Illustrated. SHEPHERD (Thomas H) Modern Athens! Displayed in a Series of Views, or Edinburgh in the Nineteenth Century. London: Jones & Co 1829, 4to, engravings, typical staining, half morocco, rubbed; WRIGHT (G N) Ireland Illustrated, 1831, engraved title and plates, similarly bound; Plates from Don Quixote, 24 coloured aquatints published by Thos McLean 1819, title within decrative border, some handling stains to plates, contemporary cloth; Finden's Galllery of the Graces, Portrait Illustrations of British Poets, 1837, 4to, morocco gilt, rubbed; KIPLING (R) A Song of the English, illustrated by Heath Robinson, Hodder & Stoughton, no date, small 4to, tipped in colour plates, original cloth; GRISET (E) Griset's Grotesques, Routledge 1867, small 4to, some staining, worn covers; HUGHSON (D) Walks through London, vol. I only, 1817, 8vo, folding map and plan, some spotting (7)
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HOGARTH (William) The Complete Works, with an introductory essay by James Hannay, no date, circa 1860, 4to, frontis portrait and 2 additional engraved titles, about 150 engraved plates, some spotting and staining, half roan, joints rubbed and cracked; CRUIKSHANK (George) The Humourist, 4 vols., 1892, 8vo, no.160/260 copies, hand coloured titles and plates, uncut, part unopened, cloth; County maps 1830-32, bound small 4to collection of 43 hand coloured maps engraved by S. Hall; BLAINE (D B) Encyclopaedia of Rural Sports, 1858, thick 8vo, rebacked; PITT (Rt. Hon. W) Anecdotes of the Life of .., in 3 vols., 7th edition, 1810, 8vo, cloth; SURTEES. Hillingdon Hall, 1888, 8vo, illustrated, original cloth, morocco backed slip case; 3 others by Surtees, half morocco; etc (19)
DARWIN (Charles) A Naturalist's Voyage. Journal of Researches into the Natural History and Geology of the Countries Visited During the Voyage of H. M. S. 'Beagle' Round the World. London: John Murray, 1889, 8vo, portrait frontis, illustrations, 4 pp. advertisements at end, a crisp copy in bright original cloth gilt, early owner's name neatly stamped to a blank page
London. History and architecture. GALER (A M) Norwood and Dulwich, 1890. small 4to, illustrated, original pictorial cloth; SYKES (C S) Private Palaces, 1985, dust jacket; PHILLIPS (H) Mid-Georgian London, Collins 1964, 4to, dust jacket; KEENE, BURNS & SAINT. St Paul's, 2004, folio, dust jacket; PEARCE (D) London's Mansions, Batsford 1986, dust jacket; The Book of Watford, a portrait of our Town c1800-1987, dust jacket; BYRNE (A) Bedford Square, 1990, slip case; etc (32)
Surveying. LEYBOURN (William) The Compleat Surveyor, 5th edition 1722, small folio, frontis portrait, title in red and black, folding diagrammatic plates, some general age toning, library stamps to title and some plates, panel calf with good reback; KENT (Nathaniel) Hints to Gentlemen of Landed Property, 2nd edition 1776, 8vo, 10 folding plates, calf, front joint cracked; DAVIS (W) A Complete Treatise on Land Surveying, 4th edition, 1805, uncut, folding plates, modern half morocco; PARNELL (Sir H) A Treatise on Roads, 1833, 8vo, 7 folding plates, very light foxing, later half calf; JOHNSTONE (J) An Account of the Mode of Draining Land, 3rd edition, 1808, 8vo, uncut, 19 folding plates, light foxing, modern calf backed boards
DARWIN (Francis) The Life and Letters of Charles Darwin, in 3 vols., 7th thousand revised, London: John Murray 1888, 8vo, 3 frontis portraits, neat owner's names, otherwise good clean tight copies in original green cloth; More Letters of Charles Darwin, 2 vols., 1903, 8vo, 2 frontis portraits, brown cloth; Life of Charles Darwin, 1908, 8vo, portrait, original cloth, ex library copy with inner label and age wear
CAMDEN (William) Britannia: or a Chorographical Description of Great Britain and Ireland, 2 vols., 2nd edition revised by Edmund Gibson, London: Printed by Mary Matthews for Awnsham Churchill and sold by William Taylor, 1722, folio, portrait frontis (small loss to lower margin), title printed in red and black, few old ink notes at head, 51 hand-coloured engraved double-page maps by Robert Morden, England map with stained and repaired lower margin, some others with occasional tears or marks, 10 coin plates, text illustrations, sporadic light spotting and finger stains, contemporary worn calf, rebackedNote: with British Museum 'Duplicate' stamps overleaf of titles and to final pages.Both titles are inscribed above in a neat hand in ink 'Bibliotheca Sloaniana. A.49' & 'A.50'.Presumably these volumes are from the library of Sir Hans Sloane (1660-1753). Dr Thomas Stack FRS, librarian to Sloane, is recorded as having inscribed titles from Sloane's library in a similar way - cf. Christie's sale June 13, 2002, lot 141 a botanical by Dillenius.
