CHIVALRY - SPAIN, ORDER OF SANTIAGO. Regla y establecimientos delia Orden y Cavalleria del glorioso Apostol Santiago, Patron de las Spanas con la historia del origen y principio deella. Madrid: Domingo Garcia Morras, 1655, engraved title, plate of the Virgin triumphant and portrait of Philip IV, all by Piedro de Villafranca, woodcut tail-pieces and typographical ornaments, gatherings 2M and 2N reversed, occasional light soiling, slight chip and small repair to top edge of title-page, some early ink annotations in margins, later vellum, titled in ink on spine, a little stained [Palau 253979, calling for an additional preliminary leaf]; AGUADO DE CORDOVA (Antonio Francisco) and others. Bullarium Equestris Ordinis S. Iacobi de Spatha. Madrid: ex typographia Ioannis de Ariztia, 1719, folio, engraved frontispiece after Villafranca, title printed in red and black within typographical border, eighteenth century pigskin with cord ties, ink title and motifs on spine [Palau 370340] (2)
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DUELLIUS (Raymundus) Historia Ordinis Equitum Teutonicorum Hospitalis S. Mariae V. Hierosolymitani. Vienna 1727, folio, library stamp to foot of title, errata leaf at end, plates of seals, half vellum; BARTHOLINUS (Thomas) De Equestris Ordinis Danebrogici. Copenhagen (‘Hafniae’) 1676, folio, portrait frontispiece, modern vellum (2)
BOYER (A) The Great Theater of Honour and Nobility, 1729, small 4to, engraved frontispiece and 30 plates, including folding, plates rather browned, worn calf; with - The History of the Life and Reign of Queen Anne, first edition London 1722, folio, portrait frontispiece, 2 folding coloured plans, 4 plates, engraved decorations, some toning to text, panel calf (upper board joint cracked), armorial bookplate of William Pym; SELDEN (John) Title of Honor, 3rd edition London 1672, folio, lacking portrait frontispiece, mottled calf (3)
PAINE (Thomas) Rights of Man: Being an Answer to Mr. Burke's Attack on the French Revolution, 2 parts in one, London: for the Booksellers, 1792, small 8vo, engraved frontispiece portrait, contemporary ownership name to title, binding broken, marbled boards Worn marbled boards, partly detached. Spine broken with loss of sewing. Contents a little toned. Ownership name on title. In need of rebinding but still a reasonable copy.
COOK (James, Captain) A Voyage Towards the South Pole and Round the World, 2nd edition, in 2 vols., London: for W. Strahan and T. Cadell, 1777, 4to, portrait and 63 plates and charts including folding, as called for, contents generally good and clean with a little slight toning or dust staining in places, contemporary calf gilt, some cracking to joints
DICKENS (Charles) The Mystery of Edwin Drood, 1st edition in book form, London: Chapman and Hall 1870, 8vo, with portrait and vignette title, half calf; Martin Chuzzlewit, 1st edition 1844, title and frontispiece spotted, plates a little toned, half calf with good reback; Little Dorrit, 1st edition 1857, 8vo, some spotting, half calf with good reback; David Copperfield and Bleak House, later editions bound together, in double column with illustrations, small 4to, half calf (4)
HOGARTH (William) The Works of William Hogarth, from the Original Plates restored by James Heath, by John Nichols. London: Baldwin and Cradock, large folio, 63.5 x 48cm, with portrait and about 114 plates, 7 with slight losses/tears, some general toning and age wear, worn bindingAll of the tears are now pictured, Gin Lane and Beer Street are both present
Ephemera, pamphlets and loose prints etc. Various including two Dutch broadsides of different sizes dated 1654 and 1795; four early playing cards - Queens; an engraved portrait of Thomas Woolston by Van der Gucht; a French Solidarity Pamphlet no.30 Paris: May 1968; The Prodigal Son series of 4 prints (trimmed) by Carington Bowles; sheet music covers; WWI manuals; etc
Dr David Livingstone (1813-73)early portrait photograph, showing borders, seated looking right with legs crossed and hands together in his lap, inscribed to reverse in pencil 'Dr Livingstone / Printd by R.C.M "Hardwich's Toning" May 1859', 160 x 117mm.Property of a descendant of Robert Murray (1798-1857)Murray and Heath's 1859 photographic catalogue p.16 refers positively to 'Mr Hardwich's Toning process by Alkaline Chloride of Gold'.The size is for the entire photographic print. It is loose. It has been slightly trimmed with uneven edges. What we have is actually a photograph (dated 1859) of a framed/cased photographic portrait. There are a few pale foxing marks noticeable to the reverse.thanks.
