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283284 Los(e)/Seite
Los 1
Cornelis Jonson van Ceulen I (London circa 1593-1661 Utrecht)Portrait of a lady, said to be Lady Sidley, in a black dress slashed to reveal white, within a painted stone oval remains of initials and date 'C J/ ***' (lower right)bears early inscription '*ady Sidley/ *ainted by/ *anSsn.1624.' (on reverse)oil on panel76.2 x 60.8cm (30 x 23 15/16in).Footnotes:ProvenanceThe Collection of Pryse Loveden, Buscot Park, OxfordshireWith Henry Graves & Co., London, 1859Private Collection, UKThe identifying inscription on the reverse suggests that the present portrait depicts a Lady Sidley. In his notes on the work in 1859, Sir George Scharf suggests that she may be identified as Elizabeth Savile (born circa 1595) who married Sir John Sedley, 2nd Bart. (1597-1638) in 1613. He also notes that the work was dated 1624, as is confirmed by the early inscription on the reverse of the panel.We are grateful to Prof. Karen Hearn for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Los 10
Flemish School, early 17th CenturyPortrait of gentleman, three-quarter-length, in armour, standing before a curtain charged with the sitter's coat-of-arms (upper right)oil on canvas125.6 x 102cm (49 7/16 x 40 3/16in).Footnotes:ProvenanceThe Collection of Cornelia, Countess of Craven, by whom offeredSale, Christie's, London, 13 April 1923, lot 140 (as Sustermans)The Collection of Thomas Ogden, by whose trustees soldSale, Christie's, London, 14 December 1962, lot 85 (as Sustermans, bt. Best)Sale, Christie's, London, 22 February 1963, lot 24 (as Sustermans, bt. Fuente)The expensive armour in this portrait, which is blackened and gilded, can be compared to that in the Royal Armoury in Madrid (inv. no. A 417) which is believed to be Flemish. While such armour was often borrowed as a studio-prop by the artist, it nonetheless suggests a sitter of considerable rank and high military status. The coat-of-arms would suggest an English sitter: its emblazon (Argent, three fleur-de-lis sable within a bordure of azure and or) may indicate that he is a cadet of the Baildon family of Baildon Hall in Yorkshire (whose arms are Argent, a fess sable between three fleurs-de-lys sable). Baildon Hall is just 21 miles from Appletreewick, where the 1st Earl of Craven's family originated before he moved to London and served as a military commander in the Thirty Years' War and may account for the provenance of this portrait. For a portrait of William, later 1st Earl of Craven (of the second creation) by Thomas Beach see lot 54.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 12
Govaert Flinck (Cleves 1615-1660 Amsterdam)Portrait of Jan de Saint Gilles (1609-1664), half-length, in black signed and dated 'G.Flinck. f/ 1645' (centre right)oil on canvas75.1 x 63.2cm (29 9/16 x 24 7/8in).Footnotes:Provenance Frings Collection, Marienfels Castle, near Remagen Carel Coenraad Johannes de Ridder, by whom offered His sale, Kunsthaus H. Hahn, Frankfurt, 18 February 1932, lot 130 (as a portrait of J.D. de Heem)Collection B. Berghaus, New York, by 1965 and thence by descent to the present ownerLiteratureJ. von Moltke, Govaert Flinck, Amsterdam, 1965, p.154, cat. no. 422, ill.Previously thought to be a portrait of the artist Jan Davidsz. de Heem (1606-1684), according to Moltke the identity of the present work was discovered through an 18th century copy by Hendrik van Velthoven, inscribed with the sitter's names and dates on the reverse (see: Moltke, ibid, pp.253-4, cat no. W.140 and RKD image 204243).A portrait of the sitter's wife, Cornelia Haringh, from the same date and in the same pose, is in the Hermitage, Saint Petersburg (inv.no. 6835).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 19
Follower of John de Critz (Antwerp 1551-1642 London)Portrait of King James I, full-length, in an interior; and Portrait of Anne of Denmark, full-length, in an interiora pair, oil on panel 47.8 x 34.2cm (18 13/16 x 13 7/16in). (2)the former charged with the sitter's coat-of-arms (on the reverse)Footnotes:ProvenanceCollection of G. C. GoldingHis sale sold by Order of the Executors, Christie's, London, 30 March 1951, lot 18 (as Hilliard)With Agnews, London (according to a label on the reverse)Private Collection, UK, for at least 60 yearsThese pendant portraits are after a group of portraits of King James I and his wife, Queen Anne of Denmark, associated with John de Critz, Sergeant Painter to the King. They follow full-length versions of the King currently at Loseley Park and the Museo del Prado (inv. no. P001954), and of Queen Anne currently at Loseley Park and in the National Portrait Gallery, London (inv. NPG 6918).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 20
