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Lot 553
dating: 19th Century provenance: Europe, Straight, double-edged blade, of lozenge section, engraved with floral motifs, vases and with remnants of antique bluing. Non-ferrous yellow metal grip richly decorated in relief with various characters: the grip with a female figure and a putto armed with a bow. The quillons with grotesques. The pommel with a protome holding a basket of fruit. length 27,2 cm.
![Leeds Mail robbery.- [Pamphlets relating to the robbery of the Leeds Mail in 1812], including Some account of the trial of Hu](https://cdn.globalauctionplatform.com/285fc665-f533-4226-a8f3-ad430108a064/e066b5cf-fbcd-4c75-b3c0-ad4400bfae36/468x382.jpg)
Lot 199
Leeds Mail robbery.- [Pamphlets relating to the robbery of the Leeds Mail in 1812], including Some account of the trial of Huffham White, Robert Kendall, and Mary Howes, (otherwise Taylor,) before the Hon. Sir Alexander Thompson, knight, at the assizes held at Northampton, on Wednesday the 28th July, 1813; the said Huffham White and Robert Kendall being charged on suspicion of felony, in stealing divers bags of letters from out of the Leeds mail coach, on the 26th of October, 1812, Northampton, Dicey, Sutton & Smithson, 1813; Davies (W.P.) "A brand plucked out of the fire!" Or a brief account of Robert Kendall, (including a narrative, written by himself), who was executed at Northampton, the 13th August, 1813, Northampton, Dicey, Sutton, & Smithson, 1813; and 5 others, related, spotting or mostly light foxing, engraved armorial bookplate of Sir George Chetwynd, contemporary half calf, spine gilt and with red morocco label, 8vo⁂ A good group of pamphlets relating to the Leeds Mail coach robbery of October, 1812. Robert Kendall and Huffham White removed sixteen bags of mail from an apparently moving coach, which continued for several miles before the robbery was discovered. Enquiries by Bow Street officers led to Bristol and then Liverpool, where Kendall and White were arrested after a violent struggle in the cellar of a house. After being found guilty at a 14-hour trial involving forty witnesses, White and Kendall were executed at Northampton in August, 1813. Kendall's conviction aroused some controversy when the Methodist minister W. P. Davies claimed that the verdict was unsafe, with the evidence against him being wholly circumstantial.
Lot 43
ALBUMS - LITERATURE, ABOLITION, METHODISM & SCIENCETwo nineteenth century albums, the first containing collection of c.70 autograph letters, envelopes and cut signatures, some loose, including: autograph subscription signed ('Faithfully yours/ Charles Dickens') addressed to Mr J Grime 'With Mr Dickens' compliments', dated 'Thirteenth February 1843', autograph note from Walter Scott ('WS') to his friend and editor James Ballantyne ('...the two sheets have got safe here through bad road. I have not got my books quite right yet...'), Methodist theologian and abolitionist Adam Clarke to surgeon James Grime (seven, dated 1819 to 1829) mentioning his plan to inoculate a child ('...can you get me a little varialous matter of a good kind from a healthy subject?...') and his views on slavery ('...It is to the summary scandal of our Nation. Their Liberty is not ours – it belongs to God and themselves...'), botanist Agnes Ibbetson (to Mr Parkes 'Manufacturing Chymist' describing at length her experiments to reduce '...very small quantities of the Liquid of Vegetables into their component parts...' and asking for his help), physician Robert Hooper, Charles Vandeleur Creagh, governor of North Borneo (to W.J. Chadwick asking for a price list for his lantern microscope), photographer Henry E. Roscoe (also to Chadwick accepting the presidency of the Manchester Photographic Society), Charles Kemble, judge Thomas Talfourd, cut signatures of Frances Trollope, W. Harrison Ainsworth, Thomas Raffles, M. J. O'Connell, various bishops, clergy, nobility, politicians etc., c.34 leaves, original calf gilt, worn, boards detached, spine missing, folio (282 x 230mm.); the second an autograph album bearing the ownership inscription