Burns (Robert), The Poetical Works.....A New Edition, including the Pieces Published in his Correspndence, with his Songs and Fragments, to which is prefixed a Sketch of his Life, 3 volumes, London 1804, for T. Cadell and W. Davies, contemp. full gilt panelled calf, marbled ep, Vol.1 with engraved portrait frontis.; together with The Poetical Works of Robert Burns', The Aldine Edition of the British Poets, 2 vols., London, William Pickering 1830, contemp. full tree calf, marbled end papers and edges, all 16mo. (5) - 3 vols 1804: Vol. 3 - cover almost detached. Heavily rubbed, cracking to spines, corners bumped, labels mostly missing, handwritten owner's name to pastedown to fep, light spotting and toning - 2 vols 1830: Edge rubbing, one with small dent to spine, spotting and toning
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Byron (George Gordon Noel, Lord), The Works of Lord Byron, London: John Murray 1823, 4 volumes, Vol.1 with engraved portrait frontis., 19th century half calf with marbled boards, 8vo; together with a collection of other leather bound books, 18th and 19th century, including Brome (James), Travels over England, Scotland and Wales....., London: Abel Roper, Richard Basset and William Turner, 1700, full speckled calf rebacked; The Poetical Works of Henry Wadsworth Longfellow, New Edition, London: Routledge, Warne and Routledge 1865, fine gilt panelled red morocco binding; and ten others. (16)
L'Estrange (Sir Roger): The Observator in Dialogue - The First Volume, bound volume of newspapers, starting at issue no., Wednesday 13th April 1681 through to issue no. 374, Wednesday January 9th 1684 (mis-printed as 1683), including 470 issues, single folio sheet to each issue, double-column text, contemp. panelled calf, all edges red, folio, rubbed and peeling, cracking at spine, losses to spine ends and corners, 'Melville' bookplate to f.e.p., ink date to f.f.e.ps.,tipped in engraved portrait frontispiece, contemp. ink ownership inscription to title, some minor losses and tiny tears to page edges, cracked at issue 181, some toning and creasing. Rubbed and peeling, cracking at spine, losses to spine ends and corners, 'Melville' bookplate to f.e.p., ink date to f.f.e.ps.,tipped in engraved portrait frontispiece, contemp. ink ownership inscription to title, some minor losses and tiny tears to page edges, cracked at issue 181, some toning and creasing, modern pencil notes to ffep.
English School (late 19th century), Portrait of Lillie Langtry (Jersey, 1853-1929) Oil on canvas, 17 ½ x 17 ½in. (445 x 445cm) *This portrait of the famous Jersey born actress and society beauty, relates to a photograph issued as an albumen printed cabinet card by W & D Downey in the early to mid 1880's Lillie Langtry is shown three quarter length in the photograph and the artist has added blue irises in the painting. ** Relined re-using the original stretcher. Repaired three inch tear centre right. Slightly pronounced craquelure and stretcher marks visible. Otherwise in good sound condition. Relined re-using the original stretcher. Repaired three inch tear centre right. Slightly pronounced craquelure and stretcher marks visible. Otherwise in good sound condition.
Samuel William Reynolds (British, 1773-1832) after C.G. Dillon (early 19th century), Lieutenant General Sir George Don (1754-1832), Lieutenant Governor of Jersey and of Gibraltar, mezzotint by Samuel William Reynold (British 1773-1835) after a portrait by C.G. Dillon (early 19th century), published by C.G. Dillon, Jersey October 10th 1806,19th century wooden frame, 17¾ x 12¾in. (45 x 32.4cm.).. * Time stained.
Scottish School, late 18th century, Portrait of Robert Craig of Overnewton in 1795. * oil on canvas, inscribed in ink on a label on the stretcher “Robert Craig 1795 of Overnewton”,. * English, late 18th century, carved and fluted gilded frame. * 29¼ x 24¼in. (74.3 x 61.6cm.). * Canvas lined. Varnish discoloured. Evidence of restoration particularly in the face. Frame overpainted.
English School, circa 1840, Portrait of a Lady in a Lace Bonnet and a Red Shawl seated knitting with a white house and chapel beyond. * oil on canvas, original English, mid 19th century, gilded frame. * 29½ x 24½in. (74.9 x 62.2cm.). * Canvas lined. Surface scuffed and dirty with evidence of repairs and retouching.
