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Los 205
Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Portrait of Captain Benjamin Davies (1728-1777/78), half-length, wearing a magenta coat with gold trim Oil on canvas laid on board 74.6 x 62.7cm; 29¼ x 24¾in Provenance: Samuel Davies Craig, the sitter's grandson, by 1818; By descent to Samuel Davies Craig (d.1904); By descent to his niece, Beatrice Forsyth (d. c.1925); By descent to her niece Alice Colgate Rossiter (d. c.1935); By descent to Arthur W Rossiter Jr, 1935; By descent to Craig Colgate Jr., 1970; And by descent to the previous owner; By whom sold Grogan & Co, Massachusetts, USA, 11 December 2011, lot 257 Literature: Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., (London, 1899), I, pp.233-234; David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., p.161, cat. no.485; plate vol., p.283, pl.551 Exhibited: Probably New York, American Academy of Fine Arts, 1818 Benjamin Davies was born in Bristol, England and emigrated to New York, in 1750. He became a Master Mariner of New York City, and began his seafaring career with a voyage to China, as an apprentice to Captain William Sedgwick, of the East India Company. He later accompanied Captain George Jackson to India, and as the captain of the Hope, to England on several occasions.Sir Joshua Reynolds' pocket books first record an appointment with 'Mr Davis' [sic] in November 1758, a further five appointments in 1761 and a final one in 1762. A payment of 12gns is recorded in 1761 which would have been the full price for a head-and-shoulders portrait ordered before 1758.
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James Ward (1769-1859) after John Hoppner (1758-1810)Children Bathing; Juvenile RetirementTwo, both mezzotint56.1 x 45.4cm; 22 x 17¾in; 55.9 x 45.3cm; 22 x 17¾in (sheet)Together with John Finlayson (c.1730-c.1776) after Catherine Read (1723-1778); Portrait of Elizabeth Campbell, Duchess of Argyll and Baroness Hamilton of Hameldon (c.1733-1790); Mezzotint; 51.4 x 36.8cm; 20¼ x 14½in (sheet); and William Dickinson (1746-1823) after Rev. Matthew William Peters (1741/2-1814); Portrait of Lady Charlotte Bertie; Mezzotint; 53.2 x 39.6cm; 21 x 15½in (sheet) (4)
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John Smith (1652-1743) after Sir Godfrey Kneller (1646-1723)Portrait of John Smith the engraverMezzotint34.3 x 26.1cm; 13½ x 10¼in (sheet)Together with J. Cole; Portrait of Philip V of Spain; Mezzotint; 24.8 x 18.4cm; 9¾ x 7¼in (plate); Wallerant Vaillant (1623-1677); Portrait of Charles II as a boy; Mezzotint; 29.9 x 23.7cm; 11¾ x 9¼in (sheet); and Wallerant Vaillant (1623-1677); Portrait of Willem Goeree (1635-1711); Mezzotint; 31.9 x 25.5cm ; 12¼ x 10in (sheet) (4)
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John Russell RA (1745-1806)Portrait of Lady Rich, née Elizabeth Bell (1740-1788), holding a sketch book and porte-crayon, with a landscape beyondSigned and dated J Russell pinxt/1777 (lower right)Pastel75.3 x 62.5cm; 29¾ x 24½inLiterature:Neil Jeffares, 'John Russell', Dictionary of pastellists before 1800, online edition, accessed 25/01/2024, no.J.64.241
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Arthur Hughes (1832–1915)Portrait of Lucy Hill (1864-1946), full-length, standing in an interiorSigned ARTHUR HUGHES (lower left) and inscribed and dated Lucy Hill Oct 1888 (upper right)Oil on canvas laid on panel38.6 x 22.7cm; 15¼ x 9inTogether with Lucy Crump (née Hill), The House of the Five Poplars (Blackie and Son, London, 1911) (2)Provenance:Lucy Hill (1864-1946), later Lucy Crump;Gifted by her to Mary Manson (daughter of James Bolivar Manson), September 1938;By descent to the previous owner;Sotheby's, London, Victorian and Edwardian Pictures, 25 November 2004, lot 326Lucy Hill and her family were lifelong friends of Arthur Hughes. He also painted her and her siblings in 1866, a work now in the Bruce Castle Museum, London.
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ENGLISH SCHOOL C.1850. Portrait miniature of Thomas Burlace, 'Seaman', half-length, wearing a dark jacket and hat, watercolour on board, 32 1/2 x 1 3/4 inSold with an 1851 Registration Ticket that belonged to the sitter. Contained in an original leather wallet inscribed 'Certificate of Service Mercantile Marine Act'.
