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Preisdatenbank abonnierenWW2 German Navy officer’s 2nd pattern dagger, scabbard and knot by Eickhorn of Solingen. Features yellow grip with 2 splits mid-way around hilt but solid, wire wrap intact. Long cotton dagger knot is present. Interlocking button, in working condition. Double blood grooved blade, with very good double naval themed etching to both sides of the blade, maker named to ricasso. Lightning bolt engraved scabbard in good condition
First World War regimental pattern Sgian Dubh to the Seaforth Highlanders, the knife belonged to 2nd Lieutenant John 'Jack' Aitken M.C. , Seaforth Highlanders, who was awarded the Military Cross by George V on the 5th of April 1919 for his gallantry in saving a wounded soldier under fire on 28th August 1918, while engaged in the assault on the Drocourt-Queant Line while attached to the 2nd Battalion Seaforth Highlanders, part of 10th Brigade, 4th Infantry Division during the 2nd Battle of Arras, entry in the Edinburgh edition of the London Gazette reads, ' T/2nd Lieut. John Aitken, attd. Sea. Highrs. (2nd Bn.) , For conspicuous gallantry and devotion to duty east of Arras from 28th August to 4th September. He commanded first a platoon and later a company which had lost all its officers. After a night attack, finding his platoon enfiladed by machine gun fire, he reorganised them in a less exposed position, he then went out to bring in the wounded, fetching one officer from within fifteen yards of the machine gun. His courage and cheerfulness were a great encouragement to all ranks.', a native of Edinburgh, Jack Aitken was born in 1897 and passed away in 1959, the Sgian Dubh has a carved bog oak grip with early type Seaforth pattern St Andrews badge on star shaped etching, foiled citrine to top enclosed in thistle mount, it is housed in a pebbled leather covered wood scabbard with plain brass mounts, the blade has unfortunately suffered some rust damage and staining but is still a fine memento of a very gallant soldier
Castiglione (Giovanni Benedetto, 1609-1664) Temporalis Aeternitas, or Four Wise Men, etching, the second state with Rossi's address, on laid paper with fleur-de-lis with three mounds within a circle, sheet 304 x 200 mm. (12 x 7 7/8 in), trimmed just within the platemark, printers' crease in the upper left corner, unframed, 1645; together with Salvator Castiglione's The resurrection of Lazarus, the only known print by the artist, and possibly after a design by his brother, Giovanni Benedetto, etching on laid paper with fleur-de-lis and three mounds within two concentric circles, platemark 112 x 215 mm. (4 1/4 x 8 1/2 in), sheet 270 x 395 mm. (10 3/4 x 15 1/2 in), unframed, 1645 (2).
Old master drawings.- Nolli (Carlo, fl. 1752-1770) Twelve prints after drawings by Guercino, Parmigianino, and Francesco Primaticcio, and others, etchings, some with delicate aquatint and plate tone, all monogrammed in the plate 'CN', on uniform laid paper with watermark of the initials PP within an orb and cross, platemarks between 220 x 160 mm. (8 3/4 x 6 1/4 in) and 430 x 255 mm. (16 7/8 x 10 in), each sheet uncut and approx. 500 x 380 mm. (19 3/4 x 15 in), loose and unframed, [circa 1752-1770]; together with three further prints by different hands after old master drawings, two after Guercino, the other Parmigianino, unframed, (15)⁂ Son of Giovanni Battista Nolli, little is known of the work of Carlo. We were unable to trace any other examples of the present suite of highly competent etchings after old master drawings. Each sheet, printed on the same watermarked paper, features two marginal pin-holes from a stitched binding suggesting that they once formed part, or were the entirety of a coherent publication or body of work. The British Museum holds one example of a similar etching by Nolli, but on a rather smaller scale (see acc no. 1867,0309.619).
