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Fonseca (Cristóbal de) Primera [-Segunda] parte de la vida de Christo señor nuestro, 2 vol., title to part 1 printed in red and black, both parts title with woodcut portrait of Jesus, woodcut head- and tail-pieces and decorative initials, part 1 early ink marginalia (including a few manicules) and underlining, part 2 lacking *6 at end (portrait of the Virgin), part 1 trimmed at head, affecting a few headlines, part 2 water-stained with some spotting, and with some mostly marginal worming, some repaired, including upper corner of title, both vol. some spotting or staining, lightly browned, part 1 recased in later limp vellum, spine repaired, some staining, part 2 modern limp vellum, [Anselmo 51; King Manuel 272; Palau 93175 & 93178], Lisbon, António Álvares for Domingos Martins & António Álvares & Jorge Rodrigues, 1600-1602; and 3 others, Religion, v.s. (5)
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Fore-edge paintings.- Rio de Janeiro.- Sallustius Crispus (Caius) Quae Exstant cum notis Glareani, Rivii..., 2 vol., with fine fore-edge paintings of Rio de Janeiro beneath the gilt of both vol. half-titles, titles in red and black and with small engraved portrait of Sallust, spotted, some staining, lightly browned, hinges a little weak, 19th century dark green crushed morocco, gilt, spines in compartments, these and covers with triple filet borders, vol.2 lower joint just starting at head, both vol. corners little worn, a few scuffmarks, rubbed, particularly the joints, g.e., housed in modern dark green crushed morocco-backed cloth slip-cases, spines in compartments and with double black leather labels, spines faded, 4to (bindings 295 x 235mm.), Amsterdam, The Hague & Utrecht, F. Changuion & others, 1742. sold as fore-edge paintings and not subject to return. ⁂ The fine fore-edge paintings (each c.45 x 285mm.) depict Rio de Janeiro Bay after Rio de Janeiro from Ilha das Cobras engraved by Mr. Newton Fielding..., from a painting attributed to J.A. Capillan; and the Church of Nossa Senhora da Glória, and Aqueduct, after William Gore Ouseley in Views in South America, [1852].
Jesuits.- Philip V, King of Spain. Decreto di sua maestà il re cattolico Filippo V sopra varie accuse portate al suo real Consiglio delle Indie contro i gesuiti del Paraguay, 2 parts in 1, marginal worming, some spotting or mostly light staining, later vellum, a few small wormholes, spotted, [Palau 87397; Quaritch, The Society of Jesus 165; Sabin 19208-19209; cf. Sommervogel XI, 1351], Naples, no printer, 1744 § Barros (André de) Vida do apostolico padre Antonio Vieyra da Companhia de Jesus, first edition, title printed in red and black, engraved portrait of Vieira, vignettes and historiated initials, final f. of index from another shorter copy, some marginal worming, staining, occasional spotting, antique style speckled calf-backed marbled boards, [Azevedo-Samodães 329; Borba de Moraes (1983) I, 83; De Backer-Sommervogel I, 927, no.7; Innocêncio I, 59; Palha 2643; Rodrigues 348; Sabin 3645; Soares 521 & 522], Lisbon, House of Sylvian, 1746; and 17 others, Jesuits, v.s. (19) ⁂ The first mentioned is an important decree, which resulted in the expulsion of the Jesuits from the Americas. There had been great resentment caused by the Jesuits' appropriation of the best lands, their exemption from paying taxes, and their exploitation of the indigenous population.
