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Preisdatenbank abonnierenProperty of a Lady. [a] After Sir Francis Grant by Geoffrey Clarke A portrait of Lady Hardinge Oil on canvas Inscribed, verso [b] Charles Hardinge, 1st Baron Hardinge of Penshurst (1858 - 1944) A mother and child beneath the ruins of the Parthenon Watercolour on paper. Dimensions: [a] (Canvas) 26.75 in. (H) x 19.25 in. (W) (Frame) 32 in. (H) x 25 in. (W) [b] (Paper) 12.5 in. (H) x 15.5 in. (W) (Frame) 6.5 in. (H) x 9.5 in. (W)
Property of a Gentleman. William Huggins (1820 - 1884) Two pumas in a landscape Oil on panel Signed and dated, 'W. Huggins 1840' Exhibition and gallery labels, verso. Provenance: Ex-Collection, the Master of Kinnarid; with Ackerman & Johnson, 1966, from whom purchased by; Mary Lou Cashman, Illinois. Exhibited: Oscar and Peter Johnson Ltd., The Lowndes Lodge Gallery, November 1966, no. 39.Lot Essay: William Huggins was born in Liverpool in 1820, and is not to be confused with the earlier maritime painter, William John Huggins (1781 - 1845). Huggins shared many characteristics with George Stubbs, revealing a precocious talent for drawing and painting. Aged only 15, he won a prize at the Liverpool Mechanics Institute, where he studied before entering the Liverpool Academies School, with Richard Ansdell, in 1835. Huggins spent much time at the zoological Gardens in Liverpool, studying the animals, as well as following Wombwell's Menagerie from place to place. It wasn't until 1850, however, the he was to become a full member of the Liverpool Academy. Like Stubbs, who, much to his own annoyance, was never able to rid himself of the label 'horse painter', Huggins was unable to escape from the description of 'animal painter', despite his evident dislike of the term. In the first half of the 19th century, as in the 18th century, the hierarchy of painting was comparatively rigid, and being an animal painter did not carry as much weight as being either a portrait or a landscape painter. However, in Liverpool, there was only a limited market for history painting during that period, and, as elsewhere in the provinces, portraits, landscapes, and animal paintings were popular instead. Ben Marshall (1768 - 1835), a Leicestershire painter, once said, "I discover many a man who would pay me 50 guineas for painting his horse, who thinks 10 guineas is too much for painting his wife." Huggins' technique is very particular to him, as he employed a very distinctive glazing of colours on his prepared boards and canvases. Typically, he used a white millboard as the ground for his transparent glazes. His knowledge of animal anatomy was profound. E. Rimbault Dibdin, in his article on Liverpool-born animal painters (Art Journal, 1904), praised Huggins as a master; "Both as an executant in paint, and as a consummate expert in knowledge of animal form and character, Huggins was qualified to out-distance both Landseer and Ansdell." It was only his shy and slightly eccentric character that stopped Huggins from doing so. Dimensions: (Panel) 20 in. (H) x 26 in. (W) (Frame) 25 in. (H) x 31.25 in. (W)
Property of a Gentleman. John Hamilton Mortimer (1740 - 1779) Portrait of James Stanley (1750 - 1810), circa 1775-1778 Oil on canvas In a carved giltwood frame decorated with floral and shell motifs With labels verso.Lot Essay: James Stanley was born in 1750 He was the grandfather of Edward James Stanley, who married Mary Dorothy Labouchere, eldest daughter of Henry Labouchere, Lord Taunton (1798-1869). Lord Taunton was a prominent Whig and Liberal politician and also formed a wide-ranging art collection of very high quality. He lived at Stoke Park, Stoke Poges, but later moved to a larger house, Quantock Lodge near Over Stowey, which he built between 1856 and 1868 to accommodate his collection. After his death Quantock Lodge and the art collection passed by descent to Edward Arthur Vesey Stanley, who sold part of it at auction. Included was the present portrait, which had come into Lord Taunton's collection from the Stanley family. The 14 July 1920 sale was conducted by Sotheby, Wilkinson & Hodge, the present work sold as lot 174: 'Zoffany (attributed to). Portrait of a gentleman: whole-length, walking towards the right in a landscape; in red coat and breeches and white embroidered waistcoat. Canvas, 29 x 24 ins.'John Hamilton Mortimer came to London where he studied briefly under Thomas Hudson and then Robert Edge Pyne, who influenced his technique. He was closely associated with The Society of Artists where he exhibited every year from 1762 to 1777.Provenance: With the sitter, James Stanley (1750-1810), and thence by descent to his grandson; Edward James Stanley, who married Mary Dorothy Labouchere (1843-1920), eldest daughter of Henry Labouchere, Lord Taunton (1798-1869); By descent to their son E. A. V. Stanley; Sotheby, Wilson & Hodge, 14 July 1920, lot 174; Private Collection, United KingdomDimensions: (Canvas) 29 in. (H) x 23.75 in. (W) (Frame) 36.75 in. (H) x 31.5 in. (W)
