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Lot 236
Thomas Rowlandson (London 1756-1827)When the old fool has drunk his wine, and gone to rest, I'll be thine pen, ink and watercolour on paper13.7 x 20.1cm (5 3/8 x 7 15/16in).Footnotes:ProvenancePrivate Collection, UK, since approximately the 1960sFor further information on this lot please visit Bonhams.com
Lot 347
Waterford crystal glasses, Colleen design, including six short stem red wine, six short stem white wine, six water glasses and six sherry glasses, boxed. The red wine are 12 cms h, white wine 11 cms h, water glasses 8cms h and the sherry 11 cms h. Note: used at the Portuguese embassy, in very good condition.
Lot 348
Waterford crystal glasses, Colleen design, including six short stem red wine, six short stem white wine, six water glasses and six sherry glasses, boxed. The red wine are 12 cms h, the white wine 11 cms h, water glasses 8 cms h and the sherry glasses 11 cms in height. Note: used at the Portuguese embassy, in very good condition.
Lot 116
A SET OF SIX WATERFORD CRYSTAL 'SHEILA' PATTERN WINE GLASSES 17.5cm high Condition Report : good condition, no issues - the Waterford mark is there, but very faint, unless you happen to catch it in the right light Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 174
A GROUP OF THREE 'GRAND TOUR' BRONZES: a figure after the antique of the seated Hermes or Mercury, 10.5cm high; another bronze figure of Cupid 8.5cm high; and a copy of a Roman wine jug, 8cm high (3) Condition Report : all generally good, nice patination Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 480
Two pairs of silver wine bottle coasters, C J Vander Ltd London 1965 and John Henry Odell, London 1977, each with turned wood bases, the former with an inset silver plaque inscribed 'To Jack, with love Pat, 24-2-1968', each 13cm diameterQty: 4Condition report: The plain coasters have worn turned wooden bases and one is warped so does not sit flat. Both of the pierced coasters have a buckle in the side.
Lot 156
A Georgian glass mallet-shaped wine flask with moulded reeding, pontil mark, 18cm high (possibly Irish c1790), to/w a conical glass on flatted foot with fold-over rim, 11.5cm, and a green glass Roemer, the hollow stem applied with strawberry prunts, on threaded spun foot, 12cm (3)Good condition - no damage
Lot 209
SEBASTIEN ERARD (1752–1831)A Symphonic harpBirchRaised decoration of mythological figuresEngraved yellow metal plaques "Sebastian Erard / Patent no. 4449 / 18 Great Marlborough Street, London" and on the opposite face "Harp and Piano forte Maker in Ordinary to her Majesty and the ROYAL FAMILY"Eight pedalsEngland, 19th century(losses, faults and evidence of woodworm)Alt.: 171 cm Additional Information: Sébastien Erard (1752-1831)Sébastien Erard (1752-1831), was a famous French manufacturer of musical instruments, dedicated to the production of pianos and harps. He was born in Strasbourg on April 5, 1752, being the fourth son of the second marriage of the upholsterer of Swiss origin Louis- Antoine Erard (1685-1758). When his father died, Sébastien was only six years old, so the somewhat romanticized reports that the carpenter's skills were acquired in his father's workshop cannot be proven. However, it is known that he grew up in a community of qualified artisans, with uncles, cousins, his godfather, and his older brother, all employed as carpenters, upholsters and gilders, mostly dedicated to the production of church furniture.It is not known what led him to become a manufacturer of musical instruments, nor is it known where he was taught. His arrival in Paris takes place in the year of 1768, when he was sixteen years old, but again it is impossible to ascertain the account of his arrival. However, it is known that the Duchess of Villeroy (1731-1816) was one of his first patrons, providing him with facilities for a workshop at the Hotel de Villeroy on the rue de Bourbon in Paris.His willingness to explore the fundamentals of making musical instruments helps him to show his genius for finding ways to get around mechanical problems, a skill that catches the attention of Abbot Roussier and, little by little, his success as a manufacturer of musical instruments he attracts rivals, who often accuse him of working without a license. At that time, he obtains royal protection from King Louis XVI and the license to produce on his own.The success he achieved in 1779, when he began to explore the new market for five-octave fortepianos, forced him to ask for the help of his older brother Jean-Baptiste Erard (1749-1826). Together they moved to number 109 of the rue de Bourbon and then, in 1781, to number 13 rue du Mail, a place that they acquired in January 1791, and which remain as the company's headquarters until it closes in the 20th century. Through the success they achieved in the 80s of the 18th century, they produce fortepianos for Queen Marie Antoinette and, according to the