Logic & mathematics.- Azevedo Fortes (Manoel de) Logica Racional, Geometrica, e Analitica, first edition, half-title, engraved portrait frontispiece of the dedicatee the Infante António of Portugal by Olivarius Cor after Vieira Lusitano, title printed in red and black and with small woodcut ornament, engraved head-piece and historiated initial to dedication, numerous woodcut diagrams, woodcut head- and tail-pieces and decorative initials, title with repaired tear in lower margin, occasional spotting or mostly light staining, lightly browned, decorative endpapers printed in blue, contemporary mottled calf, upper cover with empty gilt circular frame for arms or similar, richly gilt spine in compartments and with red morocco label, head of spine and corners worn, rubbed, [Azevedo-Samodães 258; Innocêncio V, 369-370; Soares 517], small folio, Lisbon, Jozé Antonio Plates, 1744.⁂ The author was Chief Engineer of Portugal from 1719 until his death in 1749.
Portuguese Enlightenment.- Lima Bezerra (Manoel Gomes de) Os estrangeiros no Lima: ou conversaçoens eruditas...com huma descripçaõ de todas as villas, freguezias, e lugares notaveis da Ribeira Lima, 2 vol., first edition, engraved portrait frontispiece in vol.2 and 6 views and plates, of which 5 folding, vol.1 red pencil word just within platemark of plate of arms at p.333, 2M2 printing flaw at head recto, vol.2 little marginal worming at foot towards end, both vol. water-stained, causing some damp-staining to last few ff. of vol.2, occasional spotting or light staining, lightly browned, contemporary mottled calf, richly gilt spines in compartments and with red leather labels, [Innocêncio V, 445 & XVI, 222; Palha 2739; Soares I, 399; Welsh 1789], small 4to, Coimbra, University Printers, 1785-1791.⁂ Rare first edition of one of the most important works of the Portuguese Enlightenment. The work takes the form of a dialogue between five 'foreigners' (English, French, Italian, Spanish, and Portuguese). Topics of conversation include industry and commerce, agriculture, and Portuguese antiquities and noble families. There is also much on notable places along the Lima river. The author was a physician and surgeon in Porto, who worked to disseminate medical knowledge throughout Portugal. Provenance: Ruy Dique Travassos Valdez (large 20th century bookplate to front pastedown of vol.1).
Official NASA portrait of the prime crew, Apollo 13, April 1970Vintage chromogenic print on fibre-based Kodak paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED NASA S-69-62224, with A KODAK PAPER watermark on versoFootnotes:Days before the mission, backup lunar module pilot, Charles Duke, inadvertently exposed the crew to German measles. Command Module Pilot Ken Mattingly had no immunity to measles and was replaced by backup command module pilot, John Swigert.Condition Report: Names of the astronauts annotated by hand in lower margin. Otherwise very good.Condition Report Disclaimer
Official NASA portrait of the prime crew with Lunar Rover, Apollo 15, 1971Vintage chromogenic print on fibre-based Kodak paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED NASA S-71-22407, with A KODAK PAPER watermark on versoFootnotes:Left to right, James B. Irwin, lunar module pilot; David R. Scott, commander; and Alfred M. Worden, command module pilot.
