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Lot 173
RED WINE; five bottles, comprising 1986 Chateau Léoville Baron, 1982 Chateau Lassus Médoc, 1971 Chateau Flaujagues, 1981 Chateau Le Piquat-Montroc, and 1983 Cahors (5). Additional InformationThese five bottles have come from a cellar in Torquay where they have been kept correctly, and infrequently turned.
Lot 1808
A 19th century wine glass, the ogee shaped bowl with fluted detail, raised on a double opaque air twist stem on a conical foot, height 15cm, with three further wine glasses, two with opaque air twist stems (4). Additional InformationLight wear to the bases as expected, light scratches and scuffs.
Lot 1811
A collection of 19th century glassware including a wine glass with ogee shaped bowl, height 14cm, two reception tumblers engraved 'J.P. Lees, Wellington Road' etc. (6).Additional InformationThe glass with a single knop stem with a chip to the foot rim, light base wear and scratches, one of the reception tumblers with a chip to the edge. As stated each of the tumblers with engraving.
Lot 1813
A collection of 19th century and later glasses, including five champagne saucers, a ale glass with etched detail, a set of modern wine glasses with air twist stems, etc (16). Additional InformationThe etched ale glass with a chip to the rim, surface wear as expected, two of the champagne saucers with tiny chips to the rims, one of the modern glasses with a tiny chip to the rim.
Lot 1137
A MID-18TH CENTURY COOPERED OAK WINE COOLER ON STAND65cm wide; 42cm deep; 53cm highCondition report: The base with a small section missing to the moulded edge of the stand and other small repairs to this moulded lip. Spliced repair to the back of one leg at the top, where it joins to the top of the stand.Missing screw to one of the lion’s masks. Dents to the timbe beneath the knockers. Brass banded mounts loose, and some shrinkage to the staves commensurate with use and age. Tarnishing as to be expected. Other inevitable scuffs, scratches, dents, small chips and marks commensurate with wear, use and age.Zinc liner later
Lot 1145
A GEORGE III BRASS BOUND CANTED RECTANGULAR CELLARETTE51cm wide; 39cm deep; 58cm highCondition report: The wine cooler is on an integral stand, but there is a disparity between the mahogany veneers and the mahogany below the bottom brass mount and above the stand. Possibly the base is later. This is visible in the online catalogue image. General scuffs, dents and marks commensurate with use and age. The veneer to the front side slightly lifting. Brass lions’ mask ring handles with dirt and dust to recesses as to be expected, with shadows / marks from the drop ring. Brass mounted worn, dented and polished. The interior lead lined to the sides, but lacking lead to the base, replaced with baize.
Lot 1255
AN UNUSUAL PAIR OF MASON'S IRONSTONE WINE COOLERS OR JARDINIERES (2)Circa 1820Cylindrical form set with gilt rose handles applied in high relief, the sides printed with a blue willow-type pattern beneath a gilt-line rim, each with blue printed factory mark, one also impressed Masons Patent Ironstone China, 18cm highBoth with wear to the gilding. Some wear and surface scratching to the interiors
Lot 784
The fine mid-19th century childhood Dolls' House of Katherine Jeffray (1841-1929), an important English simulated stone painted wooden dolls' house, on detachable wooden stand with four turned legs terminating in lacquered brass castors, the breakfront three-bay façade with two storeys, the central key-lockable wood-grained four-panelled front door with brass knob, opening, with concealed hook releasing to open the whole front of the house, the door framed by pilastered Tuscan portico and painted glass Adam-style semi-circular fanlight above, roof pediment, five large twelve-light windows to the front and two to each end, grey-painted tiled pitched roof, trough gutter, stone painted chimney at each end with two angled upper sections, two flues to each chimney, the front opening to the left of the front door in two parts to reveal four large rooms with original decoration and furnishings, the ground floor on the left, kitchen with wooden fitted blackened range, burgundy, black and cream plaid wallpaper, painted paper marblised ceiling paper, blue and brown patterned glazed cotton chintz curtains, rush-effect embossed oil-cloth