of Elizabeth Grime, including three-page exhortation by abolitionist George Thompson, dated 29 July 1834, entitled 'The Black/ at Church/ in America!' ('Lord! Is thy throne acceptable to me? Me of the Ethiopi skin? May I draw near Thy sacred shrine and humbly bow the knee while thy white worshippers are kneeling here. May I approach celestial purity, And not offend the with my sable face?... or must the Ethiope change his skin?... Haste happy day the time I long to see when ev'ry son of Adam shall be FREE!!'), with uplifting quotations and messages from John Lambert (after the Manchester Wesleyan Conference July 1849) and others with links to the Methodist church, cut signature of James Hogg (the 'Ettrick Shepherd'), c.50 leaves, original blind stamped calf, marbelled ends, worn, boards detached, spine missing, 4to (231 x 185mm.), nineteenth century (2)Footnotes:These albums were compiled by members of the Grime family of Salford, including surgeon James Grime (d.1834), and his son John, who died in 1859 after a career as a Liverpool merchant stationed in Valparaiso and Lima. Originally from Bolton, James Grime set up practice in Salford in 1817. Included in the album is an engraved certificate of attendance (January 1809), signed by Dr John Abernethy (founder of the medical school at St Bartholomew's Hospital and creator of the Abernethy biscuit), with an additional note in his hand stating that 'Mr Grime hath also attended... one course of lectures on the Theory & Practice of Surgery, & hath dissected under my Inspection...'. Provenance: Grime family and thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 172
HURLBUTT (Frank): 'Bow Porcelain...', London, G Bell, 1926: folio, publishers red cloth, lightly sunned and rubbed else VG: together with a quantity of other books in 2 cartons, to include misc. art reference, Folio Society, small folder of engravings from Don Quixote by Westall, some historical and biographical reference, etc, generally in good condition. (2 boxes)
Lot 126
Late 19th century French gold, blue enamel and diamond set pendant fob watch, by Le Roy & Fils, the white enamel dial with Roman numerals, the blue enamel caseback with central arrangement of diamonds in a star formation and with foliate scroll decorated border, key wound, suspended from a gold and blue enamel tied bow bar brooch, the case 33.5mm diameter, the brooch 34.5mm wide across bow
Lot 334
A china shoulder head Helen doll, head turned slightly to the right, Helen embossed on moulded blouse, 5 inch (12.5cm), head only, bisque shoulder head with elaborate moulded blonde hair tied with a blue bow and pierced ears, restored shoulders, a bisque girl in original red and blue silk dress and a hand stitched baby
Lot 359
A 19th century cased violin (later bow); the dark and patinated instrument with tightly carved scroll above the keys and ebony fretboard before a spruce top with two 'FF' sound holes (overall the varnish worn and with discolouration etc, the instrument in 'played' condition) (full length 59cm)
Lot 401
A fine and large late 19th century bow fronted glass cased taxidermy of an Irish pike; caught by R.J.Edwards October 12th 1895 - weight 21lbs. Bow-fronted case. Restored by Natural Craft Taxidermy, Ann & John Burton, Chipping Camden paper label verso (case size 119.5cm wide x 23cm deepest x 52cm high)The case appears to be in good general overall condition with the glass in good order. This has come privately and been in the same family ownership for many years. The actual fish itself with the reeds and “river bed” also appears to be in good genera overall condition with no “major” problems noted. The back of the case has black vertical boards and when one looks through the bow fronted glass some of the verticals where they have shrunk across the grain are visible and there is an approx. 3/4cm small vertical “crack” visible to the top left hand corner of the back of the wooden case (not the glass). Overall a nice item in quite good original condition. Some minor scratches and similar commensurate with age also together with an original restorers label verso.
