Picasso, Pablo(1881 - 1973)Portrait de famille, homme aux bras croisés, 1962LithografieDatiert in der PlattePlattengröße: 51 x 66,5 cm / Blattgröße: 56 x 75,5 cmSilberner GrafikrahmenDie großformatige Lithografie von Pablo Picasso, der so herausragende Künstler des 20. Jahrhunderts, strahlt die Unmittelbarkeit einer großartigen Zeichnung aus. Ihr Gegenstand ist eine Familienszene, wie sie der Spanier immer wieder aufgriff. Die Mitglieder sind unterschiedlich stark abstrahiert, was der Komposition Virtuosität zuträgt. Picasso öffnet die Szene für eine psychologische Leseweise; intensiv wirkt die mysteriöse Spannung zwischen den Protagonisten. Die höchst ästhetischen Qualitäten Picassos Zeichenart zeigen sich nicht zuletzt in der genialen Stilisierung – so zum Beispiel die charakteristisch-maskenähnlichen Gesichter.In Mougins bei Cannes schuf Picasso zwischen dem 21. Juni und dem 6. Juli 1962 eine Reihe von Lithographien und Linolschnitten zu dem Thema „Portrait de Famille Ingresque“. Seine wiederholte Bearbeitung dieser Komposition zeigt die besondere Bedeutung, die sie für ihn damals hatte. Als Inspiration diente, wie der Titel andeutet, eine Zeichnung der Familie Forestier von Jean-Auguste-Dominique Ingres von 1806, die Picasso aus dem Louvre kannte.Georges Bloch, Pablo Picasso. Catalogue of the printed graphic work 1904 - 1967, Bern 1968, p. 221 / No. 1029. Druck außerhalb der Auflage von 50 Abzügen.
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Italian school, 19th century."Portrait of a Lady, 1853.Oil on canvas.Signed and dated in the right margin.Measurements: 81 x 65 cm.The work will be available approximately 15 days after payment has been made.The present portrait shows a woman seated on an elegant red armchair. Her dress has been richly worked, showing the vegetal motifs that adorn it, as well as the lace bows and frills that finish the sleeves and the corseted body of the woman. The sitter, a middle-aged woman, is depicted with an uncomfortable face and a crystalline gaze directed towards her portraitist and, in our case, towards the viewer. Historically, as this type of work became more democratic, more and more families were able to have their own portraits, either individual or family portraits. Although the woman portrayed comes from a wealthy family, it is enough to observe the dress, the jewellery, the bobbin watch hanging from her dress, the cross and the various gold pendants that serve as a chain to hold the watch in place, as well as the bracelet and earrings made of precious stones.The human figure has always been a subject of interest for artists of all times, which is why their dedication and work has been so extensive. In ancient times, portraits were reserved for great personalities, monarchs, emperors, etc. Busts and half-busts were made in marble, representing the person's physiognomy with great attention to detail: women's hairstyles, men's beards, jewellery or the drapery of their clothes were reproduced with great realism. During the 19th century, portraits diversified into classical, romantic and political portraits. The invention of photography opened up new scenarios in portraiture, which became an experimentation with light and colour, the expression of the subconscious and personal visions, taking away ground from the prized portraits.
JOSÉ PUYET PADILLA (Málaga, 1922 - Madrid, 2004)."Oriental", 1974.Oil on canvas.Signed in the upper right corner. Signed, dated and titled on the back.Measurements: 101 x 81 cm; 120 x 101 cm (frame).The grandson of the famous master José Padilla, Puyet took a keen interest in painting from his childhood, initiating himself with his grandfather in the use of pencils and oil paints. When the Civil War broke out he was fourteen years old, and by then he was working as an apprentice in an English insurance company. At the age of twenty he was sent to Melilla to do his military service, and there his superiors soon realised his artistic potential. They began to relieve him of guard duty so that he could portray the relatives of senior officers in the barracks, a fact that strengthened Puyet's confidence in his brushes. On his return he went to Madrid, where he began his career as an occasional portrait painter, among other diverse jobs such as advertising illustration for important firms like Mirurgia and Gal. At the same time he was part of the decoration team of the Samuel Bronston studios, painting backgrounds for films with the most varied themes, from Roman countryside to the arid lands of the American West. During these years he also made himself known at various exhibitions in Madrid, including the group shows at the Círculo de Bellas Artes. It was there that he met the man who was to become his definitive driving force: Mr. Cano, the gallery owner who proposed his first individual exhibition. Since then, and given the success of the exhibition, he held more than forty exhibitions until the gallery closed. Simultaneously, Puyet exhibited his work in Barcelona, Valencia, San Francisco, New York, Montreal, Miami, Monterrey, Houston, Boston, Hamburg, Berlin, Munich and Milan, among other cities. In 1984 he became a member of the prestigious American publication "Who's who in Art". In December 1988 he was appointed member of the Royal Academy of Fine Arts of San Telmo in Malaga. Puyet is currently represented in important collections such as those of the Duchess of Alba, the Grimaldi family, Juan March, Plácido Domingo, etc.
EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."Portrait of a seated young woman".Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 116 x 90 cm; 131 x 104 cm (frame).Oil on canvas, in which the artist has captured the portrait of a seated girl. This type of images starring young ladies were very common during the 19th century, as they allowed the recreation of values such as delicacy and sumptuousness, as can be seen in this case in the treatment of the white dress of the protagonist. The author proposes an intimate image featuring a young woman who has stopped reading and whose gesture seems to recreate the words she has read, reminiscent in a certain way of the idea also put forward in Madame Bovary, on the influence of literature on young women.Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs-Elysées for several years, with works of a literary and genre nature and some portraits. From 1890 he moved away from history painting, which was in great demand in Spain but little appreciated in France, and devoted himself to genre painting, landscape and illustration in publications such as "Blanco y Negro" and "La Ilustración Española y Americana". On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. Among his disciples were María Blanchard and Cecilio Pla, and he published "La gramática del colour", a work that was used as a textbook in the Fine Arts Schools of Madrid and Barcelona. In the capital Sala opened his own studio and took part in the decoration of the Palaces of Anglada and Mazarredo. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.
