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283284 Los(e)/Seite
Los 2461
An 18th century gold mounted miniature portrait of a lady by Charles Dixon signed with initials, 4 x 3.3cm (See illustration) Condition report: Clasp is working well. There are two small black marks on the bottom of the right sleeve. I am not sure what they are. Generally in very good condition. Gold mount is very dirty but in good condition.
Los 2462
A good 18th century miniature portrait of a gentleman with blue frock coat and powdered wig, gold cuff mount, 4 x 3.5cm. (See illustration) Condition report: Minor scratching to gold back commensurate with age. Scratching to glass, minor paint loss to lower part of cravat. Looks to be in good condition. Clasp clip spring working well, holds in place nicely.
Los 136
Gevaerts Jean Gaspard - Hubertus Goltzius. Icones imperatorum Romanorum, ex priscis numismatibus ad viuum delineatæ, & breui narratione historica illustratæ... Antverpiae: ex Officina Plantiniana Balthasaris Moreti, 1645.In-folio (mm 360x235). Pagine xiv (contenenti occhietto e frontespizio inciso da un disegno di Rubens) , [2], 423, [5]. Con 144 ritratti di imperatori romani in medaglione incisi in chiaroscuro; marca tipografica al verso dell'ultima carta. Minime bruniture e tracce di controstampa dei chiaroscuri - presenti in tutte le copie - ma ottimo esemplare. Legatura olandese coeva in pergamena allumata con unghie, titolo manoscritto al dorso, macchie ai piatti. Fra la carta di guardia e l'occhietto è legata una carta con grande stemma inciso in rame a piena pagina; al contropiatto anteriore applicato ritratto inciso in rame di Alessandro VII ed ex libris araldico; al verso della carta di guardia posteriore applicata altra marca plantiniana; al contropiatto posteriore ex libris coronato con stemma sorretto da aquila bicefala.Folio (360x235 mm). xiv (including half-title and engraved title-page after Rubens), [2], 423, [5] pages. 144 medallion portraits of Roman imperors engraved in chiaroscuro technique; primter's device on the verso of the last leaf. An excellent copy, slightly browned; light offsetting, as usual. Contemporary Dutch vellum with yapp edges. Spine with inked title. Some stains to covers. Full-page engraved coat of arms bound between the front flyleaf and half-title. Engraved portrait of pope Alexander VII and armorial ex libris both pasted on the front pastedown; Plantin device pasted on the verso of the rear flyleaf; armorial ex libris with double-head eagle on the rear pastedown.Handsome Plantiniana edition of one of the finest books on numismatics ever printed, and the first book on this topic to be published in Low Countries. The Icones imperatorum Romanorum had an enduring influence, and is still appreciated for its magnificent illustrative apparatus in chiaroscuro, the careful selction of ochre and brown tones, as well as the accurate historical observations accompanying the engravings. For the chiaroscuro woodcuts included in the 1645 edition the woodblocks were entirely re-cut. These new chiaroscuro are "plus belles and plus nettes" (Funck).Voet II, 225.
![Labia Carlo. Dell'imprese pastorali... Parte prima [- terza] Venetia: appresso Nicolò Pezzana, 1685.Tre parti in un volume i](https://cdn.globalauctionplatform.com/2ee320e6-3eca-45f5-953d-a82d00d7d57b/4b657110-0bcd-430f-fb6e-d57c6cc4d6bb/468x382.jpg)
Los 166
Labia Carlo. Dell'imprese pastorali... Parte prima [- terza] Venetia: appresso Nicolò Pezzana, 1685.Tre parti in un volume in-folio (mm 330x227). Pagine [36], 1148 (con errori nella numerazione), [54]. Testo su due colonne. Antiporta con ritratto dell'autore su disegno di Domenico Uberti, e frontespizio calcografico, entrambi eseguiti da Isabella Puccini, e in segnatura. Frontespizio tipografico in rosso e nero, con grande marca incisa da I. Puccini, a cui si devono gran parte delle grandi vignette calcografiche, con motto, che introducono ognuna delle cento imprese. Iniziali decorate e finalini incisi su legno. Brunite alcune carte, fioriture, qualche alone e gora, più evidente quella al margine inferiore bianco. Leggero offset delle incisioni, parziale distacco dell'antiporta. Legatura secentesca in mezza pergamena su piatti in cartone. Dorso a quattro nervi, con titolo in inchiostro bruno. Qualche macchia ai piatti, abrasi gli angoli, leggero danno al dorso in corrispondenza della cuffia di piede. Al frontespizio nota di possesso secentesca, 'A uso di F. Alessandro di [?] Riformato di S. Franco Per il Conv: delle Gratie di Senig.a'. Prima edizione di questa ponderosa opera di Carlo Labia (1624-1701), appartenente al patriziato veneziano e vescovo di Adria. Il trattato è introdotto da un elaborato frontespizio inciso, e illustra cento virtù e qualità proprie della figura episcopale, ognuna presentata come 'impresa' e introdotta da vignetta incisa su rame di grande finezza. Il particolare interesse del volume è, infatti, nel suo ricco corredo illustrativo, in