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Click here to subscribeWorld War Two (WW2) - a very large file detailing the history of Rifleman E W Huggett KRRC, 124190, B Platoon, 374 General Transport Coy who was killed in action - included in the lot are official correspondence and documents, photographs, telegrams, numerous letters to loved ones back home and much more. All documents contained within, in excess of 100 transparent pockets in clean lever arch file
Interesting old ukulele banjo with rectangular trademark metal plate to the head inscribed Harold Walden 'Only Me Knows Why', with 7.75" skin, wooden resonator and mother of pearl dot inlay to the fingerboard, within an associated case and some sheet music *This instrument was named after Harold Adrian Walden, who was an English amateur footballer who played for several clubs including Halifax Town, Bradford City and Arsenal. Walden also played for Great Britain's football team at the 1912 summer Olympics, where he won a gold medal. He was also famous as a musical hall musician and stand-up comedian, his signature tune being 'Only Me Knows Why'
General Bernard B. Rogers signed 10 x 8 b/w photo, United States Army general who served as the 28th Chief of Staff of the United States Army, and later as NATO's Supreme Allied Commander, Europe and Commander in Chief, United States European Command. Besides the Distinguished Service Cross, Rogers' decorations included the Defence Distinguished Service Medal, the Silver Star, four awards of the Legion of Merit and three awards of the Distinguished Flying Cross. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Hans Bender hand signed 1964 letter replying in German to an autograph request. He was a German lecturer on the subject of parapsychology, who was also responsible for establishing the parapsychological institute Institut für Grenzgebiete der Psychologie und Psychohygiene in Freiburg. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Undercover band three members signed on John Matthews 10 x 8 black and white portrait photo. They are a dance music group from the United Kingdom, who formed in 1991 and had two Top 5 hits in 1992. The vocals on all the group's songs were sung by John Matthews. John Matthews signed 10x8 black and white photo. Dedicated. Music Autograph. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
David Fyfe Lord Kilmuir TLS dated 21/10/1954. (29 May 1900 27 January 1967), known as Sir David Maxwell Fyfe from 1942 to 1954 and as Viscount Kilmuir from 1954 to 1962, was a British Conservative politician, lawyer and judge who combined an industrious and precocious legal career with political ambitions that took him to the offices of Solicitor General, Attorney General, Home Secretary and Lord High Chancellor of Great Britain. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Doctor Who - the legend continues - 5 decades of time travel signed softback book, Signed inside by 5 including John Leeson, Russell T Davies, Tom Baker, David Tennant and one other . Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Assorted signed 10x8 photo collection. 6 photos ntare mwine (yellow suit)(heroes) shane rangi (horns)(narnia) tim proctor (zombie from walking dead)(he is also the one that says do not open. thomas dekker (top left backpack)terminator chronicles last one is neil fingleton from doctor who (he is now deceased). Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Multi signed Doctor Who - the essential guide hardback book, Signed inside by David Tennant, Tom Baker, Bernard Cribbins, John Leeson, Sylvester McCoy and 2 others . Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Multi signed Doctor Who - the vault - treasures from the first 50 years hardback book, Signed inside by 12, Amongst signatures are Michael Jayston, Louise Jameson, Sylvester McCoy, Tom Baker, Peter Miles, John Leeson and more . Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Doctor Who The Time Monster postcard signed by Ingrid Pitt pictured as Galleia and Roger Delgardo as the master from the 1972 episode . Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Doctor Who The Mind of Evil postcard signed by Nicholas Cortney pictured as Brigadier Lethbridge Stewart in the 1971 episode . Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Doctor Who The Trial of a Time Lord postcard signed by Nicholas Bryant as Peri and Brian Blessed as King Yrcanos from the 1986 episode . Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Blowout Sale! Kane Hodder Friday 13th hand signed 10x8 photo. This beautiful hand signed photo is signed by Kane Hodder who played Jason Voorhees in four of the Friday 13th movies. Signed during private signing session. This signed photo is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companiesGood Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Blowout Sale! Terminator Moon Bloodgood hand signed 10x8 photo. This beautiful hand signed photo depicts Moon Bloodgood who is in Terminator Salvation / Falling Skies / NCIS Los Angeles. Please note this was removed from a mounted display so there is some tape on the back. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Blowout Sale! Quadrophenia Toyah Wilcox hand signed 10x8 photo. This beautiful hand signed photo depicts Toyah Wilcox, who is a well-known singer and actress, appearing in movies such as the cult hit movie Quadrophenia. This signed photo is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Kane Hodder Friday 13th hand signed Jason Voorhees mask. Hand Signed by Kane Hodder, who played Jason Voorhees in 4 of the Friday 13th movies. This mask was signed at Collectormania 21 in Milton Keynes . The mask is a hard plastic replica hockey mask, and is an Adult Size. The mask is also accompanied by 4 8"x6" photos, each one depicting a poster of the 4 movies in which Kane starred as Jason Voorhees. This signed mask is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Attributed to William Etty (1787-1849) A seated nude oil on panel 35 x 43cm, giltwood frame carved & pierced with scrolls and foliage. Information: Inscribed to reverse " This picture belongs to the late Mrs T. J. Cheater, 18 Queen Anne's Walk, W.4. Purchased at Rogers & Chapman 24 May 1956". Mrs Cheater was the married name for the artist Violet Linton who exhibited 1899-1940. Provenance: Rogers & Chapman 24 May 1956, sold together with a catalogue of the auction, lot 220 (sold as "Etty").