Property of a Gentleman. Attributed to Rowland Lockey (c. 1565-1616) c. 1602 A double portrait of Edward Neville, 8th Baron Bergavenny (1551-1622) with an enigmatic lady, possibly Lady Mary Sackville. Oil on canvas In an ebonised and gilded frame Inscribed, upper left 'Lord Abergany, AEta: 51.', and upper right 'and Lady AEta: 21.' Gallery labels verso.Lot Essay: This is an unusual double portrait. It depicts Edward Neville, born in 1550, son of Edward, 7th Baron Bergavenny but the lady is not his wife, Rachel Lennard, who would have been in her 40s at the date of this painting. The Lady could be Edward Neville's daughter-in-law Lady Mary Sackville who would have been about 21 in 1602. She married Henry Neville before 1602. A reason for the unusual painting of a man with his daughter-in-law might be that this was a celebration of the continuance of the Roman-Catholic faith in the family. Lady Mary was a confirmed Catholic who brought her children up accordingly. This might also explain the rare depiction at this date of a man with his arm around a lady.The attribution to Rowland Lockey, who had been apprenticed to Nicholas Hilliard, is based on stylistic similarities. It is also possible that Lockey worked regularly for recusant families. His group portrait of Sir Thomas More with his parents, family and descendants is derived from an earlier work by Holbein but adds Elizabethan sitters. It is a genealogical memorial of the staunchly Roman-Catholic More family over five generations, commissioned by More's grandson. It is now in the National Portrait Gallery. Provenance: By descent from the sitter to Capt. The Hon. Rupert Neville; Stanley Seeger, Sutton Place; The Sutton Place Heritage Trust; Sotheby's, Sutton Place Sale, 17 March 1987, lot 55; Private Collection, United Kingdom Dimensions: (Canvas) 39.5 in. (H) x 47.25 in. (W) (Frame) 46.25 in. (H) x 54 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 Acadamie 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 Luneville from 1707 to 1709 to paint Leopold, duc de Lorraine (1679-1721), and Elizabeth Charlotte d'Orleans (1676-1744). His focus was often aristocratic women, and he resurfaced at the 1737 Salon before gradually fading from the art scene. Marie Adelaide, born in 1685, was the daughter of Vittorio Amedeo II (1666-1732) of Savoy and Anne Marie d'Orleans (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)
Property of a Gentleman. Circle of Thomas Hudson (1701-1779) Possibly Margaret (Peg) Woffington (1714 - 1760), circa 1755 Wearing a white lace-trimmed cap with a blue ribbon and a white satin gown with a matching fichu bordered in lace and tied above the waist with a blue ribbon. Oil on canvas In a carved and gilded frame.Lot Essay: Margaret, or Peg, Woffington, was an Irish actress of enormous talent who enjoyed great fame in Dublin and London. In the case of the present painting, there is a strong resemblance to Peter van Bleeck's portrait of Peg Woffington as Phebe, known only from an engraving where it is dated 1747. The sitter is slightly older in the present picture. The opinion of the National Portrait Gallery, London is that there is not sufficient evidence for a positive identification. It is, however, one of three known versions, which does suggest that the sitter was someone of interest. Dimensions: (Canvas) 23 in. (H) x 18 in. (W) (Frame) 29 in. (H) x 23.75 in. (W)
