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Preisdatenbank abonnierenA 19th Century novelty propaganda clear crystal glass tumbler, engraved decorated with a portrait of the Kaiser which when turned sideways can be viewed as a donkey's head, all within a laurel garland, height 14.5cm. NB - Former Parkington Collection - Lot 279 - Christies. PLEASE VIEW CONDITION REPORT
A 19th Century Bohemian opal glass vase by Josef Ahne, of ovoid form with raised peach collar, hand enamelled with side bust portrait of a lady with blue dress and gold pendant, classical foliate vignette verso, over white satin ground, gilded lined borders, signed to the body, height 15cm. PLEASE VIEW CONDITION REPORT
A late 19th Century glass sweatmeat stand of circular form with crimped rim on baluster stem and circular splayed foot, decorated with a side portrait of a Roman centurion within gilt framed roundel, within puce and peach borders with foliate and Greek Key decoration, ground pontil, height 10.5cm, together with a small stand. PLEASE VIEW CONDITION REPORT
A 19th Century Italian Murano glass vase of swollen baluster form, raised to an annulated stem and circular spread foot, enamel decorated with two portrait panels depicting Tommaso Mogenigo and Michele Steno within dot line and arched gilded borders over a deep amethyst ground, height 23cm. PLEASE VIEW CONDITION REPORT
A late 19th Century Dresden Augustus Rex pot pourri vase, of ovoid form with domed reticulated cover, twin moulded mask handles in the form of bearded men with black rimmed hats, decorated with Watteauesque figural scenes and floral sprays within oval cartouche with gilded petalled borders on puce ground, height 28cm, together with a 19th Century Derby Stephenson & Hancock figure of John Falstaff, modelled with sword hilt and shield on rocaille base, height 20cm, and a Staffordshire portrait group, boy with dog on naturalistic base and branched tree with floral bocage, and a Staffordshire spill vase, circa 1820, painted with a still life study of fruit and flowers in gilded octagonal panel on blue ground with gilded flower and leaves. (4) PLEASE VIEW CONDITION REPORT
Assorted American Presidential related pin badges comprising of For President Wm H,Taft, portrait with black text; Teddy Roosevelt circular badge, portrait in a red and blue frame; Warren G. Harding For President, portrait within blue border and white text; embossed gilt brass medal with portrait of Calvin Coolidge; Hoover, a gilt metal badge with blue enamel gilt text; Franklin F. Roosevelt, central portrait with American style flag; Frank D. Roosevelt 'Okay America Inauguration March 4 1933; You Bet - I'M With You; Roosevelt circular badge, decorated with American flag; reproduction tinplate Harry S. Truman For President, portrait of Truman surrounded by American flag, 38mm diameter; gilt brass circular Harry S Truman medal with central portrait, American coat of arms verso, 30mm verso; Bastian Bros I Like Ike tin plate badge, with blue lettering on white and blue background, 20mm diameter; Peace Progress & Prosperity, I Like Ike, central portrait with blue lettering and white lettering on red banner, 35mm diameter; indistinctly marked Ike and Dick badge, white and blue lettering with red, blue and white banners, 20mm diameter; unnamed blue tin plate badge, with portraits of Carter & Mondale with white lettering, 20mm diameter; unnamed 1980 Carter & Mondale badge, with central panel of two portraits and white lettering, 20mm diameter; unnamed 1980 Carter & Mondale sepia badge, with central brown portraits on off white background, 30mm diameter; unnamed 1980 Carter & Mondale black and white badge, with black lettering and grey portraits, 20mm diameter; unnamed 1980 Jimmy Carter for President, with black lettering and off white background, 24mm diameter; unnamed Jimmy Carter for President, with central portrait and green banner with white lettering, 25mm diameter; N G Slater Corp, Experience Counts, Elect Gerald R. Ford in '76 badge, with central black and white portrait with red and blue banners and white lettering, 85mm diameter; Allied Printing I'm for Nixon tin plate badge, with blue lettering and white, red and blue banners, 20mm diameter; unnamed Richard M Nixon badge, with portrait of Richard M. Nixon with black background, 55mm diameter; unnamed Regan for Governor badge, with black lettering on white and green background, unnamed Re-elect the President, red and blue lettering on white background, 28mm diameter; unnamed Nixon-Agnew badge, with red lettering on black background, 24mm diameter; an unnamed Nixon Agnew, with red and blue semi-circle design and white lettering, 28mm diameter; indistinctly named Kennedy badge, blue lettering on white background, 25mm diameter; two Vote for Seagrams It's America's Whiskey printed tinplate badges, one depicting Peace - Woodrow Wilson & other Coolidge Deeds-Not Words, both with portraits, 50mm diameter; 1980 President Regan, badge with black and white portrait and a red, white and blue ribbon