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[Dodgson (Charles Lutwidge)], "Lewis Carroll". Through the Looking Glass and What Alice Found There, third edition, the suppressed 'sixtieth thousand' issue, lacking half-title (torn out), with frontispiece and illustrations by John Tenniel and 2 leaves of advertisements at end, rather soiled and stained throughout, free endpapers heavily foxed, rebound by publishers in red cloth for presentation to Mechanics' Institutes with triple rule border and roundel of Red Queen in blind (in gilt on original binding), with "Presented for the Use of Mechanics' Institutes, Reading Rooms Etc." in blind on upper cover, rubbed and stained, upper half of spine worn (label presumably removed causing some loss), 1893; with 'Advertisement' sheet from Carroll dated Christmas 1893 issued with Sylvie and Bruno Concluded explaining the reason for the delay of the publication due to poor printing of the Alice, [Williams, Madan, Green and Crutch 84b & 249], 8vo (2) ⁂ Scarce. This suppressed issue was, according to Carroll, riddled with printing production faults. The illustrations were over-printed, the pages badly folded and it led to him threatening to terminate his contract with Macmillan. This had already been an issue for the first edition of the 1865 Alice, which was recalled after Tenniel complained about the quality of the printing. Only 60 copies had gone out when Carroll intervened. He asked Macmillan to destroy the remainder of the edition, which led to Through the Looking Glass being out of print until 1897. As mentioned in the 'Advertisement' he later changed his mind about destroying the remaining copies of this edition, and instead favoured rebinding it and distributing it to charitable institutions, which had been done with the first suppressed Alice, and as is the case with this copy.Crutch records the locations of only two rebound copies (Harvard and the collection of Selwyn H.Goodacre, who compiled an unpublished census of copies, with only 4 in the original cloth and 2 rebound).

Australia.- New South Wales convict artist.- Browne (Richard, Dublin 1771-1824 Sydney) Memora, watercolour and bodycolour with traces of pencil under-drawing, inscribed 'Memora' underneath in black ink, on cream 'S & C Wise' wove paper with watermarked date '1814', sheet 300 x 240 mm (11 3/4 x 9 1/2 in), repaired tear in the lower right corner, some minor surface dirt and light browning to extremities, expertly lifted from blue-paper album leaf, still present, itself part of a Victorian folio scrap album included in the present lot containing over 200 scraps and cuttings, including one very trimmed watercolour study of a bird, possibly by Browne or someone in his circle, many leaves missing, largely disbound, covers present but with losses, very worn, [circa 1817-1820]Provenance:Mrs W. H. Butler, Tulse Hill [compiler of scrap album]⁂ An excellent example of both the European colonial perspective of Aboriginal people during the early settlement of New South Wales, as well as of Browne's highly distinctive drawing style.Richard Browne was born in 1776 in Ireland, and little is known of his artistic training or background. However, it is recorded that in February 1810 Browne was tried for an unspecified crime and sentenced to seven years transportation. He arrived in New South Wales in July 1811, and was then sent to Newcastle, specifically a penal settlement for convicts who had committed further crimes in the colony.Browne appears to have been quickly identified for his idiosyncratic artistic abilities, with Lieutenant Thomas Skottowe, commandant of the 73rd Regiment at Newcastle, employing him to illustrate his manuscript 'Select Specimens from Nature' (now in the Mitchell Library, see IE no. IE1015287). He was recorded to have undertaken several other artistic commissions during his sentence but was to become best known for his portraits of Aboriginal people, which he later sold as souvenirs in Sydney on his release in 1817.Two other examples by Browne of the figure 'Memora' are known, with the National Library of Australia holding one (see ID no. 1260587), and the other having appeared on the Australian art market in 2010 (see Bonham's Sydney, 'The Spring Auction Series', 14th Nov 2010, lot 425). The drawing offered in the present lot would appear to be closest to the watercolour sold in 2010, with the National Library of Australia version seeming slightly cruder in execution. The main noteworthy difference between the present portrait and the other two, is the expressive demeanour and the artist's depiction of his character; rather than a grinning smile, the present portrait shows Memora stoic and unsmiling, giving the work a nobility more akin to a colonial record than a caricature.

India.- Madras.- Schultze (Benjamin) Liber scripturae balabandu, manuscript in Marathi, 6pp., Latin title to verso of upper wrapper, some spotting and staining, contemporary Dutch floral wrappers, 8vo, [Madras], [c.1730].⁂ Schultze (1689-1760) was a German missionary, who established the first Christian mission in Madras with the support of the SPCK in around 1726. It became known as the English Mission. He worked on a number of translations, including one of the Bible into Tamil with Peter Maleiappen (1700-1739), printed in 1728 , and part of Genesis into Hindi, printed at Halle in 1745.

Polar.- Murray (James) and George Marston. Antarctic Days. Sketches of the Homely Side of Polar Life by Two of Shackleton's Men...Introduced by Sir Ernest Shackleton, number 181 of 280 De Luxe copies, signed by the authors and Sir Ernest Shackleton, half-title, 4 mounted colour plates after watercolours by C. Day, with captioned tissue guards, 29 plates, illustrations in text, a few full-page, plate of Alfred Cheetham opposite p.6 with newspaper clipping relating to his death mounted at foot (offsetting), some spotting, original light blue cloth, gilt, with mounted illustration to upper cover, foot of spine bumped, some marking, rubbed, [Spence 830; Taurus Collection 61; Rosove 236], 4to, Andrew Melrose, 1913.⁂ A very good copy of the limited De Luxe edition of this account of the 1907-09 Nimrod Expedition under Shackleton, during which Aurora Australis was printed. As an unofficial account Shackleton in his introduction considers it a 'more human document', and urges 'anyone who wants to get to the kernel of the life of a Polar explorer to read the book.'. Rosove praises the production thus: 'The deluxe edition is a beautiful production. The binding, high quality uncut paper, large margins, the mounting of the colour plates on thick, gray stock with overlying titled tissue paper guards, and the high quality of the photographic plates are all reminiscent of the deluxe edition of The Heart of the Antarctic.'

Britain.- Pyne (William Henry) The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vol., first edition, 100 fine hand-coloured aquatint plates, many heightened with gum arabic, list of plates at end of vol.3 spotted, otherwise an excellent clean and bright copy, bookplates of George E.Goodwin and Louise Ward Watkins, handsome contemporary burgundy morocco cathedral binding with large gilt ecclesiastical window to covers and elaborate gilt foliate borders, spines gilt in compartments, g.e., boards slightly mottled, a little rubbed at edges, [Abbey, Scenery 396], 4to, 1819.⁂ William Henry Pyne (1770-1843) was an artist and printmaker who commissioned the artists and engravers of these plates to show an exact record of the interiors of royal residences. The illustrations have been consulted by art historians, curators and archivists at the Royal Collection to research interior schemes and decorative fashions, even down to such details as the arrangements of hanging pictures.