PARKER (Sir William) The History of Long Melford. London 1873, 4to, author’s clipped signature pasted in below his portrait photograph mounted at the start, browned title page with signature ‘R A J Suckling 1890’, half morocco, rubbed, by Zaehnsdorf, bookplate of Florence Horatia Suckling
BEDDOES (Thomas) Hygeia: or Essays Moral and Medical on the Causes Affecting the Personal State of Our Middling and Affluent Classes, 3 vols., first edition, Bristol 1802-03, 8vo, some light staining and toning, vol. II lacks 8pp. index at end, otherwise complete, worn half calf; [POTE (Joseph)] The History and Antiquities of Windsor Castle, Eton: Joseph Pote, 1749, 4to, engraved portrait frontispiece, title in red and black, engraved plates and plans including folding, some age toning and spotting, contemporary mottled calf, worn calf, rebacked (4)
BROOKE (Rupert) John Webster and the Elizabethan Drama, 1st edition 1916, 8vo, very good in dust jacket; CASSON (Stanley) Rupert Brooke and Skyros, Elkin Matthews 1921, 8vo, boards; Four Poems, edited by Sir Geoffrey Keynes, Scolar Press 1974, 4to, tipped in portrait, cloth; The Old Vicarage Grantchester, 1916, booklet, taped spine, unbound; autograph letter from Frances Cornford dated 1948 'Dear Mr Rogers...', discussing a poem of Brooke's, 2 sides, now plastic film sealed; CORNFORD (Frances) Spring Morning, illustrated by Gwen Raverat, Poetry Bookshop, 2nd edition 1915, paper wrapper worn; Catalogue of Books and Manuscripts by Rupert Brooke, Rampant Lions Press 1970, 4to, no.167/450 copies, cloth; with 10 others by or about Brooke
English School (18th-19th century) Portrait study of a young man's head, taken from an antique sculpture,pencil drawing with white heightening, 31 x 21cmUnexamined out of framediagonal crease in upper left corner, and another light crease down the centre, minor marks and wear, light surface dirt. No tears or significant damage.Animal hair under glass by mounth (shown)Scattered fly spotsGlass dirtyProvenance from local private collection
![LAWRENCE (T E) [The Seven Pillars of Wisdom], advance sheets, pp.3-40, with colour portrait of Ghalib Bey and 2pp. printed au](https://cdn.globalauctionplatform.com/494d6759-0c1f-48a2-b349-b1f7009a63a2/30a9d497-de92-4146-9ca6-b1f900ac257c/468x382.jpg)
LAWRENCE (T E) [The Seven Pillars of Wisdom], advance sheets, pp.3-40, with colour portrait of Ghalib Bey and 2pp. printed author's 'prospectus' notes dated June 1st 1925, oval library stamps of the Meyer Sassoon Library Paris and cancelled British Institute in Paris library bookplate 'Collection Granville-Barker 1952', contemporary cloth; with - Palestine Exploration Fund, Annual 1914-15, Double Volume, with The Wilderness of Zin by Woolley and Lawrence; some rippling to text and plates from small damp stain to lower covers (2)
London - histories. FAULKNER (Thomas) History and Antiquities of Kensington, 1820, 8vo, 22 plates, woodcuts and pedigrees as called for, slight occasional staining, plate list leaf at end heavily repaired, half morocco; An Historical and Topographical Description of Chelsea and its Environs, 1810, 8vo, folding plan, frontis and plates, heavy offsetting, half calf; CROKER (T) A Walk from London to Fulham, 1860, 12mo, extra illustrated with 17 portrait or character plates, light spotting, half morocco; Another copy, with C. Mallord W. Turner bookplate, original cloth; (4)
BEATON (Cecil) Portrait photograph of HRH Princess Margaret, signed by her and Beaton to the mount below, dated 1956, in a blue leather frame with 'M' royal cipher in gilt above, with easel support, 32cm highdamp stain to lower margin of mount, signatures a little faded, easel strut bent. See images.