Los 277
GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934) Portrait of William Tisdall, c.1914, bust length, sanguine chalk on paper, 16 1/2 x 14 in; together with a pencil portrait study by the artist depicting Jack Allen (Major R.W. Allen) circa 1920; two (2) Provenance: The Artist's family, by descent.William Tisdall (1876-1954) was educated at Malvern and Cambridge. He inherited Charlesfort after the loss of his elder brother Charles at the Battle of Mons. He was appointed a Justice of the Peace in 1916 and served as High Sheriff in 1921 He was to continue to live at Charlesfort, Co.Meath until the end of his life
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GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934) 'My Lady of the Rose,' a portrait of Hilda Spencer Watson, seated three quarter length, wearing a red tunic dress and fur stole, holding a fur muff, and wearing a gold braid belt, signed with initials, oil on canvas, 43 1/2 x 33 1/2 in. Exhibited: The Royal Academy, 1911 no.368 Bermondsey Settlement Picture Exhibition, 1913.Provenance: William Harold Gardiner, ; Joan Gardiner (in Australia); Robin Tassell, of Dovehouse Stanwick, Northants; Richard Thompson & Mary Spencer Watson; Thence by descent.The symbolic title for the portrait 'My Lady of the Rose' reflects the artist's deep reverence for Hilda. The symbolism of the Rose as a symbol of love but also of new beginnings, an appropriate theme for the portrait painted in 1909, to celebrate his marriage to the sitter. The figures in the background perhaps reflect both the sitter and artist's interest in mythology and the arts. A winged figure fires an arrow which strikes another figure on whose belt the artist has signed his initials. In this intensely personal portrait, a subtle representation perhaps of the artist love-struck for his wife.Hilda's father William Gardiner was a leading businessman who had established a successful trading business between London and Sydney. His daughter, Hilda, was, according to a contemporary within her circle, 'a charismatic person, tall, intense and nerveuse ... in every memory of her Hilda stands out as striking, and eventful'. Known affectionately as 'Ginger', Hilda was a classical violinist trained in Europe. As a dancer and mime artist, Hilda was heavily influenced by the free form Greek style of Loie Fuller and Isadora Duncan. Her passion for dancing continued until the end of her life. She regularly organised and took part in performances both in London and later in the theatre that she built at Dunshay Manor, the Spencer Watsons's home on the Isle of Purbeck.'My Lady of the Rose' can be compared with another by the artist of the same sitter (bequeathed in 2007 to The Tate Gallery by the artist's daughter Mary Spencer Watson) titled 'Hilda and Maggie', painted in 1911. For another portrait of her cf. Christies, 15 Dec 2010. Lot 144 'Hilda in a Black Hat'.
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GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934)Portrait of Mrs William Tisdall, (Elsie Gardiner) standing nearly full length, wearing a white dress with rose corsage, standing by a mirror and vase of red flowers, oil on canvas, 59 1/2 x 34 1/2 inExhibited: The Royal Academy, London 1909. no.40.Possibly Exhibited at The Paris Salon.Dresden. Kunstsalon Emil Richter, 1911.Dorset County Museum, Dorchester & Southampton Art Gallery 18th Sept 1981-10 January 1982 no.3Provenance: The Artist's family, by descent.The artist refers to the painting of this portrait in his notebook at the time. 'Aug 08. Mrs Tisdall nee Gardiner sister of Hilda and Mrs Thompson...done at Charlesfort.....Had a delightful time there'.Born in London the son of a surgeon, George Spencer Watson trained as an artist at St. John's Wood and The Royal Academy Schools from 1889. Exhibiting at the RA from 1891, George Spencer Watson's best Edwardian portraits show a controlled aestheticism and display the influence of John Singer Sargent.Although his earlier preference had been to paint subject pictures in the tradition of Lord Leighton and George Frederick Watts, Spencer Watson's later success as a society portraitist led to a steady stream of commissions. After 1900 Spencer Watson began exhibiting regularly at The Royal Academy, at The New Gallery and at The Society of Portrait painters of which he became an active member. Until the First World War he also exhibited at the Paris Salon regularly until the 1914 War, and he had a one man touring show in 1912. His price for a full length ranging between £60 and £100 (around £10000-15000 in current values)The sitter, Elsie Gardiner, had married William Tisdall in 1899. The Tisdalls were a prominent Irish family who had owned the Charlesfort Estate, Kells, Co. Meath since the mid 18th Century.
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ATTRIBUTED TO JOHN RAPHAEL SMITH (1751-1812). Portrait of a Lady, traditionally identified as Elizabeth Edwards, seated half-length, wearing a white dress, a coastal shore with a distant ship beyond, pastel, on paper laid down on backing card, 13 x 10in. Provenance: The sitter's Family, by descentThe sitter is believed to be Betty Bonninge who married Charles Edwards in Taunton in 1781. She had been baptised there in 1759The reverse bears a twentieth century inscription (over an earlier one) attached to the backboard which states 'Mrs Charles H. Edwards, nee Elizabeth Bonninge, mother of the late Thomas Howard Edwards of Madeira, the sitter died together with her husband (Charles H. Edwards) - a west Indian merchant, of yellow fever whilst on a visit to the West Indies in 1785.The inscription further notes that the sitter was the eldest of three sisters 'all great beauties'. The inscription also amusingly outlines a story of how the three' Bonninge' 'sisters had been walking in The Mall, when one of them boxed the Duke of York's ears for his rudeness in peering under her bonnet when passing by with the then Prince of Wales (afterwards George 1V), upon which he said 'I thought to find an Angel but found a Devil'.For a comparable portrait by Raphael Smith with stylistic similarities cf. Portrait of a Girl. Woolley and Wallis, Salisbury. Lot 165 25 Sept 2014
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GEORGE SPENCER WATSON ROI, RP, ARA,RA (1869-1934). Portrait of Lillian Gardiner (Mrs Jack Allen) half-length, wearing a velvet grey cape with fur cuffs and muff, with silk scarf to head and pendant earrings, oil on canvas, 40 x 30 inDateable to 1913Provenance: The Artist's family, by descent.Exhibited: Dorset County Museum, Dorchester: Southampton Art Gallery, Sept 1981-Jan 1982 no.11Lillian Gardiner was the sister of Hilda, the artist's wife.A correspondent in the Morning Post after the artist's death wrote of Spencer Watson's portraits that 'his best works were in a somewhat severe convention, incisively drawn and modelled with continuous gradations with blacks and greys predominating in the colour scheme. He had the gift of making his sitters look well bred...'
