After Hugh Douglas Hamilton, RHA, Irish c.1740-1808- Portrait of the Rt Hon. David La Touche of Marlay, Dublin (1734-1806), bust-length, in a blue coat with a red collar and white stock; pastel and bodycolour on paper watermarked '1803', oval, bears inscription 'by Hugh Hamilton / Member of the De La Touche family' on the backing paper, 28.4 x 22 cm. Provenance: Anon. sale, Christie's, London, 2 April 1954, lot 10 (as 'H.D. Hamilton, R.H.A.'), sold for £3. 3 shillings.; Anon. sale, Christie's, London, 20 December 1962, lot 44 (as 'Hugh Douglas Hamilton, R.H.A.).; Private Collection, UK. Note: A near contemporary copy by an unknown hand after Hugh Douglas Hamilton’s original composition - see Christie's, London, 10 July 2014, lot 192, which is included in Neil Jeffares, 'Dictionary of Pastellists before 1800', online edition, J.375.1559 (https://www.pastellists.com/Articles/Hamilton1.pdf).The La Touches, of French Huguenot origin, were one of the most important families in Irish Georgian society and were prominent landowners, bankers and patrons of the arts. In 1762, David (the third David of the La Touche dynasty) married Elizabeth, daughter of Rt Rev. Dr George Marlay, Bishop of Dromore. He later purchased a 300 acre estate in Rathfarnham, Dublin. He had a distinguished career in the Irish Parliament representing banking interests, and in 1783 was nominated as the first Governor of the Bank of Ireland and was also elected to the Privy Council of Ireland.Hugh Douglas Hamilton had a long association with the La Touche family; Neil Jeffares lists over a dozen known portraits of various generations (see N. Jeffares, ‘Hugh Douglas Hamilton', Online Dictionary of Pastellists before 1800, pp.1-2.). The family were linked to the Dublin Society Drawing School and it was probably here that they first met Hamilton as a young artist. The earliest known portrait of a member of the La Touche family by Hamilton is of the present sitter, dating to c.1765 (National Gallery of Ireland, no.7237). Hamilton executed several other portraits of David La Touche including another oval pastel which is similar to the present work (see Sotheby’s, London, 14 July 1988, lot 61) and a later full-length portrait in oil, c.1802-3 (Bank of Ireland). We are grateful to Neil Jeffares for his assistance with this catalogue note.Please refer to department for condition report
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Two oval shell cameo brooches, the first carved to depict the portrait profile of a bacchante, with ropetwist wirework border and hinged pendant fitting, stamped '750', the second carved to depict a dancing maiden, 9ct gold mounted, lengths 5.85cm and 3.7cm (2)Approximate gross weights only: first brooch 16.8gm (pin not functioning), second brooch 6.9gm.
A 19th century cameo brooch, the oval shell cameo carved to depict the portrait profile of Medusa, to a shaped mount engraved with repeating flowerheads and foliate scrolls, gold mounted, length 5.3cmThe cameo has surface wear, scuffs and chips/nicks, commensurate for age and use, with some wear and rubbing to the high points of the carved decoration. There are possible fine hairline fractures but no obvious cracks. Cameo dimensions approx. 4.4cm length x 3.4cm width. The mount also has general surface wear and patchy tarnishing, with an area of filing to the back. Engraved decoration is crisply defined and the clasp is functioning. Metal standard is untested. Gross weight approx. 15gm.
A late 18th/early 19th century ivory and gem set portrait miniature clasp/pendant, the oval ivory miniature painted to depict the portrait profile of a boy, wearing a white frock coat with blue collar, to a gold mount with clasp fittings and hinged pendant bale, the seed pearl bezel accented with cushion-shaped rubies in foiled closed-back settings, (pearls untested for origin), length 4.5cmIvory registration no. XTX3YFSH The miniature has not been examined out of the frame. Under magnification, light scratches are visible to the miniature, however as best can be ascertained these tend to be on the glass and not on the miniature itself. There is some dust/dirt residue and possible surface crazing to the miniature. Traces of possible red staining are apparent on the lower edge of the miniature (see images); it is difficult to confirm whether these are to the glass or the miniature itself. The miniature measures approx. 3.1cm length x 2.6cm width.The glazing above has scratches, scuffs and nicks/small chips. Pearls have surface wear, shallow fractures and blemishes to the nacre surface, with slightly variable creamy-white and greyish-white hues. Rubies are foil-backed, with pinkish-red hues and are of slightly variable size. All have surface wear, scuffs and occasional small chips, some rubies containing mineral inclusions and areas of faint colour zoning. Rubies measure approx. 1.8mm to 2.2mm length x 1.7mm to 1.9mm width. The mount has general surface wear, scuffs and nicks throughout, with an area of light filing to the back. One of the clasp fittings detaches, the other clasp fitting (with pendant bale attached) appears to have been soldered fixed to the mount. Metal standard is untested. Gross weight approx. 14.4gm.
A collection of rings, comprising an 18ct gold engraved wedding band, a 9ct gold wedding band, a shell cameo dress ring, 9ct gold mounted, and a further dress ring, depicting a female portrait profile, also 9ct gold mounted, ring sizes N, M, O½ and N½ respectively (4)Approximate gross weights only: 18ct gold wedding band 2.3gm, 9ct gold wedding band 1.7gm, shell cameo ring 4.9gm, dress ring 6.3gm.
A diamond set cameo brooch, the oval shell cameo carved to depict a female portrait profile wearing a single-cut diamond set pendant, within an openwork frame, white precious metal mounted, stamped '14K', together with a turquoise set panel ring, stamped '15CT', and three stone set bar brooches, first brooch length 5.25cm (5)Approximate gross weights only: cameo brooch 11.1gm, ring 4.8gm, blue stone bar brooch 1.9gm, yellow stone bar brooch 3.2gm, half pearl bar brooch 4.9gm.
An Austro-Hungarian vari gem-set pendant/brooch, the openwork scrolled cartouche applied with a bird with outstretched wings, enclosed with rectangular step-cut and circular-cut emeralds and green stones in foiled closed-back settings, interspersed with baroque pearls, suspending three similarly set drops below, gilt mounted, together with a gilt metal beaded collar necklace, the Archaeological Revival clasp with classical portrait profile and ropetwist border, a white paste foliate spray brooch, stamped '925', and an Eastern white paste panel brooch, (later fitting), pendant/brooch length 4.5cm (4)Approximate gross weights/dimensions only: pendant/brooch 13gm, necklace 26.1gm/length 44cm, spray brooch 18.2gm/length 5.4cm, panel brooch 23.8gm/length 5.8cm
A collection of jewellery, comprising an oval shell cameo brooch, carved to depict the portrait profiles of two female figures in 16th century dress, with foliate scroll mount, a citrine swivel fob pendant, 9ct gold mounted, four watch keys, a 9ct gold ring mount, and a seal fob pendant, brooch length 7cm (8)Approximate gross weights only: cameo brooch 28.1gm, citrine fob pendant 3.1gm, watch keys combined 5.9gm, ring mount 2.1gm, seal fob pendant 1.7gm.