LUIS DE MADRAZO Y KUNTZ (Madrid, 1825 - 1897)."Portrait of a Lady with a Cat.Oil on canvas. Re-coloured.With restorations.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 81 x 54 cm; 100 x 72 cm (frame).Like the rest of his family, Luis de Madrazo cultivated the portrait. The quality of the master responsible for the painting is clear: first, for the economy of means, which keeps the spectator's attention focused on the lady (something to which the neutral background of the painting and the tonal play between the dress and the pale skin of the lady also contribute); second, for the quality of the drawing used, above all, in the face (drawing which predominates over the colour and the brushstroke, as it was usual in the art of the 19th century derived from the Neoclassicism of the Fine Arts Academies).The son of José de Madrazo and brother of Federico and Pedro, Luis de Madrazo enjoyed great prestige during his lifetime, first as a teacher (professor of Old and Ropajes Drawing) and later as director of the Madrid School of Painting, Sculpture and Engraving, and was recognised with honours such as the appointment of Commander of the Order of Isabella the Catholic, as well as a full member of the San Fernando Royal Academy of Fine Arts. He was a cultivator of religious and historical themes, although he was particularly praised as a portraitist. He began his training with his father and later furthered it at the San Fernando School in Madrid. As early as 1845 he was already working as an illustrator for "El Semanario Pintoresco". Later he also worked as a draughtsman for the "Semanario Pintoresco Español". In 1848 he went to Rome to further his artistic studies at the National Academy of St. Luke and the French Academy of the Villa Medici. In Rome he came into contact with Friedrich Overbeck through Antonio Solá. He received a powerful Nazarene influence from the German Romantic painter, which can be seen in his work from then on. Later he travelled to Paris, Venice, Munich and Berlin before returning to Italy in the 1890s, settling in Pompeii with the painters Bernardino Montañés and Francisco Sáinz. He finally returned to Spain to begin his teaching career in San Fernando and was introduced into the artistic circles of Madrid by his father and brother Federico. He worked with the latter at the Prado Museum. As a painter, Luis de Madrazo devoted himself almost exclusively to portraiture, working for official bodies and also for the nobility. He made his work, characterised by the purity of lines and the sharpness of colour and light typical of the strictest Nazarene aesthetic, known through various competitions and official exhibitions held both in Spain and abroad. In 1855 he was a major success at the Universal Exhibition in Paris, and the following year he won the first medal at the National Fine Arts Exhibition in Madrid for his work "Pelayo en Covadonga" ("Pelayo in Covadonga"). He was also awarded a silver medal at the Franco-Spanish Exhibition of 1864. Luis de Madrazo is currently represented in the Prado Museum, the Royal Academy of History in Madrid, the Lázaro Galdiano Museum in the same city and other important public and private collections.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a young man.Oil on canvas. Re-coloured.It has craquelure on the pictorial surface.Provenance: Private Collection of Luis García Berlanga.Signed in the lower left area.Measurements: 46 x 36 cm; 64 x 54,5 cm (frame).Portrait of a lady which seems to have been conceived as a sketch or study, as the author only presents the face of the young woman in a detailed way, while the bust area is slightly intuited through several touches of colour which make up the volume. The work follows the precepts established by the portrait genre throughout the history of art: the neutral background that monumentalises the figure, and the position in the foreground, avoiding strict frontality.Palmaroli was a vigorous portraitist who knew how to delve into the psychology of the sitter and recreate the minute details of the clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetics of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Accademia di Roma. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
JOSÉ MONGRELL TORRENT, (Valencia, 1870 - Barcelona, 1937).Untitled.Oil on cardboard.With sketch on the back.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner. Signed on the back.Measurements: 16,5 x 20 cm; 32,5 x 40 cm (frame).José Mongrell studied at the San Carlos School of Fine Arts in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gradually gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
Braunschweig. Herzöge. Görges, Wilhelm. (Hrsg). Galerie von Portraits der berühmten Herzöge von Braunschweig – Lüneburg, mit historischen Beiträgen von Sr. Excellenz Grafen von der Decken, Professor Emperius, Pastoren Fink und Hundeiker, Dr. Hermes, Dr. Lentz, Geheimrath vom Strombeck, Dr. Venturini u. a. Braunschweig, Otto 1840. Folio. Mit 30 Lithographien von Trackert nach Gemälden von Tunica, Bartel und Schröder. Vortitel, Titel, Würdigung für Herzog Wilhelm, 2 Bll. Namensverzeichnis der Förderer des Werkes. 138 Seiten, 1 Bl. Register über die Portraits und der Biographien. Halblederband stark defekt. (64) * Mit Abbildungen der Herzöge u. a.: Wilhelm, Heinrich der Löwe, Otto das Kind, Albrecht der Große und Feiste, Wilhelm der Siegreiche und Jüngere, Julius, Heinrich Julius, Georg, August, Anton Ulrich, Carl I, Ferdinand, Carl Wilhelm Ferdinand, Leopold, Friedrich Wilhelm der schwarze Herzog, und das Blatt mit den 6 jüngeren Prinzen des Hauses Braunschweig – Wolfenbüttel, welche den Heldentod starben. Zustand: Das Werk ist innen stark gebräunt und fleckig, der Buchblock ist gelockert, 1. Vorsatzbl. fehlt. Das Titelblatt ist am Falz hinterlegt und neu eingeheftet, die untere rechte Ecke mit einer angeränderten Fehlstelle beide Defekte sind etwas unschön restauriert; am oberen Rand Name (unleserlich) mit schwarzem Filzstift. Das Portrait von Herzog Wilhelm ist auf das erste Vorsatzblatt aufgezogen. Der Einband ist an den Rändern berieben und der Rücken hat Fehlstellen, insgesamt bestoßen, der Papierbezug des Einbandes hat ebenfalls Fehlstellen.
Kinderbuch. Friedrich der Große. Röchling, Carl und Richard Knötel. Der alte Fritz in fünfzig Bildern für Jung und Alt. Berlin, Kittel, ca.1895. Quer 4°. Mit 50 nummerierten farbigen Bildern (Chromotypie) mit Untertexten. 2 Blatt (Titel und Widmung). Originaler grüner illustrierter Leinenband mit farbigem Portrait Friedrich der Große auf dem Vorderdeckel. (51)* Beliebte und auch heute noch gesuchte Ausgabe. Zustand: Der Einband ist an Ecken und Kanten bestoßen. Das letzte Vorsatzblatt ist defekt. Buchblock etwas gelockert.