floor, a tin spit with 'clockwork' bottle jack on stand with drip tray, basting spoon and skimming spoon, Evans & Cartwright painted tinplate - yellow rush seat chair, yellow log basket and green kettle, six tin graduated meat covers, two copper kettles, six pewter platters with embossed food and a similar basket, a wooden birdcage with yellow feather canary and two Grödnerthal female servants (one missing legs); to the right on the ground floor, dining room with grey marblised wood fireplace with black Evans & Cartwright tinplate embossed surround with gilt-painted grate and fender, green and red wavy water simulated silk wallpaper, a pair of blue and white printed cotton patterned curtains with pelmet, silk blue rosette and white fringing, marblised painted paper ceiling, painted grey floor with teal silk velvet fitted carpet printed with pink roses, a pair of Evans & Cartwright painted wood-grained tinplate console tables in manner of William Kent, a simulated 'tortoiseshell' covered card gilt paper trimmed bookcase bon-bon or sewing box in the form of a glazed bookcase, a working pewter urn of spherical form with brown spirit-wash, a mahogany tilt-top circular table, a gentleman Grödnerthal doll in white jacket with a blue zig-zag line decoration, red waistcoat, cotton shirt and black britches, a lady Grödnerthal doll, a china shoulder-head doll, skirt made into a pin-cushion, in cream evening dress with train, five blown stemmed wine glasses, a gilt painted wooden clock in dome, a Waltershausen work-table and green paper covered circular box with various card discs with applied printed images, probably a game; the first floor left, sitting room with Siena marblised painted wood fireplace with black painted tinplate Evans & Cartwright embossed surround and gilt-painted grate and fender, red, black and cream plaid wallpaper, burgundy, pink and cream printed pattern curtains with pelmet and white fringing, painted marblised paper ceiling, blue and brown cotton chintz fitted carpet, a large Waltershausen Biedermeier style bureau with mirrored niche, a German eleven piece chromolithographed wood grain and inlay paper covered suite of furniture with purple velvet upholstery including sofa, unusual elaborate floor standing clock, square piano and six chairs, four currently in the dining room (one chair missing two legs), a china shoulder head doll with jointed wooden body, china limbs and green dress with lace trim, five Grödnerthal children (various limbs missing), Murano glass vases under glass domes, one with original glass roses (some damage), a turned painted wooden tea set on tray and a stack of handwritten calling cards for 'Miss Jeffray'; and the top floor right, bedroom with deep and light pink wavy stripe simulated water silk wallpaper, grey painted marblised fireplace with black painted tinplate Evans & Cartwright embossed surround with gilt painted grate and fender, painted marblised paper ceiling, grey, burgundy, pink and cream printed cotton curtains with pelmet and white fringing, a teal silk velvet fitted carpet printed with pink roses, grey and white printed cotton bed curtains with white fringing hung on left wall, an Evans & Cartwright painted tinplate washstand with green tinplate jug and basin and a toilet mirror, an interesting set of nine Biedermeier style blonde wood furniture with black ink decoration comprising sleigh bed, day bed, two tables, chest of drawers and four chairs, a china shoulder head doll with jointed wooden body, china limbs and green dress (missing one china leg) a washstand with bone shaving brush, cut throat razor, two nit combs and strap, a home-made card and pink silk half-tester bed, a German pink painted tinplate three piece bath set, two gilt metal leaf shaped chamber sticks, two bottles of Patchouly oil (for clear skin) and a bottle of Ambroisie; two small beds with tiny Grödnerthal babies and seven calling cards, two printed for Gnr Tom Thumb and five handwritten for Aunt Henrietta, Aunt Mary, Aunt Elisa and Aunt Caroline (who were Katherine's aunts on her mother's side) and a Miss Whitehead --57½in. (146cm.) high x 39½in. (100.5cm.) wide x 19in. (48.5cm.) deep (slight damage to house, crack down right hand side and top front left window broken, some slight damage to contents); and sold with an original painted portrait of Katherine Jeffray