λ HERBERT JAMES GUNN (BRITISH 1893-1964)PORTRAIT OF H. M. KING GEORGE VIOil on canvas74 x 62.5cm (29 x 24½ in.)Provenance:Sale, Christie's, South Kensington, 20 June 2013, lot 118ACondition Report: Overall in good condition. Some surface dirt and discolouration of the varnish. UV reveals no signs of damages or restorations. Canvas has not been relined. Condition Report Disclaimer
CIRCLE OF SIR PETER LELY (BRITISH 1618-1680)PORTRAIT OF ANNE, COUNTESS OF MANCHESTEROil on canvas124 x 96cm (48¾ x 37¾ in.)Provenance:Sale, Christie's, London, 12 July 1991, lot 4Condition Report: Canvas has been relined. Surface dirt and discoloured varnish. Fine craquelure across the sitter's face and neck and more coarse craquelure across the sitter's garment. Several repaired tears and patches, including a U shaped repaired tear upper right. UV reveals several retouches, including large areas of restoration in the arms and in the dark background below the elbows. Condition Report Disclaimer
SIR GEORGE JAMES FRAMPTON R.A. (BRITISH, 1860-1928) A BRONZE PORTRAIT BUST OF QUEEN MARY The back of the bust signed and dated 'GEO. FRAMPTON. R. A. 1913', the tapered marble column base with Royal cypher 'MR' 54cm high overall Provenance: The Forbes Collection, Old Battersea House, London Their sale, Lyon and Turnbull, Edinburgh, 1st November 2011, lot 281 Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe bronze and base are firmly attached to eachother and solid and stable overallThe bronze bust with some verdigris and other deposits to the surfaceThe column with some knocks, scratches, chips, losses, minor nibbles to the foot and extremities - there are also three larger losses, one to the rear plinth, and two to the upper edge where it meets the bust. There are also some natural faults due to the organic nature of the materialSome dirt and discolouration to the gilt mounts, one element at the lower plinth is partly loose but is in place at time of reportThere is old baize to the undersideThe cypher appears crisp Please refer to additional images for visual reference to conditionCondition Report Disclaimer
TRADITIONALLY CALLED CIRCLE OF NICHOLAS DE LARGILLIERE (FRENCH 1656-1746)PORTRAIT OF FAUSTIN-ELIE SOULOUQUE, EMPEROR OF HAITI, SMALL FULL LENGTH IN UNIFORM, A SHIP BEYONDOil on canvas57 x 43cm (22¼ x 16¾ in.)Provenance:John Charles FrearChristie's New York, 20 October 1988, lot 164Sale, Christie's, South Kensington, 9 October 2012, lot 319Condition Report: Canvas has been relined and mounted on a later stretcher providing good support. Surface dirt and discolouration of the varnish. Surface craquelure across the canvas. UV reveals scattered retouching as well as a vertical restoration of approx. 17 cm in length to the left of the mast of the ship. Condition Report Disclaimer
ENGLISH SCHOOL (18TH CENTURY)PORTRAIT OF A LADY, HALF LENGTH, IN A BLUE DRESSOil on canvas73 x 61cm (28½ x 24 in.)Condition Report: Canvas has been relined. Surface dirt and discolouration of the varnish. Fine craquelure across the surface of the work as well as visible stretcher marks. Paint loss around the edges resulting from contact with the frame. A restoration visible to the naked eye, to the right of the figure at the height of the neck. UV also reveals a lightning shaped restoration in the upper right corner, approximately 18 cm in length. Condition Report Disclaimer
R. E. LLOYD (LATE 19TH CENTURY)PORTRAIT OF A SIKH MAN SEATED, CROSS-LEGGEDOil on canvas Signed (lower left)84 x 58.5cm (33 x 23 in.)Unframed Provenance:Sale, Christie's, South Kensington, Travel Science and Natural History, 9 October 2012, lot 270 Condition Report: Relined. Craquelure scattered throughout. Light surface dirt. Varnish causing some discolouration across the surface. Inspection under UV reveals retouching throughout. Two horizontal repairs one a third of the way down the canvas and the other a third of the way up the right edge, running into the centre. Condition Report Disclaimer
ANGLO-AMERICAN SCHOOL (19TH CENTURY)A PAIR OF PORTRAITS OF A HUSBAND AND WIFE43 x 34cm (16¾ x 13¼ in.) (2)Condition Report: Both canvases have been lined. Both have clearly visible stretcher marks. Craquelure across the surface of the works. Surface dirt and signs of mould, and discolouration of the varnish. UV reveals several signs of retouching in both works, including in a large part of the male sitter's face. The male portrait also has two diagonal surface scratches in the jacket on the right. The female portrait with some bulging of the canvas. Condition Report Disclaimer
CIRCLE OF THOMAS HUDSON (BRITISH 1701-1779)PORTRAIT OF FRANCIS PIGOTT ESQ., OF POLTBURY PLACE, WINDSOROil on canvas73 x 61cm (28½ x 24 in.) SALEROOM NOTICE: THIS IS NOT BY 'ALAN RAMSAY' BUT NOW 'IN THE CIRCLE OF THOMAS RAMSAY' Condition Report: The canvas has been relined. Some discolouration of the varnish. Visible stretcher marks and areas of craquelure. A restored vertical tear of approximately 5 cm in his right shoulder, which has reopened. UV light reveals more scattered retouching, particularly of old craquelure. Areas of paint loss and flaking paint in the upper right corner. Bulging of the canvas in areas.Condition Report Disclaimer
λ MICHAEL LEONARD (BRITISH B. 1933)ON THE BED (2)Coloured pencil Signed with initials and dated 76 (lower left)14.5 x 13.2cm (5½ x 5 in.)Provenance:Fischer Fine Art, Ltd., London, no. C. 4465Mr Gonzalez, Private CollectionLexan and Mylar Waef, by June 2008 Sale, Christie's, The Art of Design, 4 June 2014, part lot Regarded as one of Britain's leading photorealist painters most notable for his precise brushwork, tight formed compositions, and distinctive colour palette. Leonard, an exceptionally talented draughtsman started his career as an illustrator and featured notably in The Sunday Times Colour Magazine. By the mid-1970s his attention was turned to fine art. His series 'Portraits in Time' showing figures dressed in the style of Old Masters together with elements of tromp l'oeil proved extremely popular and continue to do so. Leonard was honoured in the mid-1980s to accept the commission to paint the Queen to celebrate her 60th birthday, now held in the National Portrait Gallery. This collection of figurative drawings highlights Leonard's interest in the human form but even more simply the act of everyday chores and movements. He highlights the graceful movements and unusual shapes a human creates undergoing mundane daily activities, such as putting on a T-shirt or getting out the bath. This detailed study and fascination with the human figure has continued throughout Leonard's body of work. The use of colour highlights the moment-to-moment of everyday actions and frames the peach flesh of the male figure. Lot 206 and 209 illustrate examples of Leonard's work in monochrome. This series was inspired by the work of Egon Schiele and Georges Seurat. In the work of Schiele Leonard looks towards the erotic power that emanated through Schiele's detailed drawings and the attention to the design and perfection in execution. Leonard admired Seurat's treatment of negative space and how the space around the figures could bring as much energy to a piece as the drawing itself. