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Birds.- Bewick (Thomas) History of British Birds, 2 vol., first edition, with advertisement on last f. of vol.1, light foxing throughout vol.1, the odd stain, one or two short marginal tears, ink ownership inscription to front free endpaper, endpapers renewed, contemporary calf, double gilt fillet, rebacked, extremities slightly rubbed, Newcastle, Printed by Sol. Hodgson, for Beilby & Bewick, 1797 § Goldsmith (O.) and Thomas Parnell. Poems, wood-engraved plates and vignettes by Thomas Bewick, handsome nineteenth century crushed morocco by R. Bedford, triple gilt fillet, spine richly gilt in compartments, double morocco spine label, inner gilt dentelles, very slightly rubbed, 1804; and White's Natural History of Selborne lacking 5 plates, 8vo (5)

A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.

A Coalport 'Animal Service' dessert plate, circa 1805The Cougar, the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, dark blue ground with border gilding of a sparser type, untitled, 22.4cm diameter"The Cougar - Inhabits the continent of America, and is called by some the Puma, or American Lion; but differs so much from that noble animal, as not to admit of any comparison .... It is fierce and ravenous in the extreme, and will swim rivers to attack cattle even in their inclosures - In North America, its fury seems to be subdued by the rigours of the clime, for it will from a Dog in company with its master, and take shelter by running up a tree." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Good condition with no damages or repairs. Some gilding wear to the rim.

A John Rose Coalport 'Animal Service' dessert plate, circa 1805'The Jackal', the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, untitled, dark blue ground with border gilding of a sparser type, 22.5cm diameterNotes: This is a slightly different design to the preceding lots, with smaller animals in landscapes which leave part of the centre roundel blank and a much simpler gilt external border. This second style is untitled to the reverse and the animals' direction is mirrored to that of the book and the preceding service. This style forms one of at least three services using the same source of inspiration. The third style was sold as a complete service at Christie's in 2003 and featured the animal painting with a rich gilt border. For further information see the footnote.The Jackal "...although it is the most numerous of all the wild animals of the East, there is scarcely any one left known in Europe, or more confusedly described by historians. They very in size. Those of the warmest climates are said to be the largest. They are of a reddish-brown colour.-- The smaller Jackal is about the size of a Fox, and its colour is a bright-yellow ... Jackals go in packs of forty or fifty, and hunt like hounds in full cry from evening till morning. They destroy the poultry, attack the flocks: They roam through the villages and gardens, and carry off everything they eat: They enter stables, yards, and outhouses, and devour skins, and every thing that is made of leather; such as harnessing, boots, shoes, etc. Nothing can escape their rapacity. They will ransack the repositories of the dead, and greedily devour the most putrid bodies; for which reason, in those countries where they abound, the inhabitants are obliged to make graves of a great depth, and secure them with spines, to prevent the Jackals from raking up the earth ...' Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Good condition with no cracks, chips, damages or repairs. Some wear to gilt dentil rim.

A John Rose Coalport 'Animal Service' dessert side dish, circa 1800-05of shell form with a single handle, painted with a circular panel of 'The Ban Dog', dark-blue ground flanked by gilt stylised foliage, titled in red script to the reverse, 20cm wideThe 'Ban Dog' - "In a variety of this fierce tribe, not often to be seen at present. It is lighter, smaller, more active and vigilant than the Mastiff, but not so powerful; its nose is smaller, and possesses in some degree, the scent of the Hound; its hair is rougher, and generally of a yellowish-grey; streaked with shades of a black or brown colour. It does not, invariably, like the preceding kinds, attack its adversary in front, but frequently seizes cattle by the flank. It attacks with eagerness, and its bite is keen and dangerous'. - Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Provenance:Earle E. Vandekar paper label to reverse.Condition:Good condition with no damages or repairs, though there is some crazing to the glaze.

A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.

A John Rose Coalport 'Animal Service' dessert service plate, circa 1805'The Squirrel', dark-blue ground flanked by gilt stylised foliage, painted with a circular panel of the animal in a landscape, titled in iron red to the base, 21cm diameterSee Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Good condition with no damages or repairs. Some crazing to the glaze.

A John Rose Coalport 'Animal Service' dessert serving dish, circa 1800-05 of lobed oval form, painted with a circular panel of 'The Fallow Deer', dark-blue ground flanked by gilt stylised foliage, titled in red script to the reverse, 27.2cm wideFallow Deer '...their rutting season arrives fifteen days or three weeks after that of the Stag. The males then bellow frequently, but with a low and interrupted voice. They are not so furious at this season as the stag, nor exhaust themselves by any uncommon ardour. They never leave their pasture in quest of the females, but generally fight with each other, till one buck becomes master of the field. They associate in herds, which sometimes divide in two parties, and maintain obstinate battles of the possession of some part of the park : Each party has its leader, which is always the oldest and strongest of the flock..." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Earle E. Vandekar paper label to the reverse. Condition:Good condition with no damages or repairs, though there is some crazing to the glaze.

A John Rose Coalport 'Animal Service' dessert plate, circa 1805The Mongoose Lemur, the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, untitled, dark blue ground with border gilding of a sparser type, 22.2cm diameter (gilding worn)"The Mongoose is nearly the same size as the Ring-tailed Macauco. Its fur is fine, soft, and woolly, of a deep brownish colour; the eyes are of a beautiful orange colour, surrounded with black, the ears are short; cheeks white; end of the nose black; the tail very long; and covered with hair of the same sort and colour of the body; its hands and feet are naked; and of a dusty colour, its nails, except one upon the inner toe of each hind foot are flat..." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Some heavy wear to the gilding. No damages or repairs.

A Coalport 'Animal Service' dessert sauce tureen and cover, circa 1800-05of oval form with twin handles, painted with four differing oval vignettes including three of dogs, the cover titled 'The comforter' and 'The turnspit', the tureen base with 'The Lesser Dormouse' and 'The fox hound', titled in iron red script to the underside of the cover, 18cm handle to handleSee Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Provenance:Previously sold at Christies, lot 56, 8th December 2005.Condition:Cover and base are both in good condition with no damages or repairs. The gilding remains in good order with very little, if any, rubbing.

Bewick (Thomas) History of British Birds, London: for Sol. Hodgson, Beilby & Bewick, 1797-1804, large 8vo, two volumes, finely bound and gilt stamped leather with clover cartouche, gilt titles and volumes to spines, five neat raised bands, marbled endpapers, aeg, copious vignettes, volume 1 Land Birds and volume 2 Water Birds, Advertisement for 4th ed. Quadrupeds verso last leaf in volume 1 (2)Ombersley Court, Worcestershire

Bewick (Thomas). A General History of Quadrupeds, 2nd edition, Newcastle-upon-Tyne: printed by and for S. Hodgson, R. Beilby & T. Bewick, 1791, title with wood-engraved vignette, numerous wood-engraved illustrations, occasional light spotting and offsetting, nineteenth-century brown straight-grained morocco gilt, a few minor spots to covers, 8vo QTY: (1)

Thomas Bewick. History of British Birds, 2 volumes, first edition, LARGE PAPER COPY, wood-engraved illustrations throughout, publisher's original boards, uncut, 8vo, Newcastle: Beilby and Bewick, 1797–1804 This is a large paper copy, 245mm x 160mm, in a later, custom solander box. *CR Boards soiled, spines cracked.