gran parte realizzato da una delle poche donne che nel corso del Seicento fu attiva nell'arte incisoria: Elisabetta Piccini (1644-1734) o - come si firma all'antiporta - 'Suor Isabella Piccini [...] Monaca in S: Cro:ce di Venetia'. Entrata poco più che ventenne nel convento francescano di Santa Croce, e erede di una famiglia di incisori veneziani, Elisabetta fu apprezzata artista del bulino, e la sua produzione non si limitò ai soli soggetti sacri. Strettissimi i suoi rapporti con i più noti tipografi attivi al tempo in area veneta, in primo luogo il veneziano Niccolò Pezzana, e i Remondini di Bassano.Autori italiani del Seicento, 268.Three parts in one volume, folio (330x227 mm). [36], 1148, [54] pages. Text in two columns. Frontispiece with author's portrait after Domenico Uberti, and engraved title-page, both by Isabella Puccini, and included in the collation. Typographic title-page in red and black, with engraved printer's device. Large vignettes, with mottoes, opening each impresa, mostly engraved by I. Puccini. Woodcut decorated initials and tailpiece. A few leaves browned, some spots and waterstains, especially to the lower blank margin. Slightly offsetting, frontispiece partly detached. 17th-century quarter-vellum over pasteboards. Spine with four raised bands, inked title. Covers lightly stained, corners worn, minor loss to the bottom of spine. 17th-century ownership inscription on the title-page, 'A uso di F. Alessandro di [?] Riformato di S. Franco Per il Conv: delle Gratie di Senig[alli]a'.First edition of this monumental work by the Venetian nobleman Carlo Labia (1624-1701), bishop of Adria. The treatise opens with an elaborate engraved title-page, and describes the qualities which were prerequisites for a bishop. The one hundred qualities portrayed are presented as 'imprese', and illustrated with finely engraved vignettes. In fact, what gives this edition a special interest is its illustrative apparatus, which was engraved by Elisabetta Piccini (1644-1734) or - as she had signed the frontispiece of Labia's Imprese pastorali - 'Suor Isabella Piccini [...] Monaca in S: Cro:ce di Venetia', one of the rare women active in Venice in the art of drawing and engraving. She was the daughter of the Venetian engraver Giacomo Puccini. In 1666 Elisabetta entered the Venetian convent of Santa Croce, and as 'Suor Isabella' signed numerous engravings, mostly included in liturgical or religious books.
Los 170
Legati Lorenzo. Museo Cospiano annesso a quello del famoso Ulisse Aldrovandi E donato alla sua Patria dall'Illustrissimo signor Ferdinando Cospi Patrizio di Bologna e Senatore... In Bologna: per Giacomo Monti, 1677.In-folio (mm 307x204). Pagine [24], 532. Frontespizio in rosso e nero, con emblema inciso della Accademia dei Gelati. Ritratto calcografico in antiporta di Ferdinando Cospi, opera di Adrian Haelvegh da dipinto di Justus Susterman. Vignetta con ritratto inciso del dedicatario Ferdinando III alla carta ✠3r. Grande tavola ripiegata, raffigurante la sala Museo, incisa su rame da G. M. Mitelli (diffuse bruniture, minima mancanza in corrispondenza dello stemma, margine esterno leggermente rifilato). Numerose xilografie nel testo. Brunitura delle carte, diffuse fioriture. Aloni e tracce di polvere, più evidenti all'occhietto e al frontespizio. Qualche traccia d'uso, piccole macchie di antico inchiostro. Strappo alla carta Ee, senza perdita di testo. Legatura coeva in vitello moucheté, su piatti in cartone. Dorso a sette nervi, riccamente decorato in oro, titolo in caratteri dorati su tassello in marocchino marrone scuro. Qualche spellatura e macchia ai piatti, danni e mancanze agli angoli. Cerniere fessurate in corrispondenza della cuffia di piede, piccole mancanze alle alle cuffie, lieve danno al capitello inferiore. Alcune note marginali a lapis. Prima edizione della descrizione dello straordinario gabinetto di curiosità o Wunderkammer raccolto dal bolognese Ferdinando Cospi (1606-1686). Già nel 1667 Cospi aveva commissionato un breve catalogo della sua collezione, dato alle stampe con il titolo di Breve descrizione del Museo Cospiano. In occasione, dieci anni dopo, della donazione della collezione al Senato di Bologna, incaricò Lorenzo Legati di redigerne un più ampio e dettagliato inventario. Il Museo Cospiano del 1677 è diviso in cinque libri, di cui i primi due contengono l'inventario dei naturalia - tra cui fossili animali e vegetali, coralli e conchiglie - mentre i successivi tre sono dedicati alla descrizione degli artificialia, con un lungo elenco di monete, medaglie, sculture, bronzetti, vasi, mummie e altri reperti archeologici. Il volume è arricchito da una incisione realizzata dall'artista bolognese Giuseppe Maria Mitelli (1634-1718), che presenta l'ambiente del museo, con gli oggetti descritti nell'inventario esposti su una scaffalatura che si estende su tre lati della sala, sormontata dall'iscrizione 'Erudita haec artis et naturae machinamenta ad excitandam