Hardy (Thomas).- Lea (Hermann) A fine group of 39 original photographic portraits of Thomas Hardy and 3 portrait postcards by Lea, many inscribed in pencil on verso in Lea's or others' hand, a few with comments by Hardy himself, varying condition, Dorset, v.s., [c.1905-12].⁂ Portrait studies of Hardy by his friend and collaborator Hermann Lea, at least some of which were to be considered by them both as to suitability for publication. In one group of 9 images in their original envelope and endorsed in pencil by Lea (all of which are faded but still clearly show Hardy), Lea has commented on a series lettered A-F (A missing) and Hardy has added additional comments beneath: e.g. "This is spoilt by the location - due to the direct sunlight. H.L." and "Next Best to A. Why not try another like this?" in Hardy's hand. Some are just head and shoulders studies, others show him seated in his library with books around him. One is inscribed by Lea in pen on verso, "Frontispiece Little Guide Book" [A Handbook of the Wessex Country of Thomas Hardy, 1905].
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Beardsley (Aubrey).- Evans (Frederick H.), Leonard Smithers and others. Two platinotype reproductions of drawings by Beardsley, and a collection of over 20 reproductive prints, including a grotesque self-portrait, "a footnote", a colour printed impression of "Isolde" from the Leonard Smithers collection, prints, some printed in colour, some platinum photo reproductions, on various papers, many impressions on Japon and apparent proofs aside from publication, some mounted with detailed pencil inscriptions and annotations by Smithers and later collectors, various sizes, all unframed, [late 19th century]; together with a copy of R. A. Walker's 'How to detect Beardsley Forgeries', 8vo, 1950 (22)
William Beckford's copy.- True Mannor and Forme (The) of the Proceeding to the Funerall of the Right Honourable Robert Earle of Essex and Ewe, first edition, title within typographic border and with small woodcut of a crown, large woodcut head-piece and floriated initial, engraved portrait frontispiece by W. Marshall, 6 woodcut armorial banners, large folding woodcut of his catafalquw in procession, one full-page white on black woodcut of the lying in state, a few leaves shaved just affecting pagination or signature and catchword, Printed for Henry Seale, 1646; bound with Elegie upon the most lamented death of the Right Honourable and truly valiant, Robert Earle of Essex, &c. (An), 4pp., 'Finis' at foot of final page trimmed with loss, n.p., n.d., together 2 works in 1, 19th century blue morocco, gilt, by Lewis, joints slightly rubbed, g.e., [Wing G5 and G3;not in Pforzheimer or Grolier], 4to ⁂ Rare, first and only edition of this attractively illustrated description of the funeral procession of Robert Devereux, 3rd Earl of Essex, whose father the second Earl was executed by Queen Elizabeth in 1601. Essex was made Captain-General of the Parliamentarian armies at the outbreak of the civil war but had mixed success on the battlefield and died after suffering a stroke after hunting at Windsor in 1646. This work describes and illustrates the pomp and ceremony of the state funeral he was awarded. This copy lot 966 in the sale of William Beckford's library in 1883.
Napoleon.- Houssaye (Henry) Napoléon Homme de Guerre, first edition, out-of-series copy on Japon (limited to 5 copies with 4 additional states), from an edition limited to 215, etched frontispiece and illustrations by Charles Morel, this the author's own copy with original watercolour portrait, 7 additional states of the etching, 2 unused etchings and 4 leaves of text printed with unused illustrations, bookplate of the author, bound in magnificent red morocco inlaid with intricate mosaic pattern tooled in gilt, by Joly fils, covers with quintuple gilt fillet border surrounding panel with all-over diaper pattern of small inlaid black morocco lozenges tooled with alternate imperial eagles and laurel wreaths in gilt, all within gilt lattice with small circles at intersections, spine titled in gilt and with inlaid compartments and five raised bands tooled in gilt, inner gilt dentelles, red silk doublures and flyleaves, signed at foot of front turn-in, original printed wrappers bound in, g.e., preserved in half red morocco chemise, spine gilt with imperial eagle motifs, marbled board slip-case, 12mo (c.160 x 115mm.), Paris, 1904.⁂ A stunning binding on a unique copy of this Napoleonic work, with much additional material.
