Rhead (Louis) The Psalms of David, first Rhead edition, 16 full-page illustrations, partially unopened, a few marginal tears, the odd spot, ink gift inscription to front free endpaper, original red publisher's cloth, decorated in gilt, corners bumped, rebacked preserving most of original backstrip, spine faded, Chicago, 1900; Collection of Book Plate Designs (A), out-of-series copy from an edition limited to 150, tipped-in portrait frontispiece, 26 plates, 3 tipped-in, illustrations, publisher's advertisement loosely inserted, light staining to inner margins, original cloth-backed pictorial boards, t.e.g., a few small stains, extremities slightly rubbed, Boston, 1907; Speckled Brook Trout (The), first edition, frontispiece and plates, tissue-guards, illustrations, light staining to margins of first few leaves, some light spotting, ink inscription to front free endpaper, hinges a little weak, original pictorial boards, lacking backstrip, rubbed, a few stains, New York, 1902; and The Basses Fresh-Water and Marine by Rhead, as well as a collection of uniformly bound classics illustrated by Rhead, v.s. (19)
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Modern Art & Architecture.- Wingler (Hans M.) The Bauhaus. Weimar, Dessau, Berlin, Chicago, illustrations, a few in colour, original printed cloth, spine a little toned, original printed slipcase, Cambridge (MA) & London, The MIT Press, 1969 § Bayer (Herbert), Walter Gropius and Ise Gropius, editors. Bauhaus 1919-1928, illustrations, original printed cloth, spine a little toned, New York, MOMA, 1938 § Childers (J. Saxon) Robert McAlpine. A Biography, with a presentation inscription signed by McAlpine to front endpaper, portrait frontispiece and a couple of other plates, original cloth, scuffed in places, Oxford, OUP, 1925 § Gouwe (W.F.) Ruimte, colour frontispiece, plain illustrations, original printed wrappers, extremities rubbed, Rotterdam, 1929; and a quantities of others art and architecture, v.s. (qty)
Bindings.- Crabbe (George) The Poetical Works ..., 8 vol., engraved frontispieces, additional engraved titles, scattered spotting and off-setting, near contemporary half-calf, rubbed, bumping to corners and extremities, 1834 § Sidney (Henry) Diary of the Times of Charles the Second, 2 vol., engraved portrait frontispieces, folding pedigree, folding facsimile, vol. 2 frontispiece and title detached and loosely inserted, scattered spotting, ex-Maynard Smith & Outram Smith Library with neat ink-stamp to early blank, near contemporary half-calf, rubbed, bumping to corners and extremities, 1843 § Jackson (Sir Charles) English Goldsmiths and their Marks, half-title, frontispiece, illustrations, contemporary crushed green morocco,decoration in gilt and silver to upper cover, slight bumping to spine extremities, 1921; and others, leather bindings, including some odd volumes, v.s. (c.300).
Dickens (Charles) Nicholas Nickleby, first edition in book form, engraved portrait frontispiece by Finden after Maclise, 39 engraved plates by Hablot K. Browne ('Phiz'), one or two plates with expert repairs, some plates evenly toned, overall remarkably clean, modern red crushed morocco ruled in gilt by Bayntun-Riviere, portrait and signature of Dickens blind-stamped on covers, spine gilt in compartments, gilt turn-ins with marbled endpapers, a very attractive copy, [Eckel pp.64-66; Smith I, 5], Chapman and Hall, 1839; and 2 other first editions in book form by Dickens, handsomely bound, 8vo (3)
Tennyson (Alfred, Lord) Poems, engraved portrait medallion as frontispiece, wood-engraved illustrations by the Dalziel Bros. and others after Millais, Rossetti, Holman Hunt and others, light foxing (mainly at beginning and end), portrait frayed and reinforced at fore-edge, contemporary pebble calf, ruled in gilt, inner gilt floral dentelles, calf, rubbed and scuffed, g.e., rubbed, corners and spine ends a little worn, [Ray 148], small 4to, Edward Moxon, 1857.*** The first edition with these illustrations, incorporating several by the members of the Pre-Raphaelite Brotherhood and thereby making it one of the most important Victorian illustrated books.