Property of a Gentleman. William Huggins (1820 - 1884) A lion and a lioness in a landscape Oil on panel. Signed and dated, lower right: 'Huggins 1847' With gallery and exhibition labels, verso. Provenance: Private collection, USALot Essay: William Huggins was born in Liverpool in 1820, and is not to be confused with the earlier maritime painter, William John Huggins (1781 - 1845). Huggins shared many characteristics with George Stubbs, revealing a precocious talent for drawing and painting. Aged only 15, he won a prize at the Liverpool Mechanics Institute, where he studied before entering the Liverpool Academies School, with Richard Ansdell, in 1835. Huggins spent much time at the zoological Gardens in Liverpool, studying the animals, as well as following Wombwell's Menagerie from place to place. It wasn't until 1850, however, the he was to become a full member of the Liverpool Academy. Like Stubbs, who, much to his own annoyance, was never able to rid himself of the label 'horse painter', Huggins was unable to escape from the description of 'animal painter', despite his evident dislike of the term. In the first half of the 19th century, as in the 18th century, the hierarchy of painting was comparatively rigid, and being an animal painter did not carry as much weight as being either a portrait or a landscape painter. However, in Liverpool, there was only a limited market for history painting during that period, and, as elsewhere in the provinces, portraits, landscapes, and animal paintings were popular instead. Ben Marshall (1768 - 1835), a Leicestershire painter, once said, "I discover many a man who would pay me 50 guineas for painting his horse, who thinks 10 guineas is too much for painting his wife."Huggins' technique is very particular to him, as he employed a very distinctive glazing of colours on his prepared boards and canvases. Typically, he used a white millboard as the ground for his transparent glazes. His knowledge of animal anatomy was profound. E. Rimbault Dibdin, in his article on Liverpool-born animal painters (Art Journal, 1904), praised Huggins as a master; "Both as an executant in paint, and as a consummate expert in knowledge of animal form and character, Huggins was qualified to out-distance both Landseer and Ansdell." It was only his shy and slightly eccentric character that stopped Huggins from doing so. Dimensions: (Panel) 15.75 in. (H) x 19 in. (W) (Frame) 19.5 in. (H) x 23.25 in. (W)
Harold Riley (British 1934-2023) Female portrait Signed and dated '69, pastel.44.5 x 27cm (framed 67 x 50cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Harold Riley (British 1934-2023) Self-portrait Signed and dated '70, pastel.55 x 39.5cm (framed 77 x 61cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed.
Samuel Tonkiss (British 1909-1992) "L.S. Lowry" Titled and dated 1979 on original label inside the sculpture, with foundry mark, numbered 1/12 on the label, bronze on a wooden base.* Samuel Tonkiss was born in Shropshire and moved to Todmorden in West Yorkshire, where he worked as a journalist. In 1959 he began to sculpt a series of portrait busts, some of which were cast in small editions. Lowry was captured twice by the artist in bronze in 1971 and 1975. This much more intimate half-length portrait of L.S. Lowry dated 1979 is previously unknown. overall height 40cm Artists’ Resale Right (“droit de suite”) may apply to this lot. The bronze is in very good, original condition with no obvious faults to report.
Darly (Mary) Darly's Comic-Prints of Characters, Caricatures, Macaronies &c., engraved portrait frontispiece of Matthew Darley, engraved title, with 282 engraved plates on 125 sheets, on laid paper with armorial watermarks, some with countermark 'w', each leaf approx. 450 x 270 mm (17 3/4 x 10 5/8 in), offsetting throughout, some marginal nicks, small loss to title page, several sheets with larger repaired tears to inside corners and edges of sheets, some affecting the plates, occasional spotting and minor surface dirt, purple ink stamp to inside front free endpaper 'GIL', 19th century half morocco, marbled boards, bound by 'Mackenzie', spine gilt, t.e.g., rubbed and worn, folio, presented in modern solander box, Mary Darly, 1776.⁂ An important and fine example of the collected works of the husband and wife printsellers, Mary and Matthew Darly. From the time of their marriage, they worked in tandem designing, engraving and publishing prints using the signature, MD or MDarly. Mary was one of the first professional caricaturists in England. The present collection includes many of their most famous prints, including numerous "macaroni" satires, as well as caricatures featuring enormous hair styles, such as Bunkers Hill, or America's Head Dress. Scarce at auction, with ABPC recording only 4 copies to have come to auction since 1978. Not in the British Library, and with only 2 other copies recorded as being held in British institutions (Oxford, and the V&A Library). WorldCat lists 5 copies in American collections.