Laurencin (Marie), Jean Cocteau, Darius Milhaud & Francis Poulenc. Theatre Serge de Diaghilev: Les Biches, 2 vol., one of 335 copies, mixed set (vol.1 on Arches and numbered '141', vol.2 unnumbered and not on Arches), vol.1 with 2 portraits, facsimile sheet of music and 14 colour plates by Marie Laurencin, some pochoir, vol.2 with photographic portrait of Marie Laurencin by Man Ray and 23 photographic plates of dancers, original pochoir pictorial wrappers by Marie Laurencin, uncut, vol.1 with glacine wrapper (a little browned and frayed) and lacking small portion from foot of spine of both wrappers, vol.2 lightly stained at corners, Paris, 1924 § Blow (John) Venus and Adonis, edited by Anthony Lewis, number 228 of 350 copies, musical score, John Tobin's copy with his ink signatures, notes on inside upper cover and pencil annotations to score, loose in binding, original wrappers with pochoir illustration by Marie Laurencin to upper cover, a little rubbed and soiled, with 7 mounted pochoir plates by Laurencin loose in envelope with list of designs in green paint (browned and soiled, frayed at edges), together with another slightly larger score for different instruments, original wrappers (faded and frayed at edges), Paris, Éditions de l'Oiseau Lyre, 1939, 4to (5) ⁂ Les Biches was a one-act ballet with music by Poulenc, choreography by La Nijinska, and stage designs and costumes by Laurencin. It premiered in Monte Carlo on 6th January 1924. The second item features Laurencin's designs for a 1939 production of John Blow's opera composed in 1682.
Bibiena (Ferdinando Galli) L'Architettura Civile, 5 parts in 1 vol., first edition, woodcut decoration on title, woodcut initials and decorations, full-page engraved portrait and 72 plates, errata leaf at end, all leaves guarded, water-stain to upper and lower margin throughout, some soiling, a few short tears, contemporary vellum, worn and rebacked, early ink writing to both covers, [Berlin Kat. 2628; Fowler 134, variant title mentioning Bologna; Millard Italian 45], folio, Parma, Paolo Monti, 1711.⁂ "The five parts of this work treat of geometry, civil architecture in general, perspective, painting, theatrical scenes and the mechanics of lifting and moving objects. As an author Ferdinand is perhaps the most important of the five members of the great Italian architectural family of Galli da Bibiena, known for their theater designs and decorations in the full baroque style". (Fowler).
Holbein (Hans) Imitations of Original Drawings... in the Collection of His Majesty, for the Portraits of Illustratious Persons of the Court of Henry VIII. With Biographical Tracts, 83 engraved plates on 82 sheets (of 84 called for by Abbey, without the portrait of Sir John Godslave), nos. 76 & 77 misbound at front, these on one sheet, hand-coloured), all printed in colours by Bartolozzi, C. Metz and C. Knight after Holbein, 71 printed on pink paper, of which 53 on thick paper mounted, occasional faint spotting, some nicks to page edges, some renewed tissue-guards, contemporary calf, rubbed, recornered and rebacked, hinges reinforced, [Abbey Life 205, Lowndes I 405], folio, Printed by W. Bulmer and Co..., 1792[-1800].⁂ "This magnificent work is surely the finest early example of English color printing." - Ray.The originals, in chalk heightened with pen and metal-point, were made by Holbein during his two sojourns to England. They constitute preliminary studies for several of his most famous oil paintings. The drawings were originally in a volume now preserved in the Royal Library at Windsor Castle, called the Great Booke.
Betjeman (John) Metro-Land, one of 220 copies signed by the author and illustrator, 15 colour lithograph plates by Glynn Boyd Harte, original pictorial cloth, slight foxing to upper cover, original cloth box, Warren Editions, 1977; Summoned By Bells, one of 125 copies signed by the author, portrait frontispiece, plates and illustrations, original green morocco, gilt bell design to covers, t.e.g., others uncut, head of spine very slightly rubbed, 1960; A Nip in the Air, one of 175 copies signed by the author, original cloth, 1974; New Bats in Old Belfries, signed twice by the author on title, loosely inserted 3 T.L.s. and one A.L.s. by the author to different recipients, original cloth, 1945; and 9 others by the same, all signed or signed limited editions, 4to and 8vo (13)
Pufendorf (Samuel) Histoire du Regne de Charles Gustave Roy de Suede, 7 parts in 2 vol., first French edition, additional engraved title, portrait of the author and another of Charles XI both by Blesendorff, 10 single-page engraved portraits and 114 double-page or folding engraved plates and maps (?of 115), and one folding letterpress table (trimmed), engraved decorations, some browning to text ff., occasional foxing, later half calf over marbled boards, a little rubbed, folio, Nuremberg, Knorz for Christophe Riegel, 1697.⁂ First published in Latin the previous year, this impressive work covers the history of Carl Gustav's reign from 1654-60, much of which involved the Second Northern War in Poland/Lithuania. As well as maps, town-views and battle-plans and scenes, the plates include a large multi-folding depiction of the King's funeral procession in Stockholm.
