A WILLIAM IV SILVER FISH SLICE AND A VICTORIAN SILVER FISH SERVING FORK, togethe…

Description

A WILLIAM IV SILVER FISH SLICE AND A VICTORIAN SILVER FISH SERVING FORK, together with a silver shell form ladle, the fish slice marked Mary Chawner, London, 1835 (29 cm long, 137 grams), the fork marked Charles Lias, London 1849 (24.5 cm long, 124 grams), the shell form ladle indistinctly marked (18 cm long, 33 grams)

809

A WILLIAM IV SILVER FISH SLICE AND A VICTORIAN SILVER FISH S

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Estim. 50 - 60 GBP

Napoleon III-period leg-of-lamb service with forged silver handles and guilloché decoration. The set includes a leg of lamb knife and a fork with a slice catcher on the back of the fork, all presented in its original shaped case. Handles stamped with minerve 1st title (.950). Length of pieces: 27.6 / 32.5 cm. Gross weight: 248.4 grams.

Estim. 3 000 - 4 000 GBP

[Slices with hidden paint]. The Holy Bible, or the Old and New Testaments. Translated into French from the Hebrew and Greek texts by the Pastors and Professors of the Church and Academy of Geneva. Genève, Paschoud, 1805. 3 volumes, large in-8, purplish long-grained morocco, spine ribbed with gilt and cold-stamped circles, gilt title and tomaison, gilt fillet and cold-stamped framing decoration, int. lace, gilt and painted edges, in a modern ecru toiel slipcase titled with a red morocco piece (period binding). Beautiful edition of the Geneva Bible in French, the edges of which were painted at the time by an English artist at the request of the first owner of these three volumes, Georges Haldimand (1781-1851), a London banker living in Geneva (handwritten bookplate dated 1812 on the flyleaf). The painted motifs on the gutters are only visible when the leaves are pinched to reveal the scenes. The edges are gilded so that the motifs are not visible when the book is closed. The art of painted edges (or fore-edge painting) appeared in Italy in the 16th century, but only developed in England in the late 18th and early 19th centuries, thanks to bookbinder William Edwards (1725-1808). The painted edges depict views of Notre-Dame Cathedral in Paris from the Seine, Notre-Dame Church in Saint-Lô and Notre-Dame Cathedral in Rouen. From the famous collection of Estelle Doheny (1875-1958), second wife of California oil magnate Edward Lawrence Doheny (1856-1935). "She began collecting books in the mid-1920s, demonstrating a marked taste for books with painted edges, to the point of assembling over the years one of the most important collections in this particular field of book art." (BnF).

Estim. 3 000 - 6 000 GBP

SARI: A SUPERB WOOD NETSUKE OF A PAIR OF BLOWFISH (FUGU) SARI: A SUPERB WOOD NETSUKE OF A PAIR OF BLOWFISH (FUGU) By Sari, signed Sari 左里 Japan, Iwashiro province, c. 1800-1820, Edo period (1615-1868) A pleasingly tactile and ideally rounded group of two blowfish, their distended bodies curling around each other, head to tail, in the form of a double comma (tomoe). The bold and simple design is finely executed with clever use of staining, their underbellies being masterfully stippled in ukibori. Natural himotoshi through one of the tail fins. Signed to the base SARI within the typical raised elliptical reserve. LENGTH 4.1 cm Condition: Very good condition with minor surface wear and light scratches. Tiny chips along the fins, smoothened over time. Provenance: From an old German private collection. The fugu fish blows up like a ball when threatened and its white flesh is highly prized in Japan. However, a poison sac in the fish’s entrails is so deadly that a chef must train for years before he can serve it, when it is traditionally arranged presented in paper-thin slices in the design of a chrysanthemum or a crane. Even so, deaths still occur as a result of fugu poisoning. Museum comparison: For a closely related pair of blowfish, by Sari, see Los Angeles County Museum of Art, accession number AC1998.249.22. Auction comparison: Compare a related wood netsuke of two fugu fishes by Sari, early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke - Part I, 8 November 2016, London, lot 163 (sold for 5,000 GBP).