Botany.- Vallet (Pierre) Les Jardin du roy tres Chrestien Loys XIII, hand-coloured engraved title, one hand-coloured engraved portrait only (of 2), 93 hand-coloured plates, occasional marginal water-staining, faint staining to plate 39, marginal pencil marking and numbering to text ff., scattered faint spotting, new endpapers, modern vellum, [cf. Hunt 187], folio, Paris, 1623.⁂ "The first important Florilegium ... a work of great beauty" (Hunt). This was first published in 1608, with this, the second edition, expanded with a further 20 plates and re-dedicated to King Louis XIII.
Central Asia.- Abbott (Capt. James) Narrative of a Journey from Heraut to Khiva, Moscow, and St. Petersburg, during the late Russian invasion of Khiva, 2 vol., first edition, portrait lithograph, folding engraved map, bound without half-titles, bookplate, contemporary calf, rebacked retaining original backstrip, a little rubbed, 8vo, 1843.⁂ Provenance: Bookplate of Frederick Abbott (1805-92), brother of the author.
Lewis (John) The Life of Mayster Wyllyam Caxton, of the Weald of Kent; the First Printer in England, first edition, [one of 150 copies on fine paper], engraved portrait frontispiece, 2 woodcut plates of watermarks, errata leaf, contemporary panelled calf, red morocco spine label, slight split at head of upper joint, 8vo, 1737.⁂ A very good copy in contemporary binding of the first biography of an English printer, by a clergyman and antiquary at Margate in Kent. "Only 150 copies of this work having been printed, it is of rare occurrence and of high value...This memoir of Caxton is a very remarkable work, on account both of the fulness and accuracy of its material. The subsequent biographers of the first English printer, such as Ames, Herbert, and Dibdin, added, in fact little that was new to what Lewis had collected." (Bigmore & Wyman, p. 436).Provevance: Sir George Shuckburgh (armorial bookplate).
Beerbohm (Max) "English Portraits" [William Rothenstein (1872-1945)], pen and black ink over black chalk under-drawing, watercolour, signed ''Max' in the centre right of sheet, title inscribed lower right, on 'Wessex Antique' laid paper, 320 x 201 mm (12 1/2 x 8 in), some spotting and surface dirt, unframed, [circa 1900]Provenance:James Cummins Bookseller, New YorkLiterature:Rupert Hart-Davis, A Catalogue of the Caricatures of Max Beerbohm, 1972, no. 1303 ⁂ Beerbohm was a close friend of the artist William Rothenstein, and spoke at the artist's memorial service, where he said of him that "I have known no man who so dearly loved a joke against himself"; Beerbohm and Rothenstein exchanged over 220 letters across half a century. The inscription in the present drawing appears to relate to Rothenstein's publication of the same name printed in 1898, within which Rothenstein had included his own portrait of Beerbohm.
Meunier (Charles, binder).- Denon (Dominique Vivant) Point de lendemain, one of 75 copies on Japon, from an edition of 505 copies, this copy numbered 98 and initialled by the publisher, half-title with justification verso, etched portrait frontispiece of the author and 13 illustrations by Chardon after Paul Avril, with a suite of the plain etchings avant la lettre, some spotting to half-title, original pictorial wrappers bound in, bound with France (Anatole) Notice Historique sur Vivant Denon, original printed wrappers bound in, together 2 works in 1 vol., sumptuous light green crushed morocco by Charles Meunier, signed 'Ch. Meunier 1909' to lower inner front cover, richly gilt, covers with a wide foliage border with light grey morocco onlays, a pair of doves of peace as corner-pieces and elsewhere, all within an outer single filet border, spine in six compartments, five with a central light grey morocco onlay with a rich foliage border, the sixth with directly lettered title, inner covers semé with floral baskets with foliage tail-pieces, silk and marbled endpapers, g.e., housed in a dark green crushed morocco pull-top slip-case, spine in compartments, spine uniformly faded to brown, large 8vo (binding 240 x 162mm.), Paris, P. Rouquette, 1889.
Marx (Karl) Das Kapital. Kritik der politischen Oekonomie, vol. 1 only [all published in Marx's lifetime], second improved edition, without half-title and final advertisement f., bound in dark brown goatskin by K.H. Neumann, spine with five raised bands and lettered in silver, matching goatskin doublures, signed with stamp at foot of rear turn-in, marbled endpapers, chemise of suede-lined dark brown goatskin with yapp edges, spine ruled in blind, upper panel titled in silver and with onlay of repeating red-tinted photographic portrait of Marx, housed in a matching suede-lined goatskin drop-back box, 8vo, Hamburg, 1872.⁂ Revised by the author from the first edition of 1867, with the addition of a 10pp. afterword. Only one volume of Das Kapital was published in Marx's lifetime, with volumes two and three prepared by Engels from Marx's notes after his death.