Milton (John) Paradise Lost. A Poem in Twelve Books, fourth (first illustrated) edition, lacking engraved portrait but with all the 12 engraved plates, mostly by M.Burghers and P.P.Bouche after Medina, list of subscribers at end, ink annotations to first leaf of text, tear to lower margin of Oo4, by Miles Flesher, for Jacob Tonson, 1688; Paradise Regain'd...to which is added Samson Agonistes, third (first folio) edition, light water-staining to outer margin, R.E[veringham]...to be sold by Randal Taylor, 1688, together 2 works in 1 vol., some light browning or soiling but a good wide-margined copy, contemporary mottled calf, rubbed, wear to edges, rebacked preserving old roan label, corners repaired, new endpapers, [Pforzheimer 720 & 721; Wing M2147 & 2154], folio
Warhol (Andy) The Philosophy of Andy Warhol (From A to B and Back Again), presentation copy signed with soup can doodle to Stephen Spender, original cloth-backed boards, dust-jacket with a couple of short tears and chips, 8vo, New York & London, 1975.⁂ "I took this picture of Stephen Spender and Christopher Isherwood when I was over in England a while ago. Baron Rothschild took us up to Spender's house for dinner. I think that's a bottle of Rothschild wine Spender is holding. I think Isherwood was mad at us for taking pictures. I guess it was when I was a little fresher- I took pictures without even asking. I ask more now. or I don't even do it. It was a really intellectual evening. I don't think they liked us. I went with Bob Colacello." (Warhol, A Warhol Portrait Gallery, Paris Review, issue 94, Winter 1984). This copy has 'BCDE' on title-verso but does not say 'first edition'.
Hardy (Thomas).- The Hardy Plays 1911...'The Three Wayfarers' (In one Act) Dramatised by Mr. Thomas Hardy...and 'The Distracted Preacher' (In three Acts) Dramatised by Mr. A.H. Evans, play bill, printed in green, lightly foxed, slightly creased, 444 x 288mm., Dorchester, 'Dorset County Chronicle' Printing Works, 1911 § Tess of the D'Urbervilles, film poster, printed in orange, brick red and black, 2 punch holes at top, small hole affecting one letter, several short tears, 760 x 254mm., Orpington, The Palace, Commencing Mon. 20th April, 1925 § Photogravure portrait of Hardy, signed by Hardy in ink, a little foxed, pencil inscription on verso in James Stevens Cox's hand "Presented by Hardy to Kitty Cressy given to JSC by her 1965", 218 x 143mm. (image 123 x 88mm.), [c.1920]; and a small group of miscellaneous Hardyiana including portraits in various media of Hardy, photographs of Florence Hardy, photographs by Hermann Lea of A.E. Housman (2), Arthur Symons (2) (small group)
Briseux (Charles-Etienne) Traité du Beau essentiel dans les Arts, appliqué particulierement à l'Architecture..., 2 vol., first edition, engraved throughout with portrait, 2 titles within decorative borders, text with decorations, 138 plates (some double-page or folding) including pictorial divisional titles, and privilege leaf at end of vol.2, some light spotting or staining, contemporary half calf, spines richly gilt, rubbed, [Berlin Kat. 2403; Fowler 69; Millard, French 42], 4to, Paris, the author & Chereau, 1752.⁂ Featuring charming rococo decorative borders, head & tail-pieces, and ornaments. "A fine example of an entirely engraved book". (Fowler).
Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., first edition, first issue of vol.1 with errata uncorrected, [one of 500 copies], half-titles (that in vol. 1 a tipped-in later facsimile), 3 folding engraved maps, engraved portrait frontispiece after Reynolds and vol. 1 *a4-*b2 (Contents) bound in vol. 2, vol. 1 with later engraved portrait laid down as frontispiece, with all cancels and errata as called for, engraved bookplate, later ink ownership name S. de Giles to rear pastedowns, first map with tiny tear to fore-edge without loss, offsetting, some light browning and scattered spotting, a little heavier at points, the odd small stain or light soiling, vol. 1 front free endpaper renewed with old paper, hinges neatly repaired, contemporary mottled calf, spines gilt and with red morocco labels, highly skilful repairs to spine ends and joints, a little rubbed and scratched, still a handsome set, [Rothschild 948; PMM 222], 4to, for W. Strahan and T. Cadell, 1776-88.⁂ One of the world's great historical works, rare with volume one in first state. 500 further copies were quickly printed as the work sold out in a few days. In this set, the frontispiece and Contents to the first volume seemingly always bound in the second. "This masterpiece of historical penetration and literary style has remained one of the ageless historical works...Gibbon brought a width of vision and a critical mastery of the available sources which have not been equalled to this day; and the result was clothed in inimitable prose" (PMM).
Livius (Titus) The Romane Historie Written by T. Livius of Padua, translated by Philemon Holland, first edition in English, large woodcut device on title and portrait of Queen Elizabeth I on verso, portrait of Livy on verso of A4, numerous woodcut initials, lacks last f. (blank), slight brown stain in margin of title, 3F6 and 5X6 small tear in lower margin, 17th century ink signature of Robert Gregge on title, bookplate of Sir Joseph Radcliffe Bart on front pastedown, later endpapers, contemporary calf, gilt centrepieces of arabesque design with initials WRE and single line gilt borders on both covers, slightly rubbed, brass clasps, rebacked, [STC 16613; Pforzheimer 495.], folio, Printed by Adam Islip, 1600.⁂ A good, clean copy of the first edition in English of Livy's Roman History translated by Philemon Holland. "Holland's first book, the first complete rendering of Livy into English, was published in 1600 when he was nearly fifty. It was a work of great importance, presented in a grand folio volume of 1458 pages, and dedicated to the queen. The translation set out to be lucid and unpretentious, and achieved its aim with marked success. It is accurate, and often lively, and although it does not attempt to imitate the terseness of Latin, it avoids prolixity." - Oxford DNB.
Scottish binding.- Ramsay (Allan) Poems, 2 vol. in 1, first editions, engraved portrait frontispiece to vol. 1, list of subscribers, ex-library copy with ink stamp on title, lacks advertisement leaf at end of vol. I and several ff. of index at end, vol. I K2, 2M2 and vol. II T2, X2, 2O1-4 all torn with loss, extensively foxed and browned, numerous ink marks, ink name of "Allan Ramsay" on title and inscriptions on verso, engraved bookplate of John Scott of Harden (a descendant of Mary Scott, the Flower of Yarrow and the subject of a poem by Ramsay), on front pastedown, 18th century calf with central onlay panel with gilt oval swag, key and floral borders and thistle decoration in corners, by James and William Scott binders of Edinburgh, rubbed, some surface wear affecting gilt, corners and edges repaired, rebacked in modern calf, gilt, 4to, Edinburgh, by Thomas Ruddiman, for the Author, 1721-1728.⁂ A fascinating copy with intriguing history. As well as their great-grandmother Mary (the subject of one of Ramsay's poems), the Scotts of Harden also had a daughter, Mary Lilias Scott, who Sir Walter Scott and others also considered to be another 'Flower of Yarrow'. Furthermore Allan Ramsay's son (also confusingly called Allan) courted and painted this Mary. At some point in the late 18th century this copy of the Poems was considered of such significance that it was sent to the finest Edinburgh binders of the day (James and William Scott) to create this opulent example of their work. It is unclear whether the name on the title, now quite faded, is in the hand of the poet, his son or another unknown person. On the title verso is a fragment of verse from the later Ramsay Tea Table Miscellany, which varies slightly from the published version. This curious copy was subsequently in the collection of Valentine Mann (late 19th century), who bequeathed it to the museum he established, The Valentine, from where it was de-accessed recently by auction.
