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David Lucas,  British 1802-1881- Spring, after John Constable RA; mezzotint, published by Mr Constable 35 Charlotte St Fitzroy Square 1832, 12.9 x 24.6 cm. (VAT charged on the hammer price). 

John Constable Reeve (1929-2020) - A 20th century oil on board landscape painting to depict 'Prospect Farm', featuring a farm gate to foreground with trees beyond. Framed. Measures 34cm x 29cm. 

John Constable Reeve, five oil on board studies depicting various landscapes

John Constable Reeves, oil on board study of Orford castle

George Constable, anglers on The Arun, Arundel Castle beyond; and companion picture, a pair, watercolour, 34 x 50.5cm. (2)

Motor Vehicles and Motors by Worby Beaumont. Published in London by Archibald Constable & Company Ltd. This is Volume 2, 2nd revised edition 1906. Large 8vo, approximately, 11 x 8 inches (275 x 200 mm), pages: xvi, 1-677, well-illustrated with photographs and folding line drawings, publisher's brown cloth with gilt lettering to spine, binding a little rubbed. Given the nature of the book, the binding is tight, creasing to top of spines and shelf wear to edges, but not torn. Editorial pages are clean and presentable. (1)

"The Speaker of Mandarin" by Ruth Rendell Hutchinson, 1983 first edition; " A Landing on the Sun" by Michael Frayn, Viking, 1991 first edition, ex library; "The Mystery of the Campden Wonder" by Jeremy Potter, Constable 1995 first edition, ex library; "Victorian Nightmares" edited by Hugh Lamb, W.H. Allen, 1977 first edition, ex library 

KIPLING (Rudyard) Collected Verse, de luxe edition, Hodder & Stoughton 1912, 4to, no. 385 of 500 copies, limp vellum, lacking ties, top edge gilt others untrimmedSigned in ink by Hodder & Stoughton and the printer T A Constable

S.E. SHERES (BRITISH 19TH CENTURY) THE OPENING OF WATERLOO BRIDGE FROM WHITEHALL STAIRS, JUNE 18TH 1817signed and inscribed JC.RA. 5 / S E Sheres on the reverseoil on panel11.5 x 25.5cm; 4 1/2 x 10in16.5 x 31cm; 6 1/2 x 12 1/4in (framed)Painted by Sheres after the large scale original by John Constable (Tate Britain). Constable's painting of the opening of Waterloo Bridge and the second anniversary of the Battle of Waterloo on 18 June 1817, depicts the Prince Regent about to board the Royal Barge at Whitehall stairs and shows the Lord Mayor's barge in the right foreground. Property of a European Collector*offered for sale without reserve

Low (Rev. George). Fauna Orcadensis: or, The Natural History of the Quadrupeds, Birds, Reptiles, and Fishes, of Orkney and Shetland. By the Rev. George Low, Minister of Birsa and Haray. From a Manuscript in the possession of Wm. Elford Leach, 1st edition, Edinburgh: printed by George Ramsay and Company, for Archibald Constable and Company..., 1813, half-title, modern antique-style quarter calf gilt over marbled boards, morocco labels to spine, 4toQTY: (1)NOTE:Wood, p. 442 'The author was introduced to Thomas Pennant by Sir Joseph Banks, and this sketch of the Natural History of the Orkney Islands was at first designed for Pennant's information. He did for Orkney what Gilbert White did for Selborne.'George Low (1746-1795) was a tutor in Stromness, and later ordained minister of Birsay and Harray in Orkney in 1774. When Sir Joseph Banks and Daniel Solander arrived at Orkney on their return from the last and ill-fated voyage of Captain Cook, Low was asked to accompany them on their excursions around the Orkney and Shetland Islands. Banks introduced him to Thomas Pennant, and it was with Pennant's assistance that Low was able to classify the fauna of the islands. Low died in 1795 and the work was eventually edited and published by William Elford Leach, who provides a note on the circumstances regarding the work's publication.

Dulac (Edmund, illustrator). Shakespeare's comedy of The Tempest, with an introduction by A.T. Quiller-Couch, [1908], tipped-in colour frontispiece and plates with captioned tissue-guards, occasional light spotting mainly to preliminaries, flyer advertising an exhibition of Dulac's original watercolour illustrations for the book at Leicester Galleries, on 14th November 1908, loosely inserted, original green cloth gilt, some light marks, rubbing to spine edges, 4to, plus The Bells and other Poems by Edgar Allan Poe, [1912], and The Green Lacquer Pavilion by Helen Beauclerk, 1926, both illustrated by Dulac, together with:Rackham (Arthur, illustrator). Little Brother & Little Sister, London: Constable & Co Ltd, 1917, tipped-in colour frontispiece and plates, monochrome illustrations, decorative endpapers, some toning, original green cloth gilt, 4to, with The Ring of Niblung, London: William Heinemann, (partial remnant of dust jacket present), 1939, plusKingsley (Charles). The Water Babies, Nottingham: Boots the Chemist, 1929, colour frontispiece, numerous colour plates, some minor spotting, contemporary ownership inscription to front free endpaper, original green pictorial cloth gilt, rubbed and worn, 4to, and three other illustrated books comprising: The Book of the Flower Fairies by Ciciely M.Barker, The Silver Ship by Lady Cynthia Asquith (signed), The Love of the Foolish Angel by Helen Beauclerk, and Fairyland by Ida Rentoul OuthwaiteQTY: (10)

WILLIAM MORRIS INTEREST COLLECTION OF BOOKS comprising; Vallance, Aymer William Morris George Bell 1897; Marillier H.C. History of the Merton Abbey Tapestry Works, Constable & Co., 1927; Crow G.H. William Morris Designer, The Studio 1934; The Work of Walter Crane and The Work of William Morris, The Art Journal 1899; Atkins W. William Morris, Artist, Printer, and Man of Business, Saint Bride 1917-18; Cobden-Sanderson T.J. Ecce Mundus: Industrial ideals and the book beautiful, Hammersmith Publishing Co., 1902; Cunninghame Graham R.B. William Morris, Herbert Jenkins 1913; Morris W. The Earthly Paradise, Reeves & Turner 1890 (2 copies); Morris W. News from Nowhere, Reeves & Turner 1892; Morris W. Love is Enough, Reeves & Turner 1889; and Morris W. A Dream of John Ball, Reeves & Turner 1888, with bookplate of C.R. Ashbee, inscribed in pencil C.R. ASHBEE/ TOYNBEE HALL/ WHITECHAPEL/ 1888Note: Provenance: From the collection of Arthur Halcrow Verstage

