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283284 Los(e)/Seite
Los 1004
CR Stock after CR Stock, Cock fighting (plates I-IV) coloured engravings, together with a collection of approx 16 portrait engravings including ''Sarah Duchess of Marlborough'' after Kneller, PA Gunst after Werff ''Jacques Premier'', ''Latimer'', ''Polus'', ''Thomas Crammer'', Taylor after Kneller ''John Duke of Argyle'', W Dickinson after RE Pine ''The Right Hon.ble John Wiles Esq. of the City of London'' etc, a watercolour attributable to Falconer Poole and a group of later 20th century ornithological watercolour and bodycolour studies, all unframed (qty)
Los 1033
A watercolour signed W J Haughton dated 77 depicting a lake scene, together with four further watercolours of lake/ rural scenes, a pencil sketch of a cow, a charcoal and watercolour rural scene, a pastel beach scene with figures and signed in pencil Angeline Bell, an Alderson print depicting horses, an oil on canvas portrait of a young gentleman, etc
Los 107
*Nude. A colour pigment print photograph, c. 1920, showing a female nude in profile, embossed monogram WA(?) lower left, image 29 x 18cm, presented in Art Nouveau gilt and black frame, glazed, remains of Art Shop label preserved (Kaufman's Art Shop, Oakland, [California]), together with an albumen print portrait of a monk or saint with halo, circa 1890, 24 x 19cm, presented in a white-painted wooden frame with twin doors and broken clasps, somewhat soiled and distressed, overall 35 x 30cm (2)
Los 111
*Osborne (Li, 1883-1968, attrib.). Portrait of a young Bertolt Brecht, c. 1926, bromide print, head and shoulders in half profile, wearing shirt and tie and looking pensive with hair cut short, corner crease lower left, verso blank, 20.5 x 15.5cm, together with a portrait of Igor Stravinsky by an unidentified photographer, circa 1950s, gelatin silver print, showing the composer sitting in suit and tie staring into the camera, against a curtain backdrop, a few marks and light creases, verso blank, 23 x 13cm (1)
Los 82
Sir Henry Irving vintage photo collection. One signed photo 6 x 4 sepia portrait, one signed poss. printed mount with photo affixed dated 1888, and larger photo set on mount, signed by photographer Ernest Walter Histed. Plus, twelve vintage unsigned 6 x 4 postcard photos with few larger. Good condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Los 19
Embley Park, childhood home of Florence Nightingale. An album of 136 albumen print photographs, c. 1870s, pasted onto rectos and versos of a total of 32 leaves, with approximately 20 blank leaves at rear, the majority of photographs 11 x 15.5cm with arched tops and mounted three to a page, the remaining photographs mostly carte-de-visite sizes and smaller but including five slightly larger, bold pencil block capital captions to mounts throughout, an additional five photographs of artworks at rear, oblong folio, ink provenance inscription to front pastedown, hinges weak, contemporary half roan, rubbed and some edge wear, lacks spine, oblong folio (32.5 x 43.5cm) The album was compiled by a member of Florence Nightingale's family while living at Embley Park during the seven years following the death in 1874 of Florence Nightingale's father, when the house passed to his wife's brother, Samuel Smith. The album contains numerous views of the house, its grounds, members of the family, the servants at Embley Park, Embley Farm, the local church, St Margaret of Antioch, and its churchyard where Florence Nightingale was later buried. Of particular interest are three good views showing the interior of the house as Florence Nightingale would have known it. Members of the family represented in the album include: Mary ('Mai') Smith, Beatrice Lushington, Blanche Clough, Mary Urith Coltman and her brother Arthur Francis Coltman (the five members of the family at the house on the night of the 1881 census); Florence Nightingale's uncle Samuel Smith (Mai's husband