Dickens (Charles) The Posthumous Papers of the Pickwick Club, 3 vol., first edition in book form, engraved frontispiece, additional title, and 41 plates by R. Seymour and H. K. Browne, extra-illustrated with 29 duplicate plates by the same artists in different states and issues, the 2 suppressed plates by Buss, 72 watercolour plates of Pickwickian characters by Joseph Clayton Clarke ["Kyd"], 32 contemporary plates by Thomas Onwhyn, title-page and 12 hand-coloured plates by Onwhyn first published in 1894, and a portrait of Dickens, vol. 2 with one blue upper wrapper from the issue in parts bound near start, early 20th century bibliographical notes in pencil to some plate margins, occasional light foxing, handsome Cosway-style binding of emerald green crushed morocco by Sangorski & Sutcliffe, fine miniature of the young Dickens painted on vellum under glass, surrounded by a fine brass rim and decorative border of small gilt and blind-stamped tools inset into the front tan morocco doublure of vol. 1, covers decorated with border of triple gilt fillet, front covers with a central red morocco inlay gilt-stamped with Dickens's crest of lion couchant, spine in six compartments with five raised bands, three lettered in gilt, the others decorated in gilt with small floral and volute tools, green morocco turn-ins decorated with gilt borders, five cinnamon silk moiré doublures each stamped in gilt with a facsimile of Dickens's signature, cinnamon silk moiré endpapers, t.e.g., very faint scratch to vol. 1 upper cover, preserved in a morocco-backed pull-top box (little rubbed), 8vo, Chapman and Hall, 1837.
Astronomy & Astrology.- Cardano (Girolamo) Libelli duo. Vnus, de supplemento Almanach. Alter, de Restitutione temporum & motuum coeslestium, first edition, title with woodcut oval portrait of the author, woodcut charts, diagrams and historiated and decorative initials, lacking final blank, title with some restoration (just touching a few letters) and some soiling, marginal repairs, see in particular part of lower blank corner of final f., some spotting and staining, lightly browned, later vellum over boards, some staining, [Caillet 2013; Durling 857; Houzeau & Lancaster 4826; Riccardi I, 1. 250]; VD 16 C 940], small 4to, Nuremberg, Johann Petri, 1543.⁂ Rare copy at auction of the first edition of Cardano's work on the fundamentals of astronomy for astrologers, including the determination of the correct length of the solar, tropical, and sidereal years, and followed by a section of 67 horoscopes of notables, including Petrarch, Luther, Cicero, Erasmus, Dürer, and Alciati.
Queen Elizabeth II, Gold Proof Sovereign, 2017. Queen Elizabeth II, Gold Proof Sovereign, 2017, Royal Mint, Obverse portrait by Jody Clark. R. The image of St. George armed, sitting on horseback, attacking the dragon with a broken spear surrounded by the inscription 'HONI SOIT QUI MAL Y PENSE', struck in 22-carat gold, weight 7.98g, diameter 22.05mm, in original presentation box of issue with numbered certificate, SC11.
Queen Elizabeth II, Gold Proof Sovereign, 2018. Queen Elizabeth II, Gold Proof Sovereign, 2018, Royal Mint, Obverse portrait by Jody Clark. R. St. George and dragon, with commemorative privy mark '65' on the reverse, struck in 22-carat gold, weight 7.98g, diameter 22.05mm, in original presentation box of issue with numbered certificate, SC9D.
Queen Elizabeth II, Gold Proof Sovereign, 2018. Queen Elizabeth II, Gold Proof Sovereign, 2018, Royal Mint, Obverse portrait by Jody Clark. R. St. George and dragon, with commemorative privy mark '65' on the reverse, struck in 22-carat gold, weight 7.98g, diameter 22.05mm, in original presentation box of issue with numbered certificate, SC9D.
A Royal Mint 2009 Alderney Gold Proof One Pound, 50th Anniversary of the Mini. A Royal Mint 2009 Alderney Gold Proof One Pound, 50th Anniversary of the Mini, Obverse portrait by Ian Rank-Broadley R. featuring a Mini-Motor Car, reverse design by David Cornell, struck in 0.999 gold, weight 1.244g, diameter 13.92mm, in original box of issue with numbered certificate.
