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Preisdatenbank abonnierenPufendorf,S.v.: De rebus a Carolo Gustavo Sveciae rege gestis commentariorum libri septem... Nbg., Riegel 1729. Fol. Mit gest. Front., 12 Portrait-Kupfertaf., 3 Münzkupfern im Text u. 26 gest. Vign. 5 Bl., 626, 53 S., 5 Bl. Ldr. d. Zt. mit Rsch. u. Rverg. (Etw. berieb.). Lipperheide Ci 47. Zweite Ausg. (EA 1696) des Fürstenspiegels. - Ohne die 115 dplblgr. bzw. gefalt. Kupfertafeln. Insgesamt gutes Ex., 1 Portrait mit kl. Randläs., hs. Eintr. a.T.
Englisches Artzney-Büchlein.: 3 Tle. in 1 Bd. Lpz., Weidmann 1723-34. Mit 1 gest. Portrait-Front. Hprgt. d. Zt. (Berieb.). Waller 6043; 1117; 2135. - Jwls. übers. v. C. Ludovici. - ╔Enthält:╗ Lower,R. Recepte und Artzney-Mittel... 3 Bl., 217 S., 7 Bl. - Radcliff,J. Praescripta oder Recepte... 8 Bl., 306 S., 3 Bl. - Cornaro,L. Consilia und Mittel über hundert Jahr in vollkommener Gesundheit zu leben... 4 Bl., 319 S., 4 Bl. - Gering gebräunt.
Sarah Bradford signed HM The Queens 90th Birthday Miniature Sheet cover featuring the Royal Family Succession to the Throne Portrait and 4 stamps including the first Prince George stamp. Beautiful golden design, London SW1 21st April 2016 postmark. Bradford (born 3 September 1938) is an English author who is best known for her royal biographies. Number 10 of 130. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
HENRI MATISSE (1869-1954)Portrait de femme (Elvire van Hyfte) signed, inscribed and dated 'Henri Matisse Vence Janv, 46' (lower right)pencil on paper34.9 x 26.2cm (13 3/4 x 10 5/16in).Executed in Vence in January 1946Footnotes:The authenticity of this work was confirmed by the late Wanda de Guébriant.ProvenanceLouis Aragon Collection, Paris.Acquired from the above by the previous owner (circa 1978-1981); their sale, Christie's, London, 8 February 2007, lot 565.Dr Paul Cushman, Jr. Collection, US (acquired at the above sale).Thence by descent to the present owner.This work was drawn by the artist on the back of the cover of E. Tériade's Verve: revue artistique et littéraire (Vol. IV, no. 13, Paris, 1945).Dr Paul Cushman, Jr. epitomised the modern Renaissance man. A pioneering and compassionate physician at the forefront of treating opiate addiction, he was also a historical biographer of early Americans, a masterful bridge player, and a connoisseur of fine and performance arts. Born in New York City to Paul Cushman, Sr., a stockbroker and children's welfare advocate, and Cordelia Hepburn, a civic and welfare leader, both art collectors, Dr Cushman was exposed to the arts and the importance of service early in life. In addition to attending The Buckley School, Exeter, Yale, and Columbia Medical School, Dr Cushman served in the US Air Force as a medical officer. While stationed abroad in England, he met and married Paulette Bessire. Following his service, Dr Cushman returned to New York and became a devoted researcher and early champion of methadone for the treatment of opiate addiction. A founder of the American Society of Addiction Medicine, Dr Cushman ran one of the best regarded methadone clinics in New York in the 1970s and helped to treat thousands of people struggling with addiction. As a Professor of Medicine at the Medical Colleges of Wisconsin and Virginia, he worked to integrate substance abuse medicine into medical school curricula.In addition to an impressive medical career, Dr Cushman was an avid patron of the arts, including opera, ballet, and collecting fine paintings. His collection of Hudson River School paintings, which celebrate the grandeur of the American Landscape at the height of western expansion, includes impressive works by James Buttersworth, Asher B. Durand, George Inness, John F. Kensett, and Thomas Moran. This group of paintings is complemented by works by European masters Henri Matisse, Édouard Vuillard, and Maurice Utrillo. The present work, Portrait de femme by Henri Matisse, was once part of the collection of the celebrated poet Louis Aragon, with whom Matisse had a close friendship. Aragon wrote extensively on the artist's work, and he was also one of the founding members of the Surrealist movement together with André Breton. During the mature phase of his career, Matisse