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GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934) Eileen, signed and inscribed 'Eileen No 1' on an exhibition label attached verso, oil on canvas, laid down on board, 20 x 16 in. Exhibited: The Royal Institute of Painters.Dorset County Museum, Dorchester & Southampton Art Gallery 18 September 1981- 10 January 1982, no.30Provenance: The artist's family, by descentThe sitter Elsie Hawthorne was a professional model who sat several times for Spencer Watson as well as Harold and Laura Knight. For another portrait of Elsie Hawthorne as the sitter compare with a portrait titled 'Cynthia', exhibited at the Royal Academy in 1932 (no.18)After his election as an ARA in 1923, Spencer Watson was able to exhibit pictures at the Academy without passing through the selection committee. In the 1920s and early 30's he painted a number of portraits of the famous such as Lord Beaverbrook, and leading members of the London Livery Companies (Spencer Watson himself was a Master of The Worshipful Company of Saddlers) but perhaps his most interesting portraits at this time were of a less formal nature such as this example.
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GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934) 'A Study', oil on canvas, 40 x 34 inExhibited :The Royal Academy, London 1933.Dorset County Museum, Dorchester & Southampton Art Gallery, 18th Sept 1981-10 January 1982. no.55.Literature; Modern Masterpieces. Publ. Newnes, c 1935 p 4, first issue (Cover Illustration)'This striking and brilliantly executed painting of 'the female form divine' is one of the last of this Academician's works, and in it is summed up the knowledge of a lifetime' Modern Masterpieces, (ibid). That appreciation of his work is also echoed in an obituary printed shortly after the artist's death state which stated that 'his painting of the nude was remarkable for its refinement of feeling'This work can be compared with a slightly earlier work from the late 1920s, titled 'A Sunlit Nude', (Russell Cotes Museum and Art Gallery, Bournemouth). It also bears comparison with another important female figure study titled 'Nude' (1927) Harris Art Gallery, Preston.cf also a nude study of Marishka, Christie's King Street, 27th March 2003.Though Spencer Watson's oeuvre contained a wide range of portrait, landscape and classical subject matter, nude studies by the artist are relatively rare. His nude studies varying in character, to some extent dependent on the attributes and character of the sitter.In this study Spencer Watson observes a classical clarity of outline with a precisely observed rendering of a seated model, contrasted with a dark blue background.
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Bacon (Francis, Viscount Verulam). Sylva Sylvarum: or a Naturall Historie. In Ten Centuries, 2 parts in one, London: Printed by John Haviland for William Lee, 1635, engraved portrait frontispiece and additional engraved title (both repaired to margins, ink stain to portrait frontispiece), damp-staining to lower outer corners, toning throughout, modern blind panelled calf, morocco title label to spine, small folio, together with:Culpeper (Nicholas). The English physician enlarged. With three hundred and sixty-nine Medicines made of English Herbs, London: A. Bettesworth and C. Hitch [et al], 1733, contemporary speckled sheep, rebacked, 12mo, plusMeyrick (William). The New Family Herbal, or, Domestic Physician..., Birmingham: Printed by Thomas Pearson, 1790, engraved frontispiece, 14 engraved plates at rear, bound without publisher's adverts, few marks, free endpapers replaced, contemporary marbled calf, modern reback preserving red morocco title label, 8vo, plusCulpeper (Nicholas). Culpeper's Complete Herbal, to which is now added, upwards of one hundred additional herbs, with a display of their Medicinal and Occult qualities..., London: Thomas Kelly, 1819, engraved portrait frontispiece (damp-staining top margins), numerous hand-coloured engraved plates, dust and finger-soling, toning and spotting, contemporary calf, modern reback (remnants of earlier reback to boards), earlier corner repairs, board rubbed, 4to, and Culpeper (Nicholas). The British Herbal and Family Physician to which is added a Dispensatory for the use of Private Families, Halifax: J. Nicholson, [1820?], engraved frontispiece, numerous hand-coloured engraved plates, some toning, spotting and few marks, contemporary half calf, spine repaired at head, upper joint split, 8voQTY: (5)
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Sonnini (C. S.). Travels in Upper and Lower Egypt, undertaken by order of the old government of France, 1st quarto edition, London: J. Debrett, 1800, engraved portrait frontispiece, large folding map, 27 plates, spotting, contemporary calf gilt, upper cover detached, worn, 4to, together with:Spencer (J. A.). The East: Sketches of Travel in Egypt and the Holy Land, 1st edition, New York: George P. Putnam, 1850, lithographic frontispiece, 8 lithographic plates, diagrams in-text (including one folding), spotting, all edges gilt, contemporary maroon half morocco gilt, rebacked with original spine relaid, original gilt decorated view preserved to covers, rubbed, 8vo, plusVyse (Howard). Operations Carried on at the Pyramids of Gizeh in 1837: With an account of a voyage into Upper Egypt, and an appendix, 2 volumes, 1st edition, London: James Fraser, 1840, full-page black and white plates throughout (some folding), hinges cracked in volume two with text block detached, original green cloth gilt, marked and rubbed, 4toQTY: (4)
![[Gerard, John]. [The Herball Or Generall Historie of Plantes..., 1st edition, Imprinted at London by John Norton, 1597], 1392](https://cdn.globalauctionplatform.com/910db78b-cd1e-4760-a5d0-b0dc011def41/4a75f980-ef6d-4875-bcfb-b11e01202337/468x382.jpg)
