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283284 Los(e)/Seite
Los 622
Francesco OLIVUCCI (Italian 1899-1985) portrait of a young woman, pencil and water colour wash on paper, dated 1947, 16cm x 25cm, signed in pencil 'PINI - F Olivucci 1947' lower right, framed and glazed. Olivucci was a noted print maker during WWII making anti Nazi prints for the resistance press. A small collection of his work was recently found in a local house clearance.Some browning and spotting to paper.
Los 614
Francesco OLIVUCCI (Italian 1899-1985), self portrait, pastel on paper, 31cm x 48cm, framed and glazed. Signed and dated 'F Olivucci 1936'. Italian painter and print maker who attended the Academy of Fine Arts in Ravenna. He is best known for his anti fascist and Resistance movement wood block prints made for the underground press during WWII. A small collection of his work was recently found in a local house clearance.Some creasing under the glass. No other issues.
Los 619
Francesco OLIVUCCI (Italian 1899-1985), portrait of Alla Mia Carissima Figlia, oil on board, 35cm x 35cm, signed 'F Olivucci' lower right and dated 1971 to the reverse, unframed. Olivucci was a noted print maker during WWII making anti Nazi prints for the resistance press. A small collection of his work was recently found in a local house clearance, this painting amongst them.
Los 729
John Ryan (1925-1992), ink on paper, Portrait of Captain Pugwash, signed with dedication to “Tony and Cynthia”, 20 x 11 cm.. Provenance – drawing from the book,“Captain Pugwash and the Huge Reward”, given by the artist to Tony and Cythia Reavell, the owners of the Martello Bookshop in Rye, where the book was set andwhere Ryan lived until his death in 1992
Los 618
Francesco OLIVUCCI (Italian 1899-1985), untitled portrait, oil on board, 33cm x 40cm, framed, unsigned. In a collection of other works signed by him. Italian painter and print maker who attended the Academy of Fine Arts in Ravenna. He is best known for his anti fascist and Resistance movement wood block prints made for the underground press during WWII. A small collection of his work recently found in a local house clearance.in good condition - no issues.
Los 645
Alfred Edward Chalon RA (1780 - 1860), possibly a portrait of Queen Victoria, watercolour, signed with monogram, label verso states that this painting was shown to the National Portrait Gallery in London in 2009, who considered that this might be a portrait of Victoria, image 17cm x 12cm, framedGood condition, frame and mount also good
Los 121
Scottish Poetry.- Shirrefs (Andrew) Poems, Chiefly in the Scottish Dialect, half-title, engraved portrait frontispiece, list of subscribers, portrait offset, occasional very light foxing or marginal finger-soiling, uncut and partly unopened in original boards, faded ink title to spine, short repaired tear to spine head, light foxing, rubbed at extremities, upper joint split at head and foot but holding firm, Edinburgh, for the Author, by D. Willison, 1790 § Turnbull (Gavin) Poetical Essays, various contemporary ink inscriptions to title, final f. and a few times to text, some soiling, heavier to peripheral ff., the odd stain, small worming to upper margin and some foxing towards end, modern boards, lightly soiled, Glasgow, David Niven, 1788, first editions, book-label of J.O. Edwards; and 2 others, poetry of Scottish imprint or interest, 8vo & 4to (4)
Los 22
Architecture.- Vitruvius Pollio (Marcus) De architectura libri decem, edited by Guillaume Philandrier, second de Tournes edition, title within woodcut architectural border, β4 privilege in civilité type recto and with medallion portrait of Philandrier verso, folding letterpress plate at p.178, numerous woodcut illustrations in text by Bernard Salomon, woodcut decorative initials, final f. with woodcut printer's device recto, otherwise blank, spotted, occasional staining, mostly lightly browned, later calf, gilt, laurel wreath centre-pieces and single filet border, sympathetically rebacked (spine in compartments), corners restored, some staining, rubbed and marked, [Adams V910; Cartier, de Tournes, 664; Cicognara 721; Fowler 414], small 4to, Lyon, Jean de Tournes, 1586.⁂ 'Reprint of the Lyon edition of 1552 with illustrations from the original plates.' (Fowler).