After Nicholas Hilliard, circa 1600Portrait of George Clifford, 3rd Earl of Cumberland, bust-length, in armour bears inscription and date 'George Clifford Earle/ of Cumberland 1588' (centre right)oil on canvas73.6 x 61.7cm (29 x 24 5/16in).Footnotes:The present portrait is a rare, early version of the portrait that is related to the composition of circa 1590 by Nicholas Hilliard, which is a full-length miniature (now in the National Maritime Museum, Greenwich; inv. no. MNT0193). An oil version, on panel, in the same bust-length format, is in the Bodleian Library in Oxford (inv. no. LP58; acquired some time between 1705 and 1759). The National Gallery in London have a 19th century copy of this same bust-length format (see: Sir R. Strong, Tudor and Jacobean Portraits, London, 1969, vol. I, p. 57, ill, vol. II., pl. 103). An equestrian portrait of the sitter in similar costume by Thomas Cockson is also known (British Museum, inv. no. 1849,0135.3), which is inscribed: 'AN EXPLANATION OF THE SVRPRISE OF THE TOWNE OF PVERTO RICO BY THE EARLE OF CUMBERLAND IN ANo 1598 the 15th May', and which was engraved circa 1598-99. George Clifford, 3rd Earl of Cumberland (1558-1605) was a favourite at the court of Elizabeth I. He commanded a ship at the Armada in 1588 and fitted out ten privateering expeditions against Spain and Spanish America between 1586 and 1598, sailing personally with those of 1589, 1591, 1593, and 1598. He is depicted here in tournament fancy dress, probably as the Queen's champion, an office to which he succeeded in 1590. The armour he is wearing in the portrait still survives and is in the Metropolitan Museum in New York.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 22
Dutch School, 17th CenturyPortrait of a bearded gentleman, bust-length, in a white ruff oil on panel54.9 x 41.5cm (21 5/8 x 16 5/16in).Footnotes:ProvenanceProbably Ragotz Collection, by whom offeredProbably Sale, Jovenau, Doornik, 5 September 1740, lot 60 (as a Portrait of Brueghel by Frans Pourbus)Probably Collection of Baron Thompson, by whom offeredProbably Sale, Squibb, London, 21 June 1817, lot 36Collection of A. DiezHis sale, Helbing, Munich, 14 December 1896, lot 1352 (as Pourbus the Younger)The Collection of Kommerzienrat Stephan C. Michel, MainzHis sale, Lepke, Berlin, 27 February 1917, lot 80 (as an unknown Flemish Master of the 17th Century), where purchased byWith Oskar Skaller for M. Pech (as Rubens)With Kunsthandel Komter, AmsterdamWith Oskar Skaller, before February 1932 His sale, Internationales Kunst-und Auktionshaus, Berlin, 2 February 1932, lot 304 (unsold)Probably, Collection of Max Graubard, Warsaw, 1932, by whom offeredSale, Internationales Kunst-und Auktionshaus, Berlin, 15 May 1935, lot 383 (as Sammlung N)Collection of Hans Langer (1916-1980), Berlin by 1 June 1935 and taken to Johannesburg and thence by descent to the present ownerLiteratureH.P. Bremmer, Beeldende Kunst, Utrecht, 1925, vol. II, no. 304, ill.Dr. L. Burchard, 'Jahrbuch der Preussischen Kunstsemmlungen' vol. 50, Berlin, 1929, book 4, p. 319, annotationThe present work is offered with a copy of a certificate from Dr. Ludwig Burchard (dated 26 January 1927) in which he states this is a 'characteristic work of Peter Paul Rubens'.Note on the provenanceIn the 1935 sale the vendor of lots 381-387 is denoted by the initial 'N'. Lot 386, in the same sale, a head of Christ attributed to van Dyck, was, according to Ludwig Burchard's notes, in the possession of Max Graubard in Warsaw in 1932.Exhaustive research has failed to yield any record of this painting other than as stated in the provenance. It does not appear on any list of missing works sought for restitution, nor to the best of our knowledge could it be confused with any such work.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 32
Salomon de Bray (Amsterdam 1597-1664 Haarlem)Young man with a flute signed and dated 'SD Bray 164*' (lower right)oil on panel67.4 x 50.4cm (26 9/16 x 19 13/16in).Footnotes:ProvenanceBeris Family, Naples, 1854 (as Rembrandt, Portrait of Henri, Duke of Gloucester and son of Charles I, as a shepherd)Sale, Galerie Fievez, Brussels, 14 May 1928, lot 13Private Collection, Paris until 1965With Francois Heim, Paris and London, 1969 (according to exhibition catalogue)Sale, Hotel Drouot, Paris, 4 June 1984, lot 4 (as dated 1641, for 68,000frs)Sale, Christie's, Paris, 24 June 2004, lot 25, where sold after the saleSale, Stair Galleries, 27 April 2019, lot 476, where purchased by the present ownerExhibitedTravelling exhibition, Rembrandt and his pupils: a loan exhibition of paintings commemorating the 300th anniversary of Rembrandt: Montreal, Museum of Fine Arts, 9 January- 23 February 1969; Toronto, Art Gallery of Ontario, 14 March- 27 April 1969, cat. no. 33 LiteratureJ. W. von Moltke, 'Salomon de Bray', Marburger Jahrbuch fur Kunstwissenschaft, vol. XI-XII, 1938-9, pp. 366-67, 388, no. 98, fig. 56 (as dated 1640) According to Moltke, the composition and lighting are reminiscent of two works, dated 1635, in the Staatliche Kunstsammlungen, Dresden (in. no. 1377 and previously 1366, destroyed during WWII). It is possible that de Bray used the same model for the present portrait and the male portrait in Dresden.For further information on this lot please visit Bonhams.com
Los 35
Workshop of Christoph Amberger (active Augsburg, circa 1505-circa 1562)Portrait of a merchant, half-length, in black costume oil on canvas59.2 x 48.2cm (23 5/16 x 19in).Footnotes:ProvenanceWith Kleinberger & Co, New York, from whom acquired in 1960Collection of Mr and Mrs Joseph McMicking, San Francisco and by family descentThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 36