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[Gerard, John]. [The Herball Or Generall Historie of Plantes..., 1st edition, Imprinted at London by John Norton, 1597], 1392, [66] pp., lacking title, portrait and all preliminary leaves, with initial gathering (A1) from another copy (reduced margins and repair to fore-margin of A1), with numerous woodcut botanical illustrations throughout, page 61 misnumbered 63 (corrected in manuscript), index incomplete at rear lacking final 3 leaves after Iiiii1, few index leaves torn with occasional loss and some repairs, occasional spotting and few marks, light damp-staining at rear of volume, endpapers renewed, contemporary blind panelled calf, rebacked and corners repaired, maroon skiver title label to spine, boards lightly rubbed, folio (32.3 x 22 cm) QTY: (1)NOTE:Provenance: Frederick Alkmund Roach OBE (1909-2004).Henrey 154; Hunt 174; Nissen 698; STC 11750.The first edition includes the first recorded illustration of a potato, p.781.
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D'Urfey (Thomas). Wit and Marth: or Pills to purge Melancholy; being a collection of the best merry ballads and songs old and new. Fitted to all humours, having each their proper tune for either voice, or instrument. Most of the songs being new set, 6 volumes, 1st edition, 2nd issue, London: Printed W. Pearson, for J. Tonson, at Shakespear's Head..., 1719[-20], engraved frontispiece portrait of the author by George Virtue to first volume, letterpress music to text throughout, volume 6 with small woodcut portrait of Shakespeare to title, 19th-century armorial bookplate of Joshua Platt, and Frederic Perkins, Chipstead Place, Kent to front endpapers (the latter pasted over the bookplate of Joshua Platt in each volume except volume one), further bookplate of Eric S. Quayle to verso of front endpaper, all edges gilt, early 19th century gilt-decorated dark blue straight-grained full morocco, lightly rubbed to spines and edges, 12moQTY: (6)NOTE:Day and Murrie 236-240 & 242.; Grolier, Wither to Prior 341.Attractive copy of the most famous song book of its day, which originated in a single volume of songs and catches published with the title An Antidote Against Melancholy: made up in Pills in 1661.
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Carroll (Lewis). Phantasmagoria and Other Poems, 1st edition, London: Macmillan & Co., 1869, some spotting, all edges gilt, original blue cloth gilt, rubbed, corners bumped and some fraying to spine ends, 8vo, together with Davies (William H.), Nature Poems and Others, 1st edition, London: A. C. Fifield, 1908, advert leaf at rear, bookplate of Charles Bruce Locker Tennyson, partly uncut, original printed boards, rubbed and soiled, small 8vo, plus Fisher (Ronald A.), Statistical Methods and Scientific Inference, 1st edition, Edinburgh & London: Oliver & Boyd, 1956, original cloth in dust jacket, a little rubbed and browned on spine, 8vo, plus Prescott (William H.), History of the Reign of Philip II, King of Spain, 3 volumes, 1st edition, 1855-59, engraved plates including portrait frontispiece to each, some spotting and heavy browning at front and rear, original cloth gilt, a little rubbed and two small nicks to lower joints of volumes 1 & 2, 8vo, plus other miscellaneous books including history and coffee table booksQTY: (6 shelves)
Los 557
Darwin (Francis, editor). The Life and Letters of Charles Darwin, including an Autobiographical Memoir, 3 volumes, 3rd edition, London: John Murray, 1887, engraved portrait frontispiece to each volume, some spotting, original cloth gilt, rubbed and soiled, together with More Letters of Charles Darwin. A Record of his Work in a Series of Hitherto Unpublished Letters, 2 volumes, 1st edition, London: John Murray, 1903, some plates and text illustrations, marginal tear with loss not affecting text to pp. 111-112 of volume 2, original cloth gilt, plus Henry (William Ernest), Lyra Heroica. A Book of Verse for Boys, 1st edition, London: Methuen & Co., 1892, publisher's adverts at rear, contemporary presentation inscription to front free endpaper, 'Erasmus Darwin from Ellen & Frances, Christmas 1892', inner hinges cracked, original gilt-decorated blue buckram, spine browned, rubbed, all 8vo, plus other mostly late 19th and early 20th-century Darwinism interest, mostly 8vo and smaller format sizes.QTY: (approx. 90)
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Dalton (Francis). Finger Prints, 1st edition, London: Macmillan & Co., 1892, 15 plates, some text illustrations and tables, upper inner hinge cracked, original cloth, slightly rubbed and faded on spine, 8vo, together with:[Chambers, Robert], Explanations: A Sequel to "Vestiges of the Natural History of Creation", 1st edition, London: John Churchill, 1845, publisher's adverts at rear, some spotting and occasional pencil marks to margins, bookplate of George Gunner and two other later ownership signatures to front pastedown, original cloth, spine chipped and lifted, slightly rubbed and soiled, 8vo, plusMivart (St. George), Lessons from Nature as Manifested in Mind and Matter, 1st edition, London: John Murray, 1876, publisher's adverts at rear, spotting throughout, ownership inscription of J. Smith to title, original blue cloth gilt, a little rubbed, 8vo, plus Romanes (George John), An Examination of Weismannism, 1st edition, London: Longmans, Green, & Co., 1893, portrait frontispiece, library blind stamp to title and ink stamp to front free endpaper, original cloth gilt, a little rubbed and soiled, 8vo, plus other mostly late 19th and early 20th-century books on evolution, biology and science, etc.QTY: (approx. 50)
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Roberts (David). The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, 1st quarto edition, 6 volumes bound in 3, London: Day & Son, 1855-56, lithograph portrait frontispiece to volume I, 6 tinted titles, 241 tinted lithograph plates, 2 maps by Louis Haghe after Roberts, gutta-percha perished, contents loose, occasional light spotting, all edges gilt, contemporary burgundy half morocco gilt, joints and edges rubbed and scuffed, some fading and mottled stains to covers, 4to QTY: (3)NOTE:Abbey Travel 388.