A 19th century bell bowl enameled wine glass in the style of William   Beilby (18th century.) The bowl decorated with polychrome enamels and depicting violets and floral swags with a gilded lip. The stem an opaque double series twist stem on conical foot. The foot also decorated with a circle of enameled flowers. 18.5cm

A very rare Beilby enamelled magnum Claret decanter and stopper, circa 1765Of generous 'sugarloaf' form, finely decorated in opaque white with a scrollwork pseudo wine label cartouche inscribed 'CLARET' hung from a painted suspension chain, a spray of fruiting vine pendant below, a further sprig of fruiting vine to the reverse, the neck with a scrollwork collar, the later disc stopper cut with facets, 36cm high (2)Footnotes:ProvenanceChris Crabtree Collection, 16 December 2009, lot 69Property of a GentlemanIt is extremely rare to find a Beilby enamelled decanter in magnum size. A remarkable Beilby enamelled double magnum beer decanter of similar form, painted in opaque white with additional gilding, was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 141.For further information on this lot please visit Bonhams.com

A fine Beilby enamelled opaque twist wine glass, circa 1765The round funnel bowl painted in opaque white with an assortment of fruit, including a bunch of grapes and a large pear, a bird perched on round fruit to the right, on a double-series stem containing a lace twist encircled by a pair of five-ply spiral bands, over a conical foot, 14.4cm highFootnotes:ProvenanceSir Hugh Dawson Collection, Sotheby's, 6 March 1951, lot 85Sotheby's, 20 May 1963, lot 109Cranch Collection, Phillips, 4 June 1997, lot 97Bayreuth CollectionExhibitedSalisbury Museum, 1985A very similar glass is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.338, no.1103 and was sold by Christie's on 14 June 1983, lot 94. For a facet stem glass with similar decoration in the Victoria and Albert Museum (inv. no.C.67-1942) see James Rush, The Ingenious Beilbys (1973), p.56, no.31. A virtually identical glass from the Darell Thompson-Schwab Collection was sold by Bonhams on 21 June 2022, lot 97.For further information on this lot please visit Bonhams.com

A Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted with fruiting vine in opaque white, set on a neatly formed double-series stem containing two pairs of opaque white bands encircled by a pair of opaque white spiral tapes, over a conical foot, 15cm highFootnotes:ProvenanceHenry Fox Collection, Bonhams, 2 June 2004, lot 83Bayreuth CollectionFor further information on this lot please visit Bonhams.com

A fine Beilby enamelled opaque twist wine glass, circa 1765The drawn trumpet bowl finely painted in opaque white with a continuous band of fruiting vine, the rim gilt, on a multi-spiral opaque twist stem and conical foot, 17.3cm highFootnotes:ProvenanceProperty of a GentlemanAn 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 and the two examples from the Darrel Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 119 and 30 November 2022, lot 148 respectively.For further information on this lot please visit Bonhams.com

A Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted with fruiting vine in opaque white, faint traces of gilding to the rim, set on a double-series stem containing a lace twist encircled by a pair of opaque white spiral tapes, over a conical foot, 14.2cm highFootnotes:ProvenanceChristie's, 18 May 1999, lot 320Bayreuth CollectionFor further information on this lot please visit Bonhams.com

An exceptional pair of Beilby enamelled opaque twist goblets and covers, circa 1765The generous ogee bowls finely painted in opaque white with a fruiting vine tree, the reverses with a butterfly in flight, set on a double-series stems containing a pair of heavy opaque white spiral threads around a lace twist, over conical feet, the flattened domed covers both painted with borders of fruiting vine around teared acorn-knopped finials with gilded tips, 25cm high (4)Footnotes:ProvenanceBy repute acquired in Amsterdam from an old Dutch familyA C Hubbard Jr Collection, Bonhams, 30 November 2011, lot 138Property of a GentlemanLiteratureWard Lloyd, A Wine Lover's Glasses (2000), pp.73-5, pls.92 and 92(a)This remarkable pair of covered goblets would appear to be without parallel, as no other covered goblets or glasses enamelled by the Beilby family would appear to be recorded. In Ward Lloyd's book, it is suggested that these goblets may well have been made for the Dutch export market considering that Continental drinking glasses at this time were more frequently fitted with covers than their English counterparts. A virtually identical goblet without a cover in the Victoria and Albert Museum is illustrated by James Rush, The Ingenious Beilbys (1973), p.81, pl.43. For a goblet with a bucket bowl with very similar decoration, see lot 217 in this sale.For further information on this lot please visit Bonhams.com

A Beilby enamelled opaque twist wine glass, circa 1765The round funnel bowl painted in opaque white with four evenly looped floral swags, set on a double-series stem containing a ten-ply spiral band around a central lace twist, over a conical foot, 14.5cm highFootnotes:A set of six wine glasses with similar decoration was sold by Bonhams on 3 November 2016, lot 109. Another with a slightly different double-series stem is illustrated by James Rush, The Ingenious Beilby's (1973), p.93, pl.51(b) and was sold by Bonhams on 15 December 2010, lot 55. See also the example illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.220, no.660.For further information on this lot please visit Bonhams.com

An exceptional Beilby enamelled opaque twist goblet, circa 1765-70The generous bucket bowl painted in opaque white with a bosky landscape featuring three poplar trees among classical ruins, comprising a stone arch beside three columns supporting a pediment, a large towering pyramid or obelisk to the right, a smaller pyramid or obelisk surmounted by a small urn to the left, on a double-series stem containing a nine-ply spiral band around a lace twist, over a conical foot, 18.4cm highFootnotes:ProvenanceWith Mallett and SonLeuba CollectionThis splendid goblet is of a shape much favoured by the Beilbys, presenting a large flat surface upon which to paint. A small number of goblets with similar scenes incorporating pyramids or obelisks are known, including one in the Victoria and Albert Museum (inv. no.C.628-1936) illustrated by James Rush, The Ingenious Beilbys (1973), p.67, no.38a. A comparable goblet from the Lymbery Collection is also illustrated Rush (1973), p.19, pl.7 and again by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.338, no.1101. See also that sold by Bonhams on 2 May 2018, lot 140. The present lot is exceptional in that it features two pyramids.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A fine and rare Beilby enamelled opaque twist goblet, circa 1765The generous bucket bowl finely painted in opaque white with three diaper lattice panels within elaborate scrollwork borders pendant from the rim, raised on a double-series stem containing a pair of heavy opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 17.3cm highFootnotes:ProvenanceChris Crabtree Collection, Bonhams, 19 May 2010, lot 27Property of a GentlemanLiteratureGeoffrey Wills, Antique Glass for Pleasure and Investment (1971), p.21L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.344, no.1123The decoration on this fine goblet relates closely to the diaper panels on a on an armorial punchbowl in the Victoria and Albert Museum (inv. no.C.43-1942) which is signed by Beilby and dated 1765. An identical goblet from the Walter F Smith Collection was sold by Sotheby's on 4 December 1967, lot 215. Compare also to the wine glass with very similar diaper panels sold by Bonhams on 13 December 2023, lot 115.For further information on this lot please visit Bonhams.com

