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Click here to subscribeA Royal Worcester 'Painted Fruit' part dessert service by Richard Sebright, dated 1918, one plate dated 1931Comprising six plates and two dishes, finely painted with circular panels of ripe fruit and blossom, the borders with panels of pale pink reserved on a deep blue ground, enriched with raised gilding, the shaped rims also gilt, signed 'R SEBRIGHT', the plates 22.2cm diam, puce printed marks (8)For further information on this lot please visit Bonhams.com
An 18ct gold aquamarine and diamond cluster ring, the oval mixed cut aquamarine approximately 12mm x 9.8mm x 6.7mm, approximately 4.02ct; surrounded by fourteen round brilliant cut diamonds, each approximately 2.2mm x 1.2mm, diamond total weight approximately 0.46ct; finger size R, 5.56g gross
George Martin and Peter Blake, a dual signed 'Sgt. Pepper's Lonely Hearts Club Band' LP, complete with vinyl and inner sleeve but no insert. George Martin (1926-2016) was an English record producer, arranger, composer, conductor, audio engineer, and musician. He was referred to as the Fifth Beatle in reference to his extensive involvement in each of the Beatles original albums. Sir Peter Thomas Blake is an English pop artist, best known for co-creating the sleeve design for this Beatles album. LP Issue Points: The cover has '(P) Long Play 33 1/2 r. p. m. PCS 7027 Stereo' and 'Printed and made by Garrod and Lofthouse Ltd. ' to back cover. The inner sleeve is white with 'PATENT Nos. 1, 125, 555' to bottom left. The vinyl has a few scratches, with 'Parlophone' in yellow, dated 1967, with 'The Gramophone Co. Ltd. ' BUT NOT 'Sold in the UK…'. Possibly the third pressing (Summer to November 1969). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Oleta Adams Award Presented to Phonogram A and R Dept to Recognise the Sales in UK of More than 300, 000 Copies of the Album Circle of One 1991. Housed in Presentation Frame Measuring 20 x 16 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Rolex Oyster Perpetual Date Just: a steel-cased automatic wristwatch, ref 16030, serial no. R491***, c.1988, the silvered baton dial with date aperture, fitted a 27-jewel movement, cal 3035, the inside case back stamped 16000, the graduated link strap with 555 ends, with box but incorrect papers bearing serial no. R.746574 but dated correctly and stamped Northern Goldsmiths Ltd.Note: it is common to find papers of this period having been given out by Northern Goldsmiths.
An antique pocket watch movement, the full plate movement signed 'A. R. Adrian LONDON 1822', with diamond balance jewel, pierced and mask engraved balance cock, does not wind, for repair; together with a 9ct gold manual wind wrist watch, hallmarked 1942, Swiss 15J movement, not runing, lacks strap; a Swiss silver fob watch, lacks glass; and a Pilot gold plated ladies manual wind wrist watch, overwound. (4)
An oak cased George V silver four piece tea and coffee service, Joseph Rodgers & Sons, Sheffield 1917, comprising teapot, coffee pot, cream jug and sucrier, of bellied oval form, with gadrooned rim, reeded band and ebonised handles and finial, the jug and sucrier with foliate capped C-scroll handles and gilt washed interiors, all standing on foliate hoof feet, the coffee pot 8½in. (21.5cm.) high, gross weight 75.4 tr.oz., in an oak canteen box for the retailer F. R. Cooper & Son, Colchester, with purple silk and navy blue velvet fitted interior.. * Crisp marks. The silver in very good condition, with no faults.The canteen in good condition, with expected small marks and scratches. However, the lid is missing the inset brass plaque.
A cased pair of George V silver toast racks, R. & W. Sorley, London 1917, four division, with cloud style dividers and trefoil loop handle, on ball feet, in the original fitted red morocco case, 2¾in. (6.4cm.) high; together with a cased set of six silver coffee bean spoons, Adie Bros. Ltd., Birm. 1923, gross weight 4.95 tr.oz. (2). * - Toastracks: Very good condition with no faults and crisp marks. Case good with some edge wear.. * - Spoons: Good condition overall. Case in good condition.
