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A French opalescent glass bowl signed G Vallon. Moulded with fruiting cherries, signed, diameter 23.5cm.

A German WMF cranberry glass fruit bowl. Height 29cm, together with a E.P.B.M 'Ladies Friend' pin box with a kangaroo decoration stamped E.K Made in England 404.No condition issues.

ADRIAN SANKEY GLASS BOWL, AND OTHER GLASSWARE including cranberry glass examples17cm diameter

COLLECTION OF GLASSWARE, VICTORIAN AND LATER including cranberry glass jugs and glasses, a blue and clear crystal oval bowl and stemmed dishes

DECORATIVE HORN, AND OTHER ITEMS the horn with silverised mount, along with a Maling bowl, Bavarian glass vase and a modern Chinese box

New York: Lamplight Collection of Modern Art, 1975. Hardcover art book depicting Guitar, Glass, And Fruit Bowl by Pablo Picasso (Spanish, 1881-1973) on the cover. 91-pages of Cubism artworks by various known artist. Georges Braque, Juan Gris, Roger De La Fresnaye, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United StatesCondition: Good.

Large American brilliant cut glass punch bowl with a matching, removable pedestal. Also included is a silverplate ladle with a crystal handle. The spoon is marked J.D. Bergen Co.(Bowl) Height: 9 in x diameter: 12 in. (Spoon) Length: 15 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Dale Chihuly (American, b. 1941). Set of two "Persian Forms" handblown glass. With a spiderweb design in turquoise vibrant green and blue. Rimmed in bright red. One scalloped bowl and one curling glass form with a bulbous body and long, sinuous neck. The curling glass form has an etched signature and is inscribed "pp01" along the pontil. They are able to be nested together in a variety of unique ways.Lot Essay:Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative method of glassblowing he had witnessed in Italy at Pilchuck, something that would become a hallmark of his artistic process.(Large) Height: 5 1/2 in x width: 10 1/4 in x depth: 10 1/2 in. (Small) Height: 4 1/2 in x width: 9 1/2 in x depth: 3 in. />Condition: There are no chips, cracks, losses, or restorations. Very light wear throughout, mostly along the pontil.

The Beggars Bennison: a very rare enamelled opaque twist wine glass of Scottish interest, circa 1770Perhaps by Anthony Taylor, the ogee bowl painted in polychrome with a phallus hung with a pouch in white, red, green and black enamels, with the emblems of an anchor above and a castle below, inscribed 'The Beggars Bennison [sic]' below the rim to the reverse, set on a double-series stem with two pair of opaque white threads encircling a central gauze column, over a conical foot, 13.3cm highFootnotes:ProvenanceWith Asprey, 1986Durrington CollectionLiteratureSimon Cottle, 'The Other Beilbys', Apollo (October 1986), pp.319-20, col. pl.V and fig.9Peter Dodsworth, The Durrington Collection (2006), no.36ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.42Officially founded in 1739, the 'Beggar's Benison' has been described as 'a Scottish society of an erotic and convivial nature, composed of the nobility and gentry of Anstruther and adjacent districts in the Kingdom of Fife and Caledonia', see the footnote to Lot 50 in this sale. It is generally accepted that castle and anchor on these Beggars Benison glasses are emblematic of the City of Edinburgh, but it has also been suggested that they instead allude to the town of Anstruther, see David Stevenson, The Beggar's Benison: Sex clubs of the Scottish Enlightenment and their rituals (2001), pp.249-50. F Peter Lole has suggested that the castle motif could also be interpreted as a reference to the Castle of Dreel in Anstruther, where the society held its earliest meetings, see Dodsworth (2006), p.61. Lole suggests that this would explain why the castle emblem continued in use in Beggars Benison memorabilia long after the Edinburgh chapter had become defunct.Two further glasses from this remarkable set are recorded, including one formerly in the John de Tscharner Vischer Collection which was most recently sold by Bonhams on 19 May 2010, lot 67 and another in the collection of the University of St Andrews (inv. no.HC1064). Similarly limited colour palettes are also employed on a set of Jacobite glasses painted with a portrait bust of Prince Charles Edward Stuart in red, white and blue, a set of cordial glasses bearing the crest of Wilson of Fraserburgh in red and white, together with several Masonic firing glasses also enamelled in red and white. All are considered to be of Scottish origin and perhaps the work of Anthony Taylor, see Simon Cottle (1986), pp.315-27.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 emerald-green tinted incised twist wine glass, circa 1760In deep green glass, the generous cup-shaped bowl raised on an incised twist stem with a central swelling knop, over a conical foot, 13.9cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1986Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.51ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.53This 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 canary-yellow colour twist wine glass, circa 1765The round funnel bowl on a stem containing a central six-ply corkscrew in opaque yellow within a pair of heavy opaque white multi-ply spiral bands, over a conical foot, 14.6cm highFootnotes:ProvenanceWith Mallett and Son, 1999With Namara Fine Art, 1999Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.57The canary-yellow thread is the rarest of all colour twist types. For a canary-yellow colour twist goblet with a very similar stem formation, see that sold by Bonhams on 20 June 2023, lot 122.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 emerald-green tinted plain stem wine glass, circa 1740-50In deep turquoise-green glass, the pan-top bowl raised on a plain stem and conical foot, 15cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1986Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.53ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.55This 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 1765The small round funnel bowl with a solid base, painted in opaque white with a continuous 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, 17.2cm highFootnotes:ProvenanceThe Earl of Belmore, Castle Coole, Christie's, 7 October 1980, lot 204Sotheby's, 2 July 1985, lot 623Durrington CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.343, no.1120Roger Dodsworth, The Durrington Collection (2006), no.34ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.40This remarkable glass is one of three that survived together as a set at Castle Coole in Northern Ireland, which was sold by Christie's on 7 October 1980, lots 204-206. One of these was recently sold by Bonhams as part of the Stephen Pohlmann Collection on 30 November 2022, lot 41. 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).Saleroom notices:Please note that the provenance for this lot is The Earl of Belmore, Castle Coole, Christie's, 7 October 1980, lot 205 and not as stated in the catalogue or the 2006 publication of The Durrington Collection.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 early baluster goblet, circa 1675-80English or perhaps Low Countries, the round funnel bowl moulded with sixteen ribs, set on a tall stem with a hollow eight-lobed knop above an inverted eight-lobed baluster section, separated and flanked by three collars, over conical foot moulded with twelve ribs and neatly folded at the rim, 20.4cm highFootnotes:ProvenanceBiddulph Family Collection, Frankton Manor, WarwickshireJ Malcolm Graham Collection, Christie's, 3 June 1996, lot 172With Asprey, 1996Durrington CollectionLiteratureR J Charleston, English Glass (1968), no.25Peter Dodsworth, The Durrington Collection (2006), no.1ExhibitedVictoria and Albert Museum, 'Circle of Glass Collectors Commemorative Exhibition 1937-1962', 1962, catalogue no.124, pl.IIIVictoria and Albert Museum, 'Exhibition of English Glass', 1968, catalogue no.29Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.18Much glass of the 17th century containing lead has historically been attributed to English manufacture, often specifically to George Ravenscroft. However, there were at least ten factories manufacturing 'crystal' glass in England in the 1670s, some of which contained lead, see Dwight P Lanmon, The Golden Age of English Glass 1650-1775 (2011), p.58. Glass containing lead was also made in the Netherlands at around the same time, raising the possibility that pieces previously attributed to English manufacture may in fact be Dutch. Both solid and hollow lobed knops are found on late 17th century glasses made in England and in the Netherlands, see Lanmon (2011), p.61. In his paper within the Durrington Collection catalogue, Martin Mortimer refers to similar stem fragments excavated in London, some of which bear a raven's head seal, now in the Museum of London, see Dodsworth (2006), p.8. However, he notes that an eight-lobed hollow knop is unusual for English manufacture.The present lot has no direct parallel, but the rib-moulding is reminiscent of several late 17th century vessels of different form bearing seals which suggest that they are English. All are attributed to George Ravenscroft and dated to circa 1676-77. They include a jug with a raven's head seal in the Cecil Higgins Museum, Bedford, illustrated by Lanmon (2011), p.61, fig.31 and R J Charleston, English Glass (1984), pl.24c, and two roemers in the Victoria and Albert Museum (inv. nos.C.530-1936 and C.164-1993), both also illustrated Charleston (1984), pls.23d and 25c, the former of which bears a raven's head seal and the latter an 'S' seal which may relate to Ravenscroft's Savoy glasshouse. Whilst the precise origin of the present lot remains unclear, it is nonetheless an important example of northern European glassmaking of the late 17th century.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 green tinted plain stem goblet, circa 1750In light green glass, the generous cup-shaped double ogee bowl raised on a plain stem, over a folded domed foot, 15.2cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.52ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.18Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.54An identical glass from the Henry Fox Collection was sold by Bonhams on 2 June 2004, lot 68 and another from the Thomas Collection on 4 June 2008, lot 135.