Two very rare candid portraits of the crew of the last manned lunar surface mission (2 photos), Apollo 17, December 1972 Vintage chromogenic prints on resin coated Kodak paper, 25.3 x 20.5 cm (10 x 8 in), with A KODAK PAPER watermarks on verso (NASA/North American Rockwell)Footnotes: Ronald Evans, Harrison Schmitt and Eugene Cernan pose with false moustaches next to mock-ups of the LM and Lunar Rover. Charles Duke and John Young of Apollo 16 and Stuart Roosa of Apollo 14 also appear in the second portrait (left). North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. Condition Report: Condition Report Disclaimer
A portrait of John Glenn, the first American to orbit the Earth, glancing out of porthole as he re-entered the atmosphere, taken by an automatic sequence motion picture camera onboard the "Friendship 7" capsule, Mercury-Atlas 6, 20 February 1962.Vintage gelatin silver print on fibre-based paper, 25.5 x 20.7 cm (10 x 8 in), with NASA caption numbered 62-MA6-167 and release date 20 February 1962.Provenance:From a collection of Tim Furniss. Condition Report: Horizontal crease approx. 14 cm longCondition Report Disclaimer
Four rare views of the Apollo 9 crew which conducted the critical first flight of the LM including the official portrait of the crew, Russel Schweickart in his EVA spacesuit, the crew during lunch at their crew quarters and finally the crew after the successful recovery, Apollo 9, 3-13 March 1969Vintage gelatin silver prints on fibre-based paper, 25.3 x 20.5 cm (10 x 8), with NASA captions numbered 69-H-195, 69-H-371, 69-H-463 and 68-H-1202 on versos, (NASA Kennedy Space Center and NASA Headquarters) (4)
Four views of Alan Shepard during various phases of the preparation for the the first manned American mission into space, Mercury Redstone 3, 1960-1961 Vintage gelatin silver prints on fibre-based paper, 20.4 x 25.3 cm (10 x 8 in), with NASA captions on versos, the first three BLACK NUMBERED NASA G-60-2742, NASA G-60-2679, NASA S-61-2527 (NASA Headquarters), (4)Footnotes: First photo: classic NASA official portrait of Mercury original seven astronaut Alan Shepard, 1960. Second photo: early view of Alan Shepard during a Mercury Seven human centrifuge training at the Aviation Medical Laboratory in Johnsville, Pennsylvania. Third photo: together with John Glenn (left) and Gus Grissom (right), Alan Shepard selected as one of the first three astronauts selected for space travel and then designated as the first to attempt a launch. Fourth photo: Alan Shepard during a test of the Freedom 7 capsule which carried him on the first US spaceflight. Condition Report: Three minor dings to left margin (from filing) in the first print, otherwise very goodCondition Report Disclaimer
Neil Armstrong The most iconic image from the Apollo 11 mission. A portrait of Buzz Aldrin with the Lunar Module and the photographer (Neil Armstrong) reflected in his gold-plated visor, Apollo 11, 16-24 July 1969 Vintage chromogenic print on resin coated Kodak paper, 20.5 x 25.3 cm (8 x 10 in), [NASA photo no AS11-40-5903], with A KODAK PAPER watermarks on verso Footnotes: This is the most iconic image from the Apollo 11 mission. When this photograph was taken Buzz appeared in the centre of the photograph with his OPS antenna at the top edge of the field-of-view. When the image was prepared for release for publication soon after the mission, it was cropped at the bottom and sides, and a black area was added at the top (editing out most of the OPS antenna) to give the released version visual balance and presentable composition for publication.