circa 1864 (aged 23) in gilt frame in leather carrying case --8¾in. (22cm.) height of image --16¾in. (42.5cm.) x 14¾in. (37.5cm.) size of case (case worn) Provenance - this house and contents have come directly down a female line of the family from Katherine; the house appeared on the BBC Antiques Roadshow in Dorking in 1998 and Homes & Antiques magazine in December 1998. Family tree - Grandparents Paternal - James Jeffray 1759-1848 was a Professor and born in Aberdeen, his wife was Margaret Lockhart 1775-1864 born in Stirling, Grandparents Maternal - Thomas Millar (Preston), 1767-1840 and his wife Catherine May, 1775-1844, Parents - Rev Lockhart William Jeffray, rector at Aldford, Cheshire (1815-1862) and Catherine Millar (1809-1900) born in Preston, Catherine Millar’s siblings - Anne Marshall (1800), Elisa Horrocks (1804), Thomas (1811-1865) married Henrietta Pitt (Winckley Preston), Mary Cairns (1812) and Henry (1813) married Caroline Robbins (Thistleton), Katherine Jeffray who owned the dolls' house was born in 1841 and died in 1927.Married Archibald Hamilton, 29th May 1867 at St Mary’s, Windermere.Children - Alexander Cairns Hamilton (1878-1928), Lilihs, Elsie (1869-1960) and Stella (1872-1955)
Lot 100
A rare Beilby enamelled opaque twist wine glass, circa 1765-70The slender round funnel bowl painted in opaque white with a neoclassical temple or folly, four columns supporting a domed roof adorned by a statue of a man holding a staff, in a landscape of trees and shrubs, the rim with faint traces of gilding, the double-series stem with a pair of eight-ply spiral bands around a pair of gauze corkscrews, over a conical foot, 15.5cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionPavilions in neoclassical style are very rare on Beilby glasses but relate to a series of glasses painted in a similar style with classical ruins, see for example the previous lot in this sale. A handful of examples painted with Chinese pavilions incorporate similar statues holding staffs, see the example illustrated by James Rush, A Beilby Odyssey (1987), p.66, no.25 which was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 144 and that illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1987), p.337, no.1100 which was sold in the same sale, lot 139.For further information on this lot please visit Bonhams.com
Lot 102
A very rare Beilby enamelled light baluster wine glass, circa 1765-70The round funnel bowl finely painted in white enamel with a meandering border of fruiting vine below the rim, traces of gilding to the rim edge, on a tall multi-knopped stem with an angular knop over an annular knop, beaded inverted baluster and small basal knop, over a conical foot, 18.3cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionOnce known as 'Newcastle' balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England. It is possible that the Beilbys imported undecorated light baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems. The Beilbys will have been aware that the best glass engravers working in Holland, such as Jacob Sang, favoured the light baluster shape for their most prestigious commissions.Fifteen Beilby decorated wine glasses or goblets of similar shape are recorded, including the present lot. Three others are recorded with vine decoration, including one in the Fitzwilliam Museum (inv. no.C.513-1961), one in the Victoria and Albert Museum (inv. no.c.625/1936) and one in the Kunstmuseum Den Haag (inv. no.1005203), the former two illustrated by James Rush, The Ingenious Beilbys (1973), pp.52 and 57, nos.28 and 33b. The remaining eleven all bear armorials or crests, of which eight have Dutch connections. An important polychrome armorial light baluster wine glass of identical size and form to the present lot was sold by Bonhams on 1 December 2021, lot 142 where a summary of the known armorial examples is detailed in the footnote.For further information on this lot please visit Bonhams.com
Lot 103