Los 143
NO RESERVE Falloon (John) An Epitome of Ancient and Modern History, in a well-digested form, errata bound-in, advertisements at end, corrections inserted by hand, small ink stain to b4-5 obscuring odd letter, ex-Nottingham libraries with usual labels and ink-stamps, later morocco-backed boards, library blind-stamp to upper cover, a little rubbed, 1828 § de Lolme (J. L.) The Constitution of England, engraved portrait frontispiece, scattered spotting, contemporary calf, sympathetically rebacked, bumping to corners, 1796 § [Lockman (John)] A New History of England, by Question and Answer ..., engraved frontispiece and 32 plates, trimmed at fore-edge affecting odd letter, previous owner's ink signature, lacking final free endpaper, cracked hinges, contemporary calf, rubbed, bumping to corners and spine extremities, 1767; 12mo & 8vo (3).⁂ The first is unrecorded on WorldCat.
Los 18
Coins & engraved gems.- Le Pois (Antoine) Discours sur les medalles et graveures antiques, principalement Romaines, edited by Nicolas Le Pois, first edition, title with woodcut printer's device, engraved portrait and 20 plates of coins and engraved gems by Pierre Woeiriot, woodcut illustrations in text, of which 5 full-page (including an uncensored Priapus), woodcut head- and tail-pieces and decorative initials, 2 ff. (recto only) of later ink notes bound in after title, a few instances of early ink marginalia, ruled throughout in red, later pencil markings of text, title window mounted (without loss of text), sigs. A&B lower blank corners singed with some loss, plates water-stained in lower margin, some spotting and staining elsewhere, lightly browned, 17th century mottled calf, gilt spine in compartments and with antique style red leather label (little chipped), head of spine little worn, corners worn, upper joint starting, but holding firm, a few marks, rubbed, [Adams L522; Alden-Landis, European Americana, 579/31; Fairfax Murray, French, 667; Mortimer, French, 350; Renouard 182.12; Schreiber, Estiennes, 254], small 4to, Paris, Mamert Patisson in the house of Robert Estienne, 1579.⁂ First edition of this important Renaissance numismatic work. Le Pois was physician to Charles III, Duc de Lorraine, to whom this posthumous work was dedicated. The discovery of the Americas is referenced, casting doubt on Columbus's claim because of the discovery of an ancient coin in Brazil.
Los 218
Morris (Rev. F.O.) A Natural History of the Nests and Eggs of British Birds, 3 vol., 225 colour printed wood-engraved plates finished by hand, paper guards, contemporary ink ownership inscription to front endpapers, a couple gatherings working loose, some light browning, scattered spotting, occasional light staining or soiling, particularly to vol. 1, contemporary half calf, spines gilt but faded, some light marking and discolouration to covers, rubbed, 1859-63 § Ormerod (Eleanor A.) A Manual of Injurious Insects with Methods of Prevention and Remedy..., second edition, half-title, portrait frontispiece, illustrations, prize bookplate of the College of Agriculture at Downton, dated 1896, small marginal mark to frontispiece, title very slightly toned, contemporary teal calf prize-binding, gilt, spine richly gilt and with morocco label, spine a little sunned, a few very light stains, lightly rubbed at extremities, 1890; and others, natural history, sporting and similar, 8vo & 4to (c.30)
Los 181
NO RESERVE Dickens (Charles) Frank Reynolds R.I. (illus.), The Personal History of David Copperfield, from a de Luxe edition limited to 350 copies, signed by the Artist, and numbered, mounted coloured plates, endpapers and edges toned, original vellum gilt, spotted, t.e.g., others uncut, missing silk ties, n.d. § Poems of Spenser, selected and with an Introduction by W.B Yeats, Jessie M. King (illus.), frontispiece portrait, plates, some spotting, heavier to edges, upper hinge weak, original cloth, lightly bumped at head and foot of spine, n.d. § Goethe (Johann Wolfgang von) Faust, Abraham Hayward (trans.) Willy Pogany (illus.), frontispiece, title printed in red and black, coloured plates, some gatherings wearing loose, original pictorial red cloth, rubbed at extremities, 1908, and a copy of Milton (John) Paradise Lost, 1817, v.s. (4)
Los 164
