisirent d'émigrer – purent exprimer leur désillusion et leur déception à distance. Skunder est le premier artiste éthiopien à voir ses œuvres exposées au Musée d'Art Moderne et au Smithsonian.The Devil and The Crescent (Le Diable et le Croissant de lune) est datée 1970, trois ans après qu'il reçut le Prix des Beaux-Arts de l'Empereur Hailé Sélassié I et le Prix allemand des peintres africains contemporains, à Munich. Les motifs complexes et les couleurs tranchées représentent parfaitement l'influence croissante au début des années soixante-dix des motifs ouest-africains et coptes dans ses œuvres, ainsi que des recherches artistiques menées par les avant-gardistes internationaux Paul Klee, Max Ernst et de l'artiste cubain Wilfredo Lam.Skunder Boghossian was brought up in Ethiopia, but lived in Washington DC, USA for the majority of his working life. Following a European art education, Skunder returned to Ethiopia between 1966 and 1969, during which time he worked alongside renowned contemporary artist (and fellow 'father' of Ethiopian art) Gebre Kristos Desta, instructing at the prestigious Addis Ababa School of Fine Arts. Many works executed at this time contributed to what has been called the 'Addis Spring Renaissance', an incredible period of creativity and fecundity for Ethiopian art responding to the introduction of new influences and inspiration from those who had studied abroad. During these years, Skunder's work proved incredibly popular and was exhibited in as many as three studios in Addis Ababa at any one time.Many of Skunder's students would go on to follow in his footsteps either by emigrating to the USA and continuing as his pupils, or by taking inspiration from his innovations to become the leading figures in a new mode of contemporary Ethiopian art. This has earned him the title 'father of Ethiopian arts'. Unfortunately, the 'Addis Spring Renaissance' would be cruelly repressed in Ethiopia during the era of the Derg, whilst artists such as Skunder - who chose to emigrate - were free to express their disillusionment but only from a distance. Skunder was the first Ethiopian artist to have works exhibited in the Musée d'Art Moderne and the Smithsonian.The intricate patterning and delicately intertwined figuring of The Devil and the Crescent gives the impression of an incredibly organic work, foreshadowing Boghossian's works of the 1970s, which demonstrate the growing influence of West African and Coptic motifs in his works as well as the international influences of Paul Klee, Max Ernst and the Cuban artist Wilfredo Lam.For further information on this lot please visit Bonhams.com

Cylindrical in shape and with a gilded rim, it is finely decorated in grisaille, iron red and gold with a continuous scene depicting the Eighteen Luohans; on the base it bears the six-character iron red seal mark of the Daoguang Emperor. Provenance: -Private collection, Italy. Catalogue notes: In Chinese Buddhism, the Eighteen Luohans (or Ahrats) are depicted as the original followers of Gautama Buddha, who have undertaken the Noble Eightfold Path and reached the Four Stages of Awakening.  In Chinese art, they are depicted as eighteen, unlike other cultures such as Japan, where sixteen are depicted. This difference is probably due to the depictions of the monk Guanxiu from 891 A.D., considered the earliest Chinese depictions of the Luohans. See the snuff bottle with the identical decoration of the Eighteen Luohans in grisaille, iron red and gold, also marked and from the Daoguang period sold by Sotheby's, auction number HK0463, Snuff Bottles from the Mary and George Bloch Collection Part VI; 27 May 2013, Hong Kong; lot. 235.

Box for relics or amulets (gau) of religious nature. The front, in silvered, gilt and embossed copper, is embellished with very fine chiselled work further enriched by settings of turquoises, corals and other semi-precious stones. In the centre of the box stands out, carved in turquoise the effigy of Padmasambhava, depicted seated on a lotus throne, wearing a beautiful dress and adorned with earrings and necklaces, while his head is crowned with a lotus-shaped hat. In his hands he holds his attributes. The back of the reliquary depicts a double vajra in silver-plated copper on a gilded background. Provenance: -Private Collection, Italy. Catalog notes: The box served as a portable shrine and was believed to protect anyone carrying it. The multi-layered volutes and delicate figurative details testify to the refinement of the craftsmen who made it. The selective gilding, for example, further amplifies the preciousness of the work, adding colour and depth to the background against which the deity stands out. Padmasambhava was an Indian Tantric Buddhist master, considered a central figure in the transmission and spread of Buddhism in Tibet. The attributes he holds are a Khatvanga, a ritual staff, resting on his left shoulder, representing his consort Mandarava, who guides him to the awareness of emptiness. In his left hand, placed on his lap, he holds a skull cup with a jar containing nectar of long life and jewels, while in his right hand he holds a vajra, the adamantine thunderbolt, (vishvajra) or dorje, symbolising the reality of Buddha's enlightenment.

Well painted in en grisaille, it represents a pagoda in a garden with a rock and trees. At the bottom it bears inscriptions including the signature Deng Qinglian (???). Note Deng Qinglian is the son of Deng Bishan, one of the 'Eight Friends of Zhushan', a famous artist of the Republic period who specialised in depicting carp. 

A CARVED PINE EAGLE CONSOLE TABLE18TH CENTURYMounted with a variegated fior di pesco marble top92cm high, 105cm wide, 46cm deepThe use of an eagle as a support for a table was popularised in England by William Kent (1685/6 - 1748), the remarkable designer of furniture, objects and architecture. Kent's designs drew on his decade in Italy from 1709-1719, spent often in the studio of painter Giuseppe Bartolomeo Chiari. Kent's design for an eagle table support is likely to be derived from designs by Giovanni Giardini, published by Disegni Diversi (1714), this includes in particular an elaborate table which featured an eagle with spread wings in the centre. The earliest recorded tables of this type were made for the Duke of Beaufort, between 1728 and 1733 by the carver John Phillips who was paid £444 9s 6d for work at Badminton House, Gloucestershire. Condition Report: There are marks, scratches, knocks, chips and abrasions consistent with age and use.The marble top has a semi-matt appearance with some surface scratches and chips including to the lower edge. It is probably a later replacement. The marble is 2.5cm thick.The table base is of sectional construction and some of the joints are visible; there are repairs to the wings along the grain of the timber.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