A rare Beilby enamelled wine glass, circa 1765-70The round funnel bowl painted in opaque white with a bosky landscape with two ruined arches, both with prominent keystones, a tall classical column to the right, with a gilt rim, on a double-series stem containing a multi-ply corkscrew encircled by a pair of opaque white spiral tapes, over a conical foot, 15cm highFootnotes:ProvenanceSotheby's, 26 July 1965, lot 76With Delomosne and SonThomas Arthur Lewis Collection, Christie's, 18 November 1980, lot 133With Maureen ThompsonSotheby's, 21 November 2006, lot 69Darell Thompson-Schwab CollectionLiteratureE M Elville, 'The Influence of Newcastle Glass', Country Life Annual (1955), fig.5A wine glass enamelled with two very similar arches was sold by Bonhams on 16 December 2009, lot 61. An example with a single arch is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.337, no.1097. The addition of a single column is an unusual feature.For further information on this lot please visit Bonhams.com
Lot 104
A fine Beilby enamelled opaque twist wine glass, circa 1765-70The ogee bowl painted in opaque white with a long-tailed 'fancy bird', perhaps a pheasant or a peahen, its foot resting on a ball, a tree to the left and a small insect in flight to the reverse, on a double-series stem with a multi-ply corkscrew within a pair of heavy spiral tapes, over a conical foot, 14.9cm highFootnotes:ProvenanceSotheby's, 1 November 1982, lot 41Ron and Mary Thomas Collection, Bonhams, 4 June 2008, lot 171Chris Crabtree Collection, Bonhams, 16 December 2009, lot 68Darell Thompson-Schwab CollectionAn almost identical example from the Robert Lymbery Collection, sold by Sotheby's on 11 May 1999, lot 11, is illustrated by both James Rush, The Ingenious Beilbys (1973), p.84, pl.44b and L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.338, no.1104. For a glass with similar decoration on a round funnel bowl, see that sold by Bonhams on 19 May 2010, lot 26.For further information on this lot please visit Bonhams.com
Lot 105
A Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl painted in opaque white with a landscape containing pyramidal obelisk on a square pedestal, flanked by trees and shrubs, a flock of birds in flight to the left, the reverse with a winged insect, very faint traces of gilding to the rim edge, set on a double-series stem with two pairs of spiral threads encircled by a fifteen-ply spiral band, over a conical foot, 14.6cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionA glass with similar decoration is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.337, no.1099.For further information on this lot please visit Bonhams.com
Lot 106
A fine Beilby enamelled opaque twist wine glass, circa 1765-70The ogee bowl with a partly deceptive base, painted in opaque white with a handsome peacock standing proudly on a stone plinth adjoining a balustrade, a small urn on the opposite plinth, a flying bird on the reserve of the bowl, perhaps a peahen, the finely constructed opaque twist stem set with a multi-ply corkscrew encircled by a pair of spiral threads, on a conical foot, 15cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionA popular motif from the age of rococo, a similar wine glass painted with a peacock is illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), p.15, fig.9 and was sold by Bonhams on 15 November 2017, lot 27.For further information on this lot please visit Bonhams.com
Lot 107
A fine and rare Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl painted in opaque white with a pyramid in a bosky landscape, a row of four poplar trees to the left, faint traces of gilding to the rim, the double-series stem with a pair of spiral tapes encircled by an eighteen-ply spiral band, over a conical foot, 15.4cm highFootnotes:ProvenanceHorridge Collection, Jackson-Stops and Staff, 30 November 1959, lot 165Sir Hugh and Lady Dawson Collection, Christie's, 14 June 1983, lot 104With Delomosne and Son, 12 June 2010Basil Jefferies Collection, Bonhams, 12 November 2014, lot 62Darell Thompson-Schwab CollectionLiterature:L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.335, no.1092A handful of other Beilby glasses decorated with pyramids are known, see for example lots 96 and 114 in this sale. The incorporation of poplar trees, which are also found on several other Beilby glasses painted with landscapes, enhances the rural idyll which was so popular at the time.For further information on this lot please visit Bonhams.com
Lot 108