Kirkall (Elisha, 1682-1742) St Jerome in the wilderness, after Paolo Farinati, chiaroscuro woodcut printed in ochre with etching and mezzotint, on thick laid paper with watermark of the letter 'G', platemark 470 x 322 mm. (18 1/2 x 12 3/4 in), sheet 530 x 400 mm. (20 3/4 x 15 3/4 in), careful repairs to marginal tears and loss, one tear in the upper centre running just into platemark, unframed, 1723; together with five chiaroscuro woodcuts by or made under the guidance of Nicolas La Sueur from 'Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France / Recueil Crozat / Cabinet Crozat', 1742, including 'The Sun's Chariot' and 'The Rape of Europa' after Paolo Farinati, Diana and Endymion after Sebastiano Conca, and Comte de Caylus's 'Three angels carrying Gideon's fleece' and 'The fall of Phaeton' after Orazi and d'Arpino respectively, all unframed, [1729-1740] (6)
Old master prints.- Bol (Ferdinand) An old man with a long beard, wearing a velvet cap, etching and drypoint, a good well inked impression on thin laid paper without watermark, without sign of much wear to plate, sheet 119 x 88 mm. (4 5/8 x 3 1/2 in), trimmed within platemark, small loss to lower left corner, other small nicks to extremities, some spotting and surface dirt, unframed, 1642; together three other old master prints, including a trimmed impression of Adriaen Janz van Ostade's 'The Peasant's Quarrel', a portrait of Dutch lady by Hollar, dated 1644, and a portrait of Titian by Giovanni Battista Cecchi, all unframed (4).Literature:[Bol] Hollstein 9
Italy.- Piranesi (Giovanni Battista) Veduta della Piazza della Rotonda, from Vedute di Roma, etching and engraving, Hind's fourth state (of seven), on laid paper with watermark of fleur-de-lis within two concentric circles [Hind 3], sheet 412 x 560 mm. (16 1/4 x 22 in), trimmed just within the platemark at the upper edge, otherwise with thread margins, two repaired tears in the upper edge, some spotting and light browning, [1751] § Woollett (William) The Temple of Apollo, after Claude Lorrain, engraving on laid paper mounted onto canvas with wooden stretcher, 470 x 610 mm. (18 1/2 x 24 in), some toning to sheet with surface dirt, framed, published by Boydell, 1760Literature:Piranesi - cf. Hind 17
Turner (Joseph Mallord William) The Junction of the Severn and the Wye, drawn, etched and engraved by Turner from the 'Liber Studiorum', etching, aquatint and mezzotint printed in sepia on wove paper, platemark 210 x 290 mm. (8 1/4 x 11 1/2 in), sheet 225 x 310 mm. (8 7/8 x 12 1/4 in), some spotting and surface dirt, unframed, published by the artist, 1811; together with a frontispiece after Hogarth, unframed (2)
Hamerton (Philip Gilbert) Etching & Etchers, third edition, title printed in red and black with engraved vignette, 48 etched or photogravure plates, original roan-backed boards, 4to, Macmillan, 1880⁂ Includes original etchings by J.M. Whistler ("Billingsgate"), Samuel Palmer ("Sunset"), J. Israels, H. Herkomer, A. Legros, and others.
Old master prints.- Pontius (Paulus) Christ carrying the cross, after Rubens, engraving on wove paper, a slightly later impression, platemark 620 x 460 mm. (24 1/4 x 18 1/8 in), small margins, toning to sheet, unframed, 1632; together with a good group of 10 further prints, including two others after Rubens, an engraving by Chasteau after Poussin, an 8vo mezzotint plate from Paradise Lost by John Martin, an engraving of the Virgin and Child by Blooteling after van Dyck, two engraved friezes of putto after Tetelin, plate 51 by Richard Earlom after Lorrain, an etching after [?]Zurbaran, and a good copy by Hieronymous Wierix after Durer's woodcut 'The Mass of St Gregory', engravings and etchings, various sizes, all unframed, [16th century and later] (11)
Robert Hennell, London 1775, a George III silver mustard pot, reticulated cylindrical form, bright cut decorated with pierced bands of honeysuckle within heart form cartouches alternating with foliate batons, between beaded borders, in the Etruscan style, the flat lid with cast shell thumb piece and concentric ring etching, ear handle, 8cm high, 3.56ozt
CAMILLE ARTHUR FONCE (1867-1937), RIVER SCENES, a pair, etching and drypoint in colour on Japon, signed by the artist in pencil, published by Arthur Tooth & Sons 1907, 49 x 64cm (2)++Good condition undisturbed in the original good quality Edwardian and gilt frames with the printed label of the publisher Arthur Tooth & Sons on the boackboard
An early 19th century tinsel print picture of Madame Auriol as Columbine, cut-felt, foil and glitter with hand-coloured etching, published by J. Redington, 73 Hoxton Street, London, Formerly called 208, Hoxton Old Town, 20.8 x 15.7cm, in a glazed bird's eye maple frame, together with another tinsel print depicting 'THE SAILOR'S FAREWELL' and a hand-coloured etching of the 'THE SAILOR'S FAREWELL'. (3) Provenance: 'A Lifetime of Collecting'-The property of a gentleman. Tinsel prints were created from etched portraits of theatrical stars in popular roles they played on the London stage. They were hand-coloured and decorated with scraps of material and tinsel additions. They were popular during the first half of the 19th century and were considered an adult, rather than a child's hobby. By the 1830s it was possible to buy the tinsel, leather and feather ornaments to go with each image.
