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283284 Los(e)/Seite
Los 269
Pritt (T.E.) An Angler`s Basket, 1896, portrait frontis, cloth; Robinson`s Guide to Richmond, 1833, frontis with later hand colouring, plates, cloth; Urban (Sylvanus), The Gentleman`s Magazine and Historical Chronicle, Vol LX, Parts 1 and 2, 1790, map and plates (incomplete), lacking upper board; with a quantity of others (qty)
Los 273
Freemasonry Miniature Terrestrial and Celestial Globes on Masonic Columns, nd., terrestrial globe with imprint of C. Smith & Son, each globe mounted on a column of oak with brass capitals, one column of doric form, the other corinthian, 660-670 mm high; Mackey (Albert G.), Lexicon of Freemasonry .., 1914, portrait frontis, a.e.g., half morocco (3)
![Dante Alighieri La Vita Nuova, nd., [c1916], George C. Harrop, translated by Dante Gabriel Rossetti, illustrated by Evelyn Pa](http://lot-images.atgmedia.com/SR/10041/2776455/29_468x382.jpg)
Los 728
John Russell, RA (British, 1745-1806), Portrait of Mrs Sarah Clarkson (nee Vowell) (1771-1819) in a White Dress and Headdress, signed upper right "J Russell RA pinxit 1799", pastel, 59 x 44cm (23.01 x 17.16in). Provenance: Christie`s, London, sale, 28 January 1949. Literature: See the Pedigree of Fitzherbert of Somersal in S T Fitzherbert`s book "The Fitzherberts of Somersal", Sarah Vowell married Richard Clarkson of Fairwater House, Taunton, Somerset in 1798. Their youngest daughter Ellen Carolina Clarkson (b.1812) married Edward Herbert Fitzherbert, Fellow of Trinity College, Cambridge, MA, Barrister-at-Law of the Inner Temple, on 5 January 1843, at Calne, Wiltshire
Los 842
English School (17th Century), Portrait of a Lady, holding Roses, and with a Page proffering a Bowl of Lemons, oil on canvas, 170 x 88cm (66.3in 34.32in), in an 18th Century Bolognese giltwood reverse profile frame with undercut oak leaf decoration. Provenance: From a Cambridgeshire country house In the 17th Century lemons were thought to protect against poison
Los 844
Sir Peter Lely and Studio (1618-1680), Portrait of Lady Christiana Gere (1658-1720) daughter of Robert, Earl of Ailesbury, wearing a Yellow Dress and Olive Cloak, holding Orange Blossom, and seated in a Landscape, an Orange Tree behind her inscribed lower right with title, oil on canvas, 124 x 98cm (48.36 x 38.22in). Provenance: Christie`s, London, sale, 14 January 1972, Lot 31 (sold from Tottenham House, Savernake Forest, the seat of the Marquis of Ailesbury), Lady Christiana Gere (nee Bruce) was born at Houghton House, Ampthill, Bedfordshire, the seat of the Bruce family, and now famous as Bunyan`s House Beautiful in The Pilgrim`s Progress. This famous Scottish family of Bruce produced a King of Ireland and three Kings of Scotland; the Bruces came to England with James I and lived at Houghton House for seventy years. Lady Christiana first married John Rolle, eldest son of Sir John Rolle of Stevenson in Devon, at the age of 19, on 9 June 1677 at Ampthill church. After John Rolle`s death, Lady Christiana married Sir Robert Gayer (Gere) of Stoke Poges, Buckinghamshire. Sir Robert was knighted in 1661 for his part in the restoration of Charles II; Sir Robert died in 1702 and Lady Christiana in 1720. The Gere family motto is "Numquom Oblivscar - I will never forget"
Los 848
Edmund Bristow (British, 1787-1876), Portrait of Fox, a Favourite Black and White Setter, 1840, oil on canvas, 62 x 74cm (24.18 x 28.86in). Provenance: Private collection, UK, Edmund Bristow was sporting and horse painter to William IV, and had an instinctive talent and empathy for painting horses and dogs. Reclusive by nature, Bristow disliked patronage so much that he would often refuse to sell his pictures. The present painting of a black and white setter shows perfectly his abilities
Los 900
Anna Katrina Zinkeisen (British, 1901-1976), Portrait of a Girl in Blue, signed lower right "A K Zinkeisen", oil on canvas, 49 x 40cm (19.11 x 15.6in). Provenance: Private collection, CambridgePortrait painter and muralist. Anna Zinkeisen won a scholarship to the Royal Academy Schools from Harrow School of Art, and in 1920 and 1921 she won the Landseer Award
Los 120
A George III "Memento Mori" Pitt Club Badge, oval with a ring and wreath surmount, the centre lacking the cameo portrait, the reverse inscribed " Benj`n. Hall Esqr. M.P., 5cm high. A circular brass box with greek key sides, the cover embossed with a portrait of William Pitt, (2). Visit www.dnfa.com for condition reports