Y A REGENCY ROSEWOOD & BRASS MARQUETRY SIDE CABINETATTRIBUTED TO GILLOWS, CIRCA 181594cm high, 173cm wide, 43.5cm deepThis fine cabinet can be firmly attributed to the illustrious furniture makers, Gillows of Lancaster & London, who were renowned for their exceptional craftsmanship as well as for their use of the finest timbers. The inclusion of the rich brass 'buhl' or 'trelliswork' inlay suggests an early Regency date; this mode of decoration, harking back to the ancient régime reign of 'The Sun King', was particularly agreeable to the Francophile inclinations of George, Prince of Wales (d. 1830). This type of ornamentation features throughout Gillows' oeuvre of the second decade of the 19th century, including pieces supplied with both 'première' and 'contre partie' inlay in May 1813 to William Powlett, 2nd Baron Bolton (d. 1850), for Hackwood Park, Hampshire, and to other pieces almost certainly by Gillows based on designs in the Estimate Sketch Books, formerly at Wentworth Woodhouse, Yorkshire. One of the most important Gillows' library commissions was for Wilbraham Egerton, which included 'trelliswork panels in the form of 'brass circles' and brass mouldings for the doors etc., were sent from London', now on display at Tatton Park, Cheshire. The presence of brass inlay on furniture possibly suggests production at Gillows' London workshop as metalwork was a specialised trade generally carried on in the neighbourhood of St. Martin's Lane and Long Acre (ibid., p. 375, pl. 444).A closely related cabinet was sold, Christies Important English Furniture, London 6th April 2000, lot 109 £64,250. 

Taxidermy: A Large Perruque European Roebuck (Capreolus capreolus), modern, by Paul Taylor, Taxidermy, Dorchester, a superb high quality adult Perruque Roebuck shoulder mount with head looking straight ahead, the antlers still in felt phase, from the wall 41cm, height 62cm overall, mounted upon a shaped oak shield.Male deer grow antlers every year, during the early stages of antler development the antlers are soft and covered in fine velvety hair referred to as ‘velvet’. In fact this velvet tissue is the means by which nutrients are carried to the antler in order to promote growth. If allowed to develop further the antler hardens and calcifies into the sharp bony structures known as antlers which the deer use as weapons. Deer antlers in velvet grow surprisingly fast and can develop up to 20mm each day. This process of annual regeneration is unique to deer and in humans might be the equivalent to growing an arm every year ! However on occasion, during the antler growing process, things can go wrong and it is from these incidents that many of the years malformed heads appear. Antlers in velvet are more flexible than fully developed antlers, however, half-fractures during the growing phase can result in some rare and bizarre trophies that are often highly sought after, especially by those trophy hunters from the continent who will often be prepared to spend strong money for a rare and unusual Roebuck trophy. However, the most significant effect on antler growth comes about through the interruption, even temporary interruption, of the hormonal balance. If the supply of male hormone is cut off temporarily the antler will take longer to harden and will probably show exaggerated pearling as a result of the extended growing period. These type of heads are referred to as ‘Mossed Heads’ and in such examples the antler will eventually harden, albeit in a malformed and unusual manner. What is more rare is the situation in which the male hormone testosterone is cut off completely, as might be explained through accidental castration whilst crossing a barbed wire fence, or involvement in a collision with a car. Incidences resulting in a lack of testosterone are not always so easily explained and may also develop as a result of rare internal anomalies in the deer’s physiology. Whatever the cause, the effect will be a continuous growth of the antler in the velvet stage that increases rapidly with time, and gives the effect of a mass of velvety tissue on the head that has the appearance of a wig also known as a ‘Perruque’. Sadly the wig, or perruque will in almost all incidences, eventually be responsible for the buck's demise, as it grows rapidly in the later stages and will either become fly blown and infected or blind the animal as it gradually obscures the eyes. Perruque’s are extremely rare and because of their effect on the animal, bucks suffering from this condition can rightly be described as both the ultimate cull buck and the ultimate trophy.

Taxidermy: A Large Loggerhead Sea Turtle Head Mount (Caretta caretta), circa early 20th century, attributed to Rowland Ward Ltd, 166 Piccadilly, London, a superb large adult Loggerhead turtle head mount looking straight ahead, glass eyes, from the wall 29cm, height 46cm overall, head size 27cm 18cm by 19cm, mounted upon a modern shaped oak shield, bearing later brass plaque - "The Colonel", previously the property of a publican who displayed the Turtle within a number of their public houses, including "The Bramshill Hunt" Arborfield, Berkshire, "The Dun Cow", Dunston, Gateshead, "The Fusilier", Forest Hall, Newcastle.Structural interior restoration carried out by the Hancock Museum, Newcastle, in the late 1980's, substitute shield included if required. 14/09/22

Entomology: Two Framed Displays of Tropical Butterflies, modern, by Deyrolle, Paris, a colourful display of twenty one various tropical butterflies, all pinned with wings displayed, enclosed within a typical glazed entomolgy box, 39cm by 5.5cm by 26cm, bearing Deyrolle trade label to verso, together with a display of six colourful swallow tail butterflies, all pinned with wings displayed, enclosed within an oak framed Watkins & Doncaster entomology box, 35.5cm by 5.5cm by 25.5cm, (not preserved and mounted by Deyrolle), (2). Deyrolle was established in 1831 by Jean-Baptiste Deyrolle who was succeeded by his son Achille. Deyrolle is a reference in the field of taxidermy, various birds beasts and mammals from all over the world can be found at Deyrolle with only a few exceptions, no animal was killed to be mounted: the non-domestic species were sourced from zoos and parks where they died from illness or old age. They are traceable and protected species all conform to CITES regulations

