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Preisdatenbank abonnierenEnglish School c.1745Three-quarter length portrait of Thomas Bardwell, the butler and clerk at Woodton Hall, Norfolkoil on canvasinscribed ‘T. Bardwell Ætat: suae.96. Butler & Clark [sic] at Woodton 74. yrs’ (lower right)126 x 104 cm. Provenance: E. A. J. Suckling (according to an inscription on the stretcher), Christie’s, Lot 21, 15 June 2001, when purchased by the present owner
A signed and dated Coronation day portrait photograph, Queen Alexandra of Denmarkscripted top left, W & D. Downey, 61 Ebury St, London, S.W, signed and dated August 9th, 1902, in a floral gilt plaster frame surmounted with a crowned rose garland.44 x 33cm.A signed and dated Coronation day presentation photograph, Queen Alexandra, Queen Consort of King Edward VII scripted top left, W & D. Downey, 61 Ebury St, London, S.W, signed and dated August 9th, 1902, in a floral gilt plaster frame surmounted with a crowned rose garland. 44 x 33cm. The Queen is depicted in her coronation robes.
Portrait of D. Afonso Furtado de Mendonça - c. 1561-1630 - Rector of the University of Coimbra (1597), Bishop of Guarda, Bishop of Coimbra - Count of Arganil, Archbishop of Braga and Archbishop of Lisbon, oil on canvas, with inscription P[AR]A O ILL[USTRÍSSI]MO S[ENH]OR D. AFFONSO FURTADO DE MENDO[N]SA ARCEB[ISP]O DE L[ISBO]A A 1597 [D.Afonso Furtado de Mendonça was the son of Jorge Furtado de Mendonça, Commander of entries, and Dona Mécia Henriques], Portuguese school, 18th C. (1st quarter), minor faults on canvas, minor faults on the pictorial layer. Notes: "Two unpublished portraits from the Archbishops Gallery of the Palace of Mitra Nuno Saldanha This is an extremely interesting pair of portraits that were part of the primitive Archbishops series, of which only the seven paintings currently found in the Patriarchate were known to date. from Lisbon, in S. Vicente de Fora. The original set of thirteen portraits of the Archbishops of Lisbon, were placed by the first Patriarch, Dom Tomás de Almeida, in the former Palace of Mitra, arranged in two rooms, on the occasion of the renovation that was carried out there. There is no doubt about the original location, as the canvases are described and referred to from 1763, by Batista de Castro, to 1827, by Joaquim José Ferreira, in the inventory of Paço de Marvilla: "Segunda Casa – Sinco Painéis de oito palmos de Largo e seis de Alto molduras pretas pintadas em panno dos Retractos dos Arcebispos de Lisboa [...] Terceira Casa – oito painéis de oito palmos de Largo e seis de Alto Molduras pretas e Pintura em panno dos Retratos dos Arcebispos de Lisboa e achando nelles o Cardeal Regidore, Cardeais Infantes". The list of portraits was as follows (in chronological order, from the eighth to the twentieth centuries): Cardinal D. Jorge da Costa (1464-1500) Martinho da Costa (1500-1521) Cardinal Infante D. Afonso of Portugal (1523-1540) Fernando de Menezes Coutinho e Vasconcelos (1540-1564) Cardinal Infante D. Henrique of Portugal (1564-1570) Jorge de Almeida (1570-1585) Miguel de Castro (1586-1625) Afonso Furtado de Mendonça (1626-1630) João Manuel de Ataíde (1633) Rodrigo da Cunha (1635-1643) António de Mendonça (1670-1675) Luís de Sousa (1675-1702) João de Sousa (1703-1710) From 1905 onwards, we have news of its placement in the Patriarchal Relation, according to the report by Monsignor Alfredo Elviro dos Santos, regarding the existing collection there, in a letter to Diário de Notícias newspaper dated October 4th of that year. However, the transfer of paintings from Marvila to S. Vicente was not done directly. The set went through several vicissitudes, being sold several times, and in parts, dispersing among different owners. We know that four of these portraits were acquired by engineer Jorge Lobo d'Ávila da Graça, in the early 20th century, to decorate the Galvão-Mexia/Pimenta palace, in Campo Grande, which he had bought in 1914. Years later, in 1957, when he decides to leave that house of his, they return to auction, at the great auction he held for its contents, in November of that year. Two of them would join the rest, in S. Vicente, that of Cardinal Infante D. Henrique, and that of Cardinal Infante D. Afonso (acquired in 2010). ) The remaining two, from the Jorge Graça collection, are precisely those for sale, that of D. Afonso Furtado de Mendonça (Rector of the University of Coimbra, Bishop of Guarda, Bishop of Coimbra - Count of Arganil, Archbishop of Braga and