Franco (Pierre) Petit traité, contenant une des parties principales de chirurgie, laquelle les chirurgiens hernieres exercent, ainsi quil montre en la page suivante, first edition, collation: A-I8 (G³ mislabelled H³), woodcut illustrations, manuscript date to title, title holed and repaired, very slightly affecting woodcut device, contemporary ink ownership names to front free endpaper and title, second neatly crossed out, corner torn from G² just touching text, small modern biro mark to rear pastedown, contemporary limp vellum, lightly marked, spine discoloured with tiny hole, still overall a very clean and fresh copy, 8vo (160 x 103mm), housed in custom morocco box, Lyon, Antoine Vincent, [1556].⁂ Pierre Franco, creator of the suprapubic lithotomy cataract operation and the surgical repair of hernia, is considered to be one of the greatest surgeons of the Renaissance and a forerunner of urology. This work is absent from many major medical collections which regard the expanded second edition of 1561 as the first, yet this edition includes the first recorded description of an operation for strangulated hernia, and so marks itself as a milestone in Renaissance surgical practice. Franco was hugely influential by lauding open operations, and wanted to return them to the realm of regular surgical practice, rather than allowing itinerant practitioners known as 'inciseurs' or 'cutters' to attempt untrained procedures. The treatment of cleft lips amounts to four chapters, in which he recommends that after two days the eschar must be loosened with fresh butter before suturing. Franco also describes in minute detail the technique of radical operation for inguinal hernia. Like all who preceded him after the time of Celsus (except William of Salicet), he would remove the testicle as part of the usual procedure. Yet for patients with one testis he later devised an operation in which the organ was spared, and this life-saving procedure became part of the surgical armamentarium. Though a contemporary of Ambroise Paré, Franco is often neglected from the medical history canon, yet Paré's first book, his Dix Livres de Chirurgie, 1564, plagiarises much of Franco's work on lithotomy and cystostomy, which Paré only later acknowledged in 1575. No other copies listed on ABPC/RBH, and we know of no other copy having appeared in commerce. OCLC list copies in US at Chicago, Harvard, Mayo Clinic, Minnesota and NLM.Provenace: signature of F. Athenosiis on title and P. Guisonii to endpaper, from the library of Jean Blondelet.

Equestrian.- Ridinger (Johann Elias) Vorstellung und Beschreibung derer Schul und Campagne Pferden nach ihren Lectionen [- Anmerkungen von dem Carousel], 2 works in 1 vol. (as usual), first editions, text in French and German, engraved title, 62 engraved plates numbered 1-46 and 1-15, with the unnumbered plan of a joust, some occasional light marking to margins, but a very crisp, clean copy generally, armorial bookplate of Ignaz Dominik Graf Chorinsky to pastedown, contemporary mottled calf, spine gilt, light rubbing to extremities, [Nissen ZBI 3415], 4to, Augsburg, J. E. Ridinger, 1760-61.⁂ An unusually clean example including the supplement with the rare jousting plate. Ridinger was the official painter for several great German nobles who relished hunting. He was rightly celebrated for his skill in depicting horses in motion.

Hawking (Stephen) A Brief History of Time, signed with thumb-print by the author, with authentication stamp at head of title "Right thumb-print of S.W. Hawking witnessed by Judith Croasdell", paperback, Bantam Books, 2011; and a paperback copy of Jane Hawking's Travelling to Infinity, signed by her on title, plus an Order of Service for the Service of Thanksgiving for Professor Stephen Hawking, Westminster Abbey, 15 June 2018, in original wrappers, together the 3 items preserved in a smart wooden box (320 x 320 x 120mm.) (3)⁂ Judith Croasdell was PA to Professor Hawking. The first mentioned was given at a corporate dinner held in about 2013 by the AGCS division of Allianz Insurance, attended by Professor Hawking who was a guest of the then CEO of AGCS.

Mathematics.- Bettini (Mario) Aerarium Philosophiae Mathematicae..., 7 parts in 3 vol., bound in 2, first edition, on thick paper, 2 only (of 3) additional engraved titles by Francesco Curti to vol. I & II, 2 engraved portraits of bishops Madruzzi & Zeccadori, engraved plate of genealogical tree, 3 engraved plates tipped onto margins of text leaves, woodcut and engraved illustrations, second additional title trimmed at foot, just within plate mark, affecting the engraver's name, some marginal browning to ff. with folding plates mounted verso, a few spots, engraved Macclesfield bookplates, contemporary Dutch vellum, blind-stamped centre-pieces, spines darkened with some creasing and soiling, lacking ties, [Riccardi I, 125; Sommervogel I, 1428], large 4to, Bologna, G. B. Ferroni, 1648.⁂A crisp and clean copy on thick paper of this rare compendious scholastic mathematical work by the Jesuit Bettini (1582-1657). It encompasses all the major fields of mathematics, with special attention paid to Geometry, including Astronomical Geometry. The work would have passed through the rigorous censorship of Christopher Grienberg of the Collegio Romano, where Aristotelian teachings were adhered to. He had succeeded Christopher Cluvius, who had been the prime mover in establishing mathematics in the curriculum of the college and had greatly influenced future Jesuit mathematical writings. It is not known how much of the work can be accredited to Grienberg, but it is clear that the mechanical and measuring devices illustrating the work must be by him. Indeed, Bettini acknowledges the debt to him in the Scholion Parergicon in the present work.Provenance: The Earls of Macclesfield, Shirburn Castle (blind stamp to first three ff., bookplates to pastedown).

Playing cards.- Della Bella (Stefano) Jeux Historiques des Rois de France, Reines renommees, Geographie et Metamorphose, complete series of 4 sets of educational playing cards in 1 vol., 12pp. preliminaries comprising printed title, playing instructions and privilege (dated 1644), 4 complete sets of engraved playing cards comprising title and 52 plates, except for Rois de France which has title and 39 plates (as issued), a few plates loose and a couple misbound, but generally clean and with full margins, minor light foxing and finger-soiling, title of Queens with slight water-stain to corner, contemporary calf, worn, upper joint repaired, 12mo, Paris, Chez Nicolas le Clerc et Florent le Comte, 1698.⁂ Very rare to find complete and in such good condition. The complete series of four educational playing card sets commissioned by Cardinal Mazarin for the instruction of Louis XIV, who ascended to the throne in 1643 under the regency of his mother. They were prepared by Jean Desmarests, a member of the French Academy, and first printed in 1644 under the Paris imprint of Henri Le Gras and Florentin Lambert. After Lambert's death the plates were sold to Florent le Comte who added suit-marks of spades, clubs, hearts, and diamonds, and reprinted them in book form in 1698. It is curious that in this copy the imprint "F. Le Conte" [sic] occurs on the engraved title leaf for the Mythology series but the three other series of playing cards still retain the original "Henri le Gras" imprint [from 1644). The Kings begin with Pharamond and Clodion and end with young Louis (King of Hearts); in some instances, as many as five kings of France are featured on one card, each numbered and listing the length of his reign. The Queens begin with Martesie, queen of the Amazons, and end with Anne of Austria, the mother of King Louis - a single adjective is given at the upper right corner describing each one: pious, cruel, unfortunate, saintly, wise, brave, etc. Geography has a title card showing a twin-hemisphere map and the cards themselves comprise emblems of individual countries (divided into four sections, each a different continent): the Americas are represented by Peru, Mexico, Canada [Nouvelle France], Virginia, Florida, Yucatan, Nicaragua, Quivira [in Wichita, Kansas], Chile, Brazil, Popaian [Columbia], and Castile d'or [i.e. Panama]. Mythology ("jeu des fables") represent the Greek myths, including the stories of the nine Muses, Mercury, Neptune, Pygmalion, Hercules, Jason, Apollo, Narcissus, and Medusa."They are all extremely interesting and of much rarity, and from an artistic standpoint are of value as the work of the famous Florentine engraver Stefano della Bella" (Hargrave, History of Playing Cards, pp. 58-59).

Court of Elizabeth I.- Extraordinary Gentlewoman of the Privy Chamber.- Seymour (Mary, daughter of Nicholas Odell (or Woodhull), widow of David Seymour, who died c. 1558, attended Queen Katherine Parr during her pregnancy, Extraordinary Gentlewoman of the Privy Chamber in the reign of Elizabeth I, b. c. 1528) Autograph Letter signed to "Mr Peeter at ye Excheckar", 1p. with conjugate blank and address panel and remains of seal, Temple Barre, Good Friday 1579, asking him "to delyver to my sonn in lawe mr frauncis Nicolls a debenture to receyve my half years pensyon due at Lady day [25 March]... bycause I am come upp to London and am to go downe agayne very shortly, and do lacke mony to dyspatch my buysynes", torn where opened on blank, folds, browned.⁂ Mary Woodhull, or Odell, was the daughter of Nicholas Woodhull and Elizabeth (or Alice) Parr, and her grandfather was Lord Parr of Horton, Northants, making her a cousin of Queen Katherine Parr. She came to court as a chamberer in 1543 when she was about fifteen and had been promoted to gentlewoman of the queen's chamber at a salary of five shillings by 1547. Mary remained with Katherine Parr after Henry VIII's death. It was noted that sometimes she shared a bed with Parr for warmth. In the household of Katherine Parr she would have been in daily contact with the future Queen Elizabeth. In June 1550, Mary married David Seymour, a distant relation of Lord Protector Edward Seymour, duke of Somerset, who had also been in Queen Katherine's household. They had three children, William, Edward, and Anne, the last marrying Francis Nicolls.

