Camden's Britannia, Newly Tranflated (sic) into Englifh (sic): With Large Additions and Improvements, Publifh'd (sic) by Edmund Gibson [...], Printed by F. Collins, A. Swalle (sic), at the Unicorn at the Weft-end (sic) of St. Paul's Church-yard (sic); and A. & J. Churchil (sic), at the Black Swan in Pater-nofter (sic) Row, London 1695, the text apparently complete, engraved portrait frontispiece of the author wearing herald's tabard within a feigned oval centred by his coat of arms by Robert White (1645 - 1703), further illustrated with 49 hand-coloured engraved historical and county maps, some by Robert Morden (c. 1650 - 1703), 9 full-page numismatic engravings of coins and further antiquarian line engravings within the text throughout, relayed contemporary speckled calf boards, raised bands to spine with gilt lettered red morocco title label, 19th century ink MS ownership inscriptions to pastedown, crown folio
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Travel - Scottish Provincial Imprint, A Voyage to the Pacific Ocean, Undertaken By Command of His Majefty (sic) for making Discoveries in the Northern Hemisphere, Performed under the direction of Captains Cook, Clerke and Gore In the Years 1776, 7, 8, 9 and 80, volume I only, R. Morison, Perth 1785, engraved portrait frontispiece of Captain Cook with further nautical vignette to frontis-page, pp: iv, 8, 346, [4], contemporary quarter-calf and marbled boards, red morocco title label gilt lettered to spine, 16mo; Conder (Josiah), A Popular Description of Peru and Chile: Geographical, Historical, and Topographical, James Duncan, London [n.d., c. 1829], pp: vi, [i], 360, one fold-out engraved map, 3 steel engravings, contemporary green quarter-morocco and marbled boards, the spine lettered in gilt, 18mo; Trollope (T. Adolphus), A Summer in Brittany, edited by Frances Trollope, two-volume set, Henry Colburn, London 1840, hand-coloured lithographic title-pieces, further monochrome lithographs, contemporary bindings (faults), Bound by W. Walker, Plymouth, labelled, Pictorial Armorial bookplates: Plymouth Public Library, 8vo; Conder (Joseph), Russia, James Duncan, London 1831, lacking map, contemporary quarter-green morocco and papered boards, 18mo; Jerrold (W. Blanchard), A Brage-Beaker with the Swedes: or, Notes from the North in 1852, Illustrated with Sketches by the Author, Nathaniel Cooke, London 1854, contemporary buckram, 12mo; Mockler-Ferryman (Major A.F.), In the Northman's Land: Travel, Sport, and Folk-Lore in the Hardanger Fjord and Fjeld, With Map, Illustrations, and Appendix, Sampson Low, Marston & Company, London 1896, contemporary maroon buckram, 12mo; Beattie (William, M.D.), Switzerland: Illustrated in a Series of Views Taken Expressly for this Work by W.H. Bartlett, Esq., volume II only, George Virtue, London 1839, full-page steel engravings, contemporary mauve buckram, 4to; Poesies and Scenery of Axenstein on the Lake of Lucerne, J.A. Preuss, Zurich [c. 1900], floppy green covers ,12mo; Fox (Sir Frank), Switzerland, second edition, A. & C. Black, Ltd., London 1930, 8vo; Home (Gordon), France, first edition, Adam and Charles Black, London 1914, 8vo; Moore (John), A View of Society and Manners in France, Switzerland and Germany [...], sixth edition, volume II only, A. Strahan and T. Cadell, London 1786, contemporary calf, the spine titled in contemporaneous ink MS, 8vo; Tuker (M.A.R.) and Malleson (Hope), Rome, Painted by Alberto Pisa, third edition, A & C Black Ltd., London 1925, contemporary blue buckram, 8vo; Roberts (The Rev. Richard, B.A.), An Autumn Tour in Spain in the Year 1859, Saunders, Otley, and Co., London 1860, full-page lithographs illustrating text, contemporary blue buckram, 8vo; Customs of the World, two-volume set, [lacking prelims but text complete], early 20th century, green quarter-morocco and buckram boards, ownership book stamp: Major H. Twyford, 4to, [18]
![Watson (R[ichard], D.D., F.R.S.), Chemical Essays, fourth edition, five-volume set, T. Evans, London 1788, full contemporary](https://cdn.globalauctionplatform.com/fdf73c92-6ef6-49ab-9886-a90e00d34c85/46be99e5-a668-4ec7-b50f-8e4270bdcc67/468x382.jpg)
Watson (R[ichard], D.D., F.R.S.), Chemical Essays, fourth edition, five-volume set, T. Evans, London 1788, full contemporary calf, some lettered title labels to spine, gilded bands, contemporary book labels and ink MS shelf numbers to each pastedown: John Rutherfurd, Efq (sic); of Edgerston [near Jedburgh, Roxburghshire, Scotland], 12mo; Anecdotes of the Life of Richard Watson, Bishop of Landaff (sic, Llandaff, Wales); Written by Himself at Different Intervals, and Revised in 1814, Published by His Son, Richard Watson, LL. B., Prebendary of Landaff (sic) and Wells, T. Cadell and W. Davies, London 1817, portrait title-piece of the author by William Thomas Fry (1789 - 1843) after George Romney (1734 - 1802, contemporary boards only (detached), 4to; Muirhead (James Patrick, M.A.), The Life of James Watt, with Selections from His Correspondence, with Portraits and Woodcuts, John Murray, London 1858, contemporary quarter-calf and marbled boards, gilt lettered red leather title label to spine, 8vo, [7]