antiquitatis memoriam Ferdinandus Eq. Bayul. Arretii Mar. Petrioli Senatorq. de Cospis superandae dicavit immortalitati'. La collezione subì nel tempo dispersioni; nel 1743 fu trasferita presso l'Istituto delle Scienze, e nel 1871 entrò a far parte del Museo civico archeologico di BolognaFolio (307x204 mm). [24], 532 pages. Frontispiece with Cospi's portrait, engraved by Adrian Haelvegh after Justus Susterman. Title-page printed in red and black, with engraved emblema of the Gelati Academy. Engraved vignette with portrait of the dedicatee Ferdinando III on fol. ✠3r. Large folding copperplate, depicting the Museum, engraved by G. M. Mitelli (browned throughout, minor loss to the coat of arms, outer margin slightly trimmed). Numerous woodcuts in the text. Leaves rather browned, foxing. Some spots and trace of soil, heavier on the half- and title-page. A few finder-marks, and early ink stains. Tear to fol. Ee, without any loss. Contemporary calf moucheté, over pasteboards. Spine with seven raised bands, richly gilt tooled. Title in gilt on dark brown morocco lettering-piece. A few scratches and stains to the covers, corners and spine exremities worn. A few pencilled marginal notes. First edizione of the description of the extraordinary museum or Wunderkammer collected by the Bolognese Ferdinando Cospi (1606-1686). Already in 1667 Cospi had commissioned a brief catalogue of his private collection, printed under the title Breve descrizione del Museo Cospiano. In 1677 he decided to donate his museum to the Senate of Bologna, and on the occasion commissioned to Lorenzo Legati a complete and detailed inventory. The Museo Cospiano of 1677 is divided in five Books, the first two of which contains the list of naturalia - among others, animal and vegetable fossils, corals, and shells. The subsequent three Books describe the artificialia, such as coins, sculptures, bronze statuettes, vases, mummies, and other relics. The volume includes a fine plate engraved by the Bolognese artist Giuseppe Maria Mitelli (1634-1718), depicting the museum with a large three-side shelving housing the objects described in the publication, and surmounted by the inscription 'Erudita haec artis et naturae machinamenta ad excitandam antiquitatis memoriam Ferdinandus Eq. Bayul. Arretii Mar. Petrioli Senatorq. de Cospis superandae dicavit immortalitati'.
![Poesia Burlesca. Il primo [-terzo] libro dell'Opere burlesche del Berni, del Casa... In Usecht al Reno [i.e. Roma]: appresso](https://cdn.globalauctionplatform.com/2ee320e6-3eca-45f5-953d-a82d00d7d57b/4a3c8c16-d7be-43a6-f212-55079ed3caea/468x382.jpg)
Los 215
Poesia Burlesca. Il primo [-terzo] libro dell'Opere burlesche del Berni, del Casa... In Usecht al Reno [i.e. Roma]: appresso Jacopo Broedelet, 1771. Tre volumi in-8° legati insieme (mm 177x115). Pagine XIV (di XVI, manca c. a1 bianca), 414, [2] con ritratto di Berni inciso su rame in antiporta; 328; 359, [1]. Vignetta calcografica al frontespizio di ogni volume. Minime arrossature e tracce di polvere ai frontespizi, gora marginale più visibile alle carte finali. Legatura coeva in mezza pelle, carta marmorizzata ai piatti, titoli in oro al dorso. Abrasioni ai piatti, più evidenti a quello anteriore, e alle cuffie. Edizione non comune a trovarsi completa di questa raccolta il cui primo libro, curato dal Lasca che firma la dedica a c. a5v, uscì per la prima volta nel 1548: il progetto "nasce dall'intento di affermare l'indiscusso magistero del Berni nella poesia burlesca e antipetrarchista, ma anche di tracciarne una discendenza, tra poeti fiorentini e Accademia Romana dei Vignaiuoli, nella quale il G. (Grazzini, vero cognome del Lasca, ndr) ambiva collocare pure se stesso" (DBI, s.v.). Il ritratto calcografico di Berni è siglato da Antonio Baratti. Per il luogo reale di stampa si veda Parenti, Dizionario dei luoghi di stampa falsi, inventati o supposti, p. 191.Three volumes. 8° (177x115 mm). XIV (of XVI, missing c. a1 blank), 414, [2] pages with portrait of Berni engraved on copper on the frontispiece; 328; 359, [1] pages. Copper engraved vignette on title page of each volume. Light foxing on the title pages, waterstain on margin more evident on final leaves Contemporary half leather, marbled paper on the covers, gilt title on the spines. Slightly abrased the covers, in particular the front one. Edition not common to find complete of this collection in which the first volume, edited by Lasca who signs the dedicatory on fol. a5v, published for the first time in 1548: the project "nasce dall'intento di affermare l'indiscusso magistero del Berni nella poesia burlesca e antipetrarchista, ma anche di tracciarne una discendenza, tra poeti fiorentini e Accademia Romana dei Vignaiuoli, nella quale il G. ambiva collocare pure se stesso" (DBI, s.v.). The engraved portrait of Berni is signed by Antonio Baratti. For the place of printing see Parenti, Marino Dizionario dei luoghi di stampa falsi, inventati o supposti, p. 191.
