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283287 Los(e)/Seite
Los 1345
J Catois ( 1800 - ) ' Beside The Canal ' A large imposing oil on canvas painting of women beside a canal. Signed to the lower corner, possibly Jenia Catois. Set within large gilt oak frame. Possibly a dutch study, Catois born in the Dordogne, France is known for portrait studies - peasant scenes. H70 x W90cm
Los 512
After JOHANN ZOFFANY; a hand-coloured mezzotint by Richard Earlom, "Colonel Mordaunt's Cock Match at Lucknow in the Province of Oude in the year 1786", published by Laurie & Whittle, London, 1794, with details of the sale of similar verso, image 39.5 x 56cm, with wide visible margin, overall 53 x 72cm, framed and glazed. The original oil painting hangs in Tate Britain, commissioned by Warren Hastings, Governor-General of Bengal. The image is an important record of British colonial life depicting a cock fight between Asaf-ud-daula, Nawab Wasir of Oudh and Colonel John Mordaunt with their entourages and friends. Zoffany has included a self portrait, pen in hand. CONDITION REPORT: As described, dates from the 18th century.
Los 611
NOAH LUBIN (b.1979); acrylic on canvas, abstract portrait study, signed, 49 x 39.5cm, mounted but unframed. (D) CONDITION REPORT: In good condition. The yellow paint has got numerous areas of crazing where thicker, and some losses amongst them. Small scratch to lower part but possibly it was there when painted.
Los 775
A mid-19th century Sèvres porcelain circular cabinet plate with gilt heightened decoration, centred with a hand painted portrait of Mme de Parabère within a decorative floral border and with similar four panels to the rim, on turquoise ground, marked and titled to the base, also with incised 24 mark, diameter 24cm and a further cabinet plate, unmarked (2). CONDITION REPORT: Sèvres: generally in good condition, a few scratches to the surface and a chip to the edge of the base under the glaze.
Los 34
Framed Horatio Nelson engraved memorial plate, "The ever to be lamented Lord Viscount Nelson; England expects that every man will do his duty" London: Laurie & Whittle, 1805 Laurie & Whittle (publisher) hand coloured engraving, round bust portrait of Nelson in uniform on front of pedestal topped by trophies with mourning sailor and soldier on either side, banners on ground, scroll with quoted exhortation below, poem at top. Condition report: see terms and conditions
Los 260
T Wheeler (British, exh. 1817-1845) Portrait miniature of a gentleman, 1836 Inscribed in ink on the reverse and dated 'Painted by / T Wheeler / 55 Regent / Quadrant / March 1836' watercolour on ivory 10.20 x 8cm (4 x 3in) Other Notes: T. Wheeler exhibited as a "Miniature Painter" at the Royal Academy every year from 1817 to 1845. His address is given as 184, Fleet Street. However, another exhibitor, Miss M.A. Wheeler (afterwards Mrs. David Johnston) Painter, who exhibited in 1834 and 1835, is listed with the address 55, Regent Quadrant. She may be his daughter. It is signed TWheeler = so possibly by T. Wheeler, but perhaps stayed at a different address, with his daughter, in 1836. Unframed and the surface is warped. Cream edges are discoloured. Central image is clear and good. Top left-hand corner is missing.
Los 705
Follower of Jean Raoux (French, 1677-1734) Portrait of a young girl in a white chemise leaning on a cushion oil on canvas 89 x 60cm (35 x 23in) Provenance: From a Suffolk country house. Oil on canvas lined onto a very coarse weave canvas. There is an old tear with deformation and associated paint loss. Raised craquelure and localised paint blistering. Large areas of retouching - noticeably in the flesh. Uneven varnish. Various damages and condition is poor.
Los 813
§ Monica Rawlins (Welsh, 1903-1990) Portrait of Pat, aged 7 inscribed lower right "Pat / aged 7" with "Michael, aged 5" to the reverse pencil and watercolour, in a white painted frame 34 x 16cm (13 x 6in) Provenance: From the collection of Elisabeth Luard, Brynmeheryn. Frame a bit wobbly and there is dirt under the glass.