Archbishop of Lisbon), and that of D. João Manoel (Bishop of Viseu, Bishop of Coimbra-Count of Arganil, Archbishop of Lisbon and Viceroy of Portugal), respectively, the fifteenth and sixteenth archbishops of Lisbon, still in its black frames, referred to in 1827. We do not know the author of the original series, probably executed after 1710, the date of the death of the last archbishop figured there, D. João de Sousa. However, it is due to the important painter Vieira Lusitano (1699-1783), a considerable renovation of part of it, por ordem do Senhor Rey D. João V", as Batista de Castro refers (Castro, 1763: 481). In addition to the additions, especially accessories and sets, we do not neglect the eventual execution of a significant part of some of them, given the stylistic affinities, as well as the elaborate symbolic compositions, so much to Vieira's taste. This series should also be part of this series, although it is not an archbishop, a portrait of Dom Tomás de Almeida himself, of which there is still a drawing of the Lusitano in blood, at the National Museum of Ancient Art, with the same proportions and type of attributes , which we find in the portraits of the archbishops." Cabral Moncada Leilões registers and thanks Prof. Dr. Nuno Saldanha fot the historical and artistic framework of the works in matter., Dim. - 120 x 161 cm
FIGUEIREDO, Manuel de Andrade de.- Nova escola para aprender a ler, escrever, e contar: primeira parte.- Lisboa Occidental: Na Officina de Bernardo da Costa de Carvalho, [1722].- [16], 156 p.: 1 portada grav., 1 retrato, [1], 44 gravuras; 30 cm.- E., First and only published part of the most famous Portuguese calligraphy treatise. Complete copy, preserving all the copperplate prints: engraved title with the coat of arms of Portugal over Lisbon, the author's portrait (signed by B. Picart), the calligraphed figure of the knight and the 44 engravings numbered from 1 to 44. Manuel de Andrade de Figueiredo (1670-1735), a leading figure in the calligraphic art of the seventeenth century, laid the foundations for teaching the so-called “Portuguese calligraphic type”. His manual is divided into four parts: the first dedicated to teaching Portuguese spoken and written language; the second presents the different types of letters used at the time; the third establishes the rules of Portuguese spelling; the fourth teaches the basics of arithmetic. The pictures represent calligraphy exercises for students, notions of types design and alphabets of various styles. Two handwritten ownerships on the title page; last section with slight signs of handling; occasional slight stains. Recent full sheepskin binding, with patina and gold tooling on the spine, in the manner of the period. Inocêncio, V, p. 355. Samodães, 151. Ameal, 107. Ferreira Lima (Calligraphers), p. 7 and sec. (with extensive news and reproduction of the author's face and portrait).
JESUS, Frei Rafael de, O.S.B.- CASTRIOTO | LVSITANO | PARTE I. | ENTREPRESA, E RESTAVRAÇAÕ | de Pernambuco; & das Capitanias Confinantes. VARIOS, E BELLICOS SVCCESSOS CASTRIOTO | ENTRE PORTUGUEZES, E BELGAS. | ACONTECIDOS PELLO DISCURSO DE VINTE E QUATRO ANNOS, E | tirados de noticias, relações, & memorias certas.- Lisboa: Na Impressaõ de Antonio Craesbeeck de Mello, 1679.- [18], 701, [47] p.: 1 gravura; 27 cm.- E., First edition of a work based on the manuscript of the "Historia da guerra de Pernambuco e feitos memoraveis do Mestre de Campo João Fernandes Vieira", by Diogo Lopes Santiago, which only came to be published in 1875-1880. In fact, it is a compliment by Vieira, nicknamed Castrioto in allusion to the Albanian hero and king George Castrioto, who at the time was a very popular figure in Portugal. The author (1640-1693), a Benedictine monk, born in Guimarães, was the main chronicler of the Kingdom, being responsible for writing the seventh part of the "Monarquia Lusitana". The volume initially includes an engraved and etched (very trimmed, with loss of subscription and reinforced margins on the back) portrait of Vieira with architectural framing. The title page has a restoration over the entire width of the lower margin (25x195 mm), tangentially affecting the imprint date. The specimen is somewhat trimmed, but generally clean, complete and solid, retaining the rare portrait. Recent full sheepskin binding, with patina and gold tooling in the manner of the period ("à la Duseuil"). Inocêncio, VII, p. 48. Samodães, 1632. Borba de Moraes, p. 427 (rare). Auvermann, 1062. Arouca, J 17.