Laver (James) . A complete catalogue of the etchings and dry-points of Arthur Briscoe , limited edition 230/250, 1930, 151 monochrome illustrations plus an original etching frontispiece signed by Arthur Briscoe, some light spotting & toning, original blue cloth, boards & spine slightly faded & marked, large 4to, together with Robins (W.P.) , Etching Craft, a guide for students and collectors, 1922, 192 black & white illustrations plus an original etching frontispiece signed by the author, some minor spotting, original quarter vellum, boards & spine marked & slightly rubbed, large 4to, and Bone (Muirhead) , Etchings & Dry Points, limited edition 98/275, 1909, Orach & Co., original etching frontispiece signed by the author, light marks to the endpapers, original green quarter calf, spine slightly faded & rubbed to head & foot, large 4to, plus Comstock (Francis Adams) , A Gothic Vision: F.L. Griggs and his work, 2nd printing, limited edition of 500 copies, 1978, Boston, numerous black & white plates, minor spotting to the text block, original black cloth, large 8vo. (Qty: 4)
* Lifesaving. An exact representation of Mr F. C. Daniels Life Preserver, as exhibited on 21st July 1806, passing through London Bridge to Gun Dock Wapping, circa 1806 , etching with contemporary hand colouring, trimmed to image, 250 x 355 mm, framed and glazed (Qty: 1)NOTESAn uncommon image depicting the use of early life jackets .
Schneidermann (Richard S.). A Catalogue Raisonne of the Prints of Sir Francis Seymour Haden, 1st edition, Robin Garton 1983, numerous monochrome plates and illustrations, original cloth gilt in dust wrapper, with slipcase, large 4to, limited edition of 500 copies, together with Garton (Robin). British Printmakers 1855-1955, A century of printmaking from the Etching Revival to St. Ives, Garton & Co, in association with Scolar Press, 1992, numerous monochrome illustrations, original cloth gilt in dust wrapper, 4to, VG, plus Muncaster (Martin), The Wind in the Oak, The Life, Work and Philosophy of the Marine and Landscape Artist Claude Muncaster, Robin Garton, 1978, some colour and many monochrome illustrations, original cloth in dust wrapper, 4to, VG (Qty: 3)
* Bunbury (Henry William, 1750-1811). A Long Minuet as Danced at Bath, Longa Tysonum Minuit Quid velit & possit rerum concordia discors. Horace, published William Dickinson, [1787], large uncoloured etching on four conjoined sheets, occasional small holes, some dust soiling, slight surface abrasion, 260 x 2160 mm, framed and glazed (Qty: 1)NOTESBunbury s most successful design. Recent research has revealed that the figures are based on actual personages prominent in Bath at the time, including the Master of Ceremonies Richard Tyson, the ex-Prime Minister Lord North, his wife and daughter, the Mayor and Mayoress of Bath, some French financiers, Bunbury's wife Catherine (nee Horneck, a lady in waiting to the Queen) and the artist himself bowing to his audience.
* Jackson (G.). Belshazzar. The property of the Earl of Carlisle, circa 1860, pencil and watercolour portrait, trimmed to image and laid on near contemporary paper, signed and title below image in pen, image size 315 x 430 mm, framed and glazed, together with, Portrait of a Hereford cross Bull, circa 1870, unattributed watercolour, 255 x 25 mm, framed and glazed, with, Stafford (H.), Short Horned Heifer, circa 1845, lithograph with contemporary hand colouring, 235 x 330 mm, framed and glazed, plus, Welles (E. F.), Woodstock. A Hereford Bull. The property of Mr. John Price, circa 1870, lithograph with contemporary hand colouring, 230 x 320 mm, framed and glazed, and, Dighton (Dennis), Daffodil (in two positions) at 21 months old. Bred by & the property of W. B. Thomas, circa 1870, uncoloured lithograph, old folds, 185 x 235 mm, mounted, framed and glazed, with an unattributed etching of a Black West Highland Stot, 215 x 280 mm (Qty: 6)
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