Neil ArmstrongBuzz Aldrin working in the Lunar Module "Eagle" during translunar coast, Apollo 11, 16-24 Jul 1969Vintage chromogenic print on resin-coated paper, 20.3 x 20.3 cm (10 x 8 in), [NASA AS11-36-5390], A KODAK PAPER watermarks on the versoFootnotes:A famous portrait of Buzz Aldrin, taken by Armstrong while Apollo 11 was travelling at a speed of about 3,200 feet per second. "It was surprising to me how much at home I felt in Eagle because of all the simulations we had done back home. The view of the Moon from the surface and the EVA itself have much less reality to me now than have those familiar operations inside Eagle" Buzz Aldrin
Buzz Aldrin The first space selfie, Buzz Aldrin during EVA, Gemini 12, 11-15 November 1966 Vintage gelatin silver print on fibre-based paper, 20.3 x 24.3 cm (8 x 9½ in), an AP Wirephoto print with a press caption across the front and a date stamp on the verso (22 Nov 1966)Footnotes: To capture this rare self-portrait, the first ever taken in outer space, Aldrin attached the camera to the side of the spacecraft to stabilize it and get his face in the frame.Press caption: "A spaceman begins his chores. This closeup of astronaut Edwin A. Aldrin was made shortly after he opened his hatch in the Gemini 12 spacecraft and stood up to begin a series of operations designed to provide more information on man's ability to work in space. At lower left is a portion of a Maurer camera used to photograph some of Aldrin extravehicular activity."Literature:Ron Schick, Julia van Haaften, "A View from Space", p.4 Condition Report: One minor corner crease, very goodCondition Report Disclaimer
Neil Armstrong The most iconic image from the Apollo 11 mission. A portrait of Buzz Aldrin with the Lunar Module and the photographer (Neil Armstrong) reflected in his gold-plated visor, Apollo 11, 16-24 July 1969 Vintage gelatin silver print on fiber-based paper, [NASA photo no AS11-40-5903], 20.5 x 25.3 cm (8 x 10 in), with NASA caption numbered 69-H-1255 and AS11-40-5903 on verso (NASA Headquarters)Footnotes: One of the most emblematic images of the Apollo program, featured on the cover of the LIFE Magazine on the 11th August 1969.Condition Report: 4 surface creases to the image (approx. 4-5 cm each), small creases to top corners and a small chip in the left margin. Verso good.Condition Report Disclaimer
Spherical lunar mosaic composed of narrow angle photographs taken by the spacecraft a few hours before lunar sunset on the 13th June and depicting a shadow self-portrait of the probe, Surveyor 1, 13 June 1966.Vintage gelatin silver print on fibre-based paper, 26 x 20.5cm (10 x 8 in), BLACK NUMBERED 66-1833, with a NASA caption affixed to the verso, signed on the verso by Tim FurnissFootnotes:By 1966 the Soviets and Americans were dispatching soft-landing craft to the Moon, which transmitted the first images from its surface. The Soviet Luna 9 alighted on the Moon's Ocean of Storms on February 3, 1966; the U.S. Surveyor 1 touched down near the crater Flamsteed on June 2, 1966 and sent back thousands of images, including images of its own reflection in lunar soil.Provenance: From a collection of Tim Furniss.Condition Report: Overall good and a very attractive print, with some handling wear. There are a couple of areas of indentation, including from the signature on the back. The shape of the tape used to attach the caption can be seen on the front. Cropping marks, a small sticker on verso. Signed by Tim Furniss in red ink on verso.Condition Report Disclaimer
A QUEEN VICTORIA DIAMOND JUBILEE PENKNIFE; TWO GEORGE V AND QUEEN MARY CORONATION PENKNIVES; AND APPROXIMATELY SIXTY FOUR SMALL NOVELTY AND TOURIST PENKNIVES, 20TH CENTURY the first with two folding blades, mother-of-pearl scales with jubilee inscription, in its chamois case; the second and third with portrait medallions cast in low relief on the scales; the fourth with four folding elements, inscribed ‘Explosives Kyncoh’ on one scale; the fifth a folding pencil and penknife, Joseph Rodgers & Sons, formed as a musket; the sixth inscribed New England Newspapers Supply Co., Worcester Massachusetts’; the seventh inscribed Mitchells & Butlers Ltd Brewery, Cape Hill Birmingham, and approximately