Whitehurst (John, F.R.S), An Inquiry into the Original State and Formation of the Earth; Deduced from Facts and the Laws of Nature, The Second Edition, Considerably Enlarged, and Illustrated with Plates, W. Bent, London 1786, engraved portrait title-piece of the author by John Hall (1739 - 1797) after Joseph Wright of Derby ARA (1734 - 1797), pp: [x], 283, 7 engraved diagrammatic plates, slightly later marbled boards, 20th century gilt lettered calf spine, 4to
*Brock (Charles Edmund, 1870-1938). Portrait of a gentleman, Aug. 1898, watercolour on artist's board, three quarter length portrait of an elderly bearded man wearing a dark suit and waistcoat, sitting in a chair with hands clasped, signed and dated upper left, lightly toned and spotted, 28.5 x 26.5cm (11.25 x 10.5ins), together with six other similarly sized portraits by various members of the Brock family, including a pencil head portrait of Norah Gray (unsigned), a full-length portrait of a old countryman by R.H. Brock, signed and dated 1897, and a full-length female nude (unsigned), one portrait with loss to upper edge (not affecting image), some with spotting and one with a couple of short edge-tears (7)
*English School. Saint Cecilia, late 19th-early 20th century, watercolour on paper, heightened with bodycolour and gilt, full-length portrait of a female saint in sumptuous flowing robes, playing a handheld organ, within a painted trefoil frame, with angelic musicians in top corners, a few tiny holes and short closed tears to left margin (each with small adhesive tape repair on verso), monogrammed 'CR' to lower margin within image, 41.5 x 19cm (16.25 x 7.5ins), mounted (adherred to edges) (1)
*English School. A group of 19th century pencil, wash or watercolour portraits and landscapes, including a pencil, wash and black chalk study of the head and shoulders of a young woman in medieval dress, a watercolour and gouache portrait of William Shakespeare, 13 x 10.5 cm, a black ink and grey wash portrait of a female saint, 27.5 x 17 cm, a trimmed mezzotint portrait of a young woman after Sir Thomas Lawrence, a view of picturesque old buildings and bridge (signed H. Ord), a large pencil and black chalk study of an old gnarled tree with ruin beyond (dated 1863), 39 x 28.5 cm, and a pencil and sepia wash copy of the Gate of Justice, Alhambra, Granada, Spain, after David Roberts (1796-1864), the original of which is in the V & A Museum, London (Prints & Drawings Study Room, level D, case 87, shelf SC, box 32), but here probably taken from the engraved version in The Tourist in Spain: Granada, published in 1835, 20.1 x 14.2 cm framed and glazed (with incorrect attribution on the mount to Thomas Allom) (7)
*Stained Glass. An archive of original designs for stained glass by J. Powell & Sons, Whitefriars Glass Works, late 19th-early 20th century, together approximately 120 drawings, mostly pen & ink, but some pencil, many with watercolour, on paper or card, most with the name of the firm lower right and the client's name upper left, many with multiple drawings to a sheet, some dated, many annotations, including designs for both ecclesiastical and secular settings, e.g. church windows, libraries, conservatories, screens, staircases, doors, boudoirs, lanterns, etc., some folded, generally dust-soiled, some fraying, 68 x 71cm (26.75 x 28ins) and smaller A substantial archive, with proposed designs for private houses, institutions, and other firms, including: The National Portrait Gallery; All Saints Church, Swanscombe; Major General Albermarle Cator; Moxon & Carfrae; Pendell Court, Sir George Macleay; Bank Offices, Cornhill; Dulwich Library; Abbotsworthy; Christchurch, Southwark; Tortworth; Mrs. Basset, Tehidy - Summer House; Blatherwicke Hall; Viscountess Downe, Dingley; C. Pratt & Sons; Padbury Church; The Priory, Roehampton; Royal Courts of Justice, Chambers; Salperton Park, Haseltown; "White Swan" Hotel, York; Bute Hall, Glasgow University; Sansaw Hall; and Lady Shelley, Maresfield Park, Sussex. Whitefriars Glassworks was England's longest producing glassworks. The firm is believed to have been established in 1680, and was purchased by James Powell in 1834, with production continuing until 1980. Although the firm produced high quality art glass on a par with Tiffany, it is best known for its stained glass. The firm under Powell became an innovative world leader in the field of decorative glass, and business was aided by the building of hundreds of new churches during the Victorian era. During the latter part of the nineteenth century Whitefriars Glass formed associations with a number of leading artists and designers, including Philip Webb, William Morris, Edward Burne-Jones and William De Morgan. (approx.130)
*De Morgan (Evelyn, 1855-1919). Male head study for The Valley of Shadows, pencil on card, head and shoulders portrait of a young man, half profile to right, leaning chin on hand and gazing pensively, some marginal pin holes, sheet size 39 x 28cm (15.5 x 11ins) 'The Valley of Shadows' was executed in 1899, and it is now in the Evelyn De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, plate 38). Our head study is for the male figure on the left of the painting; the Foundation holds a double study of drapery and anatomy for the same figure. (1)