London Post Office Directory of 1786, open a store on London's Great Marlborough Street. From January 1788, they start to operate under the name Erard frères. That same year, the sales record shows us an annual production of 254 fortepianos, a number that almost doubled in the following year, registering the production of 410 fortepianos.Until this point, the production of harps by him is unknown, and when in the early 1790s Sébastian was forced to leave France to settle in London – from where he returned for the first time only in 1796 – there is no record of having left any harp behind.However, in a letter exchanged with his brother, the problem of the harp is addressed, in which he observes that ‘the mechanism is very complicated’.When he moved to London, he handed the management of the Paris branch to his brother and, in the year of 1792, opened a workshop at No. 18 of Great Marlborough Street. it is here that he focuses on the manufacture of harps, until then all imported from France. In November of 1794, he registered the first British patent for a harp (Improvements in Pianofortes and Harps, patent nº 2016), a single action instrument tuned in E-flat major hat can be played in eight major and five minor tones, through the ingenious mechanism bifurcation that allows the strings to be shortened in semitone. In London, the harp is a notable success and the Erard’s Stock Books, shows us that the aristocracy became interested in these instruments. From November 1800 the sales increased and Her Highness the Princess of Wales, Carolina of Brunswick (1768-1821), was paying £ 75 120 for harp no. 357.In the year of 1807, at the London branch, a harp cost £ 83 700 and, a set of strings, £ 1 180.In that same year a new commercial agreement is made between the two brothers and in the following year Sébastian returns to London where he remains for five years focused on the development of the harp.As previously stated, its single-action harp, despite exhibiting a revolutionary mechanism, was limited to playing only thirteen tones (E flat, B flat, F, C, G, D, A and E major, with three of its minor relatives).Only in May of 1810 (with London patent No. 3332) did he manage to perfect and patent a double action mechanism. It was such a popular innovation that in September of that year 1,374 harps were sold to clients as Dussek, Krumpholtz and many French refugees. Out of curiosity one of these harps can be seen at the Museum für Kunst und Gewerbe in HambHowever, in the year of 1813 the commercial and industrial restrictions imposed by the Napoleonic wars compromised the Paris company, and on February 26, it was declared bankrupt. At the same time, between 1811 and until 1820, the London branch sells 3,500 of these harps, with a Greek-style decoration where the column's capital features elements such as winged caryatids (a decorative element that will last in the following decades and which we can see in the example that now we bring for auction), winged lions, griffins, Greek masks, and acanthus leaves. The profits obtained from these sales paid off all external debts incurred by the Paris company and, on April 12th of 1824, the bankruptcy was cancelled.Meanwhile Sébastian returns to Paris, where in the year 1820 he acquires part of the Château de la Muette, which he orders to be restored and enlarged to house his cellar with 2,047 bottles of wine and also his rich art gallery, with about 260 paintings of exceptional quality. Many of these works of art are in museum collections, such as the portrait of King Philip IV by Velázquez's atelier (today in the Hermitage museum in St. Petersburg), the "Adoration of the Magi" by Albert Dürer (today at the Uffizzi Gallery, Florence), the portrait of his mother made by Rembrandt in 1634 (today in the National Gallery of London), as well as paintings by Correggio, Murillo, Teniers and Titian.It was here that on August 5th of 1831, at the age of 79, he died and his nephew inherited all his assets. Provenance of this harpAccording to Erard's Stock Books, kept in the library of the Royal College of Music in London, we realize that this harp was conceived in the London workshop in April 1831 and sold on the 28th of the same month to a Dublin musical instrument dealer, Mr Edw. MCCullogh.Through a later note, we find out that this harp was sold at auction by Sullivan & Callaghan in the year of 1906. Bibliografia/Literature:Alain Roudier – Les origines de la famille Erard, in Sébastien Erard, 1752-1831, ou la rencontre avec le pianoforte. Exhibition Catalogue, Luxeuil-les-Bains, 1993;Anik Devriès – Sébastien Erard, un amateur d’art du début du XIXe siècle, in Sébastien Erard, 1752-1831, ou la rencontre avec le pianoforte. Exhibition Catalogue, Luxeuil-les-Bains, 1993; VERITAS Art auctioneers would like to thank the Center Sébastian Erard, in particular to Professor Robert Adelson of the Conservatoire de Nice for his help with the information of this piece.
