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Click here to subscribeA mixed lot of silver items, various dates and makers, comprising: an Edwardian tea caddy, Birmingham 1904, oval form, drop-ring handles, a pierced oval basket, London 1897, a pair of small pierced baskets, a pair of salt cellars, a George III oval salt cellar, three two-handled bowls, a cream jug, a wine coaster and a finial, approx. weighable 41oz. (qty)
A George III silver provincial wine label, makers mark only TW, for Thomas Wigan of Bristol, circa 1763, banner form, pierced and engraved zigzag border, incised 'PORT', length 6.9cm, approx. weight 0.3oz. This label is illustrated in Salter, J., Wine Labels 1730-2003, fig 740, pages 222-223.
A collection of five silver wine labels, comprising: a George III one by Hester Bateman, circa 1780, crescent form, bright-cut borders, incised 'SHERRY', a Scottish label by WPC Cunningham, Edinburgh, incised 'LISBON', plus a modern label 'SHERRY', a label 'WHISKEY' and an old Sheffield label 'RUM', approx. weight 1.2oz. (5)
A collection of silver-related reference books, including: Salter, J., Wine Labels 1730-2003 A World History, 2004, Oman, C., Caroline Silver 1625-1688, Antique Collectors' Club 1970, Finlay, M., The Mining Tokens of West Cumberland, number 418 of a limited edition of 500 copies, and other volumes. (24)
A Charles II silver wine taster, by Daniel Rutty, London 1664, circular form, punched foliate and beaded decoration, scroll handles, with a faded prick-dot inscription and dated '1665', length handle to handle 12.2cm, approx. weight 1.8oz. For maker's mark see: Mitchell, D., Silversmiths in Elizabethan and Stuart London, The Boydell Press, 2017, pages 276/277.
A quantity of reference books and publications relating to wine labels, including: Salter, J., Sauce Labels, The Wine Label Circle, 2002, hard bound, Salter, J., Wine Labels: 1730-2003 A Worldwide History, Antique Collectors Club 2004, hard bound, with dust wrapper, and an extensive collection of the Journals of the Wine Label Circle, plus auction catalogues, pamphlets and newspaper articles relating to wine labels. (qty) (two boxes)
Quantity of Waterford Kenmare pattern table glass, including various wines, cocktail, tumblers, and an associated bowl.Qty: 88Condition report:There are 4x cocktail glasses, 12x Champagne flutes, 11x large wine glasses, 12x Hock glasses, 6x small tumblers, 6x medium wine glasses, 6x small wine glasses, 20x Sherry type glasses, 9x smaller coupes, and a small bowl. Please see photos added online.There is a chip to the rim of one of the large wine glasses. There is a small nibble to the rim of two of the smaller coupes. The foot on one of the coupes has broken and half the foot has snapped off. Otherwise they appear to be good.
COUPE LIBATOIRE EN PORCELAINE DE LA FAMILLE VERTEÉpoque Kangxi (1662-1722)A FAMILLE VERTE LIBATION CUP Kangxi (1662-1722)Shaped as an archaistic wine cup, finely decorated with flanges and floral designs, the handle with clambering chilong, 11.5cm (4 1/2in) high.Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) A closely related famille verte archaistic libation cup, Kangxi, was sold at Bonhams London, 8 November 2004, lot 322.清康熙 素三彩螭龍紋爵杯來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
VASE RITUEL EN BRONZE ARCHAÏQUE, GUFin de la dynastie Shang (ca XII-XIe siècles av. J.-C.)A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, GU Late Shang Dynasty (circa 12th-11th century BC)Finely cast with a slender flanged central section decorated with taotie masks, between the neck rising to the trumpet shaped mouth decorated with a foliate border below the cicada blades, and the splayed tall flanged foot similarly cast with taotie masks, all against leiwen ground, raised on a short straight circular foot, the interior plain and the underside with three pictograms reading Ding Ji and a clan sign, the bronze with attractive encrustation and verdigris. 29cm (11 3/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981); according to a note by Jean-Pierre Rousset this gu was found in Houjiashuang, Xibeigang Royal cemetery at Anyang in 1934Jean-Pierre Rousset, Paris (1936-2021)Bronze gu vessels such as the present lot were among the most important objects used in State rituals of the late Shang dynasty. Similar archaic bronze gu vases from the late Shang dynasty can be found in a number of important museum collections.Compare with two similar gu illustrated in Bronzes in the Palace Museum, Beijing, 1999, pp.68-69, nos.40 and 43; see another similar gu dated to the middle/late Anyang period, illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp.280-283, no.41l; and another example in the Henan Provincial Museum, illustrated in Zhongguo Meishu Fenlei Quanji: Zhongguo Qingtongqi Quanji: Shang, vol.IV, Beijing, 2006, p.67, no.69.The blade motif at the neck of these slender vessels is an Anyang innovation. See R.Bagley, Shang Ritual Bronzes in the Arthur M.Sackler Collections, p.229. A similar gu, late Shang dynasty, excavated in Anyang, now in the Institute of Archaeology, The Chinese Academy of Social Sciences, Beijing, is illustrated by Li Jianwei and Niu Ruihong, Zhongguo Qingtong ji tulu, vol.I, Beijing, 2005, p.118 (top); see also a related excavated example, unearthed at Yongdoucun, Majiahe, Yanchuan county, Shaanxi Province, in the Cultural Relics Institute of Yan'an, Shaanxi Province, illustrated in Bronzes from Northern Shaanxi, vol.II Chengdu, 2009, p.155; and another excavated from the Shang tomb at Xiaqiyuan, Ci county, in the collection of the Hebei Museum, illustrated in National Treasures of Hebei Province, Hebei, 2008, p.100.Compare with a related archaic bronze ritual wine vessel, gu, late Shang dynasty, which was sold at Bonhams London, 11 May 2021, lot 12.商晚期 青铜饕餮纹觚來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏據Jean-Pierre Rousset記錄記載，本拍品於1934年出土於安陽侯家莊西北岡For further information on this lot please visit Bonhams.com
VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com
A LARGE QUANTITY OF CUT CRYSTAL AND COLOURED GLASSWARE, a boxed pair of brandy glasses, three decanters, a boxed Tutbury Crystal rose bowl engraved for a 50th wedding anniversary, a boxed pair of Tutbury Crystal whisky glasses, a boxed RCR lead crystal bowl, a clear control bubble orchid vase, a 1960's blue textured glass candle holder by Wood Bros. 'Cascade' range, three Tutbury glass swans, a boxed Royal Doulton 'Gallerie' jug, a boxed Caithness paperweight 'Sea dance', a pair of boxed Caithness wine goblets, a set of four Caithness whisky glasses, two Caithness brandy glasses, a Tutbury Georgian crystal paperweight, a boxed set Cristallerie Zwiesel (German) paper weights of one happy and one sad face, a green glass lampwork deer, a 1930's pale blue frosted pressed glass dish, a mid-century Swedish clear glass Strombergshyttan modernist vase, height 16cm, a Royal Doulton 'Autumn's Glory' pattern tea set of six cups, six saucers, six tea plates, etc (Qty) (Condition report: no obvious signs of damage)
A QUANTITY OF CUT CRYSTAL comprising five Thomas Webb Crystal dessert dishes, a long stemmed dessert dish, one large footed fruit bowl, seven decanters, a clear glass lustre, claret jug (no stopper), a crystal table lamp, a Mirror group trophy bowl 1998, ten matching dessert dishes, wine glasses, etc (Qty) (Condition report no obvious damage, two spare stoppers)
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