with gilt lettering, 20cm long; unnamed Ronald Wilson Reagan, 40th President, 1911-2004 with portrait, 75mm diameter; Joy Products Re-Elect Regan in '84, central portrait with blue lettering and stars, 62mm diameter; Bold Concepts Win One More for the Gripper, central portrait of Ronald Regan and George W Bush, white lettering on blue background, 75mm diameter; unnamed Re-Elect President George W. Bush, central portrait with white lettering, 75mm diameter; unnamed Carter Special, a Little Peanut Butter, A lot of Baloney, bitten slice of bread on blue background, 55mm diameter; unnamed Reagan, Let's make America great again, white writing on blue background, 30mm diameter; unnamed Ted Kennedy for President in 1980, portrait surrounded by red and blue banners with white writing, 55mm diameter; Joy Products Ronald Reagan George Bush, two 50th American Presidential Inaugural, portraits with black text and white and red banners, 75mm diameter; indistinctly named, Nixon's The One!, white tinplate with red writing, 35mm diameter; N.G Slater of New York, Clinton for President '92, portrait of Bill Clinton by the White House, 75mm diameter; unnamed rectangular Bill Clinton For President, Make It Happen!, 1992, white and red white writing on blue background, 75mm wide; unnamed Carter for Ex President, yellow badge with black lettering, 43mm diameter; indistinctly named Nixon's The One!, white tinplate badge with red lettering, 35mm diameter; unnamed Rock the Vote, black lettering on green background with red tick, 35mm diameter; H. Slater Bill Press badge, white capital letters, on blue background, 55mm diameter; Bold Concepts Ronald Wilson Reagan, white star shaped text with orange lettering on blue starry background, 55mm diameter; unnamed I've Been Screwed By A Peanut Farmer Without A Kiss, red capital letters on white background, 75mm diameter; unnamed Now More Than Ever, circular badge with two portraits waving on blue background, 75mm diameter; unnamed Vote Dole Kemp 1996, Bring Back The Regan Agenda, black and white portrait with blue lettering and red border, 75mm long; two Bold Concepts Happy Trails, Mr. President 1911-2004, blue and white lettering with central portrait, 75mm diameter; R. Worcester of London, Americans in Britain for Kennedy, central portrait flanked by American and British flags, 55mm diameter; unnamed Fritz & Tits in '84, 3 Biggest Boobs in America, two black and white portraits, with red lettering on white background, 75mm diameter; N.G. Slater A New Beginning, President & Vice President Inauguration Day, January 20th 1993, portraits on gold coloured background, with American flags, 85mm diameter; Horn Company Elect Andrew Henshel for Young Democratic Leadership, white and blue lettering on on white and blue background, 63mm diameter; Bold Concepts My Heroes have always been Cowboys, portraits of Ronald Reagan and George W. Bush, coloured portraits with orange lettering, 75mm wide; Put Michigan Back to Work, Regan for President, blue lettering and portrait on white background, 30mm diameter; Bold Concepts Leadership for a Change, Clinton Tsongas, portrait of both with white lettering on red banner, 55mm diameter; unnamed George Bush for President, black lettering on white background with blue and red detail, 35mm diameter; R. Worcester Americans in Britain for Kennedy, portrait surrounded American and British flags, with blue lettering on cream background, 55mm diameter; Re-Elect, The President, white and red lettering, 55mm diameter; unnamed Lyndon B. Johnson For President, white and red lettering on blue and cream background, with central portrait, 42mm diameter; 1984 Re -Elect Ron and George (Regan and Bush) with white lettering on blue and red banners, 42mm diameter; H. Slater West 'One Million New Jobs for California' - Kathleen Brown, white rectangular badge with blue and red lettering and red bear, 75mm wide; N. G Slater Senior Power for the President, red and blue lettering on white background, 40mm diameter; Official Nixon badge, Nixon Agnew, white tin plate badge with red and blue lettering, 35mm diameter; unnamed Wallace for President, Stand Up for American, central blue portrait with blue and red banners on white background, 40mm diameter; Allied Printing Young Democrats for Clinton Gore, white and blue lettering on blue and white banner, 35mm diameter; Reproduction 1984, Progress for All Forward with Kennedy, black portrait with blue and red lettering, 35mm diameter; unnamed See Dick Run Run, Dick, Run, black lettering on white background, 30mm diameter; four Bastian Bros Willkie tin plate circular badges, blue lettering with blue, white and red banners, 20mm diameter; one similar Willkie and McNary badge, Adcraft Nixon's The One, red lettering on white background, 22mm diameter; indistinctly marked Viva Nixon, white badge with red lettering, 20mm diameter; Nixon, red lettering with blue and white background, 20mm diameter; Standard & Evidence gilt brass Woman's Roosevelt Memorial Association gilt metal badge, 15mm diameter.
