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283284 Los(e)/Seite
Los 6212
Antiker Bilderrahmen, z. B. für ein Portrait, massiver Nadelholzrahmen mit Stuckauflagen, ovaler Bildausschnitt ca. 76 x 55 cm, lichtes Rahmenmaß ca. 80 x 59 cm; stellenweise Abplatzungen, Fehlstellen, Schäden. Insgesamt guter unrestaurierter Erhalt mit überwiegend schön erhaltener original Vergoldung. Maximales Außenmaß c. 104 x 82 cm.
Los 7012
Portrait des (Johann) Julius (Christoph) Tuve, Gemälde, Öl auf Leinwand, ca. 45 x 36 cm, unsigniertes Gemälde aus der Zeit um 1820/30, in feinem Rock freundlich blickender Herr mittleren Alters. Goldrahmen beigegeben, max. Außenmaß ca. 60 x 51 cm. Schöner Erhalt. Passend zu den Lot-Nrn. 9003 und 9004.
Los 6604
Sydney Noel (Noël) Simmons (British 1880-1916): An Interior Scene with Girl Toasting Bread by the Fire with Self Portrait of Artist in Mirror on the Mantle, oil on canvas unsigned 60cm x 50cm Notes: The attribution was suggested by Professor Kenneth McConkey in a communication to Paul Liss dated April 2021, kindly supplied to us via Charles Beddington: "I think this is the work of Sydney Noel Simmons who died on the Somme. I first encountered him about 20 years ago and reproduced a b/w illus in the NEAC book in 2006 (p.90). His interiors are all slightly awkward - as here - in that he stood too close to his figures (more Tonks than Steer in this), but painted them in side view, giving the impression that the perspective is wonky. The mirror reflecting the artist and back wall parallel to the picture plane are all Orpen-esque, although the handling here, is much clumsier than anything you'd find in Orpen - but then I suppose, around 1905-10, he was still finding his feet." We are grateful for their assistance with our catalogue entry. Sydney Noel Simmons died at 35 years old after sustaining injuries in the battle of the Somme in 1916, he exhibited at the RBA and other notable British galleries such the Walker Art Gallery and the Manchester City Art Gallery.
Los 295
A Second World War kukri, the scabbard having a theatre-made webbing cover and belt loop, 48 cm, (kukri devoid of markings), together with a leather covered swagger cane, a portrait photograph of its original owner, Major William Howarth, Royal Indian Artillery, a military pamphlet "Colloquial Hindustani for British Troops", and a Road Map of India, the latter inscribed and identifying routes taken by Howarth
Los 51
Three Intaglio Rings, finger sizes Q, V and XTwo hallmarked 9 carat gold - 16.8 grams. One stamped '10K' - 6.5 grams.Roman soldier portrait bust - engraved hardstone with some light surface scratches and a small chip to the underside of the bust at the rim, metal with some dents, rubbing and wear.Female portrait bust - engraved hardstone, some very light surface scratches, repair to the shank under the lower edge of the intaglioRoman soldier bust - cast in white metal, general wear.