executed a series of pencil drawings wherein he captured his fascination for the human countenance and proved yet again his masterful draughtsmanship. In Portrait de femme, the swift lines on the bright white paper unfold as a play of positive and negative space. Drawn from close by, Matisse gives the portrait a certain layer of directness and intimacy, connoting a close relationship between the artist and sitter. The artist himself explained: 'My line drawing is the purest and most direct translation of my emotion. Simplification of means allows that. But those drawings are more complete than they appear to some people who confuse them with a sketch. They generate light; looked at in poor, or indirect light, they contain not only quality and sensibility, but also light and difference in values corresponding obviously to colour.... Once I have put my emotion to line and modelled the light of my white paper, without destroying its endearing whiteness, I can add or take away nothing further' (Matisse quoted in V.I. Carlson (ed.), Matisse as a Draughtsman, exh. cat., Baltimore, 1971, p. 18).The model for the present work was Elvire van Hyfte, who also sat for Matisse when he painted the resplendent composition L'Asie that same year in Vence (currently housed within the Kimbell Art Museum, Fort Worth, Texas). She is recognisable in both works from her strongly defined brow, almond-shaped eyes and delicate, plump lips. Born in the Belgian Congo in 1920, van Hyfte met Matisse in the South of France and enjoyed a long friendship with him, becoming an enduring source of refined beauty in his final series of oil paintings.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
JOHN ALEXANDER (SCOTTISH 1686 - 1766),LADY ANNA MARIA BARBARA RADCLIFFE 1713 - 1760oil on canvasimage size 77cm x 64cm, overall size 95cm x 81cm Framed. Note: In it's original frame, the portrait depicts Lady Anna Maria Barbara Radcliffe, aged 11, the daughter of James 3rd Earl Derwentwater, who was beheaded 1716, aged 26, for his part in the Jacobite rising of 1715; she later married Robert James, 8th Lord Petre.
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922),EDWARDIAN LADYoil on board, signedimage size 60cm x 45cm (oval), overall size 67cm x 52cm (oval) Framed. Note: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall (Walton's brother Richard having married Judith Crawhall in 1878) George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999),AUTUMN FLOWERS oil on canvas, signedimage size 75cm x 62cm, overall size 92cm x 79cm Framed. Note: William (Bill) Crosbie was a Scottish painter. His work hangs in all major museums and galleries in Scotland and is part of the Royal Collection. Crosbie was born in Hankow, China of Scottish parents. The family returned to Glasgow in 1926, where Bill attended Glasgow Academy and, from 1932 to 1934, the Glasgow School of Art. On leaving art school he travelled in Europe on a Haldane Travelling Scholarship. From 1937 to 1939 Crosbie lived in Paris, where he studied under Léger and Maillol. He described his time in Leger's studio as one of my proudest experiences. He was at the centre of what he once described as "a little local Renaissance", which included Hugh MacDiarmid, J D Fergusson, James Bridie, T J Honeyman, and Basil Spence. Other regulars at his studio were the refugee artists Jankel Adler and Josef Herman, as well as Duncan Macrae (whose portrait by Crosbie is now hanging in the People's Palace). An important part of Crosbie's work after the war were his mural paintings, largely commissioned through his association with architects like Basil Spence and Jack Coia. His commissions included a mural for the Festival of Britain in 1951. Crosbie also produced illustrations for books and designed the scenery for a ballet. Crosbie was among the finest and most singular Scottish painters of the twentieth century. His paintings hang in all the major museums and galleries in Scotland as well as the Royal Collection and the British Museum in London, and in private collections throughout the United Kingdom and abroad. There were major retrospective exhibitions of Crosbie's work at Aitken Dott's in 1980, Ewan Mundy's, 1990, and Perth Museum and Art Gallery, 1990.