*De Morgan (Evelyn, 1855-1919). Head study, charcoal on paper, head & shoulders portrait of a young man, with full lips, arched eyebrows, and a mass of dark curly hair, with a pensive look on his face, annotated in pencil lower left 'Mrs. Barrington', damp-soiled lower left (just encroaching on a few faint pencil lines), creased and frayed at edges, sheet size 53 x 42.5cm (21 x 16.75ins), plus another study of the same model, full-length male nude wearing a loin cloth, seated sideways on a chair and leaning on right elbow, damp-soiled lower right (just encroaching on model's left foot), creased and frayed to edges (just touching right elbow), sheet size 60.5 x 41cm (24 x 16ins) This pair of arresting drawings were executed whilst Evelyn De Morgan was at the Slade School of Art. See note to lot 175. (2)
*De Morgan (Evelyn, 1855-1919). Head of a young woman, pastel with pencil on laid paper, half profile portrait to left of a young woman gazing upwards crowned with a garland of pink flowers, faint horizontal crease, pinholes and some creasing to edges, sheet size 46 x 30.5cm (18.25 x 12ins), together with another head study, pastel on card, profile portrait to left of a young woman with her hair swept into a bun looking down, annotated in pencil in the artist's hand below image 'Monday 18th Friday 22nd', toned to lower blank margin, damp-stained to left margin (just encroaching on image), and with consequent 1.5" closed tear (not touching image), sheet size 36 x 26cm (14.25 x 10.25ins) (2)
*Follower of Michelangelo. Male nude springing forward from a stone plinth, head turned to the left, with arms holding a drape above his head, 16th century, pen and brown ink with brown wash on laid paper, with study of a putto in brown ink to verso (inscribed 'tribolo' by the artist below the figure), small collector's stamp PL (Lugt 2094) to lower right, initialled in brown ink to lower right corner WE (Lugt 2617), additionally inscribed in brown ink to verso '1824 WE Formerly in the Coll of Sr Peter Lely', and with a second line by the same hand below now trimmed and illegible, except for 'Michael Angelo' just visible towards the right, old repair to lower right corner and edges re-strengthened with blank paper, 21 x 16.3 cm (8.25 x 6.5 ins), double-sided window-mount Provenance: Sir Peter Lely (1618-1680), court painter to Charles II of England. William Esdaile (1758-1837). Private Collection, Worcestershire, England. A study of an animated male nude figure, possibly a copy or variation after the nude male figures on plinths used by Michelangelo to surround the main scenes in the Sistine Chapel ceiling. Apart from his role as the leading portrait painter of his day, Sir Peter Lely is famous as one of the first great collectors of art in Britain, amassing an important collection that included 10,000 prints and drawings and nearly 600 paintings. The banker and collector William Esdaile collected drawings of all schools, writing the provenance and date of acquisition on the reverse of his most important examples. (1)
*Panneels (Willem, circa 1600-circa 1640). An angel gives Elijah cake and water, etching on paper, published by Frans van den Wyngaerde, trimmed just inside plate margin, sheet size 15.2 x 11.6 cm (6 x 4.5 ins), framed and glazed, together with other Old Master prints, various, mostly 17th century, including Bolswert, Stormy Landscape after Rubens, published by Gillis Hendricx, Antwerp (framed and glazed), Mathias Arteaga, Cathedral Interior after Valdes Leal, circa 1672 (framed and glazed), Wenceslaus Hollar, Portrait of Richard Bernard, 1641, Hans Bol, allegorical landscape engravings published by Edwardus ab Hoeswinkel, Antwerp, Thomas Barker of Bath, landscape with bridge, etching, with added grey wash (framed and glazed), Valentin Lefevre, Holy Family, engraving after Titian, published by Jan van Campen, etc, various sizes, unframed (40)
*Nicholson (William, 1872-1949). H.R.H. The Prince of Wales, Henrik Ibsen, Lord Kitchener, Li Hung Chang, Rt. Hon. Joseph Chamberlain & President McKinley, together six colour woodcuts with touches of hand colouring (from Twelve Portraits, First & Second Series, published in 1899 and 1901), image size 25.4 x 23 cm (10 x 9 ins) and similar, all except McKinley mounted on original backing card, together with a woodcut portrait of Lord Roberts, 1899, a lithograph portrait of Queen Victoria, a reproduction of John Price Barnstormer and Thief, and a watercolour copy of the figure for Nicholson's G For Gentlemen of 1898 (10)
*Rayner (Henry, 1903-1957). R.W. Sickert, 1931, etching on cream wove paper, signed, titled and dated, and annotated below 'Portrait of my master at breakfast, 14 Barnsbury Park, London' below, plate size 11.2 x 9 cm (3.6 x 4.5 ins), sheet size 28 x 18.3 cm (11 x 7.2 ins), together with 11 other etchings by Rayner, mainly portraits, including Winston Churchill, T.E. Lawrence, Lytton Strachey, Montgomery Sickert, The Rising Horse, Old Bedford, etc., all signed, mostly titled and some dated 1931, 1938, 1939, 1941 and 1945, plus 7 etchings by Albany E. Howarth of Oxford Colleges, 1909, including New College, Queen's College, Canterbury Gate Christchurch, etc., each signed in pencil, sheet size 27 x 42.5 cm (10.6 x 16.75 ins) (18)