![Tartaglia Niccolò. La prima [-sesta] parte del general trattato di numeri, et misure... In Vinegia: per Curtio Troiano de i N](https://cdn.globalauctionplatform.com/2ee320e6-3eca-45f5-953d-a82d00d7d57b/dc038bf5-d647-42ac-b441-bf145c58ca83/468x382.jpg)
Los 260
Tartaglia Niccolò. La prima [-sesta] parte del general trattato di numeri, et misure... In Vinegia: per Curtio Troiano de i Navò, 1556-1560.Sei parti in due volumi in-folio (mm 305x215). Carte [6], 275 (di 277, mancano cc. Z4 e Z5); [4], 186; [4], 51, [1]; [4], 63, [1]; [4], 90; [4], 44. Ritratto xilografico dell'Autore e marca incisa su legno ai frontespizi della parte prima e seconda, marca xilografica ai frontespizi delle parte terza, quarta, quinta e sesta, ritratto xilografico dell'Autore alla parte terza (c. πA4v), quarta (c. †4v), quinta (c. †4v) e sesta (c. †4v); stemma del dedicatario inciso su legno alla parte terza (c. πA2r ), quarta (c. †2r), quinta (c. †2r) e sesta (c. †2r); in tutte le parti capilettera incisi su legno. Alla prima parte fascicoli slegati a partire da YY, mutile le cc. Z3 e Z6, menda all'angolo inferiore destro bianco c. N6 e strappo restaurabile al margine inferiore di C. V1, carte finali della parte sesta con minimi lavori di tarlo che toccano il testo. Gore, arrossature e tracce di polvere diffuse su entrambi i volumi. Legatura omogenea coeva in pergamena su cartone, titoli calligrafici ai dorsi a 3 nervi. Staccato il piatto posteriore della Prima parte, dorso lacunoso, piatti con macchie e gore; macchie e aloni ai piatti anche al volume contenente le parti seconda-sesta, con abrasioni e lacune al dorso, qualche segno di tarlo. Al frontespizio della Prima parte nota di possesso manoscritta 'Christophori Pascutii Rochensis... anno Domini MDCXCVI' e timbro di possesso ovale con stemma, al frontespizio della Seconda parte stesso timbro e nota manoscritta analoga alla prima ma più breve, segnature manoscritte ai dorsi, marginalia, fogli manoscritti conservati nella volume della Prima parte, il volume contenente le parti seconda-sesta è parzialmente cartulato in inchiostro in numeri arabi all'angolo superiore destro delle carte. Una delle più importanti e influenti opere matematiche del Rinascimento: la prima edizione del compendio del grande matematico italiano Tartaglia (1499-1557), l'opera in cui per la prima volta appare il celeberrimo 'triangolo' a lui intitolato, e di applicazione a problemi di probabilità. "There is no other treatise that gives as much information concerning the arithmetic of the sixteenth century, either as to theory or application. The life of the people, the customs of the merchants, the struggles to improve arithmetic, are all set forth by Tartaglia in an extended but interesting fashion" (Rara Arithmetica, p. 278). Ognuna delle sei parte in cui è diviso il General Trattato è introdotta da frontespizio proprio, ed è dedicata a importanti figure del tempo, come Richard Wentworth, a cui Tartaglia indirizza la prima parte della sua opera, e al quale aveva già destinato la sua traduzione di Archimede, apparsa nel 1543. Il volume comprendente la Seconda Parte del General Trattato è qui presentato nella variante con l'indicazione, al frontespizio delle note di stampa "In Vinegia per Curtio Troiano de i Nauò. MDLVI.".Adams T-180; Riccardi II, 505-506; Honeyman sale 2962 ("the most important Italian mathematical work of the sixteenth century"). Six parts in two volumes, folio (305x215 mm). [6], 275 (of 277, lacking fols. Z4 and Z5); [4], 186; [4], 51, [1]; [4], 63, [1]; [4], 90; [4], 44 leaves. Woodcut author's portrait and printer's device on the title-pages of the Prima and Seconda Parte. Woodcut printer's device on the title-pages of Terza, Quarta, Quinta and Sesta Parte; author's portrait in the Terza (fol. πA4v), Quarta (fol. †4v), Quinta (fol. †4v), and Sesta Parte (fol. †4v); woodcut dedicatee's coat of arms in the Terza (fol. πA2r), Quarta (fol. †2r), Quinta (fol. †2r), and Sesta Parte (fol. †2r). Numerous woodcut decorated initials. A good copy, waterstained, and foxed throughout; light dusting. Some quires of the Prima Parte loose, from quire YY onwards; losses to fols. Z3 and Z6; lower