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ MICHAEL LEONARD (BRITISH B. 1933)DRESSING AT NIGHT (5)Coloured pencil Signed with initials and dated 76 (upper left) 11.7 x 14.5cm (4½ x 5½ in.)Provenance:Fischer Fine Art, Ltd., London, no. C. 4472Mr Gonzalez, Private CollectionLexan and Mylar Waef, by June 2008 Sale, Christie's, The Art of Design, 4 June 2014, part lot Regarded as one of Britain's leading photorealist painters most notable for his precise brushwork, tight formed compositions, and distinctive colour palette. Leonard, an exceptionally talented draughtsman started his career as an illustrator and featured notably in The Sunday Times Colour Magazine. By the mid-1970s his attention was turned to fine art. His series 'Portraits in Time' showing figures dressed in the style of Old Masters together with elements of tromp l'oeil proved extremely popular and continue to do so. Leonard was honoured in the mid-1980s to accept the commission to paint the Queen to celebrate her 60th birthday, now held in the National Portrait Gallery. This collection of figurative drawings highlights Leonard's interest in the human form but even more simply the act of everyday chores and movements. He highlights the graceful movements and unusual shapes a human creates undergoing mundane daily activities, such as putting on a T-shirt or getting out the bath. This detailed study and fascination with the human figure has continued throughout Leonard's body of work. The use of colour highlights the moment-to-moment of everyday actions and frames the peach flesh of the male figure. Lot 206 and 209 illustrate examples of Leonard's work in monochrome. This series was inspired by the work of Egon Schiele and Georges Seurat. In the work of Schiele Leonard looks towards the erotic power that emanated through Schiele's detailed drawings and the attention to the design and perfection in execution. Leonard admired Seurat's treatment of negative space and how the space around the figures could bring as much energy to a piece as the drawing itself. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ MICHAEL LEONARD (BRITISH B. 1933)DRESSING (9) Pencil Signed with initials and dated '76 (to left edge, in gentleman's shirt)11.5 x 13.7cm (4½ x 5¼ in.)Provenance:Fischer Fine Art, Ltd., London, no. C. 4455Sale, Christie's, The Art of Design, 4 June 2014, part lot Regarded as one of Britain's leading photorealist painters most notable for his precise brushwork, tight formed compositions, and distinctive colour palette. Leonard, an exceptionally talented draughtsman started his career as an illustrator and featured notably in The Sunday Times Colour Magazine. By the mid-1970s his attention was turned to fine art. His series 'Portraits in Time' showing figures dressed in the style of Old Masters together with elements of tromp l'oeil proved extremely popular and continue to do so. Leonard was honoured in the mid-1980s to accept the commission to paint the Queen to celebrate her 60th birthday, now held in the National Portrait Gallery. This collection of figurative drawings highlights Leonard's interest in the human form but even more simply the act of everyday chores and movements. He highlights the graceful movements and unusual shapes a human creates undergoing mundane daily activities, such as putting on a T-shirt or getting out the bath. This detailed study and fascination with the human figure has continued throughout Leonard's body of work. The use of colour highlights the moment-to-moment of everyday actions and frames the peach flesh of the male figure. Lot 206 and 209 illustrate examples of Leonard's work in monochrome. This series was inspired by the work of Egon Schiele and Georges Seurat. In the work of Schiele Leonard looks towards the erotic power that emanated through Schiele's detailed drawings and the attention to the design and perfection in execution. Leonard admired Seurat's treatment of negative space and how the space around the figures could bring as much energy to a piece as the drawing itself. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ MICHAEL LEONARD (BRITISH B. 1933)RED BATHROOM IColoured pencilSigned with initials and dated 76 (to the left edge)12.5 x 12.5cm (4¾ x 4¾ in.)Provenance:Fischer Fine Art, Ltd., London, no. C. 4467 Mr Gonzalez, Private CollectionSale, Christie's, The Art of Design, 4 June 2014, part lot Regarded as one of Britain's leading photorealist painters most notable for his precise brushwork, tight formed compositions, and distinctive colour palette. Leonard, an exceptionally talented draughtsman started his career as an illustrator and featured notably in The Sunday Times Colour Magazine. By the mid-1970s his attention was turned to fine art. His series 'Portraits in Time' showing figures dressed in the style of Old Masters together with elements of tromp l'oeil proved extremely popular and continue to do so. Leonard was honoured in the mid-1980s to accept the commission to paint the Queen to celebrate her 60th birthday, now held in the National Portrait Gallery. This collection of figurative drawings highlights Leonard's interest in the human form but even more simply the act of everyday chores and movements. He highlights the graceful movements and unusual shapes a human creates undergoing mundane daily activities, such as putting on a T-shirt or getting out the bath. This detailed study and fascination with the human figure has continued throughout Leonard's body of work. The use of colour highlights the moment-to-moment of everyday actions and frames the peach flesh of the male figure. Lot 206 and 209 illustrate examples of Leonard's work in monochrome. This series was inspired by the work of Egon Schiele and Georges Seurat. In the work of Schiele Leonard looks towards the erotic power that emanated through Schiele's detailed drawings and the attention to the design and perfection in execution. Leonard admired Seurat's treatment of negative space and how the space around the figures could bring as much energy to a piece as the drawing itself. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ MICHAEL LEONARD (BRITISH B. 1933)SNEAKERS ENGLOUTIESColoured pencil 13.5 x 13.5cm (5¼ x 5¼ in.)Drawn in 1976. Provenance:Fischer Fine Art, Ltd., London, no. C. 4716Sale, Christie's, The Art of Design, 4 June 2014, part lotRegarded as one of Britain's leading photorealist painters most notable for his precise brushwork, tight formed compositions, and distinctive colour palette. Leonard, an exceptionally talented draughtsman started his career as an illustrator and featured notably in The Sunday Times Colour Magazine. By the mid-1970s his attention was turned to fine art. His series 'Portraits in Time' showing figures dressed in the style of Old Masters together with elements of tromp l'oeil proved extremely popular and continue to do so. Leonard was honoured in the mid-1980s to accept the commission to paint the Queen to celebrate her 60th birthday, now held in the National Portrait Gallery. This collection of figurative drawings highlights Leonard's interest in the human form but even more simply the act of everyday chores and movements. He highlights the graceful movements and unusual shapes a human creates undergoing mundane daily activities, such as putting on a T-shirt or getting out the bath. This detailed study and fascination with the human figure has continued throughout Leonard's body of work. The use of colour highlights the moment-to-moment of everyday actions and frames the peach flesh of the male figure. Lot 206 and 209 illustrate examples of Leonard's work in monochrome. This series was inspired by the work of Egon Schiele and Georges Seurat. In the work of Schiele Leonard looks towards the erotic power that emanated through Schiele's detailed drawings and the attention to the design and perfection in execution. Leonard admired Seurat's treatment of negative space and how the space around the figures could bring as much energy to a piece as the drawing itself. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ MICHAEL LEONARD (BRITISH B. 1933)THE ITINERANTSPencil 13.5 x 16.5cm (5¼ x 6¼ in.)Provenance:Fischer Fine Art, Ltd., London, no. C. 4717Sale, Christie's, The Art of Design, 4 June 2014, part lot Regarded as one of Britain's leading photorealist painters most notable for his precise brushwork, tight formed compositions, and distinctive colour palette. Leonard, an exceptionally talented draughtsman started his career as an illustrator and featured notably in The Sunday Times Colour Magazine. By the mid-1970s his attention was turned to fine art. His series 'Portraits in Time' showing figures dressed in the style of Old Masters together with elements of tromp l'oeil proved extremely popular and continue to do so. Leonard was honoured in the mid-1980s to accept the commission to paint the Queen to celebrate her 60th birthday, now held in the National Portrait Gallery. This collection of figurative drawings highlights Leonard's interest in the human form but even more simply the act of everyday chores and movements. He highlights the graceful movements and unusual shapes a human creates undergoing mundane daily activities, such as putting on a T-shirt or getting out the bath. This detailed study and fascination with the human figure has continued throughout Leonard's body of work. The use of colour highlights the moment-to-moment of everyday actions and frames the peach flesh of the male figure. Lot 206 and 209 illustrate examples of Leonard's work in monochrome. This series was inspired by the work of Egon Schiele and Georges Seurat. In the work of Schiele Leonard looks towards the erotic power that emanated through Schiele's detailed drawings and the attention to the design and perfection in execution. Leonard admired Seurat's treatment of negative space and how the space around the figures could bring as much energy to a piece as the drawing itself. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ SYDNEY MARCH (ENGLISH, 1876-1968) A BRONZE PORTRAIT BUST OF EDWARD VII SECOND CAST BY ELLINGTON & CO, DATED 1901 Signed and dated to the cast 'Sydney March 1901' and inscribed 'This is the second copy cast to the order of A. C. Garrick Esquire, the first having been cast for His Majesty, Elkington & Co., London 1901'41cm high, 32cm wide, 21cm deep overall Provenance: Lyon and Turnbull, The Forbes Collection at Battersea House, 1st November 2011, Lot 259.
ATTRIBUTED TO SIR WILLIAM BEECHEY (BRITISH 1753-1839)PORTRAIT OF A LADY, WEARING A WHITE DRESS, IN A FEIGNED OVALOil on canvas72 x 61.5cm (28¼ x 24 in.)Provenance:George A. Hearn, New YorkSale, American Art Galleries, New York, 1 March 1918, lot 392Acquired at the above sale by Frank C. Ball, Muncie, IndianaBall Brothers Foundation, Muncie, 1936The Ball State University Museum of Art, 1995Gift from the aboveSale, Christie's, New York, 1 September 2011, lot 300 (as 'Portrait of Mrs. Humphrey')Condition Report: Canvas has been relined, paint layer appears stable. Surface dirt and discolouration of the varnish. Areas of craquelure, predominantly in the pillar and the sky to the left of the sitter. UV light reveals several retouches of the craquelure (including in the sitter's face) as well as several restorations: a diagonal tear in her right shoulder of approx.. 7 cm; a hook shaped tear running from halfway down the sky through the sitter's waist until the right edge of her arm, incorporating a central patch slightly below the blue sash, after which it runs up along the curve of her left shoulder, through to her headband and continuing horizontally through the sky; another hook shaped tear of approx. 8 cm below the blue sash. Condition Report Disclaimer
A BRONZE PORTRAIT BUST OF ROBESPIERRE FRENCH, 19TH CENTURY Mounted on a white marble column and bronze plinth base 27.5cm high, base 10cm wide Condition Report: There are marks, scratches, knocks and scuffs consistent with age and use.Observations include: the patination is dark of gun metal hue; the patination is worn leaving vestiges of darker patination to some areas; there is a bronze collar to the base of the marble column that has a fractured crack; the marble is discoloured, aged, scratched and with chips and knocks including to the raised edges; some knocks to the edges of the square bronze base.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