A 19th Century Special Constable truncheon painted with Royal cipher and shield decorated with three boars heads (for Greater Grimsby) and initials "GR" 38.5 cm long not including ring loop

STORER (J. & H.S.), VIEWS IN EDINBURGH AND ITS VICINITY, PUB. A. CONSTABLE & CO. EDINBURGH, 1820 in two vols., in gilt tooled calf boards

A scarce Great War ‘Egyptian theatre’ M.S.M. combination group of seven awarded to Sergeant A. Peachey, Mounted Military Police and Metropolitan Police, late 9th Lancers Queen’s South Africa 1899-1902, 7 clasps, Natal, Belmont, Modder River, Relief of Kimberley, Paardeberg, Johannesburg, Diamond Hill (4324. Pte. A. Peachey. 9/Lcrs.) top lugs filled with retaining rod for mounting purposes; King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (4334 [sic] Pte A. Peachey. 9th Lancers.); 1914-15 Star (P. 764 L-Cpl. A. Peachey, M.M.P.); British War and Victory Medals (P-764 Sjt. A. Peachey. M.M.P.); Coronation 1911, Metropolitan Police (P.C. A. Peachey); Army Meritorious Service Medal, G.V.R., 1st issue (P-764 L. Cpl. - A. Sjt: - A. Peachey. M.M.P.) mounted for display, good very fine (7) £500-£700 --- M.S.M. London Gazette 3 June 1918 (Egypt). A. Peachey served during the Second Boer War with the 9th Lancers, before joining the Metropolitan Police as a Police Constable. With the outbreak of the Great War, Peachey transferred to the Military Mounted Police, advanced to Sergeant and served with them in the Egyptian theatre of war from 28 January 1915.

Four: Police Constable N. J. Allen, Metropolitan Police, late Royal Artillery India General Service 1854-95, 2 clasps, Burma 1885-7, Burma 1887-89 (37832 Gunr. N. Allen No. 1 By. 1st Bde. E. Dn. R.A.); Jubilee 1897, Metropolitan Police P.C. N. J. Allen. M. Divn.); Coronation 1902 (P.C. N. Allen. Thames Div.); Coronation 1911 (P.C. N. Allen.) mounted as worn with placed I.G.S. last, toned, good very fine (4) £200-£240

A rare and well-documented ‘Balloonatics’ campaign group of seven awarded to Flight Sergeant and Observer J. Baxter, Royal Naval Air Service, Royal Flying Corps and Royal Air Force - decorated for his service whilst attached to the Belgian forces during 1917, and a Police Constable with the City of London Police prior to and after the Great War 1914-15 Star (F.4573, J. Baxter, A.M. 1. R.N.A.S.); British War and Victory Medals (30212. F. Sgt. J. Baxter. R.A.F.); Coronation 1911, City of London Police (P.C. J. Baxter.); Jubilee 1935 (P.C. J. Baxter.); Belgium, Order of Leopold II, Chevalier’s breast badge, silver and enamel, with rosette on riband, obverse centre missing Lion; Croix de Guerre, A.I.R., bronze, with bronze palm emblem on riband, mounted for wear, but additionally mounted on card for display, generally very fine unless otherwise stated (7) £800-£1,200 --- Order of Leopold, Chevalier London Gazette 25 July 1918. The recommendation, dated 8 December 1917, states: ‘A non-commissioned flying officer who has rendered the greatest services during the ascents made on behalf of the British artillery placed as the disposal of the Belgian Army.’ Croix de Guerre London Gazette 25 July 1918. The combination of Belgian awards to the R.F.C. is very rare, only five such being awarded, with a further three later awarded to the R.A.F. James Baxter was born in Hornsey, London in May 1888. He joined the City of London Police at Cloak Lane in May 1910, and was Commended and awarded ten Shillings for courageous conduct in stopping a runaway horse on 18 July 1913. Baxter enlisted in the Royal Naval Air Service in May 1915, and served with No. 8 Balloon Company in the French theatre of war from 1 September 1915. It was not long before the R.N.A.S. Balloons were transferred to the control of the Royal Flying Corps, and Navy personnel were at liberty to transfer Services if they so desired. Baxter joined the R.F.C. as Sergeant in June 1916, and the Royal Air Force in April 1918. He advanced to Flight Sergeant in April 1917, and at some stage advanced his status from being ground staff on the handling of the balloons to becoming an Observer, being entitled to wear the distinguishing observer’s brevet. Baxter was granted his Aeronaut’s Certificate by the Royal Aero Club of the UK on 2 October 1916, and as such served as a “Balloonatic” with the 16th Balloon Company, R.F.C. He was demobilised on 24 March 1919, and rejoined the City of London Police the following month. Baxter retired to Pension in May 1936, and was appointed to the First City of London Police Reserve in August 1936. He resigned in October of the same year in order to take a permanent position with the London Telephone Service of the General Post Office. After the war he resided at 1 College Hill, London, EC4, and died in November 1961. Sold with the following original and related documentation: Bestowal Document for both Belgian awards, with Ministry of Foreign Affairs enclosure letter (both with typed translations); Ministry of Foreign Affairs enclosure for the two Belgian awards; Royal Air Force Demobilization Account document; typed letter from recipient to Officer Commanding, Port Depot, Royal Air Force, Havre, regarding his application for the 1914-15 Star, dated 6 March 1919; St. John Ambulance Association First Aid Certificate, named and dated February 1911; letter from recipient as member of the First City of London Police Reserve to the Commissioner of Police for the City of London agreeing to serve for an indefinite period from June 1936; with other ephemera and copied research.