sixty further small penknives, the first: 8.2 cm closed (67) Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A RARE SOUVENIR KNIFE, JOSEPH RODGERS AND SONS, NO. 6 NORFOLK STREET, SHEFFIELD, DATED 1876 with single folding blade struck with the maker’s details and cross and star mark, and scales with the inscription ‘H.R.H. Prince of Wales / Welcomed to India 1876 / H.R.H. Princess of Wales’ on one face and their portrait medallions on the other, 10.0 cm (closed) In the nineteenth century, Rodgers had an unsurpassed reputation and history that was synonymous with the cutlery trade. The family's first cutler, John Rodgers (1701-85), is recorded around 1724, with a workshop near the present cathedral. In the same year the Company of Cutlers 'let' him a mark, a Star and Maltese Cross, which became world famous in later years. John Rodgers had three sons, John (1731-1811), Joseph (1743-1821), and Maurice (c.1747-1824) who joined the business and succeeded him. They are recorded with more workshops by 1780 and the business soon extended to occupy a nearby block of buildings at 6 Norfolk Street, an address that became as famous as Rodgers’ trade mark. By the early 19th century their trade had expanded from pen and pocket knives to include table cutlery and scissors. By 1817 the General Sheffield Directory lists the firm as ‘merchants, factors, table and pocket knife, and razor manufacturers’. In 1821 John’s son Joseph died and his sons continued the business under the leadership of the younger John (grandson of the founder). John was described as ‘unobtrusive in his manner’ but was ambitious and one of the founding partners of the Sheffield Banking Co. He had a flair for marketing and travelled the country taking orders. Not only was his firm’s output and range greater than any other Sheffield firm, but its quality was superior. The company’s manifesto states: ‘The principle on which the manufacture of cutlery is carried on by this firm is – quality first … [and] … price comes second’. He began making exhibitions knives and presented George IV with a minute specimen of cutlery with 57 blades, which occupied only an inch [25mm] when closed. In 1822, Rodgers’ was awarded its first Royal Warrant. Another fourteen royal appointments, from British and overseas royal dignitaries, followed over the next eighty years, and its company history was duly titled: Under Five Sovereigns. John Rodgers next commissioned the Year Knife, with a blade for every year (1821) and opened his sensational cutlery showroom in Norfolk Street where visitors came to marvel at Rodgers’ creations. Perhaps the greatest highlight shown there was the Norfolk Knife, an over 30 inch long sportsman’s knife with 75 blades and tools, that Rodgers’ produced for the Great Exhibition in 1851. The showroom proved particularly popular with Americans whose trade played a significant role in the firm’s expansion. Additionally, they looked East, with agents in Calcutta, Bombay, and Hong Kong by the mid-19th century. These markets enabled Rodgers to become the largest cutlery factory in Sheffield. The number of workmen appears to have grown from about 300 in the late 1820s, to over 500 in the 1840s. In 1871 the business became a limited company with Joseph Rodgers (1828-1883), grandson of the Joseph Rodgers who had died in 1821 and Robert Newbold as managing directors. Joseph died on 12 May 1883 and Newbold became the chairman and managing director. The firm continued to expand with offices in London, New York, New Orleans, Montreal, Toronto, Calcutta, Bombay and Havana. Their work force in 1871 was around 1,200 and accounted for one-seventh of all Sheffield’s American cutlery trade. In 1876 the American market was stagnating and Rodgers’ began looking elsewhere with a focus on trade in the Middle East, India and Australia. Notably the name ‘Rujjus’ or ‘Rojers’ was said to have entered