Golf. SIMPSON (Sir W G) The Art of Golf, 1887, 8vo, plates as required, some pencil lines to margins, covers worn, rebacked; HUTCHINSON (H G) The Book of Golf and Golfers, 1899, 8vo, portrait plates, red cloth; DARWIN (B) The Golf Courses of the British Isles, illustrated by Harry Rountree, 1910, 1st edition, colour and black and white plates, original cloth; BELDAM (G A) Great Golfers, 1904, 8vo, numerous illustrations, cloth; with 24 others, first half 20th century, all in varying condition. Sold not subject to return (28)
ELWES (Henry John) and Augustine HENRY. The Trees of Great Britain and Ireland. Edinburgh: Privately printed, 1906-13, 4to, 8 volumes including index, vols. 1-5 with colour frontispiece, 7 colour-printed titles, portrait and 412 plates, contemporary green half morocco gilt for Bernard Quaritch, t.e.g
BUTLER (A S G) The Lutyens Memorial. The Architecture of Sir Edwin Lutyens, 3 vols., first edition 1950, folio, green cloth gilt, in chipped stained dust wrappers; HUSSEY (Christopher) The Life of Sir Edwin Lutyens, 1950, small 4to, edges stained, chipped dust wrapper; together with a portrait of Sir Edwin Lutyens by Powys Evans (British, 1899-1981), signed lower right, pencil, 23 x 18cm
Harmenszoon van Rijn Rembrandt (Dutch 1606-1669) The Goldsmith, etching and drypoint, 1655, Hollstein's third state (of three), 82 x 63mmLiterature: Bartsch, Hollstein 123; Hind 285; New Hollstein 289together with an etching of a bald headed old man, also known as the father of Rembrandt; and an etching of a man in a cap, in the manner of RembrandtThe Goldsmith - discolouration to sheet and tipped to the mount at the edges, not examined out of frame. We believe the Goldsmith is quite possibly a 17th century impression, the portrait of his father (?) is a later impression, the third portrait looks to be late 17th century.Please see images.
Giovanni Ottaviani (1735-1808) and Giovanni Volpato (1740-1803) after drawings by Pietro Camporesi (1726-81) and Gaetano Savorelli (d. 1791), a bound folio containing an incomplete series of 11 copperplate engravings with later hand colouring taken from Volume I Loggie di Rafaele nel Vaticano, 3 plates being single page, 1 folding plate and 7 double page size, some old damage and repairs, all in a worn binding Footnote: These 18th century hand-coloured engravings are from the famous series Loggie di Rafaele nel Vaticano, which consisted of 43 plates published in 3 volumes. The plates show the 'grotesque style' decorations executed by Raphael and his assistants in the Loggie of the Vatican palace for Pope Leo X (1475-1521) in 1515-1519. Raphael’s pilaster frescoes for the walls of the Loggie, featuring plants, flowers, fruit tendrils, mythological creatures and architectural elements were directly inspired by the then recently excavated ancient Roman decorations in the Domus Aurea of Nero. Over 200 years later, the engravers Giovanni Ottaviani (1735-1808) and Giovanni Volpato (1740-1803) were commissioned by Pope Clement XIII (1693-1769) to print a series of copperplate engravings after Raphael’s Loggie. Each engraving was made in 2 parts, based on the designs drawn by the architect Pietro Camporesi (1726-1781), painter Gaetano Savorelli (d. 1791) and draughtsman Lodovico Teseo (1731-1782). The present lot includes one title-plate showing a view along the loggia with an oval portrait of Raphael (61 x 40cm), plates A and B showing the two doors at the end of the loggia (75 x 42cm), three unnumbered plates placed together showing a plan and elevation captioned 'Spaccato per il longo del secondo piano della loggia nel Cortile del Palazzo Vaticano corrispondente nel Cortile grande detto di S. Damaso, ove si dimostra l'Architettura ed Ornati della medema dipinti da Giovanni da Udine con la direzzione di Rafaele Sanzio da Urbino' (24 x 160cm), and fourteen plates showing the decoration of pilasters between windows on the inner side of the loggia pasted as mismatched pairs on seven sequential pages each inscribed 'Joann. Ottaviani sculp. cum privilegio SS.D.N. Clementis XIII.' and 'Cai Savorelli Piet., et Pet. Camporesi Arch. delin.', including numbers I to XIII and another unnumbered (100 x 78cm pasted together)
SYDENHAM (Thomas) Opera Universa, in quibus non solummodo Morborum Acutorum Historiae & Curationes Nova.., Editio Altera, London: R.N. for William Kettilby, 1685, 8vo, frontispiece portrait loose; bound with - Epistolae Responsoriae Duae, 2nd edition 1685; bound with - Podagra et Hydrope, 2nd edition 1685; bound with - Schedula Monitoria de Novae Febris Ingressu, 2nd edition 1688; all in worn calf with detached front board, some general age toning and slight marginal browning
Royal Mint HM Queen Elizabeth II Equanimity A New Royal Portrait framed display containing a silver medal, hologram portrait and stamps, certificate of authenticity verso, also a group of coins and banknotes, an album of Westminster The Royal Family Collection mint stamps and covers, an album containing Studio 88 Pictorial Aviation History prints, an album of mostly British PHQs, FDCs and mint stamps, etc.