*Simpson (Joseph, 1879-1939). Portrait of James Pryde, 1930, etching on cream laid paper, the second state, published in an edition of 75 proofs, signed in pencil, and marked 'S2 75', to lower margin, some very pale spotting, plate size 30.1 x 21.2 cm (12 x 8.4 ins), with margins, framed and glazed (1)
*Smith (Percy J. D., 1882-1948). A sketchbook of pencil drawings, approximately 50 pages, each with numerous pencil sketches, including studies of anatomy and bone structure, drapery and figure studies, animal drawings, etc., a few additional leaves loosely inserted, together with several autograph letters signed from Percy Smith to his wife Marion (Ellen Marion Delf-Smith, 1883-1980), one containing a small sketch, plus a thin notebook with manuscript title label on upper wrapper 'P.J.S. Notes 1938. (27 Rudall Crescent, Hampstead, N.W.3)', and a copy of The First Edition Club Opening Speech by Mr. Holbrook Jackson at An Exhibition of Percy Smith's Typographical Work, original printed wrappers, one of 500 copies, plus an apparently unrelated small album of original drawings, some signed M.L. Burnell Etcher and letterer Percy Smith trained at the Camberwell School of Arts & Crafts. He served in WWI, taking his sketchbook with him. He was arrested twice for his propensity to draw, on the suspicion that he was a spy. However, after he was proved to be innocent, he was asked to draw the stages of assembly of a huge howitzer gun. His famous 'Dance of Death' series of seven etchings show the futility of war. The letters from Percy Smith to Marion, written in the 1940s, are in the chatty and informal style one might expect from husband to wife and cover a range of topics, including description of a portrait in progress of Lieutenant Gunz, talk of air raids, information about the weather and the garden 'the rain has "picked up" the lettices [sic] astonishingly', amusing anecdotes about Tittles (presumably a cat), health issues, description of a Rembrandt 'all the near paintings nearby looked so "thin" in comparison so shallow', and mention of a visit to Sir Edwin Cooper. (2)
*Van Muyden (Evert Louis, 1853-1922). Self-portrait by Lamplight, 1890, etching on cream laid paper, numbered in pencil 142 to lower margin, plate size 11.6 x 8 cm (4.6 x 3.1 ins), sheet size 31 x 24 cm (12.2 x 9.4 ins), together with Liebermann (Max, 1847-1935), Kellergarten in Rosenheim, 1895, etching on wove paper, plate size 19 x 23.8 cm (7.5 x 9.4 ins), with full margins, plus Schmutzer (Ferdinand, 1870-1928), Lehenbruder, Klosterkuche in Assisi (A lay brother in the kitchen of the monastery of Santa Chiara, Assisi), 1908, soft-ground etching on thick wove paper, signed in pencil, plate size 20.5 x 19 cm (8.1 x 7.5 ins), with margins, and two others related (another large signed etching by Schmutzer, possibly depicting the actor Josef Kainz as Hamlet, and an etching of a cafe interior, Munich, by Heinrich Wolff, circa 1895, issued by Gesellschaft fur Vervielfaltigende Kunst, Vienna), all mounted (5)
*Indian Miniature. Portrait of the Mughal Emperor Muhammad Shah (1702-1748), early 19th century, pen & ink on laid paper, the ruler depicted enthroned, on a terrace, haloed, facing left, with sword, bow and arrows, holding a sarpech in his right hand, gouache roundel to upper corners heightened in gold, repaired closed tear at head, image approximately 15 x 13cm (6 x 5ins), lined with double-column manuscript text leaf to verso, text with narrow decorative borders in blue and red, within a slim gold line border, leaf size 21 x 14.5cm (8.25 x 5.75ins), window mounted, framed and glazed (1)
*Colahan (Colin, 1897-1987). Still life of a rose in a glass, oil on Winsor & Newton Rathbone canvas board, signed lower left, 23.5 x 19 cm (9.25 x 7.5 ins), framed Australian painter Colin Colahan was born in Woodend, Victoria, and studied at the National Gallery School and at Max Meldrum's School in Melbourne. He emigrated to England in 1935, and built a reputation as a portrait, landsape and still life painter. (1)
*Zinkeisen (Anna Katrina, 1901-1976). Portrait of the artist's daughter, oil on canvas, of Julia Zinkeisen as a baby, dressed in a white gown with blue ribbon, and lying on a lace-trimmed pillow, with a silver rattle, signed lower right, 71 x 61cm (28 x 24ins), moulded frame Anna Zinkeisen was a portrait painter and muralist. Moving from Scotland when she was eight, she grew up in the London suburb of Harrow. At the Royal Academy Schools she studied painting under Sir George Clausen, Glyn Philpot, and Charles Sims. She went on to design ceramics for Wedgwood, as well as many book covers and illustrations. Zinkeisen was commissioned to produce a mural for the ballroom of the Queen Mary liner in 1934, entitled 'The Four Seasons'. (1)
*Reliquary. 18th century French silver and glass double sided reliquary pendant, one side applied with small unidentified objects with various manuscript inscriptions each within rolled card divisions, the other with a portrait miniature of a priest each side encased in convex glass with silver mount engraved with guilloche decoration, 5.5cm long including suspension Knottbohm Collection, Munich. (1)