NO RESERVE Harden (Edgar F., editor) Annotations for the Selected Works of William Makepeace Thackeray, 2 vol., original cloth, lightly sunned spine, slight bumping to corners and extremities, New York & London, 1990 § Thackeray (W. M.) Ballads, light soiling, modern boards, 1855 § Cornish (Blanche Warre) Some Family Letters of W. M. Thackeray, one of 550 copies, portrait frontispiece, original boards, remnants of slipcase, Boston and New York, 1911; and others, including several on or by Thackeray, v.s. (52)
Los 37
Theft, fraud & corruption.- Vieira (Antonio) Arte de furtar, espelho de enganos, theatro de verdades, mostrador de horas minguadas, gazua geral dos reynos de Portugal, engraved portrait frontispiece by G.F.L. Debrie (dated 1745), title printed in red and black, some staining, occasional spotting, lightly browned, antique style mottled calf, richly gilt spine in compartments and with double red morocco labels, rubbed at extremities, lower cover with several small dents,[Azevedo-Samodães 3508; Borba de Moraes (1983) II, 921-922; Innocêncio I, 292 & XXII, 434; Leite Companhia de Jesus no Brasil IX, p.322; Pinto de Mattos 562; Rodrigues 2523; Soares I, 527 & 679], Amsterdam [?but Lisbon], Martinho Schagen [?but João Baptista Lerzo], 1744; and a 19th century London edition of the same (text in Portuguese), small 4to & 8vo (2)⁂ 'curious and amusing treatise on the noble art of thieving in all kinds, private, official, civil and military. Its anecdotes are racy...' (Bell, Portuguese Literature, p.265). Although the title gives Vieira as the author, it is now likely that it was in fact the controversial Jesuit Father Manuel da Costa. Our copy corresponds to Roger Bismut's C2. Provenance: J.G. Mazziotti Salema Garção (modern armorial bookplate).
Los 232
NO RESERVE Trevithick (Francis) Life of Richard Trevithick, with an Account of his Inventions, 2 vol. in 1, portrait frontispiece, plates and illustrations by W.J. Welch, some folding, some spotting, contemporary cloth, printed ownership card pasted to front cover, corners bumped, spine sunned, hinges cracked, preserved in cardboard jacket, 1872 § "Mrs. Hibbert Ware". The Life and Correspondence of the late Samuel Hibbert Ware, one of 250 copies, portrait frontispiece, bookplates, some spotting, original cloth, slightly rubbed, hinges cracked, edges dust-stained, Manchester, 1882 § Smiles (Dr. Samuel) The Life of George Stephenson, Railway Engineer, second edition, portrait frontispiece, some spotting, heavier to title and frontispiece, contemporary cloth, gilt railcar motif to upper cover, rubbed, spine peeling, 1857, 4to (3)
Los 63
NO RESERVE Wellington (Arthur Wellesley, first Duke of, army officer and prime minister, 1769-1852).- Portrait of the Duke of Wellington holding his field marshal baton and mounted on a horse, with another mounted soldier behind, framed and glazed, gesso chipped, watercolour 185 x 125mm., frame 297 x 245mm., [19th century].
Los 111
Blake (William).- Scott (John) The Poetical Works, first edition, engraved frontispiece by Bartolozzi, engraved title with portrait of the author, 8 engraved plates and 4 vignette illustrations, 4 of which by William Blake after Stothard, bookplates of H. Bradley Martin and Seumas O'Sullivan, a few plates with tissue-guards, light offsetting, some light browning, some spotting or light foxing, contemporary calf, spine richly gilt in compartments and with red morocco label, lightly rubbed and soiled, a couple very small chips to spine head, upper joint split at head but holding firm, [Bentley 494a], for J. Buckland, 1782; and others, 18th century, including William King's The Dreamer, 8vo & 4to (6)
Los 116
Shakespeare (William) The Plays...To which are added Notes by Samuel Johnson and George Steevens, 10 vol., third edition, half-titles, vol. 1 with engraved portrait frontispiece, 4 engraved plates, one of which folding, light offsetting, occasional light spotting or finger-soiling, occasional light damp-staining, mainly to vol. 5, browning to margins at beginning and end, contemporary calf, spines gilt but ends a little chipped, red morocco labels to spines but most missing, some light marks, rubbed, a few joints split but all covers holding firm, 8vo, for C. Bathurst [&tc], 1785.