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 cylinder-knopped baluster wine glass, circa 1720The trumpet bowl with a solid base containing a tiny tear, set on an inverted half knop and collar, the stem with a wide cylinder knop containing a generous tear, above a short dumbbell section and folded conical foot, 17.5cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.6ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.10-11, no.11Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.23The cylinder knop is among the rarest of baluster knops. A very similar glass from the Tatton Hewetson Collection was sold by Bonhams on 13 November 2013, lot 15. An example in the Cecil Higgins Museum in Bedford is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.98, no.183.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 gilded emerald-green tinted incised twist champagne or wine glass, circa 1760Perhaps decorated in the London workshop of James Giles, in deep green glass, the distinctive cup-shaped bowl moulded with a band of twenty evenly spaced vertical flutes or gadroons to the base, finely gilded with a continuous band of fruiting vine, the rim gilt, raised on a hollow incised twist stem and conical foot, 14.7cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.45ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.3Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.46Glasses of this form in emerald-green glass are rare in themselves, but it is remarkable to find an example with gilded decoration such as this. An emerald-green tinted glass of related form gilded with floral sprigs was in the Thomas Collection, sold by Bonhams on 4 June 2008, lot 209 and another is illustrated by E Barrington Haynes, Glass Through the Ages (1959), pl.45(e).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 bobbin-knopped baluster goblet, circa 1735-45The slightly flared round funnel bowl set on a tall multi-knopped stem comprising a central beaded knop flanked by triple bobbin knops, over a conical foot, 20cm highFootnotes:ProvenanceDurrington CollectionLiteratureChristopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), p.39, no.46Peter Dodsworth, The Durrington Collection (2006), no.12ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.21A very similar glass engraved with the arms of William of Orange is illustrated by Delomosne and Son, The Baluster Family (1985), pp.60-1, no.29. Other glasses of similar form engraved with Dutch armorials are also recorded, one of which was exhibited at The Glass Circle 50th Anniversary Exhibition 1937-1987, see the catalogue, Strange and Rare (1987), p.17, no.41. The prevalence of Dutch engraving on baluster glasses of this type raises the possibility that they were in fact produced in the Netherlands.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 Keith-Douglas 'Amen' glass: a highly important engraved Jacobite airtwist wine glass, circa 1747-50The drawn trumpet bowl inscribed in diamond-point with the cipher monogram 'JR' and the number '8' beneath a crown, flanked by the first two verses from the Jacobite version of the national anthem in script and inscribed 'Amen.' within a scrollwork border below, the reverse inscribed 'Prince/ Henry/ Duke of/ Albany/ and/ York' flanked by calligraphic scrolled bands, an elaborate circle and loop scrollwork border below the rim, raised on a multi-spiral airtwist stem and conical foot, the foot inscribed with the first half of the third verse, later repaired with a clasping silver mount and replacement foot section inscribed in a different hand with the second half of the third verse and 'God bless/ all/ Loyal Subjects', 17cm highFootnotes:ProvenanceBy repute owned by George Keith, 10th Earl MarischalBy repute thence by descent to Bishop Robert Keith, Primate of ScotlandThence by Keith family descent to Stewart Marischal Keith-DouglasSotheby's, 23 October 1925, lot 96, where bought by Cecil DavisCaptain W Horridge Collection, Jackson-Stops and Staff, 30 November 1959, lot 367Dr Peter Plesch Collection, Sotheby's, 6 December 1971, lot 159Kenneth Alexander CollectionWith Asprey, 1986Durrington CollectionLiteratureWilliam Gibb and John Skelton, The Royal House of Stuart (1890), pl.XXXIIAlbert Hartshorne, Old English Glasses (1897), pp.347-8Rees Price, 'Notes on Jacobite Drinking glasses', Transactions of the Glasgow Archaeological Society, Vol.5, No.2 (1906), p.25John Shuckburgh Risley, 'Jacobite Wine Glasses: Some Rare Examples', The Burlington Magazine, Vol.XXXVI (June 1920), pp.276 and 281E M Elville, English Table Glass (1951), p.164, fig.93Frank Davis, 'A Page of Collectors: Jacobite Glass', The Illustrated London News (13 February 1960), p.258, fig.1Derek C Davis, English and Irish Antique Glass (1964), pl.47Peter H Plesch, 'English and Continental Glass in the Collection of Dr and Mrs Peter H Plesch', Journal of Glass Studies, Vol.7 (1965), p.81, figs.7 and 8aJohn Ferlay, 'An Interesting Glass Sale', Antique Dealer and Collectors Guide (April 1972), p.89, fig.5R J Charleston and Geoffrey Seddon, ''Amen' Glasses', The Glass Circle Journal, No.5 (1986), pp.13, no.29, fig.8(e)Geoffrey B Seddon, 'The Engraving on the 'Amen' Glasses', The Glass Circle Journal, No.5 (1986), p.19, no.1Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), pp.197-9, no.9, pl.144Peter Dodsworth, The Durrington Collection (2006), no.16Dwight P Lanmon, The Golden Age of English Glass (2011), p.169, no.5ExhibitedNew Gallery, Regent Street, London, 'Exhibition of the Royal House of Stuart', 1889, catalogue no.577Victoria and Albert Museum, 'Circle of Glass Collectors Commemorative Exhibition 1937-1962', 1962, catalogue no.303Victoria and Albert Museum, 'Exhibition of English Glass', 1968, catalogue no.132Glasgow Museums and Art Galleries, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.3The first and second verses on the bowl read:God Bliss The King I pray/ God Save The King I pray,God Save/ The King.Send Him Victorious/ Happy and Glorious,Soon to Reign/ Over Us,God Save/ The King.God Bliss The Prince of Wales,The True Born Prince of Wales,Sent Us by Thee.Grant us one Favour moreThe King for to RestoreAs Thou hast done beforeThe Familie.The third verse on the foot reads:God Bliss The ChurchAnd Save The Church I prayPure to RemainWhich is later completed on the replaced section:against allheresy and WhigsHypocrasy who striveMaliciously Her to defameThe Keith-Douglas 'Amen' glass belongs to a celebrated group of thirty-seven Jacobite 'Amen' glasses dating to the mid-18th century, see the footnote to Lot 19 in this sale. This remarkable glass is one of just nine known with airtwist stems, see Dwight P Lanmon, The Golden Age of English Glass (2011), p.169, where the so-called Ogilvy of Inshewan 'Amen' glass is illustrated and discussed on pp.168-71, no.53. The present lot is one of just twelve 'Amen' glasses bearing an additional dedication to Prince Henry, the younger brother of Prince Charles, of which two are dated 1749. Ironically this is after Henry became a Cardinal in 1747 in a move which was considered a betrayal of the Jacobite cause.All of the extant 'Amen' glasses are considered to be the work of the same individual working between about 1743 and 1750, and there is now compelling circumstantial evidence to suggest that this may have been the Scottish artist and line-engraver Sir Robert Strange (1721-1792), see the footnote to Lot 19 in this sale. Seddon notes that the quality of the engraving on the present glass is, like the majority of surviving 'Amen' glasses, of higher quality than those bearing early dates and therefore likely to have been engraved in or shortly after 1747, the period after which Strange had emerged from hiding following the Battle of Culloden.The present glass was reputably owned by the exiled George Keith (1692/3-1778), 10th Earl Marischal of Scotland, a devoted Jacobite supporter who was appointed the Captain General of the Jacobite forces in Scotland in 1744. F Peter Lole highlights in the catalogue of the Durrington Collection the engraved dedication to Earl Marischal on the so-called Valliant 'Amen' glass, see Dodsworth (2006), p.18 and Seddon (1995), pp.216-8, no.28. From there it is thought to have passed to Bishop Robert Keith (1681-1757), but as he died over two decades before the Earl it is possible that this is incorrect and it passed to a different member of the Keith family, see Dodsworth (2006), p.56.Whilst it is not clear at what point in the history of this glass that the foot was damaged, the repair can be seen in the illustration of this glass in the catalogue accompanying the Royal House of Stuart exhibition in 1889. The missing section has been repaired with a single piece from the foot of another glass, itself engraved with a fitting version of the national anthem by a different hand.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 emerald-green tinted baluster champagne flute, circa 1830In deep green glass, the delicate tall trumpet bowl with a flared rim, resting on a collar, the stem with a triple-annulated knop formed of a central merese set between two baluster dumbbell sections, over a conical foot, 18.7cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith AspreyDurrington CollectionExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.6, no.95Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.56This 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 Tilly of Haarlem Goblet: an important Beilby enamelled and engraved armorial light baluster goblet, circa 1765The 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 engraved with a medallion containing seven arrows emblematic of the Seven United Provinces, within the inscription 'VREEDE EN EENDRAGHT' (Peace and Unity), surmounted by a dove in white enamel, traces of gilding to the rim, on a stem with triple-annulated knop above a beaded inverted baluster and small basal knop, over a conical foot, 17cm highFootnotes:ProvenanceSotheby's, 1 July 1949, lot 16With Delomosne and SonSotheby's, 24 November 1986, lot 78With Asprey, 1987Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.29Stephen Pohlmann, 'The Tilly Glasses', Glass Circle News, No.139 (November 2015), p.5, fig.1ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.38Once known as 'Newcastle' light balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England, see Catherine Ross, 'Flint glass houses on the Rivers Tyne and Wear during the eighteenth century', The Glass Circle Journal, No.5 (1986), pp.75-85. It is likely that the Beilbys imported undecorated light baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems and several have Dutch connections.