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Click here to subscribeA Fortnum & Mason 'Wine Cellar Hamper' containing twelve mixed bottles, mostly Fortum's labelled wines:Colli Orientali del Friuli Picolit 2017 (Paulo Rodaro 375ml)Franciacorta Cuvee Brut NVRose Cote de Provence 2019St- Emillion Grand Cruz 2015Vina del Encino Rioja - Crianza 2016Riesling Grand Cri Pfersigberg 2017Chianti Classico 2018St- Veran 2018Marlborough Sauvignon Blanc 2019FinoFonseca 2014 unfilteredChateau de Cardaillan Grave 2014
A good selection of glassware to include an early 19th century cut-glass mallet-shaped decanter with mushroom stopper, a heavy faceted baluster-shaped wine jug with spire stopper, a shaft and globe-style hand-cut decanter having two silver Madeira wine labels, other similar related glassware etc.Condition Report: The mallet-shaped decanter and mushroom/stopper is 1830s/40s - very good condition overall, the bottom of the stopper has a minor pinhead chip through usage. The globe & shaft decanter probably late 19th century - the stopper here is a replacement not the original and top lip here may also have been ground down at some stage. The green decanter/carafe is 19th century - condition is good. The heavy baluster-shaped jug with spire stopper is late 19th/early 20th century - the stopper looks in good overall condition with no major problems, the jug also looks in good conditions with no cracks, chips and clouding noted although there are some scratches to the underside of the star-cut base. The large dump with surface scratching to the top and sides.
AN EARLY IVORY NETSUKE OF RIHAKU UnsignedJapan, early to mid-18th century, Edo period (1615-1868)An early ivory netsuke of the poet Rihaku (In Chinese Li Bai) shown seated on a base sleeping and leaning on a scholarly table. He is wearing a traditional Chinese cap and a flowing, well-carved Chinese robe. His facial features are crafted extraordinarily well, deeply slumbering, probably after drinking some wine – a popular subject of his poems. Beautiful deep-yellow and honey patina and excellent himotoshi through the back and underside.HEIGHT 4.3 cmCondition: Very good age-related condition with expected age cracks and stunning patina.Provenance: German private collection, acquired in Japan c. 1980.Auction comparison:Compare to a similar netsuke sold by Zacke, Fine Netsuke, Sagemono & Okimono, 2 November 2019, Vienna, lot 2 (sold for 3,286 EUR).Li Bai (701-762) was a famous poet during the Tang-dynasty, often referred to as China’s golden age of poetry. In 724 AD he set out from his home region of Shu and began a life of roaming— visiting Daoist sites, meeting many scholars, and leaving behind hundreds of poems about his travels, his solitude, his friends, the moon, and especially the pleasures of drinking wine.
Modern diecast mixed large lot to include Corgi TV related "Last of the Summer Wine" editions x3 and a number of Routemaster buses of various makers, 7x trains, 13 Matchbox Yesteryears mainly straw box and a quantity of loose diecast models aprox. 50 boxed and a quantity unboxed (G-F) (BG-F)
A VERY RARE AND VERY FINE ICON SHOWING THE EUCHARIST Russian, Old Believer's Workshop, circa 1860 Tempera on wood panel with two splints on the back. The haloes made of gold. The faces rendered finely with soft colours. The border elaborately decorated with foliate scrolls and strap work. Border damaged. 40.6 x 35.8 cm. Die Ikone hat eine einzigartige Komposition. Sie thematisiert eines der der The icon has an unique composition. It thematises one of the main sacraments of the Church: the Eucharist, the transformation of the prepared gifts (bread and wine) into the Body and Blood. The purpose of this sacrament is the consecration of the body and blood of Christ. The purpose of this sacrament is to sanctify the faithful, as each communicant carries a particle of Christ, God himself, within him. In terms of content, the icon conceives of this great sacrament as the identity of the Holy Gifts, over which the Eucharistic Prayer is said, to the true Body and Blood of Christ. In the centre of the composition, within a bright red rhombus, is Jesus Christ. Standing at the altar, his right hand is folded in a gesture of blessing, and with his left hand he points to the prosphora (bread) and the chalice containing the wine. A red rhombus is superimposed on a blue square forming an eight-pointed figure with images of angels in the