A fine and large Beilby enamelled opaque twist goblet, circa 1765The generous bucket bowl finely painted in opaque white with an undulating band of fruiting vine below the rim, faint traces of gilding to the rim edge, on a double-series stem containing a pair of heavy opaque white spiral threads around a central lace twist, over a conical foot, 18.8cm highFootnotes:ProvenanceRobert Lymbery Collection, Sotheby's, 11 May 1999, lot 15Leuba CollectionLiteratureJames Rush, The Ingenious Beilbys (1973), p.117, pl.68bExhibitedLaing Art Gallery, Newcastle-upon-Tyne, 'The Decorated Glasses of William and Mary Beilby 1761 to 1778', 1980, catalogue no.3Laing Art Gallery, Newcastle-upon-Tyne, 1980-1999 (inv. no.TWCMS:G15936)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A fine Beilby enamelled opaque twist goblet, circa 1765The generous bucket bowl painted in opaque white with a fruiting vine tree, the reverse with a butterfly in flight, on a double-series stem containing an opaque white gauze column within two pairs of three-ply spiral bands, over a conical foot, 17.3cm highFootnotes:ProvenanceRobert Lymbery Collection, Sotheby's, 11 May 1999, lot 17Chris Crabtree Collection, Bonhams, 16 December 2009, lot 71Property of a GentlemanLiteratureJames Rush, The Ingenious Beilbys (1973), p.117, pl.68aL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.341, no.1112ExhibitedThe Laing Art Gallery, Newcastle-upon-Tyne, 'The Decorated Glasses of William and Mary Beilby 1761 to 1778', (1980), catalogue no.3The Laing Art Gallery, Newcastle-upon-Tyne, 1980-1999 (inv. no.TWCMS:G15935)A number of Beilby glasses painted with virtually identical vine trees are recorded, but it is rare to find examples of goblet size. An identical goblet in the Higgins Bedford is illustrated by Rush (1973), p.70, pl.39 and a rare marriage goblet of comparable bucket shape from the Darell Thompson-Schwab Collection enamelled with a similar vine tree to the reverse was sold by Bonhams on 30 November 2022, lot 130. Compare also to a remarkable pair of covered goblets in this sale, lot 215.For further information on this lot please visit Bonhams.com

A small Beilby wine glass, c.1770, the round funnel bowl moulded to the base with vertical flutes, enamelled in white with a continuous band of fruiting grapevine, raised on a short multiseries opaque twist stem above a conical foot, 13cm.

Birmingham. Beilby, Knott & Beilby (publishers), To the Right Honourable William Earl of Dartmouth, Viscount Lewisham &c. &c. the Zealous Promoter of the interests of the Town and Liberal Patron of its Public Institutions, This Map of Birmingham engraved from a minute Trigonometrical survey, made in the years 1824 & 1825, is with permission dedicated..., J. Pigott Smith, Surveyor and Engineer, Birmingham, March 25th 1828, uncoloured large engraved map, sectionalised and laid on linen, inset plan of the town of Birmingham in the year 1731, large calligraphic cartouche, compass rose and mileage scale, slight staining and offsetting, edged in green silk which is frayed with some loss, short splits along old folds, 1380 x 1290 mm, marbled endpapers, contained in a contemporary marbled card slipcase, case worn and frayedQTY: (1)NOTE:An uncommon large scale map of Birmingham.

A folio album of private bound 18th & 19th Century sheet music and others the volume including: Wine cannot cure; Thomas Beilby, The Dying Negro … formed for promoting an abolition of the slave trade, London: Longman & Broderip [1776-1795]; Dibdin (Charles) Poor Jack, London: Preston & Son, n.d., circa 1790; Dibdin (Charles), Poor Tom …, London: The Author; Jackson (William), When first this humble Roof I knew, London: Preston & Son; Paisello, Whither my love ah! Whither art thou gone, London: Longman & Broderip [1776-1795]; Storace (S.) My native land I bade adieu, London: Longman & Broderip [1776-1795]; James (Charles) Melissa, London: Dale; Beilby (Thomas), The Dying Negro… formed for promoting an abolition of the slave trade, London: Longman & Broderip [1776-1795]; Manuscript score for Prince of Bale’s Minnet; Dibdin (Charles), The Tar for all Weathers, London: The Author; Dibdin (Charles), The Lucky Escape, London: The Author; Joshua, Oh, Had I Jubal’s Lyre, London: J. Bland; Arnold & Pinto, If ‘tis Joy to wound a Lover; Les Adieux de L’infortune Louis XVI a son people, London: Dale’s; Shield, W., The Heaving of the Lead, London: Longman & Broderip [1776-1795]; I know that my Redeemer Liveth, London: J. Dale; Storace (Stephen), The Lullaby, London: J. Dale; ; Dibdin (Charles), The Soldier’s Adieu, London: The Author; He was Despised, Messiah, London: G. Goulding; Kilvington (T.) His Royal Highness Prince William of Gloucester’s March, London: The Author, 1795; Gionovichi, Rondeau; O Dear what can the Matter be, London: Preston & Son; Corri, (D.) My Ain kind Deabie: A Scotch Air, London: C. & Co.; Storace (Stephen) A Plighted Faith, London: Dale’s; Jackson of Exeter, Love in Thine Eyes, London: Bland & Weller; Percy & Antoinette (Marie), The Captive, London: The Author; The Favorite Duett of Jess MacPharlane as sung at the Dillettanti Concerts by Mr Dignum and Mr Hindle; Hook, My Heart is devoted dear Mary to thee … sung by Mr Darley at Vauxhall Gardens, London: Bland; Arnold (Dr.), Oh Happy Tawny Moor, London: Preston & Son; Hook, Sweet Kate the Irish Maid sung by Mr Page at Vauxhall, London: Preston & Son; Carnaby (W.), Song on Peace, London: Sold by Rt Birchall; Haigh (T.), The favorite Air When the Hollow Drum, London: Preston & Son; Dibdin (Charles), The Siege of Troy, London: Preston; Hook, The Wedding Day: A Favourite song sung by Mrs Kennedy at Vauxhall Gardens, London: S. A. & P. Thompson; Pleyel, Tho’ pity I cannot deny: A favorite Song sung by Mrs Crouch in the Haunted Tower, London: Longman & Broderip [1776-1795]; Rimbault (S. F.) The Cottage in the Dell, London: F. Linley; pages 9-12 of A compleat delineation of the Royal procession to St. Paul’s on the 19 of December 1797; Here’s a health to those far away, London: R.t Birchall; Giordani, Queen Mary’s Lamentation sung by Sig. Tenducci at the Pantheon & Mr Abel’s Concert & c, London: J. Preston; Latour, New German Waltz, London: J. Bland; Storace (Stephen), Across the Downs this morning sung by Sig. Storace in No song, no Supper, London: Longman & Broderip [1776-1795]; Gray (J. B.), Oh! Balmy Sleep, London: Tho.s Cahusac; Knyvett, In the Dead of the Night, London: R.t Birchall; Hook, You shall be my Love … sung by Mr Darley at Vauxhall, London: Preston & Son; Sestini, The Gipsy Song; Hook, Henry & Maria or the Soldier’s Farewell, London: Preston; with further manuscript pages including composition by Mrs Siddons, How hard’s the Fate of Womankind, The Confession; Aldiborontiphoscophornio; Last May a braw Wooer; Drops of Brandy; Mozart Air; Tweedside; The Birks of Endermay; The Spectre Song; Lord of all Powers; Pleyel, It may be Love; Callicott, Epitaph; Go to the Devil and shake yourself; Whither a mile of Edinburgh; several blank musical score sheets within marbled paper boards and leather spine; together with Dussek (I.L.) A compleat delineation of the Royal procession to St. Paul’s on the 19 of December 1797, the music for the Piano Forte by I. Dussek to which is added the form of the Church Service with part of the Vocal Music sung at that celebration, London: Printed for Corri. Dussek & Co., [1798], frontispiece by T. King, folio; Introduction, The Acclamation of the People, Coronation Anthem by Handel, , (pages 9-12 bound in the larger volume), The Litany, Sanctus by Robt Hudson, The Communion Service, The Creed, A Voluntary for the Organ by Handel, God Save the King; a volume 19th century privately collated paper bound sheet music including P. Henrion, Polka, D. Magnus, Royal Schottische, Theodore Oesten, Das Alpenhorn, German Melodies, Golden Pearls, Fleurs Italiennes, G.A. Osborne Roy McGregor, Henry F. Hemy, The Sledge Bell Galop, Oscar Comettant, La Sympathie, Adrien Talexy Aurelia, Alphonse Leduc, L’Ecrin Musical, Fantasies; Away with Melancholy: A Favorite Air or Duet composed by M. Mozart, London: Bland & Wellers Music Warehouse, 23 Oxford Street, n.d. [1793-1818], folio, loose sheet music, 2 leaves, 3pp.Well used and thumbed condition, binding poor, some annotations and insciptions

