COOKERY & MEDICINEManuscript culinary and medicinal recipe book written in several hands, containing some 250 receipts, including 'For Minst Pyes', 'To make Cleave Cakes', 'For Griping in the Guts', 'Aunt C's raisen wine', 'How to make Aquamirabilis', 'A Plaister for a Sore-Throat', 'An Excellent Receipt for the Gravel or Stone from Dr Hebbin', 'To make the oyle of Swallowes' ('...Take twenty four Swallowes all a line...'), 'The Weapon Salve' ('...if the wound be done with the thrust of a weapon, anoint from the hilt or hand of the weapon towards the point, if it be made by a blow or cutt then from the back to the edge...'), 'Kings Evill' ('...tryed... especially by a gentlewoman upon a man desperately fare spent which the Doctors had given over to death...'), 'A Quakeing Pudding', 'A Cure for an Epidemical Distemper. Anno Domini 1741', 'A Receipt for a cake to be kept halfe a year', 'How to make Gumbles', some with names of contributors ('W. Briggs', 'Mrs Ward' 'Mrs Bertie', 'My Lady Jenkinson'), pen trials and figurative drawings on recto of last leaf with ownership inscription 'Grace Briggs her recete Book/ Eliz. Briggs rote this March 17456/ March 10 17456', including other names ('Joseph Briggs', 'Mary Howard'), c.122 numbered leaves (inconsistent), three leaves excised, dust-staining and marks, edges frayed with some small tears, one long tear to p.114, original calf gilt, worn with losses, holes for ties but lacking ties, 4to (207 x 150mm.), eighteenth centuryFootnotes:'IF THE WOUND BE DONE WITH THE THRUST OF A WEAPON, ANOINT FROM THE HILT': THE RECEIPT BOOK OF GRACE AND ELIZABETH BRIGGS.Amongst more unusual cures included here is one for the 'Weapon Salve', a remedy that healed a wound by treating the weapon that made it, hence the instruction here to 'anoint from the hilt'. Among the ingredients called for is a '...pint of knotted worms... the braines of a boar dried... the bloodstone called Hamatite all finly powdered... half an ounce or more of a dead mans scull...'. If the weapon is not to hand, it is suggested that a willow stick be thrust into the wound, advising '...if it be a great and dangerous wound then the weapon is to be anointed every day...'. It was a method first attributed to the Swiss physician Paracelsus in the sixteenth century and expanded upon by Sir Kenelm Digby who coined the phrase 'Powder of Sympathy' for the cure in the mid seventeenth century. Whether it was a natural or demonic process was widely discussed among physicians and clergy, who held that the cure was wrought by magic, a view compounded by William Foster in his Hoplocrisma Spongus, or a Sponge to Wipe away the Weapon-Salve of 1631. Our compiler assures the reader, however, that '...this salve have noe affinity with witchcraft or inchantment but worketh the effect or cure by Loadstone like virtue which it receives from the Starres and communicaties it by and through the agres, it cures all wounds of all Creatures haveing flesh and bones... although the party be many miles distant...'. This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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CLAUDE MICHEL "CLODION" (Nancy, 1738 - Paris, 1814)."Triumph of Bacchus". Early 19th century.Patinated bronze.Veined marble pedestal.Signed on one side.Measurements: 37 x 23 x 19 cm ; 40 cm (height with pedestal).Patinated bronze sculpture representing the triumph of Bacchus. In this group of sculptural figures there is the Roman God of the vine and the wine, Bacchus with a classical half-naked maiden and a beautiful pair of cherubs, one dancing while holding a tambourine and the other sitting on the shoulders of Bacchus during a bacchanal.Claude Michel, known as Clodion, was born in Nancy, but in 1755 he moved to Paris to study in the studio of his uncle, the sculptor Lambert Sigisbert Adam, with whom he remained for four years. After his uncle's death he became a pupil of Jean Baptiste Pigalle, Madame de Pompadour's favourite sculptor. His work soon began to be recognised and in 1759 he won the grand prize for sculpture at the Académie Royale. In 1761 he was awarded the first silver medal for studies on models, and a year later he was awarded the Grand Prix de l'Académie Royale, consisting of a pension to further his training in Italy. Clodion was very active in Rome between 1767 and 1771. On returning to Paris he set up his own studio, where he worked with his brothers depicting mythological scenes, groups of dancers, nymphs and bathers in a language somewhere between Rococo and Neoclassicism. His works were in great demand, from the Parisian salons to Catherine II of Russia. Clodion's works are held in the Louvre (Paris), the Metropolitan Museum of Art (New York), the Hermitage Museum (St. Petersburg), the Victoria & Albert Museum (London), the Art Institute of Chicago, the J. Paul Getty Museum (Los Angeles), the Frick Collection (New York) and the Kimbell Museum (Forth Worth, Texas), among many others.