GEORGE HENRY RA RSA RSW (SCOTTISH 1858 - 1943), THE LOCKET oil on canvas, signed, titled label versoframed image size 101cm x 79cm, overall size 121cm x 100cmExhibition label verso: No. 80, Irish International Exhibition, Dublin 1907. Label verso: Thomas Agnew & Sons, London.Note: The model for “The Locket” was Alice Perry. Alice posed for several works by George Henry in his studio at Glebe Place, Chelsea (London) between 1904 and 1906. These include “The Poinsettia” (1904) , “The Blue Gown” (1906) both exhibited at the Glasgow Institute of Fine arts, “Ready for the Theatre” (1905) and "The Tortoiseshell Mirror" (Paisley Museum & Art Gallery). Many of the works of this period show the strong influence of the works of Whistler. Whistler had several iconic works with the model seated in a similar manner. Ninety-six of George Henry's paintings are held in UK public collections including at Glasgow Museums, Kelvingrove, The Hunterian, The Laing, The Guildhall Art Gallery (London), Kirkcaldy Galleries, Manchester Art Gallery, The National Galleries of Scotland and The City Art Centre (Edinburgh) and numerous others in National collections outside the UK. His fabulous work of an elegant Edwardian “The Black Hat” (1910) is considered to be one of his finest works in the genre and was most recently exhibited to the public in "Modern Britain 1900 - 1960 Masterworks from Australian and New Zealand Collections" a major exhibition organised by the National Gallery of Victoria, Melbourne (15th November 2007 - 24th February 2008).Note 2: A leading member of the Glasgow School (Glasgow Boys), the most progressive artists in Britain during the latter part of the 19th c., George Henry moved to 26 Glebe Place, Chelsea (London) and established a hugely successful society portrait practice. He showed annually at the Royal Academy from 1904. Aside from formal figure work, he produced a number of elegant exhibition pieces around this time which were, in part, influenced by his lengthy visit to Japan with E. A. Hornel 1893-94.
* MARGARET MORRIS (BRITISH 1891 - 1980), RAM GOPAL oil on canvas, signed and dated 1960 versoframed image size 74cm x 55cm, overall size 92cm x 73cm Exhibition label verso: Glasgow Civic Art Association. Note 1: Margaret Morris was a young English dancer and the wife of John Duncan Fergusson, whom she met in 1913. They settled in Paris in 1929. The following year Fergusson became President of the Groups d'Artistes Anglo-Americans in Paris. Of the four Scottish Colourists, Fergusson was the one who was accepted by the French as one of their own and his reputation was instrumental in bringing about the success of the Paris exhibition in 1931 of Les Peintres Ecossais. Morris enjoyed great success as a Dancer, teacher, choreographer and painter. As dancer and teacher; she developed her own free style of dancing, opening a school in London (1910), establishing the Margaret Morris Movement (1925) and founding the Celtic Ballet (1947) and two Scottish National Ballets, in Glasgow (1947) and in Pitlochry (1960). Although she became an accomplished painter in the Scottish colourist style aided by her marriage to Fergusson and her many years spent in Paris, her first love was always dancing and in the painting of Ram Gopal she brings both of these mediums together with great skill. Morris brings together the portrait of Gopal surrounded by his troupe in many different dance poses, creating a great sense of movement and modernism.Note 2: Ram Gopal was an Indian dancer and Choreographer. He played a significant role in bringing Indian dance to International audiences between the 1930s to the late 1960s. He and his troupe performed at London's Aldwych Theatre in 1939. During this visit, he also danced at a charity performance for the Hindustani Social Club. According to his passport, Ram Gopal was born in Bangalore in 1917, although some claim his date of birth to have been up to five years earlier. La Meri, the American danseuse, visited India in 1937 and, discovering Gopal, invited him to teach her Kathakali and accompany her on a tour of the Far East. He danced in Rangoon, Malaya, Java, the Philippines, China and Japan. He then went to the USA in 1938 and then on to Europe and was feted when he arrived in London. The press praised Gopal's accomplished dancing, comparing him favourably with Uday Shankar. Ram Gopal received rave reviews and was set to stay in Britain for a long run, but with the outbreak of the Second World War had to return to India.Ram Gopal built a dance school in Bangalore during the war years, and welcomed the London Ballet Company to India. Ram Gopal returned to London in July 1947. He was asked to perform at the reopening of the Indian section of the Victoria and Albert Museum on 17 September 1947. Subsequently he and his company were asked to perform seasons of several weeks at numerous theatres in London, such as The Prince’s Theatre, Adelphi and Cambridge. He founded a school of Indian dance in London in 1962 and spent his last years in England. He died in Surrey in 2003.
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908), AYRSHIRE SEASCAPE oil on canvas, signed framedimage size 67cm x 100cm, overall size 96cm x 123cm Note: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.
ROBERT HOPE RSA (SCOTTISH 1869 - 1936), LOTHIAN LANDSCAPE oil on canvas, signedframed image size 64cm x 76cm, overall size 92cm x 106cmNote: Born in Edinburgh in 1868, Robert Hope died there on the 10th of May 1936. He was originally a lithographic draughts- man, afterwards working at designs for printers, and book illustration. As a student of the School of Design, Edinburgh, he was awarded a National gold medal, and in the Royal Scottish Academy Life School gained, in the years 1893 to 1895, prizes for painting and drawing and the Chalmers Bursary. Afterwards he studied in Julian’s Academy in Paris. His election to the Academy as Associate was in 1911 and as full Member in 1925. In 1910 he was Chairman of the Society of Scottish Artists. His Diploma Work is a figure subject entitled “ Glints of Gold.” and the Scottish Modern Arts purchased “ An Old Herd ” in 1935. “ The Charm ” is in the Glasgow Corporation Collection, and he is also represented in Wellington Art Gallery, New Zealand. Mr. Hope was varied in his work, painting landscape and figures, portraits and some large decorative schemes. His first notable commission in decoration was for the ballroom of Manderston House. He also painted the “ Blue Blanket ” in Edinburgh City Chambers, and the apse of St. Cuthbert’s Church. In 1921 he painted an important picture of the General Assembly of the Church of Scotland addressed by Karl Haig, a work necessitating a great many portrait studies of the principal figures. Much of his subject-matter was derived from Scottish ballad and song, as the “ Bonnie Kilmeny,” which was purchased by the King of Romania.