![[Gibson, John]. The Fruit-Gardener. Containing the Method of Raising Stocks, for multiplying of Fruit-Trees, by Budding, Graf](https://cdn.globalauctionplatform.com/910db78b-cd1e-4760-a5d0-b0dc011def41/d669f832-232c-4206-9cf2-b11e0120321f/468x382.jpg)
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[Gibson, John]. The Fruit-Gardener. Containing the Method of Raising Stocks, for multiplying of Fruit-Trees, by Budding, Grafting, &c. As also, Directions for laying out and managing Fruit-Gardens. To which is added, the art of Training Fruit-Trees to a Wall, in a new, easy, expeditious, and cheap manner. With a Description of some of the best kinds of Fruit; and the Characters of the Trees, as to Growing and Bearing. Being the result of more than twenty years practice, observation, and experience, London: J. Nourse, 1768, light toning and occasional minor scattered spotting, contemporary sheep, rebacked, recent maroon morocco title label, some wear to board edges, 8vo, together with:Forsyth (William). A Treatise on the Culture and Management of Fruit Trees; in which a new method of Pruning and Training is fully described..., 7th edition, corrected, London: Longman, Hurst, Rees, Orme, Brown, Green and T. Cadell, 1824, engraved portrait frontispiece and 13 plates (including 11 double-page), stain to frontispiece and following 15 leaves at head, some offsetting, light dust-soiling and spotting, front flyleaf with early signature G. Boughton Kingdon, contemporary calf, rebacked preserving original spine with morocco title label, spine and extremities lightly rubbed, 8vo, plus Miller (Philip). [Gardeners Kalendar..., London: John and James Rivington, c.1750?], engraved frontispiece (torn to lower inner corner with loss), lacking title, toning, spotting and few marks, few gatherings slightly sprung, contemporary calf, joints split, paper tape to spine, worn, 8voQTY: (3)NOTE:Provenance: Frederick Alkmund Roach OBE (1909-2004).1. Henrey 724.
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Pope (Alexander). The Works, 9 volumes, London: B. Law et al, 1797, engraved portrait frontispiece to volume one, occasional light spotting, all edges gilt, contemporary green full morocco gilt, rubbed and lightly marked, a few spines somewhat faded, 8vo, together with:The Odyssey of Homer. Translated by Alexander Pope, 5 volumes, new edition, London: Bye and Law, 1796, lightly toned, all edges gilt, contemporary green full morocco gilt, lightly rubbed with a few marks, spines somewhat faded, 8vo, plusThe Iliad of Homer. Translated by Alexander Pope, 6 volumes, new edition, London: H. Baldwin, 1796, engraved frontispiece to volume one, light scattered spotting, all edges gilt, contemporary green full morocco gilt, rubbed, spines somewhat faded, 8voQTY: (20)NOTE:An attractive set uniformly bound.