Murray Bernard Bladon (1864-1939) "Tremadog Bay, Wales" signed with monogram (lower right) watercolour 15.5 x 35.2cm. Information: Bladon was a Birmingham School artist who was a student of Henry Payne. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.
An enamelled gold memorial ring for General Paoli, 1806-7designed as a broad band, inscribed 'General Paoli, Ob: 5 Feb 1807.AE 82', reserved on a white enamelled ground within black line borders and milled edges, with British hallmarks, for London, 1806-7, maker's mark 'SG', casedFootnotes:Filippo Antonio Pasquale de' Paoli (6 April 1725 – 5 February 1807) was a Corsican patriot, statesman and military leader who was at the forefront of resistance movements against the Genoese and later French rule in the island. He became the president of the Executive Council of the General Diet of the People of Corsica, and also designed and wrote the Constitution of the state.For further information on this lot please visit Bonhams.com
A Carnelian intaglio signet ring, Formerly Belonging to Prince Stanislas PoniatowskiRubover-set with a large oval carnelian intaglio, carved to depict the Vestal Virgin Claudia Quinta dragging the goddess Cybele's ship in to Rome, inscribed in reverse to the lower edge 'S.NASICA', with reeded borders to the sides, the swivelling ring front flanked by scroll pierced shoulders, to a reeded shank, size L½, carnelian measuring approximately 25.6 x 19.4mm Footnotes:Prince Stanislas Poniatowski (1754-1833), nephew of the last King of Poland, went into affluent exile in 1791. He was a passionate collector of antiquities and commissioned an extraordinary series of 2,500 intaglios, encouraging the belief that the gems were ancient engravings. The group of contemporary gem-engravers who produced them in Rome signed them with known or invented signatures. In 1830, Poniatowski published a catalogue of his gems before releasing two further versions containing more elaborate descriptions in 1833. When his collection was offered for sale by Christie's in London after his death, connoisseurs and potential buyers were outraged to discover that the gems were 'modern' and the sale was largely derided. All of the gems have since been widely dispersed. Today, they are appreciated in their own right as fine examples of neo-classical gem-engraving. The style of this intaglio is thought to be that of Giovanni Calandrelli and the gem depicts an event thought to have taken place in 204 B.C., the year of Scipio Nausica's consulship. Rome was engaged in the final years of the Second Punic War against Carthage and, afraid of prophecies foretelling defeat in this campaign and a failed harvest, the city decided to bring a sacred statue of the goddess Cybele from her shrine in Greek Asia Minor. When the ship carrying the goddesses' image became stuck in the River Tiber, Claudia prayed for the goddess's help, and was able to release and tow the ship into the city single-handed. With the goddess as protector, Rome finally defeated Hannibal, and a good harvest was secured.Provenance:Prince Stanislas Poniatowski (1754-1833) collection; sold at Christie's, London, upon his death (29 April-21 May).Beazley Archive gem database no. 1839-1483.Literature:Poniatowski, S., Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski, 1830-1833: IX.1.61Prendeville, J., Explanatory catalogue of the proof-impressions of the antique gems possessed by the late Prince Poniatowski and now in the possession of John Tyrrell, Esq, H. Graves for the proprietor, London, 1841For further information on this lot please visit Bonhams.com