Herbal.- Gerard (John) The Herball or Generall Historie of Plantes, second edition, engraved title by John Payne, numerous woodcut illustrations, lacking initial and final blanks and 6Z6 of Table at end, engraved title and [par.]3 with edges frayed and restored, 2K gathering with margins frayed, 2K3-4 causing loss to some text, the odd small marginal chip or short tear without loss, a few small rust holes within text, occasional light browning and marginal water-staining, a few instances of contemporary ink marginalia, the odd ink mark or stain but generally clean, final c.10 leaves defective and repaired with loss to some text, 7A1 with lower half torn away and repaired with paper, modern antique-style panelled calf, spine gilt in compartments and with red morocco label, [STC 11751; Henrey 155; Hunt 223; Nissen BBI 698], folio, Printed by Adam Islip, Joice Norton and Richard Whitakers, 1633.⁂ Second edition of the most famous early English herbal. The engraved title includes a portrait of the author holding a spray of potato foliage with flower and berry in his hand - displaying Gerard's considerable knowledge of this plant in English circles.Provenance: John Reynolds (contemporary ink name to verso of 5S2).
Daniel Press.- Keats (John) Odes Sonnets & Lyrics, one of 250 copies, mounted photogravure portrait frontispiece, a little spotting, mostly to endpapers, original grey printed wrappers bound in (tip of lower corner of front wrapper missing), contemporary citron morocco, gilt, by J. Larkins, t.e.g., 8vo, Oxford, Daniel Press, 1895.⁂ C.H. St. John Hornby's copy with his bookplate and a 4pp. A.L.s. from the printer tipped in regarding a planned edition of Sir Thomas Browne. Daniel encourages him to go for Fell ("I am pleased to hear that you have fallen in love with Fell" and "I am at one with you in preferring Caslon to the modern founders"), recommends Rives paper ("I am glad you intend to discard the Japanese paper. It does not take the ink well, but smudges") and suggests it should be damp ("I lay a wet sheet of thin waste paper between each 8 or 9, and press in an ordinary press for 12 hours"). He ends: "Your Sir Thos. Browne will be a lovely book. I am ashamed to say that I am too lazy to print in two colours, or do anything but plain work". Hornby's planned edition of Browne was never printed.
Newton (Sir Isaac) Philosophiae Naturalis Principia Mathematica, third edition, half-title, engraved portrait frontispiece, title in red and black, woodcut illustrations and diagrams, some foxing and soiling, contemporary calf, joints and corners worn, 4to, William & John Innys, 1726.⁂ A good copy of the third edition of one of the most important books in the history of science. This edition was edited by Henry Pemberton and included a new preface by Newton himself. It also omitted Leibniz's name from the section on calculus.Provenance: from the library of George Fuller (1829-1907); thence by descent in the family - see previous lot.
Binding.- Bodoni.- Tasso (Torquato) Aminta, Favola Boschereccia, ora per la prima volta alla sua vera lezione ridotta, first Bodoni edition, one of only 50 copies on velin paper "Carta d'Anonnay", engraved portrait vignette and engraved coat-of-arms, later dark blue straight-grain morocco, gilt, by Thouvenin, outer broad border of arabesques and stylized flowers and acanthus leaves, in the four corners of the sides large pointille squares enclosing quatrefoil ornaments, inner narrow border of palmettes blind-tooled, large inner fan-shaped pointille corner pieces composed of arabesques, acanthus and leafy tools, in centres a large ornament with corresponding tools, spine with 5 raised double bands, the second compartment lettered in gilt, the others gilt with leafy tools on pointille background, doublures and endleaves of pink watered silk surrounded by gilt borders, g.e., preserved in silk-lined cloth drop-back box, [Brooks 379], 4to (binding 303 x 225mm.), Parma, Impresso co'caratteri Bodoniani, 1789.⁂ A magnificent copy of this celebrated typographic masterpiece. Brunet cites this as "une des plus belles éditions" produced by the legendary printer-typographer. Dedicated to the Marchesa Donna Anna Malaspina della Bastia with a poem of Vincenzo Monti, printed in Bodoni's elegant italics, underneath her engraved coat of arms and with a preface by the Abate Pierantonio Serassi. While it was subsequently reprinted in 1792 with a frontispiece bearing the original printing date of 1789, this example is identifiable as the first issue (with the small signature number on p. 13 of the preface, and the correct "novi lumi" on p. 38).The sumptuous binding, executed c.1830, is by Joseph Thouvenin l'Aîné. Born in 1791, the son of a bookseller, he learned bookbinding from 1802-1813. He started to work with Bozerian and had acquired great competence by 1806. He set up on his own in 1813, apparently to learn the gilding which Bozérian Jeune had been unwilling to teach him. His submission of 11 bindings at the Exhibition of 1819 was rewarded with an honourable mention while at that of 1823, he gained a silver medal. He became one of, if not the most respected and sought-after binders of the period but died in his binding prime in 1834.