Bewick (Thomas). History of British Birds (Land & Water Birds), 2 volumes, 1st edition, Newcastle: Printed by Sol. Hodgson, for Beilby & Bewick, 1797-1804, title to volume 1 with price at foot '10s. 6d. in boards', numerous wood-engraved illustrations and vignettes, 'A Supplement to the History of British Birds' and publisher's advertisements bound at the rear of volume 1, 'Addenda to the History of British Birds' bound at the rear of volume 2, together with A General History of Quadrupeds, 4th edition, Newcastle: Printed by S. Hodgson, R. Beilby and T. Bewick, 1800, numerous wood-engraved illustrations and vignettes, errata to verso of p. 525, some spotting throughout, ownership signature to front blanks, front endpaper to 'Quadrupeds' near detached, all edges gilt, later uniform brown morocco with gilt decorated spines by George Rutland of Newcastle-on-Tyne, some wear to joints, slight wear to extremities, 8voQTY: (3)NOTE:Roscoe 14d & 17d and 3b.

Birmingham.- Commercial map.- Smith (J. Pigott) To the Right Honourable William Earl of Dartmouth... This Map of Birmingham, engraved from a minute trigonometrical survey made in the years 1824 & 1825, large folding map of Birmingham, engraving, 1380 x 1290mm., inset plan of the town of Birmingham in the year 1731 by W.R. Gardner, dissected and linen-backed, some offsetting and foxing, some mostly light browning, housed in a contemporary calf pull-top slip-case in the form of a book, spine gilt and with red morocco label, corners worn, rubbed, Beilby Knott & Beilby, 1828. *** Scarce large scale map of Birmingham, which shows locations of Birmingham businesses, including Boulton's Soho Ironworks, the New Steam Mill Co., and the Union Rolling Mills. Some locations 'refused access' during Smith's survey, and are marked as such. 

A Barr armorial coffee can and saucer, c.1800, finely decorated with the arms of Paul Beilby Thompson impaling another (possibly Griffin) within a wide border of palmettes and swags in red and gilt, incised B marks, and a Flight, Barr and Barr coffee can painted with a greyhound crest, 13.1cm max. (3)Provenance: the Charles Dawson Collection.

Dialogues concerning Natural Religion London [no publisher], 1779. Second edition, 8vo, half-title, 264pp., original boards, uncut, binding worn, spine split, boards a bit scraped and stained;Smith, Adam. An Inquiry into the Nature and Causes of the Wealth of Nations. Complete in one volume. Edinburgh: P. Brown & T. & W. Nelson, 1826. 8vo, Prize inscription on title verso, contemporary calf, neatly rebacked retaining original spine;Bewick, Thomas. A History of British Birds. Newcastle: for T. Bewick, 1809. 2 volumes in one, 8vo, numerous wood engravings, contemporary tree calf, rebacked, rubbed;Bewick, Thomas. A General History of Quadrupeds. Newcastle upon Tyne: for S. Hodgson, R. Beilby and T. Bewick, 1800. Fourth edition, 8vo, numerous wood engravings, contemporary half calf, neatly rebacked, spine gilt, corners rubbed;Livingstone, David. Missionary Travels and Researches in South Africa. London: J. Murray, 1857. First edition, 8vo, folding engraved frontispiece, plates, 1 folding map, lacking folding map of Dr Livingstone's Route, original brown cloth, rubbed, plate at p.332 torn without loss;Yeats, W.B. Poems. London: T. Usher Unwin, 1908. 8vo, original pictorial blue cloth gilt designed by Althea Gyles, uncut;Doughty, Charles M. Travels in Arabia Deserta. London, 1936, 2 volumes, 4to, plates, original brown buckram, 'Eric Malcolm Fraser Collection' stamp to titles and endpapers;Ramsay, Allan. The Gentle Shepherd. Edinburgh: A. Mackay, 1807. 12mo, original cloth-backed boards, uncut, ownership inscriptions on front endpaper, rubbed(9)

A George III brass two-draw library telescope by Proctor & Beilby, 31" long overall on Georgian brass folding tripod

A Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted in opaque white with a continuous band of fruiting vine below the rim, the double-series stem with a pair of opaque white spiral threads around a central lace twist, over a conical foot, 15.3cm highFootnotes:A very similar glass from the Darell Thompson-Schwab Collection was sold by Bonhams on 21 June 2022, lot 118.For further information on this lot please visit Bonhams.com

A rare Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted in opaque white with a landscape featuring classical ruins, including three classical columns supporting a pediment, flanked by trees and shrubs, the rim with faint traces of gilding, the double-series stem with a pair of heavy spiral tapes encircled by two multi-ply spiral bands, over a conical foot, 14.4cm highFootnotes:ProvenanceBonhams, 17 December 2008, lot 243This glass is from a series of Beilby glasses enamelled with classical ruins. A wine glass with particularly similar decoration in the Fitzwilliam Museum (inv. no.C.400-1961) is illustrated by James Rush, The Ingenious Beilbys (1973), p.124, no.71b. See also the example from the Darell Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 99.For further information on this lot please visit Bonhams.com

A fine Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted in opaque white with a grassy sward filled with fruit, including a bunch of grapes and a large pear, a small bird perched on round fruit to the right, on a double-series stem containing a twelve-ply spiral band around an undulating gauze column, over a conical foot, 15cm highFootnotes:A glass with related decoration is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.338, no.1103 and was sold by Christie's on 14 June 1983, lot 94. Another from the Darell Thompson-Schwab Collection was sold by Bonhams on 21 June 2022, lot 97. For a facet-stem glass with similar decoration in the Victoria and Albert Museum (inv. no.C.67-1942) see James Rush, The Ingenious Beilbys (1973), p.56, no.31.For further information on this lot please visit Bonhams.com

A good Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl finely painted below the rim in opaque white with three diaper lattice panels within elaborate scrollwork borders, raised on a double-series stem with two pairs of three-ply spiral bands around a central gauze column, over a conical foot, 14.7cm highFootnotes:A goblet enamelled with virtually identical diaper panels is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.344, no.1123 and was sold by Bonhams on 19 May 2010, lot 27. The decoration relates closely to the diaper panels on a on an armorial punchbowl in the Victoria and Albert Museum (inv. no.C.43-1942) which is signed by Beilby and dated 1765. Compare also to the wine glass painted with related diaper panels illustrated by Bickerton (1986), p.346, no.1130, which was sold by Bonhams on 19 December 2009, lot 70 and the ale flute from the James Hall Collection sold by Bonhams on 17 December 2008, lot 132.For further information on this lot please visit Bonhams.com

Bewick (Thomas) A General History of Quadrupeds, The Figures engraved on wood by T. Bewick. 8vo Newcastle upon Tyne (By & for S. Hodgson, R. Beilby... and C. Dilly, London) 1790. First Edn., vignette title, numerous wd. cut illus., some damp stains,& finger marks, later hf. green mor. mor. label. V. Scarce. (1)

A George III brass two-draw library telescope by Proctor & Beilby, 31" long overall on Georgian brass folding tripod