HELEN STIRLING JOHNSTON (SCOTTISH 1888 - 1931),A SUMMER'S DAYoil on board, signed, titled label versoimage size 42cm x 49cm, overall size 52cm x 60cm Framed.Comment: it's highly likely that "A Summer's Day" is a self-portrait and the composition is a statement of feminine freedom which at the time would have been fairly radical.Note: Helen Stirling Johnston was born on the 28th of October 1888 and attended day classes in Drawing and Painting and Life Drawing at The Glasgow School of Art between 1907 and 1918. She established her reputation in Glasgow where she had a studio and was a prominent member of The Glasgow Lady Artists' Club. “Miss Johnston was one of the foremost lady artists in Scotland, and made Kirkcudbright her residence for several months each year”. She rented (from the Taylor's) a studio behind 9 High Street and became one of the group of women artists who created "a heady atmosphere of sisterly solidarity" in Kirkcudbright in the 1920s. Her obituarist saluted her "modernity" which was defined as consisting mainly of "her seeking light and then more light, so that her pictures became high-keyed and joyous in colour". Johnston exhibited at the Royal Scottish Academy where her first picture was accepted in 1919 and the last of twenty-four RSA pictures in 1931. She also exhibited at the RGI, at Liverpool, Kirkcudbright and in Glasgow. She died prematurely in 1931 following unsuccessful surgery.
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936),CARNOUSTIEoil on board, signedimage size 22cm x 29cm, overall size 35cm x 42cm Framed.Note: Robert Gemmell Hutchison was born at 35, North Richmond Street, Edinburgh on 1st July 1855. He was the first child of George Hutchison, a brass founder, and his wife Margaret Forman. Soon after his birth, the family moved to 37, Carrubbers Close, Canongate. It is not recorded which school Robert attended but he did not enjoy the experience! He was described as “scraping from class to class with as little work as possible, and, as soon as he could, leaving it gladly”. From the census of 1871, the family was still at 37, Carrubbers Close and had increased to seven; three sons and four daughters. With encouragement from his mother of whom he “always speaks with great reverence”, he was determined to become an artist and aged 17, enrolled at the Board of Manufacturers` School of Art in Edinburgh (also called the Trustees Academy). One of his instructors here was William McTaggart. He also attended the Royal Scottish Academy (RSA) Schools. At this time, he received valuable advice and help from the artist J. Campbell Noble RSA and thus encouraged, he sent some of his paintings to the RSA Annual Exhibitions. After several rejections, he was eventually successful in 1878 when he had three small landscapes exhibited: Youthful Labour, Quiet Pastures and A Country Well. One of these was bought by the Royal Association for the Promotion of the Fine Arts in Scotland and for which Hutchison received the sum of six guineas. He submitted the paintings from his studio at 1, India Buildings, Edinburgh. On 24th June 1879, Robert aged 23, married Janet Boe who was 21 and the daughter of a grocer in Biggar. The marriage took place at 4, Morningside Park, Edinburgh. On the marriage certificate he listed his occupation as “artist (figure painter)” and his address as 38, Jamaica Street, Edinburgh. The couple had nine children only five of whom survived infancy. These were four daughters; Jane (1880-1956), Marion Maud (1887-1963), Roberta Louise (1889-1966), Ann Carr Forman (1893-1978) and a son, George Jackson Hutchison who was born in 1895. After a period spent painting landscapes along the Fife coast, Robert began to specialise in scenes of Scottish rural life especially those involving children and in the year after his marriage, he had a painting The Empty Cradle exhibited at the Royal Academy (RA) in London. His studio was now at 53, George Street, Edinburgh. There followed five exhibits at the RA over the next decade. He continued to exhibit annually at the RSA and in 1886 was awarded a prize for his painting Boys Guddling Trout. From 1888 onwards he also exhibited at the Royal Glasgow Institute. At the 1891 Census he was an “artist, figure and portrait”, living at 4, Melville Place, Edinburgh with his wife and four daughters. His son George was born at the same address four years later. He began to paint and exhibit widely throughout Britain. A favourite location was Carnoustie in Angus where he had a house, “Coral Den”, in William Street. He also painted at Machrihanish, at Musselburgh and on the Farne Islands. Robert was elected to many prestigious institutions throughout the British Isles including the Royal Scottish Society of Painters in Watercolour, (RSW) in 1895, the Royal Society of British Artists (RBA), 1896, the Royal Institute of Oil Painters (ROI), and Associate of the Royal Scottish Academy (ARSA) in 1901. In 1903 he exhibited a work Bairnies Cuddle Doon at the Paris Salon. He was awarded a gold medal and the painting was purchased by the Scottish Modern Arts Association. He was awarded a second gold medal at the Paris Salon Exhibition of 1928 for his painting The White Seam. This was bought by Paisley Corporation and is now at the Paisley Museum and Art Gallery. Hutchison was elected to full membership of the RSA in 1911, replacing William McTaggart who had died the previous year. Several examples of Gemmell Hutchison's paintings have sold at auction in recent years for figures over and around £100,000. He retains his position as one of Scotland's best loved artists of the late 19th and early 20th century.