Portrait of D. João Manoel - c. 1570-1633 - Bishop of Viseu, Bishop of Coimbra, Count of Arganil, Archbishop of Lisbon and Viceroy of Portugal, oil on canvas, with inscription D. JOÃO MANOEL - BISPO DE VIZEO, AND COIMBRA ARCEBISPO DE LISBOA, AND VIZO REY DE PORTUGAL [D. João Manoel was the son of D. Nuno Manuel, lord of Salvaterra and Tancos, and of Dona Joana de Ataíde, brother of the 1st and 2nd Counts of Atalaia], Portuguese school, 18th C. (1st quarter), faults and defects on canvas including minor tears, small restoration. Notes: "Two unpublished portraits from the Archbishops Gallery of the Palace of Mitra Nuno Saldanha This is an extremely interesting pair of portraits that were part of the primitive Archbishops series, of which only the seven paintings currently found in the Patriarchate were known to date. from Lisbon, in S. Vicente de Fora. The original set of thirteen portraits of the Archbishops of Lisbon, were placed by the first Patriarch, Dom Tomás de Almeida, in the former Palace of Mitra, arranged in two rooms, on the occasion of the renovation that was carried out there. There is no doubt about the original location, as the canvases are described and referred to from 1763, by Batista de Castro, to 1827, by Joaquim José Ferreira, in the inventory of Paço de Marvilla: "Segunda Casa – Sinco Painéis de oito palmos de Largo e seis de Alto molduras pretas pintadas em panno dos Retractos dos Arcebispos de Lisboa [...] Terceira Casa – oito painéis de oito palmos de Largo e seis de Alto Molduras pretas e Pintura em panno dos Retratos dos Arcebispos de Lisboa e achando nelles o Cardeal Regidore, Cardeais Infantes". The list of portraits was as follows (in chronological order, from the eighth to the twentieth centuries): Cardinal D. Jorge da Costa (1464-1500) Martinho da Costa (1500-1521) Cardinal Infante D. Afonso of Portugal (1523-1540) Fernando de Menezes Coutinho e Vasconcelos (1540-1564) Cardinal Infante D. Henrique of Portugal (1564-1570) Jorge de Almeida (1570-1585) Miguel de Castro (1586-1625) Afonso Furtado de Mendonça (1626-1630) João Manuel de Ataíde (1633) Rodrigo da Cunha (1635-1643) António de Mendonça (1670-1675) Luís de Sousa (1675-1702) João de Sousa (1703-1710) From 1905 onwards, we have news of its placement in the Patriarchal Relation, according to the report by Monsignor Alfredo Elviro dos Santos, regarding the existing collection there, in a letter to Diário de Notícias newspaper dated October 4th of that year. However, the transfer of paintings from Marvila to S. Vicente was not done directly. The set went through several vicissitudes, being sold several times, and in parts, dispersing among different owners. We know that four of these portraits were acquired by engineer Jorge Lobo d'Ávila da Graça, in the early 20th century, to decorate the Galvão-Mexia/Pimenta palace, in Campo Grande, which he had bought in 1914. Years later, in 1957, when he decides to leave that house of his, they return to auction, at the great auction he held for its contents, in November of that year. Two of them would join the rest, in S. Vicente, that of Cardinal Infante D. Henrique, and that of Cardinal Infante D. Afonso (acquired in 2010). ) The remaining two, from the Jorge Graça collection, are precisely those for sale, that of D. Afonso Furtado de Mendonça (Rector of the University of Coimbra, Bishop of Guarda, Bishop of Coimbra - Count of Arganil, Archbishop of Braga and Archbishop of Lisbon), and that of D. João Manoel (Bishop of Viseu, Bishop of Coimbra-Count of Arganil, Archbishop of Lisbon and Viceroy of Portugal), respectively, the fifteenth and sixteenth archbishops of Lisbon, still in its black frames, referred to in 1827. We do not know the author of the original series, probably executed after 