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a dark amethyst example, CUPID TAKING AN ARROW FROM A QUIVER, "Jamais de repos", (no.1405), 2cm wide; a dark orange example, CUPID GUIDING A SMALL SAIL, "Never despair", (no.399), 2cm wide; a light amethyst example of hexagonal section, SHIP, "Friend", (no.279), 1.5cm high; and three others Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF FOUR INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large dark blue oval example, possibly depicting the Abduction of Helen, 5.5cm wide; a clear oval example, LION LOOKING IN A MIRROR, "toujours le meme", (no.1344), 2.5cm wide; a dark blue oval example depicting the psyche of Roma as a winged Nike, 'MARCHANT ROMA', 3.25cm high; and a light amethyst oval example depicting an ecstatic Bacchante, 2.5cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including an amber coloured oval example with an armorial, 2cm high; a citrine coloured rectangular example, 'ILL WEEDS GROW APACE', 1.75cm high; a clear oval example depicting a Campana urn, 1.5cm high; a clear rectangular example 'WITH ALL THY FAULTS I LOVE THEE STILL', (no.153), 1.5cm wide; a dark amethyst coloured rectangular example, A MOUSE GNAWING AWAY THE NET IN WHICH THE LION IS CAUGHT, "Not unmindful of benefits", (no.782), 1.8cm wide; and one other Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF EIGHT INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a clear rectangular example depicting a rabbit amongst grasses, 1.7cm wide; a black oval example, MERCURY AS A MESSENGER ON HORSEBACK, "Who is at home here?", (no.421), 1.3cm wide; a red/brown oval example depicting the head of a Roman, 2cm high; a clear rectangular example, A HAND HOLDING A GLASS, "Here's a health to ane I lo' dear", (no.548), 1.7cm high; and four further examples Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF FIVE INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a circular black button with a Roman head in low relief, 1.3cm diameter; an amber coloured oval example engraved 'M & W', 1.8cm wide; an amber coloured oval example depicting Cupid driving a two-horse chariot, 1cm wide; a green oval example depicting Fortuna holding balance scales, 1.2cm high; an engraved amethyst stone intaglio loosely depicting a horse, probably ancient, 1.8cm wide; a Victorian engraved bloodstone seal disk, with monogram, 1.1cm diameter; three Tassie plaster portrait reliefs; a white ceramic profile relief in Classical style; and two other items Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including an oval green example with a bird, a serpent and a wheatsheaf, 1.5cm wide; an oval blue example with a courting couple and three attendants, 2cm wide; a grey/brown oval example depicting a sailing vessel, 2.5cm wide; a red oval example with the profile of a Roman lady, 1.8cm high; a rectangular citrine coloured example with the profile of a Roman, 2cm high; and a clear oval example, TWO-A-PENNY, with Cupid and a wheelbarrow full of hearts, 2.3cm wide Note, the last of those listed in this lot is pictorially identical to nos. 1419 and 1420 in the Tassie catalogue, but the inscription differs in both cases Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a clear rectangular example, A MOUSE GNAWING AWAY THE NET IN WHICH THE LION IS CAUGHT, "Not unmindful of benefits", (no.782), 1.6cm wide, set into a gilt metal watch fob, 3.5cm high overall; a clear oval example with a figural scene of two nudes flanked by Greek script, 2cm wide; a blue oval example with the profile of a Roman lady, 3cm high; a clear rectangular example, AN HOUR-GLASS, "Le Tems passe, mais l'Amite dure", (no.1142), 1.5cm high; and two others Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a circular amethyst example depicting Britannia seated, 2cm diameter; a clear rectangular example depicting a Bee, INDUSTRY, 1cm high; a dark green rectangular example, IN ADVERSIS ETIAM FIDA, a broken column, 1cm high; an oval amber coloured example inscribed 'A A U' and mounted beneath a bronze lion's torso as a desk seal, 2cm high overall; two other examples, and another engraved glass 'gem' by another hand Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF NINE INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a clear oval example, CUPID WITH UPLIFTED HANDS, KNEELING, "Pray do", (no.389), 1.8cm wide; a clear rectangular example, SHOULD AULD ACQUAINTANCE BE FORGOT, (no.534), 1.5cm wide, a clear rectangular example, HOPE I DON'T INTRUDE, 1.6cm high; an amber coloured rectangular example with a wolf, 1.5cm wide; a rectangular amethyst coloured example with the head of a Roman, 1.8cm high; and four other examples Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