18th century execution for murder.- Mahony (Matthew, hanged for abetting the murder of Sir John Dinely Goodere Bart. at Bristol on the orders of his brother Captain Samuel Goodere).- A Veritable Piece of the Gibbet and a relic of the Irons of Mat: Mahony executed ye 15 April 1741 witness Richard Smith, small piece of wood and metal tied on to card with manuscript title and inscription, "NB Beware of Counterfeit, none are genuine unless attested as above", attached to 2 small pamphlets on other executions; and 4 other pieces, including a pamphlet by Richard Smith, "The Fratricide, or the Murderer's Gibbet, Being the High Tragical Hystorie of Sir J. Dinely, Bart.", 1842, v.s., v.d. (7 pieces).⁂ Sir John Dinely Goodere was murdered by the orchestration of his brother, Samuel, in the hope of succeeding to his vast fortune, which the baronet, who was childless was planning to leave to his sister's children. Mahony, a sailor in the employ of Samuel Goodere with others, was brought ashore to kidnap Sir John and take him back to his ship. There he was murdered by a cord held by Mahony. Samuel Goodere and the seamen were apprehended and at the sessions held at Bristol on the 26th of March 1741, these offenders were brought to trial, and, being convicted were condemned to death. They were hanged near the Hot Wells, Bristol, on the 20th of April, 1741, within view of the place where the ship lay when the murder was committed.

18th century cover up of a scandal.- Gilmour (Sir Alexander, 3rd Bt., politician, MP, Clerk Comptroller of the Board of Green Cloth, of Craigmillar, Edinburgh, c. 1737-92) 28 Autograph Letters signed & 9 Autograph Notes unsigned to Thomas Adams of Chiswick, together c. 65pp. some with address panels and conjugate blanks, London, Warkworth & elsewhere, 1780-83 & n.d., mostly on his business affairs, being chronically short of money, referring to his friend Patrick Warrender, offering provision for a mistress and illegitimate child and efforts to make her leave London, referring to her as "Queen Mab... . It... gives me the most heart felt concern to find her reluctance at complying with a measure which can alone in the end turn out for her own, very advantage or that of the child... . As to security for her Allowance of £50 per ann. I have no objection to granting her a Bond payable half yearly, and some incidental news, "Admiral Darby and Sir Jn. Ross have offer'd with the addition of 15 Ships of the Line to fight the combined Fleets no bad news for poor old England that her Admirals think 35 British Ships a match for 47 French & Spanish; and a copy letter of Gilmour's and 8 others, including 5 ALs.s from John White referring to "Queen Mab" and "Mrs Moody" going back to her mother's house in Fort William, "if that Woman returns to London, Sir Alexander is irretrievably undone", some tears where opened, folds, slightly browned, v.s., 1780-83 (45 pieces).⁂ "if that woman returns to London Sir Alexander is irretrievably undone."Gilmour was for a time a rival of James Boswell for the affections of a young heiress, but this fell through and he never married. However, he seems to have had a mistress, a Mrs Moody who bore him a child, and the implication of his letter to Thomas Adams is that he offered her regular payments for her compliance in leaving London and returning to her mother who lived in Fort William. His reference to her as "Queen Mab", a mischievous person, seems to have been caused by the lady's understandable refusal to comply with his instructions.

Nelson (Horatio, Admiral Lord) Manuscript document signed by Admiral Nelson ("Nelson & Bronte", with his left hand) and his secretary John Scott, order directing the Captain of HMS Excellent, Frank Sotheron, to accompany a water transport to Port Conde in Sardinia, 2pp., framed to show the reverse only (with signatures) but with a copy of the recto and a hand-coloured engraving of the death of Nelson, overall 475 x 760mm., on board H.M.S. Victory, 18th June 1804.⁂ The document, written in the hand of Nelson's secretary John Scott, instructs Captain Sotheron to proceed to Porto Conte on Sardinia and "on your arrival there you will cause the utmost expedition to be used in filling the said Empty Water Cask and in completing the Excellent's Water and Wood." He was also ordered to obtain "the necessary quantity of fresh Beef" and "purchase sixty head of live oxen for the Fleet, or more if they can be stowed, together with a sufficient quantity of Fodder..."Scott was Nelson's trusted secretary and confidant, who was killed on board HMS Victory about an hour and a half before Nelson. With affirmation to Nelson's question "Is that poor Scott that is gone?", he added "Poor Scott" before his body was thrown overboard, as was the custom.

Edwardian Novelist.- [Barclay (Florence Louisa, novelist, 1862-1921)] [The Mistress of Shenstone], autograph manuscript, 386pp., in pencil, numerous corrections and crossing out, some ff. working loose, slightly browned, unbound, tied with ribbons, sm. 4to, [1910].⁂ A romance between Lady Ingleby, a widow and a man who inadvertently killed her husband. The story was made into a silent film in 1921.Provenance: By descent in the family.

A 19thC. 14ct gold ring, owned by Blacksmith, Richard Scourey, who worked in Cornwall before moving to the USA, 8.6g, size U

Thomas Jacques Somerscales (British 1842-1927) Timber Vessel leaving Portland Oregan, A Souther Wester Oil on canvas Signed and dated 1903 (lower right), inscribed with title (verso) 59 x 105.5cm (23 x 41½ in.)Provenance: Berwick House, ShropshireThomas Jacques Somerscales was a Yorkshire born English teacher who taught in the Navy. In 1865, after travelling around the Pacific he was put ashore in Chile due to ill-health. Whilst there he began teaching at the Makay School in Valparaiso, and it was during this time that he began to paint professionally. After almost thirty years in Chili, Somerscales returned to England in 1892, and exhibited at the Royal Academy from 1893. Examples of Somerscales' work are housed in collections such as Tate Britain, Greenwich Maritime Museum, and Hull Museum, and the artist is perhaps best known in the UK for his depiction of sailing boats at sea. However, his Chilean landscapes, and paintings of notable events in Chilean naval history have meant that he retains a large following in the country to this day and despite spending the last thirty-five years of his live working in England, he is arguably far better known in Chile where many of his works are still viewed as patriotic national icons.  

After John LilleyPortrait of Benjamin Bloomfield (1768-1846)Oil on canvas, feigned oval110 x 92cm (43¼ x 36 in.)Provenance:Private CollectionThence by descent to the present owner Benjamin Bloomfield, 1st Lord Bloomfield was grandfather of Louisa Harriott Kingscote, who married Edward Henry Brabazon Heaton-Ellis, son of Charles Arthur Hill Heaton-Ellis.  

Manner of Francesco Guardi Piazza Trinità dei Monti with Obelisk Sallustriano and Villa Medici beyond, Rome; View of Tiber and Castel Castel Sant'Angelo with St. Peter's Basilica beyond, RomeInk and wash, a pair The former inscribed and numbered 287 (to the upper edge) Each 18.2 x 26cm (7 x 10 in.) (2)Unframed It has been suggested that these works are by Giuseppe Latini (1903-1972) who was an accomplished and prolific imitator of 18th century and earlier Italian drawings.  