A Second War B.E.M. group of six awarded to Corporal L. Hammond, Royal Army Service Corps British Empire Medal, (Military) G.VI.R., 1st issue (T/209272 Cpl. Laurence Hammond R.A.S.C.) in card box of issue; 1939-45 Star; Africa Star; Italy Star; Defence and War Medals 1939-45, good very fine (6) £160-£200 --- B.E.M. London Gazette 13 December 1945. Laurence Hammond was born in Hull and educated at the Constable-street School and the local Technical College. Details regarding his award were published in the Hull Daily Mail on 19 February 1946: ‘Hull B.E.M. Ex-Corporal Lawrence [sic] Hammond, R.A.S.C., of 2, Eastfield-road, Hull, has received notification that he has been awarded the British Empire Medal. Called up in 1940 Mr. Hammond spent five years in the Army, attached to the Royal Army Medical Corps. He took part in the landings in North Africa and from there went to Italy. After two years in Italy he went to Greece and Austria. Following his demobilisation in December of last year he returned to his old firm of Montague L. Meyer, Ltd.’ Sold with original typed letter of notification for B.E.M.; and medal entitlement slip and O.H.M.S. envelope, named to the recipient at the above address.

Three: Police Constable J. Hayers, Metropolitan Police Jubilee 1887, clasp, 1897, Metropolitan Police (P.C, J. Hayers. A. Divn.) surname re-engraved; Coronation 1902, Metropolitan Police, bronze (P.C. J. Hayers. A. Div.); Coronation 1911, Metropolitan Police (P.C., J. Hayers.) good very fine (3) £70-£90 --- James Hayers was born at Beaconsfield, Buckinghamshire, on 1 July 1862. He joined Scotland Yard on 28 April 1884, attached “B” Division, and is recorded in the contemporary press for arresting a man in Chapel Street, Westminster, in December of that year: 'Oswald Fussell (28), student of medicine and preacher in the Salvation Army was charged at the Westminster Police Court on Wednesday with being drunk, riotous and making use of obscene language. Constable Hayers (606B) proved that the prisoner was drunk on Tuesday afternoon. He had a crowd round him. He was wearing a jersey marked Salvation Army. He talked about religion, hit out right and left with his crutch and used filthy language.' Transferred to “A” Division in April 1886, Hayers remained in the service of the Metropolitan Police for a further 26 years, resigning on 2 May 1910. He retired to Amersham. Sold with copied research, including the recipient's Metropolitan Police Service Record.

Three: Police Constable C. Daniels, Metropolitan Police Jubilee 1897, Metropolitan Police (P.C. C. Daniels 4th. Divn.); Coronation 1902, Metropolitan Police, bronze (P.C. C. Daniels 4th. Div.); Coronation 1911, Metropolitan Police (P.C. C. Daniels.) good very fine (3) £70-£90

Four: Prison Officer First Class J. Chikore, Zimbabwe Prison Service Zimbabwe, Independence Medal 1980 (4143); Prison Service Long and Exemplary Service Medal (907568 PO1 J. Chikore); Ten Year Service Medal (907568 P.O.1. Chikore J.); Rhodesia, Prison Service Medal (7568 Wdr. J. Chikore) some staining, good very fine Three: Section Commander T. A. V. Gava, Zimbabwe Police Zimbabwe, Independence Medal 1980 (55604); Rhodesia, General Service Medal (17085 Section Officer. T. A. V. Gava); Police Long Service Medal (017085 P/O T. A. V. Gava) mounted for wear, very fine Pair: Constable Kundishora, Rhodesian Police Rhodesia, General Service Medal (13935 Const. Kundishora); Police Long Service Medal (13935 Const. Kundishora) edge bruise to first, very fine Pair: Reserve Police Officer K. S. Cross, Rhodesian Police Reserve Rhodesia, General Service Medal (8408N R/P/O K. S. Cross); Police Reserve Long Service Medal (8408N K. S. Cross) very fine (11) £180-£220

Three: Corporal R. H. Wills, Westmoreland and Cumberland Yeomanry, later Border Regiment and Labour Corps, who had his right eye removed in consequence of a shrapnel injury received at the Battle of Passchendaele, 12 October 1917 1914-15 Star (2372 Pte. R. H. Wills, West. & Cumb. Y.); British War and Victory Medals (2372 Cpl. R. H. Wills. West. & Cumb. Y.) nearly extremely fine (3) £120-£160 --- Robert Hayton Wills was born at Kirk Bampton, near Wigton, Cumberland, on 29 January 1893. Attesting at Penrith on 18 September 1914, Wills initially served as a Private with “C” Squadron of the 1/1st Westmoreland and Cumberland Territorial Force. Sent to France on 27 July 1915, he was advanced Corporal on 5 February 1916 and transferred to infantry via the newly created 7th Battalion (Westmoreland and Cumberland Yeomanry), Border Regiment, under Army Order 204/16, retaining cavalry rate of pay. On 10 October 1917, the Battalion left their dugouts at Canal Bank and marched across duck boards to Pilckem. The War Diary notes a major attack at 05.25 hrs on 12 October 1917, with Wills and his comrades encouraged to advance ‘as close to the barrage as possible.’ Advancing at a pace, the move proved fruitful with the men establishing positions to the north-east of Senegal Farm and taking over 130 German prisoners, but for Wills, it largely facilitated the end of his campaign and the removal to No. 24 General Hospital near Etaples for the removal of an eye. Returned to service briefly with the Labour Corps, he was discharged to pension on 21 February 1919 and awarded a 50% disability allowance. The 1939 Register records him in Workington as a furniceman steel worker, and also a special constable and member of the A.R.P. service.