who died in 1880); Florence Nightingale's cousin Bertha Coltman, her husband William Bacheler Coltman and their four children. The album also includes a previous unknown outdoor portrait of Parthenope Nightingale and her husband Sir Harry Verney with Parthenope and Florence's father, William Edward Nightingale. Two photographs show an outside lunch given for the children of the local school. According to the Hampshire Advertiser (27 September 1879): ' SCHOOL TREAT - On Monday, the 15th inst., Mr and Mrs Samuel Smith, of Embley Park, gave their usual treat to the children of Wellow School, 140 of whom attended. Some visitors and several of the mothers of the children were kindly invited to join, making the party 170. A beautiful day added to the enjoyment of all. Some very good photographic views were taken of the happy group by Mr Galton, of West Wellow. After enjoying various games and again partaking of refreshment, the majority of the children were started In a conveyance provided for the purpose, and left the grounds with cheers and merry singing.' This 'Mr Galton' is in fact John Thomas Gaulton of West Wellow. He appears as a 'Photographer' living in West Wellow on both the 1871 and 1881 censuses. Towards the back of the album, there are several photographic reproductions of paintings of the family, including the 1828 watercolour of Frances Nightingale with her two daughters. There is also an albumen print portrait of Florence Nightingale by Henry Hering, a larger version of a photograph usually only seen in carte-de-visite format. Inscriptions on the inside front cover indicate that the album was compiled by Mary Urith Coltman, the young daughter of Florence Nightingale's first cousin, Bertha Coltman. On the death of Mary Coltman's grandmother Mary ('Mai') Smith in 1881, the house passed to William Shore Smith and Mary Coltman went to live elsewhere, but before her departure she gave the album she had compiled to her friend Caroline Long, daughter of local woodsman George Long of Thorpwood Cottage in East Willow. According to the 1881 census, Caroline was a 'charwoman,' so it seems likely that the girls' friendship came about through Caroline's employment at Embley Park. On 12 February 1893 Caroline married Albert George Harris, a 'Labourer,' at All Saints Church in Upper Norwood. The 1911 census shows Caroline and husband Albert Harris, now a 'Bricklayer,' living in Upper Norwood with their seven children. The first few pages of the album present various views of Combe Hurst at Kingston-upon-Thames, the Coltman residence in Surrey where Mary Coltman lived before she came to Embley Park in 1874. These have been misidentified by Caroline Long as Embley Park. (1)
Los 192
*Saudek (Jan, born 1935). Two vintage gelatin silver prints, 1980s, the first titled 'The Kiss Off #218' to left margin, 14 x 20cm, the second titled 'The 1st Kiss to a Little Brother, 1983' in the photographer's hand to verso, 9 x 13cm, together with an accompanying letter from Saudek to Colin, written in neat pencil and signed Hans, pen and ink sketch at head ('Portrait of my Lost Girl #217'), one page, folio (3)
Los 202
*Cameron (Julia Margaret, 1815-1879). Sir John Frederick William Herschel, April 1867, albumen print on original mount, signed, dated and annotated 'From life taken at his own residence Collingwood' and identified by her in a larger hand beneath, 'Sir J.F.W. Herschel (Bart)', gilt-ruled border, image 303 x 242mm, mount 359 x 298mm An excellent print of one of Julia Margaret Cameron's most iconic portraits. Sir John Herschel, son of the astronomer Sir William Herschel, was a polymath who took a very active interest in photography from its earliest days. A friend of Fox Talbot, and an early correspondent of Mrs Cameron, he invented the photographic use of sensitised paper (1839), introduced hyposulphate of soda (hypo) as a fixing agent, and coined the terms 'photograph', 'negative', 'positive' and 'snapshot'. This portrait of him was one of a series of four taken at his home Collingwood at Hawkhurst, Kent. Provenance: From the family of Sir John Herschel, by direct descent through his daughter Amelia and her husband Sir Thomas Wade. See also preceding lot. Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 674. (1)