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 includes 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.In 2010 a second 'Tilly' glass, with a damaged foot, was discovered in the collection of Rudy van Dobben in Halfweg, Netherlands, which had directly descended through the Tilly family. See Kiki Alpherts and Marius van Dam, Tussen Kunst en Kitsch: 101 ontdekkingen (2015), p.133, no.66. This was sold as part of the Stephen Pohlmann Collection by Bonhams on 30 November 2022, lot 40 and differs slightly from the present lot in that the reverse is enamelled with the crest of a white dove in flight above a helmet in yellow and red. Whilst it has been suggested that the engraving on the Durrington glass existed before the enamelling took place, it is plausible that the engraved medallion was later added over the original enamelled crest. A 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 rare engraved Jacobite firing or toasting glass, circa 1750The waisted bell bowl with a solid base, decorated with a six-petalled rose on a thorny stem with two buds, one open and one closed, the other side with a thistle spray, a fruiting oak sprig bearing a single acorn, 'Fiat' and a star, on a heavy circular 'firing' foot, 8.1cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.286, no.911Peter Dodsworth, The Durrington Collection (2006), no.22ExhibitedAsprey, '100 British Gasses', 1985, catalogue pp.54-5, no.84Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.11According to Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), the engraving might be attributable to Engraver A in the author's nomenclature.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 emerald-green tinted airtwist champagne or wine glass, circa 1760In deep green glass, the generous cup-shaped bowl on a double-series stem with a central swelling knop, enclosing two pairs of mercurial air threads around a central air corkscrew, over a conical foot, 16.4cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.38ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.5Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.32Glasses with cup-shaped bowls such as this were traditionally thought to have been used for mead, but it is now thought that they were used for champagne. A very similar glass from the Seddon Collection is in the Harris Museum, Preston. See also the example sold by Bonhams on 3 June 2009, lot 103.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare engraved Jacobite airtwist goblet, circa 1750The generous bucket bowl with a seven-petalled rose on a thorny stem with two buds, one closed and one open, beneath the inscription 'Turno Tempus erit', the reverse inscribed 'FIAT.' beside a star, raised on a multi-spiral stem with a central vermicular collar, over a conical foot engraved with a thistle spray and inscribed 'Redeat', 21cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureJanet Warren, A Feast of Scotland (1979), p.171L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.278, nos.877 and 878Peter Dodsworth, The Durrington Collection (2006), no.19ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.52-3, no.81Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.5The Jacobite motto 'Redeat' (May he return) is normally found on the bowls of glasses and only found inscribed on the foot of those additionally inscribed 'Turno Tempus Erit' (For Turnus there shall be a time), see Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), pp.107 and 110. Seddon suggests that Turnus, a character slain by Aeneas in Virgil's Aeneid, is likely to represent the Duke of Cumberland, with the implication that the Hanoverian victory will be short-lived. According to Seddon, the engraving can be attributed to Engraver A in the author's nomenclature and just three glasses with this combination of mottoes were recorded at the time of publication. A very similar glass is in the Churchill-Hale Collection at Grocers Hall, London. An airtwist wine glass with similar engraving is in the Drambuie Collection, illustrated in Robin Nicholson's catalogue (1995), p.30, pl.20. A further two airtwist wine glasses matching the Drambuie Collection example, discovered after Seddon's publication, was sold by Bonhams on 1 May 2013, lots 108 and 109.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 emerald-green tinted incised twist champagne or wine glass, circa 1760In green glass, the cup-shaped bowl raised on an incised twist stem, over a domed foot, 16.2cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.49ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.12Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.52This 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 Perry of Mambeg 'Amen' glass: a highly important engraved Jacobite wine glass, circa 1747The drawn trumpet bowl inscribed in diamond-point with the cipher monogram 'JR' and the number '8' beneath a crown, flanked by the first three verses from the Jacobite version of the national anthem in script and inscribed 'Amen' within a scrollwork border below, an elaborate calligraphic scrollwork border to the rim, raised on a plain stem containing an elongated tear, over a conical foot, 15.9cm highFootnotes:ProvenanceBy repute owned by General StuartBy repute thence by descent to his cousin, Mr Ferrier, a Writer to the Signet in EdinburghBy repute thence by descent to his wife, Mrs Ferrier, née Miss Gordon (or Gardon) of Croy, KillearnBy repute presented by her to Sir Robert PerryThence by descent to his son Dr Robert PerryThence by descent to his wife May Perry of The Lodge, Mambeg, Garelochhead, Sotheby's 27 June 1924, lot 36, where bought by Arthur ChurchillGeorge Henderson Collection, Knight, Frank and Rutley, 2 October 1952, lot 60J D Fox Collection, Sotheby's, 16 October 1972, lot 194With Cecil Davis LtdSotheby's, 10 February 1986, lot 22With Asprey, 1986Durrington CollectionLiteratureRees Price, 'Notes on Jacobite Drinking glasses', Transactions of the Glasgow Archaeological Society, Vol.5, No.2 (1906), pp.24-5 and pl.1, fig.2Percy Bate, English Table Glass (1913), p.99, pl.LII, no.200John Shuckburgh Risley, 'Jacobite Wine Glasses: Some Rare Examples', The Burlington Magazine XXXVI (June 1920), p.281R J Charleston and Geoffrey Seddon, ''Amen' Glasses', The Glass Circle Journal, No.5 (1986), p.9Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), p.189, pl.137e and pp.218-9, no.29, pl.155Peter Dodsworth, The Durrington Collection (2006), no.17ExhibitedGlasgow Archaeological Society, 17 November 1905The Scottish Exhibition of National History, Art and Industry, Glasgow, 'Palace of History', 1911, catalogue p.739, cases 25 and 26, no.1Glasgow Museums and Art Galleries, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.2The two verses on the bowl read:God Save The King I pray/ God Bliss The King I prayGod Save/ The KingSend him Victori=ous/ Happy and GloriousSoon to Reign/ Over Us,God Save/ The King.God Bliss the Prince of WalesThe True born Prince of WalesSent us by Thee:Grant us one favour moreThe King for to RestoreAs Thou hast done beforeThe Familie.Together with Lot 25 in this sale, the Perry of Mambeg 'Amen' glass belongs to a celebrated group of thirty-seven Jacobite 'Amen' glasses dating to the mid-18th century. All are inscribed in diamond-point with the monogram 'JR' interwoven with the number '8' for James VIII, known as the 'Old Pretender', who was considered by many to be the legitimate King of Scotland. All are inscribed with one or more verses from the Jacobite version of the national anthem 'God Save the King', promoting the good health and restoration of King James VIII and Prince Charles, and occasionally Prince Henry, Cardinal Duke of York. Most of these inscriptions end with the word 'Amen'. Five of the glasses bear dates between 1743 and 1749, the earliest of which is recorded on the so-called Steuart 'Amen' glass, see Seddon (1995), pp.220-2, no.32. The present lot is one of twenty-four 'Amen' glasses with plain drawn stems, most of which contain a large elongated tear, see Seddon (1995), pp.185-229.All are considered to be the work of a single engraver generally thought to have been working in Scotland who engraved glasses available to him over a relatively short period of time in the 1740s, probably between 1743 and 1750. In recent years Ian McKenzie has provided compelling circumstantial evidence to suggest that the 'Amen' glasses may be the work of the renowned Scottish artist and line-engraver, Sir Robert Strange (1721-1792), see Geoffrey B Seddon, The Jacobites and their Drinking Glasses (2015), pp.188-92. In around 1743-44, around the time that the first 'Amen' glasses were engraved, Strange first met his future wife Isabella Lumisden who, together with her brother Andrew, was a dedicated Jacobite supporter. As a condition of their betrothal, she stipulated that Strange should join the Prince's Army to support the 'cause'. Strange, who was also a dedicated Jacobite supporter, subsequently joined the Life Guards and served in the army throughout the rebellion before going into hiding after the Battle of Culloden, eventually marrying Isabella in 1747.Seddon notes that the engraving on four of the known 'Amen' glasses is of relatively poor quality compared to the others; this includes the Steuart 'Amen' glass with the early date 1743. He notes a further six glasses with slightly better engraving, including the present lot and the so-called Dunvegan 'Amen' glass which bears the date 1747, all of which are thought to have been engraved around this date. He suggests that in the years between 1743 and 1747 there is likely to have been a period of two or more years when no 'Amen' glasses were produced, coinciding with Strange's service in the Prince's Army and his subsequent period in hiding. The majority of the remaining extant 'Amen' glasses have engraving considered by Seddon to be of much better quality and are therefore thought to have been engraved in or after 1747, after which Strange had emerged from hiding and married his wife.The present glass obtains its name from its ownership by the Perry family, who were a distinguished family in the city of Glasgow. Sir Robert Perry (1783-1848) was a prominent physician who was President of the Faculty of Physicians and Surgeons of Glasgow from 1843 until 1845. His son, Dr Robert Perry (1826-1918), married May Perry, née Jane Mary Robertina Sim (1851-1931), in 1872. They lived all of their married lives in a large house at 11 Queen's Terrace (later 67 West Princes Street), close to the Arlington Baths Club with which they were connected. May's mother Jane lived at The Lodge at Rosneath (near Mambeg) on the Gare Loch until her death in 1906, and the house is mentioned in Robert's will in 1918 as having been part of his estate. May was still living at their home in Glasgow after her husband's death, but moved to Swanage in Dorset shortly afterwards and it is likely that the present lot was sold at Sotheby's at around the time she moved.It is not possible to be certain of the identity of the Mr Ferrier from whom the glass reputedly descended, but several members of the Society of Writers to the Signet by the name of Ferrier are recorded in A History of the Society of Writers to Her Majesty's Signet (1890), all of whom were related. James Ferrier (1744-1829) became a Writer in 1770 and his sons Archibald, John and Walter followed him as Writers. Archibald Campbell Ferrier (1773-1814) became a Writer in 1796 and married Catherine 'Kate' Garden in 1800 in Greenock, who was the daughter of Francis Garden, a merchant in Greenock. Although she was not from Croy, they seem to be the only feasible candidates for Mr and Mrs Ferrier (née Gordon or Gardon) 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