SIR GEORGE HAYTER (BRITISH 1792-1871) AND STUDIOPORTRAIT OF H. M. QUEEN VICTORIA, FULL LENGTH, IN CORONATION ROBESOil on canvasSigned and dated 'painted by Sir George Hayter 1838, finished 184*' (lower centre)127 x 95cm (50 x 37¼ in.)Provenance:The Forbes Collection, Old Battersea House, LondonTheir sale, Lyon & Turnbull, Edinburgh, 1 November 2011, Lot 147.George Hayter was the son of the portrait miniaturist Charles Hayter (1761-1835), who also studied and taught perspective and was appointed Professor of Perspective and Drawing to Princess Charlotte. Initially tutored by his father, George went on to the Royal Academy Schools where he studied under the famous Swiss painter Henry Fuseli. Hayter's work was highly favoured by Queen Victoria, before his appointment as her 'Painter of History and Portrait' in 1837, he had impressed the young Princess with his skill as a portraitist and helped her with her first attempts at oil painting. On the death of David Wilkie in 1841 she also appointed him as her Principal Painter in Ordinary, followed by a knighthood in 1842. This portrait, painted in 1838 on the occasion of Queen Victoria's Coronation, is another version of The State Portrait of Queen Victoria that is still displayed to the public at Buckingham Palace. It shows the 19 year old Queen seated in her Homage Chair in red and gold Coronation robes and the Imperial State Crown, carrying the Sceptre with the Cross. Hayter's first background for the painting showed the Queen in Westminster Abbey where she was crowned on the 28th of June of that year, but he was to alter this later, placing her in a more generic regal setting. Several versions of this portrait were done, with the assistance of the artist's son Angelo, to be sent as diplomatic gifts. Another full-scale version of the State Portrait is part of the collection of the National Portrait Gallery and a smaller copy resides in the dining room of Holyrood House. Condition Report: Canvas has been relined and the relining is clearly visible around the edges. Paint layer appears stable. Deep craquelure scattered across the painting and mainly visible in the darker paints. UV light reveals scattered areas of retouching of the craquelure, as well as a restored tear above her left elbow (approx. 7 cm), a restored horizontal tear to the right of the crown (approx. 4 cm) and another one of approx. 3 cm upper right in the curtain. Condition Report Disclaimer
λ GRACE WHEATLEY (BRITISH 1888-1970)THE CORONATION PORTRAIT OF QUEEN ELIZABETH;THE CORONATION PORTRAIT OF PRINCE PHILLIPOil on canvas Both signed (lower left) and further signed to stretcher (verso)181 x 151cm (71¼ x 59¼ in.) (2)Painted in 1959. Provenance:Commissioned by Sir Emile Littler Esq. for the Palace Theatre, London in 1959Robert Miller Fine Art, London, June 28, 2003The Forbes Collection, Old Battersea House, LondonTheir sale, Lyon & Turnbull, Edinburgh, 1 November 2011, Lot 154.Exhibited:London, The Royal Society of Portrait Painters, 1959 The Crown only, London, National Portrait Gallery, Elizabeth II, Portraits of Sixty Years, 1986, no. 15 (lent by the Palace Theatre)Literature:The Crown only, Malcolm Rogers, Elizabeth II, Portraits of Sixty Years (London: National Portrait Gallery, 1986), illus. p. 78-9The present lot was commissioned by Sir Emile Littler, the theatre producer, impresario and author to hang in the Palace Theatre on Shaftesbury Avenue. Littler also commissioned a work depicting Sir Winston Churchill. Condition Report: Both canvases are slack and slight undulating. There are a few areas of fine craquelure scattered in patches across the surface of the canvas. Otherwise both appear to be in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
20thC School. Caen St Etienne, etching print, 30cm x 21cm, J. W. (20thC) Cottage on a summer's day, watercolour, Alan Oliver watercolour, other similar pictures, prints, frames, Tony Wistin Concentration Graphite portrait, various others by local artists, David Bell print, Trevor Dakin shopping print, David C. Bell limited edition print and another H Prospector, London. (a quantity)
Hazel Smith (20thC). Figures on a twilight evening with stream and leaves, oil on board, 52cm x 25cm, various other pictures, prints, frames, Stephen Taylor, portrait of a lady, large quantity of other prints, pictures, frames, oil paintings, Chamber Hardman photographic print, tapestries, etc. (a quantity)
Maxwell (W.H.) Life of Field-Marshall His Grace the Duke of Wellington, 3 volumes, 6th edition, London: Bickers and Son, circa 1841, half titles, engraved portrait frontispieces, additional engraved titles, engraved dedication in volume I, engraved plates and maps, illustrations, a little light spotting, top edge gilt, later burgundy half morocco gilt by Bayntun, Bath, spines lettered in gilt with crossed muskets tool in compartments, very slight fading to spines, 8vo QTY: (3)NOTE:A handsome set.
McGrigor (Sir James). The Autobiography and Services of Sir James McGrigor, Bart. Later Director of the Army Medical Department, with an appendix of notes and correspondence, 1st edition, London: Longman, Green, Longman and Roberts, 1861, half title, portrait frontispiece, light spotting front and rear, all edges gilt, contemporary red morocco gilt, spine slightly faded, 8vo, together with Tomkinson (James, editor). The Diary of a Cavalry Officer in the Peninsular and Waterloo Campaigns 1809-1815, by the Late Lieut.-Col. William Tomkinson, 1st edition, London: Swan Sonnenschein, 1894, portrait frontispiece, folding maps and photogravure illustrations, annotations in red ink at foot of p.10 and scored in margins of p.8 & 10, previous owner inscription of Frederick L. Dashwood, late Cap. XVI Lancers at head of title, a few light spots, regimental annual dinner invitation, 1899 with annotations to verso loosely inserted, top edge red, later half burgundy morocco gilt, 8vo, plus Sturgis (Julian, editor). A Boy in the Peninsular War. The Services, Adventures and Experiences of Robert Blakeney, Subaltern in the 28th Regiment, an Autobiography, 1st edition, London: John Murray, 1899, half title, folding map, top edge gilt, later half morocco gilt, 8vo, with three others: Adventures with the Connaught Rangers 1800-1814, by William Grattan, edited by Charles Oman, new edition, 1902, With Napoleon at Waterloo and other unpublished documents of the Waterloo and Peninsular Campaigns. Also papers on Waterloo by the Late Edward Bruce Low, edited by Mackenzie Macbride, 1911, and Wellington's Army 1809-1814, by C.W.C. Oman, 1912 QTY: (6)
Neale (Adam). Letters from Portugal and Spain; Comprising an account of the Operations of the Armies under their Excellencies Sir Arthur Wellesley and Sir John Moore, from the Landing of the Troops in Mondego Bay to the Battle at Corunna, 1st edition, London: T. Gillet for Richard Phillips, 1809, engraved map frontispiece, 12 engraved plates, some offsetting and light spotting, contemporary half calf, rebacked with original spine relaid, joints and edges a little rubbed, 4to, together with Moore (James). A Narrative of the Campaign of the British Army in Spain, Commanded by His Excellency Lieut.-General Sir John Moore, K.B., Authenticated by official papers and original letters, 2nd edition, corrected, London: printed for Joseph Johnson, 1809, engraved portrait frontispiece, 2 folding engraved plans, offsetting to opposite leaves from plates, endpapers renewed, contemporary half calf, upper joint cracking, a little rubbed, 4toQTY: (2)
