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Lot 421
Brewerina - a pallet lot to include a large qty of beer mats, a qty of beer pull clips with badges, a qty of Jack Daniels items, a Spanish wine bottle and others (see photo). Conditions are Poor to Excellent. DUE TO THE SIZE AND WEIGHT OF THIS LOT POSTAGE IS NOT AVAIABLE COLLECTION ONLY. (QTY ON ONE PALLET)
Lot 395
Minichamps - A boxed Minichamps 'Classic Collection' #B6 604 0378 1:18 scale Mercedes Benz L6600 Canvas Truck. The large impressive model in green and wine red appears to be in Mint condition, with accessories, and sits within an Excellent inner polystyrene box, contained within Excellent outer box with some minor storage related wear. Model is unchecked for completeness. (This does not constitute a guarantee) (K)
Lot 486
A LARGE BRONZE 'ARROW' VASE, TOUHUMing DynastyThe compressed globular body cast with four archaistic taotie masks each separated by a flange, the shoulder with two open-mouthed Buddhist lions, all raised on a spreading foot, the tall slender neck with two applied writhing chilong beneath the mouth with two cylinders attached joint with the same band decoration of taotie masks on a leiwen ground. 50.8cm (20in) highFootnotes:Provenance: Frank Gardiner Fedden, acquired in the early 20th century and thence by descent.明 銅投壺These type of vases were designed for the ancient Chinese game of touhu, or 'arrow throwing', which would form part of the entertainment at banquets and is mentioned in early classical texts such as the Chunqiu Zuo Zhuan. Contestants would aim feathered arrows at the various cylinders applied to the vase, with higher points awarded for the less accessible openings. The loser was made to drink wine, leading to increased inebriation and diminished throwing accuracy.For further information on this lot please visit Bonhams.com
Lot 125
A GROUP OF BLUE AND WHITE WARESLate Qing DynastyComprising: a dish with central dragon roundel within a band of prunus, chrysanthemums, bamboo and narcissus, Guangxu six-character mark and of the period; a blue and white 'lotus' bowl, Guangxu six-character mark and of the period; a bombe form incense burner decorated with a band of archaistic dragons; a 'lotus' wine cup, Qianlong four-character mark; and two blue and white figural and horses vases. The bowl 16.5cm (6 1/2in) diam. (6).Footnotes:清晚期 青花瓷器 一組For further information on this lot please visit Bonhams.com
Lot 117
HERMES Paris, circa 1960. Taste-vin en argent 925°/°°.Orfèvre: Ravinet d'EnfertPrise à anneau et motif polylobé.Long.: 9,5 cm - Poids: 78 gFootnotes:HERMES Paris, circa 1960. Wine taster in 925°/°° silver.Goldsmith: Ravinet d'EnfertRing grip and poly-lobed motif.For further information on this lot please visit Bonhams.com
Lot 75
HERMES Paris, année 2013. Commande spéciale. Important écrin bouteille de champagne170eme Anniversaire de la Maison de champagne Besserat de Bellefon.Porte-bouteille de champagne en bronze argenté, gravé 'B de B'. Signé et numéroté '54'.Usures et micro rayures.N.B.: Egérie : Brigitte Bardot.'Depuis sa création, la Maison BESSERAT DE BELLEFON est attachée à une tradition de grande qualité, en élaborant des vins exclusivement réservés aux secteurs de la gastronomie, de l'hôtellerie, des cavistes et des épiceries fines. Victor BESSERAT a conçu en 1930 un Champagne tout en finesse, à l'effervescence légère et à la saveur crémeuse : la célèbre Cuvée des Moines, fleuron de la Maison.En 2013, pour valoriser ses 170 ans, la Maison BESSERAT DE BELLEFON affirme son élégance et sa créativité avec une communication accrue sur les expériences oenologiques et gastronomiques. Cédric Thibault a imaginé une cuvée d'exception exprimant le meilleur de son style. Parfait pour les grandes occasions, ce champagne extraordinaire se mariera à merveille avec du homard ou du haddock.La soirée s'est déroulée au Café Andrée Putman, au CAPC à Bordeaux. Les invités ont pu y déguster la cuvée anniversaire BdeB en accord parfait avec le cocktail dinatoire travaillé avec le maître de cave de la maison BESSERAT BELLEFON.' - communiqué de presse, 2013. Haut.: 39 cm; Diam.: 11 cm.Footnotes:HERMES Paris, year 2013. Special order. Important champagne bottle case170th Anniversary of the Besserat de