A Norwegian silver serving spoon by R. Elvesaeter, .830 silver, with pierced foliate scroll handle, pattern no.340, 8½in. (21.5cm.) long, 3.45 tr.oz; together with a silver bright cut fiddle pattern table spoon, London 1935, 1.95 tr.oz. (2). * - Elvesaeter: Line dent to bowl, otherwise good. * - Table spoon: Dents to bowl and tip thinned, probably re-shaped.
Bayntun of Bath binding - Raleigh (Sir Walter, 1552-1618), The History of The World, London: Printed by William Stansby for Walter Burre, 1614, engraved pictorial title by R. Elstrack, lacks letterpress title, includes 4 double page maps (of 6) and 2 double page plans, one laid down, end papers replaced, "Minde of the Front" leaf before title and pictorial title laid down, some corners and edges reinforced, some chipping to edges, some toning and spotting, water staining to page edges Chapter 6 and top edge of pages Chapter 1 to 3, minor ink graffiti to blank pages/reverse of maps, 20th century half calf with marbled boards by Bayntun of Bath, folio.
Mining interest - An assorted collection of fifty Colliery and associated brass and white metal tokens and checks, Starting 'R' or 'S' to include Renishaw Park; Riccall; Risca; Risehow; Rockingham; Rose Heyworth; Rossington; Rothes; Rothwell; Royston Drift Mine; Rufford; St. Johns; Saville; Seafield; Seahah; Sharlson; Sheffield Coal Company Limited; Sherwood; Sherwood Coal Company. (50)
A Canon Canonflex RP camera, serial No. 115235, with Super-Canonmatic lens R 50mm 1:18 No.49400, together with flash, meter and camera holder-R2. We are not experts in this field please satisfy yourself before bidding, Shutter appears to function correctly, surface rubs from handling, Not fully tested.
A mounted chromed car mascot depicting Hermes the Winged messenger of the gods - used as Boxing trophy, Hermes holding the staff of Caduceus, the silver plaque, dating to Birmingham,1923, reads 'R. C. of SIGNALS BOXING CHAMPIONSHIPS ~1925~ BANTAM WEIGHT WINNER', 10 1/8in. (26cm.) high, together with a bronze version of the same, the shield cartouche engraved 'BOXING CHAMPIONSHIP 1925 FEATHER WEIGHT WINNER CPL. RICHARDSON'. (2)
Cunard interest - A Victorian builder's half block pine model of hull 'HECLA' NAPIER-GOVAN, the upper section painted black with gold lettering 'NAPIER-GOVAN Mediterranean Service', the main with painted lettering 'Proposed Hull for Cunard 'HECLA' by R. Milner Esq. Length 328ft. Breadth 36ft. Tons 1,790. Knots 10½', 33¾in. (86cm.) long, mounted to rectangular brown painted wall mount wit red trim, 44in. (111.8cm.) overall. * NAPIER-GOVAN - Robert Napier and Sons were Clyde shipbuilders and marine engineers at Govan. the brown painted wall mount with full length crack to upper section
René Lalique (French, 1860-1945) - An 'Archer' car mascot, 'Tireur d'Arc', the design introduced in 1926, clear glass, press-moulded, frosted and polished, with intaglio kneeling archer, etched 'R LALIQUE FRANCE' to the reverse, on a circular foot with engraved 'No. 1126' to underside, 4¾in. (12cm.) high.. * Small scratches to edges of base. Small needle bubble flaw in glass to right of archer's chest. No other faults - very good condition.