A fine and rare Beilby enamelled opaque twist wine glass, circa 1765-70The generous round funnel bowl painted in opaque white with a charming pastoral scene depicting a shepherd playing a pipe, seated beside the stump of a tree before his dog and two sheep, a low fence to the right, faint traces of gilding to the rim edge, on a double-series stem containing a pair of heavy opaque white spiral tapes encircled by an eighteen-ply spiral band, over a conical foot, 15.7cm highFootnotes:ProvenanceWith Delomosne and SonHenry Fox Collection, Bonhams, 8 December 2004, lot 95Chris Crabtree Collection, Bonhams, 16 December 2009, lot 67Darell Thompson-Schwab CollectionThis delightful glass is paralleled by a similar example from the Kaplan Collection was sold by Bonhams on 15 November 2017, lot 34 and is illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), fig.7. A watercolour signed by William Beilby which depicts a comparable scene is illustrated by Robert Charleston, 'William and Thomas Beilby as Drawing Masters', Glass Circle Journal, Vol.6 (1989), pp.20-31, fig.15 and was sold by Bonhams as part of the Kaplan Collection on 15 November 2017, lot 41.For further information on this lot please visit Bonhams.com
Lot 109
The Thompson Wine Glass: a highly important Beilby enamelled crested wine glass, circa 1769The ogee bowl with a slightly deceptive base, painted with the crest of the Thompson family in purple, white and yellow, an arm in armour embowed quarterly or and azure, holding in the gauntlet proper a broken lance of the first, on a ribbon wreath supported by a scrollwork bracket and flanked by foliage in opaque white, the reverse with a branch of fruiting vine, faint traces of gilding to the rim edge, on a double-series opaque twist stem containing a multi-ply corkscrew within two pairs eight-ply spiral bands, over a conical foot, 15cm highFootnotes:ProvenancePeter Lazarus CollectionSotheby's, 21 November 2006, lot 68Chris Crabtree Collection, Bonhams, 19 May 2010, lot 46Darell Thompson-Schwab CollectionLiteratureJames Rush, A Beilby Odyssey (1987), p.131, no.94ExhibitedBristol Museum and Art GalleryL'Association Internationale pour l'Histoire du Verre Exhibition, Ashmolean Museum, Oxford, 1979, no.44The Decorated Glasses of William and Mary Beilby, Laing Art Gallery, Newcastle-upon-Tyne, 1980, no.68The crest on this exceptional glass has been previously attributed to Stephen Thompson (1699-1763) of Kirby Hall in Little Ouseburn, North Yorkshire. However, he died without issue in 1763 and this perhaps just predates this glass. Upon his death title passed to his brother John Thompson (1701-1773). John's eldest son and heir Henry Thompson (1743-1814) married Mary Spence (1750-1843) on 30 January 1769 and it is likely that this glass was commissioned from the Beilby workshop to celebrate the occasion. To the wealthy, titled Thompson family Mary brought her own considerable inheritance as the only child of Thomas Spence of Harts Hall, Suffolk. Indeed, it is now known that Beilby glasses such as this were commissioned to celebrate marriages, with the most notable perhaps being the set of armorial Marriage Glasses made for the marriage of Jane and Crosier Surtees in September 1769, sold by Bonhams on 23 June 2021, lots 9-12.Whilst other Beilby crested and armorial wine glasses are known to have been made in sets, the present glass would appear to be the only example recorded bearing the Thompson crest. A portrait of Mary as Rachel at the Well by the American artist Benjamin West hangs in the Chrysler Museum of Art (inv. no.71.720). Interestingly, Henry Thompson's great-granduncle was Jonas Thompson (1608-1648) of Killerby in Yorkshire, who had married Frances Beilby (born about 1610) of Killerby and Micklethwaite Grange, Collingham, in 1629. The Beilbys of Newcastle-upon-Tyne were directly descended from the Micklethwaite Grange branch of the Beilby family, Francis being the great-grandaunt of the renowned enameller William Beilby. A related armorial goblet bearing the arms of Beilby Thompson (1742-1799) of Micklethwaite Grange was sold by Bonhams on 16 December 2009, lot 58.For further information on this lot please visit Bonhams.com
Lot 11
A façon de Venise jug, 17th century, and a winged wine glass, late 19th centuryThe jug of baluster form moulded with sixteen vertical ribs, the tall flared neck with a pinched pouring lip, a trailed turquoise band to the rim, applied with a grooved scroll handle and raised on a circular foot, 14cm high, the wine glass possibly by Salviati & Co, the round funnel bowl on a hollow inverted baluster stem applied with two trailed and pincered 'wings' in turquoise and clear glass, the rim and conical foot neatly trailed in turquoise, 13.1cm high (2)Footnotes:ProvenanceEstate of Christopher SheppardFor further information on this lot please visit Bonhams.com