corners. The corners are inscribed in a green globe, framed by baroque elements in the form of branches and flowers. Inside the cartouches is a text from the Gospel that describes the content of the image: "I am the bread that came down from the earth // I am the bread that made my flesh // and I am the bread that drank my blood // and I am the bread that drank my blood // and I am the bread that drank my blood // and I am the bread that drank my blood. My blood // will have eternal life, and I will raise him up at the last day" (John 6: 51,54). In the four corners are representations of the four saints James, Basil the Great, John the Theologian and Gregory Dvoeslov, Pope of Rome. On the left and right are raised angel figures, one holding the chalice with the Holy Gifts (left), the second holding the censer with the burning coals. In the corners are the figures of the four evangelists, writing the Gospel texts. Thus the icon reveals the history of the formation of the doctrine of the Eucharist from the Gospel texts to the performance of the sacrament through liturgy and practice. The theology of the Eucharist was witnessed to in the New Testament, established by Jesus Christ himself at the Last Supper, in the instructions to the disciples and in the references to the administration of the Eucharist in apostolic times, quotations are found in each of the Gospels (Jn. 6: 51-56; Mt. 26: 17-30; Mk. 14: 12-26; Lk. 22: 7-39). The first liturgy was composed by St. James, the Brother of God; three texts are used in the modern Church: the Liturgy of St. Basil the Great, the Liturgy of St. John Chrysostom and the Liturgy of the Sanctified Gifts attributed to St. Gregory Dvoësloff, Pope of Rome. This icon indicates all the authors of the liturgy. An interesting feature of the icon is its possible origin in a workshop of the Old Believers, as witnessed by the writing of Christ's name by IC XC and the double-fingered blessing of Christ. The icon is distinguished by its programmatic character, the author's interpretation of the theme and the uniqueness of the composition. SEHR SELTENE UND SEHR FEINE IKONE MIT CHRISTUS UND DER EUCHARISTIE Russland, Altgläubigen-Werkstatt, um 1860 Holztafel mit zwei Rückseiten-Sponki. Eitempera auf Kreidegrund, partielle Vergoldung. 40,6 x 35,8 cm. Randbereich besch. Die Ikone hat eine einzigartige Komposition. Sie thematisiert eines der der Hauptsakramente der Kirche: die Eucharistie, die Verwandlung der zubereiteten Gaben (Brot und Wein) in den Leib und das Blut. Das Ziel dieses Sakraments ist die Konsekration des Leibes und Blutes Christi. Der Zweck dieses Sakraments ist es, die Gläubigen zu heiligen, da jeder Kommunikant ein Teilchen von Christus, Gott selbst, in sich trägt. Inhaltlich begreift die Ikone dieses große Sakrament als die Identität der Heiligen Gaben, über dem das eucharistische Gebet gesprochen wird, zum wahren Leib und Blut Christi. In der Mitte der Komposition, innerhalb eines hellroten Rhombus, ist Jesus Christus zu sehen. Am Gabentisch stehend, ist seine rechte Hand in einer Geste des Segens gefaltet, und mit seiner linken Hand deutet er auf die Prosphora (Brot) und den Kelch mit dem Wein. Ein roter Rhombus wird überlagert von einem blauen Quadrat, das eine achtzackige Figur bildet, in deren Ecken sich die Bilder von Engeln wiederfinden. Die Ecken sind in einer grünen Kugel eingeschrieben, umrahmt von barocken Elementen in Form von Zweige und Blumen. In den Kartuschen befindet sich ein Text aus dem Evangelium, der den Inhalt des Bildes beschreibt: ''Ich bin das Brot, das von der Erde herabkam // ich bin das Brot, das mein Fleisch gemacht hat // und ich bin das Brot, das mein Blut getrunken hat // und ich bin das Brot, das mein Blut getrunken hat // und ich bin das Brot, das mein Blut getrunken hat // und ich bin das Brot, das mein Blut getrunken hat. Mein Blut // wird ein ewiges Leben haben, und ich werde ihn auferwecken am letzten Tag'' (Johannes 6: 51,54). In den vier Ecken befinden sich Darstellungen der vier Heiligen Jakobus, Basilius des Großen, Johannes des Theologen und Gregor Dvoeslov, Papst von Rom. Links und rechts sind erhabene Engelsfiguren zu sehen, einer hält den Kelch mit den Heiligen Gaben (links), der zweite hält das Räuchergefäß mit den brennenden Kohlen. In den Ecken befinden sich die Figuren der vier Evangelisten, beim Schreiben der Evangelientexte. So offenbart die Ikone die Geschichte der Entstehung der