English School, early 19th century, Oval Portrait Miniature of a Gentleman in a blue coat, watercolour and gouache, early 19th century ebonised frame stamped on reverse with a crown surmounted with Prince of Wales feathers, 3 1/8 x 2½in. (7.9 x 6.3cm.).. * Miniature in good condition. Frame with damaged corner.
Edmund Blampied R.E., R.B.A. (Jersey, 1886-1966), Portrait of Leicester Gore (1868-1931). * oil on compressed board, signed lower left “Blampied”, inscribed on reverse “Leicester Gore portrait by Edmund Blampied RE, RBA”, on reverse an abandoned painting of flowers in a vase.. * gilded frame. * 25¾ x 19¼in. (65.4 x 48.9cm.). * * Leicester Gore (1868-1931) was the father of Ruth Sophia Joan Gore who married Alexander Moncrieff Coutanche in 1924. Alexander Coutanche (1892-1973) held the office of Bailiff during the German Occupation of Jersey and was created Baron Coutanche in 1961.. * Surface patchy and varnish broken down. Requires cleaning.
Edmund Blampied R.E., R.B.A. (Jersey, 1886-1966), Portrait of Advocate Philippe Baudains (Jersey, 1836-1908). Constable of St Helier 1881-1896 and 1899-1905. * charcoal and white chalk on grey laid paper, signed and dated lower right “E Blampied 1904”, inscribed lower left “Monsieur Baudains”, unframed. * 24 x 18¾in. (61 x 47.6cm.). * * Described as a man of magnificent presence, Advocate Philippe Baudains was elected Constable of St Helier in 1881 and occupied the position for twenty-one years. He was a very active member of the States and introduced more than a hundred bills many of which were successful. The young Blampied sketched Baudains on many occasions and produced a number of caricatures in support of his candidature for Constable in 1902.. * rip to bottom edge
Naive School (British, 19th century), Portrait of a lady. oval, oil on canvas, laid onto board, later gold painted frame. 21 x 17¾in. (53.4 x 45cm.). Canvas has been laid down onto board. Heavy craquelure across the surface. Some retouching visible to background at upper left, and a larger area of repainting, somewhat clumsily executed, to the left side of the forehead. Frame has been later gold painted.
English School (19th century), A portrait of a lady in a white dress, holding a pink rose, three quarter length. oval pastel, original gilt frame with losses. 18 x 13in. (45.75 x 33cm.). * Some mould spotting to surface. Probable old restoration around left side of face. Losses to frame and cresting damaged.
Circle of Henry Pickering (British, fl.1740-1771), Portrait of a Woman in a Blue Dress. oil on canvas. Frame with plaque with erroneous inscription “Anne of Cleves by Holbein” and inscription on label on reverse “Anne of Cleves wife of Henry 8th painted about 1615 having been in the Knollys family for 300 years was purchase from Lord Knollys at Blounts Court Henly by Rt Hon Sir Wm Byrne P.C., KCVO and was sold by him in 1925 to the Duc de Pleneuf in Jersey”, English, early 19th century, gilded frame. 20¾ x 16¼in. (52.7 x 41.3cm.). Unlined. Original stretcher. 3 ¼ in. hole in the canvas to the left of head. Patched, filled and restored puncture in the canvas in the dress lower centre. Surface dirt over discoloured varnish.