George Romney (British 1734-1802)Portrait of Eyles Irwin (1748-1817)Oil on canvas76 x 54cm (29¾ x 21¼ in.)Provenance:Private Collection, Eyles Irwin (17481817)By descent to Julia Pringle, granddaughter -of IrwinBy descent to her son, CharlesPrivate Collection,... Ehrich by 1917Arthur[?] Tooth, c. 1920Sir Albert James Bennett American Art Association, New YorkBought from the above on 16 November 1933 by Charles Hayden Literature: Alex Kidson, George Romney: A Complete Catalogue of His Paintings, 2015, Vol. I, no. 711 Irwin was an Irish poet and writer who rose in the East India Company's ranks from civil servant to superintendent of the company's affairs in China. After being dismissed for protesting against the deposition of Lord Pigot, he made way overland, a journey he described in 'Adventures in the Red Sea'. While in London pleading his case for reinstatement he sat to Romney in March and early April 1780 likely through the introduction of his brother-in-law, Major Thomas Pearson. Irwin was successfully reinstated and returned to India and spent time in China. Condition Report: The canvas has been relined and is on a new stretcher which is providing good support. There is fine surface cracking but the paint layer appears to be stable and in good condition. Inspection under UV reveals scattered spots of restoration, mostly in background areas the face appears mostly untouched. The paint is thinning in some areas. Presented in a 19th century giltwood frame which has numerous chips and losses. Condition Report Disclaimer

Josiah Boydell (British 1752-1817) The Captive, from Sterne Charcoal, chalk and watercolour 35.5 x 46cm (13¾ x 18 in.)Provenance: The collection of the late Dinny Cory (1919-2012) (nee Dawn Davidson)Exhibited: London, Shakespeare Gallery, Drawings After the Most Capital Pictures in England, 1790 no. 31Literature: Benedict Nicholson, Joseph Wright of Derby : Painter of Light (London: Paul Mellon Foundation for British Art :Routledge & Kegan Paul Ltd.; New York : Pantheon Books, 1968), p. 241-242, no. 216The present lot is a rediscovered drawing, once exhibited by John Boydell at the Shakespeare Gallery on Pall Mall in 1790. The drawing is a precise and exquisite drawing after The Captive, from Sterne by Joseph Wright of Derby completed in 1774, held by the Vancouver Art Gallery in Canada, currently on long term loan to the National Gallery of Canada.Wright was born in Derby in 1734 into a family of lawyers but he chose to move to London in 1751 to pursue his career as a painter, studying for two years under Thomas Hudson. Wright started his career focusing mainly on portraiture and landscape, experimenting with the effects of tenebrism in painting. Despite spending most of his career working in Derby, it is recorded that Wright took a trip to Italy setting off in 1773 with his wife Ann and fellow artists John Downman and Richard Hurleston.It is believed that by late summer 1774 the couple were in Rome. Whilst few canvases have survived from this period, it is believed that The Captive from Sterne is the only piece produced during his Rome visit. The subject of the work derives from Laurence Sterne's novel A Sentimental Journey, set in 1762 when Britain was at war with France and foreign travel risked imprisonment. The main character is a court jester named Yorick who imagines losing his passport, being held captive in the Bastille and eventually released because he is thought to be an important person.An engraving was made after the painting by Thomas Ryder in 1779, likely from this drawing by Josiah Boydell. The engraving was published in 1786 by John and Josiah Boydell (and likely available to purchase from the Shakespeare Gallery exhibition in 1790.)John Boydell & The Shakespeare Gallery John Boydell (1720-1804), Josiah's uncle, was a publisher whose contributions to the print-making industry helped Britain become one of the leading players in engravings: his entrepreneurial approach to the traditional artist/patron relationship put the dealer at the forefront of business representing and promoting both artists and patrons. Boydell saw opportunity in producing prints of highly prized paintings by esteemed artists, that had won prizes, such as that at the Society of Art; subsequently the print market boomed, under his guidance, during the 1760s to 1790s. Some of Boydell's greatest success came from prints after paintings by Richard Wilson, Joshua Reynolds and Joseph Wright of Derby.In 1770, Boydell rented large premises in Cheapside for his latest project producing prints based on paintings of Shakespearian subject matter, where he employed many engravers. Original paintings were exhibited in the gallery, with individual engravings and volumes of engravings together with text plates from the plays for sale. By 1789 he had to expand into a second gallery, the Shakespeare Gallery at 52 Pall Mall. However, financial pressures of the project started to prove too difficult to manage. This was caused by artists such as Joshua Reynolds demanding high prices. In 1786, Reynolds charged £500 for his painting of Macbeth and the Witches and when Joseph Wright's painting of Romeo and Juliet was rejected, Wright accused Boydell of favouritism and of prioritising artists such as Benjamin West Over others.'Has it not equal, nay much more work in it ? It is not as highly finished ? And has not the public spoke as well of it ? Then why should you attempt to make any difference in our prices?' To which Boydell responded 'Had I ever presum'd to have classed the historical painters of this country perhaps Mr Wright's name would not have stood exactly where [he] has been pleased to place himself.'This correspondence illustrates the fractured relationship between Boydell and Wright. Joseph Wright is known to have presented several works to the Shakespeare Gallery. In 1790 according to 'A Catalogue of Pictures &c. In the Shakespeare Gallery' Wright submitted Prospero's Cell, from the Tempest.John Boydell started to exhibit other works for sale, stating in the 1790 exhibition catalogue 'the following miscellaneous pictures are placed in the middle compartment of the gallery'. These works included 'The Murder of James the Fifth King of Scotland by Graham &c.' painted by John Opie and 'Portrait of G.A. Elliot, Lord Heathfield,' by Sir Joshua Reynolds.Josiah Boydell, a trained engraver, was heavily involved in the Shakespeare Gallery with his uncle. The preface for the 1790 exhibition catalogue is signed off by Josiah along with John Boydell and George Nicoll. It is also evident that Josiah Boydell was involved from an artistic perspective. After studying the exhibition catalogue of 1790 it became evident that John Boydell had thought of additional ways of making income. An additional section in the exhibition is titled 'Drawings After the Most Capital Pictures formerly in the possession of the Earl of Orford at Houghton in Norfolk, lately purchased by the Empress of Russia' located in 'the room opposite the gallery'. There is a nota bene stating 'All these drawings were made by Messrs. Joseph and George Farington and Josiah Boydell.' Indicating that John Boydell was using his talented and established team of engravers to produce drawings after notable paintings as well.This section leads through to 'Drawings after the most capital pictures in England'. The drawings were made by four artists, primarily known as engravers, Josiah Boydell, George Robertson, Richard Earlom and Joseph Farington.Exhibition number 31, hung 'over the Chimney in the Great-Room' at the Shakespeare Gallery in 1790 is the present lot. The exhibition reference can be found in the catalogue on page 137 which has been digitised and is available to browse on the British Library website. Boydell also produced another work after Wright which, like The Captive was held in the private collection of Edward Pickering Esq. titled Maria, from Sterne.The exquisite handling of the present drawing reflects the precision and accuracy approached by any trained engraver. Josiah Boydell, an established engraver, has entered the history books as a print-maker. However, the discovery of this drawing and the detailed analysis of The Shakespeare Gallery exhibition catalogue reveals a great deal more about Josiah and his artistic abilities. Condition Report: Under glass, unexamined out of glazed frame. The sheet is not laid down. Minor abrasions to the edges. Old vertical tear running from the centre of the top edge down to the top of the arch. Line surface scratching to the bottom right corner. The surface appears generally well preserved. Presented in a 18th century carved wood frame with numerous chips and losses. Condition Report Disclaimer

Samuel Pepys Cockerell (British 1844-1921)Magdalen from the Cherwell, OxfordWatercolour Signed with initials, inscribed and dated 66 (to mount) 19.7 x 24.8cm (7¾ x 9¾ in.)Provenance:The artistBy descent to the sitter, the artist's daughter Frederica Lucy CockerellBy family descent to the present owner Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.  

