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78475 Los(e)/Seite
Los 120
Salt (Henry) The Town of Abha in Abyssinia, plate XVI from 'Twenty-four views taken in St Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia & Egypt', etching and aquatint by I. Bluck, with full hand-colouring, on thick wove paper, platemark 480 x 650 mm (18 7/8 x 25 1/2 in), sheet 502 x 670 mm (19 3/4 x 26 1/4 in), exposure lines to extremities, some spotting and browning, unframed, William Miller, 1809; together with two plates from Sir William Cornwallis Harris's 'Portraits of the Game and Wild Animals of Southern Africa', one of an elephant the other a rhino, two plates from Samuel Daniell's 'African Scenery & Animals', including 'The Koodoo' and 'The Quahkah', and a slightly damaged impression of Giovanni Battista Belzoni's 'Exterior View of the Two Temples at Ybsambul', etchings, aquatints, lithographs, all with hand-colouring, various sizes between 370 x 480 mm (14 1/2 x 18 7/8 in) and 500 x 645 mm (19 3/4 x 25 1/4 in), spotting and browning, unframed, circa 1820 to 1840 (6)
Los 42
Cruikshank (George) Puzzled which to choose!! Or the King of Tombuctoo offering one of his daughters in marriage to Capt.-, etching and aquatint with original hand-colouring, after Captain Frederick Marryat, sheet 250 x 350 mm (9 3/4 x 13 3/4 in), under glass, minor surface dirt, in maple wood frame, George Humphreys, 1818Literature:BM Satires 13043; see: Temi Odumosu, "Africans in English Caricature 1769-1819: Black Jokes, White Humour" , 2017, p. 169.
Los 558
Cruikshank (George).- Jerrold (Blanchard) The Life of George Cruikshank in Two Epochs, 2 vol., plates and illustrations, extra-illustrated with over 120 engravings by Cruikshank, c.30 hand-coloured, many mounted or tipped into blank leaves with dates or captions in pencil, some bound in, some light spotting, bookplate of C.H.Hammersley and book-label of James Stevens Cox, later red straight-grain morocco, gilt, by J.Larkins, spines gilt, t.e.g., others uncut, slightly rubbed and marked, 8vo, 1882.⁂ Including hand-coloured chapbook frontispiece 'Picture of London' of 1812 (Cohn 554), portrait of Robert Cruikshank of 1820, unused etching for a box ticket for Her Majesty's Theatre of 1846, and 2 other unused etchings of 1857.
Los 030772
Konvolut 3 Zigarettenetuis, 835er Silber, deutsch 1950/60er Jahre, alter Lagerbestand, Meistermarke RK, guill., jew. mit freiem Monogr.-feld, unbenutzt, Lagerspuren, ca. 9 x 7.5 cm, total ca. 240 gLot 3 cigarete cases, silver 835 , german 1950/60s, new old stock, manufacturer's brand RK, needle etching, each with free monogr.- field, in mint condition, signs of storage, approx. 9 x 7.5 cm, total approx. 240 g
Los 434
A set of six medical related etchings / prints, Mutual Accusation (Medicine Vendors) etching by J. Bretherton after H W Bunbury; The Examination of a Young Surgeon; New Discoveries in Pneumaticks; The march of the Medical Militants to the siege of Warwick Lane Castle; The Physicians Friend; The Company of Undertakers. (6)
Los 435
Rembrandt Harmenszoon van Rijn (Dutch, 1606-1669), The Descent from the Cross: The second plate, 19th century copy of the original etching of 1633, on thin laid paper without watermark, printed number "88" lower left corner, not found in the original, sheet 23 1/8 x 18 7/8in. (58.7 x 47.9cm.), mounted, not framed. * In poor condition. Repaired tears in the left border, centre. Pin holes in the border lower left and a loss in the border lower centre. Not laid down.