Lot 796
A good late 19th / early 20th century satinwood and painted drum table; top centrally decorated with two cherubs in flight amongst clouds and bordered by ornately decorated bowed ribbons and floral swags, two bow-fronted drawers opposing and raised on square tapering legs headed with husks and terminating in brass castors (82cm diameter x 71.5cm high)
Lot 824
A fine pair of late 19th century Sheraton Revival painted satinwood bonheurs de jour: each with arched top and swags before a mirror plate and single bow-fronted drawer below flanked by two cupboard doors enclosing shelves; the lower section with further larger single central bow-fronted drawer flanked by two earpieces (as spandrels); raised on square tapering slightly splaying legs; each piece painted in slightly differing style with various late-18th-century-style motifs to include swags, urns, decoration emblematic of the arts and music, husks and similar ornament. Provenance: in the same country house family ownership for many years, and possibly originally the property of the late Princess Alice, Countess of Athlone or the Lady May Abel-Smith (Kensington Palace) (129.5cm high x 73cm wide x 35cm deepest)
Lot 825
A late 18th-century-style (later) walnut vitrine: gilt-metal-mounted and bow-fronted; the central glazed door enclosing conforming glass shelves over three vernis Martin lacquered panels depicting figures in topographical scenes in typical style; raised on four cabriole legs with gilt-metal shutes and sabot (73cm wide x 40cm deepest x 174cm high)
Lot 826
An early 20th century bow-fronted mahogany chest of Georgian III inspiration; the outset reeded edge top above a reeded frieze and an arrangement of single top full-width drawer, two further half-width drawers and a further three full-width drawers below, raised on French-style bracket feet (72.5cm wide x 52cm deepest x 122cm high)
Lot 865
A late 18th/early 19th century mahogany and boxwood-strung serving sideboard of large proportions; the brass gallery headed with Adams-style finials above a central breakfront section with full-width drawer (as two) centred by an outset rectangular tablet with Tunbridgeware-style border enclosing an oval, further flanked by bow-fronted right-hand fitted cellarette drawer and lower side door to the end and a bow-fronted cupboard door to the left, raised on square tapering boxwood strung legs with collars (201cm wide x 72.5cm widest x 96cm high not including the 54cm brass railing)
Lot 869
A late 19th / early 20th century two-door vitrine in 18th century French style: bow-fronted, walnut and gilt-metal-mounted; the pierced gilt-metal gallery with swags below; the two glazed doors enclosing shelves and four lacquered vernis Matin panels below; the two central panels depicting lovers in 18th century dress within countryside surroundings in typical fashion, gilt-metal mounted frieze and cabriole-style legs with gilt-metal shutes and sabot (100cm wide x 42cm deepest x 166cm high)Condition Report: The right-hand bow fronted panel at the bottom has seen much paintwork away, the left hand glazed door has a 4-5cm crack in the middle, one of sabots is loose on the front right foot otherwise generally OK, the metalware has dulled down with age and is in original 'Country House' condition and there is some paintwork away from the lacquered side panels.
Lot 389
Cornelis Jansz de Heem, 1631 Leiden – 1695 Antwerpen STILLLEBEN MIT TRAUBEN, FEIGEN, PFLAUMEN, APRIKOSEN, QUITTEN, KIRSCHEN UND HASELNÜSSEN AN BLAUER SCHLEIFE Öl auf Leinwand. Doubliert. 50,5 x 40 cm. Rechts oben signiert „DE HEEM“. In barockisierendem Rahmen mit namensnennender Plakette.Prächtiges, ganz den vielen Vergleichsgemälden von Cornelis de Heem entsprechendes Bild mit feinem Craquelé und hyperrealistischer Darstellung der Früchte mit besonderem Augenmerk auf die geöffnete Feige. Fruchtgebinde, die an einer oder an zwei blauen Schleifen hängen, deren Pigmente allein schon sehr teuer gewesen sein müssen, sind mehrfach für de Heem belegt: So wird im Schweriner Museum unter der Inv.Nr. 427 ein Vergleichsgemälde mit Früchten und Blüten verwahrt. Biografie:Cornelis de Heem lernte bei seinem Vater Jan Davidsz de Heem in Antwerpen und Utrecht. Ab 1676 lebte er in Den Haag, wo er der Lukasgilde beitrat und seinen Sohn David ausbildete.Provenienz: Sotheby‘s, London, 3. Juli 1997, Lot 6 mit Farbabb. Anmerkung: Das vorliegende Gemälde wird beim RKD unter der Inv.Nr. 34420 geführt. (1271751) (13)Cornelis Jansz de Heem,1631 Leiden – 1695 AntwerpSTILL LIFE WITH GRAPES, FIGS, PLUMS, PEACHES, QUINCES, CHERRIES AND HAZELNUTS ON A BLUE BOWOil on canvas. Relined.50.5 x 40 cm.Signed “CDE HEEM” on upper right.In Baroque-style frame with artist name on plaque.Magnificent painting with fine craquelure and hyper-realistic depiction of the various pieces of fruit, with a particular focus on the opened fig. The painting is very much in the tradition of Cornelis de Heem’s oeuvre with many examples of comparison, for example a similar still life painting with fruit and flowers held at the Staatliche Museum in Schwerin, inv. no. 427. Cornelis de Heem was trained by his father Jan Davidsz de Heem in Antwerp and Utrecht. He lived in The Hague from 1676 onwards, where he became a member of the Guild of Saint Luke and trained his own son David.Provenance:Sotheby’s, London, 3 July 1997, lot 6 with colour ill.Notes:The painting on offer for sale here is listed with RKD archive no. 34420.