Canada.- Willis (N.P.) Canadian Scenery Illustrated, 2 vol., engraved portrait, additional vignette titles, map and 117 plates after W.H. Bartlett, some foxing and spotting, one or two short tears to lower edge of leaves, remnants of bookplates to front pastedowns, later maroon half morocco, gilt, spines gilt in compartments, slightly rubbed with some surface wear, George Virtue, 1842 § Gray (Hugh) Letters from Canada, folding engraved map with border hand-coloured, 3 folding tables, map foxed and scuffed at some corners with a few repairs, title leaf slightly detached at foot, light water-staining affecting map and first few leaves, some light browning and spotting, hinges reinforced, bookplate signed by F. Gray, contemporary calf, gilt fleuron border, spine gilt in compartments, rebacked preserving original backstrip, lower joint split, worn, Longman, Hurst, Rees and Orme, 1809, first editions, 8vo and 4to, (3)
Dorset.- New Waymouth Guide (The), second edition, folding engraved frontispiece, errata leaf at end, bookplate of Thomas Rochfort, frontispiece with horizontal tear along platemark but no loss, trimmed close at fore-edge, H3 & S2 causing loss to few letters, a couple small marks to frontispiece and title, occasional light soiling elsewhere, lacking rear free endpapers, contemporary half calf over marbled boards, rebacked, corners rubbed, Waymouth, John Love, 1790 § Young (Robert) "Rabin Hill". Poems in the Dorset Dialect, portrait frontispiece and one plate, endpapers browned, original cloth, spine a little sunned, corners slightly rubbed, Dorchester, 1910; and a quantity of others Dorset related, including a collection of postcards, v.s. (qty in 3 boxes)
Siena.- A single leaf from the Nuremberg Chronicle, with a large woodcut view of Siena, verso with 9 woodcut portrait illustrations, contemporary ink note to margin, and two further notes (slightly trimmed) and decorative underlining in same hand to verso, folded, (woodcut: 191 x 224mm; whole sheet 456 x 317mm.), [Nuremberg], [Anton Koberger], [1493]; and 3 others, later loose engraved portraits (4)
Private Press.- Backhouse (Janet) John Scottowe's Alphabet Books, plates highlighted in gold, original morocco-backed cloth, a few spots to covers and spine slightly faded and nicked, for the Roxburghe Club, at the Scolar Press, 1974 § Rothenberg (Jerome) Sightings I-IX & Red Easy A Colour, one of 125 copies signed by the author and artist, ten colour prints by Ian Tyson, original morocco-backed cloth, within slipcase, Circle Press, 1968 § Borges (Jorge Luis) The Congress, one of 250 copies, tipped-in frontispiece portrait, original tan cloth, with the dust jacket, discreet tape-repair to verso, Enitharmon Press, 1974 § Edwards (Owen) Clych Atgof, one of 400 copies, wood engraved frontispiece and illustrations, original tan sheep, tooled in brown, minor marking and soiling, Gregynog Press, 1933 § Simon (Helena) The Seasons, one of 25 copies signed by the author and artist, engraved illustrations by Hellmuth Weissenborn from the original blocks, loose as issued within original pink wrappers, for the Acorn Press, at the Whittington Press, 1981; and small quantity of others from various presses including Cuala Press, Menard Press, Meadow Press, Dolmen Press, Old School Press, Pelican Press, Rougemont Press, Celtic Cross Press and Riverprint, v.s. (sml. qty.)