A post-War ‘Civil Division’ M.B.E. group of eight awarded to Company Quartermaster Sergeant N. A. V. Romer, 7th (City of London) Battalion, London Regiment, later Higher Clerical Officer, Board of Customs and Excise The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type breast badge, silver, with Royal Mint case of issue; British War and Victory Medals (354782 Pte. N. A. V. Romer. 7-Lond. R.); Territorial Force War Medal 1914-19 (354782 Pte. N. A. V. Romer. 7-Lond. R.); Defence and War Medals 1939-45; Territorial Force Efficiency Medal, G.V.R. (6561043 Pte. N. A. V. Romer. 5-Lond. R.); Efficiency Medal, G.V.R., Territorial, with three Additional Award Bars (561043 Sjt. N. A. V. Romer. 5-C. of Lond. R.), mounted as worn and housed in a Royal British Legion leatherette pouch, contact marks, the Great War medals polished, nearly very fine and better (8) £600-£800 --- M.B.E. London Gazette 12 June 1958: Norman Albert Victor Romer, Esq., Higher Clerical Officer, Board of Customs and Excise. Norman Albert Victor Romer was born on 22 June 1897 and enlisted into the Inns of Court O.T.C. in 1913, being mobilised for war service in the 7th Battalion, London Regiment in August 1914. He served during the Great War on the Western Front from October 1917, and was demobilised and discharged on 1 August 1919. He re-enlisted into the Rifle Brigade (Territorial Force) on 6 May 1920, and was awarded his T.F.E.M. per Army Order 65 of February 1921. Remaining in the Territorials, he was appointed Regimental Quartermaster Sergeant on 22 February 1939, and re-enlisted for active service on 25 August 1939. In 1944 he was serving as Colour Sergeant Instructor at the Rifle Depot, (No. 15 P.T.C.) Winchester, and was released from service on 8 July 1945. His Commanding Officer, Lieutenant-Colonel Poole, of No. 15 P.T.C., described his conduct as ‘Exemplary’, and stated that he was ‘[a] very hardworking and conscientious man, who has done first class work in the unit. The best type of N.C.O. and recommended for a position of trust.’ Romer was awarded the Efficiency Medal, and received the first clasp per Army Order 84 of 31 May 1940.; the second clasp per Army Order 229 of 31 December 1942, and the third clasp, per Army Order 26 of 28 February 1947. Appointed to a clerical grade in the Civil Service with H.M. Customs and Excise in 1926, he was awarded the M.B.E. in the 1958 Birthday Honours’ List, being invested with his insignia at Buckingham Palace on 25 November 1958. He died in Essex on 28 November 1976. Sold with several postcard photographs in uniform as a Bugler; the recipient’s original Soldiers Service and Pay Book (Brown Book); Soldiers Release Book (1945); certificate of appointment as a Special Constable in May 1920; 10 Downing Street letter dated 8 May 1958, advising that he had been recommended to be appointed M.B.E.; two original newspaper pages containing confirmation of the award of the M.B.E.; two family group photographs with the recipient in uniform; and original correspondence from the Central Chancery of the Orders of Knighthood regarding the award of the M.B.E., and the Investiture at Buckingham Palace.

Three: Police Constable R. Bradbeer, Metropolitan Police Jubilee 1897, Metropolitan Police (P.C. R. Bradbeer. A. Divn.); Coronation 1902, Metropolitan Police, bronze (P.C. R. Bradbeer. A. Div.); Coronation 1911, Metropolitan Police (P.C., R. Bradbeer.) very fine Special Constabulary Long Service Medal, G.V.R., 1st issue, 1 clasp, The Great War 1914-18 (Inspr. Harry Yeoman) nearly extremely fine (4) £70-£90 --- Robert Bradbeer was born in Exmouth, Devon, on 19 October 1870. He joined the Metropolitan Police at New Scotland Yard on 19 August 1895, and appears to have spent his entire service assigned to “A” Division. He took retirement aged 50; his address for pension is noted as 6, The Grove, Vauxhall, London. Sold with copied research.

AUTHOR SIGNED: George CRUIKSHANK'S Table-Book, with 12 steel plates & 116 wood engravings, 1869, The title page Inscribed "to Thomas Barlow Esq. with the regards of George Cruikshank. March 23rd. 1876". Original publisher's cloth gilt, aeg. VG; De La Mare, Walter: Stuff and Nonsense and So On. Constable, 1927, #247/275. Signed Limited edn, cloth backed boards, spine little faded. (2)From the Paul Bentley collection of maps and atlases.

ILLUSTRATED: W. Heath-Robinson (ill): 1- Shakespeare’s A Midsummer-Night's dream. Constable, 1914, 1st. Edn. With Dust Jacket. 4to. 12 tipped-in colour plates plus 22 others. Tears to DW, otherwise VG; 2- A song of the English by R Kipling. 4to. With 15 plates. Original pictorial boards; spine darkened. PLUS: Loosely inserted 4pp "National Bands" a speech by Kipling; Edmund DULAC (ill): 1- Fairy Tales of the Allied Nations, nd (1916). 1st. Edn. 4to. With 15 tipped-in colour plates. Original pictorial boards & pictorial endpapers. Recased & restored; 2- Picture book for the French Red Cross. Nd (1915), 1st. Edn. 4to. All plates present. Original pictorial boards, recased with new endpapers; LYND WARD: 1- Wild Pilgrimage, A novel in Woodcuts. NY, 1932, 1st. Edn. 4to. DW (with tears), VG; 2- God's Man, A novel in Woodcuts. J Cape, 1930, 1st. Edn. Original pictorial boards; 3- Madman’s Drum, A novel in Woodcuts. J Cape, 1930, 1st. Edn. Original pictorial boards; Plus 2 others. (9)From the Paul Bentley collection of maps and atlases.

THE MAGIC HORSE, ALI BABA stories from the Arabian Nights, illustrated by Edmund Dulac, Hodder & Stoughton, London, 1911, with The Arabian Nights, illustrate by Rene Bull, Constable, London 1912

3 small framed oil paintings depicting snow scenes all signed - copper picture, framed print, DVD and book set 'The Best of Morecombe and Wise', 2 John Constable framed prints 'The Haywain' and 'Flatford Mill' also Indian wooden fish shaped carving set

Collection of prints includes Joy Brand Water meadows limited edition 15/200, The Silver Stream, John Constable Salisbury Cathedral, Paris Notre Dame and 2 Mike Knight prints

JOHN CONSTABLE - REEVES OIL ON BOARD - 19 X 24 CMS INNER FRAME

CIRCLE OF CHARLES ROBERT LESLIE (1794-1859) POSSIBLY A PORTRAIT OF CHARLES GOLDING CONSTABLE, Charles was the son of John Constable, unsigned, titled verso, pencil on paper, approximate size 20cm x 15cm, Condition Report: light foxing, dirty marks to the paper, glass missing from frame (Provenance: The Arnold Fellows Collection)

Carry On Constable (1960) British Quad film poster, signed by Leslie Phillips, Norman Hudis, folded, 30 x 40 inches.

