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Lot 1028
Large early 20th century cut glass punch set, comprising ovoid punch bowl with domed cover, ladle, twelve cups and circular stand, with sharp star cut decoration, bowl including cover H33cm stand D43cmCondition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches, nicks and nibbles.
Lot 1031
19th century oversized drinking glass, the balloon shaped bowl upon a short thick stem and thick circular foot, H18.5cm bowl rim D12..5cmCondition Report:General light wear commensurate with age and use, including some surface scratches, and mossing to underside of foot.Some production flaws.
Lot 1033
18th century drinking glass, probably Continental, the rounded funnel bowl with moulded part fluting upon a colour twist stem with alternating red and white spirals surrounding a white fine spiral gauze, and conical foot, H13.5cmCondition Report:General light wear, predominantly in the form of some surface scratches.Pontil smoothed. Glass rings clear.
Lot 1036
Mid/late 18th century glass goblet, the cup bowl engraved with fruiting vine border, upon a thick plain stem and thick plain foot, H15cmCondition Report:General wear commensurate with age and use, predominantly in the form of surface scratches and mossing to foot and bowl rim.Some nick to underside edge of foot.Glass rings clear.
Lot 104
A fine and early Pioneer motoring era specially commissioned leather-cased travelling tea-set for two persons by Walter Thornhill & Co. of 144 & 145 New Bond St. London, circa 1893,the brown honey leather case with leather handle and brass clamps to lid with impressed initials 'A.L.', opening to light grey suede-lined compartmentalised interior fitted with silver plated kettle, engraved 'A.L.', with black African hardwood handle, containing sugar bowl, with burner and folding tripod stand, with silver-plated tea-caddy, engraved A.L.', containing two stacked drinking beakers suede cushion pad, and tea infuser with suspension chain, with one large and two smaller heavy cut-glass drinks bottles with sterling silver lids by Hubert Thornhill, hallmarked London 1893, each also with engraved initials 'A.L.', and with two bone chine tea-cups housed in black leather stand, with bone china saucers and two silver-plated tea-spoons housed behind suede straps in the lid, several pieces bearing Thornhill maker's markings, the case with silver gilt maker's marks to front edge and incorporating high-quality Bramah lock with key, the case measuring 28 x 21 x 16cm, in seemingly good order throughout. This lot is subject to the following lot symbols: † ◊† VAT at the prevailing rate on Hammer Price and Buyer's Premium.◊ £30 + VAT uplift and storage at £6 + VAT per lot per day.For further information on this lot please visit Bonhams.com
Lot 2118
A circa 1800 glass rummer, the bowl decorated with a band of diamond cut decoration, standing upon a rudimentary stem and square moulded lemon-squeezer foot, h.14cm, together with an 1881 glass goblet, the etched bowl standing upon a faceted stem and star cut foot, h.24cm, and a 19th century continental glass goblet, the etched conical bowl above a replacement turned wooden foot, h.17cm (3)
Lot 16
A small group of silver, including a Mappin & Webb sauceboat, 15cm wide; Four silver condiments , including a fretwork decorated pepper pot, with blue glass liner, a mustard pot, salt cup and another smaller pepper pot, also a silver sugar bowl, 10cm wide and a set of plated cheese servers, 334g (silver weight)
Lot 181
Kollodium-Direktentwicklungskamera, um 1855-60Unbezeichnete, zierliche und elegante Kamera aus Walnuß oder Mahagoni in den Maßen 22 x 18,5 x 10 cm, solide gearbeitet mit Verzinkungen. vermutlich aus einer Werkstatt für wissenschaftlichen Apparatebau. - Beschreibung: siehe engl. Text Start Price: EUR 3400 Zustand: (3/3)Collodion Direct Development Camera, from 1855-60Unmarked, petite and elegant camera of sturdy dovetailed construction in walnut or mahogany, with brass fittings, brass-bound lens and carrying handle, probably a small-scale production by an engineering workshop specialised in the construction of scientific/laboratory apparatus, 22 x 18.5 x 10 cm. - Construction: Opening the two wings reveals a compartment with a holder for chemicals and accessories on the left and another for 17 plates of approx. 47 x 47 mm on the right. In the central compartment below the threaded ring is a standard changeable 1:14/7 cm landscape lens with a cylinder mount of 25.2 mm diameter and focusing by shifting ranges from infinity to 0.2 m. The lens features an additional swiveling aperture as well as a swiveling lid for the exposure. The landscape lens was probably originally complemented by a second, high-speed Petzval-type lens. On the sides of the camera are latches retaining a sliding tripod-holder, with two sets of four indentations, that slides directly into the base of the camera. The smallest possible dimension is the usual stereo base value; the other three are exaggerated base distances and were probably only used at the beginning of the stereo period (around 1855). The rear has a drop-flap that