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Wakefield (Priscilla). An Introduction to Botany, in a series of Familiar Letters..., to which is added, The Pleasures of Botanical Pursuits. A Poem, by Sarah Hoare, 9th edition, London: Harvey and Darton [et al], 1823, 9 hand-coloured engraved plates including frontispiece, folding table, some offsetting and toning, endpapers renewed, contemporary calf, rebacked and corners repaired, red morocco title label to spine, 12mo, together with:[Newton, James]. [A Compleat Herbal of the late James Newton, M.D. containing the prints and the English names of several thousand Trees, Plants, Shrubs, Flowers, Exotics, &c. all curiously engraved on cooper-plates, London: E. Cave [et al.], 1752], engraved portrait frontispiece and 175 plates, bound without text leaves (title, dedication, preface, 3 leaves of table of authors and 3 leaves of index), index at rear provided in 5 folding leaves of manuscript written in a neat hand, plates from 165 onwards incorrectly numbered and corrected in a contemporary hand, contemporary diced calf, gilt decorated spine with green morocco title label, joint and head of spine rubbed, 8vo,Smith (James Edward). A Grammar of Botany, illustrative of Artificial, as well as Natural, Classification, with an explanation of Jussieu's System, 2nd edition, London: Longman, Rees, Orme, Brown, and Green, 1826, 21 hand-coloured engraved plates, spotting mostly to title and final leaf, light offsetting from plates, contemporary half calf, gilt decorated spine, joints and foot of spine strengthened, 8vo,Miller (Phillip). The Gardeners Kalendar; Directing what Works are necessary to be performed every Month in the Kitchen, Fruit, and Pleasure-Gardens, as also in the Conservatory and Nursery..., 14th edition, London: Printed for the Author, 1765, engraved frontispiece, five folding engraved plates, Eardiston armorial bookplate to upper pastedown, contemporary calf, worn at head and foot of spine, 8vo,Lindley (John). Ladies' Botany: or a Familiar Introduction to the Study of the Natural System of Botany, 2 volumes, London: James Ridgway and Sons, 1837, 50 hand-coloured engraved plates, top edge gilt, later 19th-century green morocco-backed cloth by Birdsall & Son of Northampton, some cracking and wear to joints and extremities, 8vo, plus other 18th-early 20th century natural history and botany relatedQTY: (15)
![Charles I. [Eikon Basilike]. The Pourtraicture of His Sacred Majestie in his Solitudes and Sufferings..., [London]: Printed [](https://cdn.globalauctionplatform.com/910db78b-cd1e-4760-a5d0-b0dc011def41/ce029708-ca66-438f-a542-b11e011f45fe/468x382.jpg)
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Charles I. [Eikon Basilike]. The Pourtraicture of His Sacred Majestie in his Solitudes and Sufferings..., [London]: Printed [by T. Newcomb for H. Seile] in the Yeer, 1649, double-page engraved frontispiece (fold split and strengthened to verso), explanation leaf present facing frontispiece, first two words of title printed in Greek characters, early annotation to verso of K9, wanting leaf K10 (blank), damp-staining and toning, 19th-century half calf, boards detached, 12mo, together with:Taylor (Jeremy). A Discourse of the Nature, Offices and Measure of Friendship. With rules of conducting it. In a Letter to M. K. P. To which are added, Two Letters to Persons changed in Religion. Also Three Letters to a Gentleman that was tempted to the Communion of the Romish Church, London: R. Royston, 1671, engraved portrait frontispiece (torn to lower blank margin, some toning and scattered spotting, lacking free endpapers, armorial bookplate to upper pastedown bearing the motto 'dat cura quietem' (possibly for the Medlicott family), all edges gilt, contemporary gilt panelled and decorated brown morocco, joints worn, 12mo, (Wing T318), and Avaux (Claude de Mesmes, comte d'). Lettres de Messieurs d'Avaux et Servien, ambassadeurs pour le Roy de France en Allemamagne [sic], concernantes leurs differents & leurs responses de part & d'autre en l'année 1644, published 1650, damp-staining to front endpaper, contemporary calf, morocco title label to spine, upper joint and spine split, small 8vo, plus three other 17th-18th century antiquarian volumes, including one defectiveQTY: (6)
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Speed (John). Title and Dedication pages, John Sudbury & George Humble, 1611, hand-coloured engraved title & dedication page, title page with near-contemporary ownership signatures in the upper margin, dedication page torn with loss to the lower left, title page torn with loss to the lower right, both skillfully restored in facsimile, occasional repaired marginal closed tears, each approximately 385 x 245 mm, with another late 18th century uncoloured decorative title page by Jean Lattre, slight staining to the margins, 330 x 230 mm, with a mid 18th century uncoloured engraved portrait of Nicolas De Fer, 255 x 195 mmQTY: (4)
![Machiavelli (Niccolò). Tutte le Opere, 5 parts in 1 vol., second Testina edition, [?Geneva], 1550 [but 1620], general title w](https://cdn.globalauctionplatform.com/910db78b-cd1e-4760-a5d0-b0dc011def41/630e1840-108b-418b-aec1-b11e011f3ac4/468x382.jpg)
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Machiavelli (Niccolò). Tutte le Opere, 5 parts in 1 vol., second Testina edition, [?Geneva], 1550 [but 1620], general title with woodcut portrait of Machiavelli, one double-page woodcut illustration (dell’arte della Guerra), some browning and a few scattered stains to second part (Tito Livio), L’Asino d’oro [part 5] supplied twice with different typesetting and paginations, the first with intermittent brown staining at head of pp. 1-46 affecting some text, the second with some overall browning and a final blank, final part Il Principe with woodcut portrait of Machiavelli, some overall spotting and occasional browning, contemporary vellum, rubbed and soiled, 4toQTY: (1)NOTE:Pagination: [4], 8, 351, [1] (Historie Fiorentine); 14, [2, blank], 304 (Tito Livio); 168 (dell’arte della Guerra); 170 (L’Asino d’oro); 158, [2, blank] (L’Asino d’oro); [4], 116 pp. (Il Principe). Second of the five ‘Testina’ editions of Machiavelli's collected works, spuriously dated 1550 but printed in the 17th century, so named for the small woodcut portrait on the title. [Adams M7] which includes the 170-page version of L’Asino d’oro.