SIR JAMES GUTHRIE PPRSA (SCOTTISH 1859 - 1930),INTERIOR OF AN ARTIST'S STUDIOoil on canvas, signedimage size 58cm x 76cm, overall size 82cm x 100cm Framed.Comment: We cannot be certain that this picture is of Guthrie's studio but it's hard to believe that he would paint the studio of another artist.Note: Guthrie became one of the leading painters in the group of artists called the Glasgow Boys. His early works of rural subjects painted with broad square brush strokes show the strong influence of French painters such as Bastien-Lepage. Guthrie was born in Greenock and trained as a lawyer before turning to art. After brief but stimulating periods in London and Paris, he committed himself to painting directly from nature in Scotland. Guthrie also experimented with pastel drawings and established a reputation as a successful portrait painter. Best known in his own lifetime for his portraiture, he painted the great and the good and his portraits hang in the palaces of Royalty and the stately homes of the nobility around Scotland and the UK. However, over time Guthrie has become better known as an exceptional painter of Scottish Realism. His A Hind's Daughter, To Pastures New (aka The Goose Girl), A Funeral Service in the Highlands and Old Willy: A Village Worthy are among the most recognised images in the history of Scottish painting. He was elected President of the Royal Scottish Academy in 1902 and was knighted the following year. Guthrie's paintings are held in every significant Scottish public collection. Guthrie's "In the Orchard" a 152 x 178cm oil on canvas was sold on 13th November 2011 (lot 120) by Sotheby's, London for £601,250 (premium).
* WILLIAM MACDONALD (SCOTTISH 1883 - 1960),HOUSES AT RONDAoil on canvas, signedimage size 55cm x 45cm, overall size 79cm x 69cm Framed.Provenance: exhibited Royal Scottish Academy 1928 no 168.Note: William Macdonald was an Edinburgh painter who had trained in Paris and Madrid. He was a close friend of Cadell and Peploe and was a well established figure on the Edinburgh art scene by the early years of the 20th century. In 1925 he married fellow artist Beatrice Huntington and the couple settled in Edinburgh in 1928. Their gracious New Town flat in Hanover Street remaining their home for the rest of their lives. It housed a collection of paintings by both artists as well as works by their friends and contemporaries. Cadell painted a now well-known portrait of Macdonald (Portrait of a Man in Black) in the early to mid-twenties. He depicted his sitter as a smart and debonair character and by all accounts Macdonald was a stylish and handsome individual, at complete ease in any company. Macdonald's particular affinity for the arid landscapes of southern Spain had earned him the nickname William 'Spanish' Macdonald. Beatrice shared his love of travel and together they explored the Continent, returning frequently to the French Riviera and to southern Spain, choosing as their base the picturesque Mediterranean fishing village of Cassis in the South of France where they sometimes stayed with Samuel Peploe and his family. Kirkcudbright was another favoured location and they visited regularly staying with Jessie M King and EA Taylor. Macdonald often focussed on the juxtaposition of human architecture with monumental nature and "Houses at Ronda" reflects this with large trees in the foreground and imposing buildings behind. Like several Scottish artists before and after him, he appears to have had what we might nowadays describe as "environmental concerns". His broad brush strokes and strong compositional structure show colourist influences and yet Macdonald had a style which was distinctly his own. The Macdonalds spent much of the World War II years in Canada allowing them to continue to paint. Both William and Beatrice exhibited widely both at home and abroad throughout their lives.