English School, 16th CenturyPortrait of Thomas Cromwell, half-length, in fur-trimmed costume inscribed 'Lorde/Thom/ *' (on letter, lower left) and bears number '18' (upper left)oil on panel53.1 x 40.4cm (20 7/8 x 15 7/8in).Footnotes:The present work is derived from Hans Holbein's portrait now in the Frick Collection, New York (acc.no.1915.1.76).Various elements of original design can be seen in the present portrait, most notably the striking patterned fur-lined jacket and evidence of preparatory underdrawing show the sensitive rendering of the sitter's facial features (infrared image is available upon request).For further information on this lot please visit Bonhams.com
Los 47
Joseph Highmore (London 1692-1780 Canterbury)Portrait of a gentleman, half-length, in military uniform and a tricorn hat under his arm signed and dated 'Jos: Highmore/ pinx:/ 1762' (lower left)oil on canvas90.9 x 70.6cm (35 13/16 x 27 13/16in).Footnotes:ProvenanceWith Knoedler, before 1928Private Collection, New YorkPrivate Collection, OxfordshireFor further information on this lot please visit Bonhams.com
Los 54
Thomas Beach (Milton Abbas 1738-1806 Dorchester)Portrait of William, later 1st Earl of Craven, as a boy, in Van Dyck costume indistinctly signed 'T.Be***' (lower right)oil on canvas, oval136.5 x 97.2cm (53 11/16 x 38 1/4in).Footnotes:ProvenanceWilliam, 7th Baron Craven and 1st Earl of Craven (1770-1825), by descent toCornelia, Countess of Craven (1877-1961)Her deceased sale, Sotheby's, London, 27 November 1968, lot 1, where purchased byWith Richard Green, LondonPrivate Collection, UKSale, Sotheby's, London 30 April 2015, lot 943With Historical Portraits, London, where purchased by the present ownerLiteratureCatalogue of works at Coombe Abbey, 1886, no. 208 (according to provenance)The sitter (1770-1825) was the eldest son of William Craven and Lady Elizabeth Berkelely. He succeeded his father as seventh Baron Craven in 1791 and was created Viscount Uffington and Earl Craven in 1801. He married Louisa Brunton, a much admired actress in 1807. The present portrait remained in the Craven family until it was sold in 1968, along with 6 other works by Thomas Beach, including the portrait of Elizabeth, Lady Craven (lot 3) which was purchased by the J. Paul Getty Museum, Los Angeles and later offered at Sotheby's, New York on 26 January 2012, lot 204.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 65
Henry William Pickersgill RA (London 1782-1875)L'improvisatrice oil on canvas88.4 x 68.1cm (34 13/16 x 26 13/16in).Footnotes:ProvenanceCollection of Henry, 3rd Marquess of Lansdowne (1780-1863)Sale, Sotheby's, London, 8 April 1998, lot 47, where purchased by the present ownerExhibitionLondon, Royal Academy, 1823, no. 261London, British Institution, 1825, no. 85 (lent by Marquess of Lansdowne)LiteratureA. Jameson, Companion to the Most Celebrated Private Galleries of Art in London, London, 1844, p. 327, cat. no. 150G.E. Ambrose, Catalogue of the Collection of Pictures belonging to the Marquess of Lansdowne K.G. at Lansdowne House London and Bowood, Wilts, London, 1897, p.75, cat. no. 199 (said to be a portrait of Miss Pickersgill)It is likely that the present portrait was painted in 1823 and was acquired for Bowood by the 3rd Marquess of Lansdowne shortly after. The sitter has traditionally been identified as the artist's daughter, who modelled for several of his portraits including Syrian Maid, now in the Tate, London.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 69
Attributed to Marcus Gheeraerts the Younger (Bruges 1561-1635 London)Portrait of a girl, half-length, in an embroidered dress with yellow lace, holding a cat, within a painted oval dated '1616' (upper right)oil on panel57.2 x 43.8cm (22 1/2 x 17 1/4in).Footnotes:ProvenancePossibly, the Nightingale family, Yorkshire and Derbyshire, early 19th Century and thence by descent to the present ownersIn its treatment, the present portrait displays the attributes that made Gheeraerts the premier painter in the late-Elizabethan and early-Jacobean court: beautiful drawing, soft modelling and a skilful manipulation of paint to mimic the texture and properties of various surfaces and materials. It was not unusual for Gheeraerts to depict his portraits in a similar brown feigned oval, such as his portrait of Catherine Killigrew, in the Yale center for British Art, and his celebrated portrait of Queen Anne of Denmark's jester, Tom Derry, which is in the National Portrait Gallery in Edinburgh. It was only during the period between circa 1615 and 1620 that it was fashionable to dye lace yellow, as seen in the present portrait and, for example in the Portrait of Thomas Pope by William Larkin that was sold in these rooms on 5 July 2017, lot 45 (fig.1). The sitter is wearing a necklace of what may be coral beads, which were worn by children to protect them from misfortune. Gheeraerts had lost but two of his six known children and was known for the 'sweet melancholy' of his paintings: there is a charming portrait of a boy aged two by Gheeraerts at Compton Verney. While the cat could indicate a variety of attributes, in this instance it was most likely intended to symbolise calm domesticity and comfort.For further information on this lot please visit Bonhams.com
Los 9