Bellefon champagne house.Champagne bottle holder in gilded bronze, engraved 'B de B'.Signed and numbered '54'.Worn, scratches.N.B.: Advertising with: Brigitte Bardot.'Since its creation, Maison BESSERAT DE BELLEFON has been attached to a tradition of high quality, producing wines exclusively reserved for the gastronomy, hotel, wine merchant and delicatessen sectors. In 1930, Victor BESSERAT designed a Champagne full of finesse, with light effervescence and a creamy flavor: the famous Cuvée des Moines, flagship of the House.In 2013, to promote its 170 years, Maison BESSERAT DE BELLEFON asserts its elegance and creativity with increased communication on oenological and gastronomic experiences. Cédric Thibault has imagined an exceptional vintage expressing the best of his style. Perfect for special occasions, this extraordinary champagne will pair wonderfully with lobster or haddock.The evening took place at Café Andrée Putman, at the CAPC in Bordeaux. The guests were able to taste the BdeB anniversary vintage in perfect harmony with the cocktail dinner worked with the cellar master of the BESSERAT BELLEFON house.' - press release, 2013.Height: 39 cm; Diam.: 11 cm.For further information on this lot please visit Bonhams.com
Lot 62
An Attic black-figure lekythos from the workshop of the Emporion Painter, early 5th Century B.C., enlivened with added wine red and white, depicting a maenad playing twin flutes (aulos), as another maenad dances before her, a column borders the scene to the right, a second scene to the left of the principal scene is slightly worn and depicts another dancing maenad before a standing maenad, radiating strokes around the rim, 22cm highProvenance: Bonhams, London, 6 July 1993, lot 318, where acquired by the present owner.The name of this Athenian black-figure vase-painter is unknown, although with consistent individual characteristics of style it suggests a distinct artistic personality. J. D. Beazley called him the Emporion Painter after Ampurias in Spain, where several examples of his work were found. Cf. Beazley Archive Pottery Database (BAPD), no. 9017553, for an Attic black-figure white ground lekythos with women dancing, also attributed to the Emporion Painter (Berlin Antikensammlung: F2010). Condition Report: Restored to neck
Lot 443
A lustre decorated pottery aquamanile, Persia, late 12th-early 13th century, on a rectangular base, in the form of a bull with spiraling horns, hollow with pouring spout at end of nose, and opening with flaring neck on back, with strap handle between back and head, the horns curled together forming a palmette, decorated in brownish lustre with alternating bands containing vegetal interlace, 14cm. high, 12cm. longProvenance: Dr Jeremy David CrosthwaiteAcquired by the late father of Dr Crosthwaite, C. N. Crosthwaite in Tehran in 1936, and then inherited by descent. C. N. Crosthwaite worked in the oil industry and purchased the aquamanile while living in the city. He returned to the UK in 1939 with his collection of early Islamic pottery which included works from the 9th to 14th centuries.A bull figurine of related form and purpose, for use as an aquamanile, dating to the twelfth or thirteenth century in the Keir Collection, London, is illustrated in Ernst J. Grube, Islamic Pottery of the Eighth to the Fifteenth Century in the Keir Collection, 1976, p. 241, no. 181, colour pl. facing p. 232. Grube also illustrates on p. 241, no. 180 a smaller figurine of a seated lioness with a funnel for filling the liquid and a handle for lifting the vessel but no spout to pour from the mouth. This may have been used for perfume rather than water or wine, with the liquid sprinkled from the point of entry. Both the Keir pieces are decorated in the “Reyy style” of lustre painting on a cobalt blue ground.A similar figurine from the Ades Family Collection can be seen in the Victoria and Albert Museum, London (Oliver Watson, Persian Lustre, London, 1985, pp. 117-18).Condition Report: The aquamanile shows a line of repair to the neck of the bull and another to the chest. The legs show some different hues compared to the main body, perhaps older repairs or restorations.The aquamanile has not been inspected under UV light to prepare this condition report.
