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ART DECO GREEN GLASS VASE,18cm high, together with another Art Deco glass vase and bowl (3)

Dunkelrubinrotes Glas. Kleine Balustervase, Becher und Schale. Von der Wiener Werkstätte und Josef Hoffmann beeinflusste Gestaltung mit polygonal geschälter Außenwandung. Becher und Schale ger. best.; H. 6 cm-12,5 cm; Schalen-D. 8,8 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A collection of three Bohemian cut ruby-red glass objects. Some chips to the beaker and bowl. Böhmen. Wohl Adolf bei Winterberg oder Haida. Meyr's Neffe, Carl Goldberg oder Julius Mühlhaus & Co.; Um 1915-1920. im Internet

Gemuldete, zum Rand zu einem Achteck gestaltete Form. Dekor in "Tango-Farben" aus hellgrünem, farblos überfangenem Opalglas mit am Rand aufgelegtem, schwarzem Faden. D. ca. 28,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A large Bohemian Loetz bowl. Green glass with black rim.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

Die Vasen in unterschiedlichen Glockenformen auf leicht gewölbtem Scheibenfuß bzw. drei Kugelfüßen, die gemuldete, runde Schale ebenfalls auf drei Kugelfüßen. In sog. "Tango-Farben" gestaltetet aus hellem, leuchtend grünem, farblos überfangenem Opalglas, die Füße und Ränder aus dunkelblauem Glas; die Vasen mit Dekor "Ausführung 166" aus dunkelblauen, horizontalen Fäden und drei Ovalauflagen. Vasen-H. 10 cm-12,2 cm; Schalen-D. 11,8 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. Two Bohemian Loetz vases and a bowl. Light green and dark blue glass.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1916-1920.

Breite, ovoide Form mit weiter Öffnung. Dekor "Ausführung 157" in sog. "Tango-Farben" aus hellblauem Opalglas, farblos überfangen sowie mit orangeroten, vertikalen Fäden und entsprechendem Rand. Entw. nach Dekorideen von Michael Powolny. H. 11,5 cm; D. 19,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian Loetz light blue and orange-red glass flower bowl.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

Runde, gemuldete Form mit eingezogenem, gewellt gekniffenem Rand. Dekor in "Tango-Farben" aus leuchtend rotem, farblos überfangenem Opalglas mit am Rand aufgelegtem, schwarzem Faden. D. ca. 22,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian Loetz bowl. Red glass with black rim.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

Farbloses Glas mit angesetztem, blauem Rand. Niedriger Glockenfuß mit umgeschlagenem Rand, im Balusterschaft große, eingestochene Luftblase, weite, s-förmig auschwingende Schale. Etikett von Uwe Friedleben, Hannover. H. 8,6 cm; D. 11,1 cm.Provenienz: Uwe Friedleben, Hannover. Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A footed North German glass bowl with blue rim. Label by Uwe Friedleben, Hannover. Norddeutsch/Solling. Wohl Lauenstein (Glashütte Osterwald). Ende 18. Jh.

Weite Glockenform auf drei füllhornartigen Füßen. Weißes Opalglas, farblos überfangen, Füße und Rand aus schwarzem Glas. Dekor "Ausführung 170" aus gestreuten, einzelnen, stilisierten Blattmotiven und Blüten in schwarzer Emailmalerei. Entw. wohl Hans Bolek, um 1916-1920. H. 10,3 cm. D. 15,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A footed Bohemian Loetz glass bowl probably designed by Hans Bolek. Black and white glass with black enamelled flowers and leafs.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1916-1920.

Gebauchte Vase mit zylindrischem Hals, die Schale in weiter Glockenform mit entsprechendem Fuß. Dekor in "Tango-Farben" aus hellgrünem, farblos überfangenem Opalglas und schwarzem Glas; "Ausführung 165" bzw. "170" mit gestreuten, einzelnen, stilisierten Blüten und Ornamentmotiven sowie Perlreihen in schwarzer und weißer Emailmalerei. Entw. wohl Hans Bolek oder Dagobert Peche, um 1914-1920. H. 12 cm-12,5 cm. Schalen-D. 17,6 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A handled vase and a footed bowl by Loetz probably designed by Hans Bolek or Dagobert Peche. Green and black glass with black and white enamel decor.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

Ovoide Vase mit weiter, auslippender Mündung; glockenförmige Schale auf drei Kugelfüßen. Dekor in "Tangofarben" aus hellgrünem, farblos überfangenem Opal- und schwarzem Glas; "Ausführung 157" bzw. "162" mit schwarzen Fäden bzw. Rand und Füßen. Entw. nach Dekorideen von Michael Powolny. Vasen-H. 15 cm; Schalen-D. 20,8 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian Loetz vase and footed bowl. Green and black glass.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

aus der Serie "Bunt Rococo". Farbloses Glas mit Facetten-Schälschliff. Rocaillengerahmte figurale Szenen sowie Rocaillen in polychromer Email- und Goldmalerei. Entw. L. Lobmeyr und H. Bergmann, 1872-um 1876. Lobmeyr-Signet. D. 15,8 cm; H. 7,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A footed Austrian Vienna Lobmeyr cut crystal glass bowl with polychrome enamel and gold decor. Marked.Österreich. Wien. J. & L. Lobmeyr. 1872-um 1900.

Silber und Glas. Über schmaler, vertiefter Standfläche halbrunder Korpus mit durchbrochen gearbeiteter Wandung in der Form reliefplastischer Ginkgoblätter und -früchte. Glaseinsatz mit passig geschweiftem, wellenförmigem Rand. Innen vergoldet. Atelierentwurf um 1901. Gest. 800, Herstellerzeichen, Händlermarke "J.B. Firmanns". Gew. ca. 130 g (ohne Glaseinsatz). H. 6 cm. D. 11,5 cm.Vgl. Kat. Städtische Museen Heilbronn, Silber für die Welt, Nr. 80, S. 194, F 13.A German Art Nouveau silver bowl with ginkgo leaves decor and glass insert. Gilt inside. Standard mark 800, maker´s mark.Heilbronn. Bruckmann & Söhne. Um 1901.