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)a. Portrait d'une fillesigné et daté 'Ghika/41' (en bas à droite);porte le cachet (en bas à gauche)mine de plomb sur papier49 x 34cm (19 5/16 x 13 3/8in).Peint en 1941.signed and dated (lower right), stamped (lower right)pencil on paperb. Têtesigné 'Ghika' (en bas à gauche); daté '1964' (en bas à droite)mine de plomb sur papier17 x 13,5cm (6 11/16 x 5 1/8in).signed (lower left); dated (lower right)pencil on paperc. Études de têtesigné et porte le cachet (en bas à droite)daté 'L. 25N. 68' (en bas à gauche)encre sur papier30 x 21,5cm (11 13/16 x 8 1/4in).signed and stamped (lower right)dated (lower left)ink on paper(3)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Theofilos Hadjimichael (Greek, 1871-1934)La bataille de Kalambaka inscrit en grec (en haut et en bas)pigments naturels sur zinc51 x 71.5cm (20 1/16 x 28 1/8in).inscribed in Greek (on the upper and lower part) natural pigments on zincFootnotes:*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 8 au 11 novembre 2022. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 8-11 November 2022. This work will be located in Athens during the auction.ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. Acquired from the above collection by the present owner. ExpositionsMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 17 (listed in the exhibition catalogue).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 2 (listed in the exhibition catalogue). LittératureT. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, July 1955, no. 5 (listed).Anti magazine, vol. 2, no. 20, May 31, 1975 (discussed, p. 48 and illustrated, p. 49). Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 298 (illustrated).E. Papazachariou, The Other Theofilos, Kaktos editions, Athens 1997, pp. 126-127 (discussed).Tony Spiteris Archive, Tellogleion Art Institute, Photographs of Works by Theofilos Hadjimichael, p. 7, no. GR TITSpit 101102_148.'When I saw the Takis Eleftheriadis1 collection of Theofilos paintings hanging in his ample home in Petra, Mytilene, I was left with the impression that every single one of them was first rate.'2 - Odysseus Elytis'Just look at these Meteora, painted on a sheet of zinc, with their warm pinks and light blues giving shape to the rocks, with the dark blues of the uniforms animating the Battle of Kalambaka—a highly sophisticated harmony in two colours with just a few touches of red at the tip of the rocks and the Turkish garb'.3 - Alexandros XydisCrowned by the otherworldly rocky outcrops and majestic byzantine monasteries of Meteora, and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and General Ioannis Makriyannis, the painting displays a battle scene between a Greek military unit formation on the left, led by a moustached officer on horseback, and a batch of Turkish troops on the right.Based on the artist's lengthy inscription that frames the composition, the picture shows the victorious Battle of Kalambaka in which the Greeks, led by chieftains Christodoulos Hadjipetros and Nikolaos Leotsakos, defeated a force of Turks and Arabs in 1854. The fact that the horse rider on the left, sporting a large moustache and raising his sword, may be identified with Colonel Constantinos Smolenskis, the legendary hero of the 1897 Greek-Turkish war, shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of eternity constantly reborn in the present. His subject is treated more as a backdrop, allowing him to express his fascination with the idea of gallantry and heroic achievement without having to succumb to historical accuracy.History is filtered through the artist's rich imagination and transformed into the enthusiasm sparked in him by the wealth of costumes, shinning flintlock muskets, fiery red fezzes and dazzling white fustanella kilts, the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign and which eventually became his signature attribute. Possibly, the Greek pallikare at the centre of the composition4 is a self-portrait since he holds the flag with his left hand.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The wealth of detail is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of bravery and legend they are invited to contemplate. Moreover, the linear arrangement, the symmetry and rhythm of the composition and the impression of an immutable reality, take us further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics -where all parts are generally set side by side in a paratactical presentation. All phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present.6 As noted by critic and writer Ronald Crichton, 'Theofilos presents an unconscious synthesis of the Greek spirit—a lesson to historians who wilfully separate the various periods of Greek history.'7 1 'A citizen of Mytilene, Mr. Eleftheriadis, father of the Parisian art critic and publisher Teriade, took a liking for Theofilos's work and company and introduced him to his son and to a small circle of writers and art lovers in the town. Theofilos was encouraged to come to Eleftheriadis's house in the olive groves on the slopes above the town, to paint and to talk.' R. Crichton, 'Theofilos' Orpheus, vol. 2, London 1949, p. 156.2 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 56.3.A. Xydis, 'Fine Arts Chronicle', Anti magazine, vol. 2, no. 20, May 31, 1975, p. 48.4 The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting. See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.5 See E. Papazachariou, The Other Theofilos [in Greek], Athens 1997, p. 127.6 See H. Kambouridis - G. Levounis, Modern Greek Art - The 20th Century, Athens 1999, p. 43.7 Crichton, p. 151.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Le Printemps huile sur toile87 x 80cm (34 1/4 x 31 1/2in).oil on canvasFootnotes:ProvenanceChristie's Athens, The Greek Sale, 9 December 1996, lot 105 (as The property of the Estate of a Gentleman).Acquired from the above sale by the present owner. ExpositionAthens, Athenian Technological Institute exhibition hall, Exhibition of Works by C. Parthenis, January 26 - February 9, 1966, no. 40 (probably).A Boticellian celebration of beauty carrying the hallmarks of Parthenis' signature style and conveying an enduring sense of spiritual uplift and poetic feel, the allegorical personification of Spring is set in an imaginary arcadia inhabited by abbreviated shapes and evocative symbols. Delicate lines, which echo the simplicity of ancient Greek vase painting, subtle play of curves, sensitive, translucent colours, and dematerialised shapes, all show how the painter exploited his formal repertoire to offer an idealised pictorial experience.The full-length personification of Spring, daintily strewing flowers from her lap, dominates the right-hand side of Parthenis's monumental Apotheosis of Athanasios Diakos, which was exhibited in the 1938 Venice Biennale and is now held by the National Gallery in Athens. Both the youthful figure of Spring and the canopied tree right behind her—a symbolic representational motif that also features prominently in the Greek Sale picture—allude to the untimely death of the legendary hero of the Greek War of Independence, echoing the verses attributed to him:'Oh, that Death chose to take me now,when the twigs are in full blossomand the soil is covered with fresh grass.'A half-length portrait of Athanasios Diakos by Parthenis, unsigned and with the same dimensions, pictorial organisation and overall feel as Bonhams' Spring, has been adorning the collection of the Bank of Greece since 1938.