Los 333
William James, tätig 1730 – 1780 DAS MARKUSBECKEN ZUM KAI HIN MIT DER KIRCHE SANTA MARIA DELLA SALUTE Öl auf Leinwand. Doubliert. 76 x 127 cm. In vergoldetem Rahmen.Beigegeben eine Expertise von Dario Succi, Goriza, in Kopie vorliegend. Weite Panoramaansicht von Venedig mit Blick in Richtung der Punta della Dogana auf die breite, von zahlreichen Figuren bevölkerte Uferanlage und ankernden Gondeln im schimmernden Wasser. Rechtsseitig die Piazzetta mit der Sankt Theodor Säule, die Bibliothek, die Münzanstalt und die ehemaligen Getreidelager (die Anfang des 19. Jahrhunderts abgerissen wurden, um Platz für die Gärten zu schaffen). Im Hintergrund sind der Fontego della Farina, der Glockenturm der Kirche Santa Maria della Carità, die Basilica della Salute und die Punta della Dogana zu sehen. Die Insel San Giorgio erscheint am linken Rand und ist als eine „skurrile“ Einfügung zu betrachten, da der architektonische Komplex von Palladio von dem gewählten Standpunkt aus nicht sichtbar ist. Figuren- und detailreiche Malerei unter hohem Himmel. Das Gemälde scheint mit einigen Änderungen auf der entsprechenden Radierung von Antonio Visentini (1688-1782) zu beruhen, die als Tafel 12 zum zweiten Teil der 36 Blätter umfassenden Serie „Urbis Venetiarum Prospecuts Celebiores“ gehört, die 1742 von dem venezianischen Verleger Giambattista Pasquali veröffentlicht wurde. Der Stich wiederum ist von dem Gemälde von Canaletto (1697-1768) abgeleitet, das vom Herzog von Leeds gekauft wurde und später in die Sammlung Luigi Albertini in Rom überging und sich heute in der Pinacoteca del Castello Sforzesco in Mailand befindet. Das Gemälde, das auf die Zeit um 1770 datiert werden kann, weist alle Merkmale der Werke von William James auf: Die sichere Perspektive, die genaue Wiedergabe der architektonischen Elemente mit warmen Pigmenten, die an venezianische Vorbilder erinnernden Sprenkel, der graublau-rosa Ton des Himmels, die flüssige Oberfläche mit den typischen Wirbeln, die die wellenförmige Bewegung in der Art von Canaletto wiedergeben. Retuschen. Einen besonders aussagekräftigen stilistischen und chromatischen Vergleich bietet das Gemälde Horse Gaurds Parade from James's Park von William James, das sich im Besitz der Rafael Valls Gallery, London, befindet und 1993 in der bedeutenden Ausstellung „Canaletto & England“ in Birningham ausgestellt wurde.Anmerkung: Eine mit dem hier vorliegenden Gemälde vergleichbare Venedig-Ansicht wurde am 25.01.2008 bei Sotheby´s in London unter der Lot 425 versteigert.Biografische Angeben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards' Anedoctes of Painters, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der - abgesehen von einer kurzen Unterbrechung im Jahr 1751 - zehn Jahre lang von 1746 bis 1756 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten. (1301544) (18)William James,active 1730 – 1780ST. MARK’S BASIN TOWARDS THE QUAY WITH THE CHURCH OF SANTA MARIA DELLA SALUTE Oil on canvas. Relined.76 x 127cm.Accompanied by a copy of the expert’s report by Dario Succi, Gorizia. Wide panoramic view of Venice towards Punta della Dogana at the broad waterfront populated by numerous figures and gondolas moored in the shimmering water. The painting appears to be based, with some alterations, on the corresponding etching by Antonio Visentini (1688-1782), which is plate 12 of the second part of the 36-sheet series “Urbis Venetiarum Prospecuts Celebiores”, published in 1742 by the Venetian publisher Giambattista Pasquali. The engraving, in turn, is based on a painting by Canaletto (1697-1768), acquired by the Duke of Leeds and later transferred to the Luigi Albertini collection in Rome and now held at the Pinacoteca del Castello Sforzesco in Milan. The painting, which can be dated to ca. 1770, has all the hallmarks of William James’ work.Notes:A veduta of Venice comparable to the present painting was auctioned at Sotheby’s in London on 25 January 2008 under lot 425.