*Edouart (Augustin Amant C., 1788-1861). A full-length silhouette portrait of Francis Barnes D.D., Master of St. Peter's College, 1828, black scissor cut, full-length profile to left, showing a gentleman in academic gown and mortar board, signed and dated lower left, titled on verso and with mounted printed advertising label of Mons. Edouart, sheet size 27 x 16.5cm (10.75 x 6.5ins), framed and glazed Frenchman Augustin Edouart was one of the most famous silhouette artists of the nineteenth century. He came to London where he began his career making portraits from hair, going on to work as a silhouette portraitist. Edouart subsequently spent fifteen years touring England and also lived for three years in Edinburgh. Sitters included the exiled French royal family of Charles X, writer Sir Walter Scott and artist William Dyce. The National Portrait Gallery holds twenty-eight silhouettes by him. (1)
*English school. Portrait of Edmund Hardy, circa 1810, half-length oil on canvas portrait, recently professionally cleaned and also lined to verso (conservation reports included), retained manuscript caption label to verso 76 x 63.5cm (30 x 25ins), gilt moulded frame Provenance: The collection of the actor and historian Robert Hardy (1925-1917). Edmund Hardy (1785-1848) was the son of Robert Hardy (1758-1788, see lot 224) and Jane Nicoll (1749-1826). He married Grace Armitage (1801-1853), daughter of Eleanora Haistwell and Whaley Armitage. The caption label states "Edmund Hardy, Colonel Bombay Artillery, Born 4th February 1786, Died 28th March 1848, Married Grace Armitage 6th May 1823." The portrait was tracked down in Argentina by the actor & historian Robert Hardy (the great grandson of the sitter), shipped back and restored. (1)
*Portrait Miniatures. A pair of oval portrait miniatures, circa 1814, two head and shoulder portraits, gouache and watercolour on ivory, one depicting a young girl with dark curls wearing a high-waisted blue and white dress, inscribed on verso in contemporary pencil 'Emma Fowler Aged 18 now the wife of Richd. Bremridge' 64 x 52mm (2.5 x 2ins), the other depicting a dark-haired young gentleman wearing a black coat and white cravat, 56 x 46mm (2.25 x 1.75ins), double-aperture frame, glazed Emma Fowler (1796-1855) was the daughter of Mary and Christopher Fowler. Her marriage certificate states that she married Richard Bremridge in the parish of Saint Augustin in the City of London on 4th September 1816. (2)
*Portrait miniatures. Five oval portrait miniatures, mid-late 19th century, together five half-length portraits, hand-painted in gouache and watercolour on a printed ground, depicting: Lola Montez and Kanla (mounted together in double aperture frame); Napoleon (two portraits in separate frames); and the Dresden Venus, each approximately 8 x 6cm (3 x 2.25ins), all signed Renè, except for one with signature Dumar, similar contemporary panelled ivory frames glazed, most with engraved decoration, some minor chips and cracks to ivory in a few places, most with contemporary manuscript on verso Reproduced in reverse from well-known portraits, these decorative portrait miniatures are finely coloured products for the tourist market. (4)
*Portrait miniature. Portrait of a lady, mid-late 19th century, gouache and watercolour on ivory, head and shoulders half profile portrait to right of a lady with fair hair wearing a diaphanous white shawl around her shoulders, monogrammed lower right ('MXT'?), 5.5 x 4.5cm (2.25 x 1.75ins), in oval brass locket frame glazed, housed in a velvet and silk-lined red morocco case, with side hinged half door opening with central brass clasp, lightly rubbed and marked Believed by the vendor to be her great grandmother, Florence Deedes (1842-1890), who married William Saumarez Smith, Archbishop of Sydney (1836-1909). They married in 1870 and had a son and seven daughters. (1)
*Portrait miniature. Duke and Duchess of Wellington, mid 19th century, a pair of oval facing profile head and shoulder portraits, gouache and watercolour on ivory, one of the 1st Duke of Wellington wearing a blue and gold military jacket, the other of his wife wearing a blue dress with gathered sleeves and a white ruff, and a gold cross around her neck, 8.5 x 6.5cm (3.25 x 2.5ins), contemporary double aperture panelled ivory frame glazed, with engraved decoration, a few minor cracks in ivory, titled in contemporary manuscript on verso (1)
*Portrait miniature. Lady Cambridge, mid 19th century, oval portrait miniature, gouache and watercolour on ivory, depicting a half-length portrait of a young lady wearing a pearl headdress on her dark brown ringlets, and a blue dress with muslin neckline, gathered sleeves, and braided bodice decoration, toned, 8.5 x 6cm (3.25 x 2.5ins), contemporary panelled ivory frame glazed, a few minor cracks in ivory, titled in contemporary manuscript on verso (1)