Lot 509
Italienischer Maler des 18. JahrhundertsSERIE VON SECHS VEDUTEN Öl auf Leinwand. Doubliert. 32 x 23 cm. In klassizistischem vergoldetem Rahmen mit Schleifenzier.Jeweils in gutem Erhaltungszustand dargestellt eine Wintervedute, eine brennende Stadt, zwei Sommer- und zwei Hafenstücke jeweils als Pendants konzipiert. Rahmen min. besch. (1261922) (3) (13)Italian School, 18th centurySERIES OF SIX VEDUTAS Oil on canvas. Relined.32 x 23 cm.In neo-classical gilt frame with bow décor.
Lot 83
Louis XVI-Tischchen71 x 52 x 41,5 cm. Frankreich, zweite Hälfte 18. Jahrhundert.In vier blockhaften Bronzesabots die vier gekanteten Beine mit Lorbeerblattfestons in Ormolu die Zarge mit Hochreliefkassetierung tragend, die von Blütenrelief besetzten Würfelkapitellen flankiert wird. Die Kassettierung mit Mäandermarketerie. Klappschanierdeckel mit Louis XVI-Kartusche in Spiegelfurnier und zentraler Instrumentenmarketerie mit Louis XVI-Schleife. Ein Schlüssel vorhanden. Leichte Furnierverluste. Wohl zur Aufbewahrung von Noten in einem Musikzimmer gedacht. (12718134) (13)Louis XVI table71 x 52 x 41.5 cm.France, 2nd half of the 18th century.Instrument marquetry with Louis XVI bow. With one key. Minor veneer blemishes. Probably intended for keeping sheet music in a music room.
Lot 15
A striking Flemish Historical Tapestry of the Battle of Gaugamela17th Centurydepicting the impressive figure of Alexander the Great astride his white steed Bucephalus, ready for battle against King Darius III of Persia, trampling his enemies, there are war elephants visible to the left, in the middle distance there are soldiers on the riverbanks with a hilltop citadel in the distance, the whole surrounded by an elaborate border adorned with ribbons, floral swags and cherubs, with central cartouche to each edge,520cm x 340.5cmFootnotes:The Battle of Gaugamela (sometimes called the Battle of Arbela) took place in 331BC, between the army of Macedon and Persia, about 62 miles west of Erbil, Iraq. Alexander the Great defeated Darius III of Persia, and took 4000 talents, the King's personal chariot and bow and war elephants. Despite being outnumbered, Alexander's army emerged triumphant due to a combination of clever usage of light infantry forces and superior tactics.It was a humiliating defeat for the Persians but one of Alexander's greatest victories.Bonhams sold a lot possibly from the same series as the present lot. It was lot 29 in the Fine Decorative Arts sale 1200-1900, 18 Dec 2020 at London, New Bond Street -a Flemish 17th century Historical tapestry of Alexander the Great, also possibly Van Maelsack Atelier Bruxelles the signature matching the present lot -seen on the left selvedge.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 114
A good pair of Bow figures of Cooks, circa 1756Modelled standing, she holding a joint of meat on a platter held before her, the folds of her apron used to protect her hands from the heat of the dish, wearing a pale yellow coat with puce cuffs, her skirt painted with black florets, he holding a circular dish laid with a cooked chicken and lemon slices, wearing a turban-like cap and yellow striped breeches, his bright blue frock coat with a pale pink lining, the mound bases applied with flowers, 17cm high, she with impressed 'B' to reverse of base, he with incised 'T' underneath base (2)Footnotes:ProvenanceDistinguished Private CollectionExhibitedAshmolean Museum, OxfordThese celebrated figures are mentioned in the 1756 memorandum book of John Bowcock, clerk to the Bow factory. Sixteen pairs were ordered from him by the dealer Fogg in 1756. A pair from the Peter Bradshaw Collection is illustrated in his book, Bow Porcelain Figures (1992), p.138, pl.127 and col. pl.III and was sold by Bonhams on 24 January 2007, lot 18. Others are illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.132-3, no.213 and in Yvonne Hackenbroch's Untermeyer Catalogue (1957), pl.81, fig.244. The male cook is also recorded in Chelsea.For further information on this lot please visit Bonhams.com
Lot 117