John Barnicoat, British 1924-2013 - Portrait, c.1983-95; oil on panel, 31 x 30.5 cm: together with 2 other abstract compositions in acrylic and conte crayon on paper by the same artist, each signed and dated (date partially obscured by mount in the second work), 40.1 x 49.2 cm and 24 x 24 cm respectively (3) Please refer to department for condition report
AN EDWARDIAN SILVER VESTA CASE CHARLES LISTER, CHESTER 1900 Chased with flowers, foliage and a portrait of Queen Victorian in a heart shaped reserve 5.5cm (2 1/4in) high 30g (0.95 oz) Condition Report: Marks are partially obscured Hinge good Light scratches and wear commensurate with age and use Condition Report Disclaimer
LECOULTRE & CIE AN ART NOUVEAU GOLD COLOURED KEYLESS WIND OPEN FACE FOB WATCH, FRANCE 1838 - 1919 SMALL GUARANTEE MARK, NO. 66474 Movement: Swiss cylinder, three armed flat balance, flat balance spring Case: Gold coloured three piece hinged case, the cover chased with a female portrait with a diamond set collar, stamped with a poinçon Dial: White Size: 24mm Signed: Movement Accessories: None Condition Report: Movement is currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition. Glass has some scratches and marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Hinges appear intact. Crown has light scratches when viewed under a 4x loupe. This lot does not come with box or papers. 18g gross Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
An early 20th century miniature painting of an angel praying, unsigned 11.5cm x 5cm, mounted in a gilt metal and green velvet frame; and a mid 20th century miniature oval portrait bust of a young lady, signed indistinctly to right side, 6cm x 5cm in a gilt metal frame with simulated ivory panels, along with a group of signed and unsigned engravings, unframed Location: RAM
FREDERIC, LORD LEIGHTON, PRA (1830-1896). PORTRAIT STUDY OF THE ARTIST'S SISTER, ALEXANDRA, MRS SUTHERLAND ORR (1828-1903). With later inscription Mrs Sutherland Orr/ an unpublished Portrait sketch/ by her brother, Lord Leighton, PRA, pencil sketch of parkland verso, the portrait executed in charcoal heightened with white, modern circular mount, Sight 20.5cm., * Possibly a preparatory study for Leighton's 1853 portrait of his sister. * Some pale spotting; handling marks etc. **BP 22.5% inc VAT + Lot Fee of £8
ITALIAN SCHOOL, 19TH CENTURY. PORTRAIT OF LEONARDO DA VINCI; PORTRAIT OF BACCIO BANDINELLI. A pair, oil on panel, Each 21 x 16.5cm approx. (2), * Derived from original compositions probably by Leonardo da Vinci and by Andrea del Sarto. * Each generally good; some slight grazes and each in need of a light clean. **BP 22.5% inc VAT + Lot Fee of £8
JOHN TAYLOR (1585-1651). In the manner of. PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS WILLIAM SHAKESPEARE. Quarter length, wearing a black doublet and white lace collar, with a painted oval, oil on metal, 27 x 23cm. * Some light, scattered retouching; carved giltwood frame. **BP 22.5% inc VAT + Lot Fee of £8
NELLIE JOSHUA (1877-1960). HEATHERLEY'S ART SCHOOL, c.1902. (d) Oil on canvas, 60 x 50cm., Exhibited: London, Barbican Art Gallery, The Edwardian Era, November 1987-February 1988, no 56. Page 40 in catalogue., , Heatherley’s, founded in 1845, is one of the oldest independent art schools in London and was the first to admit women to the life room on equal terms with men. In Joshua’s closely observed work she depicts the school’s large collection of historical dress, ceramics and armour which formed a costume studio for the use of students. One of the two students depicted - both wearing matching painting smocks in hues of blue - is likely to be a self-portrait. * Lined; some associated retouching. **BP 22.5% inc VAT + Lot Fee of £8
JAMES MILLER (1893-1987). SELF PORTRAIT IN THE STUDIO. (d) Signed, oil on canvas, 126 x 70cm., Exhibited: Glasgow Art Club, 1940, , Literature: Lesley Duncan, `James Miller R.S.A.’ (pub. Royal Scottish Academy 1990), , The artist depicts himself in his mid forties. One of his own nocturnes hangs on the wall behind him., , In her monograph on the artist (in which this painting provides the cover image), Leslie Duncan notes that the self-portrait shows Miller in young middle age with flamboyant high brimmed hat and long white coat, its folds skilfully rendered. `Behind the round spectacles his eyes look intently at his easel rather than the viewer. He was not concerned with self-flattery. The wide-spread feet, however, and the figure’s whole mien speak of confidence in his own presence and talents’. * Lined; replaced stretchers; some associated retouching. **BP 22.5% inc VAT + Lot Fee of £8