extends the full width of the body, covering the compartments and opening vertically in the manner of a writing desk. Folded down, this flap reveals a work surface with a raised edge on one side for holding a bowl. Inside the camera body are two sturdy brass thumb-screws on the left and the right. The wood around these screws has been ergonomically machined in such a way that the heavy screws can be operated comfortably by hand. From the middle of the top of the camera protrudes a square bar or plunger attached to a sprung clip that acts as a precision holder and reaches down below the level of the optics when the central cover is down. This plunger is easy to move and can be pulled up until the holder touches the roof of the camera interior. The holder is a significant element of the camera design, serving both as a plate-holder for variable formats - from a few millimeters up to an estimated 47 x 47 mm - and as a development-holder that can be lowered into the two baths and moved vigorously up and down, an essential technique for a streak-free collodion recording. This novel design helps solve tolerance problems; consistent accuracy occurs no matter the thickness of the glass or tin sheet. The focusing screen (now missing) may originally have had a small frame with a faceted area for more convenient mounting in the holder. Removing the loose inner back wall discloses ample traces of collodion silver on the inside. The function of the screws is concomitant with the surfaces of gutta-percha or hardened rubber for liquid-tight transport of the silver bath and the developing fluid. The silver bath carries the possibly later Swedish engraving "Sölvbad". The two rods on the right and left (the left knob is missing but replaceable) are used to move the two glass cuvettes for silvering or sensitizing the still insensitive glass / ferrotype plates. When the right rod is pulled out, the developer cuvette pushes the silver bath to the right. This process takes place under the cover, protected from light. - Note: The camera represents a little-documented stage in the evolution of rapid development techniques in early photography, whereby the processing solutions can be stored entirely within the body and transported safely under most conditions. The space-saving internal storage compartments removed the need for the bulky portable laboratory apparatus inherent in the camera of Jules Bourdin (Maison Dubroni). The construction seen here, though not identical, shares strong similarities to the work of Charles-Gustave Anthoni exhibited at the Great Exhibition of 1862 (Brevet no. 66 in France, patent no. 2226 in England und no. 33230 in America). Whether this example hails from the workshop of Anthoni or one of his competitors, its construction appears rather too refined to have been used by the itinerant photographers at fairs, who typically favoured simpler and lighter ferrotype devices. Its compact form and solidity suggest possible applications on an expedition or a scientific field trip, at a time when ‘instant’ photography was still an untested concept and the sweeping success of the traveling photographer as yet unforeseeable. Start Price: EUR 3400 Condition: (3/3)
Lot 150
A Circa 1900 Art Nouveau silver circular twin handled table bowl, having a heavy ruby glass liner, with shaped and pierced stylised pinched handles over trailing stylised pierced floral body, to four domed feet, maker Goldsmiths & Silversmiths Company Ltd, London 1901, silver weight 9.1oz, dia.20.5cm (including handles)Stands well.Silver overall very good; general light tarnishing only.Glass very good.
Lot 343A
Eva Zeisel dinner service for 4 , plus other pieces 2 tureens , 4 dinner plates , 8 side plates , 4 cups and saucers , 4 mugs , 4 dishes , sauce boat , jug and sugar bowl ,1 footed serving bowl and 4 serving plates Good condition Eva Striker Zeisel (born Éva Amália Striker, November 13, 1906 – December 30, 2011) was a Hungarian-born American industrial designer known for her work with ceramics, primarily from the period after she immigrated to the United States. Her forms are often abstractions of the natural world and human relationships. Work from throughout her prodigious career is included in important museum collections across the world. Zeisel declared herself a "maker of useful things." Eva Striker Zeisel [1906-2011] was a Hungarian-born, American designer whose career spanned over 90 years and thousands of pieces. She believed in “The Playful Search for Beauty.” Though best known for her ceramics, she also worked in glass, wood, metal and plastics. Eva was imprisoned under Stalin, had the first one-woman show at MoMA and was t the White House, with many adventures in-between. She continued designing until she died at 105. Her work is in permanent collections of major museums around the world, including the British Museum, MoMA and The Metropolitan Museum of Art. Eva Striker Zeisel [1906-2011] was a Hungarian-born, American designer whose career spanned over 90 years and thousands of pieces. She believed in “The Playful Search for Beauty.” Though best known for her ceramics, she also worked