FOUR INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', INSET INTO A GILT BRONZE AND AMETHYST GLASS MOUNTED DESK SEAL, late 18th or early 19th century, the six housings (two being vacant) rotating on a spoked wheel, the glass handle faceted, 9cm long overall; an intaglio glass 'gem' set seal engraved with a bearded warrior, with replacement shaft and ivory handle, 8.5cm high; a white glass profile depiction of a classical youth, 3.5cm high; another Tassie seal engraved with a profile of a bearded Roman, 3cm long; and another Tassie engraved glass 'gem' with a profile1.5cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIXTEEN RED COMPOSITION INTAGLIO CASTS, probably by Tassie, mostly formed as doubles, being obverse and reverse of ancient coins, all within gilt card borders, the largest 8cm wide; a black wax seal cast fragment; two red wax seal imprints; a near eastern engraved stone toggle, possibly ancient: a pair of faceted carnelian cuff links; three small metal desk seals and other items, all within a painted wood and glazed case, the case 52 x 41cm Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF EIGHT INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangular amethyst coloured example, I'LL COME & SEE YOU IN SPITE OF O' THEM A, (no.530), 1.5cm wide; a rectangular black example, QUAE SURSUM VOLO VIDERE, "I am resolved to look upwards", (no.710), 1.7cm wide; a small rectangular white example, A SNAIL, "Always at home", (no.337), 1cm wide; a clear rectangular example, TWO BIRDS WITH A RUNNING KNOT, "Le plus loin, le plus serre" -the further the distance, the closer the tie, (no.1328), 1.8cm wide; and four others Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SEVEN INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a dark green rectangular example, A SPRIG OF LAUREL, "Cresce non Cambia" -It grows but changes not, (no.915), 1.5cm high; an amber coloured rectangular example, A MARINER'S COMPASS, "Agitee, mais Constante" -Wavering but Constant, (no.1147), 1.5cm high; a rectangular dark yellow example, LOUISA, (no.60), 1.7cm wide; a clear rectangular example, THE VIOLET, "Il faut me chercher" -Thou must seek me, (no.1230), 1.5cm high; three smaller Tassie 'gems'; and a glass intaglio probably by another hand Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SEVEN INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including an amethyst rectangular example, A SHIP IN A STORM, "Telle est la Vie", (no.1172), 1.5cm wide; a black rectangular example, A MOUSE GNAWING AWAY THE NET IN WHICH A LION IS CAUGHT, "Non immemor beneficii", (no.782), 1.7cm wide; a green rectangular example, A ROSE, "England for ever', (no.294), 1.5cm high; a clear rectangular example, A CHAMBERSTICK, "Bon Soir", (no.982), 1.7cm high; and three others, smaller Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SEVEN INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a hexagonal clear example, BACCHUS HAS DROWNED MORE THAN NEPTUNE, 1.7cm high; a clear rectangular example, NOAH'S ARK RESTING ON MOUNT ARARAT, "Apres la Pluie, le beau Tems", (no.1210), 1.7cm wide; a square section amber coloured example, AN OWL IN A COCKLE-SHELL, "Wisdom in Everything", (no.1210), 1.5cm wide; another amber example engraved with two hearts, 1.5cm wide; another example engraved with ducks, set into a gilt metal fob seal, 2cm high; and two other small examples Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangule dark blue example, THO' ABSENT NOT FORGOTTEN, 1.5cm wide; a rectangular clear example, O'ER BEND IT & IT BREAKS, 1.8cm wide; a dark amber/brown rectangular example, AGNES, 1.6cm wide; two further examples; and an engraved carnelian example, possibly ancient, depicting a beast, 2cm