the language as an adjective expressing superb quality in Persia, India and Ceylon. By 1888, the value of Rodgers’ shares had more than doubled and, in 1889, a silver and electro-plate showroom was opened in London. At this time, Rodgers acquired the scissors business of Joseph Hobson & Son. Rodgers’ produced catalogues that were packed with every type of knife imaginable. Pocket knives were made in scores of different styles. Ornate daggers and Bowie knives and complicated horseman’s knives were made routinely. Some patterns, such as the Congress knife and Wharncliffe knife, were Rodgers’ own design. The Wharncliffe – with its serpentine handle and beaked master blade – was apparently designed after a dinner attended by Rodgers’ patron Lord Wharncliffe. The firm’s workmanship was usually backed by the best materials. Rodgers’ ivory cellar in Norfolk Street was crammed with giant tusks and was regarded as one of the hidden sights of the town. Four or five men were constantly employed in sawing the tusks, and around twenty four tons of ivory were used a year around 1882. Rodgers’ appetite for stag was no less insatiable: deer horns and antlers filled another cellar and pearl from the Philippines and was also cut there. Around 1890, Rodgers’ began forging its own shear steel and in 1894 they began melting crucible steel. Newbold retired in 1890 and the grandsons of Maurice Rodgers, Maurice George Rodgers (1855-1898) and John Rodgers (1856-1919), became joint-managing directors. The McKinley Tariff Act of 1890 halved their American business and consequently they toured South Africa. Despite increasing foreign competition and the decline of the American market, Rodgers’ prospered before the First World War. However, workers’ wages were cut while the partners continued to take significant dividend which culminated in a prolonged and bitter strike. The First World War saw a decline in the business which continued steadily until the 1975 when it was absorbed by Richards and ceased trading in 1983. Joseph Rodgers & Sons left an enduring legacy in its knives. Its dazzling exhibition pieces and other fine cutlery show that the company’s reputation as Sheffield’s foremost knife maker was well founded. Abbreviated from Geoffrey Tweedale 2019. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Believed to have been by John Constable (1776-1837), an oil portrait study of artist Ramsay Richard Reinagle RA, painted at East Bergholt, Christmas 1799 & finished at 52, Upper Norton St. New Year 1800, inscription to back of canvas, evidence of two small repairs, image size 17.5in x 13.75in, painting would benefit restorative work & a clean
A LARGE PAINTING DEPICTING SHOULAO AND AN ATTENDANT, BY GU JIANLONG (1606-1687), DATED 1679 顧見龍(1606-1687)款《長壽仙芝》，1679年China. Ink and watercolors on paper. Depicting Shoulao holding a lingzhi fungus in his right hand, his face with a cheerful expression, dressed in fine robes with a floral hem, a jade pendant in the form of a ruyi cloud tied to his waist, followed by his attendant carrying his master's cane with attached gourd, the attendant also dressed in fine robes embellished with medallions of scrolling clouds, both standing in a rocky landscape below a gnarled pine tree backed by clouds, with rockwork issuing lingzhi in the foreground.Inscriptions: Upper left, inscribed 'The magical fungus of immortality', 'Painted in the autumn of the Year of Ji Wei (corresponding to 1679) in the manner of Tang Ziwei (also known as Tang Yin, 1470-1523)', 'Painted in the Studying Straw Hall of Deep Willow', and signed 'Yun Chen Gu Jianlong'. Two seals, 'Gu Jianlong Yin' and 'Yun Chen'. Provenance: From the collection of James Kedzie Penfield, and thence by descent in the same family. James Kedzie Penfield (1908-2004), after graduating from Stanford, joined a hand-picked team who traveled to China to work for the American Diplomatic