blank corner of fol. N6 worn; tear to the lower margin of fol. V1; wormholes to the last leaves of the Sesta Parte, occasionally affecting the text. Uniformly bound, contemporary vellum on pasteboards. Spines with three raised bands, with inked titles. The lower cover of the first volume detached. Losses to the spines, Covers of both volumes stained and spotted; a few losses to the spine, some wormholes. Ownership inscription on the title-page of the first volume, 'Christophori Pascutii Rochensis... anno Domini MDCXCVI'; armorial stamps on the title-pages of both volumes. Loose leaves inserted in the first volume, bearing annotations in an early hand.One of the most important and influential mathematical works of Renaissance: the first edition of the Trattato by the great Italian mathematician Tartaglia (1499-1557), and the first appearance in print of the celebrated 'Tartaglia's triangle'. "There is no other treatise that gives as much information concerning the arithmetic of the sixteenth century, either as to theory or application. The life of the people, the customs of the merchants, the struggles to improve arithmetic, are all set forth by Tartaglia in an extended but interesting fashion" (Rara Arithmetica, p. 278). The work is divided into six parts, each of which has its own title-page, dedicatory epistle and table of content. The First Part is for example dedicated to the English Richard Wentworth, who was also the dedicatee of Tartaglia's edition of Archimedes, published in 1543 The volume containing the Seconda Parte del General Trattato belongs to the issue bearing on the title-page the imprint "In Vinegia per Curtio Troiano de i Nauò. MDLVI.".Adams T-180; Riccardi II, 505-506; Honeyman sale 2962 ("the most important Italian mathematical work of the sixteenth century").
Los 296
Norden Frederik Ludvig. Travels in Egypt and Nubia... Translated from the original... and enlarged with observations from ancient and modern authors, that have written on the antiquities of Egypt, by dr. Peter Templeman... Vol. I [-II]. London: printed for Lockyer Davis and Charles Reymers, in Holborn printers to the Royal Society, 1757.Due volumi in-folio legati insieme (mm 460x283). I: Pagine [10], xxxiv, 124, con 1 tavola calcografica in antiporta. Capilettera, testatine e finalini incisi su rame. II: Pagine [2], viii, 155, [1], con ritratto calcografico dell'Autore in antiporta. Capilettera, testatine e finalini incisi su rame. Con CLIX tavole incise su rame (in realtà le tavole sono 162 essendo doppie le nn. XVII, XXVII, LXVI e CVIII, unite le nn. CXL-CXLI e CXLII-CXLIII, ed essendo presente un'ultima tavola non numerata). Qualche carta con lievi arrossature e tracce di polvere, poche lievi bruniture. Legatura coeva in pelle, cornici in oro a doppio filetto ai piatti, titoli e fregi in oro al dorso a 5 nervi, contropiatti e sguardie in carta decorata, tagli screziati. Cerniere totalmente mancanti con allentamento dei piatti, mende alle cuffie, abrasioni. Two tomes in one volume, folio (460x283 mm). I: [10], xxxiv, 124 pages, with engraved frontispiece. Engraved decorated initials, head- and tailpieces. II: [2], viii, 155, [1] pages; frontispiece with engraved author's portrait. Engraved decorated initials, head- and tailpieces. CLIX copperplates (i.e. 162, the plates nos. XVII, XXVII, LXVI and CVIII).A few leaves slightly foxed and dusted; a few light browning. Contemporary leather. Covers within double fillers in gilt. Spine with five raised bands, gilt tooled. Marbled pastedowns and flyleaves. Joints completely cracked, covers partly loose, headcaps somewhat damaged. The first finely illustrated English edition of this important account of the of the travels of the Danish Captain Norden (1708-1742) through Egypt and Nubia, first appeared in French in Copenhagen, between 1752 and 1755. Norden "was the first European to penetrate as far as Derr in Nubia and to publish descriptions of any Nubian temples. This important work was the earliest attempt at an elaborate description of Egypt, and its plates are the most significant previous to those by Denon" (Blackmer).Blackmer 1211; Hilmy 2:74; Weber 2:520; Howgego N38.