Westminster Mint 24-coin set 'Diana Princess of Wales Photographic Portrait Collection' each coin is 24ct gold plated cupronickel and comes with individual certificate of authenticity and certificate of ownership, a Westminster Mint oversize medallion 'Diana Princess of Wales 1961-1997' and ten modern coins including three Banknote series padprints etc.
9ct gold cased wristwatch with 15 jewel Roclever movement, the back engraved with the initials SJR and dated 1891-1941, a gold plated Waterman pen inscribed "WR 1891-1941", a Hudson The Metropolitan whistle, a yellow metal locket containing two portrait photographs, a paperknife in the from of a sword with registration number 221961, a French Marshal Haig Monument medal 1931 etc.
Frank Big Bear (American (Anishinaabe), b. 1953). Colored pencil on paper titled "Portrait of a Shaman," depicting a man in Big Bear's vibrant, colorful style. Signed and dated lower right "Frank Big Bear 11-13-15." Further signed, titled, and dated along the verso.Height: 15 in x width: 12 in.
Silver punch bowl. Designed by Alfred Lenz of New York. Presented to James J. Hill at a banquet given by "Minneapolis friends" on September 19, 1905 in honor of his 67th birthday. Profusely decorated with floral swags, propellors, and engraved bosses depicting romanticized Minnesota scenes as well as a portrait of Hill. The bowl has three handles in the form of cornucopia, overflowing with fruit. Marked "Sterling" "925/1000 Fine" and "72 Pint" with a unicorn along the underside.Given to the Hill Library by Mary Hill in 1934. Together with an early sketch and photograph of the punch bowl.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.(Bowl) Height: 15 1/2 in x diameter: 25 in. Total weight: 389.19 Troy oz. (Photo) Sight; Height: 7 1/4 in x width: 9 1/2 in. Framed; Height: 12 1/2 in x width: 14 3/4 in. (Drawing) Height: 10 3/4 in x width: 13 3/4 in.
Adolf (Adolfo) Felix Muller-Ury (Swiss/American, 1862-1947). Copper plate etching of a portrait of James J. Hill. Included is an etching on paper from the copper plate housed in a red folio. The copper plate is signed in plate along the lower left corner, mirrored in the etching on paper in the lower right corner.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.(Copper Plate) height: 19 1/4 in x width: 15 in. Framed; height: 23 1/2 in x width: 19 1/2 in. (Etching) height: 19 1/4 in x width: 15 1/4 in. (Folio) height: 21 1/4 in x width: 16 in.
Paul Raymond Audibert (French, 1858-1919). Miniature watercolor paintings depicting James J. Hill and Mary Mehegan Hill. Both signed along the lower right. The portrait of Mary Hill in a frame that strongly resembles works by the Minneapolis Handicraft Guild.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.(James) Sight; Height: 9 in x width: 6 1/2 in. Framed; Height: 10 3/4 in x width: 7 1/2 in. (Maud) Sight; Height: 9 in x width: 6 1/4 in. Framed; Height: 11 1/2 in x width: 8 3/4 in.
Frederick William Wright (American, 1880-1933). Pastel on canvas portrait of James J. Hill. Signed along the lower right.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.Unframed; Height: 35 1/4 in x width: 27 in. Framed; Height: 43 1/2 in x width: 35 1/2 in.
Oil on canvas portrait depicting Azayamankawin or "Old Betz," a Dakota woman from St. Paul who was a local celebrity and whose photograph became widespread in carte-de-visite prints. She is depicted gazing forward at the viewer with a serious expression, her blue-gray garment blending into the background. Signed A.F. and dated 1873 along the lower right.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.Unframed; Height: 16 in x width: 14 in. Framed; Height: 26 in x width: 24 in.
Robert Vickrey (American, 1926-2011). Egg yolk tempera on masonite portrait of Hubert Humphrey, the respected Minnesota Senator and Vice President. Signed along the lower left.This painting depicts Humphrey at the zenith of his public recognition during his presidential run in 1968. This painting was commissioned by TIME Magazine, and would have been the magazine cover had Humphrey won the 1968 presidential election. Vickrey provided 77 cover illustration portraits for TIME Magazine during his career.Sight; Height: 14 1/2 in x width: 10 in. Framed; Height: 25 in x width: 19 3/4 in.