Tattersfield (Nigel), Thomas Bewick, The Complete Illustrative Work, British Library, 2011, three volumes, original cloth; with ten others on Thomas, John and Robert Bewick, William Davidson and Ralph Beilby (13)

A very rare Beilby enamelled colour twist cordial glass, circa 1765The small round funnel bowl with a solid base, painted in opaque white with a continuous border of fruiting vine, on a tall stem with a pair of opaque white spiral threads encircling a rich cobalt-blue undulating core, over a conical foot, 17.2cm highFootnotes:ProvenanceThe Earl of Belmore, Castle Coole, Christie's, 7 October 1980, lot 204Sotheby's, 2 July 1985, lot 623Durrington CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.343, no.1120Roger Dodsworth, The Durrington Collection (2006), no.34ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.40This remarkable glass is one of three that survived together as a set at Castle Coole in Northern Ireland, which was sold by Christie's on 7 October 1980, lots 204-206. One of these was recently sold by Bonhams as part of the Stephen Pohlmann Collection on 30 November 2022, lot 41. A similar cordial glass with a flute-moulded bowl is in the Fitzwilliam Museum (inv. no.C.586-1961) and a second from this set is in Corning Museum of Glass (inv. no.50.2.9), illustrated by James Rush, The Ingenious Beilbys (1973), p.22, no.9a. A further example, also with a flute-moulded bowl, is in the Turnbull Bequest at Mompesson House, Wiltshire (inv. no.NT 723892).Saleroom notices:Please note that the provenance for this lot is The Earl of Belmore, Castle Coole, Christie's, 7 October 1980, lot 205 and not as stated in the catalogue or the 2006 publication of The Durrington Collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The Tilly of Haarlem Goblet: an important Beilby enamelled and engraved armorial light baluster goblet, circa 1765The round funnel bowl finely decorated in polychrome with the coat of arms of the Tilly family of Haarlem, a yellow dove perched on an olive branch with a white stem and green leaves, within an ouroboros, the yellow serpent picked out in iron-red shown biting its tail, within an elaborate rococo scroll cartouche painted in shades of pale purple, inscribed 'Tilly.' in opaque white beneath, the reverse engraved with a medallion containing seven arrows emblematic of the Seven United Provinces, within the inscription 'VREEDE EN EENDRAGHT' (Peace and Unity), surmounted by a dove in white enamel, traces of gilding to the rim, on a stem with triple-annulated knop above a beaded inverted baluster and small basal knop, over a conical foot, 17cm highFootnotes:ProvenanceSotheby's, 1 July 1949, lot 16With Delomosne and SonSotheby's, 24 November 1986, lot 78With Asprey, 1987Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.29Stephen Pohlmann, 'The Tilly Glasses', Glass Circle News, No.139 (November 2015), p.5, fig.1ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.38Once known as 'Newcastle' light balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England, see Catherine Ross, 'Flint glass houses on the Rivers Tyne and Wear during the eighteenth century', The Glass Circle Journal, No.5 (1986), pp.75-85. It is likely that the Beilbys imported undecorated light baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems and several have Dutch connections.Fifteen Beilby decorated light baluster wine glasses or goblets, many of similar shape, are recorded including the present lot. Eleven of these bear armorials or crests, while four are painted with vine in opaque white enamel. The latter includes one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203), one in the Fitzwilliam Museum (inv. no.C.513-1961) and one from the Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 102.Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17) and a goblet in the World of Glass Museum in St. Helens bearing the arms of the Van Dongen family of Amsterdam. Three further glasses bear the arms and crest of the Tilly family of Haarlem, including the present lot.In 2010 a second 'Tilly' glass, with a damaged foot, was discovered in the collection of Rudy van Dobben in Halfweg, Netherlands, which had directly descended through the Tilly family. See Kiki Alpherts and Marius van Dam, Tussen Kunst en Kitsch: 101 ontdekkingen (2015), p.133, no.66. This was sold as part of the Stephen Pohlmann Collection by Bonhams on 30 November 2022, lot 40 and differs slightly from the present lot in that the reverse is enamelled with the crest of a white dove in flight above a helmet in yellow and red. Whilst it has been suggested that the engraving on the Durrington glass existed before the enamelling took place, it is plausible that the engraved medallion was later added over the original enamelled crest. A third 'Tilly' glass, in a private collection, is unpublished.The 'Tilly' set was almost certainly commissioned by Claas de Koning Tilly (1727-1814), who by 1764 owned a firm in Haarlem founded by his grandfather in 1696, which specialised in the production of a panacea known as Dutch drops (Haarlemmerolie). The firm was subsequently renamed C de Koning Tilly and was latterly owned by Rudy van Dobben until 2019, a direct descendent of this branch of the Tilly family. Interestingly, two engraved light baluster wine glasses bearing the initials 'CDKT' for Claas de Koning Tilly are discussed in detail by J R ter Molen, 'Twee gedecoreerde wijnglazen uit 1765 en 1769 met de initialen van C. de Koning Tilly', Antiek, Vol.8 (March 1982), pp.461-70, indicating that Claas was clearly commissioning other glasses at this time. The first is decorated with the arms of Haarlem, dated 1765 and inscribed ''T WELVAAREN VAN DE DIACONY' (The prosperity of the Diaconate). It is thought to commemorate the election of Claas as a deacon by the Grand Church Council on 18 March that year, a position which he held until 1769. The other is dated 1769 and decorated with a view of the Hofje van Bakenes in Haarlem, almost certainly commemorating his appointment as regent of the Bakenesser Chamber on 2 October that year, a position which he retained until 1780. It seems likely that the Beilby decorated set may also have been commissioned to celebrate one of these occasions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An exceptional Beilby enamelled tumbler, dated 1768Of plain tapering shape with a solid base, painted in opaque white with a landscape vignette depicting a sportsman standing with his legs astride, wearing a smart frock coat and wide-brimmed hat, aiming his gun at a flock of three birds startled by his dog, a tree and shrub behind him, the reverse inscribed 'Success. to,/ R. Brown;/ 1768' in script, 9.8cm highFootnotes:ProvenanceSotheby's, 25 March 1991, lot 81With Asprey, 1991Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.32ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.44Wildfowling scenes such as this were a popular theme on Beilby enamelled glasses and a number of examples with closely related decoration are recorded, each showing a single figure shooting game birds in flight. This includes a clear glass flask inscribed 'Thomas Brown, Nenthead, 1769' in the Ashmolean Museum (inv. no.WA1957.24.2.181), which is illustrated by James Rush, A Beilby Odyssey (1987), p.69, pl.29. Compare also to the earlier South Staffordshire polychrome enamelled opaque white flask depicting a similar scene, possibly by William Beilby working for John Haseldine, sold by Bonhams as part of the Kaplan Collection on 15 November 2017, lot 39.A celebrated set of Beilby enamelled opaque twist wine glasses, of which at least three are so far recorded, is decorated with similar wildfowling scenes. An example now in the Laing Art Gallery (inv. no.F6317) was sold by Sotheby's on 1 November 1982, lot 38 and is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.332, no.1079. Another was in the Hamilton Clements Collection, illustrated by Francis Buckley, A History of Old English Glass (1925), pl.XXXV and sold by Sotheby's on 15 May 1930, then again as part of the Henry Brown Collection on 14 November 1947, lot 255. A third from the Darell Thompson-Schwab Collection was sold by Bonhams on 30 November 2022, lot 139. Other glasses with related wildfowling scenes include that illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), p.12, fig.3, which was sold by Bonhams on 15 November 2017, lot 25. See also the example from the A C Hubbard Jr Collection illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), p.72, pl.89 and that from the Sir Hugh Dawson Collection illustrated by both Bickerton (1986), p.332, no.1080 and R J Charleston, English Glass (1984), pl.41f.The identity of 'R Brown' is uncertain and there are a number of individuals to which the name could refer, including Richard Brown, agent for William Henry Cavendish-Bentinck, 3rd Duke of Portland, who was involved in managing game birds on the duke's estate in Northumberland.