Queen Elizabeth II, Gold Proof Sovereign, 2017. Queen Elizabeth II, Gold Proof Sovereign, 2017, Royal Mint, Obverse portrait by Jody Clark. R. The image of St. George armed, sitting on horseback, attacking the dragon with a broken spear surrounded by the inscription 'HONI SOIT QUI MAL Y PENSE', struck in 22-carat gold, weight 7.98g, diameter 22.05mm, in original presentation box of issue with numbered certificate, SC11.
Two cased Aircraft and Shipping Silver Proof Coin Collections, Solomon Islands. Two cased Silver Proof Coin Collections, Solomon Islands, to include aircraft and shipping designs, including twenty-four 25 Dollars pure silver proof coins with shipping designs and twelve 25 Dollars Pure Silver Plated with 24K Gold aircraft designs, each with obverse portrait by Raphael Maklouf, struck in pure silver, each coin weighing 31.1g (36).Qty: 36
2020 Royal Mint, Gold Proof Fifty Pence, Brexit, the UK's Withdrawal from the European Union. 2020 Royal Mint, Gold Proof Fifty Pence Coin, Brexit, the UK's Withdrawal from the European Union. Obverse portrait by Jody Clark. R. 'Peace, prosperity and friendship with all nations' and the date '31 January 2020', reverse design by The Royal Mint Team, weight 15.50g, diameter 27.30mm, struck in 22-carat gold, in original box of issue with numbered certificate, H81.
Mexico, 10 Pesos, 1959 (restrike), gold coin. Mexico, 10 Pesos, 1959 (restrike), Mexican coat of arms, featuring an eagle with a snake in its mouth, standing on a cactus and legend ESTADOS UNIDOS MEXICANOS. R. A left-facing portrait of Miguel Hidalgo y Costilla, struck in 0.900 gold, weight 8.3g, diameter 23mm, gVF.
Archibald Standish Hartrick (Scottish, 1864-1950) Calvary Oil on artist's board With an impassioned letter, likely by the artist, pasted on the reverse. Old exhibition label, verso, 'A. S. Hartrick, 75 Clancerty Road, Fulham, Calvary' Archibald Hartrick studied at the Slade and was good friends with Paul Gauguin whom he painted in 1913 (recently acquired by the Samuel Courtauld Trust). It is suggested that Hartrick even introduced Van Gogh (whom he also painted, cf. Van Gogh Museum, Amsterdam) and Gauguin in 1886. His portrait of another close friend, Henri de Toulouse-Lautrec, was acquired by the Tate Gallery in 1951. Dimensions: Canvas: 23.5 in (H) x 31 in. (W) Frame: 31.25 in. (H) x 39.25 in. (W)
Property of a Gentleman Pierre Gobert (1662 - 1744) A portrait of the Duchess of Burgundy Oil on canvas Gobert's artistic journey began under his sculptor father, and by age 20 in 1682, he worked as a court portraitist. He quickly gained recognition, becoming a candidate member of the Académie Royale de Peinture et de Sculpture in 1701, followed by full membership. In 1704, he displayed seventeen portraits at the Salon, including those of royal family members. Gobert temporarily moved to Lunéville from 1707 to 1709 to paint Léopold, duc de Lorraine (1679–1721), and Élizabeth Charlotte d'Orléans (1676–1744). His focus was often aristocratic women, and he resurfaced at the 1737 Salon before gradually fading from the art scene. Marie Adélaïde, born in 1685, was the daughter of Vittorio Amedeo II (1666–1732) of Savoy and Anne Marie d'Orléans (1669–1728), Louis XIV's (1638–1715) niece. She married her second cousin, Louis, duc de Bourgogne (1682–1712), in 1697. Cf. Metropolitan Museum Accession no. 631.20 Dimensions: (Canvas) 31 in. (H) x 37 in. (W) (Frame) 42 in. (H) x 48.5 in. (W)
Attributed to Corneille de Lyon (1500 - 1575) A portrait of a gentleman Oil on panel Note: Corneille de Lyon was a Dutch portraitist who was active in Lyon, France, from 1533 until his death in 1575. A leading painter of the French 16th century style, few identifiable portraits exist as the artist rarely signed or dated his works. The first identifiable work was established only in 1962. Works therefore tend to be attributed to Lyon on quality alone. The artist's portraits are typically miniature in scale, his signature green backgrounds painted thickly against thinner skin tones. Excellent examples survive in the Louvre, Paris, and Metropolitan Museum of Art, New York. Dimensions: (Panel) 9 in. (H) x 6.75 in. (W) (Frame) 12 in. (H) x 10 in. (W)
Attributed to Alessandro Allori (Florence, 1535 - 1607) Portrait of a young lady Oil on panel In a rare carved and giltwood 16th century Italian frame Provenance: Sotheby's, Lot 156, 29th April 2010 Note: Pupil and adopted son of Bronzino, Allori's 'Pearl Fishers in the Palazzo Vecchio' is generally considered his masterpiece Dimensions: Canvas: 16.5 in. (H) x 11.5 in. (W) Frame: 28 in. (H) x 25 in. (W)