Runde, gemuldete Form mit eingezogenem, gewellt gekniffenem Rand. Dekor in "Tango-Farben" aus leuchtend gelbem, farblos überfangenem Opalglas mit am Rand aufgelegtem, schwarzem Faden. D. 25,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian Loetz bowl. Yellow glass with black rim.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

Runde, kugelig gebauchte Form mit eingezogenem Rand. Opalinglas, farblos überfangen. Dekor aus einer holländischen Flusslandschaft mit Segelschiffen und Windmühlen in schwarzer Malerei. Sign. "Daum Nancy" mit Lothringer Kreuz. D. 4,8 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A French Daum Frères miniature glass bowl decorated with a Dutch landscape. Signed.Frankreich. Nancy. Daum Frères. Um 1890-1895.

Farbloses, dünnwandiges Glas mit abstraktem Dekor in polychromer Emailmalerei. Äußerst minim. best.; Sign.; "WEBER ST. GALL". H. 11,8 cm; D. 16,5 cm."Durch ihre Münchner Ausbildung enthalten ihre Stücke starke Einflüsse der Glasmalerinnen Emmy Seyfried und Ida Paulin sowie der Glasfachschule Haida und der Glasfachschule Steinschönau.'' (Zit. C. Hartmann, Glasmarken-Lexikon, S. 871).Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A rare Swiss enamelled Art Deco glass bowl by Emmy Weber in St. Gallen. Tiny chip to the rim. Signed. Schweiz. St. Gallen. Emmy Weber. Um 1925-1930.

Silber. Runder, gering vertiefter Standring, übergehend in hohe, ornamental durchbrochene Wandung mit reliefplastisch getriebenem Dekor aus Irisblüten und -blättern, umgeben von fließenden Blütenstängeln. Innen vergoldet. Glaseinsatz mit passig geschweiftem Rand und Schliffdekor. Minim. Gebrauchsspuren. Gest. 800, Herstellerzeichen, Händlermarke W. Lameyer & Sohn. Gew. ca. 505 g (ohne Glaseinsatz). H. 13 cm. D. 21 cm.Der Irisdekor der Schale entspricht dem zur Weltausstellung 1900 in Paris nach einem Atelierentwurf gefertigten Besteck "Iris Weltausstellung", Modell 240/2401.Vgl. Kat. Städtische Museen Heilbronn, Silber für die Welt, Abb. 13, hierzu S. 108, Abb. 82.A German Art Nouveau silver bowl with glass insert. Gilt inside. Minor signs of use. Standard mark 800, maker´s mark and dealer´s mark.Heilbronn. Bruckmann & Söhne. Um 1900.

Farbloses Glas mit angesetztem, blauem Rand. Weite Glockenform mit ausgestelltem Fuß. Schrägoptisch geblasenes Waben- bzw. Rippenmuster. Etikett der Sammlung Reidel. H. 8,8 cm; D. 12 cm.Provenienz: Sammlung Reidel; Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen.A rare German glass bowl with blue rim and optical pattern. Label of the collection Reidel.Deutsch. 1. Hälfte 18. Jh.

Zylindrisch. Farbloses Glas, geschliffener Rand. Ornamental stilisierter, floraler Dekor in farbiger Emailmalerei in Kombination mit Mattsalz und schwarzer Malerei. D. 15,8 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian enamelled glass bowl manufactured by Glasfachschule Haida (Nový Bór) or Steinschönau (Kamenický Senov).Böhmen. Glasfachschule Haida (Nový Bór) oder Steinschönau (Kamenický Senov). Um 1914-1920.

An 18th Century wine glass, with bell-shaped bowl and multiple series opaque twist stem, on plain conical foot, 17cms high; a small ogee-shaped wine glass with multiple series opaque twist stem and conical foot, 14cms; and plain ogee-shaped wine glass with folded conical foot, 14.5cms. (3)

A KELLY HOPPEN FOR WEDGWOOD STUDIO GLASS BOWL, Dia. 15.5 cm, together with a similar glass vase and Rogaska clear glass stylised candlestick (30

AN IRIDESCENT GLASS 'POISSONS' SHALLOW BOWL SIGNED R.LALIQUE, Dia 25.25 cm

A good green studio glass bowl.

A nice pink glass rose bowl.

To be sold without reserve Property of a lady A metal mounted glass fruit bowl Dimensions: 10 in. (H) x 8 in. (W) x 23 in. (L)

Ceramics and glass to include cut baskets and bowl, a Royal Doulton Images of Nature Nestling Down two swans and two posies, playing cards and steak knife and fork setLocation: G

A rare Dutch engraved façon de Venise wine glass, last quarter 17th centuryThe conical bowl with a solid base, decorated in diamond-point with a continuous border incorporating two long-tailed birds, perhaps peacocks or pheasants, flanked by stylised scrolling foliage, the stem with a hollow quatrefoil knop between collars, above a short plain section, over a wide conical foot neatly folded at the edge, 12.5cm highFootnotes:ProvenancePrivate British CollectionA similar glass from the Peter M Woolley collection was sold by Christie's on 20 May 1963, lot 49. Compare also to the example illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.85, no.65. A similar glass engraved in a similar style with horses instead of birds from the Guépin Collection was sold by Christie's Amsterdam on 5 July 1989, lot 57.For further information on this lot please visit Bonhams.com