Los 118
NO RESERVE Noble (Mark) Memoirs of the Protectorial-House of Cromwell, 2 vol., engraved frontispiece and 11 plates, 5 folding, one with tears to folds, one with tears and neat tissue repairs, 2 folding genealogy tables, list of subscribers, Y4 vol. 2 with small loss to bottom corner, not affecting text, ex-Nottingham libraries with usual labels and stamps, new endpapers, contemporary calf, rebacked, bumping to corners and spine extremities, for G. G. J. and J. Robinson, 1787 § The Works and Life of the Right Honourable Charles, late Earl of Halifax ..., engraved portrait frontispiece, spotting and staining, 2H1 with tiny marginal hole not affecting text, lacking free endpapers, contemporary calf, upper cover detached, rubbed and worn, for E. Curll, 1715; 8vo (3)
Los 217
NO RESERVE Kirby (William) & William Spence. An Introduction to Entomology, or Elements of the Natural History of Insects, 4 vol., first edition, 30 engraved plates, 6 hand-coloured, 2 engraved portrait frontispieces, folding letterpress table, portraits and uncoloured plates foxed, portraits offset onto titles, R1 in vol.2 with portion torn away from lower margin, signature 2B in vol.3 spotted, small stain to Index in vol.4, contemporary calf, gilt, spines gilt with burgundy roan labels, rubbed, some splits to joints, [Hagen 415.12; Nissen ZBI 2189], 8vo, 1815-1826.
Los 83
Kennett (Basil) The Lives and Characters of the Ancient Grecian Poets, first edition, engraved frontispiece and two portrait plates, engraved portrait vignettes, final advertisement leaf, a couple instances of ink correction in a contemporary hand, H5 with very short tear into text without loss, browning, generally light but heavier at points, some foxing, final few leaves with lower outer corner creased, upper cover nearly detached, [Wing K297], for Abel Swall, 1697 § Euclid. The Elements of Euclid Explain'd...Written in French, by...F Claud. Franic Milliet de Chales...Now made English, fourth edition, additional engraved title, woodcut diagrams, a few small ink marks to title and doodles to one or two diagrams, fractional worming to upper corner throughout, sig. M & N becoming larger trace but not affecting text, light browning and occasional soiling, some light damp-staining towards end, upper cover detached, Oxford, L. Lichfield, 1704, contemporary calf, quite worn, spine labels missing, lower joint split but holding; and 2 others, antiquarian, one relating to John Locke, 8vo & 4to (4)
Los 45
Theatre.- Castelo Branco (Camilo) Espinhos e flores, drama original, first edition, half-title, lithographed portrait frontispiece of the author, some spotting or light foxing, lightly browned, original blue printed wrappers bound in, modern burgundy calf, gilt, spine in compartments, [Innocêncio II, 15 & IX, 10; Lacape 23], Porto, J.A. de Freitas Junior, 1857; and 4 others, Theatre, v.s. (5) ⁂ The first mentioned is rare in commerce.
Los 132
Nicholls (Thomas) The Harp of Hermes. Poems, first edition, engraved vignette title, engraved armorial bookplate of the Marquis of Stafford, book-label of J. O. Edwards, one or two short marginal tears, into text to D1 but without loss, some light browning and foxing, upper hinge neatly repaired, near contemporary half calf, upper cover with blind-stamped garter arms of the Duke of Sutherland, highly skilful repairs to joints and corners, lightly rubbed, for the Author, [c.1797] § James (Charles) Poems, engraved portrait frontispiece and 5 plates, 4pp. engraved music, some foxing, hinges weak, uncut and partly unopened in original boards, loss to spine, worn, joints split but just holding, J. Davis, 1792; and others, 18th century poetry, 8vo (c.17)⁂ The first mentioned scarce, with only three copies recorded on ESTC.
Los 137
NO RESERVE Hayley (William) The Triumphs of Temper, twelfth edition, half-title, engraved frontispiece and 5 plates by William Blake after Maria Flaxman, occasional faint pencil underlining, previous owner's ink manuscript note to front free endpaper, short pencil note to final free endpaper, contemporary half-calf, expert repairs to upper joint, spine extremities and corners, a little rubbed, [Bentley 471A], Chichester, 1803 § Waller (Edmund) The Works of ... in Verse and Prose, engraved portrait frontispiece, ink marks to title (?where blind-stamp remove), 3 engraved plates, one folding, tears to X2 (final text ff.), not affecting text, lacking final free endpaper, contemporary calf, rebacked, rubbed, bumping to corners and spine extremities, published by Mr. Fenton, printed for J. Tonson, 1730 § Oldham (John) The Compositions in Prose and Verse ..., 3 vol., ex-library with occasional faint ink-stamps, later morocco-backed boards, library stamp to upper covers, a little rubbed, 1770; and another similar, 8vo & 12mo (6)
Los 10
*VIOLET MADELEINE JOSETTE 'JO' JONES (1894-1989) 'Heredia, Carmella's Mother, Granada' three quarter length portrait of a Spanish woman, signed lower left, watercolour and ink, 29cm x 21.5cm; together with a smaller work by the same artist, 'Gipsy', signed lower right, watercolour and ink, 12.5cm x 13.25cm (2)Provenance: The Estate of the late Roger Peers (1932-2023), Curator of the Dorset County Museum between 1959 and 1992.