* WENDY WOOD (SCOTTISH 1892 - 1981),WOODLAND LANDSCAPEwatercolour on paper, signedimage size 22.5cm x 14.5cm, overall size 37cm x 27cm Mounted, framed and under glass. Label Verso.Note: Wendy Wood, born Gwendoline Emily Meacham, was a campaigner for Scottish independence and one of the founders of the Scottish National Party. An eccentric and colourful figure, she was also a gifted artist, sculptor and writer. Her antics often created controversy. From 1956 Wood shared an artists studio and house with her partner, Florence St John Cadell in Edinburgh. Wood’s art was widely acclaimed and rare to the market. Her portrait is held by the Scottish National Portrait Gallery in Edinburgh.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.
STANSMORE RICHMOND LESLIE DEAN STEVENSON (SCOTTISH 1866 - 1944),THE BLUE RIBBONoil on canvas, titled label versoimage size 54cm x 43cm, overall size 62cm x 51cm Framed.Provenance: The Stevenson Family; dispersal sale of a descendent. Note: Dean studied at Glasgow School of Art from 1883-1889, a contemporary of Bessie MacNicol. Represented in the Scottish National Portrait Gallery.
SIR THOMAS LAWRENCE PRA FRS (BRITISH 1769 - 1830),PORTRAIT OF JOHN PORTER, BISHOP OF CLOGHERoil on canvas, titled in presentation plaque and label versoimage size 74cm x 61cm, overall size 94cm x 81cmFramed. Provenance: K. Garlick, Sir Thomas Lawrence, A complete catalogue of the oil paintings, Oxford 1989, page 654 Number 658; Christie's stencil verso.
ATTRIBUTED TO MICHAEL DAHL (SWEDISH 1659 - 1743),PORTRAIT OF PEG WOFFINGTON oil on canvasimage size 74cm x 62cm, overall size 92cm x 79cm Framed. Note 1: in an 18th century carved and gilt wood frame, with carved rose bosses.Note 2: Margaret Woffington (18 October 1720 – 28 March 1760), known professionally as Peg Woffington, was an Irish actress and socialite of the Georgian era. Peg and Peggy were a common pet name for those called Margaret until the late 20th century.
* PABLO PICASSO (SPANISH 1881 - 1973)PORTRAIT OF VOLLARD I (FROM THE VOLLARD SUITE) etching on paper, signed and numbered 197/300image size 35cm x 25cm, sheet size 45cm x 32cm overall size 57cm x 45cm Mounted, framed and under glass.Note: certificate of authenticity is included with this lot.
Thomas Luny (British, 1759-1837)Portrait of the East Indiaman Neptune in two positions off the Downs indistinctly signed and dated 'Luny 17--' (lower left)oil on canvas82.7 x 145cm (32 9/16 x 57 1/16in).Footnotes:Five ships bearing the name Neptune are recorded in the East India Company's service between 1740 and 1860 when the last one was finally sold as a hulk. The fourth Neptune of those so named, and the largest at 1,468 tons, was built by Wells at Deptford to the order of Sir William Fraser, Bt. and launched on 30th November, 1796. Measuring 144 feet in length with a 44 foot beam, she was well-armed and widely regarded as a handsome ship by those who saw her. In all she made six voyages to the East, mostly to China direct, until she was sold to Sir Robert Wigram in 1811, and afterwards ended her career by completing two further voyages to China, via a call at Bombay, before being broken up in 1819. Neptune herself, although not whilst under Captain Donaldson's command, was involved in two celebrated incidents in the history of the China Trade, the first in August 1800 when the 10-ship convoy she was in was threatened by three French frigates off the coast of Brazil and, along with another Indiaman, the Coutts, chased off the 36-gun Franchise which promptly fled the scene. In the second incident, fifty-two sailors from the Neptune became embroiled in a drunken brawl with a crowd whilst at Canton in February 1807. A Cantonese customs officer subsequently died from the injuries he had received and the local authorities caused a major upset to trade by impounding the China fleet and demanding justice. Although the dispute was eventually settled, it nevertheless proved a turning point in the long struggle to exempt British nationals from Chinese law. For two of Neptune's voyages under Fraser's colours (China direct, June 1804 – September 1806, and Bombay and China, February 1809 – August 1810), she was commanded by Captain William Donaldson and it is recorded in Luny's ledger that he painted a smaller version of the work offered here for Captain Donaldson in March 1826.It is therefore logical to assume that, having seen the original painting, Luny was then commissioned to paint this larger work for either one of the vessel's owners or another of her several masters.For further information on this lot please visit Bonhams.com