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare Beilby enamelled armorial wine glass, circa 1765-70The round funnel bowl finely painted in polychrome with a yellow rococo scrollwork cartouche heightened in iron-red, enclosing the coat of arms of Thomas impaling Clayton in black, white and gilt, flanked by foliate sprigs, the reverse with fruiting vine in white enamel pendent from the rim, set on a double-series opaque twist stem with a pair of opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 15.1cm highFootnotes:ProvenanceChristie's, 16 October 1990, lot 162With Asprey, 1990Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.33ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.37The coat of arms is for the Right Reverend John Thomas (1712-1793), who was Bishop of Rochester from 1774. Born in Carlisle, he was the eldest son of John Thomas, vicar of Brampton, Cumberland. He had a remarkable and distinguished career in the church, beginning on 27 March 1737 when he was ordained a deacon before receiving priest's orders on 25 September that year. On 27 January 1738 he was instituted rector of Bletchingley in Surrey, a living in the gift of Sir William Clayton whose daughter Anne he would go on to marry. Thomas was appointed chaplain in ordinary to King George II on 18 January 1749, a post which he retained under King George III. On 23 April 1754 he was made a prebendary of Westminster and in 1762 was appointed sub-almoner to the Archbishop of York. He was instituted to the vicarage of St Bride's, Fleet Street, London on 7 January 1766 and became Dean of Westminster and of the Order of the Bath in 1768. He was consecrated Bishop of Rochester on 13 November 1774.Thomas was married twice and the arms on the present glass represent his first marriage to Anne, daughter of Sir William Clayton and widow of Sir Charles Blackwell, on 19 August 1742. Anne died on 7 July 1772 and he remarried on 12 January 1776, this time to Elizabeth, daughter of Charles Baldwin and widow of Sir Joseph Yates. It is likely that the set was commissioned prior to Anne's death in 1772, perhaps to celebrate Thomas' new position of Dean of Westminster and of the Order of the Bath in 1768. Five glasses from this set are recorded, including the present lot. One from the Chris Crabtree Collection was sold by Bonhams on 19 May 2010, lot 62 and three more were discovered in the Portsmouth area in 2011 before being sold at auction in Chichester later that year. One of those three was subsequently sold by Bonhams as part of the Darell Thompson-Schwab Collection on 30 November 2022, lot 144. For a set of four Beilby enamelled armorial wine glasses bearing the arms of the Surtees family, see that sold by Bonhams on 23 June 2021, lots 9-12.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The George III Goblet: a highly important enamelled Royal armorial goblet by William Beilby, circa 1762-63The generous bucket bowl elaborately painted in polychrome with the Royal Arms of King George III of Great Britain, the border inscribed with the motto of the Order of the Garter, surmounted by the imperial crown upon the Royal helm beneath a crowned lion statant guardant, all within an elaborate rococo scrollwork cartouche, flanked by lion and unicorn supporters, a rose to one side and a thistle to the other, a banner below inscribed with the motto 'DIEU. ET. MON. DROIT.' (God and My Right), the reverse with the Prince of Wales' feathers issuing from a coronet, flanked by rococo scrollwork, the rim gilded and solid gilt grounds to the first and fourth quarters of the arms to the interior of the goblet, raised on a double-series opaque twist stem containing a pair of heavy opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 21.5cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureDerek Davis and Keith Middlemas, Coloured Glass (1968), p.57L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.327, no.1062-3Peter Dodsworth, The Durrington Collection (2006), no.28ExhibitedAsprey, '100 British Glasses', 1985, catalogue p.5, front and back cover illustrationsCorning Museum of Glass, New York, 1985Pollock House, Glasgow Museums, 1998Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.8This exceptional goblet is among the most celebrated pieces of glass ever produced in Britain. It belongs to a significant group of stately armorial goblets all decorated by William Beilby (1743-1819) with the Royal arms of King George III. Their beauty and elegance places them amongst the finest examples of enamelled glass ever produced and they are considered the most outstanding products of the Beilby family workshop in Newcastle-upon-Tyne. Their exquisite brushwork and the astonishing balance in tone of the full colour range employed was emphasised by James Rush, The Ingenious Beilbys (1973), p.99.It is unclear how many of these Royal glasses were originally produced, but they are thought to have been commissioned to commemorate the birth of The Prince of Wales (the future King George IV) on 12 August 1762. Including the present lot, just ten goblets all with bucket bowls and a decanter bearing these arms are recorded, no two of which are identical either in form or decoration. They are listed by Simon Cottle, 'Fragile Diplomacy: the Significance of the Beilby Royal Armorial Goblets', Glass Circle News, Vol.37, No.2 (2014), pp.24. Most were produced between the birth of the Prince of Wales in August 1762 and the death of William's father in March 1765. Four of these goblets are signed, including two with William Beilby's full signature, leaving little doubt as to the identity of the decorator of the unsigned examples. Arguably the most famous of these is the so-called Whitehaven Goblet, sold by Christies on 4 June 1985, lot 143 and now in the Beacon Museum in Whitehaven (inv. no.WHHMG.1994.157), illustrated by James Rush, A Beilby Odyssey (1987), pp.84-5, front cover and pl.F.C.2, by Simon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, No.9 (2001), pp.28-9, by Dwight P Lanmon, The Golden Age of English Glass (2011), p.42, fig.21, by Simon Cottle, 'Family Connections: The Formative Years of Beilby Enameled Glass, 1760-1765', Journal of Glass Studies, Vol.57 (2015), p.193, fig.12, and also by Cottle (2014), p.22. It commemorates a slave ship, The King George, launched in 1763 and is the only piece which does not bear the Prince of Wales' feathers on the reverse. It is instead enamelled with an interpretation of the ship inscribed 'Success to the African trade of WHITE-HAVEN.', above the signature 'Beilby junr. invt. & Pinxt.'.A celebrated goblet in the Fitzwilliam Museum (inv. no.C.570-1961) is signed 'W Beilby Junr NCastle invt. & pinxt.', illustrated in the catalogue (1978), p.96, no.237 and by Rush (1973), p.2, figs.1 and 2. Another in Philadelphia Museum of Art (inv. no.1938-23-19), signed 'Beilby NCastle invt. & pinxt.', is illustrated by Rush (1973), pp.96-7, figs.52-3, by Cottle (2014), p.24 and Cottle (2015), p.192, fig.11. A fourth, signed 'W Beilby junr. invt. & pinxt.', is in the Diageo Collection (formerly the Cinzano Collection), illustrated by Rosa Barovier Mentasti, Glass Collection della Diageo a Santa Vittoria d'Alba (2005), no.172 and also by Cottle (2015), p.194, fig.14.Together with the present lot, the seven unsigned examples include one in the National Gallery of Victoria (inv. no.D38-1983) and a damaged example at Arniston House in Midlothian, Scotland, both illustrated by Cottle (2014), pp.23-4 and Cottle (2015), pp.192-3, figs.10 and 13. The damaged bowl of a goblet in the Victoria and Albert Museum (inv. no.C.787-1936), with the stem and foot removed to form a beaker, is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.CXXIV and Cottle (2015), p.191, fig.9. A further goblet together with a decanter are in Toledo Museum of Art (inv. nos.1954.16 and 1963.16), the former illustrated by Jutta-Annette Page, The Art of Glass: Toledo Museum of Art (2006), pp.122-3, fig.50A. The whereabouts of the goblet formerly in the Sir Hugh Dawson Collection, which was last exhibited by Delomosne and Son, Gilding the Lily (1978), p.21, no.63, remains unknown.The origin of these goblets and the decanter has been the subject of much speculation for nearly a century, but the majority have very little in the way of provenance. It has been suggested that some may have been intended as diplomatic gifts perhaps commissioned by either Thomas Pelham-Holles (1693-1768), first duke of Newcastle, or Charles Watson-Wentworth (1730-1782), second marquis of Rockingham, see Cottle (2015), pp.193-4. Whatever the reasons behind their production, they undoubtedly served as an important means of promotion for the Beilby family, significantly growing their enterprise over the following years through a number of other significant commissions. Among these was the celebrated Prince William V Goblet, sold by Bonhams as part of the A C Hubbard Collection on 30 November 2011, lot 142.