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Georgios Bouzianis (Greek, 1885-1959)Frau mit Lederarmhandschuhe signé et daté 'Jo Bousianis/34' (en bas a droite); titré et signé sur passe-partout 'Frau mit Lederarmhandschuhe Jo Busianis'aquarelle et mine de plomb sur papier67.5 x 50.5cm (26 9/16 x 19 7/8in).Peint en 1934.signed and dated (lower right); titled and signed on the pass-par tout watercolour and pencil on paperFootnotes:The work is included in the archives of the Busianis estate. We are grateful to Gerard Busianis for his assistance in authenticating this lot.Invested with watercolour's sense of immediacy and painted with stark directness, Woman with gloves conveys intense and insightful impressions without losing its pictorial coherence. The frontality of the portrait, set against a barren background and bathed in golden light, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint. Here, the element of distortion, a defining trait which usually plays a dramatic role in expressionism, is kept on a tight rein. The artist avoids sentimentality or any theatrical device which might charge his forms with too obvious a pitch of heightened emotion. There are no grotesque excesses, no falsification of the subject's essential integrity. Yet, this work of unforced clarity is full of strong feeling, disciplined by artistic intelligence and subordinate to aesthetic demands.1 As noted by painter C. Botsoglou, 'Bouzianis's work does not derive from the expressiveness of faces and bodies, a fact that differentiates him from the mainstream of German Expressionism. His figures are emotionless, showing no facial contortions. The expressive thrust of this type of painting relies exclusively on pictorial means.'2 1 See G. Mourelos, preface to Bouzianis-Watercolours, exhibition catalogue, Greek-American Union, Athens, February 1965.2 C. Botsoglou, 'Reflections on the Work of G. Bouzianis - A Confession' [in Greek], Anti journal, no.302, 25.10.1985.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Tsarouchis (Greek, 1910-1989)Portrait d'un jeune homme signé en grec (en bas à droite)aquarelle et pastel sur papier36 x 30cm (14 3/16 x 11 13/16in). 44,5 x 31cm (17 5/16 x 12 3/16in). (dimensions du papier)signed in Greek (lower right)watercolour and pastel on paperThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A Collection of microscope slides of microphotographs with labels for ‘’ comprising of slides labeled ‘South Eastern Railway Terminus’, ‘London Bridge’, ‘Victoria Tower'', Houses of Parliament', 'Tintern Abbey by Moonlight’, ‘Interior of the Colosseum Rome’, 'Westminster Hall’, ‘The Monument’, ‘St Pauls Cathedral’, ‘The Franklin Record Found Near the North Pole’, ‘Bolton Abbey in the Old Times’, ‘Portrait of Washington’, ‘Hunting the Polar Bear’, ‘H.E. Cardinal Wiseman’, ‘The Royal Family of England’, 'Thine is the Kingdom. The Power and the Glory’, ‘The Kings and Queens of England from Egbert to Queen Victoria', ‘Henry VIIs Church Westminster’, ‘The Transfiguration on the Mount’, ‘The Highland Drover’s Departure’, ‘The Pug=ilists. Time’, ‘His Grace the Late Duke of Wellington’, ‘The Times’, Madonna and Child’, ‘Eminent Men’, ‘157 Portraits of Eminent Scotts', 'See-Saw', 'Hunting the Boa Constrictor in America' (25)
A Collection of microscope slides of microphotographs by William Mogine comprising of a slide diamond engraved ‘Great Eastern’ and ‘WM’ showing Isambard Kingdom Brunel’s Great Eastern; a slide diamond engraved ‘Dr Munty’ and ‘WM’ showing an oval portrait of Dr. Munty; a slide diamond engraved ‘Dr Livingstone’ and ‘WM’ showing an oval portrait of Dr. Livingstone; a slide diamond engraved ‘Portrait of a Gentleman’ and ‘WM’ showing an oval portrait; a slide diamond engraved ‘Head of a Tiger’ and ‘WM’ showing a rectangular image of a pouncing tiger; a slide diamond engraved ‘Abby Church Shrewsbury’ and ‘WM’ showing an image of the church; a paper covered slide written in ink ‘Abby Church Salop’ and ‘WM’ showing an image of the church; along with a further 3 slides with similar handwriting but no signature to include Garibaldi, Wyle Cop Shrewsbury Curious Bill (10)
Microphotograph portrait diamond engraved 'James Smith WM', prepared by William Moginie (“W.M.”) Note: Smith and Moginie were both members of the Royal Microscopical Society. Two other examples of this slide are known; a copy of this microphotograph was shown by R.H. Nuttall in the Quekett Journal of Microscopy (1980), along with evidence that Moginie was the microscope maker, another can be found athttps://microscopist.net/SmithJ.html
all by anonymous preparers comprising of slides titled 'Microfilm of Carl Linnaeus 1707-1778', 'Micrographic Portrait', 'Brign' Don', 'Coronation of the Virgin', 'Highland Mary', 'The ??scene from Hamlet', 'Lost a comic piece containing 757 letters', 'Pier Brighton', 'Euginie', 'Punch', 'Photograph G. Jackson FRS', 'R Cobden M.P.', 'Balmoral Castle', 'Madonna & Child', 'Cumberland 4 Views', 'Leo XIII Pope', 'Grindwall', 'Hal Var', 'Photo-Micro Scale', 'Lord Beaconsfield', 'King Victor ??', '£1000 Note', 'Xmas with best wishes', 'Good for a cold', 'Cupid', 'Portrait of J Gratton', 'Orphans', 'Man and December', others with no label (31)
Apothecary Antiques, Two Mumia Jars, both wooden, one Christian themed, probably 19th century, painted in cream and black with gilding, labelled 'MUMIAE' with a portrait of Saint Damian, 25cm high; the second with painted label 'MUMIA',18th or 19th century, has a residue of original contents at the bottom of the jar. Note: Mumia is the powdwered remains of Egyptian mummies, it was believed to have curative properies for a wide variety of ailments. Its use was popular in Europe from the 12th to the 18th century, and persisted later.
Three late Georgian toothpick cases, comprising two inlaid tortoiseshell, the first with piquéwork swag decoration and oval cartouche, gilt linings and thumbpiece, internal mirror, 9.3cm wide; the second similar, with profile portrait, 8cm wide, the third of navette for in mother-of-pearl, same size, (3)
H.M. the late Queen Elizabeth II and H.R.H. the late Duke of Edinburgh - Signed 1983 presentation monochrome portrait photograph of the Royal couple wearing Orders and Decorations signed to the mount in ink ‘Elizabeth R 1983 Philip’ in original black Morocco easel frame, image 21cm x 16cm overall 28cm x 20cm; together with a presentation monochrome portrait photograph of the late Duke of Edinbugh with printed signature to the mount, image 13.5cm x 11cm, framed and glazed (2)
19th Century English School - Oil on canvas - Portrait of a lady wearing a broad bonnet, tied around her head with a pink ribbon, possibly Emma, Lady Hamilton (nee Lyon, 1765-1815, infamous Mistress of Lord Horation Nelson), in the manner of George Romney, (1734-1802), 74cm x 61cm, in gilt frame
Henry Stacy Marks (1829-98) - Watercolour - 'The Secretary', portrait of a gentleman in a panelled room, seated at a desk with alloy candlestick and inkwell, sealing a letter, in mid 17th Century Puritan-style costume, initialled lower right, remnants of label "No. 3 The S****tary", second label "H. S. Marks 17, Hamilton Terrace, St. John's Wood N. W.", and third label (deplated) of "Ernest Brown at The Leicester Galleries" verso, 32cm x 35.5cm, gilt framed and glazed
Mid 19th Century gilt bronze 'Shakespeare' mantel clock, the 3.25-inch white-enamelled Roman dial with trefoil hands, anonymous two-train movement striking on a bell, the finely-cast case with oval porcelain bust portrait of William Shakespeare, over seated muses of Literature holding a tablet and scroll, variously inscribed 'Othello', 'Hamelet', 'Le Cid', 'Tartufe', etc. [sic], flanking sword, flambeau, actor's mask and book, raised on foliate scroll base and three toupie feet, 39cm wide x 29.5cm high
* Stereoscopic daguerreotype. Portrait of an unidentified young man, probably a Gurney family member, by William Edward Kilburn, 1850s, the young bearded man seated with a cane and hat on the table beside him, tinted studio sky background with clouds and some gilt highlights, contained in a stereoscopic daguerreotype leather wallet with Kilburn's gilt details to underside of flap, some wearQTY: (2)
* Fry (Elizabeth, née Gurney, 1780-1845). English prison reformer, social reformer, philanthropist and Quaker. A quarter-plate daguerreotype portrait from a drawing, 1850s, the sitter seen with her familiar bonnet and shawl seated with hands apart and holding a handkerchief in her right hand, some scratching, oval brass mat and morocco case with clasps, together with a second quarter-plate daguerreotype of a young unidentified girl, from a drawing, c. 1850s, somewhat scratched and rubbed, oval brass mat with embossed decoration, morocco case with fastener and gilt details for the photographers Lock & Whitfield, 178 Regent Street, to baseQTY: (2)NOTE:The original portrait from which this daguerreotype of Elizabeth Fry was made has not been identified. The pose and look is similar to the oil painting by Charles Robert Leslie, c. 1823, though this is three-quarter length and perhaps later in life.