A rare emerald-green baluster mead or champagne glass, circa 1740-60In deep green glass, the distinctive cup-shaped bowl moulded with a band of twenty evenly spaced vertical flutes or gadroons to the base, on a flattened collar above a triple-annulated knop, above a true baluster containing a central tear, over a domed folded foot, 13.3cm highFootnotes:ProvenanceBonhams, 3 November 2016, lot 108Stephen Pohlmann CollectionGlasses with this distinctive bowl are very rarely seen in this intense green colour. Whilst traditionally known as mead glasses, mead was rarely drunk in Britain and it is more likely these were inspired by Continental roemers used for Rhenish wine, see Dwight Lanmon, The Golden Age of English Glass (2011), p.93. The London glass seller Thomas Betts sold '12 Green 1/2 Mo Egg Champagne' glasses which could refer to related forms.A very similar example was sold by Bonhams 2 November 2015, lot 31. Another from the Durrington Collection is illustrated in Roger Dodsworth's catalogue (2006), pp.47-9, no.46 where their use as champagne glasses is discussed. An example with an inverted baluster stem from the Berney Collection is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.C, no.1.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 emerald-green opaque twist wine glass, circa 1765In deep green glass, the ogee bowl on a double-series stem containing a pair of five-ply spiral bands around two pairs of opaque white spiral threads, over a conical foot, 14.5cm highFootnotes:ProvenanceDreweatts, 18 October 2011, lot 255 (part)With Delomosne and Son, 20 October 2011Graham Vivian CollectionStephen Pohlmann CollectionThis glass was one of an original set of six discovered in 2011. Only one other similar glass would appear to be recorded, now in the Durrington Collection and illustrated in Peter Dodsworth's catalogue (2006), p.47, no.41. An example with a pan topped bowl set on a single-series stem was sold by Sotheby's on 19 November 1996, lot 590 and the another by Bonhams on 16 December 1999, lot 51. These relate closely to a remarkable set of opaque twist glasses with ogee bowls and feet in emerald-green, of which six are recorded. One from the A C Hubbard Jr Collection sold by Bonhams on 30 November 2011, lot 124 and another from the Kaplan Collection was sold by Bonhams on 15 November 2017, lot 44.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 blue colour twist sweetmeat or champagne glass, circa 1765The lipped ogee bowl in deep cobalt-blue glass, moulded with fourteen evenly spaced vertical ribs, resting on a double collar, the stem in clear glass, containing a rich blue central undulating core within a pair of opaque white spiral threads, set into a triple collar over a high domed folded foot also in cobalt-blue glass and moulded with twelve radiating ribs, 20cm highFootnotes:ProvenanceWith Christopher Sheppard, 17 August 2005Graham Vivian CollectionStephen Pohlmann CollectionLiteratureStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.23, fig.8An almost identical glass, now broken, is illustrated and discussed by Arthur Churchill Ltd, Glass Notes, no.15 (December 1955), p.5, fig.3, where it is stated that it was discovered in Ireland. The same glass is illustrated by Christopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), p.51, fig.76. The only other similar example extant was sold by Bonhams on 30 May 2012, lot 52.These extremely rare glasses relate closely to a set of three opaque twist wine glasses with bowls and feet also in cobalt-blue glass. One of these is illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), no.19 and was sold as part of the Kaplan Collection on 15 November 2017, lot 43. Another from the Beves Collection is in the Fitzwilliam Museum (inv. no.C.572.1961), listed in the catalogue (1978), p.94, no.227b. Another was sold by Sotheby's on 18 December 2002, lot 109 and is now in the Durrington Collection, illustrated by Roger Dodsworth in his catalogue (2006), p.48, no.44. These in turn relate to a set of similar glasses with bowls and feet in emerald-green glass, of which one was sold by Bonhams as part of the Kaplan Collection on 15 November 2017, lot 44.Only two other colour twist sweetmeat glasses would appear to be recorded, both with cobalt-blue threads but neither with coloured bowls nor feet. One from the A C Hubbard Jr Collection is illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), pp.60-1, pl.80 and was sold by Bonhams on 30 November 2011, lot 192. The other is illustrated by Joseph Bles, Rare English Glasses of the 17th and 18th Centuries (1924), frontispiece, no.1 and is now in the Victoria and Albert Museum (inv. no.C.209-1925). The stem of the present lot bears remarkable similarities to the stems on a set of Beilby enamelled colour twist cordial glasses which may be of related manufacture, see the example in this sale, lot 41.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 Beilby enamelled opaque twist wine glass, circa 1765-70The bell bowl painted in white with a border of fruiting vine, the rim with traces of gilding, on a double-series stem with a pair of spiral tapes encircled by a sixteen-ply spiral band, over a conical foot, 16.3cm highFootnotes:ProvenanceWith Alan Milford, 3 December 1977Stephen Pohlmann CollectionA very similar glass was sold by Bonhams on 21 June 2022, lot 122. See also lot 38 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

A Beilby enamelled opaque twist wine glass, circa 1765-70The bell bowl painted in white with a border of fruiting vine, the rim edged in gold, on a double-series stem with a pair of spiral tapes encircled by a sixteen-ply spiral band, over a conical foot, 16.1cm highFootnotes:ProvenanceStephen Pohlmann CollectionThe gold rim is unusually well preserved on this glass. A very similar example was sold by Bonhams on 21 June 2022, lot 122. See also lot 37 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

A rare Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl painted in opaque white with a landscape vignette featuring a bulbous urn set on a fluted classical column or pedestal, a gnarled tree to the left and a row of three poplar trees to the right, all amongst shrubs, on a double-series stem with two pairs of spiral threads around a central gauze column, over a conical foot, 14.6cm highFootnotes:ProvenanceWith Asprey, 3 July 1997Graham Vivian CollectionStephen Pohlmann CollectionA glass with an urn of similar form set on top of a pedestal is in Corning Museum of Glass (inv. no.50.2.70). For an urn of different form set on a similar columnar pedestal, see the example from the Thompson-Schwab Collection in this sale, lot 132.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 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

A very rare Beilby enamelled colour twist cordial glass, circa 1765-70The small round funnel bowl with a solid base, painted in opaque white with a border of fruiting vine, on a tall stem with a pair of opaque white spiral threads encircling a rich cobalt-blue undulating core, over a conical foot, 17.4cm highFootnotes:ProvenanceThe Earl of Belmore, Castle Coole, Christie's, 7 October 1980, lot 206With Asprey, 4 April 1981Peter Meyer Collection, Bonhams, 1 May 2013, lot 64Stephen Pohlmann CollectionExhibitedLaing Art Gallery, Newcastle-upon-Tyne (inv. no.TWCMS:F5576)This remarkable glass is one of three that survived together as a set at Castle Coole in Northern Ireland, sold by Christie's on 7 October 1980, lots 204-206. One of these is in the Durrington Collection, illustrated in Roger Dodsworth's catalogue (2006), p.39, no.34 and also by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.343, no.1120. A similar cordial glass with a flute-moulded bowl is in the Fitzwilliam Museum (inv. no.C.586-1961) and a second from this set is in Corning Museum of Glass (inv. no.50.2.9), illustrated by James Rush, The Ingenious Beilbys (1973), p.22, no.9a. A further example, also with a flute-moulded bowl, is in the Turnbull Bequest at Mompesson House, Wiltshire (inv. no.NT 723892).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 Dutch engraved armorial light baluster goblet, circa 1750The engraving later, the generous round funnel bowl naively decorated in diamond-point with the coat of arms of the Tilly family of Haarlem, a dove perched on an olive branch within an ouroboros, the serpent shown biting its tail, crested by a dove in flight above a helmet, within a scrollwork cartouche, on a stem with a triple-annulated knop above an inverted baluster, over a domed foot, 19cm highFootnotes:ProvenanceWith Frides LamérisStephen Pohlmann CollectionFor a Beilby enamelled light baluster wine glass also decorated with the arms of Tilly, see lot 40 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