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The 'Buckmaster' Goblet: a highly important Beilby enamelled armorial goblet, circa 1765Probably by William Beilby, the generous bucket bowl painted in polychrome with an elaborate coat of arms in red, blue and white, the blazon per pale gules and azure, a lion rampant between seven fleurs-de-lis argent, within a rococo scroll cartouche in shades of puce, embellished with floral swags in white and leafy fronds in shades of green, the reverse with a pendant spray of fruiting vine in white, the rim gilt, raised on a double-series opaque twist stem enclosing a pair of heavy opaque white spiral threads around a central tubular column, over a conical foot, 18.5cm highFootnotes:ProvenanceC Kirkby Mason CollectionSotheby's, 21 March 1947, lot 122Sotheby's, 24 November 1986, lot 66Sotheby's, 18 December 1997, lot 78With Namara Fine Art, 1997Durrington CollectionLiteratureJoseph Bles, Rare English Glasses of the 17th and 18th Centuries (1924), pp.180-1, pl.61G Bernard Hughes, English Glass for the Collector 1660-1860 (1958), pl.14The Glass Association, 'Exhibitions and Fairs', The Glass Cone, No.43 (Autumn 1997), p.12 and front coverSimon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, No.9 (2001), p.32Peter Dodsworth, The Durrington Collection (2006), no.31ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.36In the catalogue of the Durrington Collection, Simon Cottle notes that this remarkable goblet is perhaps one of the most exceptional examples of what might be William Beilby's early work, see Dodsworth (2006), p.36. The coat of arms is unrecorded in all standard indexes and are therefore unlikely to have been officially granted by any authority. They are therefore likely to be assumed or falsely represented, meaning that the individual or family to which they relate cannot be positively identified. The absence of a crest, supporters or motto further hinders identification. It has been previously suggested that they may have been the arms of Buckmaster of Lincolnshire, Northamptonshire and Devon, but these are recorded in Burkes General Armory as argent, a lion rampant between seven fleurs-de-lis sable. Whilst they bear some resemblance to the arms on the present lot, the differences are marked and so the historic association of this goblet with the Buckmaster family would appear to be erroneous.The pair to this goblet is in the Cecil Higgins Art Gallery in Bedford, illustrated by James Rush, The Ingenious Beilbys (1973), p.104, pl.57 and A Beilby Odyssey (1987), p.75, pl.40, and also by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.329, no.1069. When sold by Sotheby's in 1997, this goblet set a record auction price for a Beilby enamelled glass.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare Beilby enamelled Masonic armorial firing tumbler, circa 1765The waisted cylindrical form with solid 'firing' base, painted in polychrome with the Freemasons' Arms within a rococo scrollwork cartouche with pendant white foliage beneath, coloured Masonic insignia in red and yellow suspended from foliate scrollwork above, the reverse with further Masonic devices painted in colours among delicate white foliage, the rim with very faint traces of gilding, 8cm highFootnotes:ProvenanceDurrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.30ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.39Including the present lot, at least ten tumblers of this type have so far been recorded, perhaps from more than one original set considering that the squares on the reverses of some of these are painted with measurements whereas others are not. Four of these are in museums, including two in the Museum of Freemasonry at Freemasons Hall, London (inv. nos.M2010/887 and M2010/888), one from the Garton Collection in the Museum of London (inv. no.34.139/72), and one from the Peter Lazarus Collection in Bristol Museum and Art gallery (inv. no.Na801). A further two were sold by Bonhams since the Durrington Collection example was acquired. These include an example from the James Hall Collection sold on 17 December 2008, lot 129 and an example from the Kaplan Collection sold on 15 November 2017, lot 29; the latter is illustrated by Martine Newby, Eighteenth Century English Glass from the Collection of Julius and Ann Kaplan (1998), fig.18.A widely published example from the Hamilton Clements Collection, which has a distinctive small chip to the rim, is illustrated by W A Thorpe in English and Irish Glass (1927), col. pl.III and A History of English and Irish Glass (1929), pl.CXXIII, and again by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.329, no.1070. The Hamilton Clements glass was sold by Sotheby's on 15 May 1930, lot 92 and later exhibited by Delomosne and Son, Gilding the Lily (1978), no.65, where it is listed with erroneous Henry Brown Collection provenance. A further two tumblers, one from the Henry Brown Collection and the other from the Macbean Collection, were sold by Sotheby's on 22 June 1964, lots 164 and 165 and again on 16 May 1966, lots 182 and 181. The Macbean example is currently in the Diageo Collection (formerly the Cinzano Collection), illustrated by Rosa Barovier Mentasti, Glass Collection della Diageo a Santa Vittoria d'Alba (2005), no.174.Careful comparison of the illustrations of the aforementioned nine glasses indicates subtle discrepancies in the painting which set them all apart from each other as well as the present lot. The arms have sometimes been attributed to the Lodge of Journeymen and Masons, No.8, Edinburgh but were also used by the Premier Grand Lodge in London. An example from the Captain T L Wall Collection sold by Sotheby's on 27 July 1928, lot 104 (not illustrated), is listed as having been acquired from an Edinburgh Lodge, probably The Lodge of Edinburgh (Mary's Chapel), No.1, which raises the possibility that at least some of these glasses were made for a Scottish lodge.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The Providence: an exceptionally rare Beilby enamelled colour twist wine glass, dated 1767The round funnel bowl painted in polychrome with a three-masted ship in opaque white, the flags and banners picked out in pale red, inscribed 'the Providence' above, the reverse inscribed 'JO:N ELLIOT 1767', the unusual stem with an opaque-white corkscrew edged in iron-red and translucent cobalt-blue, alternating with opaque canary-yellow and translucent jade-green spiral threads, over a conical foot, 15.9cm highFootnotes:ProvenanceSotheby's, 2 July 1985, lot 692With Maureen ThompsonDurrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.35ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.41This remarkable glass is one of only two recorded. The other, formerly in the Hamilton Clements Collection, was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 135 and is illustrated by Ward Lloyd, A Wine Lover's Glasses (2000), pp.93-4, pls.130-1 and dustjacket. They are exceptional not only because the combination of red, yellow, blue and green twists in the stem is highly unusual, the yellow thread being particularly rare, but also because they also represent the only enamelled colour twist wine glasses known. A set of Beilby enamelled cordial glasses would seem to be the only other colour twist drinking glasses decorated by the Beilby workshop, see Lot 46 in this sale.These ship glasses are traditionally referred to as 'Privateer' glasses, but as the portholes on the ship are closed it may have instead been a trading vessel. Two other Beilby enamelled objects painted with ships are known, including The Margaret and Winneford Punchbowl in the Laing Art Gallery, see James Rush, The Ingenious Beilbys (1973, pp.130-1, figs.74-6. The other is the so-called Whitehaven Goblet bearing the Royal arms of George III, see the footnote to Lot 45 in this sale.It has not yet been possible to confidently trace the ship or captain commemorated on this glass as there are several ships by this name. In a letter to Philip Stephens dated 30 September 1763, Admiral Rodney refers to an armed brig called Providence which had been newly hired into His Majesty's service and placed under the command of Mr Low, see David Syrett, The Rodney Papers, Vol.2 (2007), pp.19-20. In 1766 Lloyd's List records a ship called Providence, captained by Elliot, which arrived into Portsmouth from Georgia on 30 May and departed for Rotterdam on 20 June which is perhaps that mentioned on this glass. A sloop of 50 tons by the name of Providence was built at Berwick upon Tweed in 1767, owned by the master mariner Robert Kirkwood of Sunderland, and operated as a Dublin coaster, but it is unclear who commanded it.Interestingly, there are two engraved glasses with bucket bowls in the collection of the National Maritime Museum, Greenwich, commemorating both the same captain and ship. One is a plain-stemmed goblet inscribed 'SUCCESS TO THE PROVIDENCE AND JON ELLIOT.' (inv. no.GGG0200) and the other an opaque twist wine glass inscribed 'Success to the Providence & JON ELLIOTT' (inv. no.GGG0196); the latter would appear to be that from the Sir Hugh Dawson Collection sold by Sotheby's on 21 October 1960, lot 40 and illustrated and discussed by E B Haynes, 'A Naval Array: Part II', Apollo (May 1940), p.125, fig.10. That all of these glasses are different suggests that they may have been commissioned at different times and that both the ship and captain were of some importance. There is some discrepancy in the spelling of the name on these glasses, either as Elliott or Elliot, and it is tempting to attribute them to Admiral John Elliot (1732-1808), the highly distinguished Scottish officer of the Royal Navy. However, Elliot seems only to have commanded various Plymouth guardships between 1763 and 1771 and none by the name of Providence. Haynes suggests that 1767 may instead be a later commemorative date.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A mid-18th century Beilby enamelled opaque twist wine glass c.1765, the ogee bowl enamelled in white with a band of fruiting vines, on a double-series opaque twist stem with two spiral threads outside a central multi-ply corkscrew, on a conical foot with pontil, 14.7cm. high. * Provenance: Bellmans Auctioneers, Wisborough Green, West Sussex, 18-23 June 2016, Lot 1111 *In good condition with no faults. No wear or losses to the enamel.

