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Lot 1961
A group of glassware, 19th and 20th century, comprising; a claret jug with green trails and plated mounts, 23.5cm. high; a Regency step cut decanter and stopper, 28cm. high; six glass rummers, 16cm. high; six wine glasses, 16.5cm. high, (15). Condition Report Some small chips to the Regency decanter. Otherwise in overall good condition.
Lot 1963
A part suite of John Walsh Walsh table glass, circa 1935, each piece acid etched with fruiting vine, comprising; a jug, 17cm. high, eleven pan topped champagne glasses, eight wine glasses, 12.5cm. high, seven port glasses, 12cm. high and eleven sherry glasses, 10.5cm. high, acid etched `Walsh England' to one champagne glass, ( 38). Condition Report There is a crack and fracture to the glass jug where the upper handle terminal joins the body. Otherwise in good condition. Just one champagne glass is signed.
Lot 1940
A part suite of cut glass drinking glasses, comprising; ten white wine glasses, 15cm. high and nine red wine glasses, 16cm. high; also four Waterford Colleen pattern champagne flutes, stencilled marks, 15.25cm, and nine glass tumblers, 13cm. high, (32). Condition Report One tumbler with shallow chip to outside of rim, approx. 0.75cm. square. Another with minor nick to rim. Another with light surface scratch to rim. Otherwise in good condition.
Lot 1959
A group of drinking glasses, 20th century, including; eleven wine glasses in two sizes engraved with fruiting vine, 15cm. and 12.5cm. high; three similar champagne flutes; six plain champagne flutes; thirteen assorted glasses, ( 33). Condition Report A plain stemmed wine glass has an internal fracture to the stem. Four of the small glasses on square bases have chips to the base. Otherwise in overall good condition.
Lot 31
Kindly donated by Prep 3Champagne - Charles Lecouvey Cuvee Reserve Brut - France, Rosé - Coeur de Cardeline, Costieres de Nimes 2019 - France. White Wine - Wairau Cove, Sauvignon Blanc 2019 - New Zeland, Bouchard Pere & Fils Macon Lugny Saint Pierre Chardonnay 2018 - France, La Perriere, Pouilly Fume 2019 - France, The Ox House Pays D'Oc - France, Gavi, Araldica 2018 - Italy. Red Wine - Cotes Du Rhone, E Guigal 2016 - France, Munel Rioja, Vendimia Seleccionada 2018 - Spain, Ai Galera Poetico, Tejo 2018 - Portugal, Rioja Crianza 2016 - Spain, Cotes Du Rhone, Reserve de L'Abbe 2019 - France, Journey's End, The Bluegum Merlot 2017 - South Africa, Font Sarade Ventouz, Les Terres Rouges 2016 - France, together with a barrel of rum!
Lot 26
A collection of silver items, comprising three Georgian silver decanter labels, two engraved 'Madeira', one 'Whiskey', and a modern silver 'Marsala' label, an 835 silver beaker, flared rim and lightly planished finish, 5.7 by 7cm, a wine taster set with a coin, an 800 Tezler pill case, 3.6cm, 800 silver miniature box on four legs, gilt interior, egg cup, and napkin ring, 12.9toz total combined weight. (17)
Lot 142
An 18th century Continental silver wine strainer, with crowned C mark possibly for Strasbourg 1744, and bee makers mark, possibly for Johann Ludwig Imlin, decorated with Bacchanalian figures, and vines, with goat mask to the base, instruments below the handle and cupid with his bow to the handle, all within rococo scrolls and curls, on a textured ground, the whole with traces of silver gilt, particularly to the bowl, later English import marks, William Moering, London 1900, 12.7 by 8.1cm, bowl 3.6cm diameter, 1.2cm deep, 1.53toz.