Taxidermy: Indian Sambar (Rusa unicolor unicolor), circa 1911-1937, India, by Peter Spicer & Sons, Taxidermy, Leamington, a large medal class adult stag with head turning slightly to the right, 6 points (3+3), right antler 37.5", left antler 34.5", widest span 104cm, from the wall 60.5cm, overall height 136cm, mounted upon a typical trade mark shaped shield, bearing impressed taxidermist's trade mark to verso, taken by Indian Civil Service, R.C. Hobart circa 1911-1937.Robert “Charles” Arthur Stanley Hobart was born in Naini Tai in the United Provinces on Wednesday, 27th July 1881 (at 6am!), the eldest son of Robert Thompson Hobart of the Bengal Civil Service and Janet Stanley from County Tyrone. He received a hindu baptism by being dipped into the River Ganges by one ankle as a baby and given the Indian name of the storm god Ananda. He had a brilliant academic career, first at Charterhouse School and then gaining a double first in Classics at Trinity College, going on to study at Heidelberg University in Germany. In 1905 he joined the Indian Civil Service and served in United Provinces as Assistant Commissioner and Collector, and finally as Divisional Commissioner from 1931 to 1937 when he was given the CIE. He then retired to Mayfield in Kent and died in 1955. My grandfather reportedly spoke 37 distinct Indian languages on top of Latin, Greek and German, and was highly admired and respected not only by the British administration with personal commendations from Lord Haig amongst others, but also by the Indian community. Robert Skelton, who was head of the Indian department of the V&A museum wrote to me that “Charles was a champion pig sticker, winning two Hoghunters’ Races in 1920 and broke his neck pigsticking (but survived!). Apparently years after his time in India in places where he served people would point out “this is where Hobart Sahib sat” and if he returned to a place, hundreds of people turned out to greet him.”some shrinkage splits to either side of the upper lips, nose has dried and cracked, in need of cleaning, some shrinkage around either eye socket, both ears have suffered some light damage and shrinkage around the tips, in need of sympathetic restoration, 03/10/22

Collection of various games, mainly 1920s, including The game of Race with steeple chase board and six lead race horses (two with broken legs), Fishponds, Who Knows, Escalado Speed Boat Race, with wooden boats and five lead race horses (two with broken leg), Picture Lotto, The Sphinx and Pyramid game, Getting Up, The Chequers puzzle, Draughts, six flip picture books, card games and more, (lot).

Rare large scale Talfourd Toys Alice in Wonderland wooden articulated figures, 1920s, thirteen brightly painted figures including Alice holding a Flamingo 5” (12.7cm) tall, Queen and King of Hearts, Mad Hatter, Cheshire cat, Duchess, Fish and Frog Footmen, March Hare, White Rabbit, Dodo, Jabberwock and Door mouse, each mounted on its own stand, each figure with TFF monogram signature, (condition: excellent, no damage or loss except Door mouse lacks one arm), provenance: These figures were given to the vendors mother who was born in the USA to English parents in 1921 by her English Grandparents over a period of years as Birthday and Christmas presents.

A Worcester teabowl and saucer, circa 1770Decorated with the 'Marchioness of Huntly' pattern, floral festoons spiralling from apple-green borders edged with gilt rococo scrolls, a budding rose sprig centre, saucer 12cm diam (2)Footnotes:Provenance Perry CollectionGerald Moore CollectionThe Marchioness of Huntly, who owned a large set of this pattern, was the half-sister of Lady Charlotte Schreiber. See Rosalie Sharp, Ceramics, Ethics and Scandal (2002), p.28.For further information on this lot please visit Bonhams.com

A Worcester dessert basket, circa 1770-75Of oval form, the rim pierced with interlocking circles, florets applied to the exterior junctions, decorated with the 'Earl Manvers' pattern, a puce diaper and gilt scroll border below the interior rim hung with berried garlands and purple scrolls, the centre with ripe berries within a gold feuille de choux border, the ropetwist handles with applied flower terminals, picked out in green, 17.5cm wideFootnotes:ProvenanceGerald Moore CollectionA set of this pattern belonged to Charles Meadows, Duke of Kingston, who became Earl Manvers in 1806. Small variations in surviving examples suggest that several dessert services of Earl Manvers pattern were produced at Worcester. The pattern was a favourite of C W Dyson Perrins, who encouraged Royal Worcester to reissue the design in the 20th century.For further information on this lot please visit Bonhams.com