English School (19th Century) in the manner of John Constable Figures on riverbank with buildings beyond oil on canvas, 102 x 170cm, framed 

Rackham (Arthur).- Grimm (Jakob Ludwig and Wilhelm Carl) Fairy Tales of the Brothers Grimm. A New Translation by Mrs Edgar Lucas, colour frontispiece, pictorial title and black and white illustrations, some full-page, by Arthur Rackham, ink ownership inscription to front endpaper, light spotting to fore-edge, spotting to final few text leaves and endpapers, original pictorial cloth, light bumping to spine ends and corners, spine a little toned, lightly rubbed, Constable & Co., [c.1907] § Stephens (James) Irish Fairy Tales, first trade edition, 16 colour plates and black and white illustrations by Arthur Rackham, captioned tissue guards, contemporary ink ownership inscription to front endpaper, some light marginal foxing to plates, endpapers lightly browned and with a few marks, lower hinge tender, original pictorial cloth, gilt, spine a touch faded, a couple small marks to lower cover, light rubbing to spine, a little heavier to corners, 1920; and others illustrated by the same, 8vo & 4to (8)⁂ Rackham's illustrations to Grimm's Fairy Tales were first published by Freemantle in 1900. The first mentioned was issued in same format, but after the sheets and binding were purchased by Constable. Rackham's contribution was expanded for the 1909 Constable edition, also included in this lot.

English School, 19th century - Oil on panel - Rural landscape with cottage, plaque 'J. Constable', 31.5cm x 38cm, gilt framed

A small lot of hunting interest books to include Lord Willoughby De Broke, 'The Sport of Our Ancestors', (2nd ed. 1925, Constable, London) & Hunting The Fox (1920 Constable 2nd Ed.); Cuthbert Bradley, Good Sport seen with some Famous Packs 1885 to 1910, first edition, (Routledge 1912); William C. A. Blew 'The Quorn Hunt and its Masters' (1899, Nimmo London); Daphne Moore, The Book of the Foxhound (1964, J.A.Allen); Sir W. Beach Thomas, Hunting England (B. T. Batsford 1936); Hunting Lore Shocks for Fox and Field by Crascredo & The Wag (1928 Country Life); Strawson, On Drag-Hunting; David Brock, To Hunt The Fox (Seeley, London)

FOXHUNTING: to include MEADS, Jim, 'They Still Meet at Eleven', signed and dedicated by the author, 1979, Standfast Press; OGILVIE, Will H. (illus. Lionel Edwards), 'Scattered Scarlet', Constable, 1923. A few marks here and there but generally sound; LIGERTWOOD, Kenneth, 'Huntsmen of Our Time', Pelham, 1968. Jacket taped down very neatly but otherwise a VG copy. With three others.

BOOKS, FOXHUNTING. A selection to include: LORD WILLOUGHBY DE BROKE, 'The Sport of Our Ancestors', Constable 1st, 1921; OGILVIE, Will H., 'Galloping Shoes' 3rd imp., Constable, 1924 (Lionel Edwards illus.); and 8 others.

DIXON, William Scarth: 'Hunting in the Olden Days', Constable. 1912. Quarter-morocco, green boards. Pencil signature. Sound condition throughout.

Royal Albert Paradise pattern part teaset, Broadhurst ironstone Constable Series dinner and tea service, six Royal Albert Rose Buds dinner plates and other Royal Albert dinner ware, some boxed (3)

A First World War period policeman's truncheon, marked 'Berks Special Constable', stud base stamped Hiatt & Co Ltd Birmingham, 38cm high

JAMES FERRIER PRYDE (BRITISH 1866-1941) THE HOUSE Oil on canvas Signed (lower left) 91 x 74cm (35¾ x 29 in.)Painted in 1917 for the Red Cross. Provenance: Private Collection, Jeremiah Colman Private Collection, William H. Miller Arthur Tooth & Sons, London Private Collection, The Lord Parmoor, Sutton Verney Private Collection, Viscount Bearsted, M.C. T.D Sotheby's, Gleneagles, 31 August 2005, lot 970, where purchased by Robert KimeExhibited: London, The Fine Art Society, Spring, 3 May - 3 June, 1988, no. 45 London, The Redfern Gallery, An Exhibition of Paintings and Drawings by James Pryde, 22 September - 26 October 1988, no. 4 Edinburgh, The Scottish National Gallery of Modern Art, James Pryde, 14 August - 11 October, 1992, no. 91, p. 106, pl. XXIII illus. Literature: Derek Hudson, James Pryde, Constable and Company Ltd., London, 1949, p. 97 This dramatic and imposing work was ultimately a result of the terrifying war years during which it was painted. 'The House' was completed in 1917, commissioned by the Red Cross. Flashes of red material are seen cascading down the facade of the house owing to the 'Red Cross' and possibly the representation of blood shed during the war years. James Pryde was born in Edinburgh in 1866. From a young age Pryde was influenced by the Glasgow School of painters looking towards artists such as James Guthrie for inspiration. After school Pryde went onto study Fine Art at the Royal Scottish Academy and felt deeply connected to Scotland throughout his life. It was his later works which were particularly influenced by Edinburgh in particular. It was the architecture, history and spirit of the city which fascinated him. Pryde became renowned for his architectural capriccios and depictions of ruins which weaved together elements of fantasy and reality to create whimsical compositions that challenged the concept of architectural representation. His compositions combined elements from different architectural styles, blending historical references and dreamlike interpretations, pushing the viewer to become immersed by the landscape and step inside the architectural form. Whilst pursuing his career as an artist Pryde worked as a part time actor. He became close friends with Sir Henry Irving and designer Edward Gordon Craig. In 1930, Pryde was commissioned to design the set of Paul Robeson's Othello. It is clear to see the mixture of influences in the present lot combining architecture, set design and sheer imagination. Condition Report: Not relined. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition commensurate with age. Condition Report Disclaimer