1710, the date of the death of the last archbishop figured there, D. João de Sousa. However, it is due to the important painter Vieira Lusitano (1699-1783), a considerable renovation of part of it, por ordem do Senhor Rey D. João V", as Batista de Castro refers (Castro, 1763: 481). In addition to the additions, especially accessories and sets, we do not neglect the eventual execution of a significant part of some of them, given the stylistic affinities, as well as the elaborate symbolic compositions, so much to Vieira's taste. This series should also be part of this series, although it is not an archbishop, a portrait of Dom Tomás de Almeida himself, of which there is still a drawing of the Lusitano in blood, at the National Museum of Ancient Art, with the same proportions and type of attributes , which we find in the portraits of the archbishops." Cabral Moncada Leilões registers and thanks Prof. Dr. Nuno Saldanha fot the historical and artistic framework of the works in matter., Dim. - 121 x 161 cm
BOX OF MIXED PICTURES TO INCLUDE FRAMED AND UNFRAMED WATERCOLOURS AND OILS ON BOARD STUDIES - KING JOHNS BRIDGE, TEWKESBURY SIGNED ALBEMARLE T WATSON, 19TH CENTURY WATERCOLOUR OF SHIPS ON ROUGH SEA, ST MICHAELS MOUNT, CORNWALL, STUDY OF WADI JHIZI IN THE UNITED ARAB EMIRATES, PORTRAIT OF THE HON CAROLINE NORTON AND MANY OTHERS, PLUS A FRAMED PEARS SOAP ADVERTISING PRINT
Ed Little (American, B. 1957) "Santa Claus" Signed lower right. Original Oil painting on CanvasBoard. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 29c Santa Claus stamp issued October 17, 1999. "His eyes -- how they twinkled! his dimples -- how merry! His cheeks were like roses, his nose like a cherry!" in 1822 Clement C. Moore wrote a charming Yuletide story especially for his children. Originally titled "A Visit from Saint Nicholas," the entrancing story came to be called "The Night Before Christmas." In poetic style, the saga humorously chronicled Moore's fictional encounter with Santa Claus and gave many readers their first portrait of the "jolly old elf." The mythology surrounding this fabled fellow dates back to 300 A.D. and centers on Saint Nicholas, bishop of Myra in Lycia, who under cover of night took gifts to the needy. Nicholas' fame spread after his death, and many European countries began to celebrate December 6 -- his feast day -- with joyful revelry, the exchange of gifts and sumptuous repasts. Dutch settlers brought the custom to the New World during the 17th century. St. Nicholas, or Sinterklaas as Dutch children called him, was originally pictured as a tall, slender man of stately demeanor. But in America his appearance -- and his name -- changed. Sinterklass became Santa Claus, and with the help of American educator and poet Clement Moore, the saint evolved into a round, jolly elf with rosy cheeks, a white mane of flowing hair and a long beard. Image Size: 25 x 21.5 in. Overall Size: 32 x 27.75 in. Unframed. (B13391)
Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "Mimbres Indian Portrait" Signed lower right. Original watercolor/Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Image Size: 14 x 12 in. Overall Size: 23 x 20 in. Unframed. (B17302 / B17304)
Simon Jacques Rochard (France, 1788 - 1872) Important Portrait of Napoleon. Watercolor on ivory. Signed and dated 1816 lower left. With original inscription verso. Rochard studied under Étienne Aubry and at the École des Beaux-Arts. He also studied miniature-painting from Emilie Bounieu (daughter of Michel Honoré Bounieu). At only twenty he painted a portrait of the Empress Joséphine for Napoleon and later other portraits of the imperial family. He exhibited mostly at the Royal Academy of Arts from 1816 to 1845.Sight Size: 7.75 x 5.25 in.Overall Framed Size: 13.5 x 11 in.