Three vintage leather and canvas cases, 1920s-30s, comprising a tan leather dressing case, without fittings, bearing initials 'R S J G', 18 x 13¼ x 7½in. (45.7 x 33.6 x 18.9cm.); together with a vintage leather suitcase, initialled 'L G', 22 x 16 x 8in. (55.9 x 40.6 x 20.3cm.); and a green canvas suitcase with leather edging, 22 x 15¾ x 8in. (55.9 x 40.0 x 20.3cm.). (3). *
A large vintage, faux-grained tin deed box, with “John Coutanche” painted to the front, 20 1/8 x 13½ x 13in. (51.0 x 44.5 x 33cm.); together with two antique tin deed boxes with painted grain decoration, one painted 'A H Dumaresq Esq.' the other 'Estate of R. H. Dudley-Scott Esq.', both 16 x 10½ x 10½in. (3). *
Vinyl Records – 7” Singles – Ultravox, Love's Great Adventure, in clear vinyl - Chrysalis label - UV3; Old Ma Cuxsom, Don't Scare Me – Sossy Possanger Records - The Beatles – Yellow Submarine c/w Eleanor Rigby - Parlophone label - R 5493; The Beatles, All My Loving – Parlophone label – GEP 8891; The Jacksons – Shake Your Body (Down To The Ground) / Blame It On The Boogie - Epic label - S EPC 8849; Haddaway, What is Love - Logic Records - 74321- 14850 7; Diana Ross And The Supremes – I'm Livin' In Shame / Someday We'll Be Together - Motown - Y 442F; The Jacksons, Time Waits for No One – Epic label – EPC A1579; Southside Johnny And The Dukes, You Can Count On Me – RCA label – PB 40915; Jussi Bjöerling, Robert Merrill – The Pearl Fishers (In The Depths Of The Temple) - RCA Victor label - RCX 7114; Queen, Tie Your Mother Down - EMI label - EMI 2598; King - Love & Pride poster sleeve - CBS label - A 4988; others including Motorhead, Europe, Def Leppard, The Art Of Noise ft Tom Jones, Madonna, The Police, ELO, Foreigner, Status Quo, Michael Jackson, Bananarama, Mike Oldfield, The Communards, Starship, Transvision Vamp, Jona Lewie, Wizzard, U2, Dead or Alive, Madness, The Stranglers, Heart, Curtis Stigers, A-Ha, Gloria Estefan, Howard Jones, Bryan Adams, Yazz, Holly Johnson, Elvis Presley, The Communards, B-52's, Debbie Gibson, The Tale of Peter Rabbit in red vinyl, etc (over 250)
Toys - models including Corgi 1:50 scale Hauliers of Renown CC13729 Scania R - C Doyle Plant Hire and Construction Ltd, boxed and Truckfest 25 CC13523 Volvo FM - MM & LM Finnie, boxed with certificate, Limited Edition No.1226 of 1,810 distributed Worldwide; other Models of Yesteryear, Corgi etc (quantity)
Coins - Collectible foreign coins: Afghanistan, bronze, Kandahar mint, AH1295 (1878) VF; Australia sixpence 1944 GVF, threepences 1937 & 1943 both EF; British West Africa, cupro-nickel penny 1912 AVF &1936 EF; China, Empire of Manchukuo, Fen, 1936 AEF; Colombia, silver Real 1835, poor; France, 10c 1902 VF; Haiti 1c 1846 EF; India, Jaipur, silver Rupee 1939 (r/y 18) AEF; Japan, 1 Yen 1948/50; Liberia, bronze 1 cent token 1833 GVF; Nepal, Mohar 1818 (1896) VF; Netherlands, Gelderland Unit 1720 GF+, silver Guilder 1848 VF, half Guilder 1928; Panama, 21/2c (Panama Pill) silver 1904 EF; Romania, 1 Leu 1874 AVF; Russia (USSR) 15 Kopeks, 1932R VF; Sicily, Grano (Charles II of Spain) 1699 AVF; S. Africa, sixpence 1892 GF, shilling 1932 VF, silver Rand 1966 & another 1967 EF or better; S. Vietnam, 1 Dong 1964, others modern, circulated (qty)
The Martyrdom of St. Sebastian: an important German engraved glass panel attributed to the master 'H I', late 17th centuryThought to be Heinrich Jäger, of octagonal shape with bevelled edges, finely wheel-engraved in intaglio with the Martyrdom of St. Sebastian, the wounded semi-nude saint bound to a gnarled tree, his right arm tied at the wrist with rope to a branch above his head, further rope wrapped around the base of the trunk, his body impaled with three arrows including two to his chest and one to his leg, a bow with a broken string together with two broken arrows at his feet, traces of silvering to the reverse, in a carved and ebonised pine 'ripple' frame, the panel 22.2cm high, 16.4cm wideFootnotes:ProvenanceDesmond Coke Collection, Sotheby's, 22 July 1931, lot 14 (part)Private Swiss Collection, BernPreviously thought to be Venetian, this remarkable panel depicts