Bindings.- Lantier (E.F.) Les Voyageurs en Suisse, 3 vol., engraved portrait frontispiece, scattered spotting, bookplate, contemporary calf, rubbed, bumping to corners and spine extremities, Paris, 1803 § Schiller (Friedrich) Sämmtliche Werke, 10 vol., half-titles, engraved portrait frontispieces, scattered spotting, contemporary morocco-backed boards, a little rubbed, slight bumping to corners and extremities, Stuttgart, 1844; and others, leather bindings including some odd volumes, v.s. (c.50)
Hardy (Thomas).- Lea (Hermann) Thomas Hardy's Wessex, first edition, photographic frontispiece and illustrations, embossed "Presentation Copy" stamp to foot of title, small stain to foot of first few leaves, some spotting, mainly at beginning and end, original cloth, spine slightly sunned, extremities rubbed, t.e.g., 1913 § Catalogue (A) of The Library of Thomas Hardy...to be Sold at Auction by Messrs. Hodgson & Co...on Thursday, May 26th, 1938 And following day, few related newspaper clippings laid down to inside lower wrapper, few faint spots, original stapled printed wrappers, staples little rusted, [1938] § Parker (W.M.) On the Track of the Wessex Novels. A Guide to the Hardy Country, first edition, portrait frontispiece and 5 plates, double-page map, occasional spotting, original printed wrappers, lightly toned, little soiled, edges rubbed, Poole, 1924 § Hardy (Thomas) Human Shows. Far Phantasies. Songs, and Trifles, first edition, contemporary ownership inscription to front free endpaper, endpapers foxed and browned, the odd spot elsewhere, original cloth, spine slightly sunned, spine ends and corners rubbed, 1925; and a large quantity of others by or relating to Hardy, v.s. (lge qty in 7 boxes)
Bible, Latin.- Biblia Sacra vulgatæ editionis cum selectis annotationibus, titles in red and black, engraved portrait plates, 4 engraved double-page maps, engraved headpieces, previous owner's ink signature, occasional faint marginal staining, contemporary mottled calf, a little rubbed, bumping to corners and extremities, folio, Louven, Martin van Overbeke, 1740.
Music.- Puccini (Giacomo) Madama Butterfly, new edition, signed presentation inscription from the author "Alla Siga Antonietta de Streus Giacomo Puccini" above the frontispiece portrait of the composer, some light scattered foxing, subsequent ink gift and ownership inscriptions to frontispiece and endpaper, decorative endpapers, upper hinge cracked but firm, original cloth, spotting and some staining, 4to, Milan, Ricordi, [c.1904]. *** A presentation copy of Puccini's most celebrated opera, here as a score for pianoforte. Rare.
* English School. Portrait of Edward Cock, 21 Jan 1822, watercolour with traces of pencil, and gouache, head and shoulders portrait, half-profile to left, a young man wearing a blue-gray coat, high white collar with blue tie and black waistcoat, initialled L. J. and dated to right edge, 109 x 86 mm (4 1/4 x 3 3/8 ins), mount painted onto glaze, framed (20 x 18 cm) QTY: (1)NOTE:Edward Cock (1805–1892) was a British surgeon. A nephew of Sir Astley Cooper, he became a member of the staff of the Borough Hospital in London at an early age. He worked in the dissecting room for 13 years and then went on to become an assistant surgeon at Guy's hospital in 1838. He rose through the ranks to reach consulting surgeon in 1871. During 1843-1849 Cock published many papers, and pioneered many techniques including opening the urethra through the perineum. He was an excellent anatomist, operator, and writer, and although suffering from a stutter he used it to his advantage when lecturing with humorous effect.