A rare and important enamelled armorial opaque twist cordial glass of Scottish interest, circa 1765Perhaps by Anthony Taylor, the round funnel bowl with a solid base, painted in white and red with the crest of Wilson of Fraserburgh, an arm in armour, embowed, the hand grasping a sword, above a ribbon wreath, inscribed 'VENTURE and GAINE.' around the rim, the double-series stem with a pair of heavy opaque white threads around a gauze corkscrew, over a conical foot, 16.4cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionThe crest on this remarkable glass is almost certainly that of the Wilson family formerly of Fraserburgh, near Aberdeen, who employed the motto 'Venture and Gain' and are known to have been merchants in the area since the late 17th century. Only three other cordial glasses from this set would appear to be recorded, including a pair offered by Sotheby's on 15 November 1994, lots 501 and 502 and again on 13 June 1995, lots 87 and 88. The third was sold by Christie's on 7 October 1996, lot 60. The style of enamelling belongs to a distinct group of enamelled glasses discussed by Simon Cottle, 'The Other Beilbys', Apollo (October 1986), pp.315-27. It is thought that some of these may have decorated in Scotland and could be the work of the Scottish enameller Anthony Taylor (1743-1803?), formerly of Newcastle-upon-Tyne and a contemporary of William Beilby. Several related crested glasses exist in which the enameller has employed a similar limited palette of white and red. This includes a set of wine glasses for Bannerman of Elsick inscribed 'Pro Patria', illustrated James Rush, The Ingenious Beilbys (1973), p.75 no.41, one of which was sold by Bonhams as part of the Peter Meyer Collection on 1 May 2013, lot 65.The Wilson and Bannerman families were connected by marriage. Charles Bannerman (1750-1813), the youngest brother of Sir Alexander Bannerman of Elsick, 6th Baronet, married Margaret Wilson (1761-1836) in Aberdeen in 1785. Her brother was George Wilson (1751-1816), a prominent barrister of Lincoln's Inn and leader of the Norfolk circuit, who is buried in the Bannerman family grave in St. Cuthbert's Churchyard, Edinburgh. Related by marriage to distinguished physician Dr George Fordyce, he was a close friend of Sir Samuel Bentham in the 1770s, and subsequently Sir Samuel Romilly. His father, Patrick Wilson, had been a collector of customs in Aberdeen who had spent some years living on St. Kitts in the West Indies and himself was a close friend of the Scottish poet, moralist and philosopher James Beattie. Both men were staunchly opposed to slavery and Wilson is mentioned in Beattie's Elements of Moral Science, Vol.2 (1793), p.63. It is highly plausible that this set of glasses was commissioned for either Patrick or his son George.The limited palette employed may also be associated with a set of Jacobite glasses painted with a portrait bust of Prince Charles Edward Stuart in red, white and blue, a set of glasses for The Beggar's Benison society in red, white and green, and several Masonic firing glasses in red and white. All are considered to be of Scottish origin and perhaps the work of Anthony Taylor, see Cottle (1986), pp.315-27.For further information on this lot please visit Bonhams.com
Two Liverpool enamel plaques, circa 1775-78Of upright oval form, printed in dark brown with a portrait of Admiral Rodney, probably by Guy Green, titled on a banner below, with original metal frames and hanging loops, 7.2cm high including frames (2)Footnotes:ProvenanceGeoffrey Hutchinson Collection (one only)Bunny and Paul Davies CollectionAnother is illustrated by Therle and Bernard Hughes, English Painted Enamels (1951), pl.70 (left), p.120.For further information on this lot please visit Bonhams.com
A Liverpool enamel plaque, circa 1780Of upright oval form, printed in dark brown with a portrait of Prince William Henry, probably by Guy Green, titled on a banner below, with original metal frame and hanging loop, 7.2cm high including frameFootnotes:ProvenanceBunny and Paul Davies CollectionAnother example is illustrated by Susan Benjamin, English Enamel Boxes (1978), p.89 (top). The source of the image is probably a print published in 1780 after a painting by Benjamin West, now in the Royal Collection.For further information on this lot please visit Bonhams.com
Two Battersea enamel plaques, circa 1753-55Of upright oval from, printed in black with a half-length portrait of a gentleman, engraved by Ravenet, one left unframed, 8.9cm high, the other in a white metal frame with hanging loop, 10.3cm high including frame (2)Footnotes:ProvenanceBunny and Paul Davies CollectionThe identity of this portrait is discussed by Bernard Watney, The Chancellor on a Battersea Enamel, ECC Trans, Vol.7, Pt.1 (1968).For further information on this lot please visit Bonhams.com
Two South Staffordshire enamel patch boxes, circa 1770-90Of oval form with hinged covers, one painted with the portrait of a lady, with foliate surround, the base embossed with colourful flowers on a deep blue ground, 4.7cm wide, the larger example embossed with scattered floral sprigs, picked out in colours against an attractive yellow ground, 6.2cm wide (2)For further information on this lot please visit Bonhams.com
A South Staffordshire enamel patch box, circa 1793-95Of oval form, printed in black with a titled bust-length portrait of King Louis XVI of France, the base washed in bright blue, the hinged lid inset with a mirror, 5.6cm longFootnotes:The execution of King Louis XVI in January 1793 sent shockwaves across Europe. A contemporary patch box depicting the unfortunate king at the guillotine was sold by Bonhams on 1 December 2021, lot 379.For further information on this lot please visit Bonhams.com
Two oval 19th century silhouette portrait miniatures, and a dried flower picture. CONDITION REPORT: The information to the reverse of the circular pot pourri picture is a quote from Shelley. The oval of the young lady has a piece of period paper in the back with Nelson 1805 written in ink on it. The other silhouette of the gentleman has no inscriptions verso.
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