FERGUSON, James: 1- Astronomy Explained upon Sir Isaac Newton's Principles, and made easy to those who have not studied Mathematics. Printed for and sold by the Author, at the Globe.. 1756, First edition. With 13 folding plates plus the folding frontis supplied in facsimile. PP:(viii), 267, (ix)Index & direction to binder. 4to. Recent full calf with raised bands & gilt lettered label. The title page & following 4 leaves torn with loss to fore-margins (away from any text) and professional repair. 2- Lectures on Select Subjects in Mechanics, Hydrostatics,.. Sherwood & Co. 1825, New & improved edn. With a portrait frontis and 10 plates. Original plain boards; rubbed; 3- Brewster, D: Plates Illustrative of Ferguson's Lectures on Mechanics, Hydrostatics.. Edinburgh, Bell & Bradfute, 1806, 2nd. Edn. enlarged. Complete with 50 double page Plates. Original plain boards; rubbed; 4- An easy introduction to Astronomy for young gentlemen and ladies. T Cadell, 1769, 2nd. Edn. With 7 folding plates (as called for). PP:(iv), 252. Cont. full calf; rubbed & hinges cracked. Plate one with part missing and replaced with a facsimile; 5- Select Mechanical Exercises: Shewing how to construct different clocks, orreries, and sun-dials.. Strahan, 1790, With 9 folding plates. PP:(xii), xliii, (i)blank, 1-90, 95-272. Lacking pp 91-94; few plates with pieces missing & repaired. SOLD NOT SUBJECT TO RETURN. You can make an appointment to view this lot) (5)
CAMDEN, William: BRITANNIA or a Chorographical Description of the Flourishing Kingdoms of England, Scotland, and Ireland and the Islands Adjacent, in 4 volumes. J. Stockdale, 1806, 2nd. edn. Folio, with a frontis portrait plus 99 plates only of 104, Also lacking all the maps. Cont. full treecalf; little rubbed. (4)
DANIEL, WB: Rural Sports, 4 volumes (including supplement). Vols. 1-3: Longman, Hurst, Rees and Orme 1807 Supplement: T. Davison, 1813. All 4 volumes First edition. All Plates present as called for: 79 engraved plates, including engraved titles and portrait (2 Double-page and one Hand coloured). 4to. Vols. 1-3 bound in the original full ribbed leather, recased in 1983, preserving the original covers and spines. Vol. 4 in matching 1983 binding. Occasional foxing & browning. Museum bookplate only, no stamps. (The first lot, of many, to come from the Leicestershire Museum.. Library, Most of of their books only have their bookplate and no stamps) (4) Provenance: Leicester Museum Reference Library (Most of their books only have their bookplate and no stamps)
CORNWALL: 1- GILBERT, C S: An Historical Survey of The County of Cornwall: To Which is Added, A Complete Heraldry of The Same; With Numerous Engravings. In Two Volumes. Plymouth-Dock, J Congdon, 1817-20, 1st. edn. Vol. 1 lacking one portrait, BUT with 2 extra portraits and an extra plate “View of castle of Trematon, in Cornwall” And Vol. 2 With 3 Extra plates. Cont. full leather; covers detached and endpapers torn; 2- WARNER, R: A Tour Through Cornwall in the Autumn of 1808. R Cruttwell, 1809, 1st. edn. Illustrated with a Sepia frontis plate plus rout maps in the text. Original plain boards and home made paper label; rubbed; first gathering a little loose. Plus one other. (4)
FALCONER, Hugh: Palaeontological Memoirs and notes of the late Hugh Falconer with a Biographical Sketch of the Author. Compiled and edited by Charles Murchison, in two 2 volumes. R Hardwick, 1868, first edition. PP: lvi, 590, (i)Adv,+34 Maps & plates, including frontis; xiii, (i), 675, +38 plates + Frontis portrait. Later plain cloth with gilt lettering and museum number to spines. Leicester Museum bookplate to front pastedown, But NO STAMPS. (2) Provenance: Leicester Museum Reference Library (Most of their books only have their bookplate and no stamps)
1- AUSTEN-LEIGH J. E: A Memoir of Jane Austen by Her Nephew. R. Bentley, 1870, first edition. With a frontis portrait plus 4 plates. PP: v, (iii), 236. Original cloth rubbed and with tears; recased with new endpapers; 2- TROLLOPE, Anthony: The Last Chronicles of Barset, in two volumes. S. Elder, 1867, first edition. PP: 384; 384. Cont. half leather, rubbed, inner hinges cracked and sellotaped. (3)
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