Samuel Pepys Cockerell (British 1844-1921)Frederica Lucy Cockerell, the artist's daughter, in profileOil on panel 21 x 15cm (8¼ x 5¾ in.)Provenance:The artistBy descent to the sitter, the artist's daughter Frederica Lucy CockerellBy family descent to the present owner Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Light surface dirt throughout. Some surface scratches throughout, most noticeably to the upper third of the panel, largely confined to the background and the very top of the sitter's head, and to the sitter's chin area. There is a very small scuff and associated loss (approx 1mm) to the upper left edge. Inspection under UV reveals light scattered retouching throughout, together with a green cloudy varnish.Condition Report Disclaimer

Frederic, Lord Leighton, P.R.A. (British 1830-1896)Lindisfarne Castle with Horse and Rider in the foregroundOil on canvas laid down on artist's board5.5 x 15.5cm (2 x 6 in.)Provenance:Gift from the artist to Samuel Pepys CockerellBy descent to his daughter Frederica Lucy CockerellBy family descent to the present ownerWe are grateful to Richard Ormond and Daniel Robbins, Senior Curator of Leighton House Museum, for confirming the attribution.Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Some light surface dirt throughout. Inspection under UV shows no evidence of restoration or retouching. Overall the work appears to be in good condition.Condition Report Disclaimer

Frederic, Lord Leighton, P.R.A. (British 1830-1896)Rowing Boats on the Shores of Lindisfarne CastleOil on panel 11.4 x 19.4cm (4¼ x 7½ in.)Provenance:Gift from the artist to Samuel Pepys CockerellBy descent to his daughter Frederica Lucy CockerellBy family descent to the present ownerWe are grateful to Richard Ormond and Daniel Robbins, Senior Curator of Leighton House Museum, for confirming the attribution.Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Light surface dirt throughout. Some light rubbing to the upper framing edge visible. Inspection under UV reveals no evidence of restoration or repair. Overall the work appears to be in good condition.Condition Report Disclaimer

Frederic, Lord Leighton, P.R.A. (British 1830-1896)Lindisfarne CastleOil on panel 11.4 x 17.8cm (4¼ x 7 in.)Provenance:Gift from the artist to Samuel Pepys CockerellBy descent to his daughter Frederica Lucy CockerellBy family descent to the present ownerExhibited:London, Leighton House, 1903-4. no. 61 (titled Holy Island Castle)London, Royal Academy, Frederic Leighton 1830-1896, 13 February - 21 April 1996, no.101Literature:I. and R. Ormand, Lord Leighton, New Haven and London, 1975, p. 177, possibly no. 480 or 490 (both titled View of Holy Island, 5 x 7 3/4in., Provenance: S.P.Cockerell)S. Jones, C. Newall, I. and R. Ormond, B. Read, Frederic Leighton 1830-1896, Royal Academy, exhibition catalogue, 1996, pp. 210-1, no. 101, illustrated p. 210We are grateful to Richard Ormond and Daniel Robbins, Senior Curator of Leighton House Museum, for confirming the attribution.Samuel Pepys Cockerell (1844-1921) | lots 237-241The following group of works from the collection of Samuel Pepys Cockerell (1844-1921) have passed through descent to the present owner and are coming to market for the first time since leaving the artist's studio. Cockerell was the youngest son of architect, archaeologist and writer Charles Robert Cockerell, RA, RIBA (1788-1863). Samuel Cockerell established a career as a sculptor, painter and like his father, a writer. After studying a B.A. honours degree at Christ Church, Oxford Cockerell entered the Royal Academy Schools and exhibited at the Academy almost annually between 1875 and 1903. Cockerell had a particular interest in sculpture but also depicted a range of broad subjects from literary and biblical references and portraiture. His range of works were exhibited widely not only at the Royal Academy but further afield at the Grosvenor Gallery, the New Gallery, the Walker Art Gallery in Liverpool. Cockerell was also an avid art collector who was particularly fond of works by the Pre-Raphaelites.One of the most influential figures in Cockerell's life and career was his dear friend Frederic, Lord Leighton. Cockerell and fellow painter Valentine Cameron Prinsep were Leighton's executors and were present alongside family at Leighton's bedside on his death on 25th January 1896. Leighton trusted Cockerell's opinion and according to G. Ulick Browne's article in The Studio Leighton asked 'Cockerell's advice about the design and composition of his picture, and, what is more to the point, almost always took it.' Included in the collection is a series of landscapes by Lord Frederic Leighton depicting views of Lindisfarne Castle. Cockerell's close relationship with Frederic Leighton had a strong influence on both his work and personal life especially from 1875 until Leighton's death in 1896. Works by Cockerell himself show his sensitive nature through two endearing small scale studies of his daughter Frederica Lucy and his interest in sculpture is evident through his detailed portrayal of the statue of Pope Julius III in Perugia.Condition Report: Very light surface dirt throughout. Some light rubbing to the framing edges. Inspection under UV reveals no evidence of restoration or repair. Overall the work appears to be in good condition.Condition Report Disclaimer

James Campbell (British 1828-1903)The summer stormOil on boardSigned (lower left)29.5 x 23cm (11½ x 9 in.)UnframedCampbell has a distinctive idiosyncratic style and was a member of the Liverpool School of Painters, a term coined retrospectively to describe a disparate group of progressive followers of Pre-Raphaelitism. They echoed the founding principles of truth to nature, vivid pigments and immaculate detail, but with their own unique local character. From 1851 Campbell trained at the Liverpool Academy, where he became a consistent exhibitor. From the mid to late 1850's he appears to have abandoned landscape painting in favour of scenes of everyday life.Liverpool has a long association with the Pre-Raphaelites and its newly-rich collectors with avant-garde taste, who bought, exhibited and commissioned works by the Brotherhood and their local followers. The leading collector, John Miller, held regular Saturday-night artistic parties which Campbell attended and upon his death two pictures from his collection, by Campbell, passed into the collection of the Walker Art Gallery. In 2016 the galleries exhibition, Pre-Raphaelites: Beauty and Rebellion, championed these artists.  

Arthur Wardle (British 1864-1949)An Idyll of Summer Oil on canvasSigned (lower right), numbered 329 (verso)108 x 153cm (42½ x 60 in.)Exhibited:London, Royal Academy, 1900, no. 329 Illustrated:Royal Academy Pictures, 1900, p. 15 Arthur Wardle was one of the most highly regarded and versatile animal painters of the late nineteenth and early twentieth century. He exhibited at the Royal Academy for over fifty-five years and showed An Idyll of Summer in 1900 when he was thirty five. Many of his works show animals, mostly dogs, in their natural environments, but a number of his pictures, including many of his most important exhibition pieces, include humans, such as his 1895 Royal Academy exhibit A Fairy Tale, (Christie's 11 July 2013, lot 4, £337,875). He was an academic artist by temperament and he would have been very conscious of the tradition of a hierarchy of subjects, 'history painting' representing the highest form of artistic expression followed by portraiture, genre, landscape, animal painting and still life. By making animals the protagonists of 'historical' subjects he was having the best of both worlds, claiming the pictorial high ground while remaining true to his field of expertise. Occasionally he would attempt a classical theme, 'history' in its purest form. More often Wardle opted for inventions of his own such as An Idyll of Summer which, while being a bucolic celebration of youth, may also allude to the mythological figure of Cygnus, who appeared in many myths, most of which led to his transformation into a swan. Wardle may be thinking of either Cygnus, the handsome son of Apollo who, together with his mother Thyrie, was transformed into a swan, or possibly Cygnus son of Poseidon. In this tale, he was abandoned on a beach as a baby and subsequently rescued by fishermen who, inspired by a flock of swans flying overhead and his pale complexion, called him Cygnus. He would go on to gain a reputation as a warrior during the Trojan Wars and on his death Poseidon transformed him into a swan.Condition Report: Relined. A few areas of concentrated craquelure, scattered throughout. There appears to be an L-shaped area of repair approx. 7cm long in the upper left quadrant. One or two smudge marks to the outer edges. There is a small area of loss, approx. 2mm below the boy's left foot in the reeds. One or two spots of surface dirt scattered throughout. Inspection under UV reveals retouching to the repaired area, previously mentioned and also to the lower right corner. The presence of a green masking varnish may be concealing evidence of further retouching or repair. The work is overall in good condition ready to hang. Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)Portrait of Theresina DuinoPencil and coloured crayonSigned with initials (upper right) and dated 1905 Juni (upper left)42 x 23cm (16½ x 9 in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work is faded, most noticeably to the green detail around the sitter's neck. Brown spots throughout the sheet. The work has been unexamined out of glazed frame.Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)Study of a sleeping womanPencilDated Februar 1905 and indistinctly inscribed (lower right)21 x 50cm (8¼ x 19½ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