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922), THE MILL ON THE GRYFE, KILMACOLM oil on canvas, signedframed image size 58cm x 80cm, overall size 79cm x 101cm Note: A wonderful atmospheric painting capturing the rural landscape at dusk by Glasgow Boy E A Walton. Walton was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
* SIR HERBERT JAMES GUNN RA RP (SCOTTISH 1893 - 1964), PORTRAIT OF SILVANUS NICOL oil on canvas, signedframedimage size 92cm x 72cm, overall size 100cm x 80cm Note: Painter, born in Glasgow, Scotland who studied at Glasgow School of Art, Edinburgh College of Art and at the Académie Julian in Paris under J.P. Laurens. His life as a painter was interrupted by World War I, in which he lost two brothers, and he enlisted with the Artists' Rifles in 1915 being commissioned into the 10th (Scottish) Rifles in 1917. James Gunn as he was known exhibited at RA, RSA, Paris Salon and elsewhere. Elected an Associate of the RA, 1953, and RA, 1961, RSW, 1930 and was also President of the Society of Portrait Painters. He painted the State Portrait of HM Queen Elizabeth II in her 1953 coronation robes and was knighted in 1963. The SNPG held a retrospective exhibition in 1994. His work is in the collections of Aberdeen Art Gallery, Cartwright Hall Museum, City of Edinburgh Art Collection, Dundee University, Fitzwilliam Museum, Cambridge, GAC, Harris Museum and Art Gallery, Preston, Hunterian, IWM, Jersey Heritage, Kelvingrove Art Gallery and Museum, Museums Sheffield, National Museums Liverpool, NMM, National Museums Northern Ireland, NMW, NPG, National Trust, Plymouth Art Gallery, Potteries Museum and Art Gallery, Rochdale Arts & Heritage Service, Slade School, SNPG and the Tate Gallery.
An album containing a set of 12 French Art Nouveau colour lithographic postcards by Alphonse Mucha, circa 1900, titled 'Janvier', 'Février', 'Mars', 'Avril', 'Mai', 'Juin', 'Juillet', 'Août', 'Septembre', 'Octobre', 'Novembre', 'Décembre', each with a tondo portrait of a woman allegorical of the month. Note: the fourth series of the Champenois sets, titled 'Le Mois'; see Bowers & Martin 461 to 472.
Sydney Vale - container ship in rough seas, watercolour, signed, 35cm x 51cm mounted in glazed frame; Charles C Curry - Campter, circa 1908, European landscape with village, buildings and snow capped mountains behind, watercolour, titled and dated to lower left, 35cm x 25cm in glazed frame; Donovan - pastel portrait of a dog, signed, and a small wooden river landscape oil painting in a gilt frame Location:If there is no condition report shown, please request
Groups of portrait miniatures to include a painted portait of a seated lady on sheet ivory, signed and dated lower left 'JP 1830', 10cm x 8cm, another on sheet ivory of a lady, bust length, wearing mourning dress, and four others portrait on paper, possibly over painted/highlighted prints. (6) Ivory Exemption Code: XNGCD1RT
Sevres porcelain cabinet cup and saucer with vignette depicting portrait of King Louis XIV, dated letter for 1757, 'A-Asselin'. Cup has significant gilding loss throughout, crack and chip to the baseInside of saucer appears in good order.Underside displays pitting and a couple of nibbles around the rimFlaw in form of circular hole on inside of the foot rim
* Prints & Engravings. A collection of six prints, mostly 19th-century, including Williamson (Thomas). A Meeting of Connoisseurs, published by R. Cribb, Feby. 1807, satirical stipple engraving after John Boyne with contemporary colouring, title repeated in French, 450 x 525 mm, framed and glazed, together with Havell (R.). Grenadier of the First West York Militia [and] East York Militia, published by Robinson & Son, Leeds, Feby. 1st 1814, a pair of aquatints after George Walker, both with contemporary hand-colouring, title and descriptive text on the verso of the frame, each approximately 310 x 215 mm, uniformly mounted, framed and glazed, with a hand-coloured portrait of the Duke of Wellington, an unattributed naive watercolour of Shakespeare's Cliff near Dover and a photograph of 'Thelma & Louise' signed in felt pen by Geena Davis and Susan Sarandon, all framed and glazedQTY: (6)NOTE:The first described item, BM Satires number 10801.