Bacon (Francis, Irish-British painter, 1909-1992) Autograph Letter signed, 2pp. 4to, 7 Reece Mews, London, SW7, 1st January, 1973, "I do not think my painting is expressionist and I do not like expressionism... I believe now that portrait painting is one of the most exciting aspects", with autograph envelope, folds⁂ An excellent and illuminating letter from Bacon in which he expresses his long-held distaste for expressionism before discussing how he approaches painting, his use of instinct and how he attempts to remake appearance "as far from illustration as possible". Francis Bacon letters are rare at auction, especially those in which he is so open about his attitude towards his craft.
Rocque (John) Plan de la ville et faubourgs d' Exeter ..., exceptionally fine plan adorned with nine large vignettes of buildings and views in Exeter and its rural environs, engraving by R. White, on two sheets conjoined, total 790 x 1210 mm (31 1/8 x 47 5/8 in), under glass, some old folds, restored loss to the lower right corner, other marginal nicks and tears, framed, 1744⁂ Published two years prior to Rocque's monumental plan of London. Vignette views include: Exe Bridge; The Guild-Hall; The West Prospect of the Cathedral of St Peter; The North View of the Castle; The City Hospital; The City and County Hospital; The Prospect of the Custom House; The Work House; and The North Prospect of the Cathedral of St Peter. A small vignette just above the French title cartouche appears a portrait of a surveyor at work, presumably Rocque himself.Scarce. We cannot trace another copy having been offered at auction.
Wellington (Arthur Wellesley, first Duke of, army officer and prime minister, 1769-1852) Ephemera relating to the Duke of Wellington, comprising: cut signature "Arthur Wellesley", lock of hair, engraved portrait of Wellington and letter third person by the Duchess of Wellington, all together framed and glazed in ornate gilt frame, ephemera v.s., frame 400 x 480mm., 1807-40.
NO RESERVE Einstein (Albert) Relativity. The Special & General Theory, translated by Robert W.Lawson, first edition in English, half-title, portrait frontispiece, diagrams and equations in text, 8pp. publisher's catalogue at end, browning to endpapers, some cracking to hinges, original red cloth, toning to spine, spine tips a little frayed, some light surface soiling to covers, [cf. PMM 408, first edition], 8vo, 1920.⁂ The first English edition of one of the most influential scientific works of the 20th century.
Voyages.- La Perouse (Jean-Francois de Galaup) The Voyage of La Pérouse Round the World in the Years 1785, 1786, 1787, and 1788, 2 vol., engraved portrait frontispiece, 44 engraved plates, 6 maps, 3 folding, one with large tear, scattered very faint spotting, vol. 2 with occasional faint staining, mostly marginal, bookplate, contemporary calf, vol. 2 upper cover detached, rubbed and worn, bumping to corners and spine extremities, [Ferguson 269], 8vo, John Stockdale, 1798.⁂ This is one of two editions in English published in 1798, a year after the first French edition. "The narrative of the enterprising but ill-fated Pérouse, is full of interest in all portions, but his relations of the peculiarities he observed in the natives of the northwest coast of North America, are especially valuable. The mysterious fate of this distinguished navigator has never been satisfactorily cleared up. The above account was transmitted from Botany Bay, after leaving this place the expedition was never heard of again" (Sabin).