Arthur Wellington Fowles (British, 1815-1883)The yawl Julia under Royal Yacht Squadron colours, 1857 oil on canvas61 x 92cm (24 x 36 1/4in).Footnotes:ProvenanceWith Royal Exchange Art Gallery, London.Built by Ratsey for Mr. William Peareth, Julia was originally launched as a cutter and won the Squadron Cup at Cowes in her maiden season in 1853 beating, amongst others, the legendary Arrow. Having already won her class in the Royal London's regatta that May (1853), her career was off to a flying start and the next year she took on Arrow again for Prince Albert's Cup at Cowes; even though she lost on this occasion, it was a memorable race and the talk of the regatta that year. After the close of the 1856 season, Peareth sold Julia to Mr. John Houldsworth who had her converted to a yawl ready for the start of the 1857 season and obviously commissioned this portrait of her sporting her new rig at the same time. Following three successful seasons, Julia was sold again after Houldsworth's death in the winter of 1859 and bought by Mr. J.B. Hesketh who also only kept her for a couple of years. Passing through the hands of two more owners in quick succession, Julia is last noted in 1869 when she won the Nore to Dover match against a large field of competitors.For further information on this lot please visit Bonhams.com
GEORGE HENRY RA RSA RSW (SCOTTISH 1858 - 1943),THE LOCKEToil on canvas, signed, titled label versoimage size 101cm x 79cm, overall size 121cm x 100cm Framed.Exhibition label verso: Irish International Exhibition, Dublin 1907. Label verso: Thomas Agnew & Sons, London.Note: The model for “The Locket” was Alice Perry. Alice posed for several works by George Henry in his studio at Glebe Place, Chelsea (London) between 1904 and 1906. These include “The Poinsettia” (1904) , “The Blue Gown” (1906) both exhibited at the Glasgow Institute of Fine arts, “Ready for the Theatre” (1905) and "The Tortoiseshell Mirror" (Paisley Museum & Art Gallery). Many of the works of this period show the strong influence of the works of Whistler. Whistler had several iconic works with the model seated in a similar manner. Ninety-six of George Henry's paintings are held in UK public collections including at Glasgow Museums, Kelvingrove, The Hunterian, The Laing, The Guildhall Art Gallery (London), Kirkcaldy Galleries, Manchester Art Gallery, The National Galleries of Scotland and The City Art Centre (Edinburgh) and numerous others in National collections outside the UK. His fabulous work of an elegant Edwardian “The Black Hat” (1910) is considered to be one of his finest works in the genre and was most recently exhibited to the public in "Modern Britain 1900 - 1960 Masterworks from Australian and New Zealand Collections" a major exhibition organised by the National Gallery of Victoria, Melbourne (15th November 2007 - 24th February 2008).Note 2: A leading member of the Glasgow School (Glasgow Boys), the most progressive artists in Britain during the latter part of the 19th c., George Henry moved to 26 Glebe Place, Chelsea (London) and established a hugely successful society portrait practice. He showed annually at the Royal Academy from 1904. Aside from formal figure work, he produced a number of elegant exhibition pieces around this time which were, in part, influenced by his lengthy visit to Japan with E. A. Hornel 1893-94.
* ALAN SUTHERLAND (SCOTTISH 1931 - 2019), MUSE AND GLOVE oil on board, signed image size 59cm x 49cm, overall size 71cm x 61cm Framed. Note: Alan Gordon Dunnett Sutherland was born in Bombay, India in 1931, and lived there for the first three years of his life. Shortly after his 3rd birthday, his parents moved back to Edinburgh. He was thirteen when he had his first picture accepted for the Society of Scottish Artists and by the age of 22, he had three portraits exhibited in the Royal Scottish Academy. He graduated from Edinburgh College of Art in 1952. Sutherland's career as a professional artist specialising in portraiture spanned over 60 years. His work was exhibited at The Royal Academy London, the Chelsea Society, the Society of Scottish Artists, the Paris Salon, the Royal Society of Portrait Painters, the Royal Scottish Academy, the Royal Glasgow Institute of the Fine Arts and Prouds Art Gallery Sydney, Australia. His sitters were largely from "the establishment" and included HRH Prince Philip (for The New Club, Edinburgh); The Honourable Lord Cameron; Sir Nicholas Fairbairn QC; Sir Alex Douglas Home (Lord Home); William Maxwell "Max" Aitken, 1st Baron Beaverbrook; Angus Douglas-Hamilton, 15th Duke of Hamilton; Sir John Bruce, Surgeon to Her Majesty Queen Elizabeth II, not to mention quite a few other Marquises, Earls, Viscounts and Lords and very often their wives. Sutherland was a gifted portraitist and enjoyed considerable commercial success which enabled him to maintain a studio in Cadogan Square, London for a period of time in the 1960s. In 1965 he completed a memorable portrait of Quentin Crisp but arguably Sutherland's greatest talent was capturing the "character" of his female sitters.