Cary (John). Cary's Reduction of his Large Map of England and Wales with part of Scotland, comprehending the whole of the Turnpike Roads, with the Great Rivers and the Course of the different Navigable Canals..., circa 1796, engraved map with contemporary outline colouring, sectionalised and laid on linen, some staining and offsetting, short splits along old folds, 750 x 625 mm, contained in a marbled card slipcase with circular printed label to the upper cover, case worn and frayed, together with Wilkinson (Robert). Wilkinson's England and Wales Re-published by Wm. Darton & Son, 1831, engraved map with contemporary outline colouring, sectionalised and laid on linen, some staining and offsetting, 640 x 530 mm, marbled endpapers, contained in a contemporary marbled card slipcase with a contemporary yellow label to the upper cover, case worn and frayed, with Hachette & Cie (publishers). Carte Routiere D'Angleterre D'Ecosse et D'Irlande..., circa 1840, uncoloured engraved folding map. short splits along old folds, slight staining, 725 x 520 mm, contemporary marbled boards with publisher's label to the upper siding, upper board detached, plus Paterson (Daniel). A New and Accurate Description of all the Direct and Principal Cross Roads in England and Wales, seventh edition, 1786, title page and numerous tables of roads, index of country seats bound at rear, contemporary marbled boards, spine crudely repaired with tape, 8vo, with a sepia watercolour of Barmouth dated 1821, 185 x 275 mm, tipped on to later card, and Gee (Thomas). Map yn Arddangos Ffurfiad Daearegol y Ddear, Map Illustrating the Geological Structure of the Earth [and] Map O'r Byd yn Egluro Rhai o Brif Nodweddon Hinsoddawl Gwahanol Fanau..., circa 1861, two lithographic maps of the world on a Mercator projection, both with titles and descriptions in Welsh, each approximately 225 x 285 mm, mounted, with Moule (Thomas). A Comparative View of some of the Principal Hills in Great Britain, circa 1845, hand-coloured engraved comparison table, 255 x 205 mm, plus an uncoloured engraved portrait of John Boydell, overall size 365 x 295 mm, and 19 Ordnance Survey sheets of mostly of Cardiganshire and Carmarthenshire, including maps on a scale of 1 inch to 1 mile and 25.34 inches to the mile, late 19th & early 20th century QTY: (28)
Davey (Peter). Arts and Crafts Architecture, Reprint, London: Phaeton Press Limited, 1995, numerous colour and monochrome illustrations, original cloth in dust jacket, covers slightly rubbed,large 4to together with; Bryant (Julius, Editor), Art and Design for All The Victoria and Albert museum, 1st edition, London: V&A Publishing, 2011, numerous colour and monochrome illustrations, original pictorial boards, 4to, plus MacCarthy (Fiona), Anarchy & Beauty William Morris and his Legacy 1860-1960, 1st edition, London: National Portrait Gallery, 2014, numerous colour and monochrome illustrations, original pictorial boards, 4to plus 50 other volumes of Arts and crafts reference and related including publications by Abbeville Press, Yale, V&A, mostly original cloth in dust jackets, folio/Large 8vo, VGQTY: (53)
* Follower of Sir Thomas Lawrence (1769-1830). Portrait of a Woman, pen, ink and brown wash, on wove paper laid onto card, mount staining, 35.5 x 26.5 cm (14 x 10 3/8 ins), framed and glazed (44.5 x 36 cm), together with four other 19th century female portraits or similar, including: oval colour chalk portrait in manner of Angelica Kauffman, classical figure in black chalk, Madonna in black chalk and oval black chalk portrait of a young girl, all framed and glazed, largest (51 x 46.5 cm)QTY: (5)
Napier (W. F. P.). History of the War in the Peninsula and in the South of France..., 3 volumes, London: George Routledge and Sons, circa 1900, monochrome maps & plans, some light marginal toning, contemporary gilt decorated red half morocco bound by Mudie, boards & spines slightly rubbed, 8vo, together with:Kinglake (Alexander William), The Invasion of The Crimea: its origin, and an account of its progress.., 6 volumes, New York: Harper & Brothers, 1868, monochrome frontispieces, blind-stamps to the front endpapers, some light toning, original uniform embossed cloth, boards & spines slightly rubbed, 8vo, plusGurwood (Colonel), The Dispatches of Field Marshall The Duke of Wellington, during his various campaigns..., 8 volumes, London: Parker, Furnivall, and Parker, 1844-47, period inscriptions to the front endpapers, monochrome portrait frontispiece to volume 1, some light toning, modern red cloth spines retaining original gilt decorated red cloth boards, slightly rubbed & marked, 8vo, and other 19th Century & modern Napoleonic era reference & related, mostly original cloth, some in dust jackets, G/VG, 8voQTY: (5 shelves)