A rare engraved Jacobite portrait airtwist wine glass, circa 1750The round funnel bowl with a portrait bust of Prince Charles Edward Stuart clad in tartan, framed within a laurel wreath, flanked by tied sprays of a thistle and a six-petalled rose on a thorny stem with a single closed bud, on a multi-spiral stem with shoulder and central knops, over a conical foot, 16.7cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.18ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.48-9, no.78Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.6According to Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), the engraving can be attributed to Engraver D in the author's nomenclature. Two portraits engraved in a very similar style, also flanked by a rose and thistle and wearing the star and riband of the Garter over the wrong breast, are illustrated by Seddon (1995) on p.130, pl.96, Seddon suggests that these reversed portraits were intended to be viewed from the opposite side of the bowl.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 blue tinted plain stem wine glass, circa 1750In deep cobalt-blue glass, the round funnel bowl with a hammered or honeycomb moulding to the lower part, raised on a plain stem and conical foot, 15cm highFootnotes:ProvenanceDurrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.48ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.49In the catalogue of the Durrington Collection, John P Smith notes that cobalt-blue drinking glasses from the 18th century are exceptionally rare and only a handful of such glasses with a hammered bowl such as this exist, see Dodsworth (2006), p.49. For an opaque twist wine glass with a blue tinted bowl and foot, see Lot 54 in this sale. For a plain stem wine glass with a plain bowl in cobalt-blue glass, see the example offered by Sotheby's on 18 December 2002, lot 115.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 engraved Jacobite airtwist wine glass, circa 1750The round funnel bowl with a thistle surmounted by a crown, raised on a double-series stem with a pair of mercurial threads encircling a central air gauze column, over a conical foot, 15.5cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.278, no.879Peter Dodsworth, The Durrington Collection (2006), no.23ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.54-5, no.86Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.4This 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 baluster wine glass, circa 1725-30The slightly waisted bell bowl with a solid base, set on a large teared ball knop, the tear extending into a slender inverted baluster, over a folded conical foot, 16.3cm highFootnotes:ProvenanceWith Asprey, 1991Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.11ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.24This 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 green tinted incised twist baluster champagne or wine glass, circa 1750-60In light green glass, the distinctive cup-shaped bowl moulded with a band of twenty-six evenly spaced vertical flutes or gadroons to the base, raised on an incised twist stem with shoulder and basal knops, over a folded conical foot, 12cm highFootnotes:ProvenanceC Kirkby Mason Collection, Sotheby's, 21 November 1929, lot 58 (part)Lidgerwood CollectionWith Cecil Davis, 1935Walter F Smith Collection, Sotheby's 24 June 1968, lot 735Probably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.47ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.10Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.48Traditionally known as mead glasses, it is now thought that glasses of this form were more likely used for Rhenish wine or champagne, see the footnote to 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

The Duke of Cornwall: an important engraved Privateer wine glass, circa 1760The round funnel bowl engraved with the three-masted ship in full sail, inscribed around the rim 'Success to the DUKE of CORNWALL Privateer,' above 'DAVID JENKINS COMMANDER,', on a single-series opaque twist stem containing a multi-ply corkscrew, over a conical foot, 15.4cm highFootnotes:ProvenanceCaptain David JenkinsThence by family descent to his great-great-great grandsonChristie's, 23 May 1989, lot 166With Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.56ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.45This glass belongs to a group of wine glasses presumed to have been made for Bristol Privateers, which were in effect officially sanctioned pirate ships. The Duke of Cornwall was an active Bristol-based ship of 350 tons with 30 guns, 12 swivels and a crew of 220 men, owned by John Noble and Joseph Love. She was declared on 21 March 1757 and commanded by Captain David Jenkins until 1760, see J W Damer Powell, Bristol Privateers and Ships of War (1930), pp.201-2. In May 1757 the Duke of Cornwall took a French Privateer of 10 guns with a collier that the latter had taken as a prize, sending them both to Mounts Bay. In July she took the Duc d'Aquitaine from St. Domingo, with a cargo worth a staggering £17,000, and brought her into Kingroad. In 1758, together with the St. Andrew, she took a vessel laden with wine and brandy and recaptured the George galley from Poole for Newfoundland. They also retook the Duke of Marlborough from Virginia for London, and in May sent two large Dutch ships with 900 hogsheads of sugar into Falmouth, two French prizes into St. Johns, Newfoundland, and a Spanish vessel into Kingroad. Two previously unrecorded Privateer wine glasses for the St. Andrew were sold by Bonhams on 18 May 2016, lot 110 and 3 November 2016, lot 113, both with unusual mixed twist stems.Felix Farley's Bristol Journal of 4 November 1758 reports that...'The Duke of Cornwall, Privateer, Jenkins, has taken and sent into Kingroad a ship from Canada; and has retaken the Winchelsea, Man of War of 24 guns, which was taken by a French Man of War of 74 guns; Captain Jenkins left his prize with Admiral Saunders in the Bay.'This was the second instance of a Bristol privateer retaking a King's ship. Other prizes of the Duke of Cornwall were the Lyme brig, the Esperance sloop, the Goodman brig, the Mediterranean snow, the Planter and, in 1759, the French snow St. Thomas. David Jenkins was subsequently captain of the Boscawen of Dartmouth, notably defeating three French frigates on 22 November 1761. He was appointed mayor of Truro in 1776, a position later held by his son Sylvanus. A portrait of Jenkins was sold by Bonhams on 21 April 2010, lot 117.This remarkable glass is one of an original set, of which at least five are recorded including the present lot. They are unusual in that they have round funnel bowls, when glasses of this type typically have bucket bowls. An example from the Dr W J Stephens Collection was sold by Sotheby's on 9 December 1947, lot 121 and again as part of the Sir Hugh Dawson Collection on 21 October 1960, lot 39. Another was first sold by Sotheby's on 23 November 1970, again as part of the Anthony Waugh Collection on 28 April 1980, lot 119 and a third time on 15 September 1992, lot 62; this is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.295, no.945 and had originally belonged to Miss Lettice Jenkins, the great-great granddaughter of Captain David Jenkins (1717-1802). A third example, with a replacement foot, is in the Royal Cornwall Museum in Truro and was exhibited at the Association Internationale pour l'Histoire du Verre exhibition at the Ashmolean Museum, see the catalogue (1979), p.18, no.34. A fourth is in the National Maritime Museum, Greenwich (inv. no.GGG0185).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 emerald-green tinted moulded stem champagne glass, circa 1740In deep green glass, the tall round funnel bowl raised on a short eight-sided moulded stem terminating in a triple collar, over a domed foot, 15.2cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.54ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.14Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.57This rare glass can be considered a precursor to the present-day champagne flute. In the catalogue of the Durrington Collection, John P Smith discusses the use of glasses of this shape for sparkling drinks, as the tall bowl allowed bubbles to rise to the surface and sediment to fall to the bottom, see Dodsworth (2006), p.50. An almost identical glass is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.100. Another from the Walter F Smith Collection was sold by Sotheby's on 24 June 1968, lot 734.