Los 3024
Milton (John), Moore (Sir Thomas), Hughes (John ed.) et al A Complete History of England: with the Lives of all the Kings and Queens thereof; From the earliest Account of Time, to the Death of His late Majesty King William III., vol. 2 only (of three), engraved portrait frontispiece, title in red and black, nineteenth century calf, worn, folio, B. Aylmer, 1706.
Los 3027
Camden (William). Britannia; or a chorographical description of the flourishing kingdoms of England, Scotland and Ireland ...., engraved portrait frontispiece, 2 vol.1, 97 folding engraved maps and 56 engraved plates, contemporary fine tree calf, gilt, skillfully re-backed, spines gilt, with Morocco labels, folio, J Nichols, 1789.
Los 3067
Stukeley (William). Itinerarium Curaosum, or An Account of the Antiquitys and Remarkable Curiosities ....., Observed in Travels Thro' Great Britain .... Engraved portrait frontispiece and 95 only of 100 plates (lacks plates 23, 25, 26, 28, 36), uniform browning to plates, contemporary speckled calf, spine gilt, joints worn, light rubbing, folio, for the author, 1724.
Los 101
Niccolò da Poggibonsi, - a Pisan merchant, writing to Ottaviano de’ Medici a Pisan merchant, writing to Ottaviano de Medici, about a Baroque painter Tiberio Titi (1573-1627) and his painting, manuscript letter in Italian on paper, with red wax seal [Pisa, dated 20 April 1611] Bifolium, with approximately 28 lines in a scrolling Italian Baroque hand, 2 and a half pages of writing, address and wax seal (beneath a paper cover) on verso of last leaf, evidently written by a scribe and with Poggibonsi s scrawling signature in different ink at foot, small amount of discolouration and some folds, but overall in excellent condition, each leaf 287 by 210mm. Records of the commission and production of art have their own fascination, and this letter discusses in detail a portrait with a complex history. Poggobonsi had commissioned it from Tiberio Titi, an artist who otherwise worked for the Medici family (see I.M. Paulussen, Tiberio Titi, rittrattista dei Medici , 1980). He praises the artist s skill and efficient speed, and describes the actual sitting, noting the setting up of the brushes and equipment and the fact that the artist spent about an hour pressing the subject s face and turning their head to different angles. The painting was begun, but then set aside and allegedly abandoned as the artist spent several months in bed due to an illness. Poggobonsi then had it completed by another painter, and Titi became upset, leading to the situation in which Poggiobonsi now found himself in, necessitating his appeal to Ottaviano de Medici. Tiberio Titi was originally from Florence, and was a son and pupil of the late-Mannerist painter, Santi di Tito. He worked mostly as a portrait painter, and chiefly for the Medici family, notably Cardinal Leopoldo de Medici, whose Venetian collections passed to the Uffizi. He is remembered as having died early from pleuritic fever (Gould, Biographical Dictionary , 1837, II: 545-6), and the serious illness alluded to here may have been its first appearance.
Los 118
The Astronomical Compendium of San Cristoforo, - Turin, including Regiomontanus, Calendarium Turin, including Regiomontanus, Calendarium , as well as other related texts, in Latin, decorated manuscript on paper and parchment [northern Italy (probably Turin), last decades of the fifteenth century (perhaps c. 1474)] 61 leaves (including 3 endleaves at front and 2 at back, plus last 4 leaves of text blank), complete, collation: i6, ii6, iii6, iv10 (first leaf a parchment insert, that pasted to a singleton which forms last leaf of bifolium), v3 (last leaf a parchment singleton), vi10, vii14, catchwords present, single column, c. 35 lines in a small but fine and legible hand which shows the influence of humanist script, rubrics in red, astronomical symbols in faded purple, 2-line initials in simple blue or red and blue with contrasting penwork, spaces left for other initials, 10 pages of diagrams illustrating the phase of lunar and solar eclipses for the years 1475-1530 (3 pages left in trick), 2 parchment leaves with 4 full-page diagrams, one a volvelle (middle ring wanting), others an Instrumentum horar[i]um inequalium with a list of planetary bodies, a Quadrans horologii horizontalis and a Quadratum horarium generale with designations for latitude and longitude, 2 pages of calculatory diagrams with text in red and purple ink and 2 further volvelle diagrams on either side of a paper leaf, a series of near-contemporary calculation numbers added down side of one diagram, some small stains and smudges, splits to edges of a few endleaves, small