Los 495
Peter Lely, 1618 – 1680, Kreis des PORTRAIT DES JAMES CECIL, 5. EARL OF SALISBURY (1691 – 1728) Öl auf Leinwand. Doubliert. 126 x 101 cm. Links unten betitelt „The Earl of Salisbury“. In vergoldetem Prunkrahmen.Im Zentrum der in einem Innenraum an einem steinernen Podest mit Wappenrelief stehende James Cecil. Er trägt antikisierende Kleidung mit goldenen Sandalen, an der Hüftseite einen Degen sowie einen blauen langen Umhang mit Goldrand. Auf dem Podest ist zudem ein mit Federn besetzter Helm abgelegt. Der Dargestellte hat ein zartes Inkarnat, gerötete Wangen und schaut bei würdevoller Haltung mit seinen dunklen Augen aus dem Bild heraus. Nach rechts fällt der Blick ins Freie auf einen Springbrunnen vor einer Brüstung unter blauem Himmel. James Cecil ist wohl hier als vier- oder fünfjähriger Junge dargestellt, zu einem Zeitpunkt, als er beim Tod seines Vaters dessen Adelstitel als Earl of Salisbury, Viscount Cranborne und Baron Cecil erbte. Teils rest., kleine Retuschen.Anmerkung: Es existiert eine fast identische, jedoch seitenverkehrte Mezzotintoradierung des Dargestellten von John Smith (1652-1743), die auf 1695 oder 1696 datiert wird. (1300451)Peter Lely, 1618 – 1680, circle ofPORTRAIT OF JAMES CECIL, 5TH EARL OF SALISBURY (1691 – 1728)Oil on canvas. Relined.126 x 101 cm.Titled “The Earl of Salisbury” lower left.Notes:There is an almost identical but inverted mezzotint etching of the depicted by John Smith (1652-1743), dating to 1695 or 1696.
Los 44
Roderic O'Conor (1860-1940)Marine, au Clair de LuneOil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'')Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcherProvenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1956; Musée de Petit Palais, Geneva; Sale, Sotheby’s London The Irish Sale, 22nd May 1997, lot 256; Private Collection, IrelandExhibited : Geneva, Petit Palais, Peintures Britanniques du XXe siecle, 1980; Geneva, Petit Palais, Post-Impressionnisme (1880 - 1910), 1/7/80 - 30/9/80; Osaka, and other venues in Japan, Trésors du Petit Palais, Geneve, 1983, no.65; Musée de Pont Aven, Roderic O’Conor 1860-1940, 1984 no.29; London, Barbican Art Gallery, and toured to Belfast, Dublin and Manchester, Roderic O’Conor 1860-1940, 1985, no.31Literature : L’aube du XXe siecle, vol.1: De Renoir a Chagall, Petit Palais, Geneva, 1968, p.41;Julian Campbell, The Irish Impressionists: Irish Artists in France and Belgium 1850 - 1914, National Gallery of Ireland exhibition catalogue, 1984, p.99;Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin 1992, pp.83-84,199.€ 150,000 - 200,000Roderic O’Conor had been living and working in Pont-Aven, Brittany for nearly three years when he met Gauguin in 1894, recently returned from his first trip to Tahiti. A friendship formed, and it is clear from Gauguin’s letters that he was expecting the Irishman to accompany him on his return to the South Seas. Although O’Conor declined, the relationship had a far-reaching affect on his life and his art: “… Gauguin’s strength of character and convincing style of talk made a deep impression on the young, or youngish, Irishman…” (Clive Bell, Old Friends, 1956, p. 166).Further to Gauguin’s final departure from France in 1895, O’Conor embarked on a group of nocturnes inspired by the scenery around Le Pouldu on the southern coast of Brittany, and the riverside town of Pont-Aven, 25 kilometres inland. The theme first emerged in an etching, Full Moon on the Coast, and was then developed in several moonlit seascapes painted in gouache, as well as a handful of oil paintings including The Bull and the Moon and A Moonlit Breton Landscape (Benington 1992, p. 199, nos. 81 and 84). These artworks stood apart from O’Conor’s earlier Breton landscapes on account of their greater reliance on the imagination, as if conceived from memory rather