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

An exceptional engraved light baluster wine glass signed by Jacob Sang, dated 1760The round funnel bowl exquisitely engraved with a three-masted 24-gun ship in full sail on a neatly undulating sea, the reverse with a farmer in a handsome overcoat driving a horse-drawn plough across a grassy sward, inscribed 'AU BIEN DELA PATRIE' (To the Prosperity of the Country), on a stem with an upper angular knop above a slender beaded inverted baluster with a small basal knop, the conical foot inscribed 'Jacob Sang, inv = et Fec = Amsterdam, 1760' in diamond-point script, 19.3cm highFootnotes:ProvenanceVan Solkema Collection, The Hague, NetherlandsMak van Waay Amsterdam, 10 December 1974, lot 2098With Frides Laméris, 17 April 2012Stephen Pohlmann CollectionLiteratureAnna 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.1760.11F G A M Smit, A concise catalogue of eighteenth-century wine-glasses wheel-engraved and signed by Jacob Sang (1992), p.14, no.1760.11A ploughing farmer in conjunction with one or more ships is a design found on at six glasses signed by Jacob Sang, including the present lot, with the sailing ship being a particularly popular motif symbolic of the Dutch Republic, see Anna Laméris, 'Ships on Glass', in Frides Laméris, Canes, Serpents and Ships (2018), p.57. Three further glasses with related scenes are recorded by Smit (1992), nos.1757.2, 1760.12 and 1760.13, the latter illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.200, no.212. A fifth, dated 1762, was sold by Sotheby's on 15 September 1992, lot 90 and is recorded by Laméris (1994), no.1762.7. A sixth, dated 1760, was sold by Christie's Amsterdam on 27 June 2000, lot 96 and appears unrecorded in the literature.All of these glasses are of virtually identical size and form to the present lot, employing a stem type much favoured by Sang, with inscriptions in Dutch all alluding in some way to the prosperity of the Country. A French inscription sets the present lot apart but is not unusual considering that French was the lingua franca of the Netherlands spoken by the aristocracy in the 18th century. Only the example dated 1760, formerly in the Guépin Collection (no.1760.12) sold by Christie's Amsterdam, 5 July 1989, lot 125, together with that dated 1762 (no.1762.7) bear scenes of virtually identical composition to that on the present lot. The others differ in the additional inclusion of either distant buildings (no.1757.2) or a view of the Nieuwe Kerk in Amsterdam (no.1760.13 and unrecorded).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 Dutch engraved composite moulded-stem goblet, circa 1750The round funnel bowl decorated with a hen and twelve playful chicks on a grassy sward, one perched on her back, two under her wing, flanked by flowering plants, the rim inscribed 'BESCHERMT HET UWE' (Protect What is Yours) flanked by floral sprigs, a sunburst to the reverse, the stem with a beaded shoulder knop and a cushion knop above a six-sided pedestal stem applied with diamonds to the shoulder, resting on a double collar and further beaded knop, over a domed foot, 21.9cm highFootnotes:ProvenanceH L Gibson CollectionWith Frides Laméris, 11 March 2016Stephen Pohlmann CollectionExhibitedCircle of Glass Collectors Commemorative Exhibition 1937-1962, Victoria and Albert Museum, 1962, no.197A Dutch engraved goblet of virtually identical form was sold by Christie's on 7 July 1997, lot 528. Another of similar form is illustrated by E Barrington Haynes, Glass Through the Ages (1948), pl.64a.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 light baluster 'Friendship' goblet and cover attributed to Jacob Sang, circa 1760The round funnel bowl with an elaborate rococo scroll cartouche hung with swags of beads, containing a pair of clasped hands with large frilled cups, surmounted by a crown, the reverse inscribed 'MIND GY EDELE VRIENDSCHAP TEEDER,/ VULD MY DAN TOT AAN DEN RAND./ DRINKT MY LEEG, EN VULD MY WEEDER,/ STELD MY ZOO UW VRIEND TER HAND.' (If you value tender noble friendship, then fill me to the brim. Drink me empty and refill me, and thus hand me to your friend), set on a stem with an upper angular knop above a slender beaded inverted baluster with a small basal knop, over a conical foot, the domed cover with a beaded finial, 26.5cm high (2)Footnotes:ProvenanceWith Leslie Antiques, New York, 23 September 2015Stephen Pohlmann CollectionThe verse on this glass is taken from 'Opschrift voor een Drinkglas' (Inscription for a Drinking Glass), written by Dirk Smits (1702-1753) and first published by Philippus Losel in Rotterdam in 1740, see Dirk Smits, Gedichten van Dirk Smits (1740), p.231.Several light baluster goblets similarly decorated with a crowned cartouche containing clasped hands and bearing the same inscription on the reverse, all signed by Jacob Sang and dated 1759 or 1760, are recorded by F G A M Smit, A Concise Catalogue of Eighteenth-Century Wine-Glasses Wheel-Engraved and Signed by Jacob Sang (1992), p.12, nos.1759.10, 17.59.11, 1759.12 and 1760.1. Further unsigned examples all attributed to Sang include one in the Museum De Lakenhal, Leiden (inv. no.2015), one illustrated by Anna Laméris, Amicitiae (2018), pp.50-1, no.20 and one with a replacement silver foot was sold by Sotheby's Amsterdam on 3 April 2001, lot 134. All differ slightly from the present lot in that they bear the additional inscription 'PROSOPOPIA' (Personification) above the crown. The lot is the only example recorded without this inscription and the only example to have survived with a cover.Although unsigned, the engraving on this goblet can be attributed to Jacob Sang on the basis of stylistic similarities with the four closely related fully signed and dated examples recorded by Smit, particularly in the lettering, together with the high quality of the engraving and polished detail itself. The form of the glass is also typical of the type much favoured by Sang, see Smit (1992), p.4, fig.A and also lots 44 and 46 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