Los 206
*Cameron (Julia Margaret, 1815-1879). 'The Dirty Monk', Alfred Lord Tennyson, May 1865, half-length albumen print profile, arched top, some speckling and spots, a little scratching and loss to lower left corner, 227 x 188mm, on original blue-grey mount within gilt border and with facsimile inscription at foot, 'I prefer the Dirty Monk to the others of me, A. Tennyson, except one by Mayall', some spotting to mount, laid down on old card Originally taken as part of a series to illustrate Tennyson's 'Idylls of the King', the portrait only later appeared as the frontispiece in Cameron's book of Alfred Tennyson's Idylls of the King and Other Poems Illustrated by Julia Margaret Cameron. Cox & Ford, Julia Margaret Cameron: The Complete Photographs, (2003), no. 796. (1)
Los 221
*Hill (David Octavius, 1802-1870 & Adamson, Robert, 1821-1848). Portrait of Alexander Handyside Ritchie (1804-1870, sculptor), c. 1845, calotype, pale grey paper mount with pencil inscriptions beneath and to verso and neat ink name identification to lower right corner, image size 209 x 159mm Colin Ford, An Early Victorian Album, (New York, 1976), p. 131; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 101, ref. a. (1)
Los 222
*Hill (David Octavius, 1802-1870 & Adamson, Robert, 1821-1848). Portrait of David Octavius Hill, c. 1845, calotype, pale grey paper mount with pencil inscription at foot and to verso, additionally identified 'D.O. Hill, RSA' to lower right corner of mount, image size 194 x 143mm Colin Ford, An Early Victorian Album, (New York, 1976), p. 223; Anne M. Leyden, A Perfect Chemistry. Photographs by Hill and Adamson, (Edinburgh, 2017), p. 10; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 71, ref. d. (1)
Los 223
*Hill (David Octavius, 1802-1870 & Adamson, Robert, 1821-1848). Portrait of Lady Elizabeth (Rigby) Eastlake (1809-1893, author and critic), c. 1845, calotype, arched top, off white laid paper with pencil inscription at foot, image size 208 x 154mm Colin Ford, An Early Victorian Album, (New York, 1976), p. 106; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 135, ref. m. (1)
Los 224
*Hill (David Octavius, 1802-1870 & Adamson, Robert, 1821-1848). Portrait of an unidentified woman, c. 1845, calotype, mounted on pale buff wove paper, pencil inscription at foot and to verso (both misidentifying the subject as Miss Scott), image size 203 x 151mm Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), ref. Unknown Woman 49 b. (1)
Los 226
*Hill (David Octavius, 1802-1870 & Adamson, Robert, 1821-1848). Portrait of an unknown man, c. 1845, calotype, long closed tear (approximately 80mm) from just below left coat lapel to right margin, mounted within ruled border on pale buff wove paper mount, pencil note at foot of mount, image size 204 x 152mm Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 126, ref. Unknown Man 134. (1)
Los 227
*Hill (David Octavius, 1802-1870 & Adamson, Robert, 1821-1848). Portrait of William Leighton Leitch (1804-1883, landscape painter, watercolourist, drawing master to Queen Victoria), c. 1845, calotype mounted within ruled border on wove paper mount, pencil inscription to lower mount and mount verso, adhesion remains from a removed photograph to verso, image 193 x 138mm Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 186, ref. c. (1)
![*Nadar [i.e. F‚lix Tournachon, 1820-1910]. Cabinet card portrait of the photographer's son Paul Nadar (1856-1939) aged about](https://cdn.globalauctionplatform.com/8b0154d8-0a28-4692-a61f-a88900f37c9f/e056ebb2-bd2a-42bc-86f3-2c56c6c1fd6f/468x382.jpg)
Los 235