* Cameron (Julia Margaret, 1815-1879, attributed to). The Reverend Herbert Jones, 1868, albumen print, head and shoulders, cut into an oval and possibly from a larger photograph, 127 x 86 mm, on a contemporary paper album leaf with inscription identifying the sitter and date at foot and the words 'by Mrs Cameron' added in the same hand, together with another photograph of Reverend Herbert Jones, 1867, albumen print, half-length and seated, 170 x 148 mm, contemporary paper mount with ink inscription in the same hand as the first photograph, plus 3 cartes de visite of Jones, one with his wife and son, one with his infant son on his lap and one standing aloneQTY: (5)NOTE:Rev. Herbert Walsingham Jones (1829-1889) was the rector of Sculthorpe in Norfolk and the brother of Sir Willoughby Jones MP. He married Catherine Rachel Gurney (1829-1895) at North Runcton in 1850. Catherine's brother Charles (1833-1899) married Alice Marie Prinsep (1844-1919) in 1861. Julia Margaret Cameron photographed Rachel and Laura Gurney, the daughters of Charles and Alice, and also Daniel Gurney (1791-1880), the father of Charles and Catherine. This photograph of Jones in not recorded in Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003). The photographer of the second portrait, though clearly from the same original album, has not been suggested by the original annotator, and is unknown.
* Gurney Family Photographs. A collection of 110 cartes de visite and 24 cabinet cards of the Gurney family, 1860s/1870s, albumen prints, mostly window-mounted in 2 albums, the first an album with 34 cartes de visite, sitters identified on the lower mounts, adults including Laura Gurney (Queeny), Rev. William H. Gurney, Francis Cresswell, Harriett Wright, Laura Troubridge, Lady Troubridge, Lord & Lady Calthorpe, Edward Flower, Margaret Ward, Countess of Gainsborough, Mrs Charles Gurney, James Case, Hugh Gurney, Lizzie Woodhouse, Edward R. Pratt, Harriet Gurney, Lancelot Orde, children including Mortimer & Gerard Gurney, G. Kerville Gurney, Eva Gurney, Charles Orde, Hellen Gurney, William & Mortimer Gurney, schoolboys at Lowestoft, the Orde children, etc., many windows empty but with inscriptions at foot, plus 15 cartes de visite loosely inserted, contemporary cloth-backed calf with gilt clasp and bosses, oblong 8vo, the second album largely with sitters identified 1870s and some 1880s, identified sitters include the Earl and Countess of Romney, Mrs James Orde, Lt. Col. Duff MP, Countess of Lindsey, Lady Elizabeth Bertie, Lewis Gurney, Mrs Frances Cresswell, Miss Amy Troubridge, Miss Eva Gurney, Miss Lily Gurney, Walter & Hugh Gurney, Miss Ellen Craigie, W.R. Hamond, Gerard B. Gurney, etc., and children including Audrey & Muriel Gurney, the boys at Mr Brown's school, Hunstanton, 1876, Betty Orde & Edith Babington, Maggie Harbord, Phil Gurney, Audrey & Muriel, etc., 9 further albumen prints pasted to mounts, mostly views but including an oval portrait of Adair Craigie, 1877 and one similar of the young Audrey Gurney, 1876, contemporary morocco, heavily rubbed, 4toQTY: (2)
English Civil War. A sammelband of pamphlets relating to events in the English Civil War, 1642-52, 10 works bound in one volume, modern red half calf, marbled sides, 4to, comprising:1. A Declaration made by the right Honourable [Henry Bourchier] the Earle of Bath, one of his Majesties Commissioners of Array, to the whole Country of Devonshire, with their answer thereunto annexed; also the manner how the said Earle of Bath endeavoured to put the Commission of Array in Execution, at South-Moulton in Devonshire, and how his men were driven out of the town by the inhabitants thereof. Whereunto is added, a true relation of the great Battle betweene Prince Robert and the Parliaments forces at Worcester; with their happy victory over his Cavaliers, [London]: Septemb. 29. London printed for John Wright, [1642], [8]p., light toning, (Wing B1132)2. Speciall Passages and certaine informations from Shrewsbury, Dorchester, Worcester ... Westminster, Gloucester, Ludlow. Collected for the use of all that desire to truly informed. From Tuesday the 13 of Septemb. to Tuesday the 20, Numb. 6, London: Printed for Walt. Cook and Robert Wood, 1642, 8p. (numbered 31-38), light damps stain and toning3. Remarkeable Passages. The Occurrences of Parliament, and proceedings of the Army, Number 7., Decemb. 22, [London: Printed by A[ndrew]. Coe, and published according to Order 1643], [8]p., woodcut illustration to first leaf, imprint from final leaf, some browning, dust-soiling and marks, edges frayed4. The London Post, Numb. 19: Faithfully communicating His Intelligence of the Proceedings of Parliament, and many other memorable passages certified by Letter and Advertisements from Tower Hill, derry, Downe, Antrim, Pontefract, Skipton, Bolton, Scarborough, Carlile [sic], Chirke, Newarke, Plymouth, Gospur., New-hall, Oxford, Yorke, The Governour of Newarke imprisoned by his owne souldiers..., Passed according to Ordr., and Printed for G.B. January 14, 1644, 8p., woodcut decorative initial to first leaf, some cropping to page numbers at head, second leaf torn to lower outer corner with slight text loss, toning and occasional spotting5. Mercurius Civicus. Londons Intelligencer: or, Truth impartially related from thence to the whole Kingdome, to prevent mis-information, Numb. 62, from Thursday July 25 to Thursday 1 of August, 1644, London: T.B. and J.H.J., 1644, 8p. (numbered 589-596), woodcut portrait to first leaf of the Earl of Denbigh, light toning6. The Kingdomes Weekly Intelligencer: Sent abroad to prevent mis-information, Numb. 100, from Tuesday the 13 of May, to Tuesday the 20 of May, 1645, [London: Printed for R.W., 1645], 8p.(numbered 799-806), imprint from final leaf, browning and spotting7. The Kingdomes Weekly Intelligencer: Sent Abroad to prevent mis-information, Numb. 109, from Tuesday the 15 of July, to Wednesday the 23 of July, 1645, [London: Printed for R.W., 1645], 8p.(numbered 865-872), imprint from final leaf, browning and spotting8. The Kingdomes Weekly Intelligencer: Sent Abroad to prevent mis-information, Numb. 119, from Tuesday the 23 of Septem. to Tuesday the 30 of Septem. 1645, [London: Printed for R.W., 1645], 8p. (numbered 951-958), imprint from final leaf, browning and spotting9. Severall Proceedings in Parliament from Thursday the 4 of Decemb. to Thursday the 11 day of December 1651, Licensed by the Clerk of the Parliament. Num. 115, Printed at London for Robert Ibbitson dwelling in Smithfield neer Hosier Lane, 1651, 16p. (numbered 1773-1788), browning, damp staining and spotting, single worm hole to lower blank margin10. A Perfect Account of the daily Intelligence from the Armies in England, Scotland, and Ireland, the Navy at Sea, and other transactions of, and in relation to this Common-Wealth, Numb. 78, from Wednesday June the 23 to Wednesday June 30, 1652, London: Printed by Bernard Alsop, 1652, 8p. (numbered 617-624), browning and few damp stains, together with:English Civil War, An Ordinance of the Lords and Commons assembled in Parliament, for the maintenance and pay of the Garrisons of Newport Pagnel, Bedford, Lyn Regis, and other Garrisons in the Eastern Association. Ordered by the Commons assembled in Parliament, that this Ordinance be printed and published: H: Elsynge, Cler. Parl. D. Com., London: Printed for Edward Husband, Printer to the Honorable House of Commons, Septemb. 4, 1645, 15[1]p., occasional spotting and minor marks, edges untrimmed, disbound, 4to (Wing E1989, this edition has "Septemb." in imprint, and the first line of imprint ends "printer")QTY: (2)
Blount (Thomas) - Charles II. Boscobel: or, The history of His sacred Majesties most miraculous preservation after the Battle of Worcester, 3. Sept. 1651. Introduc’d by an exact relation of that battle, London: Henry Seile, 1660, engraved portrait frontispiece (folding fore-margin), title in red & black, folding engraved plate (torn with slight loss and repaired to verso), engraved armorial plate, with the dedication signed "Blount" in letterpress (rather than 'Tho. Blount' as seen variant volume Wing B3329), slight worming at gutter of C5 affecting few letters of text, light dust-soiling, early 19th-century calf, joints cracked at foot, 8vo, together with:Pierce (Thomas), Englands Season for Reformation of Life. A sermon delivered in St. Paul’s Church, London. On the Sunday next following His Sacred Majesties Restauration. By Tho. Pierce, Rector of Brington, London: Timothy Garthwait, 1660, [8],29,[1]p., title in red & black, without leaf before title bearing Charles II royal armorial, some dust-soiling and fraying to margins, modern half calf, 4toQTY: (2)NOTE:Wing B3330 & Wing P2183.