EDWARD ARTHUR WALTON RSA PRSW (1860 - 1922),THE PORTRAIT OF JANE BURYoil on canvas, signedimage size 84cm x 59cm, overall size 160cm x 90cm Framed. Provenance: exhibited Edinburgh, The Royal Scottish Academy, 1909, no.189 (as "Mrs. T. B. Bury") and E A Walton’s Memorial Exhibition, Edinburgh and Glasgow 1924.Literature: Edward Arthur Walton by Fiona MacSporran Page 91 Plate 70.Note: Jane Bury was married to J. B. Bury Esq., Regius Professor of Modern History, Cambridge. From 1902 they took a holiday cottage at 9 Park Lane, Southwold, where they made friends with the artist. In addition to painting her portrait, he also made an oil sketch of their cottage, now in the Southwold Museum. This portrait was also exhibited at the Walton Memorial Exhibition at the Royal Academy (London) in 1924. The painting has strong influences of Whistler, particularly in the panache of the dress.
Spanish school of the 17th century."Virgin".Oil on canvas.With label on the back of the Junta Delegada de Incautación, Protección y Salvamento del Tesoro Artístico.Measurements: 52 x 41,5 cm; 62 x 53 cm (frame).In this canvas we see a portrait of the Virgin, dressed in a red tunic and blue mantle, embroidered in gold. Following the model of the icon of the "Madonna del Popolo", she presents a hieratic and solemn figure with her gaze fixed straight ahead. The modelling of the face shows a clear classical influence, as it is markedly sculptural.
Attributed to BARTOLOMEO MANCINI (c. 1630-1715)."Dolorosa".Oil on copper.It presents faults and losses on the pictorial surface.Measurements: 26 x 20 cm.Due to the material and the reduced dimensions of the work, it is very probable that it was intended for private devotion. The author has created a devotional image with a clear and simple composition with the image of the Virgin imbued in an ochre background, illuminated by her own nimbus of sanctity. Mary turns her face in profile and lowers her gaze in a completely pious attitude. Devotion to the sorrows of the Virgin has its roots in medieval times, and was particularly widespread among the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of these being those in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although the Son is here dead, not asleep, depicted as an adult and after his crucifixion.These characteristics suggest the work of the Italian painter Bartolomeo Mancini, to whom is attributed a piece in the Museo di Casa Martelli in Florence that has the same composition as the present portrait of the Virgin except for the format. It is his well-known Madonna Addolarata There are many and varied iconographic representations of the Virgin Mary in her Sorrowful side, the first of which depicts her with the Christ Child, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows was followed by that of Solitude.
Italian school of the 18th century."Portrait of Michelangelo Tamburini".Oil on canvas. Re-framed.The frame of the 19th century is damaged.Measurements: 43 x 33 cm; 50 x 39,5 cm (frame).We see in this canvas a bust portrait of a gentleman with a severe look, fixed on the spectator, without more symbols of his rank than the dignity that his face gives off. His vividly illuminated face is modelled precisely through the magnificently worked contrast of light and shade, which allows us to relate him to Michelangelo Tamburini, General of the Society of Jesus. Technically, the technique is notable for the use of precise, defined brushstrokes. In addition to the use of light that falls on the flesh tones, highlighting the gaze, of great psychological depth. This was a fundamental aspect of portraiture of the period, the intention of which was to convey the personality and mood of the sitter, which was not expressed in earlier periods that focused exclusively on external appearance. Other portraits by Michelangelo Tamburini are housed in important international museums, such as the one in the Museo Nacional del Virreinato in Tepotzotlán, State of Mexico.Michelangelo Tamburini (1648-1730) was a general of the Society of Jesus. He was successively professor of philosophy and theology, rector of colleges, Venetian provincial, secretary general, vicar general and superior general from 31 January 1706 until his death.