Lot 183
A painting of a youth drinking wine in a spring garden, Persia, early 20th century, opaque pigments on paper, the young man shown seated, with one arm resting on a cushion and holding an empty cup, in his right hand a flask, behind him a tree and flowers, painting 16 x 10.6cm. Provenance: Private London collection
Lot 190
To Be Sold With No ReserveThree standing portraits : a youth, a dancer, a lady, Iran, 19th century and later, the youth facing right, holding a wine flask and cup, amidst gold floral sprays, on light pink ground, illuminated panels above and below, within light red floral borders ; the dancer dressed in the Qajar fashion, on a terrace, trees in the background ; the lady, similarly dressed, holding an apple, each mounted, framed and glazed, the larger 43.5 x 29.5cm. framed (3)
Lot 245
Property from a Private London CollectionA rectangular lacquered papier mache mirror case, Qajar Iran, 19th century, the polychrome painted decoration to the cover depicting a standing youth holding a spear framed by gilt rising palmettes and four inward rising gilt flower bloom, on black ground, the reverse with a reclining youth entertained in a garden, the case reverse with a male courtier drinking wine in a garden surrounded by musicians, a dancer and attendants, 29.5 x 20cm. Condition Report: The case shows some losses, cracks and blemishes as can be seen in the catalogue illustration, which in places have affected the reverse. The upper left corner's edge may have been repaired from a previous break. The reverse scene is in fair condition. The mirror is loose within the case.The cover shows some hair cracks and blemish. None are affecting the standing figure. Some minimal losses. One fleck affecting the youth's belt. The corners show some flaking and losses.
Lot 60
Two Roman colour coated pottery jars, circa 2nd -3rd Century A.D., both with globular body, out-turned rim and tapering to a narrow base, with rouletted decoration, the black coated vessel, 12.4cm high; the cream coated vessel, 11.4cm high, with an old ink inscribed label on the underside of the base reading: ‘Roman Vase. From Stone. Buckinghamshire. Bateman Coll.’ (2)Provenance:Black coated beaker: accompanied by an old printed label reading: County Borough of Southampton Tudor House Museum: Roman Wine-Cup from Winchester.White coated beaker: Bateman Collection. This could refer to the Thomas Bateman (1821-1861) Collection. Thomas Bateman was a Victorian antiquarian, who founded a museum in his Derbyshire home. After his death some of his collection was sold to the City of Sheffield, while Sotheby’s sold much of his collection on the 14 April 1893.Both: Christie’s, London, Antiquities, 10 July, 1991, lot 114, unillustrated, where acquired by the present owner.