Eucharistielehre von den Texten des Evangeliums bis zur Durchführung des Sakraments durch die Liturgie und die Praxis. Die Theologie der Eucharistie wurde im Neuen Testament bezeugt, begründet von Jesus Christus selbst beim letzten Abendmahl, in den Anweisungen an die Jünger und in den Hinweisen auf die Verwaltung der Eucharistie in apostolischer Zeit, finden sich Zitate in jedem der Evangelien (Joh. 6: 51-56; Mt. 26: 17-30; Mk. 14: 12-26; Lk. 22: 7-39). Die erste Liturgie wurde vom hl. Jakobus, dem Bruder Gottes, verfasst; in der modernen Kirche werden drei Texte verwendet: die Liturgie des hl. Basilius des Großen, die Liturgie des Johannes Chrysostomus und die Liturgie der Geheiligten Gaben, die dem heiligen Gregor Dvoësloff, Papst von Rom, zugeschrieben wird. Diese Ikone zeigt alle Autoren der Liturgie an. Eine interessante Eigenschaft der Ikone ist seine mögliche Entstehung in einer Werkstatt der Altgläubigen, wie das Schreiben des Namens Christi durch den IC XC sowie die Doppelfingersegnung Christi bezeugen. Die Ikone zeichnet sich durch ihren Programmcharakter, die Interpretation des Themas durch den Autor und die Einzigartigkeit der Komposition aus.
Four 18th Century short stem ale glasses, two with wheel engraving, together with a Georgian wine or cordial glass and six early 19th Century wine glasses Condition: Cordial glass with chip to bowl, one wheel engraved ale glass has chip to foot. Ceramics & Glass/Oriental - We endeavour to mention any post-production damage we can see, either with the naked eye or a magnifying glass. Where requested, we will place the item under UV light to check for professional restoration. We do not automatically mention such standard occurrences as fine glaze crazing or kiln dust which are by-products of manufacture as opposed to signs of damage. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Collection of wine glasses with drawn trumpet bowls, late 18th Century and later Condition: Prospective bidders are advised to contact the office for a full condition report. Ceramics & Glass/Oriental - We endeavour to mention any post-production damage we can see, either with the naked eye or a magnifying glass. Where requested, we will place the item under UV light to check for professional restoration. We do not automatically mention such standard occurrences as fine glaze crazing or kiln dust which are by-products of manufacture as opposed to signs of damage.**Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
E. Sharland - Two limited edition signed artists proofs, one of Wine Street, the other Church Lane, Castle Street Bristol, largest 32cm x 19cm, framed and glazed Condition: Some small foxing/browning spots present in places, please see the extra images provided showing some condition issues in detail - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms. Pictures - The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.
Mahogany wine table, 73cm high Condition: Possibly a cut down section from a polescreen, top with general overall staining, pitting, discolouration and cracks, further scratches and scuffs with discolouration to tripod supports. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Quantity of table glass to include; tumblers, wine glasses, jugs, champagne flutes, etc Condition: All pieces showing scratches in places, some chips present to the rims, please check extra images provided which show some condition issues, would advise telephoning department prior to bidding - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms. Ceramics & Glass/Oriental - We endeavour to mention any post-production damage we can see, either with the naked eye or a magnifying glass. Where requested, we will place the item under UV light to check for professional restoration. We do not automatically mention such standard occurrences as fine glaze crazing or kiln dust which are by-products of manufacture as opposed to signs of damage.
A collector's lot to include: Vintage binoculars in leather case; two late 19th Century horn wine opens; a Violin (AF); cheroot holder and mosaic brooch; toy car; Ronsons Newport urn table lighter; various items of Treen to include table ornaments; mushrooms; carved Owl; vases; holders; also Pipe, Postal pillar box; letter holder, hand mirror; mahogany framed circular wall mirror with three various colour prints depicting Hunting prints, two books (1 box)
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