Lot 12
A collection of silver plated wares, including an Edwardian silver handled boothook, 20cm long, three George V three piece manicure set with silver handles, each approximately 12.5cm long, William Devenport, Birmingham 1923, a silver backed comb, Daniel Manufacturing Company, Birmingham 1928, together with a vintage Aerators ltd. London soda syphon with wire lattice work over its glass body, 29cm high, a twin handled wine bottle holder, 16 by 14 by 19cm high, and a Mappin Brothers cased set of fish servers. (13, 1 box)
Lot 13
A collection of silver plated wares, including a Mappin & Webb twin handled wine holder decorated with vertical slits, 16 by 11.3 by 13.4cm high, a photograph frame with planished effect silver plated mount, (missing glass and back) 20.5 by 27cm high, a quaich, with inscription 'Perth Ch. Dog Show 1936', 11.5 by 7.7 by 3.8cm high, a cased set of fish knives and forks, a cased Christening set with spoon and egg cup. (1 box)
Lot 11
A silver dish inset with 1953 Five shilling coin, 10.7 by 0.7cm high, 2.8toz overall, and a group of silver plated and white metal wares, including a silver plated twin handled wine bottle holder, 18.5 by 13.7 by 16cm high, a silver plated coffee pot, 24.5 by 10.5 by 22cm high, a twin handled sugar bowl, 20 by 10.7 by 11.5cm high, and milk jug, 14.7 by 7.5 by 11cm high, all three with blank cartouches, and a middle eastern white metal dagger. (1 box)
Lot 115
A collection Victorian and later silver cruet sets and flatware, comprising a Victorian cruet set, with two hexafoil form salts raised upon three ball feet, Hayes Brothers, Birmingham, 1893 4.4 by 2.5cm high and two salt spoons with ball finials, twisted handles and ball and quatrefoil form bowls, 6cm long, George V cruet set, with cylindrical salt and pepper cellars, 5.5cm high, two single handled mustard pots with blue glass liners, 4.5cm high overall, two oval form salts with blue glass liners, two salt spoons, Barker Brothers Silver Ltd. Birmingham 1929, 7cm long, with associated condiment spoons, James Swann & Son, Birmingham 1923, 6.2cm long, Thomas Turner & Co. Sheffield 1933, 6cm long, a 19th century silver wine toddy spoon, with turned whale bone handle with white metal mounts, and an old English pattern George V serving spoon, with 'WAJ' monogram to its finial, 24cm long, overall 8.7toz weighable silver. (1 bag)
Lot 5032
The Social Gathering: An 18th Century Ivory Brisé Fan, the sticks with straight tips, the guards fitted with tortoiseshell thumb guards. The upper sections of the twenty-seven inner sticks and two guards are comprehensively carved and pierced. Centrally, a large boldly painted cartouche, bordered in gold, depicting several figures seated at the table outside a cottage, partaking of wine and a simple meal, whilst listening to a musician. To left and right, painted vignettes, in a Chinoiserie theme to complement the design in the gorge. Portraits are painted to the inner guards. The verso is a simple mirror image of the recto. Guard length approx. 8.75 inches or 22cm.Together with Another Carved Ivory Brisé Fan, this time painted with a medieval scene, with three figures within a rather sumptuously decorated room, with large paintings and extravagant hangings on the walls, the domed ceiling painted, the colours strong, as are those in the costumes being worn. The cartouche is bordered in gold. To the reserves, very Orientalist decoration with figures and blue urns, tinges of gold, some of the piercing to the sticks visible. The verso is plain, a simple mirror image outline. Guard length approx. 8.75 inches or 22cm (2) . The first fan has losses to the upper carved section of several sticks. The second fan has much the same and the ribbon is defective, sticks currently linked by thread. Some rubbing to the paint.