Fahr El-Nissa Zeid (Turkey, 1900-1991)Etoile Filante (Falling Star) oil on canvas, framedsigned 'FAHRELNISSA ZEID' (lower right) and on the verso, executed early 1960s160 x 95cm (63 x 37 3/8in).Footnotes:Provenance:Property from a private collection, ParisProperty from the family collection of Baron Jacques Maurice Despeaux (1896-1967)Acquired directly from the artist by the above circa early 1960'sNote:The present work is accompanied by copies of correspondence in the hand of the artist relating to the sale of paintings to Baron Jacques Maurice DespeauxThe present work is a highly significant abstract painting by Fahr El-Nissa Zeid from the early 1960's, her paintings from this period is widely considered to be her most mature body of work. An artist with one of the most diverse repertoires in the Middle East, Fahrelnissa oscillated between abstraction, expressionism, portrait art and landscape painting. Her monumental abstracts are considered the purest synthesis of her work; an amalgam of Islamic geometric influences and European abstract modes of representation colour and shape Zeid's abstract works.The French writer and art critic, Charles Estienne, with whom Fahrelnissa collaborated several works, wrote: 'Her paintings portray the parade of strange nations that migrate from one place to another; they expose -- in strange lights turning to crimson-reds, blues of huge glass cases, heavy as lead coils, enveloped in violent blacks. This light resembles the fabulous lights of Gothic stained glasses. Let this thick and impenetrable wall of Eastern stained glass, which grasps one in an unknown and transparent way, be a boundless and free line conveying the latest messages of Islamic arts to French art...'Profusely creative and astoundingly versatile Fahr El Nissa Zeid was an artist par excellence. One of the first women to attend the Fine Arts Academy in Istanbul, Fahr El-Nissa went on train at the Academi Ranson in Paris under Roger Bissiere. After marrying into the Hashemite Royal family of Jordan Fahr El-Nissa participated in a spate of international solo exhibitions in London, Paris, and New York and the Middle East before settling in Amman in 1976, after the death of her husband Prince Zeid.This lot is subject to the following lot symbols: * W* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Los 20
Alfred William Hunt (British, 1830-1896)'From mount to mount through cloudland'signed, titled, numbered and inscribed with artist's address 'No 1 'From mount to mount through cloudland'/A.W.Hunt/1 Tor Villa, Campden Hill, Kensington' (on artist's label affixed verso) oil on canvas 116.9 x 184.2cm (46 x 72 1/2in).Footnotes:ProvenanceWith Thomas Agnew & Sons, Manchester. ExhibitedLondon, Royal Academy, 1874, no. 79.Chicago Exhibition, British Section, 1893, no. 394. Lent by William S. Caine Esq. MP.Hunt titles this work 'From mount to mount through cloudland' which is a direct quote from Samuel Taylor Coleridge's poem Fancy in Nubibus, or The Poet in the Clouds, 1817. Coleridge is arguably one of the greatest poets in the English language, and he was one of the key proponents of Romanticism in Britain alongside Byron, Keats, Wordsworth, and Blake. Having not just a profound influence on literary criticism and philosophy for the generations that followed, Romanticism had a significant impact on practising artists throughout Europe and Britain in the late-eighteenth and early-nineteenth centuries. The full poem that inspired this work reads as follows:O! it is pleasant, with a heart at ease,Just after sunset, or by moonlight skies,To make the shifting clouds be what you please,Or let the easily persuaded eyesOwn each quaint likeness issuing from the mouldOf a friend's fancy; or with head bent lowAnd cheek aslant see rivers flow of gold'Twixt crimson banks; and then, a traveller, goFrom mount to mount through Cloudland, gorgeous land!Or list'ning to the tide, with closéd sight,Be that blind bard, who on the Chian strandBy those deep sounds possessed with inward light,Beheld the Iliad and the OdysseeRise to the swelling of the voiceful sea.Hunt has taken the words of Coleridge to create an atmospheric and tonal view of the valley, with its dark shadows, low clouds, and pink sky. He captures the literal atmospheric and meteorological surroundings that Coleridge describes. But Hunt also uses dramatic effects of light and shadow to bring forward shapes and colours in the clouds which indicates the more abstract romantic imagery conjured up by the poem. The sky appears in a state of flux, as the pink hues could indicate the lifting of the clouds and the revealing of the 'gorgeous land' that Coleridge describes.The influence of Romantic literature on the visual arts would have been keenly felt during this time, and this was certainly not just limited to landscape painting. Other examples of the influence include the writing of Sir Walter Scott which inspired Scottish artists such as Henry Raeburn; whilst William Blake and William Wordsworth influenced the portrait paintings of George Romney and landscapes by Joseph Wright of Derby.For further information on this lot please visit Bonhams.com
Los 12
America.- Gentry (Thomas G.) Nests and Eggs of Birds of the United States, half-title, portrait frontispiece, chromolithographed title and 54 plates, tissue guards, scattered foxing to frontispiece and title, occasional light foxing elsewhere, some light browning and offsetting, hinges cracked but holding firm, original pictorial morocco, gilt, heavy rubbing to extremities, g.e., [Nissen BBI 345], 4to, Philadelphia, 1882.