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 and unusual engraved coin goblet containing an English coin, circa 1680-90The generous round funnel bowl moulded with a series of fourteen evenly spaced gadroons to the base, engraved with a charming landscape scene depicting a gentleman toasting his expectant wife, he pouring wine from a decanter into a goblet, she with a glass raised in her left hand, flanked by flowering trees and foliage, a radiant sun to the reverse, the rim inscribed 'HANSTIE IN DE CEDER' (Hans in the Cellar), set on a stem formed of two large hollow ball knops set between a series of collars, the upper knop moulded with ribs and containing a Charles II silver Groat or fourpence dated 1679, raised on a high folded conical foot, 18cm highFootnotes:ProvenanceWith Asprey, 1988Durrington CollectionExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.17This popular subject on Dutch glass brings news of a pregnancy, the toast to the lady of the house announcing that there is a little 'Hans in the Cellar'. Much 17th century glass containing lead has traditionally been attributed to English manufacture and when exhibited by Asprey at the Grosvenor House Antiques Fair in 1988, this remarkable goblet was no exception, perhaps substantiated by the unusual inclusion of an English coin in the stem. However, lead glass was also made in the Netherlands at this time. Whilst an English origin cannot be ruled out, the engraving is undoubtedly Dutch and this is probably where the glass was made. The present goblet would appear to be unique with no direct parallel in form. For an English baluster coin goblet also containing a Charles II silver Groat of the same date, see that sold by Bonhams on 15 November 2017, lot 79.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 façon de Venise large wine glass, second half 17th centuryLow Countries or possibly English, the delicate conical bowl with a solid base, raised on a hollow quatrefoil knop flanked by two pairs of collars, the spreading foot nearly folded at the rim, 16.8cm highFootnotes:ProvenanceWith Asprey, 1991Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.2ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.15In the catalogue of the Durrington Collection Martin Mortimer notes how glasses of similar style were ordered by the London glass merchant John Greene from his Venetian supplier, Allesio Morelli, between 1667 and 1672, see Dodsworth (2006), p.8. Whilst many glasses of this type are typically attributed to the Low Countries, an English origin cannot be ruled out. A similar glass from the Smith Collection and Harvey's Wine Museum is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.57, no.27 and another from the F Peter Lole Collection was sold by Bonhams on 5 June 2019, lot 8. A glass of related shape engraved with the arms of the Dukes of Bedford from the Peter Meyer Collection was sold by Bonhams on 1 May 2013, lot 1.Saleroom notices:Please note that the author of the 2006 catalogue of The Durrington Collection is Roger Dodsworth. Any instances where Peter Dodsworth is stated as the author in this sale are incorrect.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 wine glass, circa 1765-70The round funnel bowl finely painted in polychrome with a yellow rococo scrollwork cartouche heightened in iron-red, enclosing the coat of arms of Thomas impaling Clayton in black, white and gilt, flanked by foliate sprigs, the reverse with fruiting vine in white enamel pendent from the rim, set on a double-series opaque twist stem with a pair of opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 15.1cm highFootnotes:ProvenanceChristie's, 16 October 1990, lot 162With Asprey, 1990Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.33ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.37The coat of arms is for the Right Reverend John Thomas (1712-1793), who was Bishop of Rochester from 1774. Born in Carlisle, he was the eldest son of John Thomas, vicar of Brampton, Cumberland. He had a remarkable and distinguished career in the church, beginning on 27 March 1737 when he was ordained a deacon before receiving priest's orders on 25 September that year. On 27 January 1738 he was instituted rector of Bletchingley in Surrey, a living in the gift of Sir William Clayton whose daughter Anne he would go on to marry. Thomas was appointed chaplain in ordinary to King George II on 18 January 1749, a post which he retained under King George III. On 23 April 1754 he was made a prebendary of Westminster and in 1762 was appointed sub-almoner to the Archbishop of York. He was instituted to the vicarage of St Bride's, Fleet Street, London on 7 January 1766 and became Dean of Westminster and of the Order of the Bath in 1768. He was consecrated Bishop of Rochester on 13 November 1774.Thomas was married twice and the arms on the present glass represent his first marriage to Anne, daughter of Sir William Clayton and widow of Sir Charles Blackwell, on 19 August 1742. Anne died on 7 July 1772 and he remarried on 12 January 1776, this time to Elizabeth, daughter of Charles Baldwin and widow of Sir Joseph Yates. It is likely that the set was commissioned prior to Anne's death in 1772, perhaps to celebrate Thomas' new position of Dean of Westminster and of the Order of the Bath in 1768. Five glasses from this set are recorded, including the present lot. One from the Chris Crabtree Collection was sold by Bonhams on 19 May 2010, lot 62 and three more were discovered in the Portsmouth area in 2011 before being sold at auction in Chichester later that year. One of those three was subsequently sold by Bonhams as part of the Darell Thompson-Schwab Collection on 30 November 2022, lot 144. For a set of four Beilby enamelled armorial wine glasses bearing the arms of the Surtees family, see that sold by Bonhams on 23 June 2021, lots 9-12.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare engraved Royal commemorative heavy baluster wine glass by 'The Calligraphic Master', circa 1720The round funnel bowl with a solid base, finely inscribed 'To the Pious memory of Queen Anne;' in diamond-point below the rim, raised on an inverted baluster stem containing an elongated tear, over a folded conical foot, 15.5cm highFootnotes:ProvenanceChristie's, 7 March 1964, lot 174Kenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.15ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.8-9, no.6Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.7This remarkable glass belongs to a distinctive group of early English glasses with diamond-point engraving attributed to 'The Calligraphic Master', see R J Charleston, 'Some English glasses with diamond-point decoration: the Calligraphic Master', The Burlington Magazine (May 1994), 276-82. Charleston attributes just thirteen glasses to this anonymous master engraver, the majority of which celebrate Queen Anne (1655-1714) or the Church of England. He attributes all to circa 1720 in date and records three other baluster glasses of slightly different form which bear the same inscription as the present lot (nos.4-6 in his list). An acorn-knopped heavy baluster wine glass with the same inscription was sold by Sotheby's on 5 June 2007, lot 163.In the catalogue of the Durrington Collection, F Peter Lole notes that the present glass is unrecorded by Charleston and therefore represents an important addition to this corpus of engraved glasses, see Dodsworth (2006), p.16. Anne was the last Stuart monarch and Lole discusses the possibility that glasses commemorating her may be Jacobite in sentiment. Two glasses from this important group are in the Victoria and Albert Museum, including one inscribed 'God Bless Queen Ann' (C.539-1936) and one inscribed 'Take a Dram Old Boy' (inv. no.C.537-1936), both of which are illustrated by R J Charleston, English Glass (1984), pls.32a and 32b. A heavy baluster goblet inscribed 'To ye pious Memory of Queen Anne' was sold at Christie's on 9 March 1964, lot 174 and Charleston records two further examples with this particular inscription.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 green tinted incised twist wine glass, circa 1760In aqua-green glass, the generous round funnel bowl raised on an incised twist stem and conical foot, 14cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1986Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.50ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.51This 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 and rare Royal commemorative moulded stem wine glass, circa 1714The thistle bowl with a solid base, set on a half knop, the wide four-sided stem containing a generous tear, the top of the stem inscribed 'God Save King George' surmounted by four moulded crowns on the corners of the shoulder, over a folded conical foot, 16.3cm highFootnotes:ProvenanceSotheby's, 6 February 1988, lot 145Christie's, 7 June 1988, lot 239With Asprey, 1988Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.14F Peter Lole, 'Limpid Reflections', Glass Circle News, No.109 (December 2006), pp.12-13ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.9Just twenty-two of these pro-Hanoverian glasses with moulded stems bearing inscriptions which presumably commemorate the coronation of King George I in 1714 are recorded by Dwight P Lanmon, The Golden Age of English Glass (2011), pp.156-7. Save for one, all are four-sided and are found with nine different varieties of moulded inscription. Just five other examples bear the same inscription as that on the present lot. Four of these have conical bowls and include an example in the McCorkle Collection, an example from the Rees Price Collection now in the Victoria and Albert Museum (inv. no.C.135-1925), an example sold by Sotheby's on 12 May 1998, lot 24, and an example from the Hartshorne Collection illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.124, no.286 and sold by Bonhams on 15 December 2010, lot 7.The only other example with a thistle bowl is additionally inscribed 'R Sayer of Braintree' in diamond-point to the bowl and '1717' to the foot. It is illustrated by John Hayes, The Garton Collection of English Table Glass (1965), p.22 and is now in the Museum of London (inv. no.34.139/91). Only the example formerly in the Hartshorne Collection is moulded with crowns on the corners of the shoulder like the present lot. These crowns appear to be a precursor of the diamond studs or stars usually found on moulded stems, see Robert Charleston, English Glass (1984), pp.145-6.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 heavy baluster goblet, circa 1710-20The conical bowl solid at the base, on a stem with a wide angular knop with a central tear, above a small basal knop, over a folded conical foot, 17.5cm highFootnotes:ProvenanceWith Asprey, 1991Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.10ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.25A similar goblet is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.69, no.73 and an example from the Patrick and Mavis Walker Collection was sold by Bonhams on 21 June 2022, lot 41. Compare also to the glass illustrated by Delomosne and Son, The Baluster Family (1985), pp.20-1, no.8a.