in glass, wood, metal and plastics. Eva was imprisoned under Stalin, had the first one-woman show at MoMA and was honored at the White House, with many adventures in-between. She continued designing until she died at 105. Her work is in permanent collections of major museums around the world, including the British Museum, MoMA and The Metropolitan Museum of Art. Eva Striker Zeisel [1906-2011] was a Hungarian-born, American designer whose career spanned over 90 years and thousands of pieces. She believed in “The Playful Search for Beauty.” Though best known for her ceramics, she also worked in glass, wood, metal and plastics. Eva was imprisoned under Stalin, had the first one-woman show at MoMA and was in-between. She continued designing until she died at 105. Her work is in permanent collections of major museums around the world, including the British Museum, MoMA and The Metropolitan Museum of Art. Eva Striker Zeisel [1906-2011] was a Hungarian-born, American designer whose career spanned over 90 years and thousands of pieces. She believed in “The Playful Search for Beauty.” Though best known for her ceramics, she also worked in glass, wood, metal and plastics. Eva was imprisoned under Stalin, had the first one-woman show at MoMA and was honored at the White House, with many adventures in-between. She continued designing until she died at 105. Her work is in permanent collections of major museums around the world, including the British Museum, MoMA and The Metropolitan Museum of Art. Eva Striker Zeisel [1906-2011] was a Hungarian-born, American designer whose career spanned over 90 years and thousands of pieces. She believed in “The Playful Search for Beauty.” Though best known for her ceramics, she also worked in glass, wood, metal and plastics. Eva was imprisoned under Stalin, had the first one-woman show at MoMA and was in-between. She continued designing until she died at 105. Her work is in permanent collections of major museums around the world, including the British Museum, MoMA and The Metropolitan Museum of Art.
Lot 611
A pair of George V Coronation commemorative baluster wine glasses each with GVR monogram, 1911 and crown, in gilt to the trumpet bowl, the hollow centre bowl containing George V silver threepence 1911. 17cm(H); and a similar goblet, 13.5cm(H) (3) Condition: One baluster glass cracked on the knop, all of rubbings of gild on rims and foot
Lot 649
A George V and Queen Mary Coronation commemorative baluster wine glass with GVR and MR monograms, 1911 and Crowns, the hollow centre bowl containing George V silver threepence 1911, 17cm(H); and a similar firing glass with dodecagonal panelled stem 11.5cm(H) (2) Condition: Both good, all of rubbings of gild on rims and foot
Lot 1
A Wine Glass, circa 1750, the rounded funnel bowl on an opaque twist stem and circular foot15.5cm highA Similar Wine Glass, the ogee bowl engraved with fruiting vine on an opaque twist stem14.5cm high (2)Typical minor surface wear and scratching, plain bowl - two tiny chips to the foot, engraved bowl, one tiny chip to the foot
Lot 14
A Wine Glass, circa 1760, the drawn trumpet bowl on an air twist stem and circular foot16cm highA Similar Wine Glass, the bell shaped bowl on an air twist stem and domed foot16cm highA Similar Wine Glass, the ogee bowl engraved with a hunting scene, on an opaque twist stem and circular foot14.5cm high (3)First glass possibly with some polishing to foot. Other two glasses with small chips to feet
Lot 16
A Wine Glass, circa 1750, the drawn trumpet bowl on an air twist stem and circular foot15cm highA Similar Wine Glass, the drawn trumpet bowl on plain stem with long air tear17cm highA Dwarf Wine Glass, the ovoid bowl engraved with a geometric band on a plain stem12.5cm high (3)Typical minor surface wear and scratching. First glass with tiny chip to underside of foot rim.
Lot 17
A Wine Glass, circa 1750, the rounded funnel bowl engraved with fruiting vine, on a plain stem and folded foot15cm highA Similar Wine Glass, the ovoid bowl on a plain stem and folded foot13.5cm highA Similar Wine Glass, the ovoid bowl engraved with fruiting vine, on a plain stem and folded foot13.5cm highA Similar Wine Glass, the semi-fluted ogee bowl on a plain stem and circular foot14.5cm high (4)Possibly some polishing to feet. Typical minor surface wear and scratching.
Lot 18
A Dwarf Wine Glass, circa 1760, the semi-fluted ogee bowl engraved with a band of foliage, on a plain stem and circular foot11.5cm highTwo Similar Wine Glasses, the ovoid bowls engraved with fruiting vine on a plain stem and circular feet12cm highA Similar Wine Glass, the semi-fluted ovoid bowl on a plain stem and folded foot13cm high (4)Some typical minor surface wear and scratching.
Lot 25
A "Jacobite" Drinking Glass, in 18th century style, the trumpet bowl engraved with a rose and buds on a circular foot10cm highA Masonic Glass Tumbler, the flared bowl inscribed DE VERE over a square and compass and No 179410.5cm highAn Amber-Flashed Tumbler, the ovoid bowl engraved with Masonic motifs over a panelled domed base14cm high (3)
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87294 item(s)/page