![Charles II. The Form and Order of the Coronation of Charls [sic] II· King of Scotland, England, France and Ireland. As it was](https://cdn.globalauctionplatform.com/232ef99e-da70-4638-9ab5-af42011b5f2d/e2ff2115-2e6e-4712-a772-af4301132de1/468x382.jpg)
Charles II. The Form and Order of the Coronation of Charls [sic] II· King of Scotland, England, France and Ireland. As it was acted and done at Scoon, the first day of January, 1651. By Robert Dowglas minister at Edinburgh, London: Printed according to the authors own copy, to prevent any counterfeit, 1660, 24p., manuscript numerous to upper outer corners, light toning and occasional minor spotting, 20th-century cloth, 4to, together with:Morley (George), A Sermon preached at the Magnificent Coronation of the Most High and Mighty King Charles the IId ... at the Collegiate Church of S. Peter Westminster, the 23d of April, (being S. George's Day) 1661, 1st edition, printed by R. Norton for T. Garthwait, 1661, [8], 62p., two engraved plates before title (royal arms and portrait, both lined to verso), final blank I4 not present, light dust-soiling to verso of final leaf of text, modern blind panelled calf, 4toQTY: (2)NOTE:Wing D2032 & C5463.
Nalson (John). A true copy of the journal of the High Court of Justice, for the tryal of K. Charles I. As it was read in the House of Commons, and attested under the hand of Phelps, clerk to that infamous court, London: Printed by H[enry]. C[larke]. for Thomas Dring, 1684, with 'The explanation of the frontespiece [sic]' present (repair to fore-margin), engraved frontispiece (with printing fault/repair?), engraved plate of the trial of Charles I accompanied by 'The explanation of the court, with some animadversions' ([2]p.), lacking leaf 'To the Reader' after title page, without portrait by R. White, with 4 additional engraved plates including Britannia mourning (engraved by R. White, printed for S. Mearne, T. Dring, B. Tooke, T. Sawbridge & C. Mearne), Charles I at prayer engraved by William Marshall with engraved 'explanation of the embleme' beneath image (cropped and mounted), portrait of Charles I by G. Faithorne and one other related by R. White, some dust-soiling, occasional marks and some wear, late 19th half morocco, upper board detached and ink marked, worn, folio, together with:Finch (Heneage, Earl of Nottingham). An Exact and most Impartial Accompt of the Indictment, Arraignment, Trial, and Judgment (according to Law) of Twenty Nine Regicides ... London: Printed for R. Scot, T. Basset, R. Chiswell, 1679, some browning and few damp stains, contemporary calf, rebacked, board corners worn, 8voQTY: (2)NOTE:Wing N116 & N1404.
George III. An Account of the Celebration of the Jubilee, on 25th October, 1809; Being the Forty-Ninth Anniversary of the Reign of George the Third, "The Father of His People". Collected and Published by (A Lady) the Wife of a Naval Officer, Birmingham: printed by R. Jabet, [1809], half title, engraved portrait frontispiece, subscribers list, a little minor spotting, bookplate, modern half calf, 4to, together with An Account of the Visit of His Royal Highness the Prince Regent, with their Imperial and Royal Majesties the Emperor of all the Russians and the King of Prussia, in the Corporation of London in June 1814, London: Nicholas, Son and Bentley for the Corporation of the City of London, [1814], hand-coloured engraved frontispiece, double-page plate of the seating plan, leaves detached, a little light spotting, original boards, lacking spine, some stains, folioQTY: (2)
George IV. A Brief Account of the Coronation of his Majesty, George IV, London: D. Walther, 1821, portrait frontispiece, 8 engraved plates (including 6 hand-coloured aquatints), 3 additional folding illustrations and broadsides bound in, occasional light spotting, early 20th-century red half morocco gilt by C. Walters, a few light marks, 8vo, together with:A Narrative of the Ceremonial, observed at the coronation of his Majesty George (Augustus-Frederic) IV. The Regal Ceremonies and Religious Solemnities; with a complete display of the Royal procession, Ilminster: J Moore, 1821, 25pp., folding hand-coloured engraved frontispiece, original blue wrappers bound in, leaves untrimmed, a few light spots, modern black half calf gilt, 8vo, withBurnet (James). The Royal Scottish Minstrelsy: being a collection of loyal effusions occasioned by the visit of his most gracious Majesty George IV. To Scotland, August 15, 1822, Leith: James Burnet, 1824, hand-coloured portrait frontispiece, lightly spotted, 20th-century half calf gilt over marbled boards, 8voQTY: (3)
* Central Africa. A group of four assorted male portrait studies, c. 1900/1930, the oldest an albumen print showing two men in front of a hut, French Congo, c. 1900, 16.5 x 12 cm, mounted on card; Two men working with clay on a house at Fort-Lamay, Chad, c. 1920, gelatin silver print, 28 x 22 cm; A local type standing next to a hut in French Guinea, c. 1930, gelatin silver print, 29.5 x 20 cm; A man in French Congo holding a spear, c. 1930, gelatin silver print, 23 x 17 cmQTY: (4)
Royal Visits. Cordova (R.J). The Prince's Visit: a humourous description of the tour of his Royal Highness, the Prince of Wales, through the United States of America, in 1860, New York: D. Frodsham, 1861, additional etched title, 4 etched plates, lightly spotted, original green blindstamped cloth gilt, rubbed, 8vo, together with:Knight (J.R). Narrative of the visit of his Royal Highness the Duke of Edinburgh to the colony of Victoria, Australia, Melbourne: Mason, Firth and Co, 1868, portrait frontispiece, leaves toned and spotted, original blue cloth gilt, all edges gilt, lightly rubbed, 8vo, withSockett (Alfred). A Record of the Proceedings at the opening of the Middlesbrough town hall and municipal buildings, by their Royal Highnesses Prince and Princess of Wales, Middlesbrough: Smith & Woolston, circa 1889, black and white illustrations (1 folding), official programme of events bound to rear, some leaves toned, original red cloth gilt, lightly rubbed, 8vo, with 10 others relatedQTY: (13)
Quarme (Charles Edward). A Narrative of the Visit of Queen Victoria to Lancaster in 1851, London: James Nisbet & Co, 1877, mounted portrait frontispiece, 14 mounted black and white illustrations after photographs, spotted, original red morocco gilt, all edges gilt, worn, 8vo, together with:Royal Visit. Visit of his Royal Highness the Prince of Wales, Canada 1924, Canadian National Railways, half-title, black and white frontispiece, folding map to rear pocket, numerous black and white illustrations after photographs, tissue guards, blue silk endpapers and pastedowns, original black morocco gilt, 8vo, housed in original box, withA Welcome to her Royal Highness the Princess of Wales, from the poet laureate, London: Day & Son, 1863, 8 decorative leaves (including title), lightly spotted, original red morocco gilt, all edges gilt, lightly rubbed, 8vo, with 11 others related in fine leather bindingsQTY: (14)