Bewick (T), History of British Birds: The Figures engraved by T. Bewick, Newcastle, Printed by Sol. Hodgson for Beilby & Bewick, 1797 & 1804, 2 Volumes, 8vo, Green Cloth CONDITION REPORT: Some extensive condition issues, especially to the spines and boards, which are coming almost completely loose. Consistent spotting and staining to the endpapers and page edges, with rubbing and discolouration to the boards. Some general internal foxing. Would benefit from being rebound.

An unusual Beilby wine glass, c.1770, the drawn trumpet enamelled in white with a spray of fruiting grapevine, the reverse with a small plum sprig, raised on a multi-series opaque twist stem above a conical foot, the rim with traces of gilding, 18cm.Provenance: a private London collection.It is more usual for glass of this type to be decorated with a continuous band of fruiting vine; the fruit sprig is an unusual addition.

A large Beilby glass or goblet, c.1770, painted in white enamel with a growing grapevine, delicate flowers painted around the roots, raised on a multi-series opaque twist stem over a conical foot, the foot trimmed, 17.7cm.Provenance: a private London collection.

William Beilby (flourished 1778 to 1780), the mill at Wandsworth, signed and dated 1780, 10cm x 15cm, framedSlight paper discolouration

A Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted with fruiting vine in opaque white, faint traces of gilding to the rim, set on a double-series stem containing a multi-ply corkscrew encircled by a pair of opaque white spiral tapes, over a conical foot, 14.6cm highFor further information on this lot please visit Bonhams.com

A Beilby enamelled opaque twist wine glass, circa 1765The ogee bowl painted with fruiting vine in opaque white, faint traces of gilding to the rim, set on a double-series stem containing a multi-ply corkscrew encircled by a pair of heavy opaque white spiral tapes, over a conical foot, 14.5cm highFootnotes:ProvenanceWith Arthur ChurchillFor further information on this lot please visit Bonhams.com

An 18th Century drinking glass circa 1765, the ogee bowl enamel decorated by William Beilby, with a floral swagged garland to the upper rim above an opaque twist stem with central gauze, raised to a conical foot, height 14cm.

An 18th Century drinking glass circa 1765, the round funnel bowl enamel decorated by William Beilby with floral gardens, above a double series opaque twist stem with sixteen spiral threads outside a central corkscrew, raised to a conical foot, height 16cm.

AN ENAMELLED OPAQUE-TWIST WINE GLASS OF BEILBY FAMILY TYPECIRCA 1765The ogee bowl decorated with a white enamel band of fruiting vine, on a double-series stem and conical foot, 14.5cm highThe Beilby's were a successful business family from the North East centred around William Beilby (1743-1819). A scholar from Durham School, his father sent him to Birmingham to be apprenticed to John Haseldine an enameller of metal boxes. His brother Richard was also apprenticed in Birmingham as a seal engraver. When their father's business as a silversmith and jeweller failed they returned North and the whole family decamped to Gateshead. William had already been experimenting with enamels on glass and Tyneside would have provided a ready supply of local glass and imported Low Countries glass. Other members of the family were tutored in decorating glass and a thriving business was established.See Glass Circle News, Vol.34 No. 3 Issue 27 Nov. 2011, for an article on Beilby enamelled glass, p.8 for an illustration of five drawn trumpet opaque twist glasses with this fruiting vine pattern. From a private Gloucestershire Collection. Thought to have been purchased from Halls Auctioneers Shewsbury. Condition Report: No serious damage or restoration noted. Potential purchasers are advised to satisfy themselves as to whether or not the rims/foot rims have been polished or not.Foot = 6cm diam.bowl rim = 5.2cm diam.  Condition Report Disclaimer

A BEILBY FAMILY WHITE-ENAMELLED OPAQUE-TWIST GOBLET CIRCA 1765The tapered bucket bowl decorated with a band of fruiting vine, supported on a double-series stem and conical foot, 18cm highProvenance: Ex Crabtree Collection, Bonhams 12th Nov. 2014.The Beilby's were a successful business family from the North East centred around William Beilby (1743-1819). A scholar from Durham School, his father sent him to Birmingham to be apprenticed to John Haseldine an enameller of metal boxes. His brother Richard was also apprenticed in Birmingham as a seal engraver. When their father's business as a silversmith and jeweller failed they returned North and the whole family decamped to Gateshead. William had already been experimenting with enamels on glass and Tyneside would have provided a ready supply of local glass and imported Low Countries glass. Other members of the family were tutored in decorating glass and a thriving business was established.See Glass Circle News, Vol.34 No. 3 Issue 27 Nov. 2011, for an article on Beilby enamelled glass, p.8 for an illustration of five drawn trumpet opaque twist glasses with this fruiting vine pattern. From a private Gloucestershire Collection.Condition Report: About four repaired foot rim chips (clear acrylic repairs). Images are available from the Dept. upon request.Foot diam. = 9.2cmBowl diam. = 8.2cmCondition Report Disclaimer

Death: A Poetical Essay by Beilby Poeteus, MA. Fellow of Christ's College, The Second Edition, Cambridge, 1759, disbound, 20 pages