* English School. Portrait of a Woman, mid 19th century, oil on canvas, a three-quarter length portrait of a woman in a red dress with lace details holding a posy of flowers in her left hand, and a sprig of vegetation in the other, relined, canvas size 107.5 x 79.5 cm (42 1/4 x 31 1/4 ins), in a green and gilt frame (122 x 93.5 cm)QTY: (1)
* English School. Portrait of a Gentleman, circa 1670-1675, oil on canvas, half-length portrait of a gentleman, wearing white shirt with elaborate jabot lace collar and cuffs, a pale green silk cloak, and decorative brooch, one hand resting on the head of a dog, to the left a distant view of a fortified castle on a river bend (possibly Conwy Castle, North Wales), some surface marks and wear, with minor losses to extreme edges of the canvas, relined, 76 x 64 cm (29 7/8 x 25 1/4 ins)QTY: (1)
* Swanevelt (Herman van, 1603-1655). Wooded riverside landscape with figures, hillside dwelling, against a mountainous backdrop, from the series Hill Landscapes, state ii of iv, etching on laid paper, with close-trimmed margins, lower right corner torn with slight image loss and repaired, short closed tear to right edge, lined to verso, plate size 177 x 275 mm (7 x 10 3/4 ins), sheet size 178 x 279 mm (7 x 11 ins), together with:Cunego (Giuseppe, 1760-1781). A pair of Italianate landscapes with figures after Francesco Antonio de Capo (fl. 1775-1800), etching on wove, close-trimmed, lined to verso, light dust-soiling, sheet size 133 x 279 mm (5 1/4 x 11 ins) and 133 x 287 mm (5 1/4 x 11 1/4 ins), Rosa (Salvator, 1615-1673). St. Albert, the Companion of St William (suffering self-imposed penance), circa 1661, etching on laid paper, central horizontal fold, light dust-soiling and minor spotting, plate size 340 x 228 mm (13 1/2 x 9 ins), sheet size 428 x 314 mm (16 3/4 x 12 3/8 ins), Ribera (Jusepe de, 1591-1652). The Martyrdom of St. Bartholomew, 1624, etching on laid paper, dust-soiling, ink splashed and marks, trimmed to image and tipped onto backing paper, sheet size 317 x 238 mm (12 1/2 x 9 3/8 ins), Pfenninger (Heinrich, 1759-1815). Self-portrait in profile, etching on laid, plate size 232 x 190 mm (9 1/8 x 7 1/2 ins), sheet size 256 x 213 mm (10 x 8 3/8 ins), plus other etchings and engravings including three etchings on wove after Jacques Callot depicting battle scenes and street scene with walking wounded, each trimmed to image and lined to verso, approximately 85 x 185 mm, four small engraved Augustin Zenger (18th century), several engraved portraits by Houbraken and George Vertue, portrait of John Locke, 1738, etc.QTY: (35)
* Italian School. Christ crowned with thorns, circa 1750-1780, oval watercolour and red ink on card, laid on card, head portrait of Jesus wearing a crown of thorns, with droplets of blood on his brow and neck, 7 x 6 cm (2 3/4 x 2 3/8 ins), near contemporary oval carved ebonised frame, glazed, with hanging ring (9.5 x 8.5 cm)QTY: (1)
* Oakley (Octavius, 1800-67). Portrait of a Lady, circa 1830, watercolour, depicting a woman wearing a white dress and pale blue stole, her fair hair in ringlets tied with blue ribbon, sitting in a pink upholstered chair, 29 x 23 cm (11 3/8 x 9 ins) mount aperture, framed and glazed (42 x 36 cm)QTY: (1)NOTE:Provenance: Bonhams, Knightsbridge, Fine Portrait Miniatures, 20th May 2009, lot 140 (a group of three watercolours).
* Attributed to John Hamilton Mortimer (1740-1779). Seated female attending reclining male beside table with jug and bowl, sepia pen and ink sketch on laid paper depicting reclining male and attending female, with detail portrait study of his face to right hand of sketch, small hole to lower left corner, light dust-soiling and scattered spotting, lined to verso on wash-mount backing paper with 'Mortimer del.' in brown ink lower right, image sheet size 66 x 125 mm (2 1/2 x 4 7/8 ins), mount size 105 x 165 mm (4 1/8 x 6 1/2 ins)QTY: (1)
* De Morgan (Evelyn, 1855-1919). Boreas, a study for Boreas and the Fallen Leaves, circa 1910-1914, coloured chalks and pastel on buff paper, head and shoulders portrait, half-profile turned to the left, his lips pursed and arms outstretched, visible sheet size 29.8 x 22 cm (11 3/4 x 8 3/4 ins), framed and glazed (41 x 31.5 cm)QTY: (1)NOTE:Provenance: Private Collection, UK, thence by descent.The present work is a study for the figure of the ancient Greek god Boreas in Boreas and the Fallen Leaves, held by the De Morgan Foundation (Object Number P EDM 0044), which shows Boreas swirling round a large gnarled tree, with the leaves depicted as maidens with golden hair being blown to the ground. Boreas is the ancient Greek god of the north wind, and the most important of the four wind gods. He was winged and had two faces: one to see where he was going and one to see where he had come from.