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 emerald-green tinted baluster champagne or wine glass, circa 1750-60In 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 teared true baluster containing a central tear, over a domed folded foot, 13.2cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1986Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.46ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.6Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.47Glasses 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. Their use as champagne glasses is discussed by John P Smith in the Durrington Collection catalogue on pp.47-9. The London glass seller Thomas Betts sold '12 Green 1/2 Mo Egg Champagne' glasses which may refer to glasses of related form.A very similar glass was sold by Bonhams on 2 November 2015, lot 31 and another from the Stephen Pohlmann Collection on 20 November 2022, lot 31. 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 opaque twist wine glass with an emerald-green tinted bowl and foot, circa 1765The ogee bowl and the conical foot both in deep green glass, the multi-spiral stem in clear glass with a central angular knop, 15.2cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1988Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.43ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.35This exceptional glass is one of an original set of six, two of which were once exhibited by Cecil Davis, see Arthur Churchill Ltd, Glass Notes (December 1955), p.5. An example formerly in the Beves Collection is now in the Fitzwilliam Museum (inv. no.C.471-1961), illustrated in the catalogue (1978), no.227a. Another is currently in the Diageo Collection (formerly the Cinzano Glass Collection), illustrated by Rosa Barovier Mentasti, Glass Collection della Diageo a Santa Vittoria d'Alba (2005), no.166. Two were sold by Bonhams on 30 November 2011, lot 124 and 15 November 2017, lot 44 respectively. The former was in the A C Hubbard Jr Collection and is illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), p.99, pl.146, whilst the latter was in the Julius and Ann Kaplan Collection and is illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), fig.20. Another was sold by Christie's on 3 June 1986, lot 130 and was formerly in the Durrington Collection, see Dodsworth (2006), no.42. These glasses relate closely to a set of identical form but with blue bowls and feet, see Lot 54 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 mammoth heavy baluster goblet, circa 1715The generous round funnel bowl with solid base, over a wide inverted baluster and basal knop containing an elongated tear, over a wide folded conical foot, 29.5cm highFootnotes:ProvenanceChristie's, 7 June 1988, lot 214With Asprey, 1988Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.4ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.28A very similar mammoth goblet is in the British Museum (inv. no.1949,0401.1). A slightly smaller example from the Thomas Collection was sold by Bonhams on 4 June 2008, lot 7 and was exhibited in The Glass Circle Diamond Jubilee Exhibition 1937-1997, catalogue p.42, no.23. See also the slightly larger example of similar form from the John Maunsell Bacon Collection, sold by Bonhams on 1 December 2021, lot 59.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 opaque twist wine glass with a blue tinted bowl and foot, circa 1765The ogee bowl and conical foot both in rich cobalt-blue glass, the multi-spiral stem with a central angular knop, 16.2cm highFootnotes:ProvenanceSotheby's, 18 December 2002, lot 109With C & L Burman, 2003Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.44Only two other wine glasses are recorded with this extraordinary combination of bowl, stem and foot. An example from the Beves Collection is now in the Fitzwilliam Museum (inv. no.C.572-1961), illustrated in the catalogue (1978), p.94, no.227b. The other was in the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 43, and is illustrated by Christopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), p.51 and by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), p.22, fig.19. They relate closely to a set of six glasses of identical form but with emerald-green tinted bowls and feet, see Lot 56 in this sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The George III Goblet: a highly important enamelled Royal armorial goblet by William Beilby, circa 1762-63The generous bucket bowl elaborately painted in polychrome with the Royal Arms of King George III of Great Britain, the border inscribed with the motto of the Order of the Garter, surmounted by the imperial crown upon the Royal helm beneath a crowned lion statant guardant, all within an elaborate rococo scrollwork cartouche, flanked by lion and unicorn supporters, a rose to one side and a thistle to the other, a banner below inscribed with the motto 'DIEU. ET. MON. DROIT.' (God and My Right), the reverse with the Prince of Wales' feathers issuing from a coronet, flanked by rococo scrollwork, the rim gilded and solid gilt grounds to the first and fourth quarters of the arms to the interior of the goblet, raised on a double-series opaque twist stem containing a pair of heavy opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 21.5cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureDerek Davis and Keith Middlemas, Coloured Glass (1968), p.57L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.327, no.1062-3Peter Dodsworth, The Durrington Collection (2006), no.28ExhibitedAsprey, '100 British Glasses', 1985, catalogue p.5, front and back cover illustrationsCorning Museum of Glass, New York, 1985Pollock House, Glasgow Museums, 1998Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.8This exceptional goblet is among the most celebrated pieces of glass ever produced in Britain. It belongs to a significant group of stately armorial goblets all decorated by William Beilby (1743-1819) with the Royal arms of King George III. Their beauty and elegance places them amongst the finest examples of enamelled glass ever produced and they are considered the most outstanding products of the Beilby family workshop in Newcastle-upon-Tyne. Their exquisite brushwork and the astonishing balance in tone of the full colour range employed was emphasised by James Rush, The Ingenious Beilbys (1973), p.99.It is unclear how many of these Royal glasses were originally produced, but they are thought to have been commissioned to commemorate the birth of The Prince of Wales (the future King George IV) on 12 August 1762. Including the present lot, just ten goblets all with bucket bowls and a decanter bearing these arms are recorded, no two of which are identical either in form or decoration. They are listed by Simon Cottle, 'Fragile Diplomacy: the Significance of the Beilby Royal Armorial Goblets', Glass Circle News, Vol.37, No.2 (2014), pp.24. Most were produced between the birth of the Prince of Wales in August 1762 and the death of William's father in March 1765. Four of these goblets are signed, including two with William Beilby's full signature, leaving little doubt as to the identity of the decorator of the unsigned examples. Arguably the most famous of these is the so-called Whitehaven Goblet, sold by Christies on 4 June 1985, lot 143 and now in the Beacon Museum in Whitehaven (inv. no.WHHMG.1994.157), illustrated by James Rush, A Beilby Odyssey (1987), pp.84-5, front cover and pl.F.C.2, by Simon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, No.9 (2001), pp.28-9, by Dwight P Lanmon, The Golden Age of English Glass (2011), p.42, fig.21, by Simon Cottle, 'Family Connections: The Formative Years of Beilby Enameled Glass, 1760-1765', Journal of Glass Studies, Vol.57 (2015), p.193, fig.12, and also by Cottle (2014), p.22. It commemorates a slave ship, The King George, launched in 1763 and is the only piece which does not bear the Prince of Wales' feathers on the reverse. It is instead enamelled with an interpretation of the ship inscribed 'Success to the African trade of WHITE-HAVEN.', above the signature 'Beilby junr. invt. & Pinxt.'.A celebrated goblet in the Fitzwilliam Museum (inv. no.C.570-1961) is signed 'W Beilby Junr NCastle invt. & pinxt.', illustrated in the catalogue (1978), p.96, no.237 and by Rush (1973), p.2, figs.1 and 2. Another in Philadelphia Museum of Art (inv. no.1938-23-19), signed 'Beilby NCastle invt. & pinxt.', is illustrated by Rush (1973), pp.96-7, figs.52-3, by Cottle (2014), p.24 and Cottle (2015), p.192, fig.11. A fourth, signed 'W Beilby junr. invt. & pinxt.', is in the Diageo Collection (formerly the Cinzano Collection), illustrated by Rosa Barovier Mentasti, Glass Collection della Diageo a Santa Vittoria d'Alba (2005), no.172 and also by Cottle (2015), p.194, fig.14.Together with the present lot, the seven unsigned examples include one in the National Gallery of Victoria (inv. no.D38-1983) and a damaged example at Arniston House in Midlothian, Scotland, both illustrated by Cottle (2014), pp.23-4 and Cottle (2015), pp.192-3, figs.10 and 13. The damaged bowl of a goblet in the Victoria and Albert Museum (inv. no.C.787-1936), with the stem and foot removed to form a beaker, is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.CXXIV and Cottle (2015), p.191, fig.9. A further goblet together with a decanter are in Toledo Museum of Art (inv. nos.1954.16 and 1963.16), the former illustrated by Jutta-Annette Page, The Art of Glass: Toledo Museum of Art (2006), pp.122-3, fig.50A. The whereabouts of the goblet formerly in the Sir Hugh Dawson Collection, which was last exhibited by Delomosne and Son, Gilding the Lily (1978), p.21, no.63, remains unknown.The origin of these goblets and the decanter has been the subject of much speculation for nearly a century, but the majority have very little in the way of provenance. It has been suggested that some may have been intended as diplomatic gifts perhaps commissioned by either Thomas Pelham-Holles (1693-1768), first duke of Newcastle, or Charles Watson-Wentworth (1730-1782), second marquis of Rockingham, see Cottle (2015), pp.193-4. Whatever the reasons behind their production, they undoubtedly served as an important means of promotion for the Beilby family, significantly growing their enterprise over the following years through a number of other significant commissions. Among these was the celebrated Prince William V Goblet, sold by Bonhams as part of the A C Hubbard Collection on 30 November 2011, lot 142.