the Martyrdom of St. Sebastian after an original engraving of circa 1600 by Jan Harmensz. Muller (Dutch, 1571-1628), in turn based on the 1594 altarpiece by Hans van Aachen (German, 1552-1615) in St. Michael's Hofkirche, Munich. In the late 3rd century AD Sebastian had been a member of the Praetorian Guard, the personal security detail for Roman emperors. Christians were militantly persecuted by Rome at this time, and Sebastian was caught actively trying to convert several prominent individuals. As punishment, he was stripped and tied to a tree before being shot with arrows, as depicted on the present panel. He was rescued by St. Irene of Rome after being wrongly presumed dead. Unfortunately for Sebastian, he was clubbed to death by order of the emperor shortly after his recovery.The distinctive style of the figure of Sebastian himself, with his square jawline and heavily marked facial features, together with the rendering of his body with a series of soft curved depressions seamlessly merging into one another without the need for much further detailing in the musculature, are characteristics seen in many pieces attributed to the monogrammist 'H I'. His work is discussed in detail by R J Charleston, 'The Monogrammist 'H I': A Notable German Engraver', Journal of Glass Studies, Vol.4 (1962), pp.67-84, who states that this master ranks amongst the best German glass engravers of the Baroque period, particularly in his rendering of the human figure. Figures by this engraver are typically slightly androgynous in appearance, and almost always shown holding their heads in exact profile and their bodies frontally, as is the case here. This characteristic style deviates slightly from Sebastian's pose in the original source print. Two beakers engraved with semi-nude figures of Vulcan and Venus and of Meleager and Venus respectively in a very similar style to the present lot are illustrated by Rainer Rückert, Die Glassammlung des Bayerischen Nationalmuseums München, Vol.2 (1982), p.161, nos.564 and 565. The identity of the monogrammist 'H I', sometimes interpreted 'I H', has been the subject of considerable debate but is traditionally thought to be Heinrich Jäger, a glass cutter and engraver from Reichenberg in northern Bohemia who was active from at least 1690 or earlier. Little is known about Jäger, but he worked in Berlin throughout the 1690s until about 1706, then subsequently in Central Germany. He finished his career at Arnstadt, Thuringia, from circa 1715-20. His engraving style shows little Bohemian influence but has much in common with Gottfried Spiller's Brandenburg works. In 1696 Spiller's wife was recorded as the godmother to one of Jäger's children in Berlin, and he is known to have supplied glass to Charlottenburg circa 1705-06, so he was clearly moving in high circles. No other panels attributed to this engraver would appear to be recorded, but it is possible that it represents an early work undertaken prior to his more complex vessel forms.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 important Beilby enamelled opaque twist wine glass, circa 1765-70The ogee bowl with a slightly deceptive base, painted in opaque white with a landscape vignette depicting a sportsman standing with his legs astride, wearing a smart frock coat and peaked cap, aiming his gun at a flock of ten birds startled by his dog, flanked by shrubs, on an double-series stem with a pair of seven-ply spiral bands around a multi-ply corkscrew, over a conical foot, 15cm highFootnotes:ProvenanceM E Laws Collection, Christie's, 2 October 1974, lot 112With Maureen ThompsonBonhams, 21 May 2014, lot 76Darell Thompson-Schwab CollectionWildfowling scenes such as this were a popular theme on Beilby enamelled glasses and a number of examples with closely related decoration are recorded, each showing a single figure shooting game birds in flight. Two other virtually identical wine glasses are recorded, suggesting that this may have once been part of an original set. One was sold by Sotheby's on 1 November 1982, lot 38 and is now in the Laing Art Gallery (inv. no.F6317), illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.332, no.1079. The other was in the Hamilton Clements Collection, illustrated by Francis Buckley, A History of Old English Glass (1925), pl.XXXV and sold by Sotheby's on 15 May 1930, then again as part of the Henry Brown Collection on 14 November 1947, lot 255.An example with a different wildfowling scene is illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), p.12, fig.3 and was sold by Bonhams on 15 November 2017, lot 25. See also the example from the A C Hubbard Jr Collection illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), p.72, pl.89 and that from the Sir Hugh Dawson Collection illustrated by both Bickerton (1986), p.332, no.1080 and R J Charleston, English Glass (1984), pl.41f.Two dated Beilby enamelled vessels painted in white with related wildfowling scenes include a tumbler inscribed 'Success to R Brown 1768' in the Durrington Collection, illustrated by Roger Dodsworth in his catalogue (2006), p.36, no.32 and a clear glass flask inscribed 'Thomas Brown, Nenthead, 1769' in the Ashmolean Museum (inv. no.WA1957.24.2.181), illustrated by James Rush, A Beilby Odyssey (1987), p.69, pl.29. Compare also to the earlier South Staffordshire polychrome enamelled opaque white flask depicting a similar scene, possibly by William Beilby working for John Haseldine, sold by Bonhams as part of the Kaplan Collection on 15 November 2017, lot 39.For further information on this lot please visit Bonhams.com
A highly important engraved 'Adam and Eve' marriage goblet, dated 1714The generous round funnel bowl with a solid base, naively decorated in diamond-point with the 'Fall of Man', the semi-nude figures of Adam and Eve wearing leafy sprays around their waists, standing either side of the Tree of Knowledge, its branches laden with fruit and the serpent entwined around its trunk, a rabbit and a fox behind, the initials 'A/ I*E' to the left and the date '(17.14)' below the rim, a bestiary alternating with trees arranged in three tiers to the rest of the bowl, the animals including an elk, a dog, a seated fox, a unicorn, a lioness, a parrot perched on a branch, a large spotted elk, a recumbent lion and a doe, on a six-sided moulded stem containing an elongated tear, over a folded conical foot, 18.7cm highFootnotes:ProvenanceReverend and Mrs M de la Hey, North Cerney, GloucestershireMajor R M O de la Hey Collection, Sotheby's, 13 June 1977, Lot 69Stephen Pohlmann CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CI, no.1F Peter Lole, 'Limpid Reflections', Glass Circle News, no.109 (December 2006), pp.12-13Dwight Lanmon, The Golden Age of English Glass (2011), p.153, figs.87a-dStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.21, fig.2The scene on this remarkable goblet depicts the Fall of Man in the biblical book of Genesis, in which Adam is seen accepting from Eve the fruit from the Tree of Knowledge of Good and Evil. The engraving is filled with symbolism. The parrot on a branch represents wisdom and other animals are emblematic of the four humours: cruelty, melancholy, sensuality and lethargy. The present lot is one of just six goblets decorated with similar depictions of Adam and Eve in diamond-point, and also represents the earliest dated glass with a moulded stem. The initials relate to an unknown couple whose surname began with A, with 1714 perhaps referring to the date of their marriage.Two early goblets of very different form to the present lot depict The Fall in diamond-point, both dating to the last quarter of the 17th century. One has a short swirled quatrefoil stem and is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.XXXVII, reproduced by Dwight P Lanmon, The Golden Age of English Glass (2011), p.152, fig.85. Another virtually identical depiction features on a gadrooned goblet sold by Bonhams as part of the James Hall Collection on 17 December 2008, lot 22, illustrated by Lanmon (2011), p.152, fig.86. The scenes on both glasses are so similar to one another that they must have been inspired by the same source print, if not produced by the same hand, but are earlier than