Albert Geudens (1869-1949): Portrait of a man, oil on canvas marouflated on boardWork:72 x 52,5 cmFrame: 84,5 x 65 cm The painter Albert Geudens (Mechelen 1869- Schaarbeek 1949) was already a very gifted painter at a very young age and until the outbreak of the First World War the centre of the Mechelen painting school. Educated at the Academy of Fine Arts in Mechelen (until 1890, teacher: Willem Geets), then at the Royal Academy of Fine Arts in Antwerp (1890-1891) and also briefly in Brussels. Provenance:- Ex-collection printer and bookbinder Frans Beckers (1858-1925, Mechelen),and remained in the family ever since.
French school: Portrait of Louis Marthe de Gouy d’Arsy, oil on canvas, 18th C.Work: ca. 52 x 42 cm Frame: 62,5 x 53 cm Louis Marthe de Gouy d'Arsy was born to a noble family in Paris in July 1753. At a young age, he entered the army and continued to climb the ranks until he was named General de Brigade in 1792. He was then named the Deputy of the Nobles of Saint-Domingue and took charge of ameliorating the situation of the colony. He had one single goa: the representation of the colony in the National Assembly. As the liaison between Saint Domingue and the Assembly, he tried to limit La Luzerne's government over the colony and the Minister of the Navy and fought for its autonomy. In 1791, D'Arsy created a plan for Saint-Domingue which he entitled 'Summary of Ideas on the Restoration of Saint Domingue, Presented to the Nation, the King and the Colony.' This document contained elaborate plans for the colony. Freemason and principal member of the Club Massiac, he often clashed with Brissot and the Society of Friends of Blacks. Gouy d'Arsy was arrested and imprisoned on April 2, 1791. He was sentenced and condemned by the Revolutionary Tribunal, and was guillotined in July 1794 (linkand link).
French school: Portrait of Vincent Le Borgne, comte de Kervegan (Kerruegant), chevalier seigneur de Lesquiffiou, dated 1672, 19th C.Work: 65 x 54 cm Frame: 70,5 x 59,5 cm The engraving of this portrait is part of the collection of Versailles (link).For more information about Vincent le Borgne: link.
Albert Geudens (1869-1949): Self portrait, oil on canvas marouflated on boardWork: 54,5 x 37 cmFrame: 68 x 50,5 cm The painter Albert Geudens (Mechelen 1869- Schaarbeek 1949) was already a very gifted painter at a very young age and until the outbreak of the First World War the centre of the Mechelen painting school. Educated at the Academy of Fine Arts in Mechelen (until 1890, teacher: Willem Geets), then at the Royal Academy of Fine Arts in Antwerp (1890-1891) and also briefly in Brussels. Provenance:- Ex-collection printer and bookbinder Frans Beckers (1858-1925, Mechelen),and remained in the family ever since.