Lot 5087
A Regency Fan with ivory monture, very elaborately decorated. The shaped gorge sticks are silvered, and applied with silver spangles of star design, and generally clouté. Barrel head. The cream silk leaf is divided into three scenes of colourfully painted cherubs high in the clouds, the central panel portraying them engrossed in garland making, music and simply partaking of a goblet of red wine. Tall columns, with vases atop, also feature cherubs. Borders of tiny gold sequins are embroidered on the columns, in swags above the paintings, and within a strong Greek key design that encloses the central panel. The verso is plain. Guard length approx. 9 inches or 23cm. Together with A Small Early 19th Century Carved, Pierced and Painted Ivory Brisé, the nineteen inner sticks and two guards rising to a point, the main body of the fan pierced in bands. Barrel head. The recto is painted with bright blue, yellow-centred forget-me-nots and dark green leaves, fitting into the shape provided by plain band. The verso is similarly decorated, this time with pink roses and small summer blooms. Guard length approx. 6 inches or 15cm; and Another Small Carved And Pierced Ivory Brisé, the twenty sticks and upper guard with slightly rounded sticks with serrated edges. Designed with two bands above and below the ribbon, and further carving nearer the head. Guard length approx. 6.25 inches or 16cm (3)
Lot 5200
Two 19th Century Advertising Fans, the first for a restaurant in CAEN, in the Place du Marché au Bois, run by Fabre Succr, named ''Ancien Restaurant Bourdeux'' and said to be an establishment recommended to tourists for the reputation of its wine cellar and excellent food. To the left of the advertising is a drawing of the ''Eglise St Pierre de Caen''. Also noted ''Lith L. Palmé, Caen''. The recto is printed with an elegant spray of red roses in bud, and an orange butterfly in flight. Plain, light wood monture. Guard length 10 inches or 25cm; and a circa 1900 advertising fan with double paper leaf, promoting the Casinos de Biarritz, the recto printed with two contemporary images of the casino buildings, but also showing motor cars, bicycles, and fashions of the period as it features the access roads and the beaches. The verso, with gentle classical gold border detail, notes ''Event. Chambrelent 7 Croix, Paris - Déposé''.. Interestingly, the first fan's recto/leaf paper has not been fully trimmed back and overhangs. It looks like damage but is actually surplus to requirements, as seen from the verso. Fan 2 lacks the very bottom of the lower guard and first stick in. Note the substituted washer on the rivet which is rectifying the matter!
Lot 403
Rare WW2 Luftwaffe Night Fighter Ace Heinz Wolfgang Schnaufer (16th February 1922 15th July 1950) Knights Cross of the Iron Cross with Oak Leaves, Swords and Diamonds. Schnaufer was the top scoring night fighter pilot of WW2 credited with 121 aerial victories achieved in 164 combat missions and was nick named The Spook of Saint Truiden. Throughout his flying career his flying book records 2, 300 take offs and 1, 133 flying hours. His victories include 114 against RAF four engine bombers, probably accounting for more RAF casualties than any other Luftwaffe pilot. On 21st February 1945 he claimed 9 victories against Lancaster bombers in just one day. His 121 aerial victories make Schnaufer the third highest Luftwaffe claimant against the Western Allied Air Forces during WW2. Schnaufer became a POW in May 1945 and upon his release took over the family wine business. On 13th July 1950 he was on a wine buying trip to France and his Mercedes Benz 170 convertible was involved in a collision with a Renault 22 truck. Schnaufer suffered head injuries and was taken to hospital where he died of his injuries on 15th July 1950. Schnaufers Messerschmitt Bf 110 G 4 U8 was taken to London after the war and put on display in Hyde Park. The port side vertical stabiliser from this plane tallying all his victories is on display today at the Imperial War Museum in London. A rare, signed photo card approx 14. 5 cm x 10cm bearing Schnaufers original wartime signature supplied with a Certificate of Authenticity. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 460
Simon Laurie Fish and Wine, 2020 Pencil on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Lot 568
Walter Swennen Poker Face, 2020 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Lot 569
Walter Swennen E L'ora, 2020 Pencil, Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Lot 570
Walter Swennen Captain Time, 2020 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Lot 571