Los 381
Royal Autographs & Ephemera. A gilt calf album with embroidered decoration housing loosely-inserted correspondence & ephemera relating to Queen Victoria and the Royal Family, comprising: Queen Victoria (1819-1901), autograph letter on Osborne letterhead, challenging to transcribe but seemingly requesting to know the height of a male donkey; a mounted clipping of 'The Queen's writing', presumably taken from a piece of correspondence addressed by Victoria, inscribed in ink, 'Sir Henry Ponsonby G.C.B.' [Queen Victoria's Private Secretary], ruled through in pencil and inscribed 'Sir John Cowell' [Master of the Queen's Household]; Princess Helena (1846-1923), autograph letter signed, addressed to her mother, Queen Victoria, on Cumberland Lodge letterhead, 23 April 1884, 'Darling Mama, I am sending you a little book I think you may like to have. Some of it is very beautiful - indeed I like it all. Your devoted child, Helena'; Princess Victoria of Saxe-Coburg-Saalfeld (1786-1861), embroidered sample in paper envelope inscribed in ink, 'Rug worked by H.R.H. The Duchess of Kent, put away Dec 10 1858'; lithographic letter granting permission to visit Osborne House, headed in ink, 'Windsor Castle, November 17 1897', and signed 'F. I. Edwards' [Fleetwood Edwards, Keeper of the Privy Purse]; a lithographic letter sent on behalf of Queen Victoria from Windsor Castle, 9 July 1897, thanking Lord Lathom and all those in the Lord Chamberlain's Department for their contribution to the jubilee celebrations; a handwritten admittance card for Mr Wickenden to visit Osborne Grounds, 1901, signed Andrew Slater; four menu cards, 1896-97, for Her Majesty's Dinner, the Royal Luncheon, and the Royal Wedding Breakfast, two of which are manuscript, including an 'Indian Dish of chicken curry & rice'; a printed sheet detailing the 'Arrangement of Carriages' for Her Majesty's Train from Ballater to Windsor on the London and North Western Railway, 1896; two printed orders of service for the funeral of Queen Victoria, one inscribed 'amended copy 31.1.01'; a stipple-engraved portrait of Princess Beatrice; a photogravure portrait of Queen Victoria; two steel-engraved topographical views of Whippingham Church and View from Shanklin Down; five unused royal letterheads and one unused envelope, including Buckingham Palace; two newspaper clippings. The blank album itself has evidently been used as a blotting pad, and several offset impressions of Queen Victoria's signature are present. Together with a framed lithographic letter from Princess Beatrice on Osborne Cottage letterhead, 1902, sending the 'children' each a medal to commemorate the Coronation of King Edward VIIPlease note this Lot will need to be collected from Head Office in Etwall
Los 590
Antique European School Frame, Bearing Picasso Label "Picasso Portrait 1942" verso. Provenance: The historic period frame collection of Eli Wilner. The collection previously included frames adorning 28 paintings on the walls of the White House, as well as the hand-carved and gilded eagle- crested frame for Washington Crossing the Delaware by Emanuel Leutze, which is currently featured as the focal point of the American Wing at The Metropolitan Museum of Art in New York City. Rabbet Size: 25.25 x 18.75 in. Overall Framed Size: 31 x 25 in. (11-58) - We recommend looking into shipping quotes prior to bidding on these frames, a list of local shippers can be found on our website. - All items are sold as-is where-is and no guarantees are made of any kind. These frames may have minor imperfections and refunds are not offered due to condition. - Due to the size of our gallery, these frames are stored offsite, viewing of the frames will be by appointment only.
Los 168
Very important and rare half-length portrait of the Jesuit Saint, characteristics are the impregnations in gold leaf used to decorate the dresses and cloaks of the Cuzco school and the bright colors used by the painters of Upper Peru in the colonial era. On the right hand of the Saint, a Lighted Rose representing Mary with the initials of the Society of Jesus, in his left hand he holds a Bible with the inscription "AD MAIRE DEI GLORIA" or "Ad maiorem Dei gloriam", also known by its abbreviation AMDG, which is the motto of the Society of Jesus. Reference bibliography: "Jeffrey Klaiber, SJ. The Jesuits in Latin America, 1549-2000: 450 years of inculturation, defense of human rights and prophetic testimony. Lima, Antonio Ruiz de Montoya University, 2007."; " Ruben Vargas Ugarte, SJ. The Jesuits of Peru, 1568-1767. Lima, 1941."; "Pedro Guibovich. The building of letters: Jesuits, education and society in colonial Peru, Lima: UP, 2014". Framed measurements: 75 x 64, canvas measurements: 66 x 55 cm. Provenance old family collection of Novohispanic art