This exquisite Roman necklace, dating from the 2nd century A.D., showcases the opulence and artistry of ancient jewellery design. The necklace is composed of finely worked gold chain interspersed with polished beads of rich red agate and deep purple amethyst, materials highly valued in the Roman world for their beauty and believed protective properties. The centrepiece of this elegant necklace is a 3D gold pendant featuring a finely crafted female portrait in high relief. The portrait, likely representing a goddess or a noblewoman, exhibits the meticulous detail characteristic of Roman goldsmiths, with attention given to the hairstyle, facial features, and draped garment, all intricately rendered to create a lifelike appearance. The combination of luxurious materials and the artistic quality of the portrait make this necklace not only a piece of jewellery but also a work of art, reflecting the social status and refined taste of its original owner. Such necklaces were worn by wealthy Roman women as symbols of status and as personal adornments that also served to display their wealth and cultural sophistication. L: 27.5cm Total weight: 17g
This exquisite Roman cameo, carved from sardonyx agate, features a finely detailed portrait of a deity, dating to the 2nd century A.D. or later. The cameo exhibits the classical profile style, with the deity’s serene facial features, including softly rendered hair and a delicate veil, meticulously carved to convey the divinity's grace and timeless beauty. The sardonyx agate, with its layered bands of translucent and opaque hues, provides a striking contrast that enhances the depth and dimension of the carving. The artist skillfully utilized the natural color variations of the stone to emphasize the deity’s face against the darker background, creating a powerful and elegant image that would have served as a symbol of reverence and religious devotion. Cameos like this were often used in personal adornments or as devotional objects, signifying the wearer’s piety and connection to the divine. The quality of the carving and the choice of materials suggest that this piece was intended for an individual of high status. L: 3.9cm
Exquisite Roman cameo, carved from sardonyx agate, features a finely detailed portrait of a male ruler, possibly an emperor or a significant political figure, dating to the 2nd century A.D. or later. The cameo exhibits the classical profile portrait style, with the ruler's distinct facial features, including a strong jawline, aquiline nose, and closely cropped hair, meticulously rendered to convey both the realism and idealism typical of Roman portraiture. The sardonyx agate, with its layered bands of translucent and opaque hues, provides a striking contrast that enhances the depth and dimension of the carving. The artist skillfully utilized the natural color variations of the stone to highlight the subject's face against the darker background, creating a powerful and elegant image that would have served as a symbol of authority and prestige. Cameos like this were often worn as personal adornments or used in official contexts to signify loyalty and allegiance to the ruler depicted. The quality of the carving and the choice of materials suggest that this piece was intended for an individual of high status. L: 3.5cm
Miniature portrait of a gentleman holding a book, a representation suggesting an intellectual or literary figure of his time. The painting on ivory is finely detailed, with special attention to the textures of the clothing and facial features. Framed with a wooden frame adorned with golden motifs, this portrait is a showcase of refined 19th-century art, possibly created in Spain. 11x10
Biography Following in the footsteps of his brother Wouters, also a painter, he moved to Antwerp, where he was appointed apprentice to Pieter Coecke in 1529. According to Carel van Mander, he later studied with Lambert Lombard in Liège, where he would have had Frans Floris as a classmate. In 1542 – shortly after Lombardo's return to Italy – he appears registered as an independent master in the guild of Saint Luke of Antwerp, of which in 1552 he was appointed dean. Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to the portraits and historical paintings of him, painted with a scholarly hand according to the verses of Lamposonio to his portrait. Valued mainly as a portraitist, among those who sat for him were Cardinal Granvela and the Duke of Alba, whose portrait, preserved in the Liria Palace, is possibly the last one he painted and closest to another portrait of the same subject painted by Titian. Van Mander also praised him for his religious paintings, some of them destroyed in the iconoclastic attacks of the beeldenstorm or iconoclastic fury. In a work like The Last Supper from the Dordrecht Museum, the Italian influences, perceptible, for example, in the architectural backgrounds, and the Flemish details coexist satisfactorily with the portrait skills of the painter, who portrays himself as a beggar in the Lower right corner. This ability to incorporate the novelties that came from Italy without having traveled there and combine them with the Flemish tradition may explain why Lamposonio or Van Mander considered him an erudite painter. His disciple and distant relative was Adriaen Thomasz. Key, whose works are sometimes confused.
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