wide Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangule dark blue example, REPONSE, S'IL VOUS PLAIT, (no.1056), 1.7cm wide; a rectangular light red example depicting A PIG, "I will a Tail unfold", (no.348, variant), 1.5cm wide; an oval light blue example depicting the head of an eagle, 1.5cm wide; a rectangular dark amber coloured example, TRUTH, set into a gilt metal fob, 2cm high; a clear rectangular example, A GOOSE ON THE TOP OF BATTLEMENTS, "L'Ennemi arrive", (no.1293), 1.8cm high; a white paste profile relief of the head of a Roman, 2.3cm high; and an unengraved oval amber coloured 'gem' Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a clear rectangular example depicting three birds eating corn, 1.8cm wide; a white paste profile of the head of Admiral Nelson, signed, 1.5cm high; an oval purple example depicting Venus in a scallopshell drawn by tritons, 2cm wide; a clear rectangular example, A WEATHERCOCK ON TOP OF A BUILDING, "Je ne change jamais la premiere", (no.1143), 1.5cm high; a tapered cylindrical purple example, VITE, 1cm high; another example; and a small carved wood seal stamp Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangular blue example, AN ANCHOR, "Spero Meliora", (no.740), 1.7cm wide; a clear rectangular example, THE EYE OF PROVIDENCE & AN ANCHOR, "Our Trust and Hope", (no.480), 1.5cm high; a rectangular blue example with a bird above her nest with Latin inscription above, 1.6cm wide; a dark green rectangular example with Cupid and a wheelbarrow of flowers, inscribed CHOISISSEZ, 1.5cm wide; two smaller examples; and a Roman bronze coin Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large oval mid brown example depicting the head of a maiden, 3.1cm high; an oval light pink example with a dancing amorino holding a thyrsus, 1.9cm high; a clear oval example with three amorini in a sailing vessel, 1.3cm wide; a purple rectangular example, CUPID DRESSED AS A MONK, "L'Habit ne fait pas le Moine", (no.1403), 1.5cm high; and two miniature plaster examples, Cupid with a dog on a lead, 1.1cm high; and Cupid seated on a plinth, 0.7cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a clear rectangular example, EVE, THE TREE AND SERPENT, "First of women", (no.410), 1.9cm high; a red oval example depicting the head of a Roman in profile, 2.3cm high; a clear rectangular example, CHARITY CONCEALETH FAULTS, (no.133), 1.9cm wide; an oval orange example engraved with a momogram, 2.3cm high; and two smaller examples Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangular light blue example, TOUJOURS, "Always", (no.1073), 1.4cm wide; a rectangular green example, AN HOUR-GLASS, "Le tems passe, mais l'Amitie reste", (no.1141), 1.4cm high; an oval amethyst coloured example with the head of Hermes, 2.9cm high; a rectangular dark red example with a recumbent hound, 1.7cm wide; a blue oval example, PIGNUS, depicting a sow, 1.7cm wide; and an oval brown example depicting Venus and Cupid, 2.3cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF FOUR INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a fine large red oval example depicting Neptune with trident before British naval battle honours, 4.6cm high; a rectangular amethyst coloured example, A BUTTERFLY, "It like my love, exists forever", (no.310 variant), 1.5cm wide; a brown oval example with the profile of a maiden's head, 3cm high; and a clear oval example depicting Venus seated beside Cupid, 2.6cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF FOUR INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large blue oval example, possibly the Sacrifice of Iphigenia, 4.2cm wide; an oval green example depicting Venus in a shell, flanked by dolphins, 3.3cm high; a rectangular brown example, MARCHANT, depicting Cupid carrying a pole hung with game, 2.5cm high; and a brown oval example depicting a profile bust of Minerva, 2.9cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