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Bruce (C. G.). Twenty Years in the Himalayas, 1st edition, London: Edward Arnold, 1910, monochrome portrait frontispiece, folding panorama & map plus 58 further illustrations, modern endpapers, some spotting & toning throughout, modern gilt decorated green half morocco, 8vo, together with:Shepherd (C. W.), The North-West Peninsula of Iceland, being the journal of a tour in Iceland in the Spring and Summer of 1862, 1st edition, London: Longmans, Green, and Co., 1867, inscription by the author tipped-in to the front endpaper, colour frontispiece, folding map & 1 further colour plate, some light spotting & toning, original green cloth, boards & spine slightly rubbed, 8vo, plusSwayne (H. G. C.), Through the Highlands of Siberia, 1st edition, London: Rowland Ward, 1904, 60 monochrome illustrations plus a folding map to the rear, original front pastedown marked with the remains of a bookplate, original endpapers with further modern endpapers, some light marginal toning & spotting, modern gilt decorated brown half morcocco, 8vo, and Haughton (H. L.), Sport & Folklore in the Himalaya, 1st edition, London: Edward Arnold, 1913, 24 monochrome illustration, bookplate to the front pastedown, some spotting & light toning throughout, original gilt decorated red cloth, boards & spine very lightly rubbed, 8voQTY: (4)
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Barclay (Rev. James). A Complete and Universal Dictionary of the English Language..., A New Edition, George Virtue, circa 1845, portrait frontispiece of Queen Victoria, additional decorative title and half-title, 10 uncoloured engraved plates and fifty uncoloured engraved maps by Thomas Moule, a few maps trimmed with slight loss, chronological table bound at the rear, some water staining to the preliminaries, later endpapers, later half calf with contrasting morocco gilt label to the spine, 4toQTY: (1)
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Visconti (Giambattista). Il Museo Pio-Clementino..., volume 4 (only), Da Luigi E Guiseppe Mirri, Rome, 1788, additional half-title, engraved portrait frontispiece, 50 uncoloured engraved plates of classical scenes, reliefs and statues, contemporary half morocco gilt, bumped, worn and frayed, large folio, together with Aubin (Louis Millin de Grandmaison). Peintures de Vases Antiques vulgairement appelés étrusques..., volume 2 (only), Paris, P. Didot l'ainé, 1810, title page trimmed and detached, 78 (only) uncoloured engraved plates, some water staining to last few leaves, contemporary half calf, lacking upper board, rear board detached, folioQTY: (2)NOTE:Sold as a collection of prints, not subject to return.
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Lawrence (D. H.). Pansies, privately printed by P. R. Stephensen, 1929, signed by the author to the limitation page, monochrome portrait frontispiece, original limp boards in wrapper & slipcase, a very minor loss to the head & foot of the wrapper spine, slipcase slightly toned, 8vo, limited edition 319/500The Man Who Died, London: William Heinemann, 1935, wood engravings by John Farleigh, some minor spotting & marginal toning, original cloth spine to marbled boards, small bump to the foot of the boards, very minor rubbing to the head & foot of the spine, 4toQTY: (2)
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Medical Botany. Medical Botany: or, History of Plants in the Materia Medica, of the London, Edinburgh, and Dublin Pharmacopoeias. Arranged according to the Linnaean system, 2 volumes, London: E. Cox, 1819-21, half-titles, 138 hand-coloured engraved plates (including one folding), bound without portrait frontispiece of Linnaeus, occasional spotting, contemporary marbled half calf, modern rebacks, 8vo QTY: (2)
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Somerville (Edith OEnone & Martin Ross). The Real Charlotte, 3 volumes, 1st edition, London: Ward and Downey, 1894, half-titles for volumes I & II only (lacking in volume III), pages 17 & 43 in volume I, 113 in volume II & 111 in volumes III detached and frayed to inner margins from where stitched, one or two small tears, stitching weak in places, a few light marks, contemporary red morocco-backed boards, lacking spines, 8vo, together with An Incorruptible Irishman. Being an account of Chief Justice Charles Kendal Bushe, and his wife Nancy Crampton, and their times, 1767-1843, 1st edition, London: Ivor Nicholson and Watson, 1932, portrait frontispiece, illustrations, endpapers a little toned, contemporary presentation inscription, original cloth, spine and cover margins faded, 8vo, signed to title by Edith Somerville, plus 10 others by the authors including 1st editions All on the Irish Shore. Irish Sketches, 1903, Further Experiences of an Irish R. M., 1908, Mount Music, 1919, and Stray-Aways, 1920 QTY: (14)NOTE:First work Sadleir 3127; Wolff 6480. The Real Charlotte is regarded a classic of Irish literature and written by the collaborative Anglo-Irish writers and cousins Edith Somerville and Violet Martin Ross (writing as 'Martin Ross'), their first book An Irish Cousin was published in 1889.