A very rare Bow figure of a Street Cook, circa 1757After the Meissen original from the 'Cris de Paris' series, standing before a brazier filled with hot coals, holding a saucepan in his left hand, his right arm raised to taste the contents from his right forefinger, a towel flung over his left arm, wearing a white hat, patterned waistcoat with brown cuffs, white apron and pale purple breeches, on a scroll-moulded base picked out in gilding, 15.2cm highFootnotes:ProvenanceDistinguished Private CollectionExhibitedAshmolean Museum, OxfordThis figure is based upon one of several drawings, some dated 1753, which were commissioned from Christophe Hüet by Johann Joachim Kändler to serve as designs for a Meissen series of the 'Cris de Paris'. The drawing of the Street Cook is illustrated by Martin Eberle, Cris de Paris: Meissener Porzellanfiguren des 18. Jahrhunderts (2001), p.86, no.29, with the Meissen version being modelled by Peter Reinicke. A similar Bow figure of a Street Cook is illustrated by Peter Bradshaw, Bow Porcelain Figures (1992), p.138, pl.126 and another is in the Fitzwilliam Museum (acc. no. C.24-1992). See also that sold by Sotheby's in New York on 10-11 November 2006, lot 686. A Meissen version of the figure was sold by Bonhams on 6 July 2010, lot 183.For further information on this lot please visit Bonhams.com
Lot 120
A rare Bow figure group of the 'Fortune Teller', circa 1752By the 'Muses Modeller', a lady holding out her right hand for examination by a bearded palmist, a staff in her left hand, wearing a pale yellow coat lined in puce, white apron and a dress painted with sprays of flowers, the palmist wearing a pale pink washed long-sleeved coat edged in puce and lined in pale yellow, his iron-red boots enriched with gilding, a manuscript on the ground between them, on a shaped rocky base, 18cm highFootnotes:ProvenanceRous Lench Collection, Sotheby's sale, 1 July 1986, lot 188With Winifred WilliamsChristie's sale, 18 May 1992, lot 38Distinguished Private CollectionExhibitedAshmolean Museum, OxfordThis group is after a painting by François Boucher for a Beauvais tapestry in the 'Fêtes de Village à l'Italiennes' series, more widely known from a print titled 'La Bonne Aventure' by Pierre-Alexandre Aveline which first appeared in the Mercure de France in April 1738. The figure may have been inspired by the original painting or a copy of it, as it does not appear in reverse like the print, see Elizabeth Adams and David Redstone, Bow Porcelain (1981), p.144. Coloured and white examples of the Fortune Teller were produced at Bow and all are the work of the 'Muses Modeller', whose characteristics are unmistakable. A similar figure sold by Bonhams on 25 March 1977, lot 73 is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.127, no.196. Another is illustrated by Anton Gabszewicz, Made at New Canton (2000), p.89, no.76. See also the example in the Museum of Fine Arts, Boston (acc. no. MFA61.1282) illustrated by George Savage, 18th Century English Porcelain, pl.44. An example left in the white is illustrated by Adams and Redstone (1981), p.145, pl.70.For further information on this lot please visit Bonhams.com
Lot 122
A Bow model of a cat, circa 1758-60Modelled seated and with an alert expression, its fur delicately painted in pale puce with eyes picked out in red and yellow, set on an oval base with puce scrolls, 6.8cm highFootnotes:ProvenanceRobyn Robb exhibition 2003, no.33A private collection of British ceramic catsA pair of similar models is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.151, fig.253. A related Bow model of a cat with a mouse from the Billie Pain Collection was sold by Bonhams on 26 November 2003, lot 37.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
Lot 123
A very rare Bow cream jug, circa 1753Of squat bellied form with a sparrow beak spout and loop handle to one side, painted in the famille rose palette with a peony and trailing chrysanthemum, a green diaper and half-flower border below the rim, 5.4cm highFootnotes:No other similarly shaped cream jug appears to be recorded in the literature. For two sauceboats with very similar decoration and diaper borders see Anton Gabszewicz, Made at New Canton (2000), p.55, nos.40 and 41.For further information on this lot please visit Bonhams.com