*Portrait miniatures. A pair of Edwardian portrait miniatures, two oval portraits in the same hand, gouache and watercolour on ivory, one a head and shoulders portrait of a fair-haired lady wearing a white dress and a cross pendant around her neck (small mark to neck), 55 x 44mm (2 x 1.75ins), contained in a double-sided brass locket frame, the other a half length portrait of a small child with curly fair hair, wearing a white chemise and holding a posy of daisies, 50 x 40mm (2 x 1.5ins), contained in a brass frame with ribbon and bow border set with paste stones, verso with glazed aperture containing a lock of fair hair, and with locket loop and brooch fixings (2)
*Ivory Cameo Portrait. Victorian carved ivory brooch, believed to be the poet Elizabeth Barrett Browning, well detailed and carved in relief, with brass back, 6cm high According to the vendor the brooch was once one of a pair - the other being a portrait of the Victorian author Mrs Gaskell. (1)
*Linnell (John, 1792-1882). Portrait of Fanny Sheppard playing the guitar, 1825, pencil and coloured chalks on grey paper, inscribed by the artist in brown ink to lower right 'Miss Fanny Sheppard J. Linnell fe. The Ridge Isley Glostrshr.' and additionally in pencil beneath 'Miss Fanny Sheppard', sheet size 28 x 38.5 cm (11 x 15 ins), framed and glazed, with Martyn Gregory gallery label to verso Exhibited: John Linnell, Truth to Nature: A Centennial Exhibition, Martyn Gregory, 1982. Literature: A.T. Story, The Life of John Linnell, 1892, volume 2, page 257. The Ridge, near Uley in Gloucestershire was built in the 1820s by its owner Edward Sheppard, a wealthy clothier. The decline of the local woollen cloth trade in the 1830s led to the bankruptcy of Sheppard's Mill at Uley in 1837. Fanny Sheppard was one of John Linnell's pupils - a pencil portrait of Linnell by Fanny Sheppard was exhibited at the Fitzwilliam Museum in 2001, loaned by the Linnell Family. (1)
*Bruyn (Nicolaes de, 1571-1656). Portrait of Julius Caesar, 1594, copper engraving on laid paper, published by Ahasuerus van Londerseel, Antwerp, some archival repair to top margin, plate size 12.5 x 9 cm (5 x 3.5 ins), framed and glazed (unexamined out of frame) New Hollstein (Dutch & Flemish) 265.I. From a series of 12 plates showing heads of kings in ornamental borders (New Hollstein 263-271). (1)
Biblioteca Rivani. Catalogo della libreria di Alessandro Rivani donata alla Società Colombaria col ritratto di esso donatore, intagliato dal socio Niccolò Palmerini. Firenze: dalla tipografia di Luigi Pezzati, 1836.In-4° (mm 236x156). Pagine VI, 159, [1]. Ritratto inciso di Rivani in antiporta. Arrossature, primo fascicolo staccato. In barbe. Brossura muta successiva, titoli manoscritti a penna al piatto anteriore. Strappi al dorso e i bordi dei piatti. Catalogo della Biblioteca dell'avvocato fiorentino Alessandro Rivani (1746-1831), donata nel 1823 alla Società Colombaria di Firenze: il fondo include numerosi manoscritti, in parte già proprietà del religioso bolognese Pio Fantoni che nel 1797 aveva nominato proprio il Rivani quale suo esecutore testamentario (si veda DBI, voce Fantoni Pio). 4° (236x156 mm). VI, 159, [1] pages. Frontispiece with Rivani's engraved portrait. Uncut copy, the first quire loose, some foxing and browning, more prominent to the title-page. Modern wrappers, title inked on the upper wrapper. Spine damaged, corners and board edges rather worn. The catalogue of the library assembled by the Florentine lawyer Alessandro Rivani (1746-1831), who bequeathed it to Società Colombaria in Florence. The collection included numerous manuscripts, which Rivani had acquired from the library once owned by the Bolognese Pio Fantoni.
Biblioteca Weil Weiss. Catalogo della Biblioteca del Barone Giuseppe Weil Weiss di Lainate. Milano: Arti Grafiche S.E.T.I., 1929.(mm 328x240). Esemplare nr. XXVI/C su carta prodotta a mano. Ritratto del barone Giuseppe Weil Weiss in antiporta, 57 tavole a colori e in bianco e nero, con riproduzioni fotografiche di legature ottocentesche e novecentesche. Testatine e finalini in rosso mattone. Esemplare in ottimo stato di conservazione. Legatura moderna in mezza pergamena con angoli, dorso liscio con titolo su tassello. Conservata all'interno la brossura originale in carta blu, stampata in rosso e nero con stemma del possessore della biblioteca. Il catalogo della ricca biblioteca privata del del nobile torinese Giuseppe Weil Weiss (1863-1939), barone di Lainate. La raccolta fu acquisita nel 1937 dalla Biblioteca Trivulziana di Milano, ed ospitata dal 1951 in una sala intitolata a all'illustre collezionista.(328x240 mm). This is no. XXVI of a limited edition of 100 copies on hand-made paper, numbered I-C. Frontispiece with Baron Weil Weiss's portrait, 57 plates in colour and black-and-white showing 19th- and 20th century binding. Head- and tailpieces printed in red. Modern half-vellum, decorated covers, gilt titles to the spine. The original publisher's blue wrappers preserved inside, printed in red and black, and bearing the collector's coat of arms. The fine copy catalogue of the extensive library ammassed by the nobleman from Turin Giuseppe Weil Weiss (1863-1939), Baron of Lainate, and printed in only 100 copies on hand-made paper. The collection was acquired in 1937 by the Biblioteca Trivulziana in Milan, and is now housed in the Weil Weiss Room.