ERIC RAVILIOUS (BRITISH 1903-1942) NEW YEAR SNOW Watercolour and pencil Signed (lower left) 46 x 56cm (18 x 22 in.)Painted in 1938. The present work was painted in Capel-y-Ffin, Breconshire. Provenance: Private Collection, Sir Duncan Oppenheim Sale, Christie's, London, The Collection of the Late Sir Duncan Oppenheim, 6 June 2003, lot 91, sold by order of the executors, where purchased by Robert Kime Exhibited: London, Arthur Tooth & Sons, Recent Watercolours by Eric Ravilious, 11 May-3 June 1939, no. 1 (18 guineas) Sheffield, Graves Art Gallery, Eric Ravilious, An Exhibition of Watercolours, Wood Engravings, Illustrations, Designs, 1958, no. 94, lent by Mr & Mrs D. Oppenheim London, Arts Council of Great Britain, Eric Ravilious Memorial Exhibition, 1948-9, no. 1 Colchester, The Minories, Eric Ravilious, 1972, no. 22; and touring London, Imperial War Museum, Eric Ravilious Centenary Exhibition, 2003, illus. in exhibition catalogue Literature: Freda Constable, The England of Eric Ravilious, Scolar Press, London, 1982, pl. 21 Helen Binyon, Eric Ravilious, Memoir of an Artist, Lutterworth Press, London, 1983, p.105, illus. Anne Ullmann et al, Eric Ravilious: Landscape, Letters and Design, Fleece Press, 2008, ill. p. 437 Alan Powers, Eric Ravilious, Imagined Realities, Imperial War Museum, Philip Wilson Publishers, 2012, pl. no. 46 illus James Russell, Ravilious in Pictures, A Travelling Artist, Mainstone Press, 2012, p.4, illus. Susie Hodge, Eric Ravilious, Masterpieces of Art, Flame Tree Illustrated, 2015, p. 54 illus This atmospheric watercolour depicts a picturesque valley in the Welsh borders and at the same time shows us a master at work.Early in 1938 Ravilious travelled to Capel-y-Ffin, a hamlet in the Honddu valley not far from the ruins of Llanthony Priory. Having concentrated on illustration and design for a couple of years he was at last free to paint watercolours, and to take his time doing so. He had booked a room in the hamlet's solitary farmhouse for two months, and looked forward to exploring a landscape that was wilder than his native Sussex.Steeped as he was in the English watercolour tradition, Ravilious was well aware that JMW Turner, John Sell Cotman and other luminaries had painted the valley before him, although those earlier Romantic artists had tended to focus on the ruined abbey. A more recent visitor was artist-poet David Jones, who stayed with Eric Gill and his entourage in Capel-y-Ffin in the 1920s. Ravilious admired the strong modern line and delicate palette of Jones's watercolours, which present subjects similar to this but in a very different style (see Lot 56 David Jones 'Spirit in an Orchard'In New Year Snow Ravilious presents a recognisable view south-east along the valley, towards the distinctive buttress of Loxidge Tump. He was no topographer, however, and here he has redirected the course of the river so that it bends across the composition, roughly mirroring the curve of hills against the sky. Water, land and clouds are painted with remarkable economy, with only the lightest of washes across the hilltops. Mostly the watercolour has been applied in single strokes, whether taut and wiry or roughly scuffed with a dry brush. White paper showing through suggests here the texture of grassland dusted with snow and there the shimmer of moving water, while simultaneously conveying a feeling of light-heartedness and freedom.In place of the ruins sought out by Turner's generation, we have the kind of man-made object that delighted Ravilious: a sheep feeder on wheels set centre stage and at a precarious angle. This positioning and the clarity of the draughtsmanship lend a slightly dreamlike quality to the scene. In May 1939 Ravilious held his third exhibition of watercolours at the prestigious London gallery of Arthur Tooth and Son, the show that cemented his reputation. In The Observer, Jan Gordon praised Ravilious's extraordinary technique, which made the most mundane object 'appear as something magic, almost mystic, distilled out of the ordinary everyday.' Ravilious chose twenty-seven watercolours for the exhibition; in the catalogue New Year Snow is No. 1.James Russell Art Historian, Author and Curator Condition Report: Examined out of glazed frame. The sheet is laid down to the backboard. There is a small loss to the sheet at the centre of the right edge, not visible when framed. There is a very small spot of what appears to be paper stuck to the lower left of the feeder, visible in the catalogue illustration. There is some discolouration and acid-staining to the extreme edges and a few spots of dirt along the upper edge. Staining to the back board verso. Otherwise, there are no obvious condition issues or any evidence of restoration or repair. Condition Report Disclaimer

GEORGE MEREDITH; thirty-nine volumes of 'The Works of George Meredith', limited editions, numbered out of 1025 copies, published by Archibald Constable & Co, 1896, each bearing a bookplate for R. W. Lloyd (mountaineer) (39).

A VICTORIAN WELSH EBONY TIPSTAFF MID-19TH CENTURYthe gilt brass crown above a brass mount inscribed 'CONSTABLE 3 CARDIFF' 20.2cm longProvenance Purchased from Canterbury Auction Galleries, Fine Art & Antiques Sale, 8th December 2015, lot 535. The Adler Collection of Treen.