Lot 110
A rare Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl finely painted in opaque white with a landscape vignette depicting a shepherd standing before a tree, leaning upon his staff with his legs slightly crossed, gazing towards two sheep in front of him, one standing and the other recumbent, on a double-series stem with a pair of spiral threads encircled by a pair of eight-ply spiral bands, over a conical foot, 15.2cm highFootnotes:ProvenanceFrances L Dickson CollectionSir Hugh and Lady Dawson Collection, Christie's, 14 June 1983, lot 110 (part)Peter Meyer Collection, Bonhams, 1 May 2013, lot 67Darell Thompson-Schwab CollectionLiteratureW A Thorpe, History of English and Irish Glass (1929), pl.CXXXII, fig.2L M Bickerton, 18th Century English Drinking Glasses (1986), p.333, no.1084ExhibitedDelomosne and Son, Gilding the Lily, 1978, no.74 (part)This charming glass is one of a set, each decorated with pastoral scenes. All have identical stems and lack gilding to the rims. Three of these are shown together by Delomosne and Son in their 1978 catalogue, one of which is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.333, no.1088 and constitutes lot 111 in this sale. The third was sold by Bonhams as part of the Peter Meyer Collection on 1 May 2013, lot 68. A fourth example is illustrated on p.333, no.1887. A glass with a slightly different stem which is painted with a virtually identical scene to that on the present lot is illustrated by Derek C Davis and Keith Middlemas, Coloured Glass (1968), p.59. A 1774 ink and wash drawing signed by William Beilby in the Victoria and Albert Museum (inv. no.E.114-1961) featuring a very a shepherd in a very similar pose is illustrated by Simon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, Vol.9 (2001), p.38, pl.9. For a glass with a related scene of a shepherd playing a flute, see lot 108 in this sale.For further information on this lot please visit Bonhams.com
Lot 111
A rare Beilby enamelled wine glass, circa 1765-70The round funnel bowl painted in opaque white with a landscape featuring a sheep and two goats with amusingly long horns, one standing and the other recumbent, a tree before a fence to the right, on a double-series stem with a pair of opaque white spiral threads within a pair of eight-ply spiral bands, over a conical foot, 15cm highFootnotes:ProvenanceFrances L Dickson CollectionSir Hugh and Lady Dawson Collection, Christie's, 14 June 1983, lot 112Sotheby's, 7 May 2002, lot 156Darell Thompson-Schwab CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.334, no.1088ExhibitedDelomosne and Son, Gilding the Lily, 1978, no.74 (part)This attractive glass is one of a set of glasses each decorated with different pastoral scenes, see the footnote to the previous lot in this sale. A virtually identical glass from this set is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.333, no.1087.For further information on this lot please visit Bonhams.com
Lot 112
A fine and rare Beilby enamelled Lisbon decanter and a stopper, circa 1765-70Of so-called 'sugarloaf' form, painted to the neck and shoulder in opaque white with a pair of fruiting vine tendrils interwoven with bell-shaped flowers forming a cartouche, inscribed 'LISBON.', the disc stopper cut with facets, 26.2cm high (2)Footnotes:ProvenanceSotheby's, 12 May 1998, lot 62Bonhams, 15 June 2011, lot 94Darell Thompson-Schwab CollectionLiteratureChristopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), p.67, p.75, no.107Andy McConnell, The Decanter (2004), p.135, pl.192(2)ExhibitedBroadfield House Glass Museum, Kingswinford, 1994-1998Lisbon was a white wine from the historical province of Estremadura in Portugal, which included the capital. Only one other decanter with this label, painted in white and turquoise-blue, would appear to be recorded, sold by Christie's in 1937 as part of the Francis Berry Collection.For further information on this lot please visit Bonhams.com
Lot 113