*Nadar [i.e. F‚lix Tournachon, 1820-1910]. Cabinet card portrait of the photographer's son Paul Nadar (1856-1939) aged about ten, mid-1860s, photographer's credits to lower margin and verso Paul Nadar followed in his father's footsteps and also became a successful photographer. The backplate mentions the Exposition Universelle of 1878, so the photograph must have been printed after that date by Paul Nadar himself, who took over his father's studio in the rue d'Anjou in 1874. (1)
Los 238
*Rejlander (Oscar Gustave, 1813-1875). Mrs Howell (Beatrice Butt), c. 1860, albumen print, half length and seated in profile, 22 x 18cm, with contemporary paper album leaf with photographer's name and sitter's identification neatly written to blank and with an albumen print portrait of a group of nine men and women pasted to verso, circa 1860, posing as a group in front of a house by the white line of a grass tennis court, three of the subjects holding tennis rackets, the location identified in ink to mount beneath as Kemerton Court [near Tewkesbury, Gloucestershire], and five of subjects identified as Emmie, Georgie, Mrs Holland, Edith and G.P. Christian (2)
Los 240
*Talbot (William Henry Fox, 1800-1877). A group of silver articles on shelves, c. 1845, salted paper print, 140 x 160mm, old card mount, together with a half-length salt print portrait of an unidentified suited man, added watercolour, circa 1850s, 13.5 x 10.5cm, contemporary album mount with German inscription to verso, dated 1858, plus two further salt prints, one of an aqueduct and waterfalls in Italy, circa 1840s, very faded, 19 x 24.5cm, the other of a print or watercolour of a rustic scene, 9.5 x 14cm (4)
Los 287
*Opaltype. A hand-painted photographic portrait of an older woman's head, late 19th century, 22 x 18 cm, original elaborate gilt frame preserved within a velvet-lined glazed case, with hooks and desk stand, John Thompson label to verso and the name 'Bonao' scratched on to the back of the frame, overall size 40 x 37 cm John Thompson opened his first English portrait studio in Buckingham Palace Road, London, in 1881. The sitter is possibly Maxima Bonao (1820-1925). (1)
Los 292
*Cartes de visite. A group of four albums of window-mounted cartes de visite, c. 1860s, including one volume of British views, with an image of baling machines, plus assorted portraits and views, plus cartes de visite of artworks, various embossed bindings, small 4to/folio, together with a small quantity of loose cartes de visite including a deathbed portrait cartes de visite of a child drowned in a local pond by G. Forsyth of Hull, late 1860s, a portrait of Thomas Carlyle by Elliott & Fry, a group of four rare advertising cartes de visite of sewing machines manufactured by Bradbury & Company of Oldham and a collection of 59 cartes de visite of European architecture by Ponti, Brogi and others (a small carton)
Los 293
*Daguerreotype. A sixth-plate daguerreotype portrait of a young lady by Frederick de Bourg Richards of 179 Chestnut Street, Philadelphia, 1850s, tinted and gilded, photographer's name stamped into brass mat and embossed on to rose-coloured velvet pad (also featuring the emblem of the American eagle), embossed leather case with floral motifs to lid and geometric design to base, 91 x 78mm An eminent photographer in his day, Richards' portraits from his studio included Jenny Lind and Lola Montez. Hannavy, Case Histories, p. 34. (1)
Los 300
*Liverpool Institute of Photography. A beautifully tinted albumen print portrait of a seated young lady in ornate satin dress, circa 1860, shown seated on a red velvet chair, 10.5 x 8cm, leather case with gilt embossed stamp to base giving address as Lord Street Chambers, 87 Lord Street, Liverpool, together with a half-plate albumen print of a seated gentleman by Herbert Watkins, 179 Regent Street, London, circa 1855-58, leather case with photographer's gilt embossed stamp to lid, plus a tinted paper print of a mother and young daughter seated by a table, after 1861, set in a gilt oval in a burgundy velvet base [1852-55], cream silk pad, housed in a top-hinged leather case with photographer's gilt stamp on the base, 'James Mudd, 10 St Anns Square, Manchester' First item: Hannavy, Case Histories, p. 80. (3)