Walter Swennen Elefant & Mice, 2020 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Lot 1066
PSEUDO-JAN VAN KESSEL PSEUDO-JAN VAN KESSEL 17. Jh. Titel: Stillleben mit einem Korb Weintrauben, einer Porzellanschüssel mit Erdbeeren und einer Melone. Technik: Öl auf Kupfer. Maße: 16,5 x 21,5cm. Rahmen/Sockel: Rahmen. Wir danken Fred G. Meijer, Amsterdam, für seine freundliche Unterstützung. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Pseudo-Jan van Kessel Niederlande Flämische Schule 16./17. Jh. Originale Stillleben Malerei Früchte PSEUDO-JAN VAN KESSEL PSEUDO-JAN VAN KESSEL 17th C. Title: Still Life with a Basket of Wine Grapes, a Porcelain Bowl with Strawberries and a Melon. Technique: Oil on copper. Measurement: 16,5 x 21,5cm. Frame/Pedestal: Framed. We are grateful to Fred G. Meijer, Amsterdam, for his kind support. Provenance: Private ownership, Germany. Explanations to the Catalogue Pseudo-Jan van Kessel The Netherlands Flemish School 16th/17th C. Old Masters Still Life Painting Fruits
Lot 1199
GRÜTZNER, EDUARD VON GRÜTZNER, EDUARD VON 1846 Großkarlowitz - 1925 München Titel: Falstaff. Technik: Öl auf Holz. Maße: 30 x 24,5cm. Bezeichnung: Signiert und datiert oben rechts: E. Grützner / 1907. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel Etikett des Londoner Tafelmachers Winsor & Newton. Provenienz: Privatbesitz, Deutschland. Eduard von Grützner, der neben Carl Spitzweg und Franz von Defregger zu den bedeutendsten Münchner Genremalern in der zweiten Hälfte des 19. Jahrhunderts zählt, erlangte insbesondere durch seine Darstellungen des Mönchslebens Bekanntheit und verliehen ihm den Namen des "Mönchsmalers". Nicht selten sind die Mönche sowie Priester und Kardinäle dabei mit Trinkgefäßen, prostend, bei der Kostprobe im Weinkeller oder schlicht beim Akt des Trinkens dargestellt. Das vorliegende Gemälde, das in einen weiteren Werkkomplex im Gesamtwerk Grützners - der Darstellung literarischer, und im Speziellen des Falstaffs - zu verorten ist, bedient sich dabei einem ähnlichen Typus. Die Figur des Falstaffs, die erstmals in Shakespeares Werken auftaucht und im Folgenden von weiteren Autoren sowie Komponisten, wie beispielsweise Beethoven, aufgegriffen wurde, verkörpert einen wohlbeleibten, trink- und raufsüchtigen Soldaten. Im Vergleich zu ähnlichen Portraits zeichnet sich dieses Gemälde durch seine intensiv leuchtenden Farben und die seitliche Ansicht auf den Portraitiert aus, dessen Gemüt und Charakterzüge in den feinen, detaillierten Pinselstrichen, mit denen die Gesichtszüge des Falstaffs gemalt sind, besonders zum Ausdruck kommen. Erläuterungen zum Katalog Eduard von Grützner Deutschland Münchner Schule 2.H. 19.Jh. Gemälde Literarische Themen Malerei Porträt GRÜTZNER, EDUARD VON GRÜTZNER, EDUARD VON 1846 Gross Carlowitz - 1925 Munich Title: Falstaff. Technique: Oil on wood. Measurement: 30 x 24,5cm. Notation: Signed and dated upper right: E. Grützner / 1907. Frame/Pedestal: Framed. Verso: On the panel label of the London panel makers Winsor & Newton. Provenance: Private ownership, Germany. Eduard von Grützner, who, along with Carl Spitzweg and Franz von Defregger, is one of the most important Munich genre painters of the second half of the 19th century, became known in particular for his depictions of monastic life and gave him the name "Mönchsmaler". Not infrequently, the monks as well as priests and cardinals are depicted with drinking vessels, prostitution, tasting in the wine cellar or simply in the act of drinking. The present painting, which is part of a further complex of works in Grützner's oeuvre - the representation of literary works, and in particular of the Falstaff - is of a similar type. The figure of Falstaff, which appears for the first time in Shakespeare's works and was subsequently taken up by other authors and composers, such as Beethoven, embodies a corpulent soldier who is addicted to drinking and scrapping. In comparison with similar portraits, this painting is distinguished by its intensely bright colours and the side view of the portrait, whose mind and character traits are particularly evident in the fine, detailed brushstrokes with which the facial features of the Falstaff are painted. Explanations to the Catalogue Eduard von Grützner Germany Munich School 2nd half of 19th C. Paintings Literary theme Painting Portrait
Lot 1103
NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER 17. Jh. Titel: Das Wunder von Haarlem. Mönch und Nonne. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 106 x 83cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Eine mögliche Deutung der Darstellung verweist auf die Legende, nach der in Haarlem eine Nonne einer verborgenen Schwangerschaft beschuldigt wurde. Der Mönch, der mit der Überprüfung beauftragt wurde, betastete die Brust der Frau; doch anstatt Milch floss Wein, der das jungfräuliche und fromme Leben der Nonne bewies. Das hier gezeigte Gemälde geht auf die seitenverkehrte Darstellung von Cornelisz van Haarlem aus dem Jahr 1591 zurück, die heute im Haarlemer Frans-Hals-Museum ausgestellt ist. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Religiöse Darstellung Malerei Paare NIEDERLÄNDISCHER MEISTER DUTCH MASTER 17th C. Title: The Wonder of Haarlem. Monk and nun. Technique: Oil on canvas. Mounting: Relined. Measurement: 106 x 83cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. A possible interpretation of the depiction refers to the legend that a nun in Haarlem was accused of a secret pregnancy. The monk who was charged with the investigation palpated the woman's breast; but instead of milk, wine flowed, proving the nun's virgin and pious life. The painting shown here dates back to the laterally reversed depiction by Cornelisz van Haarlem from 1591, which is now exhibited in the Frans-Hals Museum in Haarlem. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Religious Art Painting Couples
Lot 1111
A cut glass decanter, a suite of drinking glassware with etched Greek key pattern decoration comprising twelve tumblers, height 10.5cm, twelve champagne coupes and various other stemmed glasses, together with a set of six glasses, their bowls with engraved fruiting vine decoration.Condition report: Small chip to decanter top, small chips to body of decanter, two beakers have small chips to rim, one wine glass with tiny chips to rim. Extra images on David Lay website.
Lot 928
An 18th century opaque white airtwist wine glass, with semi-wrythen ogee bowl, height 13cm, together with eight other glasses, mainly 19th century and a blue eye glass (10).Condition report: Chips to foot of airtwist glass, various chips to rims and feet of four other glasses. Extra images on David Lay website.
Lot 83
Wine and alehouses.- A Proclamation for the observation of certeine Statutes, with a fourme how the same shal be executed, black letter, title within woodcut architectural border, woodcut initials, title, A2-4 and final f. with margins repaired and restored, just touching corner of woodcut border but not affecting text, damp-staining towards end, a few chips to margins or loss to corners, light soiling, contemporary ink inscriptions to verso of title and final f., bookplate to pastedown, 19th century half calf, spine chipped, upper cover detached, [STC 7954.5], small 4to, [In Povvles Church yarde by Rycharde Iugge and Iohn Cawood, printers to the Quenes Maiestie, [?1562]].⁂ Rare reprint of three proclamations, on subjects including alehouses, archery, plays and games, wine, vagabonds and reporters of slanderous tales and news. ESTC lists 2 copies only (Folger Shakespeare and Henry E. Huntington Libraries).Provenance: ?Will Chrusten (contemporary gift inscription from ?Thomas Buttlish of Sisley, Northampton); M. H. Bloxham (bookplate).
Lot 420
A CANADIAN SILVER BOTTLE TICKET (WINE LABEL), PETER NORDBECK, HALIFAX, NOVA SCOTIA, CIRCA 1825 oblong, for MADEIRA, gadroon type border, with chain, maker's mark twice, 'H' mark and anchor mark, 4.5cm long; together with three Victorian silver bottle tickets, comprising: one shaped oval stamped with Rococo foliate scrolls for SHERRY, with chain, George Unite, Birmingham, 1852, one as an openwork strapwork banner for MADEIRA, with chain, Rawlings & Summers, London, 1849, and one canted rectangular for SHERRY, chain lacking, Holland, Aldwinckle & Slater, London, 1868 (4)
Lot 342
AN ELECTROPLATE WINE COOLER, ENGLISH, 20TH CENTURY pedestal campana urn shaped, with bands of lobes and gadroon rim, applied foliate handles, with detachable liner, underside bears 'Boulton' type sunburst mark twice, 24cm high; together with an electroplate wine cooler, English, mid 20th century, pedestal campana urn shaped, loop handles, corded or gadroon borders, foliate stamping to the belly, 25cm high (2)
Lot 333
A PAIR OF SILVER WINE COASTERS WITH SILVER-MOUNTED PERSPEX COOLERS, GERALD BENNEY, LONDON, 1984 the slightly flared coasters with moulded base and simple line border to rim, wood base, the removable slightly tapered double walled smoky Perspex 'ViniCool' liners with plain silver rim mounts 24.5cm high
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166771 item(s)/page