LAPHROAIG SINGLE MALT SCOTCH WHISKY, AGED 21 YEARS, limited edition release to celebrate the 21st anniversary of the Friends of Laphroaig, Isle of Islay, 35cl, 45.4% abv, in carton, 2 btls On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years. Distilled in 1993, the year before the Friends of Laphroaig was founded, this whisky was maturing whilst the ranks of afficionados swelled to over 650,000 when bottled in 2015
LAPHROAIG SINGLE MALT SCOTCH WHISKY, AGED 21 YEARS, limited edition release to celebrate the 21st anniversary of the Friends of Laphroaig, Isle of Islay, 35cl, 45.4% abv, in carton, 2 btls On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years. Distilled in 1993, the year before the Friends of Laphroaig was founded, this whisky was maturing whilst the ranks of afficionados swelled to over 650,000 when bottled in 2015
LAPHROAIG SINGLE MALT SCOTCH WHISKY, AGED 21 YEARS, limited edition release to celebrate the 21st anniversary of the Friends of Laphroaig, Isle of Islay, 35cl, 45.4% abv, in carton, 2 btls On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years. Distilled in 1993, the year before the Friends of Laphroaig was founded, this whisky was maturing whilst the ranks of afficionados swelled to over 650,000 when bottled in 2015
LAPHROAIG SINGLE MALT SCOTCH WHISKY, AGED 21 YEARS, limited edition release to celebrate the 21st anniversary of the Friends of Laphroaig, Isle of Islay, 35cl, 45.4% abv, in carton, 2 btls On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years. Distilled in 1993, the year before the Friends of Laphroaig was founded, this whisky was maturing whilst the ranks of afficionados swelled to over 650,000 when bottled in 2015
LAPHROAIG SINGLE MALT SCOTCH WHISKY, AGED 21 YEARS, limited edition release to celebrate the 21st anniversary of the Friends of Laphroaig, Isle of Islay, 35cl, 45.4% abv, in carton, 3 btls On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years. Distilled in 1993, the year before the Friends of Laphroaig was founded, this whisky was maturing whilst the ranks of afficionados swelled to over 650,000 when bottled in 2015
LAPHROAIG SINGLE MALT SCOTCH WHISKY, 25 YEAR OLD CASK STRENGTH, 2015 EDITION, Oloroso sherry and American oak casks, Isle of Islay, 70cl, 46.8% abv, in case On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years.
LAPHROAIG SINGLE MALT SCOTCH WHISKY, 25 YEAR OLD CASK STRENGTH, 2015 EDITION, Oloroso sherry and American oak casks, Isle of Islay, 70cl, 46.8% abv, in case On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years.
LAPHROAIG SINGLE MALT SCOTCH WHISKY, 25 YEAR OLD CASK STRENGTH, 2015 EDITION, Oloroso sherry and American oak casks, Isle of Islay, 70cl, 46.8% abv, in case On the far edge of the Scotch whisky map, it's supposed that the art of distillation was first brought to Islay by Irish monks. Being remote, it's an art that flourished in the hands of the islanders, whose illegal operations tested the resolve and means of the tax man. Eventually, the law relaxed, various whisky makers set up legitimate distilleries, among them a pair of farmers, Donald and Alexander Johnston, who in 1815 founded their distillery on the island's south coast. Laphroaig, so called after its location, 'broad hollow by the bay.' It would remain in family hands for the next 139 years.
THOMAS DANIELL (1749-1840) 'The Mausoleum of Amir Khusero, At the Ancient City of Delhi' aquatint, 46cm x 60cm Plate 6 from the first set of Thomas Daniell's 'Oriental Scenery'. This mausoleum was misidentified by the Daniells as the tomb of the celebrated Delhi poet Amir Khusrau (1253-1325), which lies nearby in the tomb complex of Nizamuddin. It is in fact the tomb of Mirza 'Aziz Koka, foster brother of the Emperor Akbar, who died in 1623/24. It is one of the earliest of a new type of Mughal tomb, the flat-roofed hypostyle hall, here encased in white marble, with white marble jalis or pierced screens around the sides. It is known as the Chaunsath Kambha or '64 pillared hall' from the number of its pillars: it consists of 6 by 6 bays, with pillars doubled round the periphery, and quadrupled at the corners.