A Dutch engraved armorial light baluster wine glass, circa 1755The round funnel bowl decorated with the coat of arms of Amsterdam beneath a crown, flanked by lion supporters, resting on a scrollwork bracket, the reverse with a sunburst, on a multi-knopped stem with an angular shoulder knop and a teared cushion knop, above a beaded inverted baluster and basal knop, over conical foot, 19.2cm highFootnotes:ProvenanceChristie's, 13 February 1979, lot 116Stephen Pohlmann CollectionA virtually identical armorial wine glass for Amsterdam, but lacking the sunburst to the reverse of the bowl, is illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, vo.2 (1995), p.227, no.252. Compare also to lot 50 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

A Dutch engraved armorial light baluster wine glass, circa 1750The round funnel bowl decorated with the coat of arms of Amsterdam beneath a crown, flanked by lion supporters, resting on a scrollwork bracket, on a multi-knopped stem with an angular shoulder knop over a short beaded inverted baluster set between knops, above a short teared basal inverted baluster and conical foot, 19.4cm highFootnotes:ProvenanceWith Frides Laméris, 30 September 2011Stephen Pohlmann CollectionAn armorial wine glass with very similar engraving, but a different stem formation, is illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.227, no.252. See also lot 49 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

A Dutch engraved Royal armorial facet-cut baluster 'Orangist' goblet, circa 1788-90The generous round funnel bowl finely decorated with the arms of William V, Prince of Orange, beneath a crown and within the motto of the garter, supported by two crowned lions rampant, resting on a diaper bracket with husk festoons, a band of unusual spiral facets to the base of the bowl, the multi-faceted stem with an upper angular knop above a particularly bulbous inverted baluster with a small basal knop, over a facet-cut conical foot, 17.4cm highFootnotes:ProvenanceWith Kunsthandel Jaap Polak, 1986Troostwijk CollectionWith Kunstzalen A Vecht, 25 September 2016Stephen Pohlmann CollectionWilliam V, Prince of Orange was the last stadtholder of the Dutch Republic, and it is likely that the present glass was made for one of several Orange societies which sprang up following his restoration in 1787, see the footnote to lot 52 in this sale. An identical glass from the Dr John Richard Strong Collection was sold by Sotheby's on 7 May 2002, lot 56. A glass of similar form inscribed for an Orange society, dated 1788 and with virtually identical faceting, is in Amsterdam Museum, illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.234, no.248 and another constitutes lot 52 in this sale. It is likely that all of these glasses, together with the present lot, were engraved in Amsterdam and perhaps also manufactured in the vicinity of the city.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 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

A very rare Dutch stipple-engraved light baluster goblet by Frans Greenwood, circa 1744The round funnel bowl decorated with a half-length portrait of a fishwife, her head slightly turned and with a downward gaze, wearing a low-cut bodice and a flat-topped wide-brimmed hat, holding a herring by its tail in her left hand, another fish on an oval platter with a wavy border resting on her lap beneath her right arm, a spray of flowering lilies in a jug behind a pail of herrings on a table to her right, on a densely stippled ground, the reverse signed 'Frans Greenwood fecit.' in diamond-point script, raised on a tall slender multi-knopped baluster stem, above a later replacement parcel-gilt foot chased with strapwork and foliate scrolls, 24.3cm highFootnotes:ProvenanceSotheby's, 3 June 1974, lot 116Viscount Newport, Earl of Bradford, Weston Park, Shifnal, Christie's, 4 June 1985, lot 30With Heide Hübner, Würzburg, 1986Mühleib Collection, Bonhams, 2 May 2013, lot 57Stephen Pohlmann CollectionLiteratureNoel Riley, 'Antique Glass in Shropshire', The Antique Dealer and Collectors Guide (June 1975), p.147, fig.5The Earl of Bradford, 'Making a Collection', The Antique Collector, Vol.56, No.6 (June 1985), pp.108-9, fig.1Frank Davis, 'Talking about Salerooms', Country Life, Vol.178 (July 1985), p.215, fig.1David Watts, 'Glass', in Elizabeth Drury (ed.), Antiques (1986), p.87Frans Smit, Frans Greenwood (1988), p.151-2, no.44.1, figs.97 and 99Frans Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.121, no.Dc.3ExhibitedWeston Park, Shifnal, 198331. Deutsche Kunst- und Antiquitäten-Messe, Haus der Kunst, Munich, 1986Frans Greenwood (1680-1763) was a Dordrecht merchant of English extraction, born in Rotterdam. An amateur artist, poet and glass engraver, he is traditionally credited as being the first artist to experiment with stipple engraving in the early 1720s and the first engraver to produce a whole picture on a glass in the technique. The techniques he developed had a profound influence on the work of a number of other glass engravers in Dordrecht, including Aert Schouman, making him one of the most important glass artists of his time.The herring industry or 'Groote Visscherij' (Great Fishery) played a very important role in the Dutch economy and the fishwives of Scheveningen were a favourite subject of Greenwood. They traditionally wore hats with flattened tops to accommodate the fish baskets they carried on their heads, with the wide brim offering protection against resulting drips. The poet Jacob Cats published a poem 'On a woman from Schevenigen carrying a basket of fish on her head' as early as 1654.The scene on the present lot is paralleled by an almost identical portrait of a fishwife against a different background, signed by Greenwood and dated 1744. This is in the Huis van Gijn in Dordrecht, illustrated and discussed alongside the present goblet by Smit (1988), pp.151-3, no.44.2, figs.98 and 100. Another goblet but with a different portrait of a fishwife, signed by Greenwood and dated 1742, was in the Anton Dreesman Collection sold by Sotheby's on 3 June 1974, lot 115 and again by Christie's in Amsterdam on 16 April 2002, lot 1279. This is illustrated and discussed by Smit (1988), pp.146-7, no.42.1, fig.90.All three glasses unusually depict a fishwife holding a herring by its tail. This is echoed in several contemporary Dutch Old Master portraits of women selling herrings by artists including Gerrit Dou (1613-1675), Godfried Schalcken (1643-1706) and Carel de Moor (1656-1738). In Dutch painting this is sometimes interpreted as a demonstration of promiscuity, but the lilies shown behind her traditionally symbolise purity and it is clear from Greenwood's poetry that he held fisherwomen and the fishing industry as whole in particularly high regard. Interestingly, one of the Directors of the Dutch East India Company, Pauls Schepers, bequeathed a 'haringwijfje' goblet to his second Cousin Gerard Schepers in the mid-18th century, which may refer to either the present goblet or the example from the Dreesman Collection, see Smit (1988), pp.146-7.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