STEPHEN BONE (1904-1958). FOUR UNFRAMED OILS ON CANVAS. (d) Comprising a Still Life of Flowers in a Jug, 55 x 46cm; a Portrait of the late E V Lucas, label verso, 51 x 61cm.; another Portrait of a Lady, 61 x 51cm.; and a small landscape sketch, 25.5 x 30.5cm. (4). * Generally good condition. **BP 22.5% inc VAT + Lot Fee of £8
STEPHEN BONE (1904-1958). PORTRAIT OF SIR MUIRHEAD BONE. (d) Seated in an Orkney chair, sketching an architectural subject, a distant view of Oxford through a window beyond, oil on canvas, unstretched, unframed, Image 128 x 97cm approx, * Sir Muirhead and his wife lived at Grayflete, Vernon Avenue, Oxford from 1933, in a house designed by Bone himself. * Rolled; some associated losses. **BP 22.5% inc VAT + Lot Fee of £8
STEPHEN BONE (1904-1958). SELF PORTRAIT OF THE ARTIST IN HIS STUDIO. (d) Oil on canvas, unstretched, 50.5 x 62.5cm;, with a portrait of Professor Gilbert Murray, signed; another portrait; and a study of steel workers by the same hand, all unstretched, various sizes (4). * Some inevitable creases and faults. **BP 22.5% inc VAT + Lot Fee of £8
LIMOGES ENAMEL PLAQUES - ROYALTY. Two interesting Limoges enamel plaques, of roughly oval form and each with a central portrait of a lady and gent - probably Royal figures. Each mounted on a velvet ground and in ebonised frames. Plaques 8cms by 6cms, frames 19cms by 16cms. (2), *They could possibly represent Louis, Grand Dauphin (son of Louis XVI) and his consort Maria Anne Victoria of Bavaria. * Both have some damages and repairs around the bottom of the plaques. **BP 22.5% inc VAT + Lot Fee of £8
An Interesting Group of 19th Century and Later Portraits, Queen Victoria signed(?) and dated 1897 in ink on image; OTHO FITZGERALD (1827-1882) annotated royal group portrait with Dutchess of Cambridge etc., with photograper's blindstamp; YOUSEF KARSH (1908-2002) portrait of Princess Alice , Countess of Athlone, annotated by her to the border and verso, signed in white ink recto by the photograper; CdV of Louis Daguerre by MAYER & PIERSON c.1855-60 (from an 1848 Daguerreotype); CdV of Julius Benedict By JOHN & CHARLES WATKINS C.1860; two 19th century Russian portraits with inscriptions, (6)
A Large Collection of Vintage Press Photographs, European Royalty, World Dignitaries, vintage gelatin silver prints, many with details verso, press prints include 20+ of European royals, from 1220s on, mostly 1930s, Prince Andrew of Greece 1922, Wilhemina of Holland & King of Sweden 1923, Otto, son of last Hapsburg Emperor 1929, Juliana of Holland weds Prince Bernhard 1937, Bulgarian royals, etc etc, large print 1912, Winston Churchill's 38th birthday Royal Navy, WWII De Gaulle, later Australian, New Zealand, American, Afgan ministers 1960s, diplomats etc, U Thant, Keith Holyoak, Robert Muldoon, three prints of Margaret Thatcher, portrait by Lord Litchfield, a variety of other interesting annotated photographs, 100+
A Large Collection of Early Photography Books, Collection of photographic books comprising: The Practical Photographer – Volume 5, by Percy Lund & Co, 1894; The British Journal Photographic Almanac, by Henry Greenwood & CO, 1941; The Practical Photographer – Volume 2, by Percy Lund & Co, 1891; The Year–Book Of Photography, by Thomas Bolas, 1886; The British Journal Photographic Almanac, by George E. Brown, 1922; The Ilford Manual Of Photography, C. H. Bothamley, A Handbook Of Photography In Colours, by Thomas Bolas, 1900; A History And Handbook Of Photography, by J. Thomson, 1878; Practical comprising of: Photography, by O. E. Wheeler; Bromide Printing, by F. C. Lambert, 1909; Photo Handbook, by Alec. J. Jones; The British Journal Photographic Almanac, by Henry Greenwood & Co, 1947; The Photographic Studio, by T. Bolas, 1895; Burton’s Modern Photography, by W. K. Burton, 1887; The Optics Of Photography And Photographic Lenses, by J. Traill Taylor, 1898; The Portrait Studio – Third Edition, by Henry Greenwood & Co; Photography For Amateurs, by T. C. Hepworth, 1890; Everybody’s Guide To Photography, by “Operatorâ€; A Practical A.B.C Of Photography, by E. J. Wall; Photography On Tour, by Iliffe & Sons Limited; The ‘Kentmere’ & ‘YTO’ Photographic Papers & Cards, by Kentmere LTD; The British Journal Photographic Almanac, by George E. Brown, 1915; Three-Colour Photography, by Von Hübl, 1915, (a lot)
