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Los 11
A pair of Victorian clear moulded glass lions with lozenge registration marks, two Nailsea type glass flask with white swirl decoration, a glass twin flask with trailed decoration, a milk glass plafonnier light shade with metal rim and a smaller shade, a Bohemian 11cm red flashed glass mug,(8)
Los 82
SECOND EDITION, 8vo, xlii + 433 pp, original olive cloth with gilt decoration, frontis portrait, 6 chromolithographs, 9 colour and 1 B&W natural history plates, 4 folding maps and numerous B&W illustrations with tissue guards, pages uncut, very light foxing on title page and ep, spine starting to open
![FIRST EDITION, 4to, xii +118 + [2] ad pp, original faux crocodile cloth, spine replaced, partially torn onlay, 54 plates and](https://cdn.globalauctionplatform.com/f3ddcb8d-bd32-477e-ac1c-a7f200abbb2f/a4192657-ba5f-47b7-c702-3bb91f773be1/468x382.jpg)
Los 525
inscribed with the title on a plaque adhered to the front of the frame ; Inscribed on the back with the artists name and address. 89 by 135cm (excl ornate gilt frame)Herbert Gustave Schmalz (1856-1935) was an English painter who renamed himself Herbert Gustave Carmichael after World War 1 to avoid popular anti-German sentiment prevalent at the time. The son of a German father and English mother, he received his initial art training at the South Kensington School of Art and later at the Royal Academy of Arts, completing his studies at the Royal Academy of Arts in Antwerp. Although little known nowadays, Carmichael had a successful career in his day and trained under some important painters. He exhibited widely, including at the Royal Academy, the Fine Art Society on Bond Street (where he had a solo exhibition in 1900 of forty paintings); the Grosvenor Gallery and the Royal Society of Portrait Painters. His works were very popular and were reproduced as prints and in magazines of the time, including a much loved moody and romantic portrait of Elizabeth Barrett Browning painted in the late 19th century. Associated with the late Pre-Raphaelites, he made a name for himself as a history painter. He lived in the Kensington area of London, and was friends with William Holman Hunt and Frederic Leighton, marrying the sister of Dorothy Dene, a favourite model for Leighton. His style was heroic, influenced by the Pre-Raphaelites and Orientalism. The influence of Frederic Leighton on his work is profoundly apparent, in the choice of academic subject matter, society portraits and later landscapes of biblical sites Palace of the Popes - Avignon was painted later in the artist?s career, after World War 1. A monumental work, it initially appears as a secular landscape painting of an early-renaissance palace bathed in golden light, however it has an important historical-Christian theme. Avignon was the seat of the Holy Roman Empire in exile after the schism of the church, and the palace was constructed on the orders of the new Pope Benedict XII in 1334. Successive Popes elaborated and extended the building until it became the soaring, majestic palace of this painting, with a maze of rooms, chapels and courtyards exquisitely decorated and embellished, making it the grandest Gothic palace of Europe. Today, Palais des Papes is a UNESCO World Heritage Site revered by lovers of architecture, history and splendour. In Palace of the Popes Avignon, the artist presents an early evening scene of the palace viewed from the river below and described - on the reverse of the painting in his own elaborate hand - as 'Betwixt the new moon and the sinking sun'. Schmalz's work is well represented in major public collections such as the Royal Academy and others in Europe, America and Australia including the Bendigo Art Gallery. The work is framed in its original beautifully modelled French gilt frame made by the Royal gilders, James Bourlet & Sons Ltd., of Nassau Street, West London as registered on the Royal Portraits Gallery?s list of framers from 1895-1903. - Carol Kaufmann
Los 59
FIRST EDITION, FIRST ISSUE, 8vo, quarter bound with marble boards, without half titles and advertisements, book plate, spines cracked, some paper loss to gilt decorated spines, boards scuffed, significant foxing on first few pages and illustrations of each volume with light to moderate foxing throughout rest, some stains. First issue indicated by ?Fireside? plate and ?Boz? title page (3)
Los 50
London: The Trianon Press, 1955 - 1960 FIRST & LIMITED EDITIONS, folios with publisher?s slip cases. THE WHITE LADY OF THE BRANDBERG, 1955; PHILIPP CAVE, 1957; THE TSIAB RAVINE AND OTHER BRANDBERG SITES, 1959; ANIBIB AND OMANDUMBA, 1960 (4) THE WHITE LADY OF THE BRANDBERG, 1955, tan cloth, no dust jacket, 24 colour and numerous B&W illustrations. Complete, but all the pages are loose, foxing on eps. PHILIPP CAVE, 1957, light blue cloth, wear to dust jacket with tears and paper loss, 29 colour and numerous B&W illustrations, foxing on eps, text pages and one colour plate. THE TSIAB RAVINE AND OTHER BRANDENBERG SITES, 1959, ochre cloth, dust jacket with a few tears and minimal paper loss, 78 colour and numerous B&W illustrations, foxing on eps. ANIBIB AND OMANDUMBA, 1960, blue cloth, dust jacket with a few tears and minimal paper loss, 80 colour plates and numerous B&W illustrations, minimal foxing on eps. (4)
Los 58
London: G. G. & J. Robinson, R. Faulder, B. & J. White et al,1797 8vo, full leather in aged distressed condition, marbled ep with bookplate, boards and spine scuffed and scratched, paper loss on spines, light foxing and browning throughout volumes, boards loosening from spine in all volumes. Vol 3: board inexpertly glued (6) Notice: Should read 6 VOLS, not 8 VOLS (8)
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534325 Los(e)/Seite