Los 28
RAMÓN NADAL HORRACH (Palma de Mallorca, 1913 - 1999)."Landscape", 1969.Oil on canvas.Signed and dated in the lower right-hand corner.Measurements: 65 x 81 cm; 85 x 102 cm (frame).In the work we now present, the power of its colour stands out, strongly contrasted and even somewhat unreal, inherited from the post-impressionists. The ochres and greens in the foreground stand out strongly, combining masterfully with the greys and blues of the sky and the mountains.Ramon Nadal trained with Llorenç Cerdà and Francesc Rosselló at the School of Arts and Crafts in Palma de Mallorca, and was introduced to the world of art by his father. At the age of just thirteen he held his first exhibition, which took place at the La Veda gallery in Palma. In 1940 he took part in the founding of the Círculo de Bellas Artes in Palma, where he would later exhibit his works on several occasions. He mainly worked in oil painting, and his work encompasses practically all genres (figure, still life, portrait, etc.), although he is especially known for his landscapes. He belongs to the Mallorcan post-impressionist movement, and is noted for the consistency of his drawing. Throughout his career his work was recognised on several occasions, especially the Medal of Honour of the Círculo de Bellas Artes de Palma in 1952 and the City of Palma Prize the following year. Likewise, since 1964 he was a full member of the Royal Academy of Sant Sebastià. Some outstanding young artists were trained in his studio, such as Alicia Alcover, Miguel Llabrés, Antoni Alzamora, Juan Segura, Josep Manresa Clar and his nephew, Francisco Gaita. There is currently a street in Palma de Mallorca that bears his name, and his works form part of several collections, including that of the Can Prunera Museum in Sóller (Mallorca).
Los 68
FRANÇOIS ELBERT (May 25, 1887 - October 8, 1962)"Bal Musette II, 1931.Oil on canvas.Attached certificate of authenticity issued by Madame de Chaudum, 1978.Work referenced in the artist's catalogue raisonné. NO. G458.Provenance; Work exhibited at Sazek Gallery, Prague (1934); Contini Galería de Arte, Caracas, acquired in 1978. Madrid Collection.Size: 55 x 46 cm; 75 x 66 cm (frame).Portrait of a lady of great instantaneity, similar to a fleeting vision captured from life, rather than a portrait calmly drawn in a studio. The woman, in fact, is not posing and does not seem to be aware of our gaze, but appears with her body in front and her face in profile, looking towards something beyond the painting, hidden from our view. Nevertheless, the composition is typical of the period, inspired by bohemian life and café scenes in which the figures are isolated and meditative despite being in a crowd.Eberl's artistic talent was evident from the outset: in 1903 he was admitted to the local Academy of Fine Arts. His artistic temperament, however, was incompatible with the Academy's conservative tradition, so he left Prague and travelled around Europe. In October 1904, Eberl arrived in Munich and enrolled at the Academy of Fine Arts. Soon, Eberl became a professor at the Academy himself; however, the negative response to his publication of some political drawings critical of the Bavarian nobility caused Eberl to leave Germany. In 1911 Eberl settled in the artists' quarter of Montmartre and began to exhibit his works in the famous Parisian salons of the time. In 1914 he joined the Czech legion and fought alongside the Allies. Despite the war raging in Europe, Eberl's works were seen in numerous exhibitions. During the 1920s, his career took off, the legendary art dealer Berthe Weill took an interest and included him in numerous exhibitions at her Paris gallery, and Eberl became a member of the Salon des Artistes Independents. In 1928 Francois Eberl was awarded the Legion of Honour by the French government. After the Second World War, Eberl returned to his Parisian studio on Rue Camille Tahan and, inspired by the folklore of Paris, his preference was to paint street scenes and nightclubs as he observed them. Eberl was interested in capturing the marginalised lives of the poor in the shadows of glittering Paris. Eberl's paintings in Monmartre are the embodiment of a social milieu at a given time: the evocation of bohemian Paris, a mythical place at a time when even the streets had a certain grandeur and romantic spirit. In addition, Eberl had a distinctive colour palette that made generous use of earth tones of browns and reds.