Corps during the 1930s and 1940, where, according to his daughter, he spent the best years of his life. During his stay, he established friendships with local artists, including Zhang Daqian, one of the most famous Chinese painters of the 20th century, and was gifted a painting by him as a farewell present, which was sold at Woolley & Wallis on 1 July 2020, lot 15, for GBP 50,000. In 1954, James Penfield became the High Commissioner for Austria and was sent there to re-establish a neutral and democratic country.Condition: The painting with extensive wear, tears, creasing, losses, touch-ups, soiling, and stains, but overall displaying remarkably well despite obvious signs of age. Mounted and stabilized behind a solid wood frame with glass. The frame with few small nicks and light scratches.Dimensions: Image size 226 x 107 cm, Size incl. fame 239.5 x 119.5 cmGu Jianlong (1606-1687) was born in Suzhou Taichang and served at the Qing court as a painter during the 1660s and 1670s, where he painted portraits of the Emperors Shunzhi and Kangxi as well as of the Imperial family.Literature comparison:Compare a related silk scroll painting by Gu Jianlong, in the British Museum, registration number 1910,0212,0.486. Compare also a related portrait of Ma Shiqi (1650-1714), illustrated in Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art, p. 347-348, no. 255.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 852Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writingDescription: With signature of Gu Jianlong (1606-after 1687), Shoulao on a White DeerExpert remark: Compare the closely related motif. Note the slightly smaller size (182.5 x 97 cm).顧見龍(1606-1687)款《長壽仙芝》，1679年中國，紙本水墨設色。壽老右手持一株靈芝，面帶喜色，身著細花邊長袍，腰佩如意佩，侍從手持仙杖跟在後面，仙杖上掛著一個葫蘆，同樣身著精美的長袍，上面飾有雲紋理。一側青松高聳，祥雲浮動。面前地上靈芝遍地。 款識：長壽仙芝, 時己未之秋仿唐子畏筆意寫於深柳讀書草堂，雲臣顧見龍製；鈴印：顧見龍印，雲臣 來源：James Kedzie Penfield私人收藏，保存在同一家族至今。James Kedzie Penfield (1908-2004) 從斯坦福大學畢業後，於1930 年至 1940 年間前往中國為美國外交使團工作。據他的女兒說，他在那裡度過了一生中最美好的時光。在中國，他與藝術家建立了友誼，其中包括二十世紀最著名的中國畫家之一張大千，並獲張大千贈送一幅畫作為告別禮物，該畫於 2020 年 7 月 1 日在 Woolley & Wallis 售出，Lot 15，售價 50,000 英鎊。1954 年，James Penfield 成為高級專員，並被派往奧地利重建一個中立和民主的國家。 品相：磨損、撕裂、摺痕和汙漬，儘管有明顯的年代痕跡，但整體狀體極好。帶玻璃的木框。框架有一些小劃痕。 尺寸：畫面226 x 107 釐米, 總 239.5 x 119.5 釐米 顧見龍(1606-1687) 生於蘇州太倉，1660 至 1670 年代在清宮任畫家，曾為順治、康熙及皇室畫像。 文獻比較： 比較一件相近的顧見龍絹本設色卷軸畫，收藏於大英博物館，館藏編號1910,0212,0.486。比較一件相近《馬世奇(1650-1714)》畫像，見Wai-Kam Ho編，《Eight Dynasties of Chinese Painting：The Collections of the Nelson Gallery-Atkins Museum》，堪薩斯市和克利夫蘭藝術博物館，頁347-348，編號255。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年3月19日，lot 852 價格：USD 50,000（相當於今日EUR 53,000） 描述：顧見龍（款，1606-1687年後），《白鹿壽老》 專家評論：比較非常相近的主題。請注意尺寸稍小(182.5 x 97毫米)。
A ROMAN LIMESTONE PORTRAIT HEAD OF JULIUS CAESAR, AUGUSTAN PERIODAugustan period, c. late 1st century BC to early 1st century AD. Sculpted with finely detailed features, the face revealing an intense expression, with deep-set eyes beneath arched eyebrows, a sharp nose, slim, narrow lips, and a prominent chin. A minor wrinkle is noticeable on his forehead, positioned between the eyes and extending to the sides of the mouth, denoting maturity but not advanced age. His hair is meticulously carved. Mounted to a modern wood and metal stand. Condition: Good condition commensurate with age. Extensive wear with signs of natural weathering and erosion, some nicks, and losses. Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book "Remembrances of a Journey in Tartary, Tibet, and China". French Export License: Certificat d'exportation pour un bien culturel Nr. 185424 dated 3 July 2017 has been granted and a copy is accompanying this lot.Dimensions: Height c. 39 cm (incl. the stand)Julius Caesar, born in 100 BC, was a key figure in Roman history and played a pivotal role in transforming Rome from a regional power to a vast military empire. His achievements set a standard for leadership that influenced world leaders for centuries.