the present lot and thus of unrelated manufacture.Only two other goblets with moulded stems which depict The Fall would appear to be recorded, both with eight-sided stems. One of these is illustrated and discussed by Lanmon (2011), pp.148-53, no.45 and has a remarkably similar bestiary of animals and trees on the bowl, although the scene of Adam and Eve is a mirror image of that on the present lot. It bears the slightly later date of 1716 and features an octagonal stem moulded with 'GOD SAVE KING GEORGE' around the shoulder. In spite of some stylistic differences in the execution of the main scene and the date, close similarities in the rendering of the animals and trees suggests both this glass and the present lot were probably engraved by the same artist, perhaps using the same source print.The second is a fragmentary Dutch goblet applied with diamonds to the shoulder of the stem, excavated in Utrecht and illustrated by Ina Isings et al., Schitterend! (2009), pp.130-1 and front cover. Only the figure of Adam, the base of the tree trunk and serpent's tail, and the legs and hand of Eve holding the apple remain, but it is clearly a different interpretation of the scene. The reverse is decorated with the Crucifixion of Christ, with the scenes titled 'De Boom de Doods' (The Tree of Death) and 'De Boom des Levens' (The Tree of Life) respectively.The only other goblet recorded with The Fall is a heavy baluster of circa 1720 in the Ashmolean Museum (inv. no.HM477), illustrated by Lanmon (2011), p.153, fig.88. Whilst the engraving is slightly less naïve, Lanmon suggests that this goblet is likely to be by the same hand as the two dated moulded-stem examples, including the present lot, based on compelling stylistic similarities. The Ashmolean goblet is thought to have been acquired in Bristol. Goblets depicting The Fall have traditionally and almost certainly erroneously been attributed to Bristol on account of it being a centre for the production of delftware 'Adam and Eve' chargers in the 17th and 18th centuries, see Lanmon (2011), p.150.The contrapposto stance of Adam and Eve in the scene on this important group of goblets, with Adam's right arm distinctively raised, bears a number of similarities to Albrecht Durer's celebrated 1504 engraving of the couple, which inspired a number of later artists. The source is in fact likely to be De Royaumont's History of the Bible, translated from the original French and first published in London as two volumes in 1688 (History of the New Testament) and 1690 (History of the Old Testament) by Richard Blome. Third and Fourth editions were published in London in 1705 and 1712 which both expanded upon the previous versions. Containing many detailed and beautiful plates by various artists, 'The Fall of Adam' was engraved by the Dutch draughtsman Johannes Kip (1653-1722) after George Freman. Indeed, the two distinctively placed rabbits in the foreground of the engraving are almost exactly reproduced on the Ashmolean goblet, leaving little doubt as to the source.The distinctive way in which the figures on these glasses are executed, with very dense opaque scratching filling the bodies, but details including the facial features and breasts left completely blank to denote shadow, is seen on several 18th century glasses engraved in diamond-point in the Netherlands, including the aforementioned fragmentary example. Another Dutch engraved moulded-stem goblet featuring three Commedia dell'Arte figures engraved in a very similar style, attributed to Thomas van Borckelo, is illustrated by Anna Laméris, 'Lead Glass in Eighteenth-Century Holland', in Frides Laméris, Canes, Serpents and Ships (2018), p.43. A heavy baluster goblet signed by van Borckelo and dated 1748, featuring an orange tree engraved in very similar style to the Tree of Knowledge on the present lot, is in the Victoria and Albert Museum (inv. no.C.163-1956). Whilst these glasses post-date the present lot by some years, the stylistic similarities raise the interesting possibility that a Dutch hand may have been responsible, perhaps working in England.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A good Worcester mug or tankard, circa 1756Of cylindrical shape with a spreading foot and a broad grooved strap handle, painted in blue with the 'Rock Warbler' pattern (I.C.5), the bird perched on a high rock by prunus and a zig-zag fence, 9cm high, workman's mark 'R' to lower handle terminalFor further information on this lot please visit Bonhams.com