Middle East.- Roberts (David) The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, 6 vol. bound as 4, first edition, lithograph portrait frontispiece, 6 tinted lithograph titles, 121 tinted lithograph plates and 120 half-page illustrations, 2 engraved maps, vol. 1 bound without list of subscribers as often, scattered spotting, most faint, contemporary half red-morocco, strengthened at joints, rubbing to joints and corners, bumping to corners and spine extremities, large folio, [Abbey Travel 272 & 385; Blackmer 1432], 1842-49.⁂ The first edition was published in 3 formats, of which this is the 'ordinary' format with tinted lithographs. "One of the most important and elaborate [publishing] ventures of the nineteenth century" (Abbey)"Roberts' original intention was to publish Egypt and Nubia together with The Holy Land in six volumes (this explains the 'vol. 5' on the title of Egypt, vol. 2) but this was not carried out, and the two works were brought out separately." (Blackmer)
Brooke (Rupert).- Jackson (Henry) Texts to illustrate a Course of Elementary Lectures on the History of Greek Philosophy from Thales to Aristotle, Rupert Brooke's annotated copy, signed and dated 1907 in pencil on front free endpaper, pencil marginalia on 7 pages and ?ink annotation on 1 page, original cloth, bookplate of Lord Elton of Headington, London & New York, 1901; and a late edition of Brooke's Collected Poems, with presentation inscription from Brooke's mother to Evelyn Wellburn, together with a mounted ALs on front pastedown and 2 further letters in an envelope tipped in at end, 8vo; and a plaster-cast of a portrait of Brooke (3)⁂ Rupert Brooke's copy of a book on Greek philosophy used by him while studying Classics at Cambridge. The accompanying copy of Brooke's Collected Poems was presented by his mother to Evelyn Wellburn, a schoolboy friend, on his marriage, and dated 1929 "Your mother will remember my son Rupert & your father knew him very well." There are 2 poignant mourning letters from Mrs Brooke in an envelope at end: one A.L.s. dated 8 May 1915, thanking Wellburn for his "beautiful letter" [about Rupert Brooke's death on 23 April 1915 on Skyros in Greece from septicaemia from an infected mosquito bite] - "he has indeed left a glory behind him"; the other a printed note, dated June 1915, regarding her "second great sorrow" [the death of her other son, 2nd Lt. William Alfred Cotterill Brooke, killed in northern France 14 June 1915], signed in ink at foot and annotated "My heart is so broken that I can't write an ordinary letter."
Burns (Robert) Poems, chiefly in the Scottish dialect, third [first London] edition, half-title, stipple-engraved portrait frontispiece, list of subscribers, upper margin of half-title neatly repaired, some spotting or light staining, lightly browned, tan crushed morocco, gilt, by Bayntun, of Bath, signed at foot of inner front cover, filet panelled covers with thistle head and heart corner-pieces, spine in six compartments, five with thistle heads within inverted hearts, the other with title 'Burns' Poems', marbled paper doublures within three sets of filet borders, the middle of which with foliage corner-pieces, marbled endpapers, g.e., spine very slightly faded, minor rubbing at extremities, 8vo (binding 224 x 136mm.), Printed for A. Strahan; T. Cadell In The Strand; and W. Creech, Edinburgh, 1787.
* GERARD BURNS (SCOTTISH b. 1961), STUDY OF A GIRL pastel on paper, signedframed and under glassimage size 25cm x 18cm, overall size 55cm x 48cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.Condition is good overall, with no known or visible issues.