AN INDIAN MINIATURE PAINTING WITH PORTRAIT OF A MUGHAL NOBLEMAN, LATE 19th CENTURYIndia, probably Murshidabad, late 19th century. Gouache, ink, watercolors, and gold color on paper. Minutely painted depicting a nobleman, elegantly dressed in a blue and black robe decorated with gold highlights and arabesques, wearing a white turban. The painting with Persian inscription. The cardboard sheet is coated along the margin firmly with an additional sheet of paper.Condition Good condition with minor wear, and touchups. Provenance: Private collection, USA, acquired from Janus Art Gallery, Kolkata, India.Dimensions: Sheet Size 34 x 25.2 cm, total size 36.6 x 27.3 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A LOT WITH FOUR SILVER RINGS SET WITH SASANIAN HARDSTONE INTAGLIOSThe seals presumably Sasanian, ancient Persia /Iran, c. 3rd - 6th century or later, the silver settings dating to the 19th century. The rings decorated with carved geometric designs, silver applications and inset with ancient seals. Two are inset with agate, one engraved with a portrait and the other with a winged animal, one is inset with an opaque blue stone and carved with an insect, the last inset with a garnet carved with a portrait. Condition: Very good condition with minor traces of wear commensurate with age. One ring with a small chip to the agate intaglio. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 47.2 g Dimensions: Inner diameter 1.9 cm, 2.1 cm, 1.8 cm and 2 cm
Art Nouveau silver rouge pot, the hinged cover with repousse bust portrait of a lady with a mirror to the underside, maker Henry Matthews, Birmingham 1902, 1.75" diameter; together with a Henry Matthews small silver box, with a repoussé swag and garland decorated hinged cover, Birmingham 1898, 2.75" wide, 1.9oz t total (2)
Richard Cosway RA., (1740-1821) - Portrait of a young lady, head and shoulders three quarter length, her hair dressed with a white cap and wearing a white dress with a coral necklace, pencil and watercolour on paper, 4.25" x 3" ** The work is said to be signed under the mount, also inscribed verso by a later hand and originally sold by Sotheby's on the 28th October 1974 the original price paid was £250 and the work is sold together with old paperwork relating to that sale
George Perfect Harding (1781-1853) - Portrait of the English Actor, Playwright and Theatre Manager David Garrick three-quarter length , wearing a grey jacket and white cravat, with a Tricorn hat under his arm, holding a staff in his right hand, signed also extensively inscribed with a biography on the sitter, pencil and watercolour, 4.5" x 3.5" ** Provenance with J. & W. Vokins, Great Portland Street, London also sold by Sotheby's in their good English and continental portrait miniature sale on the 16th December 1974 lot 65 ** David Garrick was the leading actor of the English stage from 1741 to 1776 and the manager of Drury Lane Theatre from 1747 to 1776, his domination of every department of the theatre is something unique in the history of the stage. A great deal of his fame must be due to his brilliant use of publicity, and used visual arts as a vehicle to capture his own more transient art, commissioning Zoffany 's first theatrical painting in 1762 (No. 21) and many others from him and other artists in subsequent years. He also encouraged the production of copies and engravings (39-42) which were dispersed on the continent as well as in England. Samuel Foote also used Zoffany to propagate his name (24-25) and a vogue for theatrical conversation pieces, many of the best of which are shown in this section of the exhibition.
John Smart (1741-1811) - Portrait of a gentleman, head and shoulders to Dexter, gaze directed at spectator, wearing a club wig, inscribed on an old label verso and originally numbered 60, pencil and watercolour, 2.5" x 2" ** Provenance with Thomas Agnew & Sons Ltd, Old Bond Street, Piccadilly, London, their stock No. 9570 ** The work is sold together with the original receipt dated 26th July 1976 and a photocopy of the original catalogue description at Sotheby's, the original price being £495
James Roberts (1725-1799) - Portrait of an elderly lady in a Bonnet, pencil drawing a preparatory sketch, 4.5" x 3.5" ** Provenance with Thomas Agnew & Sons Ltd, Old Bond Street, Piccadilly, London W1X 4BA, their stock No. 41644 ** The work is sold together with the original receipt dated 22nd November 1978.
Ozias Humphry RA., (1742-1810) - Portrait of a young boy, head and shoulders, said to be Mastner Milner, inscribed on an old label verso together with a further inscription by a later hand a preparatory study, pencil and watercolour, 4.25" x 3" ** Provenance Sotheby's sale October 1974, ex collection J.Hobson.
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