Los 128
Wakefield (Priscilla) An Introduction to the Natural History and Classification of Insects, in a series of Familiar Letters, 12 hand-coloured engraved plates, some foxing, mostly to text, later half roan, Darton, Harvey, and Darton, 1816 § Swammerdam (Jan) & others. The Natural History of Insects...intended as a Companion to Buffon's Natural History, 20 engraved plates, lightly water-stained at upper edge but not affecting images, contemporary sheep, rebacked, corners repaired, W.Law, A.Millar, and R.Cater, 1792 § Duncan (James) British Butterflies, Entomology vol.3 from Jardine's 'Naturalist's Library', engraved portrait, additional title with hand-coloured vignette and 34 plates, 32 hand-coloured, original cloth, Edinburgh, 1835 § Watts (Susanna) The Insects in Council, addressed to Entomologists, with other poems, title with wood-engraved vignette, lacking final leaf, foxing, modern half morocco, g.e., J.Hatchard & Son, 1835, all but the last rubbed; and 6 others, insects, 8vo et infra (10)⁂ The first is an instructional book for children, written after the success of the author's similar volume on botany. The last is scarce with only one copy listed by Library Hub (BL).
Los 136
NO RESERVE Hickson (Sydney J.) The Pennatulacea of the Siboga Expedition..., first edition, signed and inscribed by the author "...many thanks for valuable assistance in the production of this work..." on half-title, 10 plates, one chromolithographed and folding, large folding colour map, contemporary half morocco, original wrappers bound in, worn, Leiden, 1916 § Landsborough (Rev. D.) A Popular History of British Zoophytes, or Corallines, 20 hand-coloured lithographed plates, contemporary calf, upper cover detached, 1852 § Culpeper (Nicholas) The Complete Herbal, engraved portrait, 20 hand-coloured plates, a little soiled and stained, final leaf torn and slightly defective at outer edge, contemporary half roan, upper cover detached, 1850 § Sowerby (John E.) & Charles Johnson. The Ferns of Great Britain, vol1 only (of 2), 48 hand-coloured engraved plates only (of 49, lacking plate 46) but with a duplicate of plate 45, contemporary calf, gilt, 1855 § Goldsmith (Oliver) A History of the Earth and Animated Nature, 2 vol., additional engraved vignette titles and plates, many hand-coloured, one or two loose, contemporary half calf, faded, 1868, rubbed or worn; and 4 others, natural history, v.s. (10)
Los 148
Dyson (David) The Land and Fresh Water Shells of the Districts around Manchester, A.S.Kennard's copy inscribed to him by J.Wilfrid Jackson on front free endpaper, with faded photographic portrait tipped in as frontispiece, lithographed plate, Manchester, 1850 § Macgillivray (William) A History of the Molluscous Animals of Scotland..., second edition, 1844 § Lowe (E.J.) The Conchology of Nottingham, presentation copy from the author to Dublin Natural History Society, 1853 § Forbes (Edward) Malacologia Monensis. A Catalogue of the Mollusca inhabiting the Isle of Man..., 3 lithographed plates, light foxing, Edinburgh, 1838 § Mansel-Pleydell (J.C.) The Mollusca of Dorsetshire, presentation copy from the author, folding map, Dorchester, 1898, some ilustrations, original cloth, some pictorial gilt, a little rubbed, the first four with faded spines; and 4 others, similar, v.s. (9)⁂ John Wilfrid Jackson (1880-1978), conchologist, archaeologist and geologist.