Los 36
Selden (John) Titles of Honor, 1631, Richard Whitakers, second edition, early calf (outer pages soiled, binding well worn, slips of early ms. on vellum at joints); Bacon (Francis), Resuscitatio, or, bringing into Publick Light Several Pieces of the Works .., 1671, third edition, two parts bound as one, erratic pagination, two portrait plates, crude restoration to A1 and A2, functional cloth binding; with another copy, containing Part I only and with one plate (of two), worn calf (boards detached); [Prechac], La Querelle des Dieux sur la Grossesse de Madame La Dauphine, 1682, Paris, recent half calf (ex library) (4)
Los 48
Assorted 20th Century Literature Greene (Graham) Nineteen Stories, 1947, Wm. Heinemann, first edition, black cloth boards idem, The Heart of the Matter, 1948, Wm. Heinemann, first edition, blue cloth boards idem, Loser Takes All, 1955, Wm. Heinemann, first edition, blue cloth boards idem, The Third Man & The Fallen Idol, 1950, Wm. Heinemann, black cloth boards Huxley (Aldous) Brave New World, 1936, Chatto & Windus, New Edition, blue cloth boards idem, Eyeless in Gaza, 1936, Chatto & Windus, first edition, red cloth boards Maugham (W. Somerset) The Razor's Edge, n.d. blue cloth boards idem, Creatures of Circumstance, 1947, Wm. Heinemann, first edition, red cloth boards idem, Cakes & Ale, 1930, Wm. Heinemann, first edition, green cloth boards Joyce (James) A Portrait of the Artist as a Young Man, 1916, The Egoist Press, green cloth boards Steinbeck (John) The Grapes of Wrath, 1939, Wm. Heinemann, first edition, red cloth boards together with two others; many with WH Smith labels and stamps, no dust wrappers, overall condition poor (13)
Los 79
Bruce (Alexander) The Institutions of Military Law, Ancient and Modern..., 1717, library bookplate, half calf (later morocco spine retaining calf backstrip); A Society of Naval Gentlemen, Britannia Triumphant..., 1767, portrait frontis, sheep (re-backed with original backstrip laid down); [British Army], Field Exercise and Evolutions of the Army as revised in 1833, William Clowes, engraved plates, half morocco (3)
Los 557
Attributed to George Knapton (British, 1698-1778) A Study of the Marlborough family, pencil and grey wash, 18 x 29 cm (7 x 11.5in); Circle of Jacob Jordaens (Flemish, 1593-1678), a 17th century black chalk and brown wash drawing showing a fragment of decorative tapestry border, 59 x 43 cm (23.2 x 17in); After Sir Peter Lely (1618-1680), Portrait of a young woman, bust length, black white and red chalk, 22.5 x 15 cm (9 x 6in); and a late 18th century pencil portrait of a gentleman, framed, 19 x 14 cm (7.5 x 5.5in) (4)
Los 560
Harriet Sneyd (British, 1796-1867) A sketchbook of portraits of the Thynne children of Longleat, to include: Frederic Charles Thynne as a child by Harriet Sneyd (2); Archdeacon Croft Hauterburg, pen and ink silhouette; Gertrude Harriet Thynne by Harriet Sneyd (2); Portrait of Harriet Sneyd by "WS", pencil; Harry Bagot, copied by Miss J Davies; Charles Walter Bagot, 1819, copied by Miss J Davies; Emily and Minnie Bagot, copied by Miss Davies; Emily Bagot, copied by Miss Davies (2); Minnie Bagot, copied by Miss Davies; Portrait of a lady in a hat by Inskipp, copied by Miss Jenny Davies; Gertrude Harriet Thynne by John Hungerford Pollen; Miss Gladys Vaughan by John Hungerford Pollen, Clifton, Sept. 7 1853; The Very Rev. Dr Canon Neve by John Hungerford Pollen, Sept. 5 1853; Richard Bagot by Harriet Sneyd; Hugh Dawnay, afterwards Viscount Downe, copied by Miss Davies; Richard Bagot by Harriet Sneyd; Hugh Dawnay, afterwards Viscount Downe, copied by Miss Davies; Lady Constance, Lady Eleanor Paget, Lord Paget, afterwards Lord Uxbridge and then Lord Anglesey, Fanny Caroline Bagot; Emily Bagot; Elizabeth Pratt; Lord Charles Thynne by Harriet Sneyd. Torquay 1839-1840; Lady Charles Thynne by Harriet Sneyd, Torquay 1839-1840; The Reverend Herbert Vaughan, afterwards Bishop of Salford, by Henry Doyle; General Lord Strathnairn by Henry Doyle (2); Lord Strathnairn, standing, in uniform, by Henry Doyle (2); Charles Edward Thynne by Henry Doyle; Eleanor Sneyd, two head studies; Roger Vaughan, Archbishop of Sydney, two head studies; Newcomer to Woodchester by A H Thynne (a woman in a park); T Carlyle from "WS"; Various animals by John Hungerford Pollen in a distressed folder with end papers of classical subjects by Stefano della Bella (Italian, 1610-1664) Other Notes: Harriet Sneyd (1796-1867) was the third of nine children. Her parents were Louisa Sneyd, nee Bagot (1764-1834) and Lieutenant-Colonel Walter Sneyd (1752-1829). The Sneyds of Keele Hall, Staffordshire, were landed gentry, prominent in county society, with several members of the family serving as MPs, Sheriffs and Mayors for Chester and Staffordshire. Louisa Sneyd encouraged her daughters (Harriet, Fanny, Charlotte and Elizabeth) to develop their creative and artistic talents and they were taught by the artist William Mulready, RA (1786-1863). Charlotte in particular possessed considerable artistic ability. Harriet did not marry and lived alongside her two unmarried sisters, Charlotte and Elizabeth. The Thynne family regularly feature in the Sneyd family correspondence. Keele University holds Charlotte Sneyd's panoramic watercolour of Almack's Assembly Rooms (1819-20), spanning more than two metres and depicting almost 200 people, including Lord John Thynne in conversation with Lady Georgiana Bathurst. All unframed, some foxing, in original condition. Approximately 80 in the lot.