* GERARD BURNS (SCOTTISH b. 1961), REDCOAT ON THE BRIDGE oil on canvas, signedframedimage size 60cm x 60cm, overall size 82cm x 82cm Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* JEAN B MARTIN RSW (SCOTTISH b. 1947), PORTRAIT OF A YOUNG GIRL pastel on paper, signed, titled label versomounted, framed and under glass image size 63cm x 43cm, overall size 88cm x 68cm Handwritten artist's label verso.Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
* PETER HOWSON OBE (SCOTTISH b. 1958), PORTRAIT OF A MAN pastel on paper, signedmounted, framed and under glassimage size 30cm x 22cm, overall size 56cm x 48cm Note: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* ELIZABETH BLACKADDER DBE RA RSA RSW RGI DLitt (SCOTTISH 1931 - 2021), IRISES limited edition print on paper, signed and numbered 117/300mounted, framed and under glassimage size 25cm x 38cm, overall size 44cm x 57cm Note: Elizabeth Blackadder was the first woman to be elected to both the Royal Scottish Academy and the Royal Academy. She studied at Edinburgh University and Edinburgh College of Art from 1949 to 1954. In 1954 she was awarded a Carnegie Travelling Scholarship by the Royal Scottish Academy, which took her to southern Europe. Blackadder also received an Andrew Grant Post-Graduate Scholarship. In 1955 she was awarded another Travelling Scholarship and spent nine months in Italy. In 1956 Blackadder married the painter, John Houston and lectured in Drawing and Painting at Edinburgh College of Art from 1962 to 1986. Blackadder’s first solo exhibition was held in 1959 at 57 Gallery, Edinburgh. Since then, solo exhibitions of her work have been held almost every year to date, both nationally and internationally. She also participated extensively in group exhibitions around the world. Blackadder received a number of awards, including the Guthrie Award, Royal Scottish Academy (1962) and the Pimms Award for Work on Paper (Royal Academy, 1983). She was joint-winner of the Royal Academy’s Watercolour Foundation Award in 1988. Blackadder was elected Member of the Royal Scottish Academy in 1972, a Royal Academician in 1976 and a Member of The Royal Glasgow Institute of Fine Arts in 1983. She was an Honorary Member of the Royal West of England Academy, the Royal Watercolour Society and the Royal Society of Painter-Printmakers, and an Honorary Fellow of the Royal Incorporation of Architects in Scotland and the Royal Society of Edinburgh. She has also received Honorary Doctorates from four Scottish universities. In 2001 she was appointed Her Majesty’s Painter and Limner in Scotland. Selected public collections: Abbot Hall Art Gallery, Aberdeen Art Gallery, Carlisle Museum and Art Gallery, Contemporary Art Society, The Carnegie Trust, Edinburgh City Art Gallery, Tower Art Gallery (Eastbourne), The Fleming Collection, Glasgow Museum and Art Gallery, UK Government Art Collection, Greater London Council, Heriot Watt University, Kirkcaldy Museum & Gallery, Museum of Modern Art, New York (MOMA), National Portrait Gallery, London, Royal Academy of Arts, The Royal Scottish Academy, Scottish Arts Council, Scottish National Gallery of Modern Art, Scottish National Portrait Gallery, Tate Gallery, London, University of Cambridge, Kettle’s Yard, University of Edinburgh, University of Glasgow, Hunterian Art Gallery, Whitworth Gallery, Wustun Museum, Racine, Wisconsin, USA.Condition is good overall
* ARCHIE FORREST RGI (SCOTTISH b. 1950), EARLY MORNING, NICE oil on canvas, signed, titled and dated 1978 label verso framed and under glass image size 51cm x 61cm, overall size 70.5cm x 80.5cm Artist's label verso. Note: Born in Glasgow in 1950, Forrest attended Glasgow School of Art between 1969 and 1973 prior to becoming a tutor there for seven years. In 1985, he gave up his teaching so that he could devote his time to painting. Forrest was elected a Member of the Royal Glasgow Institute of the Fine Arts in 1988 and has been a regular exhibitor there and at the Royal Scottish Academy since 1975. He has won numerous awards for both his painting and sculpture. Examples of his work can be found in private and corporate collections worldwide. Notable collections Include: Argyll Group plc,Beatson Oncology Centre, BBC, Biocon (Bangalore India), Deloitte, Glasgow Art Club, Glasgow Museums and Art Galleries, Glasgow Royal Infirmary, ICAP plc, Lightbody Ventures, Macfarlane Group (Clansman) PLC, Maclay, Murray and Spens, MacRoberts Partnership, Mar Hall Hotel, National Museums of Scotland, New Edinburgh Ltd, NHS Greater Glasgow and Clyde, One Devonshire Gardens, Restaurant Andrew Fairlie, Gleneagles, Royal College of Physicians, Royal Scottish Academy of Music and Drama, Scottish Amicable, Scottish National Portrait Gallery, Scottish Opera, Stirling University, The Alexander Gibson Opera School, The Earl of Wemyss and March, The Fleming Collection, The Glasgow Academy, The Royal Bank of Scotland, The Royal Conservatoire of Scotland, The Shurniak Gallery (Saskatchewan), The Savoy Group, Whyte & Mackay, William Teacher & Sons Ltd.
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), PORTRAIT WITH TURQUOISE EYES oil on canvas, signedframedimage size 79cm x 58cm, overall size 98cm x 78cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer).
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