Los 123
*NORMAN HEPPLE (1908-1994) HM Queen Elizabeth the Queen Mother authentication stamp verso, oil on board, 61cm x 51cmProvenance: Historical Portraits, 11 Dover Street, London W1SThis head and shoulders portrait is a study for the three-quarter-length portrait commissioned by Lloyd’s of London in 1987. This depicts the Queen Mother sitting in an armchair in a Drawing Room of Clarence House. A related chalk drawing was exhibited at Spink in 1987.?Hepple was a popular portraitist with members of the Royal Family, and works such as this show that he was able to achieve a remarkable rapport with his sitters. There is an informality and an ease in the handling which does not compromise the dignity of the subject. Hepple painted the Queen Mother for four separate commissions, although he worked on the latter two (including the Lloyd’s portrait) simultaneously to avoid taxing the subject (Times Obituary January 11th 1994).? Hepple painted members of the Royal Family on numerous occasions, and in addition to this portrait of the Queen Mother painted notable images of Queen Elizabeth II, Prince Philip, Duke of Edinburgh and the Princess Royal. Hepple was a particular favourite of Queen Elizabeth II, and he is reported to have remarked that her sittings to him were ‘’worth it, for the conversation alone.’’
Los 259
*DORA CLARKE (1895-1989) Woman and Cat direct carving in wood, 37cm highProvenance: The Estate of the late Roger Peers (1932-2023), Curator of the Dorset County Museum between 1959 and 1992Dora Thacher Clarke (later Dora Middleton) was a British sculptor and wood carver who also wrote about, and promoted African art. Sculptures by Clarke are held in various museums, including the Ashmolean Museum which also holds a 1936 portrait of her by Orovida Camille Pissarro.
Los 118
TENG-HIOK CHIU (1903-1972) 'Rowing Boat, Polperro Harbour' signed and dated 1930 lower right, oil on panel, 31cm x 23cmPainter Teng Hiok Chiu was born into a notable family of tea merchants in Amoy on the Gulangyu Island outside of Xiamen, China, in 1903. In 1920 he moved to the USA to attend Harvard University for a semester, focusing on art history, architecture, and archaeology. The following year he enrolled at the Museum School of Fine Arts, Boston, training under the portrait painter Irwin D. Hoffman.In 1923, Teng set sailed for Europe, enrolling briefly at the École des Beaux-Arts in Paris, then moving to the University of London in 1924. From 1925–30 he studied painting under the tutelage of Sir George Clausen, Sir Walter Russell and Charles Sims at the Royal Academy Schools, winning every medal, prize and scholarship for which he competed; in 1929 he earned the distinction of being the first foreign artist to be awarded the Turner Gold Medal and the Royal Academy Scholarship for Landscape Painting. Demonstrating an early command over the western oil paint medium, Chiu focused on exploring western modernist concepts and became a master of still-life compositions, developing skillful techniques of naturalistic oil painting.In 1929 he held his first solo show in London at the Claridge Gallery. Her Majesty Queen Mary honoured the show with a visit, and the paintings sold out the next day. This exhibition was followed by a second held at the Fine Art Society in 1930.Art critics praised his subtle sense of colour and his ‘suave, transparent, clean handling of the oil medium' (The Observer 1930, p. 14).From 1927–30 Chiu’s oil paintings of landscapes and figures were included in exhibitions of the Royal Society of British Artists and other institutions; between 1927 and 1938, he exhibited at the Annual Exhibition of the Royal Academy of Arts six times.Chiu, who had not been exposed to the tradition and history of Chinese painting before he left China in 1920 (Ying-Ling Huang 2019, p. 384), reached the apogee of his artistic career in 1930, working in the British Museum with his mentor Laurence Binyon, the renowned orientalist scholar and Keeper of Oriental Prints and Drawings. Together, they analysed many significant works of Chinese calligraphy and painting. From then onwards, Chiu blended eastern and western aesthetic ideas and philosophies to produce works which addressed both western technique and Chinese sensibilities, such as adopting the concept of multi-point perspective and the technique of directing the viewers' gaze, both typical of Chinese landscape painting.Between 1925 and 1930, Chiu travelled throughout the British Isles, spending his summers painting in Cornwall (particularly around Polperro), East Anglia, the Lake District and Scotland.In 1930 Chiu began almost a decade of world travel, which took him to Bali, Java, Beijing, Shanghai, Indochina, Siam (now Thailand), Cambodia and various European countries.In 1935 he painted a notable portrait of Madame Chiang Kai-shek (Madame Chiang), First Lady of the Republic of China, the wife of Generalissimo and President Chiang Kai-shek. In 1936 Chiu held a solo show at the Fine Art Society which included the new subject-matter of Chinese landscape in Nanjing and important architecture and monuments in Peking (Beijing). Binyon, who wrote the preface to the exhibition catalogue, noted that Chiu ‘has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift’ (Binyon 1936, n.p.).