A very rare Dutch stipple-engraved 'Friendship' glass by David Wolff, circa 1780The generous round funnel bowl finely decorated with a columnar altar adorned with two crossing floral garlands, upon which burns the Fire of Friendship, flanked by shrubs and small trees, an arm adorned with a floral bracelet emerging from a cloud above, holding a gadrooned libation goblet above the flames, beneath a banner inscribed 'L'AMITIE' (Friendship), the stem cut with hexagonal facets extending into the base of the bowl, over a conical foot, 16.4cm highFootnotes:ProvenanceHampson CollectionProbably with Arthur ChurchillWith Brian Watson, 27 May 2014Stephen Pohlmann CollectionFriendship was one of the most popular themes for Dutch engravers of the 18th century, so it is unsurprising that over a fifth of all Dutch stipple-engraved glasses allude to amity in some way. The majority of these symbolic scenes employ figures, cherubs or putti, and the choice of the Altar of Friendship here is therefore unusual. Whilst the present glass is unrecorded, an identical glass engraved with an identical scene by David Wolff in the Museum Boijmans Van Beuningen in Rotterdam (inv. no.170) is listed by Frans Smit, Uniquely Dutch Eighteenth-Century Dutch Stipple-Engravings on Glass (1993), p.157, no.Ed.3. Smit notes just one other Dutch stipple-engraved glass decorated with the Altar of Friendship, also by David Wolff (no.Ed.2). For another 'Friendship' glass by David Wolff, see lot 57 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

An exceptional Dutch stipple-engraved light baluster goblet by 'Alius', circa 1760-80The generous round funnel bowl finely decorated with a chinoiserie scene depicting an elderly Chinese gentleman seated on a stool before a tree, playing a Chinese lute or pipa with both hands, the hairs of his beard and moustache picked out with fine lines in diamond-point, accompanied by a boy playing a Bianzhong comprising a set of musical bells suspended from an arch, the tall multi-knopped stem with an upper beaded dumbbell above an inverted baluster containing an elongated tear extending into the basal knop, over a conical foot, 22cm highFootnotes:ProvenanceJ van Buren Collection, Scheurleer, The Hague, 11 December 1808, lot 98, purchased by Hultman for 15 guildersBoom Collection, BredaJoseph Gregory Littledale Collection, WeybridgeAnthony Waugh Collection, Wolverhampton, Sotheby's, 28 April 1980, lot 209With Ward Lloyd, LondonMühleib Collection, Bonhams, 2 May 2013, lot 58With Kunsthandel Jacques Fijnaut, 13 March 2018Stephen Pohlmann CollectionLiteratureD H de Castro, 'Een en ander over glasgravure', Oud-Holland 1(4) (1883), p.285, pl.1883 Wilfred Buckley, D Wolff and the Glasses that he Engraved (1935), p.30Hugh Tait, ''Wolff' glasses in an English private collection', Connoisseur 168 (1968), p.105, figs.5 and 6George Turnbull and Anthony Herron, The Price Guide to English 18th Century Drinking Glasses (1970), p.78, Group 4, no.4/13Frank Davis, 'Talking About Salerooms', Country Life, Vol.168 (August 1980), p.687F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.106, no.Ch.18Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.22, fig.5Exhibited300 Years of British Glass 1675-1975, Wolverhampton Art Gallery and Museum, 14 June 1975, no.208Kunsthandel Jacques Fijnaut BV, TEFAF Maastricht, 10-19 March 2017, catalogue p.240Although he never signed any of his engravings, 'Alius' was one of the most important Dutch master glass engravers of the 18th century. The incredible lightness of touch which he so breathtakingly achieved on this goblet demonstrates the remarkable degree to which this engraver mastered the stipple technique. It is perhaps no surprise that for many years this piece was considered to be the work of his contemporary, David Wolff.In his 1935 monograph on Wolff, Wilfred Buckley identified a group of glasses which he considered to be of higher quality both technically and artistically, with finer stippling and better draughtsmanship, than examples signed by Wolff himself, see p.26 and 'Group C'. These were subsequently attributed to 'Alius' in Frans Smit's 1993 catalogue. Whilst there are close similarities between the designs chosen by both engravers and they may have worked in association with one another, 'Alius' is the only Dutch engraver known to have stippled chinoiseries on glass and he attained a level of skill which undoubtedly surpassed that of Wolff.Only six other glasses stippled with chinoiseries by 'Alius' are recorded including the present lot, all of which incorporate the full-length figure of a Chinese gentleman. Two of these are similarly decorated with musical scenes in which an elderly seated man plays a Chinese lute or pipa. This includes a light baluster goblet of similar form to the present lot in the Brunnier Art Museum (Smit no.Eb.28) and a facet stem goblet in the Metropolitan Museum of Art (Smit no.Ch.19). Another goblet of similar size and form to the present lot but decorated with a different chinoiserie scene (Smit no.Ch.20) is illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.258, no.293. The remaining two chinoiserie decorated goblets recorded include an opaque twist example in the Rijksmuseum (Smit no.Ch.17) illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.432, no.548 and a further facet stem example in the Manoir de Saussey (Smit no.Ci.28).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 Dutch stipple-engraved opaque twist 'Friendship' glass by David Wolff, circa 1770The generous round funnel bowl delicately decorated with two smartly dressed boys shaking hands, one raising a half-filled long-stemmed wine glass held in his left hand in a toast, various small trees and shrubs behind, beneath a banderol inscribed 'VRIENDSCHAP', the double-series stem with a pair of opaque white spiral threads around an undulating gauze column, over a conical foot, 16.7cm highFootnotes:ProvenanceMak van Waay, Amsterdam, 1 April 1951, lot 780With Cecil DavisJeffrey Rose Collection, Sotheby's, 6 March 1978, lot 62Stephen Pohlmann CollectionLiteratureFrank Davis, 'Talking about Salerooms', Country Life, Vol.163 (March 1978), p.1062, fig.2P M Wood, 'Gentlemen - The King', Art and Antiques, Vol.39 (1979), p.23J A Brooks, The Arthur Negus Guide to British Glass (1981), fig.116F G A M Smit, Uniquely Dutch Eighteenth-Century Dutch Stipple-Engravings on Glass (1993), p.69, no.Cb.24ExhibitedCircle of Glass Collectors Commemorative Exhibition 1937-1962, Victoria and Albert Museum, 1962, no.306Exhibition of English Glass, Victoria and Albert Museum, 1968, no.167Friendship was highly valued in the 18th century and the bond between friends would have been sealed and resealed with toasts from specially engraved goblets such as this. Friendship was often symbolically portrayed, sometimes as putti or cherubs, but more commonly as two boys. As is the case on this particularly finely decorated glass, the majority of boys depicted on Dutch stipple-engraved 'Friendship' glasses are shown with a wine glass, sometimes also shaking hands.Opaque twist glasses with Dutch stipple engraving are rare and this is a particularly unusual choice of glass for Wolff. Only six such glasses engraved by him are recorded by Smit (1993), four of which are of comparable size and form to the present lot with straight double-series stems. They include no.Cb.2, similarly decorated with two boys shaking hands, and no.Ac.19 which is illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.455, no.574. An opaque twist wine glass with a very similar scene and an identical inscription by 'Alius' was in the Kaplan Collection, sold by Bonhams on 15 November 2017, lot 73. For another 'Friendship' glass engraved by David Wolff, see lot 55 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