Lot 627
A Baccarat crystal glass setCrystal Baccarat 134 pieces: 22 red wine glasses, 21 white glass glasses, 21 champagne glasses, 24 Port glasses, 23 liqueur glasses, 1 jug (H.:23cm), 6 bottles (H.:33cm; 32cm; 27cm), 2 fruit bowls, 2 sweet meat dishes, 12 cheese plate and dome, 8 bowls and 2 saucers Some pieces with original Baccarat label to base (pre 1936)
Lot 190
Last of the Summer Wine multi signed 5x3 black and white promo photo signed by original cast members Bill Owen, Peter Sallis and Brian Wilde. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 169
A WILLIAM IV SCOTTISH SILVER PRESENTATION WINE JUG, Edinburgh c. 1831, maker's mark of James Harden & Co., on circular based, the shoulders chased and embossed with floral and scroll decoration on a matted ground with corkscrew thumbpiece and foliate finial to the domed cover, the spout embossed below with a mask, inscribed " Presented to John Archd. Campbell Esqr. in Testimony of Gratitude for Valuable and Disinterested services 1855" ( c.27 troy ozs.) 23cm high
Lot 170
A FINE VICTORIAN SILVER WINE EWER, Sheffield c. 1862, maker's mark indecipherable, the spout with hinged lid, operated by handle mechanism, above slender neck chased and engraved with bands of foliate and geometric decorations; the body with two vacant cartouche to each side flanked by angels in high relief, the front with cast lion head emerging from surface, further decorated with acanthus leaves, roses and flowers against an orange peel ground, raised on graduated arc feet (c. 44 troy ozs)
Lot 224
A VICTORIAN SILVER MOUNTED ENGRAVED GLASS WINE JUG AND COVER, London c.1871, maker's mark rubbed, with pierced thumb piece and domed cover, with gilded interior c-scroll handle, and overlaid with palmettes and scrolling foliage, the glass body finely engraved with series of floral engravings. 24.5cm high
Lot 554
Niederlande17. Jh. Stillleben mit Früchten, Korb, einem Weinglas und einem Zinnteller mit Garnelen und ZitroneÖl auf Holz. 58,5 x 74 cm. Rest. Besch. Vgl. ein Bartholomeus Assteyn (1607 Dordrecht - nach 1667 ebenda) zugeschriebenes Stillleben ähnlicher Komposition, das im Archiv des Rijksbureau voor Kunsthistorische Documentatie, Den Haag, unter der Kunstwerknummer 49647 dokumentiert ist (ehemals Roelof Koets [um 1592 o. 1593 Haarlem - 1655 Haarlem] zugeschrieben). Dutch School17th century Still life with fruits, basket, wine glass and pewter plate with shrimps and lemonOil on panel. 58.5 x 74 cm. Restored. Damaged.
Lot 531
PHOTOGRAPHS, selection, inc. groups (7), Monitor Association of Naval Vets 1894, Pontypool Road Strike Committee 1919, military band (with instruments), railway (in front of locomotive Madresfield Court), forge workers, aviation, motorcycle etc., non-photo adverts (2), Stead & Simpson, Stones Ginger Wine, some damage to mounts, FR to G, 12
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