Los 563
Samuel Cotes (British, 1734-1818) Portrait of Mrs Mary Knowles, a Quakeress signed "S Cotes px. 1797" to the right of the sitter's shoulder pastel 60 x 45cm (23 x 18in) Provenance: Mrs Murray Tuke, The Vineyard, Saffron Walden, Essex; Her sale, Robinson, Fisher and Co., 25 June 1908 (old catalogue entry to the reverse refers) Other Notes: Mary Knowles (1733-1807) was remembered by her friends as many things - literary lady, patriot, artist and Quaker. She was born into a long established Quaker family but from an early age expressed her individuality - she asserted her right to choose her own husband, writing the pamphlet, "Memoirs of MM, Spinster of the Parish", which included an essay, "The Pudding Making Mortal". In this essay she argued that since "accidents may happen to the best puddings in the world", every housewife should be taught Science. Mary Knowles eventually married a fellow Quaker at the relatively old age of 34. She established a needlework school in Buckinghamshire and developed a new form of needlework known as "needle painting", where the stitches replicated the appearance of a painted subject through crewel embroidery and the use of Worsted wool stitches to represent brush strokes. The art form came to the attention of Her Majesty Queen Charlotte who commissioned Mrs Knowles to create a needle painting copy of a portrait of George III by Zoffany. The Royal Family were so pleased with the result that they paid her £800 which Mary Knowles used to enable her husband to study medicine. Once qualified, she and her husband moved to London where she became friends with Queen Charlotte. She moved in literary circles, clashing with Samuel Johnson over the right to freedom of religion. In addition to her support for her Quaker faith, she continued to publish poetry and pamphlets supporting the rights of women and the abolition of slavery. Dirt under the glass.
Los 564
William Hoare, RA (British, 1706-1799) Portrait of a gentleman, in a white lace stock, maroon coat and powdered wig oil on canvas, unframed 76 x 64cm (30 x 25in) Unframed. One old repaired tear to the right-hand side. Scuffed edges. Scattered paint losses along the bottom edge. Old stretcher bar marks can be seen from the front. Craquelure overall. Oil on canvas which has not been lined. An old tear at the upper right corner has been secured from the reverse with a canvas patch. There are stretcher bar marks around the edges. The paint craquelure has raised edges. There are a few scattered paint losses across the surface. The varnish is clear and semi matte. There is a layer of surface dirt.
Los 565
Anglo-French School (17th Century) Portrait of a lady with feathers in her hair in a gold dress by a statue of a putti pouring water; and Portrait of a lady in a feathered cap, blue dress and gold cloak two, each oil on panel 43 x 34cm (17 x 13in) Both paintings are executed in oil on a wooden panel. The paint layers are stable overall, there are some small areas of raised paint following the grain of the wood. Both paintings have retouching across the surface, especially the painting with the ywllow shawl. The varnish layers are semi matte, clear and even. There are a few small chips to the frame.
Los 566
French Provincial School, circa 1700 Portrait of King Philip V of Spain, half length, wearing the Insignia of the Orders of Saint Esprit and the Golden Fleece pinned on his lapel inscribed upper left "PH.s V.s" oil on canvas 93 x 74cm (36 x 29in) Oil on canvas which has been lined. The paint layer is uneven with old scattered losses. The surface is very worn and has a mottled appearance. There are numerous retouchings across the surface.
Los 567
Manner of Cornelis Ketel (Dutch, 1548-1616) Portrait of a lady, head and shoulders, in a Dutch cap, black dress and white ruff oil on panel 18 x 14cm (7 x 5in) Oil on a wooden panel. There is evidence of old woodworm infestation at the back of the panel. There are localised areas of raised, unstable paint. Old retouchings in the sitter's face have discoloured. The varnish is vary matte, degraded and yellowed. There is wear and abrasion to the gilding on the frame.