Los 7
*MARIE VOROBIEFF 'MAREVNA' (1892-1984) 'Mrs Gladys Chinchen' half length portrait of a lady seated in an interior, a vase of flowers beside her, signed, dated 1955 and inscribed "Athelhampton Hall" lower left, further inscribed "For Gladis Tchinchin, Lov" (sic) upper right, watercolour, gouache and pencil on paper, 73cm x 55cmMarie Vorobieff-Stebelska (1892- May 4, 1984) was the artist of Russian-Polish origins. The name Marevna was given to her after a Russian fairy sea princess by the writer Maxim Gorky, whom she met in Capri in Italy. Subsequently, this became her signature artistic name. An audacious yet charming and high spirited character, Marevna travelled Europe extensively and was one of the first women artists, achieving remarkable blends of pointillism and structure in her work. Marevna was initially a portraitist but embraced Cubism, partially due to the influences of her relationship with the world famous Mexican painter/muralist Diego Rivera with whom she also had a daughter, Marika. Marevna spent her mature years residing with Marika in England and lived at Athelhampton House from 1948 to 1956.
Los 75
*TOBY WIGGINS (b. 1972) 'Mary Spencer Watson - Sculptor' a full-length portrait of the noted sculptor seated in a studio interior, signed, titled and dated 2004 in pencil verso, oil and gesso on linen, 153cm x 102cm; together with a preparatory study in pencil, monogrammed lower right, 78cm x 44cm (2)Provenance: The Estate of the late Roger Peers (1932-2023), Curator of the Dorset County Museum between 1959 and 1992.Exhibited: BP Portrait Award, National Portrait Gallery, 2004.
Los 100
*SIR ALFRED JAMES MUNNINGS (1878-1959) A self-portrait sketch of the artist at an easel a study for the cover of volume I of Munnings' autobiography 'An Artist's Life', pencil on notepaper from The Athenaeum, Pall Mall, London SW1, 17.5cm x 11.5cm (unframed), together with the full three volume set of Munnings' autobiography (4)
Los 93
*JANE ERIN EMMET DE GLEHN (1873-1961) A head and shoulders portrait of a lady inscribed "To Louis, Jane de Glehn, August 1920" lower right, pencil heightened with white, 21cm x 16cmProvenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.
Los 153
ECKEL, JOHN C. ‘The First Editions of Charles Dickens’ by John C. Eckel. The First Editions of the Writings of Charles Dickens and Their Values A Bibliography, By John. C. Eckel with a portrait of Charles Dickens and 36 Illustrations and Fac-similes. First Edition number 79 of 250 copies. London, published by Chapman & Hall Ltd, 1913. Large Paper copy, limited to edition run of 250, signed by Author and Publishers. Edition 79/250. Provenance, private collection. Very good copy in protective plastic sleeve, expected toning to initial pages and few spots throughout.
Los 1193
A Georgian Scottish motif sampler worked by Margaret Mclaren in the year 1828 aged 12, having alphabetic bands above botanical and animal motifs, the latter incorporating a naive portrait of a couple and their dog, and a house, above the verse "Margaret Mclaren shewed this sempler in the year 1828 aged 12 when I am dead and in my grave and all bones are rotten this piece of clothe will tell my name wen I am quiet forgotten" [sic], cotton threads over an open weave ground, with hand-stitched ribbon edge, 44 x 32cms, framed under glass.
Los 1034
A pair of First World War medals, awarded to J63376 Able Bosun G. Smart Royal Navy, served on HMS Victory, HMS Thunderer, HMS Submarines Q Ship No.556 HMS Cowslip, comprising War medal and Victory medal, enamel badge, Bosun's whistle, portrait photograph, cap sashes, and image of HMS Thunderer, mounted and framed 41 x 32cms.