A very rare Beilby enamelled armorial light baluster 'Tilly' wine glass, circa 1765-69The round funnel bowl finely decorated in polychrome with the coat of arms of the Tilly family of Haarlem, a yellow dove perched on an olive branch with a white stem and green leaves, within an ouroboros, the yellow serpent picked out in iron-red shown biting its tail, within an elaborate rococo scroll cartouche painted in shades of pale purple, inscribed 'Tilly.' in opaque white beneath, the reverse with the crest of a white dove in flight above a helmet in yellow and red, traces of gilding to the rim, on a stem with triple-annulated knop above a beaded inverted baluster and small teared basal knop, over a conical foot, 17cm highFootnotes:ProvenanceThe Tilly family of Haarlem, NetherlandsThence by family descent to Rudy van Dobben, Halfweg, NetherlandsWith Frides Laméris, 1 June 2012Stephen Pohlmann CollectionLiteratureStephen Pohlmann, 'The Tilly Glasses', Glass Circle News, no.139 (November 2015), p.5, fig.2Kiki Alpherts and Marius van Dam, Tussen Kunst en Kitsch: 101 ontdekkingen (2015), p.133, no.66Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.23, figs.6a-bExhibited30 Jaar Tussen Kunst en Kitsch in 101 Ontdekkingen, Museum Flehite, Amersfoort, Netherlands, 19 April - 22 July 2015, no.66Once known as 'Newcastle' balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England. It is possible that the Beilbys imported undecorated light-baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems. The Beilbys will have been aware that the best glass engravers working in Holland, such as Jacob Sang, favoured the light-baluster shape for their most prestigious commissions.Fifteen Beilby decorated light baluster wine glasses or goblets, many of similar shape, are recorded including the present lot. Eleven of these bear armorials or crests, while four are painted with vine in opaque white enamel. The latter include one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203), one in the Fitzwilliam Museum (inv. no.C.513-1961) and one from the Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 102.Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17) and a goblet in the World of Glass Museum in St. Helens bearing the arms of the Van Dongen family of Amsterdam. Three further glasses bear the arms and crest of the Tilly family of Haarlem, including the present lot. A 'Tilly' glass in the Durrington Collection is illustrated by Peter Dodsworth in his catalogue (2006), p.35, no.29 and was thought to be the only example in existence at the time of publication. It differs slightly from the present lot in that in place of the helmet on the reverse there is a wheel-engraved medallion containing seven arrows emblematic of the Seven United Provinces, within the inscription 'VREEDE EN EENDRAGHT' (Peace and Unity). Whilst it has been suggested that the engraving on the Durrington glass existed before the enamelling took place, it seems far more plausible that the decoration originally matched that on the present lot, with the helmet being later removed and replaced by the engraved medallion. The third 'Tilly' glass, in a private collection, is unpublished.The 'Tilly' set was almost certainly commissioned by Claas de Koning Tilly (1727-1814), who by 1764 owned a firm in Haarlem founded by his grandfather in 1696, which specialised in the production of a panacea known as Dutch drops (Haarlemmerolie). The firm was subsequently renamed C de Koning Tilly and was latterly owned by Rudy van Dobben until 2019, a direct descendent of this branch of the Tilly family. Interestingly, two engraved light baluster wine glasses bearing the initials 'CDKT' for Claas de Koning Tilly are discussed in detail by J R ter Molen, 'Twee gedecoreerde wijnglazen uit 1765 en 1769 met de initialen van C. de Koning Tilly', Antiek, Vol.8 (March 1982), pp.461-70, indicating that Claas was clearly commissioning other glasses at this time. The first is decorated with the arms of Haarlem, dated 1765 and inscribed ''T WELVAAREN VAN DE DIACONY' (The prosperity of the Diaconate). It is thought to commemorate the election of Claas as a deacon by the Grand Church Council on 18 March that year, a position which he held until 1769. The other is dated 1769 and decorated with a view of the Hofje van Bakenes in Haarlem, almost certainly commemorating his appointment as regent of the Bakenesser Chamber on 2 October that year, a position which he retained until 1780. It seems likely that the Beilby decorated set may also have been commissioned to celebrate one of these occasions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An exceptional Dutch engraved light baluster goblet and cover signed by Jacob Sang, dated 1760The round funnel bowl with a continuous paved floor, upon which stands a finely dressed lady emblematic of Charity, holding a child in her arms and another by the hand, a collared hound standing upon a metal-bound strongbox to her left, a horse to her right, the reverse with a large spray of flowers in a vase, inscribed 'A TOUT CE QUE NOUS FAIT PLAISIR' (To All That is Dear to Us) below the rim, on a stem with an upper angular knop above a slender beaded inverted baluster and small basal knop, the conical foot inscribed 'Jacob Sang, inv = et Fec = Amsterdam, 1760' in diamond-point script, the high domed cover with a hollow globular finial, 25.1cm high (2)Footnotes:ProvenanceSjoukje Jantina Collection, Groningen, NetherlandsThence by family descent to her daughter JansjeWith Frides Laméris, 1 December 2017Stephen Pohlmann CollectionThis remarkable goblet is unrecorded in the literature. It was inherited by Sjoukje Jantina from an elderly friend who had been a nurse in Amsterdam and lived in Ermelo with Sjoukje's paternal aunts in retirement, who had in turn inherited it from a violinist for the Concertgebouw Orchestra who she had nursed during illness.A handful of other signed glasses decorated with virtually identical scenes by Jacob Sang are recorded. A composite stem light baluster glass dated 1761, with the same inscription but in Dutch, is recorded by F G A M Smit, A concise catalogue of eighteenth-century wine-glasses wheel-engraved and signed by Jacob Sang (1992), p.15, no.1761.1 and illustrated by C R S Sheppard and J P Smith, Glass from the Restoration to the Regency (1990), pp.60-1, no.85. At the time of publication, Sheppard and Smith noted just two other glasses with the same subject, both unsigned. One of these was sold by Sotheby's New York on 21 March 2000, lot 334. The other, with a damaged stem, is illustrated by Kristin Duysters, Facetten van Glas (2000), p.71, no.132 and was sold by Bonhams on 20 November 2019, lot 36. An airtwist goblet of very different form, signed by Sang and dated 1759, was sold by Christie's Amsterdam on 19 December 2007, lot 167 and is the only other signed example with a similar scene recorded.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A fine Dutch engraved composite stem light baluster goblet signed by Jacob Sang, dated 1760The generous round funnel bowl decorated with a large farm before an elaborate gated entrance and small bridge, a tiny figure standing outside, bounded by iron railings hedges and rows of tall trees, encircled by a watercourse, an avenue of trees to the right, inscribed 'BLOEJLANG, ZUYDHOEVE/ IN RUST EN VREE,/ MET ZEGEN OVER LAND EN VEE/ G. HOYER' (May Zuidhoeve long prosper, in peace and quiet, with blessed land and cattle. G. Hoijer) on the reverse, the stem with a multi-spiral airtwist dumbbell section above a teared inverted baluster with a small basal knop, over a conical foot, the pontil mark inscribed in partially abraded diamond-point script 'J. Sang Fec.' with the date '1760' below, 20.8cm highFootnotes:ProvenanceDr N Potter Collection, Sotheby's, 13 July 1987, lot 203Dietmar Zoedler Collection, Sotheby's, 21 November 2007, lot 45With Kunstzalen A vecht, 18 November 2014Stephen Pohlmann CollectionLiteratureF G A M Smit, A Concise Catalogue of Eighteenth-Century Wine-Glasses wheel-engraved and signed by Jacob Sang (1992), p.13, no.1760.7The view on this goblet has never been previously identified, but is almost certainly a farm by the name of Zuidhoeve (literally 'South Farm') on the Duivenvoorde estate in Voorschoten, just outside of The Hague. The original 16th century building still exists in part, where it is surrounded by watercourses and avenues of trees. Its architectural appearance very much resembles the building depicted on the present goblet. Around two miles northwest of Zuidhoeve a neighbouring 16th century farm by the name of De Astopwoning of Kleyn Haesbroek existed on what is now the estate of Kasteel Oud-Wassenaar. In 1764 this came into the hands of Gerard Hoijer and Paulus Hoijer van Brakel, who expanded the estate with a mansion called Snippenstein (today known as Oud-Wassenaar). Gerard was a lawyer and Paulus a prosecutor at the Hof van Holland. Gerard is almost certainly the same 'G Hoyer' referred to on the present goblet, perhaps intended as a gift for the owner.This shape of goblet was a favourite of Sang, with seven examples including the present lot recorded by Smit (1992), p.5. Whilst sand typically inscribed his signature on the foot of his goblets, several examples are recorded with signatures on the pontil mark, either in full or abbreviated to 'J. Sang'. A goblet of very similar form but with different engraving, signed 'Jacob Sang, inv: et Fec: Amsterdam 1764' on the pontil mark, is illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), pp.202-3, no.214 and recorded by Anna Laméris, Pur Sang: Een onderzoek naar de kenmerken van de stijl van Jacob Sang aan de hand van zijn gesigneerde glazen, unpublished PhD thesis, Kunsthistorisch Instituut Amsterdam (1994), no.1764.4.Another of very similar form engraved with a coat of arms and signed 'Jacob Sang... fec. Amsterdam 1769' on the pontil mark, unrecorded by both Smit and Laméris, was sold by Sotheby's New York on 15 December 1998 and again by Christie's Amsterdam on 19 December 2007, lot 93. Curiously the signature, much like that on the present lot, had been partially erased with scratching. This is not unusual and may have been because the donor did not want the engraver to be identified. Indeed, it is possible that some of Sang's commissions were from individuals who specifically requested that he did not sign his work so prominently or at all, hence the use of the pontil mark in such a way, perhaps in the hope that it would go unnoticed.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare engraved opalescent wine bottle, circa 1710Of 'pancake' onion form in dichroic olive-green glass with a pale blue opalescence, the large bulbous body with a short tapering neck, the wide mouth trailed with a string rim, inscribed 'J Foote/ Harwood' between cruciform flourishes in diamond-point script to the shoulder, with a basal 'kick-up', 14cm highFootnotes:Known as 'glass gall' or sandever, this rare and curious blue opalescence was caused by an excess sodium sulphate impurity in the glassmaking batch. Although considered a particularly attractive effect, whether it was deliberate or accidental remains the subject of much debate. The inscription likely relates to a John Foote of Harewood near Calstock, Cornwall. An octagonal wine bottle of circa 1770-80 bearing a commemorative seal inscribed 'Foote/ Harwood/ 1731' is illustrated by David Burton, Antique Sealed Bottles (2014), pp.634-5, where it is attributed to John Pearson Foote of Harewood Manor, Calstock. John Pearson Foote was descended from a long line of John Foote's who had all lived in Harewood or Calstock since at least the early 17th century. John Pearson Foote's father, known in his will as John Foote the younger, died in 1744. This bottle may have belonged to this John Foote, or perhaps his father John Foote the elder. For a wide-mouthed 'pancake' onion bottle of very similar form, applied with a seal inscribed 'T.N/ 1705', see that illustrated by Burton (2014), p.543.For further information on this lot please visit Bonhams.com