Emilie Mediz-Pelikan (Austrian 1861-1908)Blossom treesMixed media on cardboardSigned with initials and dated 10 Mai 1903 (lower right)44 x 49cm (17¼ x 19¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Discolouration to the sheet. Staining to the edges of the sheet under the mount. The work has been laid down to a card mount. Discolouration to the sheet. The front of mount has become partially unstuck and has left a layer of white card to the extreme edges to the sheet (where it was previously stuck down) there are also traces of glue residue. Some discolouration to the sheet and brown spots of foxing scattered throughout. There is a small area of skinning to the lower centre, which is lifting approx. 2cm. There is an area of heavy surface scratching and some associated skinning and lifting to the lower right quadrant. Very small nick to the sheet approx. 1mm to the left of the left tree. Small area of water damage approx. 1cm to the upper right corner. Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)A triple portrait of Hermine, Emilia and HelenaPencil and coloured crayonSigned, dated 1897 and variously inscribed (lower right)45.5 x 67cm (17¾ x 26¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

Frederick Lee Bridell (British 1831-1863)The Temple of Saturn, the Forum and the Colosseum, RomeOil on canvasSigned and dated 1862 (lower right)87.5 x 123.5cm (34¼ x 48½ in.)Provenance:Joseph MorbyArthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not relined. There are some fine lines of craquelure running through the work, predominately noticeable in the sky but also extending in the lower half of the composition. There are faint stretcher marks visible. Ultraviolet light reveals scattered retouching throughout, in particular to the figures, the edges of the arches upper left and other areas in the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer

Frederick Lee Bridell (British 1831-1863)The Arch of Titus at Rome looking towards the capitalOil on canvasSigned and dated 1862 (lower right), titled (to label attached verso)86.5 x 123.5cm (34 x 48½ in.)Provenance:Joseph Morby Arthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not lined. There are some fine lines of craquelure predominately to the sky and upper corners and very faint stretcher vertical stretcher marks. Ultraviolet light reveals some light scattered retouching, predominately to the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer

Studio of Artus Wolfforts (Flemish1581-1641)The Adoration of the ShepherdsOil on canvas202 x 233cm (79½ x 91½ in.)Provenance:Berwick House, Shropshire Early in his career Artus Wolfforts was influenced by the classical style of Otto van Veen. However, the work offered here is more typical of the artist's later painting which adopted a more dynamic Baroque style, influence by Rubens. It has therefore been suggested that this work can be dated to around c.1630.Wolfforts was an accomplished Flemish artist known for his history paintings which depicted religious and mythological scenes. Most of his works were painted as private commissions and, as is the case here, depict large life-sized figures of Christ and stories from the Bible.Upon completion of his training in 1615, the artist returned to Antwerp where he worked as an assistant in the workshop of Otto van Veen an artist who included Rubens among his past pupils.Wolfforts himself would go on to work with Rubens in 1635, as one of the artists employed to work on the decorations for the Joyus Entry into Antwerp of the new governor of the Habsburg Netherland, Cardinal-Infante Ferdinand. Whilst Rubens was in overall charge of the project, Wolfforts was responsible for producing decorative paintings after Rubens' designs.After becoming a member of the Antwerp Guild of Saint Luke in 1617, Wolfforts operated his own large workshop. During his career, it was not uncommon for several variant works to be produced from one common composition, as is likely to be the case with The Adoration of the Shepherds. Indeed, the present lot can be compared with an altarpiece by Wolfforts in the church of St. Lawrence in Oostamalle near Antwerp (see Hans Vlieghe, Wolffort in the Wallraf-Richartz-Jahrbuch für Kunstgeschichte, 1977, p. 116, fig. 41), a copy of which can also be seen in Leuven Museum.Despite being a prolific artist during his own lifetime, with pupils including Pieter van Mol, Pieter van Lint, and his son, Jan Baptist, Wolfforts' and his work appear to have been forgotten and until the late 1970s many of his paintings were listed as early works by Rubens. Gradually, his oeuvre has been reconstructed using the fully signed copy of a work titled Esther's Toilet in the Harem of Ahasuerus, in the V&A museum, London (Accession No. DYCE.10). We are grateful to Dr Hans Vlieghe for his assistance with cataloguing this lot.Condition Report: The canvas has been lined and is a little slack. There is a sewn line running the whole width and through the middle of the canvas verso, mostly likely where two sheets of canvas have been sewn together. There is a fine line of cracking which corresponds to this line recto. There is a patch of wax repair to the upper right of the canvas verso and this corresponds with an area of visible retouching and associated cracking to the left of the canvas at the figure in red's jacket recto. There is an area of repair (approx. 5cm diameter), together with associated flaking and over-paint to the head of the figure to the right of the Madonna. Further scattered areas of damage and subsequent repair with associated flaking are also visible scattered throughout the canvas, together with some smaller areas of isolated flaking and loss. There is a vertical line of craquelure, associated flaking and retouching running the whole length of the painting just to the right of the Madonna's head. Ingrained surface dirt and craquelure throughout. Vertical and diagonal stretcher marks are visible. Rubbing and abrasions to the framing edges. Inspection under UV reveals retouching, repair and infilling throughout, as well as a green cloudy masking varnish which may be concealing further overpaint. Would recommend viewing this lot. Condition Report Disclaimer

Domenico Puligo (Italian 1492-1527)Madonna and Child with the infant St John the BaptistOil on panel 95 x 70cm (37¼ x 27½ in.)Provenance:Sale, Sotheby's, New York, 25 January 2001, lot 72, sold for $52,000, where it was attributed as an authentic work by Domenico Puligo by Everett Fahy.Dr Elena Capretti has suggested that this may be a later work, with possible studio assistance, made around the same moment as the altarpieces in the church of S. Maria degli Angiolini and Santa Maria Maddalena de' Pazzi in Florence. Domenico Puglio was an Italian Renaissance painter who worked primarily in Florence. As a pupil of Ridolfo Ghirlandaio, his tutor's influence can be seen in much of Puglio's work. Other influences included Jacopo Pontormo and Il Rosso, as well as Andrea del Sarto for whom Puglio acted as an assistant. During this period Puglio is believed to have met and formed a friendship with the author and artist Giorgio Vasari, the latter also working in Sarto's workshop for a time. Puglio is therefore mentioned in the author's Lives of the Most Eminent Painters, Sculptors and Architects:"He, considering that his method of painting with softness, without overloading his works with colour or making them hard, but causing the distances to recede little by little as though veiled with a kind of mist, gave his pictures both relief and grace, and that although the outlines of the figures he made were lost in such a way that his errors were concealed and hidden from view in the dark grounds into which the figures merged, nevertheless his colouring and the beautiful expressions of his heads made his works pleasing, always kept to the same method of working and to the same manner, which caused him to be held in esteem as long as he lived" (Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, 1913, Vol. IV, p.281)There is a lack of information and documentation on Puligo's life and works, making it hard to determine and understand the chronology and background of his output. In his writing Vasari does not mention any works pre-dating 1525. However, it is believed that it was during the artist's early career that most of his Madonna and Child paintings were produced. Puligo was especially interested in compositions around the Madonna of Humility, as is depicted in the present lot, and created several paintings related to the subject. The work offered here, is smaller and more compact than the later life-sized voluminous figures which make up the large-scale altarpieces of Puligo's mature oeuvre. It is therefore possible that this work was produced before 1520. Dr Elena Capretti, however, has suggested that this may be a later work, with possible studio assistance, made around the same moment as the altarpieces in the church of S. Maria degli Angiolini and Santa Maria Maddalena de' Pazzi in Florence.  Condition Report: The panel appears to be stable and is supported by two horizontal stretchers on the reverse. It is slightly bowed in the bottom right corner. Old woodworm holes visible to the stretcher. Fine surface cracking is visible across the surface, which appears to be generally stable Inspection under UV reveals scattered retouching across the image. Particularly on the darker pigment of the Madonna's hair and across the Christ child and across the infant St John the Baptist. These are not visible in natural light. Cleaned and revarnished. Presented in a carved and giltwood frame. Condition Report Disclaimer