Los 419
* Embroidered fragment relating to Queen Charlotte (1744-1818), late 18th-early 19th century, small piece of cream satin backed with cotton and hand-worked in polychrome silk threads with roses, heartsease, and honeysuckle, using long and short stitch, stem stitch, and french knots, with label attached inscribed in ink in a 19th century hand 'Silk embroidery on satin - said to have been worked by Queen Charlotte's "embroidery woman"', 22.5 x 25 cm (8.75 x 10 ins), together with: a folding blue fabric case with ribbon embroidery incorporating metallised thread, lined with figured cream satin (perished at edges) incorporating 2 pockets, 23 x 44 cm (9 x 17.25 ins); a piece of cerise silk backed with linen, hand-worked with allover pattern of floral sprigs, some discolouration, 61 x 80 cm (24 x 31.5 ins); and a quantity of fragments of Regency (and later) whitework embroidery (including Dresden work) preserved from gowns and other garments, including large pieces, collars, frills, edgings, and scraps, various condition and sizes, together with a large empty wooden box, lined with blue paper, inscribed inside the hinged lid 'A Table Cloth & 14 Dinner Napkins, contained in this Box, were spun by the Honble: Jane Estcourt, previous to the year 1818, given by her to her Daughter Charlotte Estcourt', 10.5 x 61 x 30.5 cm (4.25 x 24 x 12 ins)QTY: (1 carton + wooden box)NOTE:Provenance: The Estcourt family of Estcourt House, near Tetbury, Gloucestershire.The reference to Queen Charlotte's 'embroidery woman' may refer to Phoebe Wright or her niece Nancy Pawsey. Queen Charlotte was a skilled needlewoman, and she helped establish and financially support Mrs. Wright's 'Royal School of embroidering females', with the aim of enabling genteel but impoverished girls to earn a respectable income. The Queen was a regular visitor to the school and gave it a number of royal commissions (notably the magnificent bed furnishings now at Hampton Court (RCIN 1140). Her patronage led other members of the Royal family and aristocracy to give the school commissions both for new furnishings and garments, and for the repair and conservation of old textiles. Additionally some ladies of the gentry, who wished to improve their skills beyond what they'd been taught by their governess, engaged in lessons at the school, learning the finer elements of stitchery there. Queen Charlotte also became a friend and patron of gifted needlewoman Mary Morris Knowles, who was celebrated for the breadth of her interests - for example the abolition of slavery, garden design, and mystical science - as well as her skill at 'needle painting' (see her embroidered self-portrait in the Royal Collection: RCIN 11912).
Los 451
* Wellington (Arthur Wellesley, 1st Duke of). Commemorative handkerchief, mid 19th century, fine silk, printed in black with a profile head and shoulders portrait of Wellington within a laurel wreath in centre and flag cornerpieces each with a cluster of beribboned medallions naming famous battles, on a cream ground, with raspberry pink border, top and bottom hems hand-stitched, selvedges to sides, large neat period darn upper left (39 cm long, 3 cm at widest point), 2 small holes below, occasional light marks, 81.5 x 94 cm (32 x 37 ins) QTY: (1)NOTE:A rare printed handkerchief; we have been unable to find another either at auction or in institutions.
Los 354
* A pair of George III and Queen Charlotte commemorative plates, 1820, a matched pair of underglaze blue and white transfer-printed commemorative plates, made at the Caledonian Pottery in Glasgow, Scotland, one with a portrait in the cavetto of George III in profile facing left, with inscription 'Sacred to the memory of King George III, who died 29th January 1820', the other commemorating his wife Queen Charlotte (of Mecklenberg-Strelitz, 1744-1818), her profile facing left, titled 'The Queen of England', border to each decorated with emblems of the United Kingdom (shamrocks, thistles, and roses), the plate of Queen Charlotte with small chip to the underside rim, both 25.5 cm diameter QTY: (2)NOTE:Provenance: Private Collection, Bristol, UK.See Lincoln Hallinan, British Commemoratives: Royalty, Politics, War and Sport (Antique Collectors Club, 1995), plates 65 and 66.