A fine Dutch stipple-engraved wine glass by David Wolff, circa 1780-87The ovoid bowl finely decorated with a semi-nude girl emblematic of the Lady of Liberty reclining on a cloud, the Hat of Liberty raised in her right hand, a rococo scroll shield by her side inscribed 'DE DEUGD/ EN DE TROUW/ ZYN MYNE/ ENIGE/ WAAR/ BORGEN' (Virtue and Loyalty are my Only Guarantees) in stippled lettering, with a reclining dog and a small lamb jumping up from behind, raised on a plain tapering stem and conical foot, 13.1cm highFootnotes:ProvenanceJ G Wurfbain Collection, Cohen and Katz, Rheden, 17 November 1937, lot 640Cohen Collection, Deventer, NetherlandsA J Guépin Collection, Christie's Amsterdam, 5 July 1989, lot 105With Frides Laméris, 6 April 2017Stephen Pohlmann CollectionLiteratureD Bolten, Een Glasie van Vriendschap: Die Glazen van de Collectie Guépin (1969), pp.46-7, no.156, fig.50F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.132, no.Dd.37Like so much of David Wolff's work, the decoration on this glass is full of thinly disguised symbolism. The lamb and the dog allude to the virtue and loyalty referred to in the inscription. Raised hats and caps representing Liberty and Freedom are another recurring theme in Wolff's work and these revolutionary symbols occur on other stipple engraved glasses by him. As an artist, Wolff had relied on the patronage of wealthy Dutch burghers as well as the Prince and Princess of Orange prior the Fourth Anglo-Dutch War. It is unsurprising that the symbolism he used shifted away from Organism and became increasingly more political during the Patriotic Movement of the 1780s, when this glass was engraved. By the time the Batavian Republic was formed in 1795, during the French occupation of the former Dutch Republic, such symbolism became far more prominent in Wolff's work and is seen on a series of 'Liberty' glasses he engraved at this time.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 Beefsteak Club: a rare engraved firing glass, circa 1735-45The generous round runnel bowl decorated with a griddle within a banner inscribed 'BEEF AND LIBERTY', a sprig of fruiting vine to the reverse, set on a wide solid flattened knop and a heavy circular firing foot, 9cm highFootnotes:ProvenanceWith Delomosne and Son, 15 December 1977Stephen Pohlmann CollectionThe Sublime Society of Beefsteaks was a London club founded in 1735 by the performer John Rich, manager at the Theatre Royal in Covent Garden Theatre, and George Lambert, his scenic artist. Steaks and baked potatoes were accompanied by port or porter at the weekly meetings. At first the club consisted of just two dozen members, primarily actors, artists, writers and musicians but it subsequently became much celebrated, attracting royalty, nobility, military heroes and many other celebrated public figures. Notable members included William Hogarth, John Wilkes, Samuel Johnson, and the Prince of Wales.A very similar glass from the A C Hubbard Jr Collection is illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), p.47, pl.49b and was sold by Bonhams on 30 November 2011, lot 81. Another is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.323, no.1046. An example with a griddle within a different motto was sold by Bonhams on 3 June 2009, lot 202.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 engraved composite stem wine glass of possible Jacobite significance, circa 1750The generous ogee bowl finely engraved with a sunflower-like flower spray, a large winged insect perched on one leaf, the reverse with a moth in flight, on a multi-spiral airtwist stem set into a short inverted baluster, over a domed foot, 18.5cm highFootnotes:ProvenanceStephen Pohlmann CollectionA goblet of identical form engraved in a very similar manner with a carnation spray, bee and moth, perhaps from the same original set, was sold by Sotheby's on 20 May 1968, lot 86 and another with a sunflower by Christie's on 11 December 2000, lot 108.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 good opaque twist goblet, circa 1760-65the generous round funnel bowl raised on a double-series stem containing a pair of opaque white spiral tapes outside of a multi-ply corkscrew, over a folded conical foot, 18.7cm highFootnotes:ProvenanceWith Frides Laméris, 30 September 2011Stephen Pohlmann CollectionThe folded foot is an uncommon feature on an opaque twist glass of this size.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 pair of engraved opaque twist ale flutes and a wine glass, circa 1765The flutes with tall ogee bowls decorated with two flower sprays crossed at the stems, on double-series stems containing a fifteen-ply spiral band outside of a multi-ply corkscrew, over tall domed feet, 23cm high, the wine glass with an ogee bowl, decorated with a spray of spiky leaves, the double-series stem with a pair of opaque white spiral tapes around a central gauze column, over a conical foot, 15cm high (3)Footnotes:ProvenanceA K Sweeney Collection, Sotheby's 13 June 1977, lot 148 (part) (ale glasses)Sotheby's 13 June 1977, lot 99 (part) (wine glass)Stephen Pohlmann CollectionThis 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 rare and unusual cut and engraved opaque twist wine glass, circa 1765The bell bowl elaborately decorated with swags of fruit and flowers suspended by three pigtailed female masks, their hair issuing elaborate acanthus scrollwork, a polished 'OXO' border below the rim, the base cut with three large stiff leaves in high relief with engraved veining, issuing elaborate stylised floral palmettes, the double-series stem with gauze core within a pair of spiral tapes, deeply cut with a spiral twist, the step-cut conical foot with a scalloped edge and decorated with a band of polished circlets within radiating lines to the underside, 15.9cm highFootnotes:ProvenanceWalter F Smith Collection, Pennypacker Auction Centre, Pennsylvania, 1968Dwight P Lanmon CollectionWith Alan TillmanPeter Lazarus Collection, Christies, 26 November 1991, lot 141A C Hubbard Jr Collection, 30 November 2011, lot 126Stephen Pohlmann CollectionLiteratureArthur Churchill, Glass Notes, no.10 (December 1950), p.7, fig.9ExhibitedBristol Museum and Art Gallery, loan no.173This remarkable glass would appear to be unique. The profuse style of the decoration and many of the motifs, including the use of mask heads, swags of fruit and flowers, palmettes and foliate scroll decoration, is seen on much glass engraved in Silesia and northern Bohemia in the earlier part of the 18th century. Whilst the date of the decoration remains unclear, it seems likely that a continental hand was responsible, probably Bohemian and perhaps working in England.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 Eagle Frigate: a rare engraved Privateer wine glass, circa 1757-60The generous bucket bowl engraved with the three-masted ship in full sail, inscribed around the rim 'Success to the EAGLE FRIGATE', on a double-series opaque twist stem containing two pairs of opaque white spiral threads around a central gauze column, over a conical foot, 16.5cm highFootnotes:ProvenanceBonhams, 30 May 2012, lot 69Dr Maurice McLain CollectionWith Delomosne and Son, Summer Exhibition 2017Stephen Pohlmann CollectionLiteratureWard Lloyd, Investing in Georgian Glass (1969), p.127This glass belongs to a group of wine glasses all with bucket bowls presumed to have been made for Bristol Privateers, which were in effect officially sanctioned pirate ships. The Eagle is perhaps the best known of the Bristol Privateers, but the interpretation of glasses engraved for this ship is somewhat complex and it is unlikely that they all commemorate the same vessel. Three ships named Eagle are recorded sailing out of Bristol at the same time by Damer Powell, Bristol Privateers and Ships of War (1930), pp.205-6.The Eagle Frigate was a ship of 250 tons with 24 guns and a crew of 340 men, owned by Messrs. Camplin and Smith of Bristol and Manslip and Wilkinson of London. She was declared on 13 November 1756 by Captain John Knill, whose name appears on a handful of similar Privateer glasses. An example bearing the name of John Knill was in the A C Hubbard Jr Collection sold by Bonhams on 30 November 2012, lot 111 and another in the Cecil Higgins Museum is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.294, no.942.The Eagle galley was a ship of 350 tons with 28 guns and a crew of 200 men, owned by Thomas Rock. She was declared on 22 November 1756 by Captain Thomas Dibdin. The name of Captain Dibdin appears on at least one glass engraved for the Eagle Frigate [sic], illustrated by Bickerton (1986), p.294, nos.940-1. It has sometimes been erroneously assumed that Knill succeeded Dibdin in command of the aforementioned Eagle Frigate in June 1757. A further slightly smaller Eagle galley of 300 tons with 20 guns and a crew of 70 men was declared on 31 March 1758 by Captain Joseph Jones.The ship on the present glass may represent any one of these Eagle ships, but with 14 guns on its starboard side it is perhaps more likely to represent the 28-gun Eagle galley declared by Dibdin. It is highly plausible that all three ships were regarded as Frigates and that the inscription on this glass is a misnomer.At least two other glasses from the same original set as the present lot appear to be recorded, including one sold by Sotheby's on 21 October 1981, lot 76 and another from the Meyer Collection sold by Bonhams on 1 May 2013, lot 46. These are all slightly larger than most Privateer glasses.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 early heavy baluster wine glass, circa 1700The truncated conical bowl with a solid base, resting on a wide drop knop enclosing a central tear, over a short plain section and heavy conical foot, 14.8cm highFootnotes:ProvenanceVergette Collection, Sotheby's, 26 March 1966, lot 141Cranch Collection, Christie's, 17 November 1992, lot 142Bonhams, 3 June 2009, lot 8Stephen Pohlmann CollectionLiteratureStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.23, fig.7The simple and elegant form of this glass suggests a particularly early date. A drop-knopped glass of similarly early date, formerly in Harveys Wine Museum, is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.73, no.86 and was sold by Bonhams on 1 October 2003, lot 125.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