Pattison (Frederick Hope). Personal Recollections of the Waterloo Campaign, in a series of letters to his grand-children, 2nd edition, Glasgow: printed for private circulation, 1873, photographic portrait frontispiece inscribed by the author & dated 4th November 1872, presentation inscription from the same to front endpaper verso, red ink stamps, 1943 front and rear, all edges gilt, original cloth, edges slightly rubbed, large 8vo, together with Clerk (Archibald). Memoir of Colonel John Cameron, Fassiefern, K.T.S, Lieutenant-Colonel of the Gordon Highlanders, or 92nd Regiment of Foot, Glasgow: printed for Sir Duncan Cameron by Thomas Murray, 1858, tinted lithograph portrait frontispiece, 2 tinted lithograph plates, United Service Club presentation label from Sir Duncan Cameron, contemporary half morocco, upper joint splitting, tear and loss at foot of spine, joints and edges rubbed, 4to, plus Crosthwaite (J. Fisher). Brief Memoir of Major-Gen. Sir John Geo. Woodford K.C.B, K.C.H., London & Keswick, 1881, mounted photographic portrait frontispiece, additional title, illustrations, inscription erased from front endpaper, original cloth gilt, some fading, 8vo, with other memorials and reminiscences etc including Reminiscences of Lieut.-Gen. Staveley, C.B., 1866, A Soldier in Time of War; or, the Military Life of Mr. John Stevenson, 1841, Lucia Elizabeth Balcombe's Recollections of the Emperor Napoleon during the first three years of his captivity on the Island of St. Helena, 1844, Reminiscences of My Military Life from 1795 to 1816, by the Late Lieut.-Col. Chas Steevens, formerly of the XX Regiment, edited by his son Lieut.-Col. Nathaniel Steevens, Winchester, 1878, Reminiscences 1808-1815 Under Wellington, by Captain William Hay, edited by his daughter Mrs S.C.I. Wood, 1901, and A Memoir of Major-Gen. Sir Denis Pack, by his grandson Denis R. Pack-Beresford, 1908 QTY: (20)
Porter (Sir Robert Ker). A Narrative of the Campaign in Russia, during the year 1812, 1st edition, London: Longman, Hurst, Rees, Orme and Brown, [1813], half title, engraved portrait frontispiece of Prince Koutousotf, two folding partly-coloured maps (small reinforcements to verso), advertisement leaf at end, some light offsetting from plates, contemporary half calf, rebacked, 4to QTY: (1)
Wilson (Robert Thomas). History of the British Expedition to Egypt; To which is subjoined, a sketch of the present state of that country and its means of defence, 2nd edition, London: printed by C. Roworth, 1803, half title, engraved portrait frontispiece of Sir Ralph Abercromby, folding engraved maps of the Nile, 3 folding partly hand-coloured battle plans, 2 folding tables, some light toning to plates, light offsetting and spotting, modern calf-backed boards, spine slightly faded, 4to QTY: (1)
Wright (George Newenham). Life and Campaigns of Arthur, Duke of Wellington, 4 volumes, 1st edition, London: Fisher, Son & Co., [1839-41], additional engraved titles, engraved dedication in volume I, 46 engraved portraits, 5 maps (Plan of Battle plate called for at p. 10 in volume IV not present but unclear if it was ever published), some offsetting and light toning, contemporary half calf gilt, a little rubbed, 8vo, together with Clarke (Francis L.). The Life of the Most Noble Arthur Marquis and Earl of Wellington, 3 volumes, 1st edition, London: J. and J. Cundee, [1812-1817/], engraved portraits and assitional titles, to each, 28 engraved plates and maps, some offsetting, light spotting and browning, bookplates, contemporary half morocco over original boards, a little rubbed with some edge wear, 8vo, plus Elliott (George). The Life of the Most Noble Arthur Duke of Wellington, from the period of his first achievements in India, down to his invasion of France, and the Peace of Paris in 1814, 1st edition, London: printed for Sherwood, Seely and Jones, 1815, engraved portrait frontispiece, folding map, advertisements at end, some light spotting, bookplate, contemporary half calf over original boards, slightly rubbed, 8vo, with two others: Sir Herbert Maxwell's The Life of Wellington, 2 volumes, 3rd edition, 1900, and George Gleig's Personal Reminiscences of the First Duke of Wellington, edited by Mary E. Gleig, 1904QTY: (11)
Wrottesley (George). Life and Correspondence of Field Marshal Sir John Burgoyne, Bart, 2 volumes, 1st edition, London: Richard Bentley, 1873, frontispiece to each, publisher's catalogue at end of volumes I, a few light spots, volume II hinges a little tender, bookplates of Charles Viscount Halifax, original cloth gilt, a little rubbed, a few marks to volume I upper cover, 8vo, together with Maurice (Sir J.F., editor) The Diary of Sir John Moore, 2 volumes, London: Edward Arnold, 1904, portrait frontispiece to volume I, folding maps, errata slip, bequeathal bookplates, original cloth gilt, water stain to volume I lower cover, 8vo, plus Carr-Gomm (Francis Culling). Letters and Journals of Field-Marshal Sir William Maynard Gomm, G.C.B. Commander-in-Chief of India, Constable of the Tower of London &c. from 1799 to Waterloo, 1815, London: John Murray, 1881, portrait frontispiece (detached), bequeathal label from the author, original cloth gilt, spine faded, 8vo, and Oman (Charles). A History of the Peninsular War, 7 volumes, Oxford: Clarendon Press, 1902-1930, numerous colour maps, some folding, illustrations, a couple of volumes with added rear pockets containing maps and press cuttings, occasional spotting, original cloth gilt, some fading to spines, small ink stains to volume I upper cover, 8vo, together with approximately 85 other cloth-bound including Recollections of Sir George B. L'Estrange, circa 1880, Napoleon's British Visitors and Captives 1801-1815, by John Goldworth Alger, 1904, J.W. Fortescue's The County Lieutenancies and the Army 1803-1814, 1909, The Great Duke, by W.H. Pritchett, 2 volumes, 1911, Recollections of a Peninsular War Veteran, by Lt.-Colonel Joseph Anderson, 1913, The Life of a Regimental Officer During the Great War 1793-1815, compiled from the correspondence of Colonel Samuel Rice... by A.F. Mockler-Ferryman, 1913, and The Depot for Prisoners of War at Norman Cross Huntingdonshire. 1796 to 1816, by Thomas James Walker, 1913 QTY: (approximately 100)