Los 302
*Ninth-plate ambrotype portrait of a seated lady, by R. Cade, Ipswich, circa 1860, embossed details to lid, together with a sixth-plate tintype of a couple in red paper-covered 'Forget-me-not' case used by itinerant fairground photographers, 1870s, slightly rubbed, plus a French oversize ninth-plate ambrotype portrait of a seated young man in velvet-covered case, circa 1870, photographer unknown, push button closure, plus a French tintype of a boy in a sailor suit, circa 1870, wood and embossed red leather case, plus a sixth-plate tintype of a group of three young ladies, 1870s, and a ninth-plate ambrotype of a young man, 1860s, both in French pressed metal frames Hannavy, Case Histories, pp. 75-76 (all but third and fifth items). (6)
Los 305
*Ninth-plate daguerreotype of a mother and child, by Tyler & Co., Corner of Washington and Winter Streets, Boston, 1850s, embossed case with trade card beneath image, together with two further ninth-plate daguerreotypes, 1850s, the first by 'Oliver H. Willard, 120 W Market Street, 8 doors East Schl. St and 6th St. Philadelphia', fine portrait of a young girl in a checked dress, embossed leather case, a little flaking to base, the second by Thompson & Davies, 164 Fulton Street, Brooklyn, of a baby supported by a mother's hand, dress tinted blue, marginal tarnishing, photographers' name and address stamped on mat, plain leather case First two items: Hannavy, Case Histories, pp. 66 & 70. (3)
Los 311
*Pair of sixth-plate daguerreotypes of young ladies, early 1850s, the first a tinted daguerreotype portrait by Richard Lowe, Promenade, Cheltenham, embossed wood and leather case with photographer's gilt stamp, the second by an unknown photographer of a young lady with ringlets, plain leather case with button closure, both a little rubbed at corners Richard Lowe was originally employed as a manager of Beard's Photographic Institution in Cheltenham. He then operated the studio under his own name from 1850 until 1856, when he ran up considerable debts in local shops, caught a train to Liverpool and was never heard of again. Hannavy, Case Histories, p. 20. (2)
Los 315
*Quarter-plate ambrotype of a seated woman, by Henry Boswell Lee (or Joseph Lee), 57 Church Street, Liverpool, c. 1860, vignetted portrait, leather case with gilt embossed stamp to base, together with another quarter-plate ambrotype of a seated elegantly dressed lady by an unknown photographer, believed to be from Southport, Lancashire, 1850s, housed in a rare 'Urn and Flowers' gilt embossed leather case with push button closure Second item: Hannavy, Case Histories, p. 62. (2)
Los 316
*Quarter-plate ambrotype portrait of a regimental sergeant major in the 17th Light Dragoon Lancers, c. 1860, seated at a table with his cap on the table (laterally reversed), together with a sixth-plate ambrotype of the same officer seated at a table and wearing his cap (with correct orientation), both images gilded and lightly tinted and housed in embossed leather cases Hannavy, Case Histories, pp. 40 & 41. (2)
Los 318
*Quarter-plate tinted portrait of a seated gentleman, by John Urie, 33 & 35 Buchanan Street, Glasgow, late 1850s, embossed floral pad and embossed leather case with Urie's gilt embossed details to base, one small corner chip, together with three further ambrotypes by Glasgow photographers of the same period, the first a sixth-plate ambrotype of a seated lady, photographer's name and address stamped on mat and on base of leather case, 'Bowman, 65 Jamaica Street, Glasgow', a sixth-plate portrait of two male friends in a banded leather Eichmeyer case with embossed gilt stamp of the photographer to base, 'Dickson, 16 St Enoch's Sq., Glasgow', and a ninth-plate gilded portrait of a lady in leather case with pressed paper floral relief designs to lid and base, the mat stamped, 'Taylor, 46 Jamaica St., Glasgow' John Taylor was at this address 1855-1862, Mrs Taylor from 1861 to 1864. Hannavy, Case Histories, pp. 44, 46 & 67 (first, third and fourth items). (4)