Bodoni. Brooks, e 8 volumi o cataloghi su Bodoni.Il lotto comprende:Brooks Hugh Cecil. Compendiosa bibliografia di edizioni bodoniane. Firenze: Tipografia Barbera, 1927. (mm 280x190). Pagine XIII, [3], 357, [3]. Con LXIX tavole numerate, di cui 15 calcografiche, incluse nella paginazione; ritratto inciso di Bodoni in antiporta. In barbe, poche minime arrossature. Cartonato editoriale arancione, sovraccoperta in pergamenino con titoli in nero. Minimi strappi ai bordi della sovraccoperta, lievi abrasioni alle cuffie. Esemplare n. 29 di 754. Al contropiatto anteriore etichetta cartacea L. Gonnelli editori.Chierici Roberto. Giambattista Bodoni (1740-1813). Studio storico biografico. Parma: Luigi Battei, 1913. (mm 220x155). Pagine 71, [1], con [6] tavole. Qualche arrossatura. Brossura editoriale con titoli stampati in nero. Fioriture.G.B. Bodoni. Catalogo n. 4. Bologna: Giugno 1926. Pagine 39, [1]. Brossura editoriale con titoli stampati in nero. Catalogo di vendita della Libreria Antiquaria Casa del Bibliofilo di Bologna, via Mazzini 34.Lobetti-Bodoni Giovanni. Il Bodoni. La vita, le opere. Borgo S. Dalmazzo: Istituto Grafico Bertello, 1940. (mm 265x180). Pagine 95, [3]. Legatura coeva in mezzo marocchino con punte, carta floreale ai piatti, titoli in oro al dorso a 4 nervi. Lievi abrasioni alle cerniere.Aliprandi Giuseppe. G. B. Bodoni e l'opera sua. Padova: s. e., 1940. (mm 265x190). Pagine 82, con tavole. Brossura editoriale. Arrossature ai piatti.Giani Giampiero. Catalogo delle autentiche edizioni bodoniane. [Milano]: Conchiglia, Istituto editoriale italiano, 1948. (mm 240x155). Pagine 106, con [3] tavole. Cartonato editoriale, fregio in oro al piatto anteriore, titoli in oro al dorso. Abrasioni alle cuffie.Ciavarella Angelo. Discorso pronunciato in occasione del centocinquantesimo anniversario della morte di Giambattista Bodoni. Milano: Amilcare Pizzi, 1964. (mm 240x165). Pagine [32]. Ritratto di Bodoni in antiporta. Brossura muta con sovraccoperta in carta verde petrolio, fermata con nastro in rafia. Biblioteca nazionale Braidense. Mostra antologica di G. B. Bodoni. Milano, 18-31 gennaio 1973. Prefazione e catalogo a cura di Sergio Samek Ludovici. Milano: [s.e.], 1973. (mm 245x175). Pagine 83, [3], con 22 tavole. Brossura editoriale verde stampata in nero. Catalogue d'une collection de publications de Gaimb. Bodoni célèbre imprimeur italien 1740-1813. Catalogue n. 396. Bale (Suisse), Librairie ancienne Rudolf Geering. [sec. XX]. Pagine 72, con VI tavole e ritratto di Bodoni in antiporta. Brossura originale stampata in nero. Strappi e mende ai bordi dei piatti, rottura al dorso.Bodoni. Brooks, and 8 works or catalogues on Bodoni.The lot includes:Brooks Hugh Cecil. Compendiosa bibliografia di edizioni bodoniane. Firenze: Tipografia Barbera, 1927. (280x190 mm). XIII, [3], 357, [3] pages. Frontispiece with Bodoni's engraved portrait. LXIX numbered plates included in pagination, of which 15 are engraved. Uncut copy, a few minor foxing. Publisher's orange cardboard, dust-jacket with title printed in black. Small tears to the board edges of the dust-jacket. Extremities of spine slightly damaged. Ticket of L. Gonnelli on the front pastedown. This is no. 29 of a limited edition of 754 copies.Chierici Roberto. Giambattista Bodoni (1740-1813). Studio storico biografico. Parma: Luigi Battei, 1913. (220x155 mm). 71, [1] pages. 6 unnumbered plates. A few browning. Publisher's wrappers, slightly foxed. G.B. Bodoni. Catalogo n. 4. Bologna: Giugno 1926. 39, [1] pages. Publisher's wrappers. Sale catalogue of Libreria Antiquaria Casa del Bibliofilo di Bologna, via Mazzini 34.Lobetti-Bodoni Giovanni. Il Bodoni. La vita, le opere. Borgo S. Dalmazzo: Istituto Grafico Bertello, 1940. (265x180 mm). 95, [3] pages. Modern half-morocco, floral-patterned boards. Spine with four raised bands, with title in gilt. Joints slightly cracked. Aliprandi Giuseppe. G. B. Bodoni e l'opera sua. Padova: s. e., 1940. ( 265x190 mm). 82 pages, with plates. Publisher's wrappers, a few foxed.Giani Giampiero. Catalogo delle autentiche edizioni bodoniane. [Milano]: Conchiglia, Istituto editoriale italiano, 1948. (240x155 mm). 106 pages. 3 unnumbered plates. Publisher's cardboards, gilt ornament on the upper cover. Spine with gilt title. Extremities of spine somewhat worn.Ciavarella Angelo. Discorso pronunciato in occasione del centocinquantesimo anniversario della morte di Giambattista Bodoni. Milano: Amilcare Pizzi, 1964. (240x165 mm). [32] pages. Frontispience with Bodoni's portrait. Publisher's binding. Biblioteca nazionale Braidense. Mostra antologica di G. B. Bodoni. Milano, 18-31 gennaio 1973. Prefazione e catalogo a cura di Sergio Samek Ludovici. Milano: [s.e.], 1973. (245x175 mm). 83, [3] pages. 22 plates. Publisher's wrappers. Catalogue d'une collection de publications de Gaimb. Bodoni célèbre imprimeur italien 1740-1813. Catalogue n. 396. Bale (Suisse), Librairie ancienne Rudolf Geering. [20th century]. 72 pages. Frontespiece with Bodoni's portrait. VI plates. Publisher's wrappers, somewhat worn, some tears to board edges.