Tredgold (Thomas). The Principles and Practice and Explanation of the Machinery used in Steam Navigation; Examples of British and American Steam Vessels..., 2 volumes, London: John Weale, 1851, half-titles, 2-page advertisement after title-page, short closed tear to lower edge of front fly leaf and half-title, volume II with numerous black & white plates (many double-page & folding), volume II with some toning and closed tears to fore-margins, occasional spotting, marbled endpapers, uniformly bound in original dark red half morocco, gilt decorated spine, some overall rubbing to extremities, 4to, together withElementary Principles of Carpentry; A Treatise on the Pressure and Equilibrium of Timber Framing, the Resistance of Timber, and the Construction of Floors, Centres, Bridges, Roofs Uniting Iron and Stone with Timber, etc. With Practical Rules and Examples. To which is Added an Essay on the Nature and Properties of Timber, Including the Methods of Seasoning..., With an Appendix... by Peter Barlow, 4th Edition, Corrected and Considerably Enlarged, 1853,engraved portrait frontispiece, and fifty-three engraved plates (including twenty-two folding plates), wood-engraved diagrams to text, occasional scattered spotting, upper inner hinge cracked, bookplate to front pastedown, original purple blind embossed cloth, gilt title to spine, faded, slightly rubbed to extremities, 4to, andPractical Essay on the Strength of Cast Iron and other Metals..., 5th edition, edited with notes by Eaton Hodgkinson, which are added Experimental Researches on the strength and other properties of cast iron by the Editor, 2nd edition, London: John Weale, 1860-1, 8 engraved plates, original red blind embossed cloth, gilt title to spine, faded, some overall rubbing, 8voQTY: (4)
Boswell (James). The Life of Samuel Johnson..., 5 volumes, 7th edition revised and augmented, London: T. Cadell and W. Davies, 1811, engraved portrait frontispiece (faint damp staining) to first volume, folding facsimile of handwriting examples, near contemporary gift inscription to each half-title, light spotting to a few leaves, early 20th-century speckled half calf, gilt morocco labels to spines, 12mo, together withBest (Thomas). The Art of Angling, Confirmed by actual Experience..., London: B. & R. Crosby & Co, 1814, engraved frontispiece, light spotting to first few leaves, previous ownership inscription and bookplate to front pastedown and front free endpaper, hinges and joints cracked, contemporary tree calf, extremities a little rubbed and corners bumped, areas of loss to head and foot of spine, 12mo, plus Sowerby (John E., illustrator and Charles Johnson). The Ferns of Great Britain..., London: John E. Sowerby, 1855, 49 coloured engraved plates many with respective specimens of ferns (some pasted or tacked onto blank pages), spotting and damp staining to most plates, near contemporary ownership inscription of Charles Bass to front free endpaper, early 20th-century deep purple half morocco, spine rubbed and torn, joints cracking, boards worn corners bumped, small 4to, and 24 other volumes, some leather-bound, mostly early 20th-century QTY: (31)
* Maritime Watercolour. Portrait of a British Merchantman, circa 1850, unsigned watercolour and gouache portrait of a three-masted, square-rigged British merchantman, 'arch' mount with gilt bevel, near contemporary burr walnut frame, image size 355 x 560 mm, overall size 625 x 775 mmQTY: (1)
Caldecott (Randolph, illustrator). North Italian Folk. Sketches of Town and Country Life by Mrs Comyns Carr, London: Chatto and Windus, 1878, hand-coloured frontispiece, plates and illustrations, front free endpaper with signature of Clement Guest Caldecott, edges untrimmed, original cloth-backed boards, printed title label to spine worn with loss, spine browned and frayed at head and foot, boards rubbed at edges, lightly dust-soiled and discoloured, 8vo (limited hand-coloured edition 132/250), together with:Blackburn (Henry). Randolph Caldecott: A personal memoir of his early art career, London: Sampson Low, Marston, Searle & Rivington, 1886, photographic portrait frontispiece, monochrome illustrations, occasional light spotting, pencil signature of Eleanor St. George Caldecott to front free endpaper, split to upper hinge, all edges gilt, original green cloth with blocked illustration in black to upper board, extremities lightly frayed, 8vo, plus three other copies of the same title, andCaldecott (Randolph). The Complete Collection of Randolph Caldecott's contributions to The "Graphic" printed by Edmund Evans, with a Preface by Arthur Locker (Editor of the "Graphic"), London: George Routledge and Sons, 1888, colour and monochrome illustrations, top edge gilt, remainder untrimmed, original cloth, repaired tear to spine, some soiling to covers, large 4to,Caldecott (Violet, 19th/20th c.). Landscape drawing of view near Vevay, 1901, charcoal and white chalk on wove, signed and dated lower left, 42.5 x 55 cm (16 3/4 x 21 1/2 ins), framed and glazed (67 x 80 cm), plus other books illustrated by or relating to Randolph CaldecottQTY: (approx. 50)
Yeats (W. B.) Plays and Controversies, 1st edition, London: Macmillan and Co., 1923, portrait frontispiece, illustrations, partly unopened, light spotting to endpapers, original blindstamped cloth, spine faded, 8vo, with 2 others: The Winding Stair, 1st edition, 1933, and Poems and Translations, by John Synge, 1921 reprintQTY: (3)