A rare Beilby enamelled Port decanter, circa 1765-70Of shouldered form, painted in opaque white with a foliate scrollwork cartouche inscribed 'PORT' and suspended from a chain around the neck simulating a wine label, pendant fruiting vine below, a butterfly beneath a band of leaf scrolls on the neck, the reverse with a spray of three flowers amongst slender leaves, 24.1cm highFootnotes:ProvenanceHartshorne CollectionWyatt CollectionBonhams, 15 December 2010, lot 53Darell Thompson-Schwab CollectionLiteratureDerek C Davis and Keith Middlemas, Coloured Glass (1968), p.65L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.348, no.1136ExhibitedThe Decorated Glasses of William and Mary Beilby 1761 to 1778, Laing Art Gallery, Newcastle-upon-Tyne, 1980 no.5A related pair of armorial decanters labelled 'PORT' and 'MADEIRA' in a very similar manner are in Philadelphia Museum of Art (inv. nos.1953-29-34 and 1953-29-35), illustrated by E M Elville, English Table Glass (1951), p.120, pl.67. For Beilby enamelled port decanters of 'sugarloaf' form see W A Thorpe, A History of English and Irish Glass (1929), pl.CXXXI, fig.2 and Andy McConnell, The Decanter (2004), p.135, pl.192(3), the latter sold by Bonhams on 15 December 2010, lot 151.For further information on this lot please visit Bonhams.com
Lot 114
A rare Beilby enamelled opaque twist wine glass, circa 1765-70The tall waisted bell bowl painted in white with a towering pyramid or obelisk embellished with scrollwork and surmounted by an urn, in a landscape of shrubs and trees, faint traces of gilding to the rim, the double-series stem with a central gauze column encircled by an air thread and within two opaque white spiral threads, over a conical foot, 17.2cm highFootnotes:ProvenanceSotheby's, 10 February 1969, lot 170Christie's, 23 May 1989, lot 223Darell Thompson-Schwab CollectionA virtually identical glass from the Peter Lazarus Collection, now in Bristol Museum and Art Gallery (inv. no.Na875), is illustrated by Geoffrey Wills, Glass (1972), p.28, pl.33 and was exhibited at the Laing Art Gallery, The Decorated Glasses of William and Mary Beilby 1761 to 1778 (1980), no.26.For further information on this lot please visit Bonhams.com
Lot 116
A Beilby enamelled opaque twist wine glass, circa 1765-70The waisted bell bowl with a solid beaded base, painted in white below the rim with a continuous border of different flower linked by scrolling foliage, faint traces of gilding to the rim, set on a double-series stem containing a multi-ply corkscrew within a pair of opaque white spiral threads, over a conical foot, 17.6cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionGlasses with bright beaded bases are very unusual combined with Beilby decoration. A pair of Beilby wine glasses with the same unusual beaded bases was sold by Bonhams 15 November 2017, lot 91. An ale glass with the same border was sold by Bonhams on 13 November 2013, lot 41.For further information on this lot please visit Bonhams.com
Lot 117
A Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl painted in opaque white with a continuous band of fruiting vine, the single-series stem containing a multi-ply corkscrew edged with heavy opaque white threads, over a conical foot, 15.2cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionFor further information on this lot please visit Bonhams.com
Lot 118
A Beilby enamelled opaque twist wine glass, circa 1765-70The ogee bowl painted in opaque white with a continuous band of fruiting vine, the rim with faint traces of gilding, the double-series stem with a pair of opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 14.3cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionFor further information on this lot please visit Bonhams.com
Lot 119
A Beilby enamelled opaque twist wine glass, circa 1765-70The flared trumpet bowl painted in opaque white with a band of fruiting vine below a gilded rim, on a single-series multi-spiral stem and conical foot, 17.2cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionAn almost identical glass in the Philadelphia Museum of Art is illustrated by James Rush, The Ingenious Beilbys (1973), p.47, no.27. Two further examples are illustrated by L M Bickerton, Eighteenth century English Drinking Glasses (1986), p.344, nos.1121 and 1122. See also that from the Ron and Mary Thomas Collection sold by Bonhams on 4 June 2008, lot 169.For further information on this lot please visit Bonhams.com
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