Incisioni/Engravings. Longhi Giuseppe. La calcografia propriamente detta ossia L'arte d'incidere in rame coll'acqua-forte, col bulino e colla punta ragionamenti letti nelle adunanze dell'I.R. istituto di scienze, lettere ed arti del Regno Lombardo-Veneto... Milano: Stamperia Reale, 1830. In-8° (mm 231x154). Pagine XXXII, 385, [4], 392-436, [2]. Frontespizio inciso. 2 tavole incise su rame di cui la prima con i diversi stadi dell'età umana, reca la data di morte dell'Autore, indicata da una didascalia postuma. La seconda presenta il ritratto calcografico dell'Autore entro medaglione disegnato e inciso dal suo allievo Pietro Anderloni. In barbe. Fioriture diffuse, qualche gora. Legatura ottocentesca in mezza pelle con punte, piatti rivestiti in carta marmorizzata. Titolo in oro al dorso entro filetti dorati, decorazioni a secco. Dorso e piatti abrasi in alcuni punti. Strappo al piatto anteriore. Al frontespizio nota di possesso in inchiostro scuro in alto a destra (Dolieni?) e annotazione di mano moderna in lapis rosso. Importante opera del grande incisore di Monza Giuseppe Longhi. Rappresenta una vera e propria storia dell'Arte dell'Incisione dal 1400 alla fine del '700, con lunghe schede bio-bibliografiche sui grandi Maestri. L'Autore avrebbe voluto continuare l'opera con un volume successivo inerente la 'Pratica dell'Incisione', ma scomparve poco dopo la pubblicazione del primo. L'opera venne affidata dai suoi eredi a Francesco Longhena, che aggiunse l'ultima parte dedicata alla biografia del Longhi. Include inoltre l'elenco di tutte le stampe incise dall'artista.8° (231x154 mm). XXXII, 385, [4], 392-436, [2] pages. Engraved title-page. 2 engraved plates protected by tissue paper, of which the last one bears the medallion portrait of the author, drawn and engraved by his disciple Pietro Anderloni. Uncut copy, foxing throughout, a few waterstains. 19th-century half-leather, marbled covers. Smooth spine divided into compartments by gilt fillets, blind tooled; title lettered in gold. Some losses to the covers, especially to the upper one; board edges and corners worn. Contemporary ownership inscription on the title-page (Dolieni?), and the number '1392' pencilled in red by a modern hand. Remarkable work by the outstanding engraver Giuseppe Longhi, which offers an historical survey on engraving from Quattrocento to the end of the 18th century, including lenghty bio-bibliographical entries devoted to Old Masters. The treatise was published posthumously by Francesco Longhena, who added, as an appendix, Longhi's biography. As a noteworthy feature, the publication includes the catalogue of all the engravings executed by the artist.
Mazzucchelli Giammaria. Rodella Giovanni Battista. Vita costumi e scritti del conte Giammaria Mazzuchelli patrizio bresciano. In Brescia: per Giambatista Bossini, 1766.In-8° (mm 200x140). Pagine 120, con ritratto dell'Autore in antiporta inciso su rame da Domenico Cagnoni. Fregio xilografico al frontespizio. Carte con lievi tracce di polvere e qualche arrossatura. Legatura coeva in cartonato rivestito in carta rossa. Abrasioni. Al dorso etichetta cartacea con numero manoscritto, al frontespizio timbro di possesso 'Fratelli Campori'. Ricca e dettagliata biografia - comprensiva di un catalogo delle opere del conte Giammaria Mazzuchelli stampate e manoscritte - dell'erudito bresciano, intellettuale di vastissima cultura, storico, bibliografo, membro di diverse società letterarie e prefetto della biblioteca pubblica di Brescia. Il profilo biografico è opera di Rodella, suo continuatore nella monumentale Scrittori d'Italia, che si firma con il nome arcadico Nigrelio, Accademico Agiato. Per il vero nome dell'Autore si veda Melzi III, 229.8° (200x140 mm). 120 pages, copper engraved frontispiece with the Author's portrait, by Domenico Cagnoni. Woodcut ornament on the title-page. Dust traces and some foxing. Contemporary red cardboards. Abrasions. Paper label with handwritten number at the spine, ownership stamp 'Fratelli Campori' on the title-page. Rich and detailed biography - including a catalogue of his manuscripts and printed works - of the Brescian Count Mazzucchelli, intellectual, historian, bibliographer, member of various literary societies and prefect of the public library of Brescia. The biography was edited by Rodella, who was responsible for continuing Mazzucchelli's monumental Scrittori d'Italia, and signed himself with the Arcadic name Nigrelio, Academic Agiato. For the Author's real name, see Melzi III, 229.
Five Japanese oban tate-e by Toyokuni III; together with four other oban tate-e (including one of a standing actor with a net, possibly by Toyokuni II), and a facsimile of Torii Kiyomasu I's portrait of Fujimura Handayu II as Oiso no Tora (10)Please note that this is a group lot where condition may vary from image to image; several areas of trimming, wear, damage and soiling extant.
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