Thomas Jacques Somerscales (British 1842-1927)Tea Clippers Racing Up Channel Oil on canvasSigned and dated 1906 (lower right), inscribed with title (verso)59 x 105.5cm (23 x 41½ in.)Provenance:Berwick House, ShropshireThomas Jacques Somerscales was a Yorkshire born English teacher who taught in the Navy. In 1865, after travelling around the Pacific he was put ashore in Chile due to ill-health. Whilst there he began teaching at the Makay School in Valparaiso, and it was during this time that he began to paint professionally. After almost thirty years in Chili, Somerscales returned to England in 1892, and exhibited at the Royal Academy from 1893. Examples of Somerscales' work are housed in collections such as Tate Britain, Greenwich Maritime Museum, and Hull Museum, and the artist is perhaps best known in the UK for his depiction of sailing boats at sea. However, his Chilean landscapes, and paintings of notable events in Chilean naval history have meant that he retains a large following in the country to this day and despite spending the last thirty-five years of his live working in England, he is arguably far better known in Chile where many of his works are still viewed as patriotic national icons. Condition Report: Relined. Light surface dirt throughout. A layer of yellowing varnish causing very slight discolouration. A few spots of staining, most likely caused by pooling varnish. An areas of surface cracking and associated loss to the lower right corner. Condition Report Disclaimer

Five loose Royal Albert Beatrix Potter figures including Diggory Diggory Delvet, Tom Thumb, The Old Woman who Lived in a Shoe, etc.

A Meissen figure group The Lover Discovered, depicting a wife in bed with a pastry and a hot chocolate, Cupid behind her, her husband peering over at the dog who has spotted the wife's lover - some minor restoration to the table

Marvel Comics assorted titles, Shogun Warriors (1980) #12 #13 #16, Howard The Duck (1978) #23 #25, ROM Spaceknight (1982) #29 #30, Dr Who #8 (1985), Marvel Age #5 (1983), Not Brand Echh #6 (1968), New Avengers #7 Variant Cover (2005), Mighty Marvel Western #4 (1969), Super Villain Team Up (1976-79) #5 #9 #16 bagged and boarded (15)

Good early hooded wall clock, the 10.5" square brass dial with silvered chapter ring signed Joseph Shepard, Sheffeild (sic) Fecit on the silvered chapter ring enclosing a plain centre with calendar aperture and single iron hand, within a country pillared oak case surmounted by a stepped moulded cornice, 36.5" high overall (pendulum and weight) - **This clock is accompanied with two articles written by Brian Loomes in Clocks magazine which interestingly confirm Joseph Shepard as being Sheffield's earliest known clock maker and uncovers his connection to the renowned clock maker Henry Ogden, who was his father-in-law - Also see Darken & Hooper - English Thirty Hour Clocks, which has a description and illustration of a similar clock and notes a similar error in the spelling of Sheffield

Three programmes from My Fair Lady at Drury Lane, London. From the productions of 1958 starring Julie Andrews and Rex Harrison (who reprised his role in the 1964 motion picture) and the second cast starring Anne Rogers and Alex Clunes.

§ Attributed to Joan Kathleen Harding Eardley, RSA (Scottish 1921-1963)Landscape with a horse signed 'Joan Eardley' (lower right) oil on board 33 x 43.5cmFootnote: Despite the brevity of her career, which lasted little over fifteen years, Joan Eardley has become one of Scotland’s most venerated artists. Born in 1921 and moving with her mother and sister to Glasgow in 1939, Eardley trained at Glasgow School of Art from 1940 and returned in 1947 for her post-diploma studies. Whilst Eardley’s contemporaries, who included Eduardo Paolozzi, Robert Colquhuon, Robert MacBryde, and William Turnbull, left Scotland to live and work in London, Eardley remained, drawn to the destitute streets and overcrowded tenements of Glasgow’s Townhead area. Describing Townhead, Eardley commented, “Life is at its most uninhabited here…Dilapidation is often more interesting to a painter” (Patrick Elliott and Anna Galastro, Joan Eardley: A Sense of Place, National Galleries Scotland, 2016, p.14). From 1950, after staying with a friend in the coastal village of Catterline, located just south of Aberdeen, Eardley began splitting her time between there and Glasgow, and in 1961, after spending more than a decade painting the young residents of Townhead, Eardley became a full-time resident of the small coastal community. She continued to live and work in Catterline until her premature death, just two years later. Typified by her use of powerful, authoritative brushstrokes and expressive palette, Eardley’s formal style is reflective of her two favoured subjects: the impoverished children of Townhead, Glasgow, which defined her early career, and her later depictions of the wild, rugged coastline of Catterline. The present lot is believed to have been executed during the latter part of Eardley’s career, dating from the late 1950s or early 1960s following her move to Catterline. As with the present lot, many of Eardley’s canvases were left unresolved as she required near-identical conditions before she would attempt to continue any unfinished works. Corresponding with her friend, Audrey Walker, Eardley wrote “these things take so long to work out. So much dependent on so much – type of day, place of sun, place of tide” (Elliott and Galastro, p.63).

§ Jacob Epstein KBE (American/British 1880-1959)Reclining Nude, 1928 signed 'Epstein' (lower left) pencil 42.5 x 55cmFootnote: Provenance: Sale; Christie's, South Kensington, 28 March 1996, lot 37 Sale; Sotheby's, London, 2 October 1996, lot 87 Exhibited: London, Godfrey Phillips Gallery, Drawings by Epstein, 1928, no.44 Literature: Hubert Wellington, Epstein - Seventy-Five Drawings, J. Saville & Co., 1929 (ill.no.44) The present lot was one of several pencil studies of women of colour that Epstein produced in the summer of 1928 and, whilst seemingly divergent from his best-known works, is demonstrative of Epstein’s lifelong endeavour to disrupt and challenge European paradigms of beauty. Unlike many of his contemporaries and predecessors, who erased and denied the black body a place in art, Epstein’s sketches elevate his models to a position traditionally occupied only by white, European models. A similar sketch by Epstein, which depicts the same unnamed model, is held by the Tate Gallery, London.