* Silhouette Portraits. Silhouette portrait of John Dalton (1766-1844), circa 1820, left-facing profile, inscribed 'John Dalton DCL, FRS' beneath, sheet size 10 x 6.5 cm (4 x 2.5 ins), framed and glazed with modern label to verso stating 'Silhouette drawn from the life', together with a pair of silhouettes of an unidentified man and woman, probably husband and wife, c. 1820, left-facing profiles, black watercolour with white and gilt highlights on buff paper, images 8.5 x 7 cm (3.75 x 2.75 ins), plus an oil miniature on card of a young boy in a brown coat, early 19th century, image 7 x 5.5 cm (2.75 x 2.25 ins), black-stain wall mounts with gilt oval apertures and eye hook, modern labels to versos, plus a pencil sketch of an unknown Quaker woman by an unknown artist, early to mid 19th century, pencil on paper with traces of pink highlights, 11 x 7.5 cm (4.75 x 3 ins), plus 3 framed reproduction portraits and a three-quarter length albumen print portrait of Alfred Binyon (1800-1856), 18 x 13.5 cm (7 x 5.75 ins), framed and glazedQTY: (9)NOTE:Provenance: From the family of Martha Spriggs (1777-1866), by direct descent.Most of these portraits are identified with modern labels to frame versos as having belonged to one or other member of the Binyon family. Alfred Binyon was a calico printer of Manchester and Kendal; grandfather of the poet Laurence Binyon.
![* Hamilton (Hugh Douglas, circa 1739-1808). Portraits of Lord Sandys [and] Lady Sandys, 1771, a pair of oval head and shoulde](https://cdn.globalauctionplatform.com/93afdcdd-00c5-43ca-9fd6-b17f00abc319/7df2a7b5-6f46-4373-a922-b1ab00f739cd/468x382.jpg)
* Hamilton (Hugh Douglas, circa 1739-1808). Portraits of Lord Sandys [and] Lady Sandys, 1771, a pair of oval head and shoulders pastel portraits on paper, both half-profile to left, the first showing Edwin, 2nd Lord Sandys, Baron of Ombersley (1726-1797), wearing a beige coat with a cream and red waistcoat and white stock, signed and dated 1771 lower left, a few foxing and mould spots, lightly rubbed in places, the second portraying his wife Anna Maria née Colebrook (1720-1806), wearing a white dress, with a bow of pink-edged ribbon, and a headpiece of white lace and pink-edged gathered ribbon, rubbed in places, each mount aperture 250 x 200 mm (9 7/8 x 7 7/8 ins), uniform gilt moulded frames, glazed (41.5 x 36.5 cm), both frame versos with various ink manuscript annotations regarding the sitters and provenance, including a near contemporary ink manuscript label on the verso of Anna MariaQTY: (2)NOTE:Provenance: William Roberts (1862-1940) art critic and art sales correspondent of the Times; Sotheby's sale 31st July 1940 (lot 54); (Arthur Jaffé (1880-1954); Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. Anna Maria, daughter of James Colebrooke, was the widow of William Paine King of Fineshade Abbey, Northamptonshire, when she married Edwin Sandys in 1769. Edwin inherited his title when his father Samuel Sandys, 1st Lord Sandys, Baron of Ombersley, died in 1770. The notes on the frame versos explain that these works were purchased from Sotheby's in 1940, "from the collection of the late W. Roberts for many years Arts Sales Correspondent of The Times, lot 54 ...", additionally the notes describe how the pair of pastels were, "reframed from square (dating about 1911) by P.D. Colnagli & Obach into these ovals (dating 1779) by A. Jaffé 1941". The early ink manuscript label reads "Anna Maria Baroness Lady Sandys married J. King Esquire of Finshade - Nottinghamshire, and afterwards Edwin Lord Sandys."The portrait of Lord Sandys has a postcard adhered to the verso, inscribed in ink manuscript, signed by Evangline Roberts and dated September 1940. It explains that these two pastels had been, "given to my late father some years ago but by whom I don't remember". Arthur Jaffé had clearly been trying to discover more of the provenance of these drawings. Under the postcard is a Thomas Agnew & Sons printed label with ink manuscript 'A. Jaffé Esqr, to be called for'.