Los 444
* Smart (George, 1774-1846). The Soldier and the Maid, circa 1817, moveable watercolour and collage picture on card, including cut fabric (mostly felt), depicting a young girl in a tweed dress with chequered apron and blue felt hat, and a dashing military gentleman wearing red trousers with gold trim and a dark blue jacket (uniform similar to the 10th Hussar's Regiment), each with operating tab, the maid curtseying and the gentleman raising his hat, a thatched rustic dwelling and the sea with sailing ships in the background, toned, some light spotting and marks, old pin holes to edges, 27.8 x 22.5 cm, laid down on a blue paste paper-covered stretcher, verso with original printed paper label 'Smart, Cat Manufacturer, Frant, Near Tunbridge Wells' above a 26-line verse, with imprint 'Clifford, Printer, Tunbridge Wells' below, and a handwritten contemporary label 'Patronized by His Royal Highness the Duke of Sussex', with later pencilled date of 1820 belowQTY: (1)NOTE:Christie, George Smart, pp. 90-93 (this example unknown to Jonathan Christie).Rare: just two other examples of this subject - the only articulated picture by George Smart - are known to exist, and one of these is defective. The first is a double portrait showing both the maid and the soldier (minus his hat) set against a stone building similar to that depicted in the present example, and a church spire, but without the ships at sea. It was sold at Christie's in 2020 (Collection of Alexandra Tolstoy). The second is a pair of portraits showing the maid and soldier separately, the dwelling appearing in the former picture, and the sea visible in both (held by Tunbridge Wells Museum).East Sussex tailor George Smart, famed for his unique works of art fabricated from the scraps of cloth left over from his trade, was also noted for his portraits and dummy boards. His works were mentioned in several contemporary local guidebooks in the early 19th century which earned him minor celebrity status. His most famous subjects were ones he observed from his shop - Old Bright, the local postman, and The Goosewoman. Twenty-one works by George Smart were included in Tate Britain's 'British Folk Art' exhibition in 2014, and he is now recognised as one of the key figures in the history of English Folk Art.
Los 461
* The New Trafalgar Fan, Dedicated to Lady Collingwood, no publisher, circa 1805, engraved folding paper fan, with an oval portrait of Lord Nelson crowned by putti in the centre, surrounded by vignettes of war ships in full sail and text, toned, slightly frayed to lower edge and repaired, 1 fold split on verso and neatly strengthened, mounted on wooden sticks, 20 cm (8 ins) QTY: (1)NOTE:A rare contemporary souvenir fan commemorating Lord Nelson's victory at the Battle of Trafalgar in 1805. This fan was pictured on the front cover of The Fan Museum's catalogue 'Nelson's "Fans"' produced for its 2005 exhibition. Not in the Schreiber Collection.
Los 343
* William III delft charger, circa 1690, of lobed form and decorated in blue, green and yellow with a crowned half portrait facing right, W R above amongst tulips, the border also decorated with tulips, general crazing and some firing faults as you would expect, 34.5 cm diameter, collection labels to the base for Herbert E. Ward, Black Bess Hotel, Lumberville, Pennsylvania and William H. Plummer & Co Ltd, New York QTY: (1)NOTE:Provenance: Private Collection, Bristol, UK.Bonhams, London, The Herbert Ward Collection, 8 September 1990 (lot 872).
Los 460
* The Art of Fortune Telling by Cards, The New Gipsey Fan, London: Published by D. Kerr, circa 1800, engraved folding paper fan, with some crude early hand-colouring, central stipple-engraved oval portrait of a gypsy woman telling a fortune with cards, titled above and below, and flanked by columns of the 4 suits, each card with a corresponding prediction, e.g. the 3 of spades 'Shews that you will be unfortunate in marriage' whereas the 3 of clubs 'Shews you will be married 3 times to wealthy persons', silver border to top edge, some small signs of adhesive repair to lower edge, mounted on wooden sticks, 18.5 cm (7.25 ins)QTY: (1)NOTE:Schreiber Collection 58, p.12.
Los 344
* Mary II delft charger, circa 1690, of lobed form, decorated in blue, green and yellow with a crowned half portrait facing left, M R above amongst tulips, the border also decorated with tulips, firing faults as you would expect, 35.2 cm diameter, the base with labels for the collection of Herbert E. Ward, Black Bess Hotel, Lumberville, Pennsylvania and Matthew & Elisabeth Sharpe Antiques, Spring Hill, Conshohocken, PennsylvaniaQTY: (1)NOTE:Provenance: Private Collection, Bristol, UK.Bonhams, London, The Herbert Ward Collection, 8 September 1990 (lot 873).
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