Ireland (William Henry), England's Topographer, or a new and Complete History of the County of Kent; From the earliest records to the present time, including every modern improvement. Embellished with a series of views from Original Drawings by Geo. Shepherd, H. Gastineau, &c., 4 volumes, London: George Virtue, 1828-30, engraved title to volume 1, folding engraved map, 124 engraved plates, some spotting and browning, contemporary calf, elaborate gilt decorated spines with contrasting morocco labels, 8vo, together with:Dearn (Thomas Downes Wilmot), An historical topographical and descriptive account of the Weald of Kent, Cranbrook: S. Reader, 1814, eight uncoloured aquatint plates (including frontispiece), engraved map, edges untrimmed, contemporary marbled calf, rebacked and corners repaired, 8vo (Abbey Scenery 175),Dunkin (John), The History and Antiquities of Dartford, with topographical notices of the neighbourhood, London: John Russell Smith, 1844, engraved portrait frontispiece, chromolithograph title, few lithograph and engraved plates (one hand-coloured), modern calf gilt, 8voQTY: (6)
Kilburne (Richard). A Topographie, or Survey of the County of Kent. With some chronological, historicall, and other matters touching the same: and the several parishes and places therein, London: Printed by Thomas Mabb for Henry Atkinson, 1659, engraved portrait frontispiece, bound without leaves 3D3, 3D4 & 3H4, also without 3K2 (blank), early 19th century half calf, lacking upper board, worn, small 4toQTY: (1)NOTE:Wing 434.
Cantemir (Demetrius). The History of the Growth and Decay of the Othman Empire, 1st edition in English, 2 parts in 1, London: James, John, and Paul Knapton, 1734-35, mezzotint portrait frontispiece, folding engraved plan of Constantinople, 22 engraved plates, lacking 4pp list of subscribers, bookplate of R M Burrell to front pastedown, damp-stained to lower margin throughout (affecting text and plates), hinges repaired, contemporary speckled calf gilt, rebacked with original spine laid on, boards water damaged, worn, folioQTY: (1)NOTE:Atabey 190; Blackmer 281. ESTC T136520. 'Nicholas Tindal translated this history of Turkey into English from Cantemir's Latin manuscript brought to England by his son Antiochus, who was Russian ambassador to England. Cantemir himself served as Hospodar of Moldavia in 1710. His history was considered authoritative, and it was only superseded by von Hammer's monumental history of the Ottoman Empire'. (Atabey)
Bewick (Thomas). A History of British Birds, 2 volumes (land & water birds), Newcastle: R.E. Bewick, 1832, wood engraved vignette illustrations, armorial bookplate of Thomas Sanderson to upper pastedowns, top edges gilt, near contemporary dark green half morocco, gilt decorated spines, extremities a little rubbed, 8vo, together with:Yarrell (William), A History of British Fishes, 2 volumes, 2nd edition, London: John Van Voorst, 1841, wood engraved illustrations, contemporary calf, gilt decorated spines with contrasting morocco labels, upper panel of spine to volume 2 worn with loss, extremities rubbed, 8vo,Goldsmith (Oliver), A History of the Earth and Animated Nature, 2 volumes, London: Blackie & Son, 1872, engraved portrait frontispiece and additional hand-coloured engraved titles to each, numerous engraved plates including some hand-coloured, wood engraved illustrations, contemporary half calf, 4toBingley (William), Useful Knowledge; or, a familiar account of the various productions of nature, mineral, vegetable, and animal, which are chiefly employed for the use of man, 3 volumes, 5th edition, London: Baldwin & Cradock, 1831, engraved frontispiece to each, 13 engraved plates, some offsetting and scattered spotting, contemporary half calf, morocco labels to spines, extremities rubbed, 12moQTY: (9)