Lot 153
Group of various bottles of wine and spirits to include Chateau de Calvaire 1986, Chateau de Faise 1995, Chateau Levigneau 2012, Chateau Talbot 1975 and others (11 Bottles):. 1 bt 1986 Chateau du Calvaire, Grand Cru, St Emilion 1 bt 1985 Mouton Cadet, Baron Philippe de Rothschild 1 bt 1975 Chateau Talbot, St Julien 1 bt 1973 Bollinger RD Champagne 1 bt Gurktaler Mild 1 bt 2012 Ch Le Vigneau, Bergerac 1 bt Moet & Chandon Champagne in a jacket 1 bt 1995 Chateau de Faise, Bordeaux Superieur 1 bt Karasek Himbeerlikor Raspberry Liqueur 1 bt 1985 Fleurie 1 bt Karlovarska Becherovka
Lot 1524
° ° Betjeman, Sir John (1906-1984), poet laureate, writer and broadcaster; three letters to Peter Winckworth i. The Mead, Wantage; received 9 April 1954; ‘I am delighted to have the two pamphlets, but I cannot take up the Middle Class one for not being able to put down the Faculty one [A Verification of the Faculty Jurisdiction (1953)]. … I see in my mind’s eye anxious incumbents, the frightened churchwardens, the angry moustached Protestants. What a brute and a fool Lord Penzance was’. Asked [Walter] Taplin editor of the Spectator whether he wanted an article on Easter in Madrid from you. He regretfully declined. The Easter issue is already planned and most of it in type. I am so much in disgrace at Time and Tide now that I have no influence there. … Wasn’t the Honor Tracy case fun?’ii. 43 Cloth Fair, London EC1, 16 October 1957; thanks for ‘a thoroughly enjoyable evening’, with a commentary on the wines – ‘The idea of a little champagne at the beginning was cunning and good’iii. The Athenaeum, 14 March 1962; Thanks for letting us have the Mercers’ hall for the Hawksworth meeting; ‘I am sorry Ian Nairn was so embarrassingly emotional in his speech about Hawksmoor. Not the right kind of thing, I felt, for the City … the excellent hospitality of the Mercers must have enabled them to recover from the speech’In 1937 Betjeman became a devoted member of the Church of England, speaking of it as ‘the only salvation against progress and Fascists on the one side and Marxists of Bloomsbury on the other’ (Betjeman: Letters, 1.171). Betjeman and Peter Winckworth had many things in common – poetry, Anglo-Catholicism, a love of churches, good food and wine – but it is not known which if any of these brought them together. Winckworth’s publication on Faculty jurisdiction – the process by which the Church of England regulates the maintenance and improvement of church buildings – would have been of great importance to Betjeman, whose devotion to the church lay not only in his open admiration for its buildings, its liturgy, and its worshippers, but for its faith.In 1874 James Plaisted Wilde, Baron Penzance (1816–1899) succeeded to the offices of dean of the arches court of Canterbury, master of the faculties, and in 1875 official principal of the chancery court of York. The bishops discouraged recourse to his court, while the laity generally doubted the morality or practical sense of prosecuting ritualists and so converting them into martyrs.In April 1954 Honor Lilbush Wingfield Tracy (1913-1989), journalist and author, had won considerable damages from The Sunday Times, which had published her account of a Canon O’Connell’s attempt to raise funds for a parish house in Doneraile, Co. Cork. O’Connell took exception and the Sunday Times printed an apology, paying £750 to charity. Tracy in turn sued the Sunday Times for damaging her professional integrity by acting without her permission.Ian Douglas Nairn (1930-1983), architectural writer, served in the RAF until 1953, when he resigned his commission and determined to write about architecture. Like Betjeman, he wrote for the Architectural Review, and in 1962 was the first person to be invited by Nikolaus Pevsner to collaborate on The Buildings of England, producing a volume on Surrey and half of the account of Sussex. He was a trenchant critic of both architects and the planning bureaucracy, whom he considered responsible for ruining the towns and countryside of England. His long article in The Observer (13 February 1966), entitled ‘Stop the architects now’, marked a significant step in the growing challenge to the urban policies of the Modern Movement in architecture which resulted in a change in direction the following decade. Nairn's much vaunted affection for public houses combined with his connoisseurship of beer soon proved to be his nemesis, and he only published some short travel guides for the Sunday Times before collapsing into inarticulate melancholia. Nairn described himself as ‘a person who drinks a lot and can’t bear either pretensions or possessiveness’ (Nairn’s Paris, 13). ‘Difficult and intolerant he may have been’, Christopher Hurst concluded, ‘but his heart was warm. This fact shaped his whole world view—his anger was compassionate, on behalf of people and against the impersonal’ (ArchR). During his short, furious, productive career, Ian Nairn had a more beneficial effect on the face of Britain than any other architectural writer of his generation. (ODNB)John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29
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166771 item(s)/page