Los 322
*Sixth-plate ambrotype portrait of a seated gentleman with a top hat, by F. Reynolds Photographic Gallery, Leamington, late 1850s, blue tinting, embossed paper case, together with a sixth-plate ambrotype of a seated bald man with beard, gilt highlights, embossed leather case with button closure (stiff), plus a ninth-plate ambrotype of a uniformed railway official, in embossed and formerly gilted case, plus a ninth-plate tinted ambrotype of a lady in a blue-grey dress, set in an oval French pressed-metal wall frame, 9 x 7.5cm Hannavy, Case Histories, pp. 55 & 131 (first and last items). (4)
Los 331
*Sixth-plate daguerreotype portrait of a woman, c. 1850, some tarnishing to extremities and two streaks to lower part of image near hands, glass replaced, inlaid into an embossed leather wallet with embroidered floral interior panel containing an unused moire silk-covered notebook inscribed 'To Alexander Douglas from his mother, May 10 1851', the closure an ivory-shafted lead pencil, overall 12 x 8cm Hannavy, Case Histories, p. 13. A most unusual item. (1)
Los 345
*Silvy (Camille, 1834-1910). A small album containing 12 window-mounted cartes-de-visite portraits by Camille Silvy, early 1860s, one tinted, plus one further Silvy portrait in pocket at front, embossed leather, small 8vo (12.5 x 9cm), together with a Victorian desk frame, circa 1860s, containing four tinted cartes de visite portraits, including two by John Moffat of 103 Princes Street, Edinburgh, one by James Bowman of 65 Jamaica Street, Glasgow, and one by S. Hoggard of Goatham, Redcar, Yorkshire, oval apertures, embossed and gilt-ruled leather, folding concertina-style, 12.5 x 31cm (fully opened) Second item: Hannavy, Case Histories, p. 91. (2)
Los 347
*The Washington Monument with Seraphs and Eagles. A half-plate brown thermoplastic union case by Samuel Peck & Co., c. 1858, housing a tinted and gilded ambrotype portrait of a mother and baby daughter seated at a table, velvet pad partly perished, reverse with geometric design, sharp corners and edges Berg 1-3S (obverse) & 1-7 (reverse); Krainik 4. (1)
Los 351
*American Country Life 1. Rare half-plate brown thermoplastic union case by Littlefield, Parsons & Co., c. 1858, housing a hand-tinted and gilded ambrotype portrait of a young couple, diagonal scratch, minor give to upper hinge, sharp edges, little nicks to several corners, clicks tight Berg 1-11 (obverse) & 3-4 (reverse); Krainik 9. (1)
Los 364
*Sir Henry Havelock. Rare quarter-plate brown thermoplastic union case by Littlefield, Parsons & Co., early 1860s, housing a tinted albumen print portrait of Harrington James Muston, geometric design to reverse, straight edges and corners, very minor nicks, clicks tight Berg 1-27S (obverse) & 3-31 (reverse); Krainik 24. (1)
Los 375
*Lyre in Wide Portal 2. Quarter-plate black thermoplastic union case by Samuel Peck & Co., c. 1858, housing a full-length ambrotype portrait of a lady seated at a table with a book, the reverse with 'The Lord's Prayer' design, one corner of reverse chipped and two corners nicked, elsewhere edges a little rubbed, snaps shut Berg 1-45 (with engraver's name R. Paine to the right of the base of the lyre) & 1-33 (reverse); Krainik 44 & 41. (1)
Los 376
*Horse Racing. Very rare quarter-plate octagonal black thermoplastic union case by Samuel Peck & Co., before 1857, housing a gilded ambrotype portrait of a seated lady with a book, a few nicks, chips and hairline splits, plus a small rough area from production flaw in blank border beneath main design of obverse, closure loose Berg 1-46; Krainik 86 (The Horse Race). (1)
Los 379