A very rare Dutch engraved facet-cut baluster 'Orangist' goblet, dated 1788The generous round funnel bowl finely decorated with a husk wreath containing the inscription 'DE ZUCHT VOOR'T/ VORSTLYK HUIS, VOOR KERK/ EN VADERLAND,/ IS HIER HET SCHIBBOLETH,/ DE STALEN LIEFDEBAND,/ AMSTERDAM. 1 April/ 1788.', pendant from a banner inscribed 'LANGBLOEI DE SOCIETIT' (Long Live the Society), a band of unusual spiral facets to the base of the bowl, the multi-faceted stem with an upper angular knop above a small cushion knop, beaded inverted baluster with a small basal knop, over a facet-cut conical foot, 17.6cm highFootnotes:ProvenanceWith Frides Laméris, 6 April 2017Stephen Pohlmann CollectionThe inscription translates as 'The love for the Royal Family, for Church and Fatherland, is here the shibboleth, the band of love, made of steel.' An identical glass in the Amsterdam Museum is illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.234, no.248. The society to which the inscription refers was an exclusive club with around 100 wealthy members who met in an upstairs room of Hollandse Koffiehuis in the Kalverstraat in Amsterdam, where they sang songs celebrating the glory and health of stadtholder William V, Prince of Orange. It was one of a number of Orange societies that emerged in the period immediately following the restoration of the stadholder in 1787.The Orange restoration followed a period of great political instability in the Dutch Republic between supporters and opposers of the Anglophilic stadtholder. The Dutch Patriots, formed of nationalists desiring reform, sought his removal and a more democratic government, whereas the Orangists remained loyal. William had been forced to withdraw following the disastrous Fourth Anglo-Dutch War (1780-84) but seized back power from the Patriots during the Prussian invasion of Holland in 1787 with the military help of his brother-in-law, Frederick William II of Prussia, shortly before this glass was engraved. Unfortunately for him the regime was short-lived, as he was forced into permanent exile at the end of the Batavian Revolution in 1795, marking the end of the Dutch Republic. For an armorial goblet of related manufacture, see lot 51 in this sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The Fattening: An exceptional Dutch stipple-engraved wine glass by Gillis Hendricus Hoolaart, circa 1775The round funnel bowl dramatically decorated with the silhouette of a horned bull from behind, beside a tree emerging from a densely scratch-engraved background, the leaves picked out in diamond-point, the reverse inscribed 'De vetwijerij' (The fattening) in diamond-point gothic script, the composite stem incorporating an upper multi-spiral airtwist section with a swelling knop, set into a beaded inverted baluster terminating in a basal knop, over a conical foot, 19.1cm highFootnotes:ProvenanceL Blumka Collection, New YorkWith Peter Korf de Gidts, AmsterdamPrivate Collection, The HagueWith Frides Laméris, 23 June 2018Stephen Pohlmann CollectionLiteratureP Korf de Gidts, Advertisement, in Antiek XX, no.3 (1985), p.169F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.161, no.Fa.16ExhibitedDelft: 37e oude kunst- en antiekbeurs, Museum Het Prinsenhof, 1985, catalogue p.58Gillis Hendricus Hoolaart (1731-1816) was a clerk in the office of a civil law notary in Dordrecht. For a time he lived in Steegoversloot, the same street where both Frans Greenwood (1680-1763) and Aart Schouman (1710-1792) also lived, the latter only until Hoolaart was 16. It is highly likely that Hoolaart, much like Schouman, learnt how to engrave glass from Greenwood, who had pioneered the stipple technique. Stylistically his work shares features with both of his predecessors, including the mixing of both stipple and line engraving techniques, as well as the use of the full height of the bowl for the decoration.Smit (1993) records just seven glasses signed by Hoolaart, two of which depict a virtually identical bull as that on the present lot (nos.Fa.18 and Fa.19), both wine glasses with opaque twist stems. One of these was in the Guépin Collection, sold by Christie's Amsterdam on 5 July 1989, lot 94. The other, dated 1775, is illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.425, no.536. A further four glasses by Hoolaart, including the present lot, are unsigned. Only one other of these, a small roemer in the Huis Van Gijn, is decorated with a bull (no.Fa.17).In the 17th and 18th centuries, the majority of beef consumed was imported. Large herds of bulls were reared in Denmark and in Schleswig-Holstein before being transported to Germany and Holland. They arrived lean after their long journeys in the early Spring and so were fattened, for which the fertile pastures of Holland owned by wealthy urban merchants proved particularly suitable and to which the inscription on this glass refers. The animals were brought back to the city markets in late Autumn where they were bought by butchers who sold the meat in central meat halls. Danish beef, known as herenvoedsel, was considered a nutritious delicacy, so this was a particularly lucrative line of business. The wealthy owners of these herds took particular pride in their cattle, its financial worth and the beauty of the meat.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The Wynnstay Cup: an important Jacobite engraved ceremonial goblet, circa 1759-60Of generous slightly flared bucket shape, decorated with a six-petalled rose and one closed bud crossed with a thistle, inscribed around the rim 'The CONFEDERATE HUNT, Lady Win Wynne, Lady Parramount' [sic], the reverse with the names of the Lady Patronesses from 1754 to 1758, above the political slogan 'Hark Wenman & Dashwood/ Sr Watn & the Old Interest/ for Ever', raised on the remnants of a single-series opaque twist stem containing a generous solid multi-ply corkscrew, set into a replacement tin-plate stem and foot with embossed decoration, 21.8cm highFootnotes:ProvenanceLord Harlech Collection, Glyn Cywarch, Bonhams, 29 March 2017, lot 117Stephen Pohlmann CollectionOf the many Jacobite clubs and societies that flourished in the middle of the 18th century, perhaps the best known is The Cycle Club, also known as The Cycle of the White Rose. This was founded by Sir Watkin Williams Wynn of Wynnstay, who was a prominent Jacobite supporter. The Cycle Club met at the Eagle in Wrexham and later at Wynnstay, its members all living within a fifteen-mile radius. Although Sir Watkin Williams Wynn died in 1749, the head of the family continued in the role of Patron, while his wife was the Lady Patroness of the Cycle Club.The Confederate Hunt was a separate club probably affiliated with the Cycle Club. This goblet commemorates the election of Sir Watkin's second wife Frances as Lady Paramount of The Confederate Hunt. This Lady Williams Wynn, the 3rd Baronet's widow, was born Frances Shakerley and she was therefore a member of one of the other Jacobite families mentioned on the goblet. In Jacobite clubs the Lady Patroness was usually an unmarried lady of the