John Riley (1646 - 1691) Portrait of Lady Mary Calverley Lady Mary Calverley, Lady Sherard (died 1702), was the daughter of Sir Henry Calverley of Eryholme and married in 1696 to Bennet, Lord Sherard (Baron Harborough). In a carved and gilded frame Property of an aristocratic family Dimensions: 30 in. (H) x 25 in. (W)
An assortment of paintings and prints, to include: A pair of print portraitsA floral watercolourAn architectural engraving in the style of PiranesiA group of four silhouette picturesA watercolour of a small birdA watercolour portrait of a boyCirca 1832, A watercolour of a gentleman and his spanielNeapolitan school, a pair of gouachesW. H. Cole, A watercolour, 1786 Property of a gentleman
ENGLAND FOOTBALL: A commemorative cover issued by Benham in honour of the former England football manager Sir Alf Ramsey and featuring his colour portrait, individually signed by eight members of the England football team who won the 1966 World Cup, comprising Geoff Hurst, Bobby Charlton, George Cohen, Ray Wilson, Jack Charlton, Roger Hunt, Gordon Banks and Nobby Stiles. All have signed in black or blue inks to clear areas. Post marked at Wembley, 21st May 2002. About EX
WAGNER RICHARD: (1813-1883) German composer. A good vintage signed sepia cabinet photograph, the sepia albumen print featuring an oval image of Wagner in a semi-profile head and shoulders pose. Photograph by Friedrich Bruckmann and bearing his imprint and the composer’s name to the lower photographer’s mount. Signed (‘Richard Wagner’) by Wagner in dark fountain pen ink with his name alone directly beneath the image. Glazed and with a contemporary stiff card backing. One small circular stain to the border, not affecting the image or signature, otherwise VG Friedrich Bruckmann (1814-1898) German portrait photographer who established his studio in 1858.
![[PAHLAVI MOHAMMAD REZA]: (1919-1980) Shah of the Imperial State of Iran 1941-79. A good, small collection of original unsigne](https://cdn.globalauctionplatform.com/c94208ea-33a8-4692-9303-b0af00c363c0/e48f1dba-22bd-4045-8bee-b0b400d9fbb8/468x382.jpg)
[PAHLAVI MOHAMMAD REZA]: (1919-1980) Shah of the Imperial State of Iran 1941-79. A good, small collection of original unsigned studio photographs of Mohammad Reza Pahlavi and various members of his family, different sizes (the largest 12.5 x 16.5 and the smallest 5 x 3.5), including the Shah standing in a formal three-quarter length pose wearing his ceremonial uniform, another informal image of the Shah holding his young daughter, Princess Shahnaz Pahlavi, in his arms, a portrait of Princess Shahnaz at a slightly older age (photograph by the Sako Studio of Tehran), a portrait of Reza Shah Pahlavi (Shah of Iran 1925-41) seated in a half-length pose, and several other images including a study of Shams Pahlavi, the Shah’s elder sister, seated in a three-quarter length pose. Some age wear, a few creases and one with some tears to the photographer’s mount. G to generally about VG, 7
EINSTEIN ALBERT: (1879-1955) German-born theoretical physicist, Nobel Prize winner for Physics, 1921. An impressive, large signed 17.5 x 23 silkscreen print by Einstein, the image being a well-executed line portrait of the scientist by the artist Joseph Scharl, 1946. Signed (‘A. Einstein’) by Einstein with his name alone to the lower left corner and also bearing the facsimile signature and date of Scharl. Matted in white and framed and glazed in a modern frame to an overall size of 26 x 36. A highly attractive signed image, effective in its confident and bold lines. Rare and desirable in this form. About EX Joseph Scharl (1896-1954) German-born American expressionist painter and graphic artist. Labelled a ‘degenerate’ artist by the Nazi Party, Scharl found it impossible to work in Germany and his immigration to the United States in 1939 was sponsored by Einstein. Scharl was not only supported financially by Albert Einstein, whom he had first met in Berlin in the 1920s, but also in the realisation of various exhibition projects. Scharl often visited Einstein, whom he painted several times, in Princeton and the two engaged in friendly correspondence from 1941 onwards. The years 1944-46, when the present portrait was created, marked the peak of Scharl’s fame in America. When Scharl passed away in 1954, a few months before his friend’s own death, Einstein gave the eulogy at the artist’s funeral.