* Kilian (Lucas, 1579-1637). Portrait of Johann Fürleger, 1626, engraving on laid paper, with castle watermark, printed inscription 'Lucas Kililan Aug ad vivum delineavit et sculpsit A.o 1626' to lower margin, sitter's name in ink in a contemporary hand to cartouche, with wide margins, pale damp stain to lower blank margin, hinge mounted onto backing board, plate size 190 x 130 mm (7 1/2 x 5 ins), sheet size 300 x 189 mm, framed and glazed (350 x 290 mm), together with:Küsel (Matthäus, 1629-1681). A pair of portraits of Georg Paul Imhof, after Georg Strauch, circa 1664, together two engravings on paper, manuscript inscriptions on recto to both in ink and pencil, plate size 244 x 175 mm (9 3/4 x 7 ins), in a multi-aperture mount, framed and glazed (440 x 580 mm),Vico (Enea, 1523-1567). Ex Antiquis Cameorum et Gemmae Delineata, comprising 12 proof engraved vignettes on single sheet of laid paper, plate size 305 x 430 mm (12 x 17 ins), sheet size 313 x 440 mm (12 3/8 x 17 3/8 ins), window-mounted,Weiditz (Hans, 1495-1537). Sheep shearing, milking and butchery, early 16th-century, woodcut on laid paper, trimmed to image, sheet/image size 140 x 153 mm (5 1/2 x 6 ins), window-mounted, frames and glazed (270 x 275 mm),Dietterlin (Wendel, 1550-1599). Plate 171 from Architectura von Austheilung, Symmetra und Proportion der fünft Seulen, 1593-1598, etching on laid paper, plate size 248 x 183 mm (9 3/4 x 7 1/4 ins), window-mounted, framed and glazed, plus other engravings including six maritime battle scenes by Jacques Callot (1592-1635), three of which from the l'Île de Ré series, unframed, and two others various, framed and glazedQTY: (13)
* After Joshua Reynolds (1723-1792). Charles James Fox, circa 1800-1820, oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with thin card with cream laid paper backing, tiny flake of paint loss to left shoulder, frame aperture 68 x 55 mm (2 3/4 x 2 1/8 ins), period ebonised wood frame, with inset oval gilt metal surround and decorative hanging loop, glazed, frame verso with framer's name: W. Hill & Co., Birm'm, with crown mark above, 13 x 11 cmQTY: (1)NOTE:The original painting by Reynolds dating from 1784 on which this portrait is based, is in the collection of the Earl of Leicester at Holkham Hall, Norfolk.Charles James Fox (1749-1806) was a long standing British Whig statesman whose career in politics spanned 38 years, predominantly as a member of the opposition. He served as Britain's first foreign secretary in 1782, and took up this office three more times during his lifetime. An opponent of George III, Fox was a supporter of the French Revolution, an anti-slavery campaigner, and an advocate for religious tolerance.Ivory Act 2018 exemption submission reference: YX9NSRL8.
* Manet (Edouard, 1832–1883). Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face), 1868, etching on thin laid paper, the 4th and final state, with printed inscription to lower margin of the image 'Peint et Gravé par Manet 1865' and 'Imp. A. Salmon', plate size 94 x 82 mm (3 7/8 x 3 1/4 ins), sheet size 197 x 149 mm (7 3/4 x 5 7/8 ins), hinge-mounted, framed and glazedQTY: (1)NOTE:Moreau-Nélaton 16; Guérin 38; Harris 61.Final published state of Manet's portrait of Baudelaire, after a photograph by Nadar.
* De Morgan (Evelyn, 1855-1919). Preparatory study of a female head, circa 1914, coloured chalks and pastel on buff paper, head and shoulders portrait, half-profile turned to the left, long flowing black hair, eyes gazing slightly to the right, sheet size 35.7 x 23.5 cm (14 x 9 1/4 ins), framed and glazed (41 x 31.5 cm)QTY: (1)NOTE:Provenance: English private collection formed circa 1950-1970, thence by descent.This may be a study for Purity in Evelyn de Morgan's The Vision (1914). The work is an allegory of the First World War and depicts two women in the foreground as the personification of Peace and Purity, a menacing demon behind them personifies war and destruction.