Los 568
Circle of Margaret Sarah Carpenter (British, 1793-1872) Portrait of a young girl, with her hair in ringlets, holding roses oil on canvas 44 x 34cm (17 x 13in) The painting is executed in oil on a canvas support which has been mounted onto panel. The paint layer has wide drying cracks, which would have formed as the paint layer dried. The drying cracks have been retouched. The paint layer has areas wrinkling but appears stable overall. The varnish is clear and even. The frame has been regilded.
Los 569
Sir Martin Archer Shee, PRA (Irish, 1769-1850) Portrait of a gentleman, in a fur-lined red jacket oil on canvas 75 x 62cm (29 x 24in) Oil on canvas which has been lined. Paint layer is in a stable condition. There is some wrinkling to the paint layer on the sitter's forehead, but this is secure. There are several areas of retouching across the painting which are generally well matched to the original. Varnish is clear and even. Some losses to the decorative moulding of the frame.
Los 570
Thomas Heaphy (English, 1775-1835) Portrait of a gentleman, standing full-length beneath a colonnaded veranda beside a console table on which lie books and maps including one entitled "Perth / S H " signed lower right "T Heaphy 1822" watercolour on paper 61 x 44cm (24 x 17in)Provenance: By inheritance in the Alington family at Little Barford Manor, Bedfordshire, and by descent to the present ownerOther Notes: The sitter seems to be in Court Dress and wearing a red sash with a medallion, likely to be the Order of the Bath.The map in the background is entitled " PERTH / S H " and appears to show the Western edge of Perthshire, Scotland. It is believed to be based on one of the two maps of Perthshire published prior to the date of this painting - both of which were drawn by John Stobie, the first published in 1787 and the second in 1805.Heaphy was the first President of the Society of British Artists and was portrait-painter to HRH The Princess of Wales and The Duke of Wellington.We are grateful to the Archives and History Department at the A K Bell Library, Perth, for their assistance with the catalogue entry.The sitter’s Neck Order has been identified by Cleave and Co.“We believe this to be the Baronet’s Badge of Nova Scotia as this is also oval in design with blue edged enamel and the same sandy coloured ribbon”Condition: Very faded and with loss of colour. Backboard needs taking off as causing discolouration.
Los 571
Attributed to James Hayllar, RBA (British, 1829-1920) Portrait of Miss Walker, seated, in a brown dress and grey shawl, her hand resting on her chin; and Portrait of Mr Smythe, seated, in a library oil on canvas (a pair) 35 x 30cm (14 x 12in) Oil on canvas, both paintings have been lined. The canvas and paint layer are in a good, stable condition. There is a localised area of disrupted paint to the left of the sitter's head, with small losses, but this appears stable. The varnish layers are clear and even. There are small areas of retouching, mainly on the portrait of the lady. There are small chips and losses to the frames.
Los 572
Attributed to Frances Cotes, RA (British, 1726-1770) Portrait of Mrs Lee (d.1806) in a blue cloak trimmed with ermine, a pearl and sapphire stomacher, and a blue ribbon in her hair oil on canvas, framed as an oval 77 x 63cm (30 x 25in) Provenance: By descent by marriage within the family of the sitter at Fulbeck Manor, Lincolnshire Other Notes: Mrs Lee married firstly William Parry Esq. of Easton Grey, Wiltshire; and secondly, the Reverend Harry Lee, Warden of Winchester College, Hampshire. Mrs Lee died in 1806. Framed in an oval but bigger. Craquelure overall. Lined. Note to the reverse - No. 14, Dining Room Lady in blue coat with ermine trim Oil on canvas which has been lined. At the lower edge and left side the paint has raised craquelure which is vulnerable to flaking. There are scattered retouchings which are well matched to the original. The varnish is even and semi-matte with abrasion around the edges.
Los 573
Henri-Pierre Danloux (French, 1753-1809) Portrait of Daniel Augustus Beaufort (1739-1821) and his wife, Mary, half length, seated, one signed with initials the portrait of Mrs Beaufort is signed with initials and dated "P. D. 1799" upper right centre oil on canvas (a pair) 25 x 20cm (10 x 8in) Provenance: By descent to C St L P Beaufort; Christie's, London, sale, 22 November 1967, lot 16, when sold to the present owner Other Notes: Daniel Augustus Beaufort (1739-1821) was an Anglican priest and geographer. He was rector of Navan in County Meath taking a prominent part in the foundation of Sunday schools. He is best known for his map of Ireland published in 1792. His wife Mary (nee Waller) was from Allenstown, Co Meath. A few small scuffs to the paint surface and the frames are a little worn. Both paintings are executed in oil on a canvas support. The paint layers are stable but have suffered from wear and abrasion and have extensive retouchings, mainly in the background. The retouching is slightly matte compared to the surrounding paint layers. The varnish is clear and slightly uneven. Some wear to the gilding on the frame but generally in a good condition.
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