amount of wormholes, overall good condition, 206 by 147mm., in contemporary light coloured leather over pasteboards, circular marks scored into boards showing places of lost metal bosses, some scuffs, worm and losses at corners, spine skilfully rebacked Provenance: (1) Most probably written and illustrated for Brother Antonius de lanteo (doubtless a member of the medieval Turin de Lanceo family), an inmate of the Augustinian monastery of San Cristoforo, Turin: his inscription at head of recto of first leaf of Calendar S[an]c[t]i Cristofori Taurini Ad usu[m] fr[atr]is Anto[ni]i de lanteo . The Calendar of Regiomontanus work has been adapted during copying to include Augustinian saints and exclude the German and Bohemian ones usually found there. (2) Joseff Greg[o]ri[o] da Bologna: his seventeenth-century inscription on back cover. (3) Guglielmo Libri (1803-69), Italian polymath and grand bibliophile, who held offices as professor of Mathematical Physics at Pisa and of Calculus at the Sorbonne, and then Chief Inspector of French Libraries from 1841. This last role eventually brought him notoriety as a book thief, and he fled to England. Before and after this he had acted as a legitimate dealer in books and manuscripts, and doubtless he acquired the present volume in Italy. It was lot 92 in his sale at Sotheby s, 28 March 1859. (4) Sir Thomas Phillipps (1792-1872), the greatest book collector to have ever lived, who assembled a vast collection numbering several tens of thousands of items, accumulating in a single lifetime more manuscripts than Oxford and Cambridge together; his MS. 16242 (his pencil Ph number and pen Phillipps Ms 16242 inside front board; his sale at Sotheby s, 5 June 1899 ( Bibliotheca Phillippica XI), lot 75 (sale catalogue cutting glued to front endleaf). (5) Samuel Verplank Hoffman (1866-1942), who studied astronomy and taught it at John Hopkins University before taking over his family s business empire, and was a member of the New York Historical Society from 1901 until his death, serving as its president from 1903 (they have a portrait of him from 1907) and a member of the Grolier Club: his armorial bookplate inside front board. It was probably sold soon after his death, on July 28, 1944 (pencil date inside front board). The Smithsonian acquired his collection of astrolabes in 1959. Text: This is an important witness to the study of astronomy in Turin in the fifteenth century, which is contemporary or near-contemporary with the life of the celebrated astronomer Regiomontanus. It is among a tiny handful of early copies of his crucial Calendarium (here fols.1v-32v, and giving information on lunar and solar eclipses for 1475-1530, as well as the length of days and signs of the zodiac and planets), and is the earliest known Italian manuscript of the text. It is now the only recorded copy left in private hands. Regiomontanus virtuoso career straddled the transition from manuscript to early print, and thus his works are of the greatest rarity in handwritten copies. He was born Johannes Müller in 1436 in the Franconian market town of Königsberg (the name Regiomontanus was first coined by Philipp Melanchthon in 1534). His first known accomplishment, as a 13-year-old student in Leipzig, was the production of a set of planetary tables vastly more accurate and impressive than Gutenberg s own Astronomical Calendar of 1448 . He became a pupil of Georg von Peuerbach (1423-61) in Vienna, and continued that scholar s work in astronomy, mathematics and instrument making. On Peuerbach s insistence, Regiomontanus followed his mentor into the service of the humanist papal legate and book collector Basilios Bessarion and spent much of the 1460s splitting his time between Bessarion s household there and the courts of Archbishop Janos Vitez and King Matthius Corvinus in Hungary. It was in these years that he honed his notion that what astrology lacked was precision, and began his prolific writing career, moving in 1471 to Nuremberg, an imperial cultural centre, and founding his own printing press, the first dedicated to astronomy and mathematics. He died soon after, while on a trip to Rome in 1475-76. It is most probably his foundation of a printing press that ensured so few of his works were transmitted in manuscript, as his work moved in many cases seamlessly from his own rough copy to incunable. The only two manuscript copies to come to the market in living memory are this one and that sold by Kraus to Irene and Peter Ludwig, and thence to the Getty, later sold to the late Laurence Schoenberg, and now in Princeton University ( Transformations of Knowledge , 2006, LJS. 300, p. 74, deposited in