Ɵ SIR ALLEN LANE AND PENGUIN BOOKS. Privately printed, 12 vol, 1957- 1973. comprising: LINKLATER, Eric. Private Angelo. 1957. first edition, Limited edition of 2000 copies on India paper, 8vo, paper boards, within tissue paper wrapper, designed by David Gentleman, 235pp; LANE, ALLEN. Boxwood & Graver. A Miscellany of Blocks. 1958. first edition, Limited edition of 1500 copies printed on Hosho-Shi paper, 8vo, quarter vellum with Japanese wood veneer boards, foreward by Allen Lane, 31 wood-engravings formerly used in Penguin books, printed on recto pages from the original blocks by Reynolds Stone, David Gentleman and others, pages uncut; with a loosely inserted Christmas Greetings card for 1958-1959 SIGNED by Allen Lane; ROLFE, Frederick William. [Baron Corvo]. WOOLF, Cecil. Without Prejudice. 1963. first edition, Limited edition of 600 copies, tall 8vo, original paper boards within paper wrapper, edges untrimmed, printed on hand-made paper by Hodgkinson's, (water-marked 'Corvo to Lane') Introduction by Cecil Woolf, 4 illustrations, 2 facsimile letters; with Allen Lane's presentation letter on the publication loosely inserted, 119pp; LANE, Allen. For such as are the Riper Years. 1965. first edition, oblong 8vo, quarter pictorial cloth, half-title, illustrated by Mel Calman, pages uncut, 16pp; COLERIDGE, Samuel Taylor. The Rime of the Ancient Mariner. 1945. first edition, Limited edition of 700 copies printed on Arnold hand-made paper, tall 8vo, blue niger pictorial morocco by Henderson & Bisset, gilt top, others untrimmed, half-title, 5 full-page colour plates (including frontispiece) by Duncan Grant, 35pp; [GRAVES, Robert]. APULEIUS, Lucius: The Transformations of Lucius, otherwise known as The Golden Ass. Translated by Robert Graves. SIGNED. 1950. first edition, Limited edition, No. 3 of 2000 copies numbered and SIGNED by the translator, 8vo, original quarter parchment marbled boards, plain dust-jacket, gilt top, SIGNED by Robert Graves to rear limitation page, 298pp., within original publisher's card slipcase; ROLPH, C. H. [Editor]. The Trial of Lady Chatterley. 1961. first edition, Limited edition of 2000 copies for private circulation, numbered and SIGNED by Allen Lane, 8vo, green cloth, plain dust-jacket, a selection of cartoons by Paul Hogarth, report of a debate in the House of Lords, SIGNED by Sir Allen Lane to rear limitation page with limitation number crossed through and INSCRIBED beneath in Lane's hand 'out of series'; Allen Lane's presentation letter on the publication loosely inserted, 292pp; LAWRENCE, D.H. (1885 - 1930). Lady Chatterley's Lover. Penguin Books, 1484, 1960. first edition paperback, 8vo, publisher's card covers, within blue vinyl wrappers with the penguin logo in blind to upper cover, 317pp; SINE. [Maurice Albert Sinet]. (1928 - 2016). Massacre. Penguin Books, 2553, 1966. first English edition, 8vo, pictorial covers, Introduction by Malcolm Muggeridge, illustrated throughout, 94pp. Allen Lane took offence to the obscene cartoons, it is speculated he removed every English edition from the company's warehouses that had not yet been sold and disposed of them; WILLIAMS, W.E. (1896 - 1977). Allen Lane. A Personal Portrait. 1973. first edition, 8vo, original blue cloth, top edge blue, dustwrapper unclipped, half-title, b/w. plates, 96pp; The Penguin Story. Q21. 1956. first edition, paperback, pictorial wrappers, illustrated throughout, 124pp; Tributes to Allen Lane at a Service of Thanksgiving for his Life and Work 1902-1970. Privately printed, 1970. first edition, Limited edition of 750 copies designed and printed for the family of Sir Allen Lane, 8vo, patterned paper wrappers with printed label to upper cover, tributes given at a service of thanksgiving for Sir Allen Lane at St Martin-in the Fields, 18 August, 1970, with 4pp. Order of Service loosely inserted. Provenance: Collection of the late Malcolm Kelley, Penguin Books, 1958-1972. Malcolm Kelley began his career with Penguin Books as a sales representative, promoted to managing the distribution and overseas export business, he worked closely with Sir Allen Lane until Lane's death in 1970 when Penguin merged with Longman/Pearson. Kelley moved to Ladybird Books in 1972, first as sales director and later as manging director for twenty years. Kelley considered himself a Penguin man and treated the whole company as a family, just as Sir Allen Lane had done, all those years ago.