Militaria Medals: George VI Colonial Police Good Conduct Medal 2nd C.L. Police Constable 3934William Augustus Earle and a WWII 1939 - 45 War Medal (2)

After Constable, oil on canvas, Figure, sheep and dog before a cornfield, 41 x 30cm, and another painting, oil on canvas, of a woman and man by a tree, unframed. (2)

Small Destructors for Institutional and Trade Waste. By W. Francis Goodrich, Associate of the Institution of Mechanical Engineers, Associate of the Royal Institute of Public Health, etc. Author of "Refuse Disposal and Power Production". With 28 illustrations. Published by Archibald Constable and Co. London, 1904. 127 pages, 4 pages advertisements. Publisher's red boards, titled in gilt. Front affixed end paper bears the bookplate of "The York Railway Institute Library". Excellent copy with many illustrations and drawings 5¼" x 8¾" Now RARE. From single vendors book collection. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99. 30kg box UK £15, EU £40, ROW £60

Somewhere in England by Edric G. Roberts illustrated by Lionel Edwards, published Constable 1919; A Dozen Dogs or So, by Patrick R. Chalmers illustrated by Cecil Aldin, published Eyre & Spottiswoode 1928; Black Beauty by Anna Sewell, published Jarrold & Sons; Marshmallow by Clare Turlay Newberry. Estimate: £20-40

A collection of Broadhurst tableware, 'The Constable Series' , including teapot, bowls plates and jugs.

GB BBC TV & Bluebell Dolls(Southport) - 2 x 'The Herbs' Puppets with 1 x Box. Michael Bond was the series creator. Constable 'Knapweed' the Policeman and 'Bayleaf' the Gardener. Report - Both characters are dirty, but appear undamaged, box is also dusty and torn.**Character Notes**– Knapweed was constantly writing Herbs' names and nonsensical crimes in his notebook. Quite what purpose this served was never explained; Knapweed did not seem to have any superiors, or indeed anyone to report his investigations to. (He was perhaps inspired by Ernest the Policeman in the 1930s Toytown stories, whose ultimate sanction was to take a person's name and address in his notebook.).**Bayleaf the Gardener** – Always hard at work in Sir Basil and Lady Rosemary's garden, Bayleaf was often frustrated by problems started by or involving Parsley. He spoke with a West Country accent

2 Westmoreland County Council medals marked Sidney Todd etc. together with Special Constable medal faithful service marked Frank R Todd

Khayyam (Omar).Rubaiyat of Omar Khayyam, Illustrated by Ronald Balfour.Constable, 1920, numbered limited edition of 100, signed by the artist on the limitation page, quarto, thirty-eight mounted colour and monochrome plates, top edge gilt, other edges uncut, original gilt-lettered green cloth. Foxing to endpapers, exterior dust marked, spine faded and tanned.

Art Furniture & Porcelain Reference books - including Constable Clouds (Edward Morris), Thomas Churchyard 1798-1865 (Stephen Reiss), Hogarths China (Lars Tharp), Joshua Reynolds (Martin Postle), Houghton Revised, Early Georgian Interiors (John Cornforth), Early Georgian Portraits (John Kerslake), Porcelain For Palaces the Fashion for Japan in Europe (John Ayers), Grand Design (Elizabeth Cleland), Hardwick Hall (David Adshead & David Taylor), The Country Houses of Shropshire (Gareth Williams), The Pollaiuolo Brothers (Alison Wright), Gothic Art For England 1400-1547 (Richard Marks & Paul Williamson) (13)

Gray (Thomas) Elegy written in a country church-yard, with the original signed pencil drawing by Frank Howard for stanza XIII tipped-in, engraved illustrations after John Constable, Thomas & Charles Landseer, Frank Howard, and others, foxing, lightly browned, marbled endpapers, attractive contemporary terracotta panelled crushed morocco, richly gilt, covers with laurel wreath, floral and foliage centre-pieces within various sawtooth and filet borders with floral and foliage corners-pieces, spine in six compartments, five of which with floral and foliage decoration, and the other with brown morocco title label, a few small spots, little marked, slightly rubbed at extremities, g.e, 4to (binding 288 x 222mm.), John van Voorst, 1836.⁂ Provenance: Frederick George Mountford (engraved armorial bookplate to front pastedown).

A collection of art relating books, Jean-Clarence Lambert Cobra, Ella M Foshay Reflections Of Nature, Richard Ormond Sir Edwin Landseer, Sir John Rothenstein British Art since 1900, Jean Cassou Chagace, The Age of Diaghilev, Basil Taylor Constable paintings drawings and watercolours, L P Le Quesne, Nelson commemorated in glass pictures, Sylvia Groves The history of needlework tools and accessories, Patrick Conner The Hongs of Canton, William Secord A Breed Apart, William Secord Dog painting 1840-1940, Malcolm York and his circus Edward Bawden, A W Coysh The dictionary of Picture Postcards in Britain 1894-1939, (14)

Giovanni Battista Cimaroli,um 1687 – 1753DIE MÜNDUNG DES CANNAREGIO IN DEN CANAL GRANDEÖl auf Leinwand. Doubliert.134,5 x 125,7 cm.In vergoldetem plastisch ornamental verziertem Rahmen.Wir danken Herrn Dario Succi, Gorizia, für die Bestätigung der Zuschreibung.Darstellung des Cannaregio mit der Ponte delle Guglie. An der Stelle, an welcher der Cannaregio in den Canal Grande übergeht, steht die Kirche San Geremia. Eine erste Kirche wurde im 11. Jahrhundert von Mauro Tosello und seinem Sohn gegründet, welche einen Arm des Heiligen Bartholomäus darin aufbewahrten, den sie 1043 aus Apulien mitbrachten. Das Bauwerk, welches wir heute vom Canal Grande aussehen, ist jedoch jüngeren Datums, nämlich von 1753 – ein Entwurf von Carlo Corbellini. Und die Fassade, welche wir heute vom Cannaregio aussehen, wurde erst 1861 fertig gestellt. Also lange nachdem das hier angebotene Gemälde geschaffen wurde. Der Campanile hingegen ist eines der ältesten Gebäude in Venedig und ist ein Relikt des ursprünglichen Gebäudekomplexes aus dem 12. Jahrhundert, welcher auf unserem Gemälde zu sehen ist, wenngleich der achteckige Aufsatz unbedeutend jünger ist - jedenfalls ist auch dieser vor 1500 zu datieren.Provenienz:Sir Hugo Fitzherbert.Sir William Fitzherbert, Tissington Hall, Derbyshire.Sotheby‘s London, 8. Juli 1981, Lot 74 (als Canaletto).Literatur:W. G. Constable, Canaletto, Giovanni Antonio Canal, Oxford 1976, S. 314 - 315, Nr. 254.Vgl. W. G. Constable und J. G. Links, Canaletto. Giovanni Antonio Canal 1697-1798, Oxford 1989.Vgl. Vittorio Moschini (Hrsg.), Canaletto, Athenäum, Bonn 1955. Ausstellungen:London, Burlington, Fine Art Club, Venetian Paintings of the 18th Century, 1911, Nr. 49. (1370851) (13)Giovanni Battista Cimaroli, ca.1687 – 1753THE CONFLUENCE OF CANNAREGIO AND THE GRAND CANAL Oil on canvas. Relined.134.5 x 125.7 cm.We would like to thank Dario Succi, Gorizia, for confirming the attribution. Provenance: Sir Hugo Fitzherbert. Sir William Fitzherbert, Tissington Hall, Derbyshire. Sotheby’s London, 8 July 1981, lot 74 as Canaletto. Exhibitions: London, Burlington, Fine Art Club, Venetian Paintings of the 18th Century, 1911, no. 49.