neighbourhood. The Patroness, sometimes accompanied by a lady guest, was the only female member allowed to attend club dinners. The Lady Patronesses listed on this glass are Miss Mytton - 1754, Miss Owen - 1755, Miss Shakerly [sic] - 1756, Miss Williams - 1757 and Miss Nelly Owen - 1758. Hartshorne noted that the Tarporley Hunt, another Jacobite Society, also had Lady Patronesses and that in 1762 members drank claret from 'collar glasses' which were supposed to have held a bottle.The many Jacobite clubs, including The Confederate Hunt, are discussed by F Peter Lole, 'A Digest of the Jacobite Clubs', Royal Stuart Society Paper LV (1999). In a nod to secrecy, this goblet refers to the Jacobite cause as 'the Old Interest', in this case by way of a reference to The Old Interest Society, another Jacobite club that was involved in the parliamentary election in Oxfordshire in 1754. According to Lole, it was reported that The Old Interest Society used glasses engraved with the Tartan Portrait of Prince Charles. A decade or more after the Jacobite uprising, most Jacobite clubs supported the Cause in little more than name. Their meetings were political gatherings held in support of the Tories and to oppose the Whigs. This goblet refers to Messrs Wenman and Dashwood who, in 1754, had been the Tory candidates for Oxfordshire. Both were returned as MPs but lost their seats on a Whig petition. This Dashwood was a cousin of Sir Francis Dashwood, who became Chancellor and was notorious as the begetter of The Hell Fire Club.Three other 'Confederate Hunt' goblets are recorded, all with bowls of the same generous proportions. One is now in the Museum of London (inv. no.34.139/313) and came from the Garton and Hamilton Clements Collections, via Cecil Davis and a Sotheby's sale on 15 May 1930, lot 150. It is illustrated by Grant Francis, Old English Drinking Glasses (1926), pl.LXXIX. Another from the W Jackson Collection is described by Hartshorne, Old English Glasses (1897), p.313 and was sold by Sotheby's on 15 September 1992, lot 43 where it was acquired by the National Museum of Wales. The third was recently discovered and sold by Bonhams on 23 June 2021, lot 1.It is interesting to note that the other known examples have all been broken through the stem and, save for the example sold by Bonhams in 2021 in which the stem was completely removed, each was preserved at the time with a crude repair. The use of tin-plate on the present lot suggests these repairs were carried out locally, following what must have been a particularly riotous club meeting. At Glyn Cywarch this particular goblet was known as 'The Wynnstay Cup'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The Constantine: a rare and important engraved Privateer wine glass, circa 1760The generous bucket bowl inscribed around the rim 'Success to the CONSTANTINE Privateer', the three-masted ship in full sail beneath, flanked by the name 'ROBERT MILLS', raised on a single-series opaque twist stem containing a pair of gauze corkscrews, over a conical foot, 17cm highFootnotes:ProvenanceWith John Maggs, Falmouth, 1919Everett Collection, Christie's, 12 November 2000, lot 115Graham Vivian CollectionStephen Pohlmann CollectionIn 1919 John Maggs reputedly informed the then purchaser of the present glass that it had been recently acquired from a lady who, rather coincidentally, lived in Constantine just outside of Falmouth in Cornwall, and that it had been in her family for many years. Glasses of this type are presumed to have been made for Bristol Privateers, so such a link to the southwest of England is hardly surprising.The Constantine Frigate was a Bristol-based ship of 200 tons with 18 guns and a crew of 40 men, owned by Isaac Elton. She was declared by Captain John Lee on 7 October 1756 and again by Captain Robert Forsyth on 15 August 1757. Her history is recorded by Damer Powell, Bristol Privateers and Ships of War (1930), pp.197-9.The identity of Robert Mills is unclear. A Captain Robert Mills is recorded in Lloyds Lists and Registers commanding Little Robin, a vessel of just 70 tons, from Teignmouth, Devon, to Newfoundland some years later in 1776. The Constantine had arrived in Newfoundland in October 1759, so was also involved in the Newfoundland trade, providing a possible link. To have a glass such as this commissioned, Robert Mills would have clearly been someone of importance and names of people inscribed on a handful of other Privateer glasses are typically individuals holding the rank of Captain.Only one other Privateer glass for the Constantine would appear to be recorded, sold by Sotheby's on 29 June 1970, lot 59 and illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.295, no.946. A slightly smaller example engraved for the Lyon which has a comparable stem formation was sold by Bonhams as part of the Walker Collection on 1 December 2021, lot 92.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Pat Phoenix signed yellow album page. Phoenix Booth was an English actress who became one of the first sex symbols of British television through her role as Elsie Tanner. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Zoë Wanamaker signed white album page. Wanamaker CBE is a British-American actress who has worked extensively with the Royal Shakespeare Company and the National Theatre. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Una Stubbs signed orange album page. Stubbs was an English actress, television personality and dancer who appeared on British television and in the theatre, and occasionally in films. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Kenneth Connor signed orange album page. Connor, MBE (6 June 1918 - 28 November 1993)[1] was a British stage, film and broadcasting actor, who rose to national prominence with his appearances in the Carry On films. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Dr. Who, a 'BBC and Broadcasting History' FDC. Signed by the first three actors who played Doctor Who in the cult series, William Hartnell, (with Dr "Who" added), Patrick Troughton ("DR 2" added) and Jon Pertwee ("Dr Who 3"). Postmarked 13th Sept 1972 with a full set of four stamps and insert. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Herbert Lom signed white album page. Lom, was a Czech-British actor who moved to the United Kingdom in 1939. In a career lasting more than 60 years, he generally appeared in character roles, often portraying criminals or suave villains in his younger years. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Dr. Who - The Happiness Patrol, a 10x8 colour photo signed by 7: Sylvester McCoy, the Seventh Doctor, Sophie Aldred as Ace, Shelia Hancock, Georgina Hale, Rachel Bell, Tim Barker and Mary Healey. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Harry Potter Royal Mail FDC signed by Daniel Radcliffe in the title role, Rupert Grint who played Ron Weasley and Emma Watson as Hermione Granger. With Hogwarts Alnwick cancellations, postmarked 28th August 2007 and complete with Harry Potter insert. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