Fuchs (Leonhart). New Kreüterbuch, 1st edition in German, Basel: Michael Isingrin, 1543, 517 full-page woodcut illustrations, woodcut portrait of Fuchs on verso of title, woodcut portraits of the artists to rear, woodcut printer’s device on title and last leaf, three historiated woodcut initials, early inscriptions to title lower margin 'Presentem monstrat quae liber herba Deum' & 'Erechielis Falckysii et amicorum constrat...', early references in German to rear pastedown, small concomitant wormhole to lower outer margin of last few gatherings, occasional light spotting and dust-soiling (but generally clean), some gatherings with faint old damp-stains to upper margin, a few plates stained, a few leaves with small closed marginal tears, near-contemporary blindstamped pigskin over wooden boards, dated 1578 in blind to front board, brass cornerpieces, faded title in manuscript to spine, lacking brass clasps, lacking headcap, base of spine worn and showing, some wear, folioQTY: (1)NOTE:Adams F1107; Nissen BBI 659; Hunt 48; PMM 69. First edition in German of "Perhaps the most celebrated and most beautiful herbal ever published' (PMM). Only preceded by the Latin edition of 1542, this edition was expanded to include 5 new woodcuts, "Hunerbis," "Spitziger Wegerich," "Klein Schlangen kraut," "Knabenkrautweible, das mittel," and "Kuchenschell.As stated in the preface, Fuchs wished to reach a wider audience with the German edition, believing that the Latin edition had been restricted to purely academic use. He however wanted to make the work accessible to anyone interested in plants and the remedies they produced. In keeping with this, Fuchs took the opportunity to augment this edition with an index of illnesses treatable with herbs. Albert Meyer produced the drawings, mainly based on plants in Fuchs's garden at Tubingen. These were transferred to woodblock by Heinrich Fullmaurer and cut into wood by Viet Rudolph Speckle.
Clapperton (Hugh). Journal of a Second Expedition into the Interior of Africa, from the Bight of Benin to Soccatoo, 1st edition, London: John Murray, 1829, half title, mezzotint portrait frontispiece, folding map (with short closed tear), single page engraved plan, occasional light spotting, a few small ink stamps of the Bibliotheca Edinensis, contemporary previous owner signature, 1829 to front pastedown, original cloth-backed boards, paper label to spine, spine faded and bumped at head, some light edge wear, 4to QTY: (1)
Cambridge. Lee (Kerry), Cambridge, " This immense & glorious work of fine intelligence...," Pictorial Maps Ltd., circa 1946, colour printed decorative map, very slight creasing, slight dust soiling to the margins, 440 x 585 mm, together with North (Stanley Kennedy). British Empire Exhibition 1924, Wembley Park April - October, Its Situation Described in Relation to the Railways of London, Dobson, Molle & Co. Ltd, Edinburgh, Liverpool & London, 1924, colour lithographic pictorial map of the layout of the British Empire Exhibition, old folds partially strengthened on verso, 495 x 735 mm, printed on the verso are guides to the various pavillionsQTY: (2)NOTE:The first described item is a whimsical and semi-allegorical map with a charming self-portrait of the artist Kerry Lee. He can be seen in the lower right corner, his name signed on a piece of paper with his faithful dog, Jim sitting by his side. The second item is by the mapmaker, Stanley Kennedy North (1887-1942), who has drawn upon a number of cartographic influences, especially the arts and crafts style of the maps of his contemporary Leslie MacDonald Gill (1884-1947). North later became an accomplished picture restorer and became the 'Keeper of the King's Pictures', a semi-formal role, later filled by the Soviet spy Sir Anthony Blunt. The British Empire Exhibition at Wembley was almost a last hurrah for the Empire as it wained and declined and eventually evolved into the British Commonwealth. It was for this exhibition that the original Wembley Stadium had been built and which had opened the previous year.
Cook (James). A Voyage to the Pacific Ocean; undertaken by command of His Majesty, for making discoveries in the northern hemisphere: performed under the direction of Captains Cook, Clerke, and Gore, in the Years 1776, 1777, 1778, 1779, and 1780. Being a copious, comprehensive, and satisfactory abridgement of the voyage written by Captain James Cook, F.R.S. and Captain James King, volumes 1-3 only (of 4), London: John Stockdale, Scatcherd and Whitaker, John Fielding, and John Hardy, 1784, half-titles to volumes 2 & 3, engraved portrait frontispiece to volume 1, 44 engraved plates (including 1 folding), one folding engraved map, occasional scattered spotting, contemporary tree calf gilt, contrasting morocco labels to spines, joints cracked and light wear mostly to spines, 8voQTY: (3)NOTE:The first Octavo Edition.
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