Los 88
THÉODORE LAFITTE (France, 1816-ca.1875)."Dogs".Oil on canvas.Signed in the lower left corner.Size: 105 x 144 cm; 127 x 163 cm (frame).Artist specialised in animalistic painting, Théodore Lafitte gives us the image of two hunting dogs. This work is strongly influenced by English animal painting, determined to depict horses - but also dogs such as the present ones - described with particular detail, which are in fact portraits of real animals. This type of work has a clear, simple, classical composition, with the figures in profile in the centre, large in size, in a landscape or interior setting. In these works the painter's attention is always focused on the description of the animals' anatomy, the warm glow of their fur and their proud bearing, as if it were a portrait of an important personage.
Los 102
Bignor Park copy.- Fuller (Thomas) The History of the Worthies of England, first edition, engraved portrait frontispiece by David Loggan, woodcut head- and tail-pieces and decorative initials, 12pp. 18th century index at end (as mentioned by ESTC), occasional late 18th century ink marginalia, foxed, lightly browned, occasional staining, early 20th century green straight-grain morocco, gilt, spine in compartments, corners worn, stained and rubbed, g.e., [Wing F2440; Pforzheimer 391], Printed by J[ohn]. G[rismond]. W[illiam]. L[eybourne]. and W[illiam]. G[odbid]., 1662; and another Fuller, folio (2) ⁂ First edition of the first attempt at a dictionary of national biography. Provenance: Richard Henry Beaumont, Whitley Hall, West Riding, 1799 (ink inscription to head of title); Viscount Mersey, Bignor Park (20th century book label to front pastedown); John Scarborough Dudding (large 20th century armorial bookplate to front pastedown).
Los 105
Dugdale (Sir William) A short view of the late troubles in England, engraved portrait frontispiece and title vignette, woodcut head-pieces and decorative initials, final index f. repaired at upper corner, without loss of text, minor worm trace to lower margins, occasional spotting, lightly browned, modern half morocco, red leather label to spine, [Wing D2492], Oxford, Printed at the Theater, for Moses Pitt at the Angel in St. Paul's Church-Yard, London, 1681; and another, by the same, small folio (2)
Los 109
Clarendon (Edward Hyde, Earl of) The History of the rebellion and civil wars in England, begun in the year 1641, 3 vol., half-titles, engraved portrait frontispiece and title vignette to each vol., half-titles crudely strengthened at inner gutter, water-stained, some spotting and staining, engraved armorial bookplates of Robert Denison, contemporary panelled calf, spines in compartments and with a red morocco label to vol.1 only, joints split, but holding, corners worn, rubbed and scuffed, Oxford, Printed at the Theater, 1704 § Goadby (Robert, attributed to) An apology for the life of Mr Bampfylde-Moore Carew commonly called the king of the beggars, eighth edition, final f. blank, engraved circular booksellers label of E. Bowen of Horsham, Sussex to front pastedown, some spotting and staining, lightly browned, contemporary calf, rebacked, corners worn, rubbed, Printed for R. Goadby [Sherborne], 1768; and a quantity of others, mostly 18th & 19th century English Literature & History, v.s. (Qty.)
Los 111
Spelman (John) The Life of Ælfred the Great, engraved portrait frontispiece, engraved title vignette of Sheldonian theatre, contemporary ink ownership inscription to front free endpaper, some slight browning or foxing, lower margin with worm trace from L gathering onwards, not affecting text, contemporary calf, rubbed, worn at extremities, 8vo, Oxford, Printed [by Guil. Lancaster] at the Theater for Maurice Atkins, 1709.
Los 115
NO RESERVE Whincop (Thomas) Scanderbeg: or, Love and Liberty. A Tragedy, half-title, engraved portrait frontispiece and 5 plates, illustrations, list of subscribers, occasional faint off-setting, scattered faint spotting and very faint staining, previous owner's ink inscription to front pastedown, contemporary morocco-backed boards, a little rubbed, 8vo, 1747.