The New Avengers, a Cotswold Covers '50 Years of TV' FDC signed by the three stars of the cult 1970's TV series: Patrick Macnee, who played John Steed, Gareth Hunt as Mike Gambit and Joanna Lumley as Purdey. Postmarked with Steed's Bowler hat and dated 15. 09. 05. Complete with insert. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Tom Jackson and Dale Howling Signed Barnardo's 1990 Charity Cycle Ride Envelope. Thomas Jackson (9 April 1925 - 6 June 2003) was a British trade unionist and is best remembered as the General Secretary of the Union of Post Office Workers who led 200, 000 members into a 47-day strike in 1971. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Holiday on the Buses, a 10x8 b/w film photo signed by Stephen Lewis as Inspector Cyril 'Blakey' Blake. Signed, 'Stephen Lewis, Blakey'. Also signed by Kate Williams who played the Red Cross Nurse. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Joleon Lescott signed 6x8 England colour photo. Lescott is an English former professional footballer who played as a centre-back. He currently works as a coach with the England U21s. Lescott is a graduate of the Wolverhampton Wanderers youth academy. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Ernie Hunt signed 12x8 black and white photo. Hunt (17 March 1943 - 20 June 2018) was an English footballer who played in the Football League for Swindon Town, Wolverhampton Wanderers, Everton, Coventry City, Doncaster Rovers and Bristol City. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Sammy Smyth signed autograph card and unsigned black and white photo. Smyth (25 February 1925 - 19 October 2016) was a Northern Irish footballer who played in the Football League for Wolverhampton Wanderers, Stoke City and Liverpool. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Leander Dendoncker signed 10x8 colour photo. Dendoncker (born 15 April 1995) is a Belgian professional footballer who plays as either a defender or defensive midfielder for Premier League club Aston Villa and the Belgium national team. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Bernard Shaw signed magazine page cutout. Shaw (born 14 March 1945, in Sheffield) is an English former footballer who played as a full back. He played more than 100 Football League games for each of the Sheffield clubs and for Wolverhampton Wanderers, in a career of more than 400 senior games. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Romain Saiis signed 6x4 colour photo. Saïis is a professional footballer who plays as a defender for Süper Lig club Be?ikta?. Born in France, he captains the Morocco national team. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Conor Coady signed 6x4 colour photo. Coady is an English professional footballer who plays as a centre-back for Premier League club Everton, on loan from Wolverhampton Wanderers, and the England national team. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Eddie Clamp signed 6x4 black and white photo. Clamp (14 September 1934 - 14 December 1995[3]) was an English footballer who played in the Football League for Arsenal, Peterborough United, Stoke City and Wolverhampton Wanderers. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Chris Patten Signed Chinese First Day Cover With Chinese Stamps and Postmarks from 1966. Patten is a British politician who was the 28th and last Governor of Hong Kong from 1992 to 1997 and Chairman of the Conservative Party from 1990 to 1992. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Kane Hodder Friday 13th hand-signed Jason Voorhees mask. Hand-Signed by Kane Hodder, who played Jason Voorhees in 4 of the Friday 13th movies. This mask was signed at Collectormania 21 in Milton Keynes. The mask is a hard plastic replica hockey mask and is an Adult Size. The mask is also accompanied by 4 8"x6" photos, each one depicting a poster of the 4 movies in which Kane starred as Jason Voorhees. This signed mask is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Blowout Sale! Lot of 3 Quadrophenia hand signed 10x8 photos. This beautiful lot of 3 hand signed photos depicting scenes from the classic movie, Quadrophenia. Each photo has been hand signed by Leslie Ash, who played Steph. These signed photos are guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Sarvepalli Radhakrishnan 2nd President of India TLS Dated 7th July 1954. Sarvepalli Radhakrishnan was an Indian philosopher and politician who served as the 2nd President of India from 1962 to 1967. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Music, Florence and the Machine signed Art card for Dance Fever complete with disc. The insert is signed in silver marker pen by Florence Leontine Mary Welch, an English musician, singer, songwriter and producer who is the vocalist and songwriter of the indie rock band. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