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 goblet, circa 1700The tall round funnel bowl with a solid base, set on a well-formed teared inverted baluster stem, over a folded conical foot, 18.2cm highFootnotes:ProvenanceWith Asprey, 1991Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.5ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.26A similar glass is illustrated by Delomosne and Son, The Baluster Family (1985), pp.6-7, no.1. Compare also to the example from the James Hall Collection sold by Bonhams on 17 December 2008, lot 31.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 'Buckmaster' Goblet: a highly important Beilby enamelled armorial goblet, circa 1765Probably by William Beilby, the generous bucket bowl painted in polychrome with an elaborate coat of arms in red, blue and white, the blazon per pale gules and azure, a lion rampant between seven fleurs-de-lis argent, within a rococo scroll cartouche in shades of puce, embellished with floral swags in white and leafy fronds in shades of green, the reverse with a pendant spray of fruiting vine in white, the rim gilt, raised on a double-series opaque twist stem enclosing a pair of heavy opaque white spiral threads around a central tubular column, over a conical foot, 18.5cm highFootnotes:ProvenanceC Kirkby Mason CollectionSotheby's, 21 March 1947, lot 122Sotheby's, 24 November 1986, lot 66Sotheby's, 18 December 1997, lot 78With Namara Fine Art, 1997Durrington CollectionLiteratureJoseph Bles, Rare English Glasses of the 17th and 18th Centuries (1924), pp.180-1, pl.61G Bernard Hughes, English Glass for the Collector 1660-1860 (1958), pl.14The Glass Association, 'Exhibitions and Fairs', The Glass Cone, No.43 (Autumn 1997), p.12 and front coverSimon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, No.9 (2001), p.32Peter Dodsworth, The Durrington Collection (2006), no.31ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.36In the catalogue of the Durrington Collection, Simon Cottle notes that this remarkable goblet is perhaps one of the most exceptional examples of what might be William Beilby's early work, see Dodsworth (2006), p.36. The coat of arms is unrecorded in all standard indexes and are therefore unlikely to have been officially granted by any authority. They are therefore likely to be assumed or falsely represented, meaning that the individual or family to which they relate cannot be positively identified. The absence of a crest, supporters or motto further hinders identification. It has been previously suggested that they may have been the arms of Buckmaster of Lincolnshire, Northamptonshire and Devon, but these are recorded in Burkes General Armory as argent, a lion rampant between seven fleurs-de-lis sable. Whilst they bear some resemblance to the arms on the present lot, the differences are marked and so the historic association of this goblet with the Buckmaster family would appear to be erroneous.The pair to this goblet is in the Cecil Higgins Art Gallery in Bedford, illustrated by James Rush, The Ingenious Beilbys (1973), p.104, pl.57 and A Beilby Odyssey (1987), p.75, pl.40, and also by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.329, no.1069. When sold by Sotheby's in 1997, this goblet set a record auction price for a Beilby enamelled glass.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 acorn-knopped heavy baluster wine glass, circa 1710-20Of attractive proportions, the round funnel bowl with a solid base containing a tear, set on a well-formed teared acorn knop and teared basal knop, over a folded conical foot, 16.5cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.8ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.10-11, no.9Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.22A goblet of very similar form is illustrated by Delomosne and Son, The Baluster Family (1985), pp.22-3, no.9. Compare also with the example from the Ron and Mary Thomas Collection was sold by Bonhams on 4 June 2008, lot 16 and the goblet from the F Peter Lole Collection sold on 5 June 2019, lot 18.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 Providence: an exceptionally rare Beilby enamelled colour twist wine glass, dated 1767The round funnel bowl painted in polychrome with a three-masted ship in opaque white, the flags and banners picked out in pale red, inscribed 'the Providence' above, the reverse inscribed 'JO:N ELLIOT 1767', the unusual stem with an opaque-white corkscrew edged in iron-red and translucent cobalt-blue, alternating with opaque canary-yellow and translucent jade-green spiral threads, over a conical foot, 15.9cm highFootnotes:ProvenanceSotheby's, 2 July 1985, lot 692With Maureen ThompsonDurrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.35ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.41This remarkable glass is one of only two recorded. The other, formerly in the Hamilton Clements Collection, was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 135 and is illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), pp.93-4, pls.130-1 and dustjacket. They are exceptional not only because the combination of red, yellow, blue and green twists in the stem is highly unusual, the yellow thread being particularly rare, but also because they also represent the only enamelled colour twist wine glasses known. A set of Beilby enamelled cordial glasses would seem to be the only other colour twist drinking glasses decorated by the Beilby workshop, see Lot 46 in this sale.These ship glasses are traditionally referred to as 'Privateer' glasses, but as the portholes on the ship are closed it may have instead been a trading vessel. Two other Beilby enamelled objects painted with ships are known, including The Margaret and Winneford Punchbowl in the Laing Art Gallery, see James Rush, The Ingenious Beilbys (1973, pp.130-1, figs.74-6. The other is the so-called Whitehaven Goblet bearing the Royal arms of George III, see the footnote to Lot 45 in this sale.It has not yet been possible to confidently trace the ship or captain commemorated on this glass as there are several ships by this name. In a letter to Philip Stephens dated 30 September 1763, Admiral Rodney refers to an armed brig called Providence which had been newly hired into His Majesty's service and placed under the command of Mr Low, see David Syrett, The Rodney Papers, Vol.2 (2007), pp.19-20. In 1766 Lloyd's List records a ship called Providence, captained by Elliot, which arrived into Portsmouth from Georgia on 30 May and departed for Rotterdam on 20 June which is perhaps that mentioned on this glass. A sloop of 50 tons by the name of Providence was built at Berwick upon Tweed in 1767, owned by the master mariner Robert Kirkwood of Sunderland, and operated as a Dublin coaster, but it is unclear who commanded it.Interestingly, there are two engraved glasses with bucket bowls in the collection of the National Maritime Museum, Greenwich, commemorating both the same captain and ship. One is a plain-stemmed goblet inscribed 'SUCCESS TO THE PROVIDENCE AND JON ELLIOT.' (inv. no.GGG0200) and the other an opaque twist wine glass inscribed 'Success to the Providence & JON ELLIOTT' (inv. no.GGG0196); the latter would appear to be that from the Sir Hugh Dawson Collection sold by Sotheby's on 21 October 1960, lot 40 and illustrated and discussed by E B Haynes, 'A Naval Array: Part II', Apollo (May 1940), p.125, fig.10. That all of these glasses are different suggests that they may have been commissioned at different times and that both the ship and captain were of some importance. There is some discrepancy in the spelling of the name on these glasses, either as Elliott or Elliot, and it is tempting to attribute them to Admiral John Elliot (1732-1808), the highly distinguished Scottish officer of the Royal Navy. However, Elliot seems only to have commanded various Plymouth guardships between 1763 and 1771 and none by the name of Providence. Haynes suggests that 1767 may instead be a later commemorative date.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 exceptionally rare moulded stem goblet, circa 1720The round funnel bowl with a solid base containing a tiny tear, resting on a half knop, raised on a most unusual spirally twisted four-sided pedestal stem containing a central elongated tear, over a high domed foot, 20.2cm highFootnotes:ProvenanceDurrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.13The way in which the moulded stem of this remarkable goblet has been twisted into a spiral during manufacture is highly unusual and only a small handful of related glasses are known. In the catalogue of the Durrington Collection, Martin Mortimer highlights how this rare stem formation is exceptionally rare, see Dodsworth (2006), p.13. A similar example with a thistle-shaped bowl was sold by Sotheby's on 12 November 1984, lot 5. A Dutch-engraved armorial goblet from the Stephen Pohlmann Collection, also with a similar stem, was sold by Bonhams on 30 November 2022, lot 20. See also the Dutch engraved glass with a related spirally twisted inverted baluster stem sold by Bonhams on 17 December 2008, lot 437.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 engraved Jacobite opaque twist ratafia flute, circa 1760The tall and slender round funnel bowl with a six-petalled rose on a thorny stem with two buds, one open and one closed, the reverse with a moth in flight, set on a double-series stem enclosing two pairs of heavy opaque white spiral threads around a central gauze column, over a conical foot, 18.2cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.27ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.54-5, no.83Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.10According to Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), The engraving can be attributed to Engraver F in the author's nomenclature. A very similar ratafia flute formerly in the Basil Jefferies Collection was sold by Bonhams Edinburgh on 15 October 2021, lot 200. An example in the Drambuie Collection is illustrated by Seddon (1995), col. pl.38 and in Robin Nicholson's catalogue (1995), p.31, pl.21b. See also the example illustrated by W A Thorpe, A History of English and Irish Glass (1929), fig.20b.