Maxwell (Herbert). Sixty Years a Queen. The Story of Her Majesty's Reign, London: Eyre & Spottiswoode for Harmsworth Bros., [1897], half title, colour portrait frontispiece, chromolithograph title, numerous half-tone illustrations, light spotting to endpapers, all edges gilt, original maroon morocco gilt, contained in original card box, a little rubbed with small stains, 4to, together with Brighton and the Golden Reign 1837-1897, Brighton: James Robertson, 1897, colour and monochrome illustrations, a little minor spotting, original cloth-backed boards, ink stain to part of spine and upper cover, some light toning, oblong 4to, plus Leach (Isaac). Rossendale Diamond Jubilee Portfolio, Waterfoot: Isaac Leach, 1897, monochrome illustrations, all edges gilt, original cloth gilt, a little rubbed, oblong folio, with four others: The Victoria Jubilee Folio, by Arthur Woodward, 1887, Key to the Picture of the Celebration of Her Majesty's Diamond Jubilee at St. Paul's Cathedral, 1897, a manuscript booklet titled '1897 Queen's Diamond Jubilee Commemoration. Ibstock Committee Minutes' and '1911 Coronation of H.M. King George V. Minutes of Committee for Ibstock Festivities', and The London Gazette Extraordinary, Monday, March 14, 1898QTY: (7)
Cooke (John H). The Diamond Jubilee in Chesire, Mackie & Co, 1899, black and white frontispiece after photograph, black and white illustrations after photographs throughout, small ownership inscription to front free endpaper upper margin, hinges cracked, original dark red morocco gilt, worn, with loss to spine head and tail, small sticker to front board, folio, 30 of 50 crown folio copies, together with:The House of Windsor, A Book of Portraits, London: Methuen and Company, 1937, half-title, 17 mounted portraits, captioned tissue guards, silk endpapers and pastedowns, lightly spotted, gilt turn-ins, original vellum gilt, lightly marked, folio, 13 of 100 on handmade paper, withThe Proclamation of King Edward VII, an account of the ceremony at Ipswich on the XXV January MDCCCCI, London: For Private Circulation by Joseph Causton and Sons, circa 1901, mounted portrait frontispieces, 4 mounted black and white illustrations after photographs, a few leaves lightly damp-stained to outer margin, hinges repaired, original vellum gilt, rubbed and marked, folio, 60 of 97 copies with 13 others relatedQTY: (16)
* Boleyn (George, Viscount Rochford, c. 1504-1536). English courtier and diplomat, and brother of Anne Boleyn. Document Signed, ‘George Rocheford’, 21 February 1532, manuscript Latin deed on vellum, a bond in £300, George Bulleine, knight, Lord Rochford and Edward Bulleine, knight, to Brian Tuke, knight, treasurer of the king’s chamber; George Bulleine to repay to Sir Brian Tuke or his successor a sum of money for any unperformed service, in respect of which he has been paid £261 6s 8d for four years in advance; recites: royal warrant of 23 January 1532 for advance payment for four years’ service for the offices of cupbearer at £20 a year, the ‘room’ [position] of one of the gentlemen of the Privy Chamber £33 6s 8d, and for feeding the buckhounds at £12 a year; A proportion of the advance to be repaid by George Bulleine or his heirs should he die or leave any of the offices before the expiration of four years, signed by both ‘George Rocheford’ and ‘Edwarde Boleyn’ at foot of recto, no witnesses, seals removed, a little soiling, two pin holes and modern pencil annotations to left blank area of recto, 103 x 385 mmQTY: (1)NOTE:A very rare Tudor Court autograph with no other examples offered for sale traced.These offices and payments are not included in the ODNB entry of George Boleyn; by the time of his death in 1536 the service in respect of which money had been paid in advance in February 1532 had presumably been performed.George Boleyn was the brother of Anne Boleyn, from 1533 the second wife of King Henry VIII, and thus the maternal uncle of Queen Elizabeth I. Following his father's promotion in the peerage in 1529 to Earl of Wiltshire and Earl of Ormond, he adopted his father's junior title Viscount Rochford as a courtesy title. After his sister Anne became established as the king’s favourite in 1527, George’s career accelerated rapidly and the Boleyns entrenched themselves at court. Though Anne agreed to marry Henry in 1527 they did not marry until 1533. When, a year later, Anne miscarried the son and heir, Henry became infatuated with her maid-of-honour, Jane Seymour, and wanted to be rid of his wife to be with her. Henry and his chief advisor, Thomas Cromwell, plotted to accuse Anne of adultery with five men, of whom George was one.‘As Anne began losing her grip on the king's affections, Rochford too inevitably began to slip. Opponents of the Boleyn faction at this point realized that any attempt to overthrow Anne Boleyn had to destroy her brother as well. Rochford had ability and energy and could be expected to mount a vigorous defence of his sister if left free. The plot was developed accordingly, and, it is said, with the active involvement of Jane Parker, his wife. Lady Rochford, according to Chapuys, was the source for the story that Henry's declining sexual capacities had become a matter of discussion in the queen's household. Even more damaging was the charge, raised by Bishop Burnet, that Lady Rochford had intimated that there was an incestuous familiarity between George and Anne.The trap was sprung on 1 May 1536. Rochford participated in a royal tournament in Greenwich from which the king precipitately withdrew. The next day he was arrested and imprisoned in the Tower, accused with four other men of having committed adultery with Queen Anne Boleyn, his sister, an act 'most detestable against the law of God and nature also', and of conspiring to cause the king's death. No one has ever suggested that the charges against Rochford were sustainable. He was formally accused on one occasion of spending a long time in Anne's room and on another of claiming that the king was not Elizabeth's father. Rochford defended himself at his trial with energy and eloquence, blaming his wife for the accusation of incest. He denied all the articles brought against him, and his demeanour drew praise from many. People on the streets, it is said, offered long odds against his conviction. It was, however, a foregone political conclusion.Rochford was tried and convicted on 15 May 1536 and beheaded at Tower Hill two days later. Before he died he was allowed to speak. He did not say anything about the specific charges, but submitted himself to the law and the king's will. In a loud voice, it was reported, he said, 'I am come hither not to preach and make a sermon, but to die.' This he did, and his remains were buried, probably on the same day, in the chapel of St Peter ad Vincula at the Tower.’ (ODNB)George and Anne’s uncle Sir Edward Boleyn (1496-1571) was a younger brother of their father, Thomas Boleyn (c.1477-1539), of Hever Castle in Kent, an English diplomat and politician.Sir Brian Tuke (c. 1470-1545), famously the subject of a portrait by Hans Holbein, entered the household of Henry VII as a clerk of the spicery some time before 1506, when he was appointed feodary of Wallingford; by 1508 he was a signet clerk. On 13 April 1528 Tuke attained his highest office, with his appointment as treasurer of the chamber. From the mid-1520s onwards Tuke was afflicted with a succession of illnesses which incapacitated him for months at a time and placed him regularly in the care of physicians (who on one occasion included Henry VIII himself). His difficulties as treasurer of the chamber and the constant demands of royal creditors added to his woes, and in the summer of 1545 secretary Wriothesley reported that Tuke was 'run out of town [to Essex] … because he hath no money' (LP Henry VIII, 20/2, no. 453).