Thomas (Edward). Collected Poems, 1st edition, London: Selwyn and Blount, 1920, portrait frontispiece, slight toning front and rear, original cloth, spine faded, a little rubbed at ends, 8vo, together with Baker (George). Thirty Preliminary Poems, 1st edition, London: David Archer at the Parton Press, 1933, occasional light spotting, contemporary ownership inscription, original boards, spine and top margin of rear cover faded, 8vo, plus Rickword (Edgell). Behind the Eyes, 1st edition, London: Sidgwick & Jackson, 1921, publisher's review slip request loosely inserted, endpapers a little toned, original patterned boards, tear and loss to spine, 8vo, with others including 1st editions Transitional Poem, by C. Day Lewis, Hogarth Press, 1929, Walking Shadows. An Essay on Lotte Reiniger's Silhouette Films, by Eric Walter White, Hogarth Press, 1931, Adamaster. Poems by Roy Campbell, 1930, Invocations to Angels and the Happy New Year, by Edgell Rickword, 1928, last Poems, by D. H. Lawrence, 1933, and Poems, by Stephen Spender, 1933 QTY: (21)
Australasia. [Cassell's Picturesque Australasia, edited E. E. Morris, 1 volume only 1889-90], lacking title page, portrait of James Cook stained, numerous wood engravings throughout, 11 photolithographic country and regional maps (including two folding), contemporary half calf, rubbed and worn, folio, together with another 20 late 19th-century maps of Australia, New Zealand and Oceania, various sizes and conditionQTY: (21)
Hargrove (A. E.). Anecdotes of Archery, &c., &c., 1st edition, York: Hargrove's Library, 1845, engraved frontispiece plus 5 further plates, colour title page, some light spotting & toning, original gilt decorated green cloth, spine toned, boards & spine slightly rubbed to head & foot, 8vo, together with:Roberts (T.), The English Bowman, or Tracts on Archery:..., 1st edition, London: printed for the author, 1801, engraved frontispiece, 1848 inscription to the front pastedown, lacks the title page, later 19th Century endpapers, some minor marginal toning, blue cloth boards with morocco spine label, spine faded, boards & spine slightly rubbed & marked, 8vo, plusHope (Anthony), The Prisoner of Zenda, 1st edition, 3rd state[?], Bristol: J. W. Arrowsmith, 1894, 6 titles listed to the verso of the title page plus this title to the publisher's adverts at the rear, the "f" on the spine uncrossed, 'H. P.' Wykeham-Musgrave' ink stamp to the front endpaper with 'given me by the author' underneath in pencil, front & rear gutters cracked, some light spotting & marginal toning, original red cloth, boards & spine slightly faded, rubbed & marked, 8vo, andSeebohm (Henry), Coloured Figures of the Eggs of British Birds, edited... by R. Bowdler Sharpe, Sheffield: Pawson & Brailsford, 1896, monochrome portrait frontispiece, 59 lithograph plates, some minor spotting & toning, original gilt decorated red cloth, boards & spine lightly rubbed, spine slightly faded, 8vo, plus other mid-late 19th & early 20th Century miscellaneous literature & reference, including natural history, mostly original or contemporary cloth, G/VG, 8voQTY: (5 shelves)
Latham (Robert, general editor). Catalogue of the Pepys Library at Magdalene College, Cambridge, The Pepys Ballads, 5 facsimile volumes, edited by W. G. Day, 1st editions, Cambridge: D. S. Brewer, 1987, numerous monochrome facsimiles, original uniform black cloth, some minor rubbing, large 8vo, together with:Tennyson (Alfred), In Memorium, reprinted, Sevenoaks: Noel Rawnsley, 1909, portrait frontispiece, some minor spotting, all edges gilt, original gilt white boards, slightly rubbed & marked, 8vo, plusLivingstone (Karen), The Bookplates and Badges of C. F. A. Voysey, architect and designer of the Arts and Crafts Movement, 1st edition, Suffolk: Antique Collectors' Club, 2011, numerous monochrome illustrations, original cloth in dust jacket, 8vo, and other late 19th Century & modern literary & bibliography reference, including Alfred Tennyson, Philip Larkin, mostly original cloth, some in dust jackets, some paperbacks, G/VG, 8voQTY: (3 shelves)
Yeats (William Butler). Poems, 1899-1905, 1st edition, London: A. H. Bullen & Dublin: Naunsel & Co., 1906, a little fore-edge spotting, contemporary ink inscription to front free endpaper, 'for Stella [Campbell] from K[atherine Asquith] with all my love', original blue cloth, gilt-decorated spine, rubbed, lower outer corners slightly damp stained, together with:Hussey (Christopher), The Picturesque, Studies in a Point of View, 1st edition, London & New York: G. P. Putnam's Sons, 1927, black & white plates including frontispiece, original cloth gilt, slightly rubbed and soiled, spine somewhat faded, 8vo, plus Lively (Adam), Sing the Body Electric, A Novel in Five Movements, 1st edition, London: Chatto & Windus, 1993, signed and dated '10 June 1993' by author to title, original cloth in dust jacket, 8vo, plus Jung (Carl Gustav), Memories, Dreams, Reflections, Recorded and Edited by Aniela Jaffe, 1st edition, London: Collins and Routledge & Kegan Paul, 1963, portrait frontispiece, a little spotting, original cloth in slightly frayed spine, 8vo, plus other literature etc. including paperbacksQTY: (6 shelves)