Los 154
Moquin-Tandon (Alfred) Histoire Naturelle des Mollusques Terrestres et Fluviatiles de France, 3 vol. including plate vol., 54 engraved plates, all but one hand-coloured or partly so, a few heightened with gum arabic, lithographed portrait of the author loosely inserted (foxed), contemporary half morocco, spines gilt, g.e., spines slightly faded, Paris, 1855 § Draparnaud (J.-P.-R.) Histoire Naturelle des Mollusques Terrestres et Fluviatiles de la France, half-title, 13 lithographed plates, errata leaf at end, contemporary half calf, Paris, [1805] § Michaud (A.-L.-G.) Complément de l'Histoire Naturelle des Mollusques Terrestres et Fluviatiles de la France, de J.P.R.Draparnaud, half-title, 3 lithographed plates, contemporary calf-backed marbled boards, rebacked preserving old spine, Verdun, 1831 § Dupuy (Abbé D.) Histoire Naturelle des Mollusques Terrestres et d'Eau Douce qui vivent en France, 2 vol., 31 lithographed plates, a couple of manuscript sheets of notes & drawings loosely inserted, ex-library copy with a few old ink stamps, contemporary half vellum, Auch & Paris, 1847-52, some foxing, all a little rubbed; and 15 others on molluscs, most French, 4to & 8vo (22)
Los 156
Müller (Otto Fridrich) Vermium terrestrium et fluviatilium..., 3 vol. in 1, first edition, light spotting at beginning and end, engraved armorial bookplate of Geo.Aug.Thursby, contemporary half calf, rubbed, rebacked preserving old spine, Copenhagen & Leipzig, Heineck & Faber, 1773-74 § Clessin (Stefan) Deutsche Excursions-Mollusken-Fauna, second edition, 1884; Die Mollusken-Fauna Mitteleuropa's II: Die Molluskenfauan Oesterreich-Ungarns unde der Schweiz, 1887, together 2 vol., illustration, first volume with portrait, prospectus tipped-in and A.Pc.s. from the author mounted on verso of title, A.S.Kennard's copy with his notes to front free endpaper and pencil page references to first edition to text, contemporary half morocco, a little rubbed, Nuremberg § Klemm (Walter) Die Verbreitung der rezenten Land-Gehäuse-Schnecken in Österreich, signed and inscribed by the author to Michael Kerney, maps, original cloth, Vienna & New York, [1974]; and 13 others on molluscs, mostly German, 4to & 8vo (17)
Los 157
Taylor (John W.) Monograph of the Land & Freshwater Mollusca of the British Isles, 4 vol. bound from the original 24 parts, portrait and 77 colour plates & maps, those in vol.1. chromolithographed, with prospectuses, A.Ls.s. from the author (one to A.S.Kennard), T.L.s. from A.E.Ellis to Michael Kerney and other items loosely inserted, with Kerney's signature in vol.2, bound in green morocco-backed cloth with stained vellum tips, some original wrappers bound in at end, Leeds, 1894-1921 § Brown (Capt. Thomas) Illustrations of the Land and Fresh Water Conchology of Great Britain and Ireland, 27 hand-coloured plates, tissue guards, advertisement leaf at end, some foxing, with biographical pamphlet on Brown by J.Wilfrid Jackson inscribed by the author loosely inserted, 1845 § Turton (W.) A Manual of the Land and Fresh-water Shells of the British Islands, half-title, 10 hand-coloured plates, 1831 § Adams (Lionel Ernest) The Collector's Manual of British Land and Freshwater Shells, 8 plates, all but one hand-coloured, 1884 § Kerney (Michael) Atlas of the Land and Freshwater Molluscs of Britain and Ireland, the author's copy with his signature and various inserts, illustrations, original pictorial boards, Great Horkesley, 1999, first editions, all but the first and last original cloth, the second and third with faded spines, a little rubbed; and a small quantity of others on British land and freshwater molluscs and a small folder of loose lists of British shells and molluscs, some pamphlets, some with loosely-inserted notes or letters, several to Kerney, 8vo & 4to (c.65)
Los 158
Geology.- Englefield (Sir Henry Charles) A Description of the Principal Picturesque Beauties, Antiquities, and Geological Phoenomena, of the Isle of Wight...with Additional Observations on the Strata of the Island...by Thomas Webster, first edition, large paper copy, half-title, engraved portrait, 3 folding engraved maps (one hand-coloured) and 47 engraved plates, 9 double-page including one hand-coloured aquatint of 3 views, light foxing to portrait and title otherwise text very clean, some foxing to plates, William Beckford's copy bound in contemporary half russia with his characteristic gilt-edged L-shaped corner-pieces, ?by Charles Lewis, t.e.g., others uncut, rebacked, a little worn, splits to joints, [Abbey Scenery 345], folio, 1816.⁂ A Charles Traylen catalogue slip mounted on front pastedown notes, "This is the copy from the Beckford sale, sold at Sotheby's June 30th, 1882, 11th day, Lot 2815. It does not contain any of Beckford's pencil notes". A loosely-inserted T.L.s. from Sotheby's to Michael Kerney dated 9th April 1958 quotes the original catalogue entry as containing "brilliant proofs" and being bound by Lewis.