RAY MAN: (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer. T.L.S., Man Ray, one page, 4to, Paris, 31st January 1962, to Jean. Ray writes in a business-like manner regarding the sales of his works, apologising for writing in English ('in which language I can express myself more shortly') and referring to an agreement he had entered into with his correspondent in 1959, which had led him 'to believe that I would be freed from all matters of keeping accounts and from endless discussions', continuing to rectify several points raised in his correspondent's recent letters, in part, 'Our contract gives you control of world sales, and the exhibitions in New York were arranged with the approval of the Galerie Rive Droite….To date no accounts have been given me of transactions….Among other activities in New York I was responsible for selling a watercolour for $400, as well as some drawings at a good price….In your second letter you say you haven't taken paintings to cover the contract. I have receipts for all the works you have taken which exceed what you have paid me. You admit you haven't paid me the four millions due in 1961. The contract stipulates three millions to be paid over the period…..I cannot go into details here, since you promised to keep accounts for me. Anyhow, your small investment in me has paid off already, I'm sure. And will continue to pay. I have done much more than you in the way of publicity: interviews, radio and television in France and abroad, as well as participating in non-commercial official exhibitions. In 59, before our contract I consigned only the Orateur to Loeb, asking him only 300.00 francs for it. He did not sell it because he probably asked a couple of thousand dollars for it, and I took it back. I sold it to you for 200.00 frs. as an object, although I have always considered it as important as any painting. But I wasn't going to argue with you - I counted on the future. So, the contract is void as from today.' A couple of very light, extremely minor corner creases, VG
ALEXANDER III: (1845-1894) Emperor of Russia 1881-94. Attractive signed printed large folio copy of L´Illustration Journal Universel, French weekly edition, sixteen pages, 4th April 1885, signed by Alexander III, as Emperor, with his initial `A´ in red indelible pencil to the upper right corner of the front page. The Parisian journal includes multiple and very attractive large engravings, showing to the front page an attractive engraving of Tonkin natives, and to the inside showing a full-page large engraving of fortifications works in Tonkin, as well as two portraits of the Tonkin heroes Colonel Dugennes, Captain Gourdon, Lieutenant-Colonel Herbinger and Lieutenant Latour. To another full page reproducing a very fine map of the military situation in Tonkin. To another page the weekly edition shows a Nadar Portrait of Prince Orloff, former Russian Ambassador in Paris. A last large engraving shows the new Hotel des Postes. The present copy was originally bound in a red leather folio volume for the Emperor, alongside other additions of the journal. Left edge very slightly trimmed, otherwise VG
BRITISH FILM DIRECTORS: A good selection of signed 8 x 10 photographs and slightly smaller (1) by various British (and one Australian) film directors, producers and screenwriters comprising Christopher Hampton (publicity portrait for Carrington), Mike Leigh (on the set of Secrets and Lies), Terry Gilliam (2), Michael Winterbottom (composite publicity still for Jude), Mike Figgis (on the set of The Browning Version), John Schlesinger (on the set of Eye for an Eye), Alan Parker, David Puttnam (also signed by Hungarian film director Istvan Szabo) and Peter Weir. All are signed in blue or black inks to largely clear areas of the images and only four are inscribed. VG to EX, 10
MARCH FREDRIC: (1897-1975) American actor, Academy Award winner. A good vintage signed and inscribed 8 x 10 photograph, the original RKO Radio Pictures publicity portrait depicting March in a head and shoulders pose in costume from his Oscar winning role as Al Stephenson from the epic drama film The Best Years of Our Lives (1946). Signed by March in dark fountain pen ink to a largely clear area of the background. A few light, minor surface and corner creases, otherwise VG
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