than direct observation.In Marine au Clair de Lune we see a clifftop house with a light shining in its windows, overlooking a sailing ship caught in the reflected path of the full moon, a glowing orb half hidden by a cloud at the top of the composition. The close juxtaposition of land and sea, safety and uncertainty, may be a recollection of the house at St Julien, a hamlet of Le Pouldu situated at the mouth of the Laita river, where O’Conor had stayed with his friend Armand Seguin in 1893 and, two years later, the two of them watched as Gauguin spontaneously composed an etching. Writing to Seguin four years later, O’Conor revealed that he had plans for a picture of St Julien, perhaps identifiable with the present work. One of its most striking features is the way its dreamlike quality has been given substance through technical innovation: O’Conor has applied his colours very thickly, making extensive use of the palette knife in order to obtain a richly textured surface. The granular effect of this build-up of pigment is particularly suited to capturing the glimmer of light on the water surrounding the two-masted vessel. Like most of his other moonlit pictures, the present work was most probably begun during the years 1895-98 when O’Conor was living in comparative isolation at Rochefort-en-terre, a hilltop village in the heart of rural Brittany. Unable, or unwilling, to accompany Gauguin to Papeete, he may have chosen this location because it was less visited by artists and tourists than Pont-Aven, more authentically Breton in its preservation of time-honoured religious and cultural practices. Here he had the space and freedom to experiment with new ideas, notably Gauguin’s dictum that the remembered image was a more effective embodiment of ideas and emotions than the observed one. By relying to a greater extent on his memory and imagination, O’Conor arrived at a range of themes that were uniquely personal to him. The mystery of a work such as Marine au Clair de Lune lifts it onto a Symbolist plane, recalling O’Conor’s association with writers such as Alfred Jarry, Léon-Paul Fargue and Charles Morice. And like Wordsworth who defined poetry as emotion recollected in tranquillity, here O’Conor seems to evoke the experiences that had meant the most to him just a few years earlier – moonlit walks, the proximity of the sea and windswept cliffs, the stimulating company of fellow artists, and a warm house to return to at the end of the day. Jonathan Benington, February 2022
Los 246
A miscellaneous lot to include a double headed souvenir doll, a boxed Cross pen set, Bramah lock (no key), school cloth badges, leather case containing 1905 French maritime ribbon and other items, along with a framed and glazed etching by Llewelyn Frederick Menzies-Jones (1899-1971), 11.5cm x 8cm, framedLocation:
Los 1180
A small selection of 19th century and later collectors' items to include an embossed gilt metal Royal Coat of Arms, height 8cm, a printed glass panel decorated with Edwardian figures on a beach, within a lead surround, height 18cm, a Laurence Walker etching of Dordrecht, and various engravings from a copy of Modern Artists; a series of illustrated biographies, James Clark Hook, including engravings after John Everett Millais, and Alma-Tadema; cricketers cigarette cards, a lacquered box and two unframed silk prints *Qty)
Los 345
MAXIME LALANNE (FRENCH, 1827-1886) (2)Boulevard Montmartre, Paris, 1884signed 'Maxime Lalanne' (lower right), titled and dated '1884' (lower left)pen and ink24 x 34cmtogether with an etching of the same scene by the same hand, 15.5 x 21.5cm(2)Condition reportDrawing: some small pale dark spots to central sky and a small pale brown mark to upper left.Generally appears in good conditionNot inspected under UV light.EtchingPale brown mark to left in trees.