* English School. Portrait of a Woman, early 19th century, oil on canvas, portrait of a woman wearing a pink dress with sheer, billowing sleeves, and holding a sheet of manuscript music in her hands, canvas size 77 x 57 cm (30 1/4 x 22 1/2 cm), in a deep gilt wood frame (94 x 80.5 cm)QTY: (1)
* Pilichowski (Leopold, 1869-1933). Portrait of Stella Kisch, oil on canvas, a half-length portrait of a lady in a blue gown with white detailing, and a brown wrap, wearing a string of pearls, signed lower right, canvas verso with pencilled inscription, 913 x 610 mm (36 x 24 ins), original painted decorative frame, painted by the artist, with foliate curls in dark reds, blues and browns on a gilt background, 112 x 81.5 cmQTY: (1)NOTE:Provenance: Stella Kisch (1882-); thence by family descent.The pencilled inscription on the canvas verso reads: Stella, daughter of Phineas + Abigail Hands, née da Costa Andrade. Born August 12 1882. Wife of Percy Kisch, son of Albert + Annie, née Davidson. Mother of Richard (6), Edward (5) + Norman (2 years). Painted by L. Pilichowski, London 1919. A further pencilled inscription gives an address of Warrington Crescent, Maida Vale, London.
* De Morgan (Evelyn, 1855-1919). Rosamund, a study for Queen Eleanor and the Fair Rosamund, circa 1901-1902, coloured chalks and pastel on buff paper, head and shoulders portrait, half-profile turned to the right, her left arm crossing her chest and the right hand placed on her shoulder, visible sheet size 29.8 x 22 cm (11 3/4 x 8 3/4 ins), framed and glazed (41 x 31.5 cm)QTY: (1)NOTE:Provenance: English private collection formed circa 1950-1970, thence by descent.The present work is a study of Rosamund in Queen Eleanor and the Fair Rosamund, held by the De Morgan Foundation (Object Number P EDM 0030), which shows her seated in an identical pose, with Queen Eleanor to her right. The painting is rich in symbolism, a maze, two lovers in an embrace, a poison bottle, and shadowy evil forms – dragons, apes, and blood red roses lie at the Queen's feet. In contrast, winged cherubs and doves of peace accompany Rosamund and white roses, symbolising purity and innocence, lie at her feet.
* Manner of John Everett Millais (1829-1896). Portrait of Effie Gray James née Millais, 1875, watercolour on wove paper, laid onto blue paper mount with oval aperture, head and shoulders portrait, half profile to left, of a young girl wearing a blue bow under her white collar, her fair hair coiled and pinned up at the back of her head, monogrammed and dated 1875 lower right, aperture size 27.7 x 20.5 cm (10 7/8 x 8 1/8 ins), sheet size 38.3 x 27.3 cm (15 x 10 3/4 ins), mount size 44.4 x 34.5 cm (17 1/2 x 13 1/2 ins)QTY: (1)
* Sadeler (Aegidius, 1570-1629). Portrait of Tobias Scultetus, 1610, fine engraving on laid paper, with elaborate allegorical outer border, trimmed to or just inside the platemark, a good, strong impression, with text below the portrait by Kepler, sheet size 204 x 162 mm, together with Pontius (Paulus, 1603-1658). Portrait of Nicolaus Rockox, after Van Dyck (from the series Icones Principum Virorum), 1639, engraving, on pale cream laid paper, the 4th state, published by Herman de Neyt, a very good, well-contrasted impression, early annotation to verso '250', 'third' and a '+' in brown ink, later faint pencil inscription to verso 'Proof before inscription', trimmed to plate margin, sheet size 263 x 182 mm, plus Cornelius van der Geest, Artis Pictoriae Amator Antwerpiae, after Van Dyck, circa 1635, engraving on laid paper, without the publisher's name to lower margin, washed, a very good impression with margins, 250 mm x 179 mm, sheet size 260 x 190 mm, and three others: Helena Leonora de Sieveri, by Cornelius Vischer after Van Dyck, published by E. Copper, close-trimmed to plate margins, Robertus van Voerst by Robert van Vorst after Van Dyck, published by Marten Vanden Enden, trimmed to image, and a smaller engraved portrait of Judge Littleton, with caption 'The true portraiture of Judg Littleton the famous English Lawyer'QTY: (6)NOTE:Hollstein 328 (Sadeler); Wibaral 115 (Pontius, Nicolas Rockox); Hollstein 567 (Pontius, Cornelis van der Geest). The impression of the Rockox portrait held at Yale Center for British Art is inscribed in pencil 'W.115 4th state Very Rare'.