* Jenkins (Leoline, 1625-1685). Welsh academic, jurist and politician, Secretary of State, 1680-1684. Autograph Letter Signed, 'L. Jenkins', Whitehall, 26 May 1681, to the Earl of Danby, concerning (?)Magrath's confession at the Council, 'Your Lordship's conjecture was very right, the man was employ'd by Papists. He confessed at last that Mr Collins had gott him on work. He is to find justice for his good behavior. The finds of his examination I shall humbly take leave to committ to this gentleman rather than to writing', a little spotting, one page, 4to, docketed by Danby to versoQTY: (1)NOTE:Thomas Osborne, 1st Duke of Leeds (1632-1712) was a prominent English politician. Under King Charles II he was known as Lord Danby. An engraved portrait of Jenkins with facsimile handwriting sample is included with the lot.
* Walpole (Robert, 1676-1745). 1st Earl of Orford, first British Prime Minister, 1721-42. Document Signed, ‘R Walpole’, as Prime Minister, Treasury Chambers, Whitehall, 30 September 1741, manuscript warrant to Robert Walpole (1701-1751), Auditor of Receipts of His Majesty’s Exchequer, with an order to pay Lewis Grant the sum of £100 quarterly or £400 annually, light age wear and a few short marginal splits, small tear to lower right blank corner not affecting signature, tipped into an old album leaf with an engraved portrait of Walpole (Cadell & Davies, 1797) tipped onto lower half of sheet below horizontal sheet fold, some spotting and dust-soiling, marginal soiling and tears to mount, folio, together with autographs of all the other first four First Lords of the Treasury: part of an official paper document, 24 March 1697, bearing the signatures of Charles Montagu, Stephen Fox, John Smith, and the 1st Duke of Montagu, 185 x 70 mm; a partially cropped printed document on paper, 19 January 1701, completed in manuscript and bearing the signature of the 3rd Earl of Carlisle, to pay Martha Gillyflower £300, 18 x 22.5 cm, tipped onto a paper mount; a manuscript schedule of papers listed and signed by James Stanhope, a little soiling, 1 page, folio; a manuscript receipt on paper dated 28 January 1709/10, bearing the signature of the 3rd Earl of Sunderland, slightly soiled, 90 x 175 mm, tipped onto a paper mount beneath an engraved portrait of the earl, together with autographs of all the other first four First Lords of the Treasury: part of an official paper document, 24 March 1697, bearing the signatures of Charles Montagu, Stephen Fox, John Smith, and the 1st Duke of Montagu, 185 x 70 mm; a partially cropped printed document on paper, 19 January 1701, completed in manuscript and bearing the signature of the 3rd Earl of Carlisle, to pay Martha Gillyflower £300, 18 x 22.5 cm, tipped onto a paper mount; a manuscript schedule of papers listed and signed by James Stanhope, a little soiling, 1 page, folio; a manuscript receipt on paper dated 28 January 1709/10, bearing the signature of the 3rd Earl of Sunderland, slightly soiled, 90 x 175 mm, tipped onto a paper mount beneath an engraved portrait of the earlQTY: (9)NOTE:These autographs represent all of the first six First Lords of the Treasury, Walpole being the third and sixth (1715-1717 & 1721-1742).Charles Montagu, 1st Earl of Halifax (1661-1715), Chancellor of the Exchequer, 1694-1699, First Lord of the Treasury, 1714-1715; Stephen Fox (1627-1716), Commissioner of the Treasury, 1679-1702; John Smith (1656–1723), Commissioner of the Treasury, 1679-1701, Chancellor of the Exchequer, 1699-1701 & 1708-1710.Charles Howard, 3rd Earl of Carlisle (c. 1669 – 1 May 1738), Lord High Treasurer, 1701-1702, First Lord of the Treasury, 1715; James Stanhope, 1st Earl Stanhope (c. 1673-1721), First Lord of the Treasury, 1717-1718; Charles Spencer, 3rd Earl of Sunderland (1675-1722), First Lord of the Treasury, 1718–1721.
* Cavendish (William, 1720-1764). 4th Duke of Devonshire, British Prime Minister, 1756-1757. Autograph Signature, ‘Devonshire’, c. 1761, a fine bold signature cut from a paper document, signed beneath the words ‘The first year of Hi Majesty’s [Reign, i.e. 1760/1761], 82 x 32 mm, window-mounted beneath a reproduction black and white portrait of Cavendish, overall 28.5 x 20.5 cmQTY: (1)NOTE:One of the rarest of British Prime Minister autographs. The Duke of Devonshire is also one of the shortest-serving Prime Ministers at 225 days, his administration brought down for a variety of reasons including the opposition of George II and the alleged mishandling of the trial and execution of Admiral John Byng.
* Stuart (John, 1713-1792). 3rd Earl of Bute, British Prime Minister, 1762-1763. Autograph Signature, ‘Bute’, 1761, in dark ink on an envelope address panel addressed in his hand 'To The Right Honble. William Pitt' and also marked 'Private' in his hand, annotated and dated 1761 in another hand at the right edge, 63 x 113 mm, neatly laid down onto a paper slipQTY: (2)NOTE:A rare signature with a good association between two Prime Ministers. An engraved portrait of Bute is included with the lot.William Pitt, the Elder, 1st Earl of Chatham (1708-1778), British Prime Minister, 1766-1768.
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