Los 168
Geology & Palaeontology.- Woodward (Samuel) An Outline of the Geology of Norfolk, folding hand-coloured lithographed map and cross-section, 6 lithographed plates, with offprint by Woodward 'Shells of the Newer Pliocene or Norwich Crag' of 1864 loosely inserted, John Stacy, 1823 § Green (Charles) The History, Antiquities, & Geology of Bacton, in Norfolk, half-title, etched frontispiece, list of subscribers, 3 lithographed plates, 2 double-page, 8pp. catalogue at end, plates foxed, 1842 § Woodward (H.B.) & E.T.Newton, editors. Memorials of John Gunn...being some account of the Cromer Forest Bed and its Fossil Mammalia, portrait, 12 lithographed plates, one folding, bookplates of Rev. William Gunn and Rev.John Gunn, 1891, first editions, original cloth, the first two rubbed and faded, the first rebacked, Norwich; and another on Norfolk geology, 8vo (4)⁂ The last contains a loosely-inserted A.L.s. from A.C.Savin to J.Gunn "...I have had a good find from Sidestrand Forest Bed consisting of four molar teeth...I think they are the first reliable specimens from our coast. Mr E.T.Newton has got them to figure in his new work...". Savin is mentioned several times in the work with illustrations of specimens from his collection.
Los 33
Lilford (Lord) Coloured Figures of the Birds of the British Islands, 7 vol., first edition, portrait photogravure frontispiece, vol. 1 list of subscribers, 421 chromolithograph plates, some light off-setting, contemporary green half morocco, vol. 1 & 7 rebacked preserving original backstrip, vol. 4 upper cover detached, vol. 2 nearly so, vol. 3 backstrip peeling away along upper joint, spines toned, extremities worn, [Nissen IVB 563; Wood p. 436], 8vo, R. H. Porter, 1885-97.
Los 5
Africa.- Jackson (Sir Frederick John) Notes on the Game Birds of Kenya and Uganda, half-title, plates in colour, occasional spots, spine lightly sunned, small tear to spine head, ends bumped, 1926; The Birds of Kenya Colony and the Uganda Protectorate, 3 vol., portrait frontispiece, numerous plates in colour, with captioned tissue guards, plain plates and illustrations, bookplates tipped in, hinges starting, original cloth, 1938, all first editions, original cloth, 8vo (4)
Los 66
Buller (Sir Walter Lawry) A History of the Birds of New Zealand, 2 vol., second edition, 48 chromolithograph plates after J.G. Keulemans, 2 lithograph plates, wood-engraved illustrations, list of subscribers, together with Supplement, 2 vol., portrait photogravure frontispiece of the author, 12 chromolithograph plates, of which 1 loose, 1905, together 4 vol., bound in uniform modern green half morocco with red spine labels, [Anker 85; Nissen, IVB 163], Published (for the Subscribers), folio (4)
Los 81
Chubb (Charles) The Birds of British Guiana, based on the Collection of Frederick Vavasour McConnell, 2 vol., first edition, one of only 250 copies, portrait frontispiece, numerous photographic and coloured plates, after H. Gronvold, folding colour map, numerous illustrations, original printed wrappers, some minor soiling, a few small chips and instances of wear, unopened and uncut, [Nissen IVB 198], large 8vo, 1916-21.
Los 84
Murphy (Robert Cushman) Oceanic Birds of South America, 2 vol., first edition, numerous plates, both in colour and photographic, at rear of each vol., original cloth, spines lightly sunned and scuffed, [Nissen IVB 661], New York, 1936 § André (Eugene) A Naturalist in the Guianas, first edition, portrait frontispiece, photographic plates, colour plates, map, original cloth, ends a little bumped, 1904 § Haverschmidt (F.) Birds of Surinam, numerous plates in colour, ink ownership inscription to front endpaper, original cloth, extremities lightly scuffed, 1968 § Sigrist (Tomas) Aves do Brasil, plates and illustrations in colour, original pictorial boards, dust-jacket, within original card slipcase, also with accompanying C.D in printed booklet and bookmark, inserted to pockets in slipcase, [c.2006]; and 10 others on the birds of Central and South America, v.s. (15)
Los 282
Burchett (Josiah). A Complete History of the most Remarkable Transactions at Sea, from the Earliest Accounts of Time to the Conclusion of the Last War with France. Wherein is given an Account of the most Considerable Naval-Expeditions, Sea-Fights, Stratagems, Discoveries, and other Maritime Occurences that have happen'd among all Nations which have Flourished at Sea..., 1st edition, printed by W.B. for J. Walthoe, 1720, title printed in black and red, engraved allegorical frontispiece, engraved portrait before preface, nine folding engraved naval charts, worn leather spine, front and back covers missing together with Baker Sir Richard (Kt): A Chronicle of the Kings of England from the time of the Romans Government unto the death of King James. Containing all Paffages of State and Church, With all other obfervations proper for a Chronicle, Engraved architectural title page by W, Marshall and frontispiece portrait of Prince Charles, calf