Los 12
Gilchrist (Alexander) Life of William Blake. With Selections from his Poems and other Writings, 2 vol. second edition, portrait frontispieces, plates, light browning to half-titles, foxing to endpapers, original pictorial cloth, gilt, minor bumping to spine ends, slight fraying to corners, a handsome set, uncut, 8vo, 1880.
Los 125
NO RESERVE Lyttelton (George, Lord) The Works ..., first edition, engraved portrait frontispiece, previous owner's ink signature to title, bookplate, scattered spotting, front free endpaper detached, abrasions to pastedowns, contemporary half-calf, rebacked, a little rubbed, 1774 § Stewart (Dugald) Elements of the Philosophy of the Human Mind, scattered faint spotting, bookplate, contemporary diced calf, upper cover detached, a little rubbed, 1808 § Blatchford (Robert) The Sorcery Shop: an Impossible Romance, abrasion mark to front pastedown, original cloth, slight bumping to spine extremities, 1907; and others, including a broken run of 'The Farmer's Year', v.s. (30)
Los 132
Holbein (Hans) The Dances of Death, through the Various Stages of Human Life..., additional etched title, etched frontispiece, portrait of Holbein and 46 plates by David Deuchar after Holbein, 1 further etched plate at end, bookplate of Evelyn John Shirley, offsetting, some scattered spotting, a few plates slightly browned, hinges cracked but covers firm, contemporary half roan over marbled boards, rubbed and toned, spine ends chipped, 4to, 1803.
Los 149
NO RESERVE Coleridge (Samuel Taylor) The Friend: A Series of Essays to aid in the Formation of fixed Principles in Politics, Morals, and Religion..., 3 vol., fourth edition, very light marginal toning or occasional foxing, original cloth, extremities bumped, spine ends lightly creased and frayed, 1850 § Browning (Robert) The Poetical Works, 8 vol. in 4, new edition, portrait frontispieces, contemporary half morocco, spine gilt, 1902 § Hogarth (William) The Works, 2 vol., first edition, engraved plates, some offsetting and light foxing, contemporary calf with floral blind-stamped border, spines gilt, morocco labels to vol.2 chipped with loss, corners a little bumped, 1812, light scuffing or rubbing to extremities of each but each attractive sets overall, 8vo (9)
Los 150
NO RESERVE Evelyn (John) Diary and Correspondence of John Evelyn, F. R. S., 4 vol., new and enlarged edition, frontispieces and plates, some foxing to plates, contemporary calf by Hatchard, ruled in gilt, spine gilt in compartments with morocco spine labels, light rubbing to spine ends, 1854 § Burke (Edmund) Correspondence of the Right Honourable Edmund Burke, 4 vol., first edition, edited by Charles William et al., engraved portrait frontispiece to vol.1, lightly foxed, original blind stamped cloth, spine ends and extremities frayed and nibbled, covers a little marked, 1844, 8vo (8)
Los 151
NO RESERVE Harland (John) and T. T. Wilkinson. Lancashire Legends, Traditions, Pageants, Sports, &c., . . . first edition, an Appendix containing a Rare Tract on the Lancashire Witches, portrait frontispiece, vignette title, list of subscribers, bookplate of F. Reddaway, toning and light finger marks to pages, later full-calf, gilt, spine decorated in gilt within compartments, inner dentelles, gilt, g.e., light marks to boards and corners a little bumped, 1873 § Cruikshank (George) and John Collier. Tim Bobbin's Lancashire Dialect; and Poems, 6 etched plates by George and Robert Cruikshank, toning and browning, bookplate of F. Reddaway, rebound half calf marbled boards, gilt, lightly rubbed, spine decorated in gilt within compartments g.e., 1828 § A' Beckett (Gilbert Abbott) The Comic History of England, 2 vol., first edition and an early reprint, 1847-1853; The Comic History of Rome, [c. 1880] each illustrated with full-page hand-coloured engravings and woodcuts by John Leech, , toning, browning and occasional foxing, bookplates of F. Reddaway, uniform original full brown cloth, gilt, rubbed and marked, spines ends and corners bumped, 8vo (5)
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283284 Los(e)/Seite