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 engraved Jacobite light baluster wine glass, circa 1750The slightly flared round funnel bowl with a seven-petalled rose on a thorny stem with a single closed bud, the other side with a crest of a lion passant guardant, raise don a slender multi-knopped stem with an upper cushioned baluster and a central beaded knop above an inverted baluster, terminating in a small basal knop, over a domed foot, 15.9cm highFootnotes:ProvenanceCaptain N L Davidson CollectionMrs E M Coleman Collection, Sotheby's, 3 December 1954, lot 18Walter F Smith Collection, Sotheby's, 24 June 1968, lot 675Kenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.24ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.54-5, no.82Broadfield House Glass Museum, 'Majesty & Rebellion', 3 July - 14 November 1999, catalogue no.12The crest is perhaps that of the Fairfax family. According to Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), the engraving can be attributed to Engraver A in the author's nomenclature. A similar glass in the Drambuie Collection is illustrated by Seddon (1995) on p.169, pl.41 and in Robin Nicholson's catalogue (1995), p.31, pl.22d. An example in the collection of Christ Church College, Oxford, is illustrated by Peter Brown, Pyramids of Pleasure (1990), p.27. Another the collection of Rosemary Aspin at Broomhill House, Grantown on Spey, was sold by Bonhams Edinburgh on 29 August 2012, lot 53.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 highly significant Dutch engraved calligraphic goblet signed by Mathieu (Matthëus) Petit, Leiden, circa 1680-90The generous round funnel bowl fully engraved in diamond-point with the inscription 'Suyverd het binnenste' (Purify the soul) in fine calligraphic script, the base moulded with 'nipt diamond waies' in high relief, set on a double collar above a tall stem formed of two wide hollow quatrefoil knops also resting on double collars, over a short plain section terminating in a basal knop, on a wide folded conical foot, signed 'M. Petit, Schrijf Mr te Leyden.' in diamond-point script on top of the fold of the foot, 22.7cm highFootnotes:ProvenanceVan Stockum, 's-Gravenhage, 5 November 1986, lot 233With H C van Vliet, AmsterdamWith AspreyDurrington CollectionLiteratureF G A M Smit, Uniquely Dutch Seventeenth-Century Calligraphy on Glass (1989), p.112, no.S25ExhibitedRijksmuseum, Amsterdam, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.19Mathieu (Matthëus) Petit (d.1721) was a schoolmaster, writer and glass engraver who lived in Leiden where he was Head of a French boarding school. He married Anne Jerardin (or Gerardin) from Delft on 24 October 1681 in Leiden, and the couple had nine children together. He remained in Leiden until at least 1696, but by 1698 he had moved to Arnhem where he ran a French school. It seems likely that Petit knew the calligraphic master engraver Willem van Heemskerk (1613-1692) personally as he had owned a bottle engraved by van Heemskerk himself, see P C Ritsema van Eck, 'Bastiaan Boers en Mathieu Petit, schrijfmeesters, schoonschrijvers en glasgraveurs', Bulletin van het Rijksmuseum, Vol.30, No.2 (1982), pp.51-62. Willem van Heemskerk is therefore highly likely to have influenced or even taught the art of calligraphy on glass to Petit. He also probably knew and was influenced by his contemporary calligraphic glass engravers François Crama and Bastiaan Boers.Very few glasses by Mathieu Petit survive. Just five extant signed pieces, including the present lot, are recorded by Smit (1989), p.40. Two of these are bottles engraved in Gothic script and dated 1683 and 1687 respectively, see Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), pp.123-4, nos.112 and 113 and Smit (1989), nos.H19 and D17. Gothic script is a distinctive feature of of Petit's work and was not used by other 17th century glass engravers. The two other signed pieces, both undated, include another bottle and a 'Molglas', the latter engraved in Roman characters, see Smit (1989), nos.D8 and and V5. Only one other glass exists which may perhaps be attributable to Petit, see Smit (1989), no.V34. The present lot is the only surviving piece engraved in calligraphic script with flourishes which can certainly be attributed to Petit. It therefore occupies a highly significant position within this artist's oeuvre. An important 1749 inventory of the property of the Leiden regent and cloth merchant Allard de la Court (1680-1755) describes seventeen glasses all presumably signed by Petit, and is discussed by Ritsema van Eck (1982), p.61. Two wine glasses and covers, both inscribed 'Suijvert 't Binnenste', are listed in this inventory, see Smit (1989), nos.S27 and S28. Smit suggests that there is a possibility that the latter 'Venetian' example, with a cover inscribed 'Latet anguis in Herba' (There is a snake hidden in the grass), may in fact be the present lot. Dutch engraved goblets of very similar form include a calligraphic example of circa 1685 by Willem van Heemskerk which was formerly in the Guépin Collection, illustrated by Sheppard and Smith, Engraved Glass Masterpieces from Holland (1990), pp.16-17, no.5 and a wheel-engraved Royal armorial example of circa 1688 from the A C Hubbard Collection sold by Bonhams on 30 November 2011, lot 225.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 mushroom-knopped heavy baluster goblet, circa 1710-20The generous round funnel bowl with a solid base, set on a wide teared mushroom knop above a solid basal ball knop, over a conical folded foot, 18.6cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.76, no.101Peter Dodsworth, The Durrington Collection (2006), no.7ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.10-11, no.8Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.27Mushroom-knopped heavy balusters are uncommon, and in the catalogue of the Durrington Collection Martin Mortimer notes that they are typically found in combination with thistle-shaped bowls with solid bases, making the present lot a most unusual example, see Dodsworth (2006), p.10. A slightly smaller goblet of similar form was sold by Bonhams on 19 May 2010, lot 8.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 baluster wine glass, circa 1720The round funnel bowl with a solid base containing a tear, set on a half knop, the stem with a central triple-annulated knop and teared basal knop, over a high domed foot neatly folded at the rim, 16.1cm highFootnotes:ProvenanceWith Asprey, 1991Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.9ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.20A very similar glass was sold by Christie's on 7 June 1988, lot 208. The attractive stem formation is particularly well accentuated by such a high domed foot.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 and rare engraved emerald-green tinted airtwist wine glass, circa 1745-50In deep green glass, the drawn trumpet bowl finely decorated with an elaborate border of fancy foliate scroll and strapwork, three ho-ho birds or phoenixes pecking at leafy sprigs, on a multi-spiral airtwist stem and tall conical foot, 18.1cm highFootnotes:ProvenanceR P Morris Collection, Sotheby's, 22 January 1957, lot 48 (one of a pair)Walter F Smith Collection, Sotheby's, 4 December 1967, lot 166 (one of a pair)Probably Michael Parkington CollectionWith Asprey, 1986Durrington CollectionLiteratureR J Charleston, English Glass (1984), dustjacketRoger Dodsworth, The Durrington Collection (2006), no.39ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.4Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.30This remarkable glass is one of an original set, of which at least four would appear to be recorded. An example from the Hewlett Collection is in the British Museum (inv. no.1924,1022.6.CR), illustrated by both Francis Buckley, A History of Old English Glass (1925), pl.LVIII and Hugh Tait, Five Thousand Years of Glass (1991), pl.241. The present lot has been associated with two examples from the original set. The companion glass from the R P Morris Collection, sold by Sotheby's in 1957, was subsequently sold again by Sotheby's on 24 November 1975, lot 108. The companion glass from the Walter F Smith Collection, sold by Sotheby's in 1967 and acquired by Asprey, is presumed to be that from the Stephen Pohlmann Collection sold by Bonhams on 30 November 2022, lot 29.Two very similarly engraved glasses, but without the birds in the border are in the Victoria and Albert Museum (inv. no.C.167-1956) and the Corning Museum of Glass (inv. no.79.2.68). A related engraved example in blue glass, again without birds, is also in the Victoria and Albert Museum (inv. no.C.166-1956). It seems likely that the engraving is by a Continental hand, most likely Dutch. A number of wine glasses with very related engraving incorporating birds, attributed to the Northern Netherlands, are illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), pp.346-7, nos.409-12.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 emerald-green tinted airtwist wine glass, circa 1750-60In deep green glass, the generous rib-moulded ogee bowl on a double-series stem enclosing a pair of mercurial air threads around a central air gauze column, over a conical foot, 18.9cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1986Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.40ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.8Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.33Airtwist glasses of this distinctive form in either emerald-green or blue-green glass occur with remarkable frequency in Norfolk, see Dr David R M Stuart, Glass in Norfolk (1997), p.10 and fig.11. Five such glasses of emerald-green tint were sold at Gunton Hall in 1980 where they were thought to have been since purchased in the 18th century. Four were discovered at a house in Higham and in 1987 four blue-green tinted examples were sold at an auction in Beccles. A similar emerald-green tinted glass from the Thomas Collection was sold by Bonhams on 4 June 2008, lot 134. A blue-green tinted example is in the Fitzwilliam Museum (inv. no.C.470-1961), illustrated in the catalogue (1978), p.93, no.226.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 Skruf Sweden glass bowl, 15 cm diameter, 8 cm deep.

A late Victorian silver travelling communion set, comprising a chalice with conical bowl and hexafoil base, and paten, by Walter Keith, London 1892, chalice 15cm high, with an Irish silver circular wafer box, Dublin 1898, and a pair of glass jars, 12oz weighable, in fitted case

A quantity of Amethyst glass including; vases 19cm-36cm, oval dish, 36cm dia, decanter, bowl, ; etc (15 pieces)