§ Roger 'Syd' Barrett (British 1946-2006)Orange Dahlias in a Vase signed and dated 'R. Barrett / Oct. 1961' (lower left) watercolour and pastel 58 x 44cmFootnote: Provenance: Gifted by the artist to Gerald Arthur Clement Harden, thence by descent within the family If you were to read his secondary school reports, there would be very little to indicate that Roger ‘Syd’ Barrett would later become one of the most significant and influential cultural figures of the 20th century, both domestically and internationally; an almost mythic figure, Barrett became an emblem of a time, place, and culture, distilled into a single individual. In 1957, Barrett began his secondary education at Cambridgeshire High School for Boys, which aimed to emulate the public-school model. The exclusively male teaching staff shrouded themselves in academic robes and crowned themselves with mortarboards. The school certainly had a profound effect on Barrett’s fellow pupil and later bandmate, Roger Waters, whose lyrics to the band’s 1979 hit, ‘The Happiest Days of Our Lives’, open with: ‘When we grew up and went to school / There were certain teachers who would / Hurt the children in any way they could’ and continues in the rest of the song to reflect upon the contemptuous and often violent treatment of pupils by some of the school’s tutors. As a student, Barrett was emphatically average and, to most of his teachers, remarkable only in his inability to follow the rules. To Gerald Arthur Clement Harden, the school’s art teacher between 1938 and 1971, however, Barrett was a conspicuous and prodigious talent and one of the very few pupils permitted to use Harden’s oil paints. Painted when Barrett was just 15 years old, the present lot was gifted to Harden by the artist shortly before he left the school and began studying art at Cambridgeshire College of Arts and Technology. Although generally perceived as an unmotivated student by most of his tutors, Harden’s support encouraged Barrett to pursue further study in painting and ignited in him a passion for art that would continue to burn until his death in 2006. Following his death in 2006, Cheffins sold the contents of Barrett's home in Cambridge, no.6 St Margaret's Square, where he had lived since 1981.

An Hermès brown crocodile leather Constance bag,with gilt H clasp, adjustable shoulder strap and the interior with one slip pocket and one zip pocket, the leather stamped 'Hermès Paris Made In France' and further marked 'Hermès' to gilt clasp bar 17.5 x 23cmFootnote: Reflecting the brand’s practical yet elegant aesthetic, the Constance bag has remained, alongside the Birkin and the Kelly, one of Hermes’ most coveted models since its inception in 1967. Popularised amongst the Hollywood crowd by Jacqueline Kennedy, a true style icon, the Constance bag was designed by Catherine Chaille and named after her daughter, who was delivered on the same day the first Constance bag left the Hermes production line.

The Lion King: An animation cel of Sarabi, Simba, Sarafina and Nala, 1994,The Walt Disney Company, gouache on post-production celluloid depicting 'Simba' who is dying to take 'Nala' to the elephant graveyard, but it's bath time, a three cel set-up, one of which is a production underlay, applied to watercolour production background, accompanied by The Walt Disney Company certificate of authenticity 30 x 42cmFootnote: Provenance: Lot 38, Sotheby's, The Art of The Lion King, February 1995.

Bank of Engineers, a skit note promising and demanding ‘the sum of £50 to any one who can produce work like ours’, 1 May 1851, serial number 58739, signed by what appears to be J. Schlesinger, of 8, Old Jewry, very good to fine, scarce Outing 4062a £80-£120

Public Lounge, Holborn, otherwise known as Tulleys Lounge, a skit note promising to allow entry for 1 Shilling, or forfeit £1000, ND (1834), serial numbers 95 and 96, and detailing the attractions as being a Euterpeon (automatic music machine), an evening concert, and a Cosmoramic Corridor (a series of enormous, usually coloured, images of cityscapes or faraway places), with a printed signature of James Tulley, two modern mounting hinges at left, otherwise in exceptional condition considering its very fragile paper, good fine and extremely rare Outing unlisted £150-£200 James Tulley appears to have been something of a rogue who consistently appears in newspaper and court records from the mid 1830s until the late 1850s, generally as an employee or proprietor of lower class entertainment venues and music halls. He appears to have gone bankrupt on at least two occasions. Contemporary reviews of the establishment listed, which was located on either on Lambs Conduit Street or High Holborn were somewhat mixed!

Bank of Victoria, a bill of exchange for £10, Melbourne, 16 May 1860, serial number 1544, good fine to about very fine, mounting remains, a charming piece with an engraving of a kangaroo by someone who had clearly never seen a kangaroo (but who had likely seen the famous 1772 painting by George Stubbs) £100-£150

Fanning Island Plantations Ltd, £1 Australian Currency, 1942, serial number 1655, Grant signature, reverse has two signatures by John Fairfax and Sylvia Cook who rowed across the Pacific in 1971, a much scarcer uncut example, very fine, rare Schwan-Boling 1541a £800-£1,000

Gibson Custom J-200 Guitar, sunburst finish, maple back and sides, mother of pearl inlaid rosewood finger board and bridge, engraved pickguard, no. 62899 to internal label, made in Kalamazoo Plant, MI, with original case. Many iconic recordings have featured a Gibson J-200 being played such as by George Harrison in The Beatles 'Here Comes the Sun', Jimmy Page in Led Zeppelin 'Babe I'm Gonna Leave You' and Pete Townshend in The Who 'Pinball Wizard'. With an extra large 'jumbo' body, this allows for a large and expressive sound.Condition Report: Appears in very good condition, neck straight, no apparent repairs, number on back of head matches label 62899 (use serial number to date), few bumps to edges and corners, few light surface marks but nothing major.

Terminator 2: Judgment Day - A Future War Soldier gunsight used in the 1991 Film starring Arnold Schwarzenegger. This prop would have been connected to one of the Rifles used by the Resistance Soldiers in the Future War; who battle Skynet during the Films opening scenes. 12x5 inches. With Certificate from Screenused.com

Approx 350+ Front of House/lobby cards and stills, titles including Goldfinger (1 card), Dr. Who and the Daleks (set incomplete), some complete sets although not all have been checked including the following Force 10 From Navarone, The Godfather Part II, Saturday Night Fever, Capricorn One, The Dirty Dozen, The Towering Inferno, The Devil Rides Out, The Heroes of Telemark, The Sting, Monty Python and the Holy Grail, Taxi Driver and others, 10 x 8 inches. Provenance: Part of the Anthony Duggan collection.

18 Rock Vinyl LPs including Led Zeppelin In Through The Out Door in original paper outer, Deep Purple Book of Talesyn, Slade Alive, Kiss Dynasty, Alice Cooper School's Out, AC DC If You Want Blood, The Story of the Who, Judas Priest Stained Class and others. (18)

90+ Movie Premiere Brochures including The Deer Hunter, Toy Story, The Lion King, The China Syndrome, Wild Geese II, Batman Returns, Superman, The Black Hole, Flash Gordon, The Jazz Singer, Superman II, E.T. Supergirl, The Bounty, Indiana Jones and the Temple of Doom, The Mission, Who Framed Roger Rabbit, Willow, Indiana Jones and the Last Crusade, Titanic, The Hunt for Red October, and others.

Harry Potter and the Chamber of Secrets - Cast and Crew grey fleece jacket with embroidered logo on chest and arm, size medium. Provenance: Consigned from a double who worked on all the Harry Potter movies. He worked as a double for Daniel Radcliffe.

Harry Potter and the Chamber of Secrets - Cast and Crew grey fleece jacket with embroidered logo on chest and arm, size large. Provenance: Consigned from a double who worked on all the Harry Potter movies. He worked as a double for Daniel Radcliffe.

Harry Potter and The Prisoner of Azkaban (2004) Two Premiere tickets, cover letter and a Knight Bus Unit Crew T-Shirt, size extra large (4). Provenance: Consigned from a double who worked on all the Harry Potter movies. He worked as a double for Daniel Radcliffe.

Harry Potter and the Goblet of Fire - Paperback book, signed to inside pages by 6 members of the cast including - Daniel Radcliffe (Harry Potter), Emma Watson (Hermione Granger), Rupert Grint (Ron Weasley), Matthew Lewis (Neville Longbottom), Devon Murray (Seamus Finnigan), Katie Leung (Cho Chang). Provenance: Consigned from a double who worked on all the Harry Potter movies. He worked as a double for Daniel Radcliffe.Condition Report: Excellent condition.