Los 3089
COX, David. A Treatise on Landscape Painting and Effect in Water Colours: from the first Rudiments to the Finished Picture. London: for S. and J. Fuller, 1814. First edition, second issue, oblong folio (290 x 466mm.) Title, dedication, advertisement, 54 plates, comprising 23 soft-ground etchings, 16 uncoloured aquatints and 15 hand-coloured aquatint. (Toning, browning to some margins, occasional minor soiling, lacking 1 soft-ground etching and 1 hand-coloured aquatint plate.) Contemporary brown half morocco over marbled paper-covered boards, brown morocco lettering piece to the upper cover (rubbing to all extremities).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
![Alfred Walter Bayes [British 1831-1909]. Titled Disturbers of the Peace Girl and her mother at the well frightened by g](https://cdn.globalauctionplatform.com/5832eac4-2543-4a1e-8729-ae5100e2a988/ea18bc66-1ffd-4972-a611-ae5300fdbb70/468x382.jpg)
Los 223
Alfred Walter Bayes [British 1831-1909]. Titled Disturbers of the Peace Girl and her mother at the well frightened by geese. Oil on canvas. Signed lower right. c. Circa 1880 Height 52 cm; Length 42 cm; Depth 3 cm inscribed verso, The great grand daughter of the artis has a matched etching entitled 'Disturbers of the Peace' that was published in English Etchings volume 16, April 1888 along with a preparatory painting in likeness to this piece
Los 296
BRADFORD, Rev. William.- Sketches of the country, character, and costume, in Portugal and Spain, made during the campaign, and on the route of the British Army, in 1808 and 1809. / Engraved and coloured from the drawings by the Rev. William Bradford...- London: printed for John Booth, by William Savage, 1810.- [2], 38 f.: [1, 40] gravuras color.; 36 cm.- E., together with: -----.- Sketches of military costume in Spain and Portugal. Intended as a supplement to the Rev. Mr. Bradford's Sketches of country, character, and costume, in Portugal and Spain.- London: printed by William Savage, for John Booth, 1810.- [2], 8 p.: [13] gravuras coloridas; 36 cm.- E., The Reverend William Bradford (1780-1857) was a military chaplain and accompanied Wellington's forces in the Peninsular campaign against Napoleon's troops. His drawings were perfected and engraved by J. Clark to illustrate one of the most beautiful books on Portugal and Spain published in the 19th century. Variant of the 1809 edition, containing both parts in English. The first part (Sketches of the country...) is illustrated with a monochromatic frontispiece, copperplate print (etching and stipple) and 40 hand-coloured aquatints, representing, above all, popular costumes and views of localities. The second part (Sketches of military costume...), with its own title page, includes 13 aquatints, also hand-coloured, with Portuguese, French and Spanish military uniforms. The engravings exactly match the index (List of plates) that appears on the second sheet (after the main title page). Clean copy, slightly cropped (marbled edges). The plates have great freshness and the original cellophane separators. 19th century binding, full crushed sheepskin, with light wear, triple gold fillet and blind tooling roll, squared on the covers and golden roll on the squares, with new endpapers in plain wrought paper. Duarte de Sousa, 102 (for the 1809 edition). Tooley, 107.
Los 1687
Nelson Dawson (1859-1941) assorted original artworks and an etching1. HMS Laforey picks up British seaplane...., pencil, 20 x 26cm.2. Warships at sea, pencil, 20 x 26cm.3. '8 enemy Goskes retg from a raid, attacked by F.Com,hille single handed...', pen and ink, 20 x 26cm.4. 'Escorts 2 shiploads wounded from Dunkirk..', ink and pencil, 17 x 25cm.5. Pencil sketch; 'Miranda', 25 x 19cm.6. 'HMS Amazon' watercolour and pencil, 19 x 25cm.7. Ship study, inscribed, 19 x 25cm.8. 'Ma 25/1918 off Dover...', pencil, 17 x 25cm.9. 'Airship ...HMS Gen Crawford', signed etching, 17 x 25cm.10. 'Lower S.Foreland from aeroplane Ma 17/1918', pen and ink, 20 x 26cm.
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78475 Los(e)/Seite