An interesting commemorative opaque twist wine glass of theatrical interest, circa 1770The decoration later, the generous ogee bowl engraved with a half-length profile portrait of the Welsh actress Sarah Siddons, her right arm raised to her chin, within a formal scrollwork and beaded frame, the reverse with a floral spray within an oval scroll cartouche, flanked by rectangular panels containing swags pendant from florets, on a double-series stem containing a nine-ply spiral band around a solid corkscrew tape, over a conical foot, 16.5cm highFootnotes:ProvenanceSotheby's, 26 May 1981, lot 50With Asprey, October 1985Christie's, 18 November 2008, lot 43Graham Vivian CollectionStephen Pohlmann CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.293, no.937Sarah Siddons (1755-1831) was Britain's leading tragic actress, a contemporary of David Garrick and most famous for her portrayal of Lady Macbeth. She won her first success in the role of Belvidera in 1774 and had obtained celebrity status by the mid-1780s. She was famously painted by Sir Joshua Reynolds in 1784 in her role as the 'Tragic Muse'. Several engraved glasses with related portraits are recorded and the attribution of these to Mrs Siddons is discussed by Arthur Churchill, Glass Notes, no.16 (1956), pp.19-20. Siddons rose to fame after the period in which this glass was made, suggesting that the engraving is later, perhaps undertaken at the Pugh Glasshouse in Dublin by an engraver such as Franz Tieze. An identical glass from the Rose Collection was sold by Sotheby's on 6 March 1978, lot 58 and another is illustrated by E Barrington Haynes, Glass Through the Ages (1959), pl.83d. A detail of the same glass is illustrated by Arthur Churchill, p.19, fig.22.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 rare miniature baluster wine or cordial glass, circa 1720-30The pointed round funnel bowl with a solid teared base, resting on a half-knop, the stem with a teared angular knop and basal swelling knop, over a folded conical foot, 10cm highFootnotes:ProvenanceMichael Parkington Collection, Christie's, 8 April 1998, lot 111A C Hubbard Jr Collection, Bonhams, 30 November 2011, lot 39Chris Crabtree CollectionLiteratureWard Lloyd, A Wine Lover's Glasses (2000), pp.28 and 30, pl.14bFor further information on this lot please visit Bonhams.com