A pair of George III silver bright-cut sugar tongs, maker's initials S.W, London 1792, and other small items comprising a candle snuffer on long twist handle, London 1980, a circular box with blue guilloche enamel cover applied with a crown, a vesta case, a pair of wine labels for Port and Brandy, a pair of plated wine labels for Port and Sherry, an American heart shaped baby's rattle, stamped sterling, with mother o'pearl teething ring, and other small items. (qty)
A George III silver wine label for Hock, of rectangular chamfered form, with bright cut zig-zag and pierced flowerhead and lunette borders, and engraved title, maker's mark, lion passant and monarch's head marks only, by John Whittingham, London circa 1790, 4.8cm wide.Condition report: lot 315 Good, see extra images
A George III silver crescent shaped wine label for Currant, with engraved title and gadrooned borders, 4.2cm wide, and a similar, slightly larger example for Champagne, of plain design with pierced title, 4.7cm wide, circa 1770-1780, both unmarked. (2)Condition report: lot 316 good see extra images
A George II silver wine label for Mountain, of escutcheon form, with engraved title and fruiting vine decoration, maker's mark only for John Harvey I, London circa 1752, 5.4cm wide, another similar example for Madeira, by Sandilands Drinkwater, London circa 1745, another similar for Claret, unmarked, together with a further cherub and mask decorated label for Claret, by Sandilands Drinkwater, circa 1745, 6cm wide (repaired). (4)Condition report: Lot 319 one repaired one with hall marks worn off, see extra images
A George III silver initial wine label for Sherry, chased with flowers and foliage, maker's mark only struck three times IT, possibly John Tatum I, circa 1790, 3.2cm high, together with four further matching late Victorian silver initial wine labels, for Port, Whiskey, Brandy and Claret, by Harry Brasted, London 1900, all in fitted case.Condition report: lot 321 Good condition
A collection of antique cameos, comprising a coral corallium rubrum cameo brooch, carved to depict Dionysus, the Greek god of Wine, holding a thyrsus, with white paste border, a shell cameo brooch, carved to depict Zeus and Hera, the Greek King and Queen of Olympus, gilt metal mounted, a smaller shell cameo brooch, carved to depict Hermes, the Greek messenger of the gods, also gilt metal mounted, and a shell cameo panel, with ropetwist wirework edged buckle mount, first brooch length 4.1cm (4)
A tray of vintage jewellery and collectables, micro mosaic handbag mirror; circular frame; brooch; hatpins; mother-of-pearl box with badges; four plated napkin rings; hat pin cushion; 925 basket pin cushion; small cloisonne cover; salt; small silver coloured hand mirror; metal wine labels; etc
Good set of three George III (possibly) West Country wine labels of curved oval form, having bright cut edges and inscribed 'Claret', 'Hock', and 'Madeira', all with hanging chains, 4.5cm x 2.5cm, circa 1780, possibly by Thomas Howell of Bath. 27gms g/w. Note: the possible silversmith is mentioned in Jackson's Silver & Gold Marks, published 1989, p312.
Two similar George III wine labels of canted and curved rectangular form with reeded edges, the larger inscribed 'Burgundy', London circa 1790/1800, possibly by John Whittingham, 5cm x 2.5cm, the smaller engraved 'Port', London circa 1790/1800 by Thomas Phipps & Edward Robinson, 4.5cm x 2cm, both with hanging chains, g/w 19gms (2)
A very large French cast bronze bacchanalian brass wine ewer, 20th century, the high handle moulded with fruiting vines and surmounted with a putti crushing grapes into a cup, the ovoid body moulded with putti arranged in scholarly pursuits above a knopped and fluted stem, the foot moulded with further fruiting vines, 102cm high.Condition report: Good overall with only minor/negligible signs of age.
An early Victorian silver gilt wine ewer, Elkington & Co., London 1859, of elongated oval form with graduated diamond ground and two engraved oval panels depicting birds on a sprig, with reeded handle, hinged cover and raised on circular foot, 34cm high, weight approx 21ozCondition report: Hallmarks clear, some small dings but no significant visible damage, refer to images
to include an air stwist stem, 16.5cm high; a faceted bowl wine glass engraved with flowers, 17.5cm high; a small rummer on a square base, engraved with a windmill, 12cm high, etc. (9)Provenance: Crepping Hall, SuffolkCondition report: Roughness to the bases and marking throughout commensurate with age and use. The glass with the scalloped base has a minor chip on the bottom of the base. One of the flutes has a crack from the rim running down 3.5cm. Scratches one some areas of glasses.
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