Princeton since 2011). The Schoenberg manuscript has been dated variously from c .1470 to c .1500, and was most probably in the library of Lambach Abbey, Austria. Both it and the present copy are prestigious de luxe copies, rather than hastily copied scholar s working copies. Neither can be definitively dated to either before or after the emergence of the printed edition of 1474, and both agree closely with that witness (the present manuscript differs only in the alterations to the Calendar and in the placement of the diagram of the Quadrans Horologii horizontalis and the Quadratum horarium generale later in the sequence). Both might be copies of Regiomontanus lost exemplar (which as it was produced for direct printing is likely to have been near-identical in layout to the incunable). That may have been circulated among associates and fellow astronomers immediately before the printing, and Antonio de Lanteo was plausibly a friend of the author perhaps met during his long travels in northern Italy. Or they could be copies made for monastic libraries soon after 1474, but then we must believe that these libraries could afford to source a copy of the incunable and produce de luxe copies of it, but apparently could not afford to purchase a printed copy. The study on the relationship of these early manuscript witnesses to the printed text has yet to be written, but it is clear that no such study can afford to ignore the present manuscript. The other short texts at the end here are no less interesting or intriguing, and include a large number not apparently recorded elsewhere.
Los 34
Grant of Arms for Jean Belmain, - French tutor to King Edward VI and Queen Elizabeth I French tutor to King Edward VI and Queen Elizabeth I, illuminated manuscript charter, in Latin, on parchment [England (doubtless London), 20 November 1552] Single sheet charter, with a large miniature of Sir Gilbert Dethick, Garter Principal King of Arms (90 by 80mm.), wearing the coronet and tabard of his office, pointing to the arms in the margin and to the opening line of the text, full border on 2 sides of painted foliage including a Tudor rose surmounted by a detailed crown and a gold fleur-de-lys, large arms in lefthand border surmounted by a helm (azure, engrailed chevron of ermine argent, between 3 bezants or, each with a demi-lion rampant gules, the helm with a torse of argent and gules, a griffon s head between 2 wings, azure with bezants or a mantle gules lined with argent, both 175mm. high), 26 lines of fine Tudor English italic hand, opening words in scrolling thin gold capitals, remains of 2 parchment ties which once supported seals (probably Great Seal of England and Dethick s seal of office, now wanting), eighteenth-century antiquarian notes on reverse, some small spots and folds, with slight damage to bottom of miniature, else good and presentable, 303+45 by 500mm., set in card mount Jean Belmain (also Bellemain and Belmanior, fl . 1546-59), was a humanist and zealous Huguenot friend of Calvin, who served in the court of King Henry VIII as private French tutor to the monarch s sickly son Edward and then daughter Elizabeth. He grew to be an intimate member of the royal household, and attended the funeral of Edward in Westminster Abbey after his untimely death on 6 July 1553, becoming in turn a close friend to Elizabeth. He completed a French language translation of the devotional Lamentacions of a Sinner written by Catherine Parr, and in 1553 wrote an autograph translation of the Second Prayer Book of Edward VI with a dedicatory epistle to the king, which is now British Library, Royal 20 A xiv. The present manuscript was written and illuminated during the final year of his service of Edward, and is doubtless a prestige copy made for him, and kept among his effects while in attendance of the court. Sir Gilbert Dethick (c.1500-84) became Garter King of Arms in 1550 and was knighted in the following year. He was also close to Edward (for whom he was involved in 3 separate marriage negotiations) and Elizabeth (with whom he regularly exchanged New Year presents). He is remembered as having a high opinion of his place in court, and has been described as unmanageable when a herald, very unsociable, insolent and tempestuous . He appears on other contemporary presentation copies of charters (including one made for Sir Nicholas Bacon in 1569: British Library, Additional 39249, and another for George Toke dated 1547: College of Arms), and there is a portrait of him in College of Arms, but the present manuscript is still of exceptional value as an original portrait from life of a Tudor statesman by an artist who knew his subject personally.