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Morris (F. O.) A History of British Birds, 6 volumes, 4th edition, London: John C. Nimmo, 1895-97, 394 hand-coloured lithograph plates, one or two light spots, some toning to endpapers, original cloth gilt, spine ends repaired, edges a little rubbed, some light fading and stains to covers, 8vo, together with Wilson (Alexander & Prince Charles Lucien Bonaparte). American Ornithology: or the Natural History of the Birds of the United States... the illustrative notes and life of Wilson by Sir William Jardine, 3 volumes, London, Paris & New York: Cassell, Petter & Galpin, circa 1880, engraved portrait frontispiece of the author, 103 hand-finished chromolithograph plates, occasional light spotting and offsetting, top edge gilt, original morocco-backed boards gilt, spines a little rubbed, 8voQTY: (9)
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* Dighton (Robert). The Specious Orator; Will your Ladyship do me the honor to say £50-00, A mere trifle - a brilliant of the first water, an unheard of price for such a lot, surely, 1794, etching with contemporary hand-colouring, 195 x 150 mm, mounted, framed and glazedQTY: (1)NOTE:A portrait of the Scottish auctioneer, James Christie, the founder of Christie's. The image is the basis for Christie's logo design. The Parker Gallery label to verso of frame.
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Newton (James). A Compleat Herbal of the Late James Newton, M. D. containing the Prints and the English Names of several thousand Trees, Plants, Shrubs, Flowers, Exotics, &c., London: Printed by E. Cave... and sold by Mr Watson..., 1752, engraved portrait frontispiece with long diagonal repaired closed tear, 190 engraved botanical plates, few plates and text leaves very lightly shaved, light dust-soiling and offsetting, late 19th/early 20th-century half calf, maroon morocco title label to spine, joints rubbed, 8vo, together with:Miller (Joseph). Botanicum Officinale; or a Compendious Herbal: Giving an Account of all such Plants as are now used in the Practice of Physick. With their Descriptions and Virtues, London: E. Bell, J. Senex, W. Taylor, J. Osborn, 1722, modern calf-backed boards, 8vo, Meyrick (William). The New Family Herbal; or, Domestic Physician..., Birmingham: Printed by Thomas Pearson, and sold by R. Baldwin, 1790, engraved frontispiece, 14 hand-coloured engraved botanical plates at rear, armorial bookplate of Thomas Botfield to upper pastedown, contemporary marbled calf, gilt decorated spine, joints cracked, spine and extremities rubbed, 8vo,Quincy (John). Pharmacopoeia Officinalis & Extemporanea. Or, a complete English Dispensatory..., 11th edition, enlarged and corrected, London: Thomas Longman, 1739, advertisement leaf before title, light dust-soiling and few marks, contemporary calf, joints split, 8voQTY: (4)
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Edwards (George). Gleanings of Natural History, exhibiting figures of quadrupeds, birds, insects, plants, volume I only (of 3), 1st edition, London: Printed for the author at the Royal College of Physicians, 1758, engraved portrait frontispiece of the author, half-title in English and French with large engraved vignette, 50 fine hand-coloured engraved plates, occasional light offsetting, endpapers renewed, contemporary mottled calf, rebacked with most of original spine relaid, modern red label to spine, small neat repairs, 4toQTY: (1)NOTE:Freeman 1112; Nissen IVB 288; Zimmer 198.The whole work commences with The Natural History of some uncommon birds and of some other rare and undescribed animals, in 4 volumes, first published in 1743-51, with Gleanings of Natural History published as a continuation, in 3 volumes in 1758-64. The present copy is volume I only of the continued work.
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Darwin (Francis, editor). The Foundations of the Origin of Species, a sketch written in 1842 by Charles Darwin, Cambridge: printed at the University Press, 1909, half-title, portrait frontispiece, facsimile of a holograph, partly unopened, scattered light spotting, original parchment-backed printed boards, spine toned, a few small stains, 8vo QTY: (1)NOTE:Freeman 1555. 'When Francis Darwin put together Life and letters he did not know that the sketch of his father's evolutionary ideas, which was written in 1842, had survived. The pencil manuscript was discovered in 1896, after the death of his mother, in a cupboard under the stairs at Down House. Its dating is discussed in the preface to the first printing in 1908, and in that of 1958. The first, dated June 23, 1909, was not published but was printed for presentation to delegates to the Cambridge festivities in commemoration of the centenary of Darwin's birth and the fiftieth anniversary of the publication of The Origin of Species. (Freeman p. 182).This copy is presented by the syndics of the University Press to Cecil Wedgwood (1863-1916). He was the great-great-grandson of potter Josiah Wedgwood, becoming a partner in the firm in 1884, and was the first mayor of Stoke-on-Trent in 1910-11. He rose to the rank of major during the Second Boer War (1899-1902) and in 1914, at the outbreak of the First World War raised the 7th Battalion of the North Staffordshire Regiment. He was killed at the Battle of the Somme in July 1916..
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Swift (Jonathan). The Works of Jonathan Swift, D. D. Dean of St Patrick's, Dublin; containing Additional Letters, Tracts, and Poems, not hitherto published; with Notes and a Life of the Author, by Sir Walter Scott..., 2nd edition, 19 volumes, Edinburgh; Printed for Archibald Constable and Co, 1824, engraved portrait frontispiece to volume 1, partially erased library stamp to top right of title page to each volume but not affecting text, minor spotting throughout, early 20th-century half calf by Cross, Binders to the King, elaborate gilt decoration and contrasting morocco labels to spine, 8voQTY: (19)
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