Los 179
Major Cyprian Bridge (1807-1885) Military Topographer of the First Maori War (1845-47). English School, 19th century, portrait miniature, watercolour on ivory, rectangular, 7cm x 9cm After Hone Heke`s attacks on the flagpole at Kororareka, the War in the North began with the invasion of the town on the 11th of March 1845 and continued until the sack of Ruapekapeka pa on the 11th of January 1846. Over these ten violent months regular British forces learned for the first time what it was to face a Maori foe, many men died during frontal assaults on pa that were impregnable by such tactics The British were again repulsed in May at a pa built by Heke near Okaihau and again at Ohaiawai in July, where they suffered heavy losses. The final Maori stand was made at Te Ruki Kawiti`s pa Ruapekapeka, where nearly two hundred defenders faced a combined British and Auckland volunteer force of over sixteen hundred. Equipped with heavy artillery, this proved to be a easy victory for the Imperial forces, who quickly overran the Maoris when most of them were at their customary prayer meeting outside the pa Two soldiers made extended visual records of this war, Lance-Sergeant John Williams of the 58th Regiment, and his superior, Major Cyprian Bridge. Their pictures are vital historical documents of the first pakeha war, and have been used in illustrations in histories from as early as 1859. Even so, direct information about the pictures and their production is both rare and scattered, like the pictures themselves "The British soldier found the Maori on the whole the grandest native enemy that he ever encountered. Gurkhas and Sikhs were formidiable before them; Zulus were formidable after them, but all these had copied European discipline. The Maori had his own code of war, the essence of which was a fair fight on a day and place fixed by appointment, which the best and bravest man should win. The British soldier, therefore, held him in deepest respect, not resenting his own little defeats, but recognising the noble side of the Maori, and forgetting his savagery` Sir John Fortescue Visit www.dnfa.com for condition reports
Los 182
A Collection of Military and Political Cartoons, 19th Century, Hand Coloured Engravings, including Napoleon, "Make Peace With`, This hieroglyphic portrait of the destroyer is faithfully copied from a German print, with the parody of his assumed titles, The hat of the destroyer represents a discomfited French eagle, maiming and crouching, after his conflict with the eagles of the north. His visage is composed of the carcases of the victims of his folly and ambition, who perished on the plains of Russia and Saxony. His throat is encircled with the Red sea, in allusion to his drowned hosts. His epaulette is a hand, leading the Rhenish Confederation, under the flimsy symbol of a cobweb. The spider is an emblem of the vigilance of the Allies, who have inflicted on that hand a deadly sting!, framed, glazed and mounted, 51cm x 25cm Talleyrand`s Plan for Invading Great Britain - Destruction of the French Gun-boats or little Boney & his friend Tally in high glee, framed, glazed and mounted, 32cm x 24cm Nelson Forever - Scene at the back of Covent Garden, Bowstreet, framed, glazed and mounted, 30cm x 23cm A Game of Chess - "Check to your King, remember it is not the first time, and I think all my few manoeuvres will completely convince you that I am better acquainted with the game I am playing than you are aware of` - "Curse it I shall lose this game, you are too much for me`, framed, glazed and mounted, 31cm x 25cm, (8). A 19th Century Side-arm, single-edged curved blade, 43cm doubled to its last third with saw-backed edge, brass hilt in the form of a mythical creature. Visit www.dnfa.com for condition reports
![[Books]. Sketches by a Kent Yeoman 1914-1918, Melrose, London no date. Stiff paper covers, illustrations throughout, quarto;](http://lot-images.atgmedia.com/SR/10054/2776235/195_468x382.jpg)
Los 195
[Books]. Sketches by a Kent Yeoman 1914-1918, Melrose, London no date. Stiff paper covers, illustrations throughout, quarto; Starr, Louis.The War Story of Dillwyn Parrish Starr, for private circulation, Putnam, London 1917. Maroon cloth, portrait frontispiece, octavo; and three other works of First World War interest, (5). Visit www.dnfa.com for condition reports
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283284 Los(e)/Seite