Adler (Michael, editor). British Jewry Book of Honour, London: Caxton Publishing Company, 1922, portrait frontispiece, black and white illustrations after photographs throughout, occasional spotting, a few leaves cut with loss to margins, hinges repaired, original blue cloth gilt, 4to, together with:The London and North Western Railway Company's Roll of Honour, circa 1920, a few light spots, some leaves loose, contemporary blue cloth gilt, oblong 4to, withLégion D'Honneur, annuarie officiel, Paris: Librairie Aristide Quillet, circa 1929, advertisements to front and rear, black and white illustrations to preliminaries, hinges tender, original red morocco gilt, 4to, with approximately 30 others related, including Balliol College War Memorial Book 1914-1919, 2 volumes, 1924, Tonbridge School and The Great War of 1914-1919, Whitefriars Press, 1923, Downside & The War, 1914-1919, Downside School, 1925, The Wellington Regiment N.Z.E.F., 1914-1919 by W.H. Cunningham, C.A.L Treadwell, & J.S Hanna, Wellington, 1928, The War Record of Old Dunelminas, 1914-1919, edited by Captain A. Rodrick Thompson and Captain E. Watts Moses, Sunderland, 1919, Memorials of Old Boys and Masters of the Dragon School, Oxford who fell in the War, 1922, Leeds in the Great War, 1914-1918, A Book of Remembrance by William Herbert Scott, Roll of Honour in Memory of the Employees of the General Electric Company...Who Gave their Lives in the Great War 1914-1919, circa 1920, etcQTY: (approx 35)
Atkinson (C.T). The South Wales Borderers 24th Foot 1689-1937, Cambridge: Cambridge University Press, 1937, engraved portrait frontispiece, illustrated endpapers and pastedowns, full-page illustrations throughout (many colour), occasional light spotting, contemporary green morocco gilt, top edge gilt, 8vo, together with: Barrett (C.R.B, edited). The 85th King's Light Infantry, London: Spottiswoode & Co, 1913, frontispiece, full-page illustrations throughout (many colour), occasional spotting and toning, original black half morocco gilt, worn, 8vo, together with: Atkinson (C.T). History of the Royal Dragoons 1661-1934, Glasgow: University Press, [1934], mounted colour frontispiece, mounted colour illustrations, further black and white illustrations, occasional toning, original red cloth gilt, some light wear, 8vo, with approximately 35 others related, The Campaigns and History of the Royal Irish Regiment from 1684-1902 by Lieutenant-Colonel G. Lem. Gretton, 1911, History of the Duke of Wellington's Regiment [1st & 2nd Battalions], 1881-1923, by Brigadier-General C. D. Bruce, 1927, 5000 Miles with the Cheshire Yeomanry in South Africa by John H. Cooke, (with presentation inscription by the Author dated Xmas 1918), 1914, 'Ich Dien' The Prince of Wales's Volunteers (South Lancashire) 1914-1934, by Captain H. Whalley-Colley, 1935, The History of the Tyme Electrical Engineers, War Engineers, 1935, History of the Royal Norfolk Regiment 1919-1951, volume III, by Lieutenant-Commander P. K. Kemp, 1953, Royal Wilts by Leut-Colonel Pitt, 1946, A History of the South Staffordshire Regiment (1705-1923) by James P. Jones, Wolverhampton, 1923, Eighth Battalion The Durham Light Infantry by Major P. J. Lewis, 1949, The History of the 3rd Durham Volunteer Artillery, now part of The 274th (Northumbrian) Field Regiment 1860-1960, by Brigadier O.F.G. Hogg, 1960, The History of the 4th Battalion Kings Oswestry Shropshire Light Infantry, 1745-1945 by Leut-Commander P.K. Kemp, The Shropshire Yeomanry, The Story of a Volunteer Cavalry Regiment by E.W. Gladstone, 1953, The Medals and Decorations of the British Army and Navy by John Horsley Mayo, 2 volumes, 1897QTY: (approx 40)
Berkeley (Reginald). The History of the Rifle Brigade in the War of 1914-1918, 3 volumes, London: The Rifle Brigade Club Ltd, 1927-36, frontispieces to first two volumes, black and white illustrations throughout (including folding maps), original blue cloth, medallion blocked in silver gilt to front boards, spines lettered in silver gilt, some wear and marks, 8vo, together with:Wurtzburg (C.E). The History of the 2/6th (Rifle) Battalion "The King's" (Liverpool Regiment), 1914-1919, Aldershot: Gale & Polden, 1920, portrait frontispiece, colour folding maps, black and white illustrations after photographs, lightly spotted, original green cloth gilt, lightly rubbed, 8vo, withMaurice (Frederick). The History of the London Rifle Brigade, 1859-1919, London: Constable & Company, 1921, portrait frontispiece, 17 maps and plans (some folding), 5 black and white illustrations after photographs, errata slip, contemporary ownership inscription and bookseller's stamp to front free endpaper, original green buckram, lettered and blocked in silver gilt, rubbed, 8vo, with 8 others related, including: CAC Kwson, The History & Records of Queen Victoria's Austria's Rifles 1792-1922, Constable & Company, 1923, A War Record of the 21st London Regiment 1st Surrey Rifles [1914-1919], 1927, The London Rifle Brigade, 1919-1950 by Major A.T. M. Durrand and Major R S W Hastings, 1952, The History of the 1st Seven Battalions the Royal Irish Rifles in The Great War, volume II, serial falls, 1925, Rifle Brigade Chronicle, three volumes, 1910, 1918 & 1922, The King's Royal Rifle Corps Chronicle, 1918 & A Rifle Brigade Who's Who 1905-1963 by Colonel W.P.S Curtis,QTY: (13)
Nicolas (Nicholas Harris). The Dispatches and Letters of Vice Admiral Lord Viscount Nelson, 7 volumes, London: Henry Colburn, 1844-46, frontispieces (many folding) to volumes 1, 2, 3, 4 and 7, further folding facsimiles to volumes 1 & 2, occasional light spotting, contemporary calf gilt, morocco labels, rubbed, 8vo, together with:Charnock (John). Biographical Memoirs of Lord Viscount Nelson, London: H.D. Symonds, 1806, portrait frontispiece, 6 engraved plates, spotted, textblock detached form backstrip, contemporary black half calf gilt over green marbled boards, rubbed, 8voQTY: (8)
Wyrall (Everard). The History of the Somerset Light Infantry (Prince Albert's) 1914-1919, 1st edition, London: Methuen, 1927, portrait frontispiece, black and white illustrations after photographs and folding maps throughout, armorial bookplate of Harold Hamilton Broadmead to front pastedown, hinges cracked, occasional spotting and toning, original black half morocco gilt, worn with loss to spine head, rubbed to extremities, 8vo, together with:Whalley-Kelly (H). "Ich Dein" The Prince of Wales Volunteers (South Lancashire) 1914-1934, Aldershot: Gale & Polden, 1935, portrait frontispiece, black and white illustrations after photographs and folding maps throughout (including to pocket at rear), preliminary leaves spotted, near-contemporary black half morocco gilt, red morocco spine labels, top edge gilt, rubbed, 8vo, withRiddell (E, & C Clayton). The Cambridgeshires 1914 to 1919, 1st edition, Cambridge: Bowes & Bowes, 1934, frontispiece, black and white illustrations throughout, folding map to rear, bookplate of Ernest J Martin to front pastedown, occasional light spotting, original blue cloth gilt, rubbed, 8vo, with approximately 30 others related, including: Activities of the British Community in Argentina during the Great War 1914-1919, by Arthur L Holder, 1920, Buenos Aires, History of the 1st & 2nd Battalions the Leicestershire