WILLIAM DELAMOTTE (1775-1863) 'Berry Pomeroy near Totnes' Castle ruins beside water, watercolour, 25cm x 34.5cm Berry Pomeroy Castle, a Tudor mansion set within the walls of an earlier castle was abandoned in the late 17th century when Sir Edward Seymour (1632/33-1708) of Berry Pomeroy, the speaker of the House of Commons moved to Bradley House, in Maiden Bradley, Wiltshire, to be closer to London. The Castle was a ruin by 1701, when John Prince, who had known the castle in its heyday, referenced it in his book 'The Worthies of Devon' "...The apartments within were very splendid; especially the dining room, which was adorn'd, besides paint, with statues and figures cut in alabaster......'tis now demolished, and all this glory lieth in the dust..." With the rise of the 'Picturesque' aesthetic at the end of the 18th century, the castle, then the haunt of jackdaws and overgrown with ivy was considered to be a romantic ruin, often visited by artists. Provenance: The Wren Gallery, Blackheath
*VINCENT HENRY LINES (1909-1968) 'Margaret Fisher Prout Painting' etching, 19cm x 24cm; together with another work by the same Artst, 'Fishing, Canal St-Martin Paris c1930' etching, 17.5cm x 29.5cm and a copy of the auction catalogue for the remaining studio of Margaret Fisher Prout, Tuesday 11th November, Phillips, Son & Neale (3)Millicent Margaret Fisher Prout ARA (1875- 9 December) was a highly successful and productive artist who helped improve perceptions of modern art in Britain. Prout was born in Church Street, Chelsea, on 31 March 1875, the only daughter of the painter Mark Fisher R.A. She studied under her father and at the Slade School of Art between 1894 and 1897. By 1914 she was teaching life drawing at the Hammersmith School of Arts and Crafts and had her first solo exhibition at the Beaux Arts Gallery in 1922. Prout was a painter of flowers, landscape and figures in an Impressionist style. She produced various subjects including animals, landscapes, figures, flowers, and other still life. In 1908 she married a farmer, John Prout, and was based in various locations throughout her career including Harlow, Essex, London, Sawbridgeworth in Hertfordshire, East Grinstead and was most latterly associated with Sussex and remained there until her death in 1963. Prout had an extensive career over a period of at least 58 years. She exhibited at the New English Art Club from 1897 (which was an alternative institution for showcasing artists as opposed to the Royal Academy of Arts, which was mostly unwelcoming to the work of female artists), the Royal Scottish Academy (1935), the Royal Hibernian Academy (1924-39), the Royal Glasgow Institute (1928-58) and the Royal Academy itself in 1921-64. She also exhibited with the Society of Women Artists (1927-63) and the Women's International Art Club, both institutions for the promotion of the work of women. Prout was elected an associate member of the Royal Academy in 1948. She was a member of the Society of Women Artists from 1935 to 1937 and from 1952 to 1958 and was also a member of the New English Art Club. A retrospective exhibition of Prout's work was held at the Worthing Art Gallery in 1961, the Royal Watercolour Society held a memorial exhibition in 1966 and Blond Fine Art also held a retrospective in 1979. Vincent Lines, a neighbour of Fisher Prout's in St Leonards-on-Sea, wrote a book on Mark Fisher and Margaret Fisher Prout "Mark Fisher and Margaret Fisher Prout, Father and Daughter: A Record of a Hundred Years of Painting" with the image of Fisher Prout painting offered here featured on the front cover.*Artist Resale Right may apply to this lot
STUDIO OF DANIEL MYTENS (1590-1647) Charles I as the Prince of Wales, oil on cradled panel, 55cm x 44cm Provenance: The Bockland (Buckland) Family, Standlynch Park, Wiltshire, later passing to the Nelson Family, along with Standlynch, then renamed Trafalgar Park. The Nelson Sale, Woolley & Wallis, 1951 The Bockland Family acquired what was then Standlynch Park in 1572. Staunch supporters of the crown, Maurice Bockland (1648-1710) married Joan, the third daughter of Col. John Penruddock, who was executed in the King's Cause having been captured by Cromwell's forces for leading the uprising as a prominent member of the secret 'Sealed Knot' society, seeking a return of the Stuart Monarchy. After years of various ownership, the ownership of Standlynch passed to the Nelson Family. Following Admiral Nelson's death at Trafalgar in 1805, his brother the Rev. William Nelson was created Earl Nelson and gifted the Standlynch Estate by Special Act of the Government, changing the name to Trafalgar Park. The Nelson family maintained ownership of Trafalgar Park up to the 5th Earl Nelson, but then due to a combination of Death Duties and the cancellation of the annual Government Nelson Pension, granted in 1806, by the incoming post-War Labour Administration the estate was put up for sale.
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