Los 137
‡ Alberto Morrocco O.B.E., R.S.A. (Scottish 1917-1998) Still life with five pink cakes Signed and dated 90 Oil on canvas 71 x 76cm Exhibited: Cyril Gerber Exhibition, Glasgow, 266 Compass Gallery, Glasgow, Compass Contribution, May & June 1990 Alberto was accepted to Gray’s School of Art in 1932 at the unusually young age of 14. He studied there for six years under the tutelage of, in particula,r James Cowie and Robert Sivell, the latter having a dramatic influence on Alberto’s career. It was Sivell who sparked his interest in the Italian Renaissance and this was to have a lasting impression on Alberto. For many years he was the best-known and admired portrait painter in Scotland, his sitters included the Late Queen Mother. He is equally known for his still lifes, landscapes and interior scenes which all represent his love of colour and simplicity of composition. During his career, he gave over 30 one man exhibitions both in London and all over Scotland. In recognition of his many achievements as an artist he was awarded an OBE in 1993. ++Good condition
Los 189
λ George Engleheart (1752-1829) Portrait miniature of a lady wearing pearls in her hair Signed with a cursive initial E Oval in a silvered metal frame 73 x 61mm With a portrait of Captain Tod, Attributed to George Englehart, head and shoulders, wearing a naval jacket in a gilt metal and blue enamel frame and a later portrait of a baby with a seed pearl and hair back frame by a different hand, all framed together (3 in 1 frame) Captain Tod was the Great Grandfather of G. A. Ballard ++1. with some bloom otherwise good condition; 2. some small chips lower margin otherwise good condition, enamel frame cracked; 3. good condition
Los 190
ë English School c. 1840 Portrait miniature of a lady, head and shoulders in a green dress Oval, in a recangular gilt frame 83 x 63mm With another of a lady in white, oval signed E.R. Helps (2) ++1. Loose in frame, some spots of bloom/old restoration on left hand side background 2. Good condition
Los 191
ë John Smart (1741-1811) Portrait miniature of James Whatman, head and shoulders, wearing a sky blue coat Signed with initials and dated 1777 Oval, in a converted bracelet frame 32 x 21mm James Whatman (1741-1798) was one of the foremost paper makers in Europe and was instrumental in the development of fine quality wove paper in Turkey Mill in Kent. Whatman was the son of James Whatman senior and Ann Harris, who between them turned Turkey Mill into the largest paper mill in the country. Whatman senior pioneered a method of producing fine quality wove paper on a mesh base which resulted in a much smoother paper, ideal for fine art and high quality printing. War in Europe between 1739 and 1748 cut off the supply of fine paper from the continent and so the English paper makers were able to regain the market and Turkey Mill became the largest paper mill in the country. James Whatman Junior took over in 1762, the firm having been run by his mother Ann since James senior’s death in 1759. James Junior continued to innovate in paper making and introduced many new techniques including the use of blue smalts which enhanced the whiteness of paper. He was also well known for creating the largest sheets of paper ever made at 53 x 51 inches for the Society of Antiquaries. Thomas Gainsborough is well documented in the 1760s trying to obtain Whatman paper saying ‘There is so little impression of the wires, and those so very fine, that the surface is like vellum.’ It was used by many of the most famous painters of the late 18th and early 19th century, including Turner, John Robert Cozens and William Blake for some of his illuminated books. James Whatman (1741-1798) married twice, his first wife dying in 1755. This miniature was painted just after his second marriage to Susannah Bosanquet in 1776. In Whatman’s account book there are three entries concerning Smart: 1776, Oct 5, Smart the Miniature Painter on Acct £18.18.0; 1778 May, Smart the Miniature Painter in full £21.0.0; 1779, May Mr Smart for a Miniature Picture and glass £13.2.6 ++Good condition
Los 194
ë Attributed to William Sherlock (c.1738-c.1806) Portrait miniature of a lady, head and shoulders, wearing a blue headband Oval, in a gilt metal frame with a rectangular ebonised border and a red leather case 70 x 54mm ++A small blemish, a single scratch to right of collar, generally good condition
Los 197
ë Richard Cosway R.A. (1742-1821) Portrait miniature of Miss Gunning, head and shoulders, wearing a turban and a blue sash Oval, in a gilt metal frame, rectangular ebonised border and red leather case 71 x 54mm ++One or two very small blemishes left side, may be removable with light clean, generally good condition
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283287 Los(e)/Seite