AR * Bratby (John, 1928-1992). Triple Portrait, 1956, oil on board, signed lower left 'Bratby', a portrait of three female figures, with use of impasto, various old auction labels to verso, board size approx. 148 x 122 (58 1/4 x 48 ins), in a contemporary hessian frame (162 x 136 cm)QTY: (1)NOTE:Provenance: Burstow and Hewett, Fine Art and Sculpture, 25 January 2024, lot 515Rosebery's, Modern British 20th & 21st Century Art, 6 June 2023, lot 143Christie's, London, 20th Century British Art, 15 July 2009, lot 77
* Manner of George Romney (1734–1802). Portrait of a young woman in regency dress, brown ink and watercolour on light brown wove paper, bearing the signature of Geo. Romney and dated 1790 to lower left corner, contemporary ink inscription 'Portrait sketch of Mrs Thunock'(?) to verso, margins with paper residue to verso, sheet size 320 x 210 mm (12 1/2 x 8 1/4 ins) QTY: (1)
* Attributed to Richard Wilson (1713/14-1782). Wooded Landscape, chalk on buff laid paper, with watermark B Colombier, Paris, (Heawood 2432), some faint vertical crease marks, adherred at upper corners to mount, small darkened spot to upper edge, sheet size 25.4 x 38 cm (10 x 15 ins), backing paper adhered to verso of corners, mounted (35.5 x 48 cm), together withDevis (Anthony Thomas, 1729-1817). Above Larbrook, near Albury, Surrey, pen, ink and grey wash on wove paper, with traces of pencil, bears artist's name in pencil to lower right (in a later hand), titled in contemporary ink (probably by the artist): 'Above Larbrook' to sheet edge verso, sheet size 15.6 x 23 cm, hinge-mounted, with later pencil inscription to backing card giving the artist's name, title and additional note 'bought from F R Meatyard Oct. 1955 for £2', plusBecker, (E., active 1780-1810). View on the Thames near Windsor, pen, ink and grey wash on laid paper, mount aperture 26.5 x 42 cm (10 1/2 x 16 1/2 ins), with later pencil inscription to mount card, giving the artist's name, title and additional note 'From Meatyard, Oct. 1955 for £2, mentioned in Iolo A Williams's ''Early English Watercolours" 1952 for which two of his drawings are ...', adherred to mount (41 x 53.5 cm), plus another early 19th century English watercolour landscape on paper, laid down onto card, of Kilchurn Castle on Loch Awe, Scotland, mount aperture 23 x 31 cm (9 x 12 1/4 ins) andRoberts (James, circa 1740-1809). Actor in Costume, watercolour, depicting a well dressed young gentleman wearing a white, green and red feathered hat, a white jacket and red pantaloons with gold tassles and frogging, green cumberband and black shoes with red and green rosettes, signed lower right, 17 x 12 cm (6 5/8 x 4 6/8 ins), mounted, framed and glazed (32.5 x 26 cm)QTY: (5)NOTE:James Roberts is best known for whole-length portraits of actors in character for John Bell's British Theatre. He also signs himself as portrait painter to the Duke of Clarence on a stipple engraving of Prince Henry Lubomirski by John Jones after Anne Damer and a watercolour of Dame Creole du Perou, 1797.
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