boards and spine, front cover unattached, printed for George Sawbridge, London, 1674, Hellard (C.B) D. Justininiani Institutionum Libri Quatuor The Four Books of Justinian's institutions, translated into English with notes by George Harris L.L.D, The Second Edition, calf and board covers, front cover unattached, printed for M.Withers, at the Seven Stars, Fleet Street, London, 1761, Ireland (John) Hogarth Illustrated, volumes I-III, The Second Edition, published for J. and J Boydell, Cheapside, London, half calf covers, 1793-1804, The Nautical Almanac and Astronomical Ephemeris for the Year 1851, with an appendix, published by order of The Lords Commissioners of the Admiralty, half-calf cover, published for John Murray, Albemarle Street, London, 1847, O' Malley (Charles) The Irish Dragoon, edited by Harry Lorrequer, with illustrations by Phiz, in two volumes, leather and marbled board covers, published for William Curry, Jun and Company, 1841,Cooley (Arnold J.) A Dictionary of the English Language, exhibiting the orthography, pronunciation, and definition of words, according to the prevailing usage of correct writers and speakers, first edition, half-calf and marbled board cover, W and R Chambers, London and Edinburgh, 1861, Burney (William): The British Neptune or a history of the achievements of the Royal Navy, from the earliest periods to the present time, 8 engraved plates, folding map (bound in at front), uncut paper, Printed for Richard Phillips, London, 1st edition, 1807, Osbalidston (William, Augustus) The British Sportsman, or Nobleman, gentleman and Farmers Dictionary of Recreation and Amusement including a Most Improved System of Modern Farriery......, London circa 1792, possibly first edition, front and back covers missing, Catcott (A.S) Tractatus, in quo tentatur conamen recuperandi notitiam principiorum veteris & veræ philosophiæ, calf and marbled board covers, G. Strahan, London and J. Wilson, Bristol, 1738, The Proceedings and Tryal in the Case of the Most Reverend Father in God, William Lord Archbishop of Canterbury, and the Right Reverend Fathers in God, William Lord Bishop of St. Asaph, Francis Lord Bishop of Ely, John Lord Bishop of Chichester, Thomas Lord Bishop of Bath and Wells, Thomas Lord Bishop of Peterborough, and Jonathan Lord Bishop of Bristol. In the Court of Kings-Bench at Westminster, .... 1688, engraved frontis with portraits of the defendants, Printed for Thomas Basset and Thomas Fox, London, 1689, and Bisse (Thomas) Decency and order in Publick Worfhip, recommended in Three Discourses, preached in the Cathedral Church of Hereford, rebound leather and board, Printed for W. and J Innys, London, 1723
Los 337
Henri Versailles (c.1850-95), Portrait of the barquentine Charles James off Dunkirk, oil on canvas, signed and dated 1885, 43cm x 81cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Los 349
Jessie Furber (active early 20th Century), Portrait of a lady in a silk brocade dress, oil on canvas, signed and dated 1915, 59cm x 48cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Los 350
Jessie Furber (active early 20th Century), Portrait of a gentleman in a black jacket, oil on canvas, signed and dated 1915, 51cm x 43cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Los 19
A KOREAN SCROLL PAINTING OF A SEATED MING DYNASTY OFFICIALPainted on coarse silk, the official wearing a pink robe and black hat, his skin heavily pigmented, inscribed with twelve-character inscription, ‘a portrait of the Ming Dynasty Great General, Shen Xiao Zhen who assails the West’ framed and glazedThe image: 59cm by 38cmCondition Reportsome creases to silk, traces of mould, laid on a coarse silk. the face with unusual skin pigmentation similar to vitiligo. Framed and glazed.
Los 239
A pair of 19th century French porcelain portrait plates, with Sevres stamp, depicting portraits of Louis XV and Marie Thérèse Louise, Princesse de Lamballe, in a halo of gilt embellishment, the deep blue scalloped border with further gilt decoration, interlaced Ls, crown and name below the portrait, the reverse with Blue Sevres stamp and red 'Chateau de Fontainebleau' stamp, 25 cm diameter
Los 1168
Football autographs, Reading FC, a selection of signatures from the early 1950's on 5 album pages, mostly signed to miniature cut-out portrait pictures, players inc. Amor, Gulliver, Livingstone, Blackman, Uphill, Kirkwood, Marks etc (approx. 50) sold with a multiple signed album page with 16 ink signatures & inc. signed colour cut-out picture of Edelston (gen gd)
Los 212
An Edwardian satinwood Carlton House desk, in the Sheraton style, with leather writing surface, flanked with portrait painted slope compartments either side, painted drawers and other compartments, above three frieze drawers painted with floral swags all around to the back of the piece, supported on square tapering legs terminating in brass castors, 98 cm high x 154 cm wide x 78 cm deep
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