(Qty. 12). Condition Report: 1. Private Angelo, Christmas, 1957 - a fine copy.2. A Miscellany of Blocks. Christmas, 1958 - a fine copy.3. Without Prejudice. Christmas, 1963 - a fine copy.4. For such as are the Riper Years - toning and light marks to edges of white cloth, o/w. a clean crisp copy.5. The Rime of the Ancient Mariner - light marks to spine, toning to edges of pastedowns and leaf edges, o/w. a near fine copy. 6. The Transformations of Lucius, otherwise known as The Golden Ass by Lucius Apuleius - light marks to spine, light marks to foredge, o/w. internally clean and crisp, light foxing and toning to publisher's card slipcase.7. The Trial of Lady Chatterley, Regina V. Penguin Books Ltd., 1961 - a fine copy. marginal foxing spots to original yellow paper wrapper.8. Lady Chatterley's Lover. Penguin Books, 1960 - bright covers with light marks, toning to edges and pages, o/w. a clean copy.9. Massacre - light wear and scuffs to wrappers, foxing to edges affecting some leaf edges. 10. Allen Lane. A Personal Portrait - light wear to dust-jacket, a near fine copy.11. The Penguin Story. Q21 - light marks and creases to wrappers, toning to edges, o/w. a clean copy.12. Tributes to Allen Lane at a Service of Thanksgiving for his Life and Work 1902-1970 - a near fine copy. Condition Report Disclaimer
Philip Larkin.- Philip Larkin Reads the Whitsun Weddings. Listen Records, The Marvell Press, Hessle, Yorkshire, The Poets Voice Series, 1965. Vinyl 12 inch L.P. record, 33 1/3 rpm., original cover, photograph of Philip Larkin and cover design by George Hartley, within white paper inner sleeve, a review of the collection by Christopher Ricks on rear panel. The recording was made by George Hartley in the Library of the Hull University on September 20 and 24, 1964; ROBERT GRAVES READING SELECTED POEMS. Listen Records, The Marvell Press, Hessle, Yorkshire, 1959. Vinyl 12 inch LP. record, 33 1/3 rpm., original cover portrait drawing and cover design by George Hartley, within clear plastic inner sleeve. The poems were selected by George Hartley who directed and edited the original recording in London, April 28, 1959.(Qty. 2) Provenance: The late Eric Selkirk Johnston, business manager of The Marvell Press, Hessle, East Yorkshire. Eric Johnston and his wife Audrey were associated with Philip Larkin and many authors within the Marvell Press family through their close friendship with George Hartley and lifelong friendship with Jean Hartley, co-founders of the Marvell Press in 1954. Condition Report: 1. Philip Larkin - cover with marginal marks, some toning to rear panel.2. 2. Robert Graves - cover with marks and toning to edges.Condition Report Disclaimer
Ɵ MODERN FIRST EDITIONS.- JOHN LENNON and MAO TSE-TUNG, two volumes, 1964-1966. comprising: LENNON, John. (1940 - 1980). In His Own Write. 1964. first edition, small 8vo, (180 x 140mm), publisher's glossy blue boards with portrait of Lennon by Robert Freeman to upper cover, within glassine wrapper, priced 9s.6d. to front pastedown, poems and short stories ranging from eight lines to three pages, illustrated throughout by Lennon in his unique style, with three related newspaper cuttings loosely inserted, 79pp; ZEDONG, Mao. (1893 - 1976). Quotations from Chairman Mao Tse-Tung. 1966. first English edition of Mao's 'Little Red Book', (132 x 95mm), original card covers within red textured vinyl-plastic wrapper, title blindstamped to upper cover, title page printed in red and green, photo. portrait frontispiece with tissue guard, facsimile of handwritten statement by Comrade Lin Pao (in Japanese, with English translation at next page) 312pp. Chairman Mao's 'Little Red Book', an important work of Communist and historical significance, became a symbol of anti-Vietnam propaganda in America, being quickly banned not only for its communist and socialist contents, but for being an icon of anti-war effort.(Qty. 2). Condition Report: 1. In His own Write - some wear to extremities, upper and lower boards cracked, foxing to edges affecting some leaf edges, occasional light foxing to a few pages.2. Quotations from Chairman Mao Tse-Tung - light marks to original card covers and red vinyl-plastic wrapper, toning to edges, internally clean.Condition Report Disclaimer
Ɵ The Marvell Press.- POUND, Ezra. (1885 - 1972). Gaudier-Brzeska, A Memoir. Two unbound Proof copies. 1960. folded publisher's sheets, 8vo, (225 x 153mm) within paper wrappers, many pages uncut, half-titles, titles printed in red and black, portrait frontispieces, 147pp., plus 30pp. of plates at rear. Provenance: The late Eric Selkirk Johnston, business manager of The Marvell Press, Hessle, East Yorkshire. Eric Johnston and his wife Audrey were associated with Philip Larkin and many authors within the Marvell Press family through their close friendship with George and lifelong friendship with Jean Hartley, who co-founded the Marvell Press in 1954.(Qty. 2). Condition Report: occasional light foxing, overall clean copies.Condition Report Disclaimer
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