Estim. 8 000 - 9 000 GBP

GIEGHER, Matthias. Li tre trattati. Padua, Paul Frambotto, 1639 in-4to oblong, mm. 160x208; Handsome 19th-century binding to arms, garnet morocco, at center of plates gold coat of arms of the Choiseul-Beaupré family, five small-nerved spine, with title and year of printing in gold, counterparts and guards in comb-decorated paper, plate lips decorated with double gold fillet, rich interior dentelles; pp. [16], 7 engraved plates. [Author's portrait and plates numbered 1-6], pp. 2 b., 54, 4 nn. inc. plates, pp. 4 nn., pp. 30 nn., 2 fold-out inc. plates, inc. plates numbered. 1-12, 1-24. Total of 49 inc. plates f.t. Beautiful copy. Very rare beautifully illustrated complete edition. The splendid plates illustrate the art of banquet composition and the art of mincing meat. The work consists of the following treatises: the treatise of the Folds; the treatise of the Scalco; the treatise of the Trinciante; the Tavola de' nomi delle carni de' Quadrupedi e del modo di trinciarle; and the Tavola de' nomi e modi di trinciar li Volatili, Pesci e frutti. The first treatise contains figures relating to the way of folding tablecloths and napkins in imaginative and elaborate ways, in the shape of a caravel or bird, with elegant models for the arrangement of tablecloths and sugar statues. The second "teaches...the way of putting food on the table." The third the way to shred all kinds of animals, with precise instructions for masterfully shredding a veal breast or a whole rabbit, and fantastic cedars cut in the shape of an acorn, fish or turtle. The Giegher, Bavero of Mosburc and German shredder in Padua, points out in the dedicatory how, in honor of the German nation, he composed an "Operetta, la quale insegna con modo facilissimo piegare ogni sorte di tovaglioli e tovaglie in molte e leggiadre maniere," adding two other works entitled lo Scalco e il Trinciante, already given to print "e hora rinnovate, e'n buona parte ampliate." Oblong 4to, mm. 160x208; Nice armorial binding of 19th century, red morocco, at the center of the covers coat of arms of the Choiseul-Beaupré family, spine with 5 small ribs, title and year of the publishing in gold, inside cover and endpapers with colored paper, lips of covers with double golden rules, rich inner dentelles; pp. [16], 7 copper plates [portrqait of the Author and numbered plates 1-6], pp. 2 bl, 54, 4 copper plates, pp. 4 nn, pp. 30 nn., 2 copper plates folded,. 1-12, 1-24. A total of 49 copper plates out text. Fine specimen. Rare complete edition beautifully illustrated. The splendid plates illustrate the art of composition of banquets and art cutting meats. The work consists of the following Treatises: Il trattato delle Piegature [Treatise on Linen Folding]; Il trattato dello Scalco [Treatise on The Steward]; Il trattato del Trinciante [Treatise on The Carver]; la Tavola de' nomi delle carni de' Quadrupedi e del modo di trinciarle; la tavola de' nomi e modi di trinciar li Volatili, Pesci e frutti. The first book contains the figures related to how to fold tablecloths and napkins in imaginative and elaborate ways, shaped in the form of caravel or bird, with elegant models for the provision of tablecloths and sugar statues. The second "...teaches the way to put the food on the table." The third way to chop all kinds of animals, with precise instructions to chop masterfully breast of veal or a whole rabbit, and great cedars cut in the shape of acorns, fish or turtle. Mattia Giegher, the Italianised name of Matthias Jäger, originally from Bavaria, was one of the masters of napkin folding. The young Mattia came to Italy in around 1616 and settled in Padua, where he became an expert carver, with the important role of slicing meat and cutting food during banquets. In the dedicatory points out why, in honor of the German nation, he has composed an "Operetta, which teaches with easy way to bend all sorts of napkins and tablecloths in many manners and fair," adding two other works entitled the Scalco and Trinciante, even before printed but "now renovated and largely expanded." The primary value of the work is given by the exceptionality of the illustrations: they combine the advantage of the variety and adherence to the implicit technical procedures in the art to set up canteens, as well as to fulfill the obligations that were routinely required.

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