Lot 124
A Bow tea canister and cover, circa 1760Of ovoid form with scale or pinecone moulding, the domed cover with a pointed ring finial, the rims with wide hexagonal cell and dagger borders in underglaze blue, 14.5cm high (2)Footnotes:ProvenanceProperty from an International Private CollectionA caudle cup, cover and stand with related 'pineapple' moulding is illustrated by Elizabeth Adams and David Redstone, Bow Porcelain (1981), p.169, pl.98. See also the coffee pot and cover sold by Bonhams on 2 November 2011, lot 66.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
Lot 125
A Bow figure of a nun, circa 1755Left in the white, modelled seated and wearing a flowing habit, reading thoughtfully from the open book in her hands, on an oval shaped base, 14.5cm highFootnotes:ProvenanceValentine Dawnay CollectionFor further information on this lot please visit Bonhams.com
Lot 169
A Worcester pot of modelled flowers, circa 1768-70Probably modelled by John Toulouse, the pot moulded with a gadrooned rim, with three false handles picked out in red and two horizontal bands in yellow, painted with scattered sprigs and leaves, the cover modelled as a pyramid of brightly coloured flowers including a rose, carnation and convolvulus, 13.7cm high, incised number 3 inside cover (2)Footnotes:ProvenanceRalph Kenber CollectionClosely comparable models are found more commonly at Bow. It is likely that the Bow modeller John Toulouse moved to the Worcester factory in the late 1760s and may be responsible for both versions. A similar pot from the Zorensky Collection was sold by Bonhams on 22 February 2006, lot 210 and a pair in the H Rissik Marshall Collection is illustrated in Coloured Worcester Porcelain (1954), pl.20, no.383. A related biscuit waster is illustrated by Henry Sandon, Worcester Porcelain (1969), pl.147.For further information on this lot please visit Bonhams.com
Lot 227
A rare Lowestoft creamboat, circa 1770Crisply moulded in relief with a panel of sheep and their lambs, the reverse with cattle, reserved on a moulded basketweave ground, the scrolled borders and foliate foot picked out in blue, the interior with flower sprigs below a thin line border, 10.1cm long, indistinct painter's numeral inside footrimFootnotes:The moulded scenes on this creamboat are particularly crisp and lovely, left in the white but framed by the sparse blue highlights around the cartouche and foot to great effect. A similar example from The E D Levine Collection is illustrated by Geoffrey Godden, Lowestoft Porcelains (1985), p.115, pl.138 and discussed at p.201. See also Bernard Watney, English Blue and White Porcelain (1973), fig.79B. The model relates to a slightly larger version produced at Bow, see the example sold by Bonhams on 21 May 2014, lot 83.For further information on this lot please visit Bonhams.com
Lot 81
An important Staffordshire 'Fiddler' Toby Jug, dated 1789Of traditional form, seated with a large foaming jug resting on the ground to his right and a small foaming cup held between his knees, his violin and bow well-modelled, the violin held beneath his bearded chin, wearing a blue and brown mottled coat with brown shoes and breeches, the brown base inscribed 'Good Ale is Made for the Use of Men so fill Ould Tobe Once Again 1789', 25.7cm highFootnotes:ProvenanceWith Alistair Sampson AntiquesJames and Timmey Challenger Collection, ChicagoAnother jug inscribed 'Joseph Marttain Burslem' in a similar manner around the base also from the James and Timmey Challenger Collection was sold by Bonhams on 15 December 2020, lot 63. The violin and bow are very carefully executed, with the strings individually delineated. This important jug is not recorded in the list of inscriptions provided by Vic Schuler, Collecting British Toby Jugs (Third Edition, 1999), p.133.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
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117861 item(s)/page