Regiment in the Great War by Colonel H.C. Wylly, [1928], War Diary of the 1st Life Guards, First Year, 1914-1915, circa 1915, The Book of Remembrance of the 5th Battalion (Prince Albert's) Somerset Light Infantry, 1930, The Isle of Man and the Great War by B.E. Sargeant, Douglas, Isle of Man, circa 1920, Devonshire Regiment 1914-1918 by C.T. Atkinson, 1926, The 23rd (Service) Battalion Royal Fusiliers by Fred W. Ward, 1920, The 12th Royal Lancers in France August 17th 1914-November 11 1918, by Major H.V.S Charrington, Records of the Seventh Dragoon Guard (Princess Royal's) during the Great War by Captain F.J. Scott, 1923, History of the 520th (Field) Company R.E. (T.S.) formally known as the 2/3rd London (Field) Company RE 1914-1918, War Narratives published in Co, 1919, A History of the Army Ordanance Services by Major J. Forbes, volume 3 only, (The Great War) 1929, The History of the Cheshire Regiment in the Great War by Arthur Crookenden, circa 1925, History of the 1/1st Hants Royal Artillery during the Great War, 1914-1919 by Captain P.C.D. Munday, etc.,QTY: (approx 35)
Rankin (Daniel J). The Zambesi Basin and Nyassaland, 1st edition: London: William Blackwood and Sons, 1893, half-title, portrait frontispiece, three colour-printed folding maps, plates after watercolours throughout, lightly spotted and toned, original orange cloth, faded and rubbed, 8vo, together with:Selous (Frederick Courteney). Sunshine and Storm in Rhodesia, 1st edition, London: Rowland Ward & Co, 1896, frontispiece, black and white plates after photographs throughout, a few light spots, original beige cloth, some rubbing and fading, 8vo, with[Roberts, John S.]. The Life and Explorations of David Livingstone, LL.D., carefully compiled from reliable sources, London: John G. Murdoch, [1874], additional chromolithograph title with imprint of Adam & Co, 20 sepia lithograph plates (including frontispiece), bookplate of George Hobson to front pastedown, spotting, all edges gilt, original gilt-decorated black morocco, worn, 4to with 37 others relatedQTY: (40)
* Cricket. Young Cricketers, circa 1860, pencil and watercolour study of two boys holding cricket bats with a vignette of a cricketing scene in the distance, 335 x 260 mm, presented in a stained walnut frameQTY: (1)NOTE:Probably a commissioned portrait of two brothers, who had a passion for cricket.
Conduct Books. A sammelband of Jacobean conduct books, 1617-1632, 8 works bound in one volume, textblock partly detaching, contemporary calf with blindstamped lozenge device to centre of each cover, blind-ruled outer borders, with original chased metal clasp (attached with later leather to rear board, and without the leather attchment to upper board), spine with raised bands, some wear to edges, portion to head of spine missing (with old repair), 12mo, comprising:1. Raleigh (Sir Walter). Sir Walter Raleigh's Instructions to his Sonne: and to Posteritie. The second edition, corrected and enlarged according to the Authors owne coppy. London: Printed for Benjamin Fisher, dwelling in Aldergate-street at the Talbot, 1632, 99pp. (A6, B-G8, H2), engraved portrait frontispiece, woodcut head-pieces and decorative initials, ownership inscriptions to recto of frontispiece and verso of final leaf by Joseph Turner of 'Froxcoat [Foxcote] neare Withington Gloucestershire' dated 17672. [Cecil, William, Baron Burghley]. Certaine precepts, or directions for the well ordering and carriage of a mans life: as also Å“conomicall discipline for the gouernment of his house: with a platforme to a good foundation thereof, in the advised choice of a wife: left by a father to his son at his death, who was sometimes of eminent note and place in this kingdome. And published from a more perfect copy, then ordinary those pocket manuscripts goe warranted by. With some other Precepts and Sentences of the same nature added: taken from a person of like place, and qualitie, London: Printed by T. C[reede] and B. A[lsop] for Ri. Meighen, and Thom. Iones, and are to be sold at St. Clements Church without Temple Barre, 1617, [2], 41, [1] pp. (A2-8, B8, C7, blanks A1 and C8 at front and rear not present)3. [James I, King of England]. The Fathers Blessing: or Counsell to his Sonne. Appropriated to the generall, from that particular example of learning and pietie, his Maiestie composed for the Prince his Sonne. Seconded with many excellent observations, sentences and precepts, directing all men to a vertuous and honest life. Also, Prayers and Meditations. The sixt Edition, London: Printed by B. A[lsop] and T. F[awcet] for T. Jones, and are to be sold at his shop in S. Dunstans Churchyard, 1630, [22], 154 pp. (A2-12, B-G12, H4, A1 blank not present)4. Leigh (Dorothy). The Mothers Blessing: or, The Godly Counsell of a Gentle-woman, not long since deceased, left behind for her Children: containing many good exhortations, and good admonitions profitable for all Parents, to leaVe as a legacy to their children. By Mris. Dorothy Leigh. The sixteenth Edition. London: Printed by E.A. for Robert Allot, and are to be sold at his Shop, at the Beare in Pauls Church-yard, 1631, [16], 271, [1] pp. (A-E12, F8, G-M12), some soiling and light waterstains 5. [M. R.]. The Mothers Counsell or Live within Compasse. Being the last Will and Testament to her dearest Daughter, London: For Iohn Wright, and are to be sold at his shop in spur street without Newgate, at the signe of the Bible, 1630, lacks front blank, title and preface leaf ( A1-3), 42pp. of main text (A4-8, B-C8) present, printed in black and roman letter6. Jocelin (Elizabeth). The Mothers Legacie, To her unborne Childe. By Elizabeth Joceline. The fift Impression. London: Imprinted by G.P. for Robert Allot, and are to bee sold in Pauls Church-yard, at the signe of the Gray-hound, 1619, [38], 114pp. (A2-12, B-F12, G6, front blank A1 not present)7. Southwell (Robert). The dutifull advice of a loving Sonne to his aged Father, London: Printed for Benjamin Fisher and are to be sold at his shop in Aldersgate-street at the signe of the Talbot, 1632, title and 57pp. (A-C8, C6)8. Everinden (Humphry). A Brothers Gift: containing an hundred Precepts, instructing all sorts of people to a godly, honest, and morall life, London: Printed [by G. Eld] for John Wright, and are to be sold at his shop at the signe of the Bible without Newgate, 1623, 40 unnumbered pages (A-B8, C6), black and roman letter, two leaves (B6-7) close-trimmed to fore-margin, touching some lettersQTY: (1)NOTE:1. STC 20642.5. ESTC cites only one copy in the British Isles (Dulwich College); 2. STC 4897, ESTC S116127, EEBO 1405:05; 3. STC 14360; 4. This edition not traced; 5. STC 20583; 6. This edition not traced; 7. STC 156.3; 8. STC 10601.
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