The National Union of Women's Suffrage Societies interest: an Edwardian pearl, diamond and enamel brooch, the red and green guilloche enamel floral mount set with three cultured pearls and eight graduated old-cut diamonds, in yellow gold mount (tests as approximately 14-18ct gold), 4cms wide, in Wartski box.Note: although the colours of The Women's Social and Political Union (WSPU), being purple, green and white, are better known and used more widely as the movement gained momentum, the colours of The National Union of Women's Suffrage Societies were red, green and purple. Other groups had a variety of colours including The Women's Freedom League which used yellow (or gold), green and white. It is generally thought that red was used by groups of Suffragists whereas purple was prefered by groups of Suffragettes who used more active and often violent methods for their cause.

Joan Stevens - Old Jersey Houses and Those who Lived in Them 1500-1700, illustrated by Charles, Philip and Richard Stevens, pub. The Commercial Art Company, Jersey, 1965; together with Old Jersey Houses vol II, drawings by Charles Stevens, pub. Phillimore & Co, 1977. (2) Vol 1 Dust jacket torn.

An 18th century Channel Island longcase clock by Thomas Andre Naftel, Guernsey, 86in. (218cm.) high. * Thomas André Naftel was grandson of Nicolas Blondel, Guernsey's foremost clock maker of the 18th century. Born in 1759 to Blondel's daughter Elizabeth and her husband André Naftel, who died tragically young in 1762, he assisted his grandfather, alongside his mother and brother Nicholas, in his clockmaking business, the two brothers eventually succeeding him in 1775.

Sir John Everett Millais, Bt., PRA, RWS (British, 1829-1886), An historically important drawing of the artist and his wife Effie as Queen Victoria and Prince Albert, inscribed lower edge 'EVER & EFRI REX' and extensively inscribed on the reverse, pen and brown ink, circular 4in. (10.2cm.) diameter; mounted with the Great Exhibition bronze medal of 1851 of Queen Victoria and Prince Albert, designed by William Wyon, and from which Millais derived the image.. * * Provenance: Christie's, London 27th February 2007, 27, £9,000; Private collection, Jersey.. * ** It is thought that the drawing was made around the time of Millais' marriage on 3rd July 1855 to Euphemia, known as Effie, who had previously been married to the art critic John Ruskin. Millais and Effie had fallen in love while holidaying in Scotland with Ruskin in 1853 and she successfully had her marriage annulled on the grounds of non consummation. This intensely private and sensitive matter was reported in detail by the press eager to satisfy the public's curiosity. To escape the gossip surrounding their marriage Millais and Effie spent the first six years of their marriage in Scotland. Effie often appeared in Millais' paintings, most famously in The Order of Release (Tate Britain) which was exhibited at the Royal Academy in 1853.. * Although born in Southampton, Millais spent his childhood in Jersey and would always describe himself as a Jerseyman.. * Good condition.

Edmund Blampied R.E., R.B.A. (Jersey, 1886-1966), Portrait of Leicester Gore (1868-1931). * oil on compressed board, signed lower left “Blampied”, inscribed on reverse “Leicester Gore portrait by Edmund Blampied RE, RBA”, on reverse an abandoned painting of flowers in a vase.. * gilded frame. * 25¾ x 19¼in. (65.4 x 48.9cm.). * * Leicester Gore (1868-1931) was the father of Ruth Sophia Joan Gore who married Alexander Moncrieff Coutanche in 1924. Alexander Coutanche (1892-1973) held the office of Bailiff during the German Occupation of Jersey and was created Baron Coutanche in 1961.. * Surface patchy and varnish broken down. Requires cleaning.