Churchill (Winston S.). Marlborough His Life and Times, 2 volumes, reprinted, London: George G. Harrap & Co., 1947, monochrome portrait frontispieces, folding facsimiles, modern uniform gilt decorated red three quarter morocco bound by Bayntun-Riviere, 8vo, together with:Hutton (W.), The Battle of Bosworth Field, between Richard the Third and Henry Earl of Richmond, August 22, 1435..., 2nd edition, London: printed for Nichols, Son, and Bentley, 1813, engraved plates & folding map plus additional illustrations, modern endpapers, some light toning & offsetting, modern half calf, slight mark to the foot of the spine, 8vo, plus other mostly modern military reference & related, some leather bindings, many original cloth in dust jackets, G/VG, 8vo/folioQTY: (6 shelves)
[Baldi, Bernardino, and Francesco Bianchini]. Memorie concernenti la citta di Urbino, dedicate alla sagra real maesta di Giacomo III, re della Gran Brettagna, Rome: Giovanni Maria Salvioni, 1724, engraved allegorical frontispiece by Pietro Masini after Pier Leone Ghezzi, title printed in red and black with engraved vignette view of Urbino, lacking the engraved portrait of the dedicatee James Stuart (the Old Pretender, James III by Horthemels after Alexis-Simon Belle), several engraved armorial headpieces and initials, 146 engraved plates (numbered 1-74 and I-LXXII), including two folding, of which 19 are by Gaetano Piccini, single-page engraved map of the territory of Urbino towards rear, some wormtracks to blank inner margins at front and rear of the volume, occasionally touching a letter or engraved area, later bookplates of J. G. Mazziotti and Ralph Cox to front pastedown (with additional faint owner's blindstamp of J. G. Mazziotti to title), contemporary plain parchment binding (partially replaced at a later date) folio (textblock 420 x 280 mm)QTY: (1)NOTE:Cicognara 3947.A detailed description of the architecture of the Ducal Palace of Urbino, and its facade depicting the art of war. This sculpted frieze was originally positioned along the sides of the facade but is now relocated in the Chancellery Room. The frieze, probably elaborated by Federico da Montefeltro around 1474, consists of stone bas-reliefs illustrating numerous engineering machines and symbols related to the military and political spheres.
Beckford (William). Thoughts on Hunting. In a series of familiar letters to a friend, 1st edition, London: Albion Press, 1810, engraved frontispiece & half title, engraved plates, bookplate to the front pastedown, period inscription to the head of the title page, gutters slightly cracked, some toning & spotting, modern calf spine retaining contemporary tree calf boards, slightly rubbed, 8vo, together with:Nimrod [C. J. Apperley], Remarks on the Condition of Hunters, the Choice of Horses, and their management, 1st edition, London: M. A. Pittman, 1831, period inscriptions to the front pastedown & head of the title page, some light water marks to the margins, contemporary gilt decorated half calf, boards & spine slightly rubbed with some loss to the head of the spine, 8voThe Chace, The Turf, and The Road, 1st edition, London: John Murray, 1837, engraved portrait frontispiece, illustrations by Henry Alken, some light spotting & toning, modern gilt decorated blue half calf bound by C. J. Sawyer, minor rubbing to th head of the spine, 8voHunting Reminiscences:..., 1st edition, London: Rudolph Ackerman, 1843, illustrations by Wildrake, Henderson, and Alken, bookplate to the front pastedown, some minor toning, later gilt decorated full calf, spine lightly faded, front hinge slightly cracked, 8vo, plusRadcliffe (F. P. Delmé), The Noble Science: a few general ideas on Fox-Hunting,..., 1st edition, London: Rudolph Ackermann, 1837, engraved frontispiece & half-title, monochrome illustrations, bookplate to the front pastedown, some spotting & light marginal toning, original gilt decorated & embossed cloth, boards & spine slightly faded & rubbed with some small loss to head & foot, 8vo, and other 19th & early 20th Century sporting reference, including 8 volumes by Lionel Edwards, some leather bindings, mostly original cloth, G/VG, 8vo/folioQTY: (5 shelves)
WWI SERVICE MEDAL TRIO AND IMPERIAL SERVICE MEDAL GROUP, ALONG WITH BRITISH RED CROSS MEDALS the first group comprising the 1914-15 Star, the War and the Victory medals, these inscribed 96566 SPR. W. BLAIR, the ISM inscribed William Marshall Blair, the WWI BRC medals belonging to 2429 Mary H. Blair, one inscribed, along with individual portrait photographs and a photograph of the married couple together
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![Australasia. [Cassell's Picturesque Australasia, edited E. E. Morris, 1 volume only 1889-90], lacking title page, portrait of](https://cdn.globalauctionplatform.com/174d7816-c9e5-468c-9cd2-b17f00ae0605/f139f39f-7f35-451a-9967-b1c6014447f3/468x382.jpg)
![[Baldi, Bernardino, and Francesco Bianchini]. Memorie concernenti la citta di Urbino, dedicate alla sagra real maesta di Giac](https://cdn.globalauctionplatform.com/174d7816-c9e5-468c-9cd2-b17f00ae0605/502dc90c-2657-4c9e-afb7-b1c60143b532/468x382.jpg)