A rare Worcester plate, circa 1760-62Printed in black with the 'Tea Party No.2', a fine lady and gentleman taking tea in a garden, a border of subsidiary prints of moths and flowers neatly alternating around the broad rim, 21cm diamFootnotes:ProvenanceE and J Handley CollectionIllustrated and discussed by Geoffrey Godden, Eighteenth Century English Porcelain (1985), pl.124. This variant of the 'Tea Party No.2' prints includes a leopard amongst musical instruments in the foreground. Godden draws attention to the faint trace of the signature 'R. Hancock fecit, 1757' below the leopard, which is more legible on a related Chinese saucer illustrated at pl.125.For further information on this lot please visit Bonhams.com
Six various wine glasses, mid-18th centuryComprising a small flute-moulded glass with a bell bowl over a short inverted baluster stem and folded foot, 11.5cm high, a multi-spiral airtwist glass with a generous drawn trumpet bowl and folded foot, 17.5cm high, a plain stem glass with a drawn trumpet bowl and conical foot, 17.3cm high, a glass with an ovoid bowl engraved with a stylised basket of flowers over a swelling stem and folded foot, 12.6cm high, a small plain stem wine or cordial glass with a drawn trumpet bowl and folded foot, 12.2cm high, and a short plain stem wine glass with a generous ovoid bowl and conical foot, 12.5cm high (6)Footnotes:ProvenanceEric Pohlmann Collection (first mentioned)Sotheby's, 13 June 1977, lot 89 (part) (third mentioned)Major R M O de la Hey Collection, Sotheby's, 13 June 1977, lot 58 (part) (engraved wine)With Frides Laméris, 6 April 2017 (last mentioned)Stephen Pohlmann CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A good Worcester coffee cup, teabowl and saucer, circa 1758Finely potted with lobed rims, strikingly painted in bright colours with flowers including a deep pink rose, and a tricolour divergent tulip, striped in yellow, pink and blue, the rims edged in brown enamel, saucer 11.6cm diam, (3)Footnotes:ProvenancePhillips, 16 December 1998, lot 260R David Butti Collection, Bonhams, 10 May 2006, lot 50Gerald Moore CollectionFrom a service formerly the property of Mr and Mrs Oliver Bowlby, much of which was sold by Phillips alongside this trio. The teapot and stand from the set is illustrated by Franklin Barrett, Worcester Porcelain (1966), pl.20B. Another cup and saucer was in the Sir Seton Wills Collection, Albert Amor Ltd (1984), fig.35.For further information on this lot please visit Bonhams.com
An exceptional emerald-green engraved airtwist wine glass, circa 1750The 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, 18cm highFootnotes:ProvenanceProbably Walter F Smith Collection, Sotheby's, 4 December 1967, lot 166 (one of a pair)With AspreyPrivate Collection, sold 6 June 1989With Christopher Sheppard, 18 November 2010Graham Vivian CollectionStephen Pohlmann CollectionExhibitedGreen Glass 1740-1840, Asprey, 1986, no.4This 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. A pair in the R P Morris Collection was sold by Sotheby's on 22 January 1957, lot 48. One glass from this pair was sold again by Sotheby's on 24 November 1975, lot 108. The other was subsequently brought together with another glass from the original set, presumed to be the present lot, to form the pair in the Walter F Smith Collection sold by Sotheby's on 4 December 1967, lot 166. One of the Smith pair is now in the Durrington Collection, illustrated by Peter Dodsworth in his catalogue (2006), p.46, no.39 and was also acquired from Asprey. The same glass features on the dustjacket of R J Charleston, English Glass (1984).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
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