*Shield, Cannons and Flags. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype portrait of a seated man, reverse with geometric design, edges slightly rubbed and one corner chipped, together with Union and Constitution. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a gilded half-length ambrotype portrait of Amos Holden in band uniform, the reverse with 'Hatching the Egg' design, slightly nicked to lower edge of reverse, snaps shut, plus Shield with Stars in Stripes. Sixth-plate brown thermoplastic union case by A.P. Critchlow & Co., circa 1860, housing an ambrotype portrait of a seated man, two small corner nicks, snaps shut, plus Eagle and Flag. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., circa 1862, housing a three-quarter length ambrotype portrait of a young man seated at a table, the reverse with geometric design, sharp edges and rounded corners, snaps shut Berg 1-50 (obverse) & 3-163 (reverse), 1-51 (obverse) & 2-64 (reverse), 1-53 (obverse), 1-55 (obverse) & 3-188 (reverse); Krainik 109 (obverse), 110 (obverse) & 168 (reverse), 115, 111 (obverse) & 270 (reverse). (4)
Los 382
*The Indian Monument, Havana, Cuba. Rare sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., c. 1860, housing a half-length tintype portrait of a young man, reverse with an alternative design, corners nicked and one edge chip, chipped near fastener, shuts tight Berg 1-60 (obverse) & 1-61 (reverse); Krainik 126 & 127. (1)
Los 383
*Sir Henry Havelock. Rare sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c. 1860, housing an ambrotype portrait of a seated young boy by J. Timms of 31 High Holborn, London, reverse with geometric design, sharp edges and corners, clicks shut Berg 1-64 (obverse) & 3-81 (reverse); 125 & 244. (1)
Los 384
*Liberty, Stars in Corners. Very, very rare sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a pair of sixth-plate ambrotypes of a husband and wife, two long cracks to glass protecting woman's portrait, variant design of Liberty 1 to obverse, some nicks and chips to edges of lid and two small chips to outer border of reverse, together with Liberty 2. Sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a tinted ambrotype portrait of a seated boy, a little give to upper hinge, one corner nicked, closure not functioning Berg 1-68 (obverse) & 1-66 (reverse), 1-67S; Krainik 108 (obverse) & 106 (reverse), 107. (2)
Los 406
*Stealing the Bird's Eggs. Rare sixth-plate black thermoplastic union case by Samuel Peck & Co., late 1850s, housing a three-quarter length ambrotype portrait of a seated gentleman, cheeks tinted pink, missing rivets connecting lid with lower hinge, long shallow chip at top of lower fore-edge Berg 1-102; Krainik 139. (1)
Los 407
*The Calmady Children. Sixth-plate black thermoplastic union case by Samuel Peck & Co., before 1857, housing a three-quarter length ambrotype portrait of a seated young man with tinted pink cheeks and gilt jewellery, small chip to one corner of obverse and reverse with design of bunches of grapes in an ovalBerg 1-104 (obverse) & 2-23 (reverse); Krainik 129 (obverse) & 1-84 (reverse). (1)
Los 418
*Union Forever. Scarce ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c. 1859, housing a three-quarter length tinted and gilded ambrotype portrait of a young man, together with Union Constitution, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., circa 1859, housing a tinted and gilded ambrotype portrait of a seated young child, plus Constitution & the Laws, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c. 1859, housing a tinted and gilded ambrotype portrait of a young lady Berg 1-128, 1-129 & 1-131. (3)
Los 419
*The Monitor at the Fort. Scarce ninth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a tintype portrait of a woman with her arms folded, together with The Ship's Stern, scarce ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c. 1859, housing a daguerreotype head and shoulders portrait of a lady with long hair and ribbons Berg 1-132 & 1-133. (2)
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283284 Los(e)/Seite