Giovanni Antonio Canal, genannt „Canaletto“, 1697 Venedig – 1768 ebendaVENEDIGVEDUTE: BLICK VOM UFER DEGLI SCHIAVONI AUF DIE KIRCHE SAN GIORGIO MAGGIOREÖl auf Leinwand.40,6 x 64 cm.Beigegeben eine Expertise von Dario Succi, Gorizia.Das nicht allzu große Gemälde ist in betontem Breitformat gehalten, womit nahezu ein Panoramablick geboten wird. Von der Riva degli Schiavoni, auf der mehrere Figuren flanieren, führt der Blick über anliegende Lastschiffe und Gondeln hinweg auf die gegenüber liegende Seite des Kanals, mit der im Licht stehenden Fassade der San Giorgio Maggiore Kirche. Wie ein geschlossener Block stehen sämtliche Gebäude eng zusammen am Kanalausgang zur Lagune. Das Kirchendach wird von der großen Kuppel überragt, links steht der Campanile als weiterer Blickfang über der Insel, die dem Becken von San Marco vorgelagert ist. Der Stolz der Insel ist die Kirche, die von dem berühmten Andrea Palladio mit ihrer bedeutenden Fassade im Komplex des aus dem 10. Jahrhundert stammenden Benediktinerklosters ab 1565 neugestaltet wurde. Der Campanile, ein Werk des 18. Jahrhunderts, geht auf die Gestaltung des Campanile San Marco zurück, und war also zur Zeit des Malers eine neue Errungenschaft Venedigs.Giovanni Antonio Canal (1696-1768), der unter dem Namen Canaletto berühmt geworden ist, war der Sohn von Bernardo Canal, der aus der Bühnenmalerei hervorging. Doch wie der Vater, hatte sich auch Antonio sich unter dem Einfluss des Zeitgenossen aus Udine, Luca Carlevaris (1663-1730) der einträglicheren Vedutenmalerei zugewandt. Zusammen haben die beiden die Venezianische Vedutenmalerei eigentlich zum bedeutenden, eigenständigen und gefragten Sujet erhoben. Canaletto, in Europa längst bekannt, wurde am 11. September 1763 in die 1750 gegründete venezianische Akademie aufgenommen, und hatte dazu ein Beispiel seines Könnens eingereicht, das sich heute in der Galleria dell‘Accademia in Venedig befindet. Der englische Konsul Joseph Smith, einer der ersten Mäzene und Förderer des Malers, hat auch ein Stichwerk durch Antonio Visentini veranlasst, wodurch das europaweite Interesse an Venedigveduten beflügelt wurde. Die Werke des Antonio Canal sind zu unterscheiden von denen seines Neffen Bernardo Bellotto (1722-1780), der sich ebenfalls Canaletto nannte. Doch sind die Unterschiede in der Malweise deutlich. Die Bilder Antonio Canals sind heller, meist heiterer und lichtvoller als die von Bellotto. Dies zeigt sich auch in dem hier vorliegenden Werk. A.R.Literatur: Vgl. Dorothea Terpitz, Giovanni Antonio Canal, genannt Canaletto. 1697-1768, Köln 1998.William George Constable, Canaletto. Giovanni Antonio Canal 1697-1768, Oxford, 1962. Vgl. Dario Succi, Capricci Veneziani del Settecento, Ausstellungskatalog, Gorizia, 1988.Vgl. Jane Martineau and Andrew Robison (Hrsg.), The Glory of Venice: Art in the Eighteenth Century, Ausstellungskatalog, London/ Washington, D.C., 1994-1995.Vgl. Andreas Henning, Axel Börner, Andreas Dehmer (Hrsg.), Canaletto. Ansichten vom Canal Grande in Venedig. Kabinettausstellung anlässlich der Restaurierung zweier Gemälde von Giovanni Antonio Canal, genannt Canaletto (= Das restaurierte Meisterwerk, Bd. 5), Dresden 2008.Vgl. Egon Grund, Canalettos Veduten als Wirklichkeitskonstruktion unter besonderer Berücksichtigung der Frage: Benutzung der Camera obscura? Dissertation, Univ. Göttingen 2008. (1370319) (11) (†)Giovanni Antonio Canal, also known as "Canaletto",1697 Venice – 1768 ibid.VEDUTA OF VENICE: VIEW OF THE RIVA DEGLI SCHIAVONI WATERFRONT TO THE CHURCH OF SAN GIORGIO MAGGIORE Oil on canvas. 40.6 x 64 cm.Accompanied by an expert’s report by Dario Succi, Gorizia.

Bernardo Canal, 1674 Venedig – 1744 ebendaVENEDIG - ANSICHT DER PONTE DEI TRE ARCHI (DREIBOGEN-BRÜCKE)Öl auf Leinwand.73,5 x 112,5 cm.Gerahmt.Bernardo Canal entstammte einer seit um 1500 alteingesessenen Familie. Er war der Vater des Giovanni Antonio Canal (1697-1768), der als zweiter Sohn mit dem Namen „Canaletto“ berühmt geworden ist. Wie viele seiner Malerkollegen widmete auch er sich der venezianischen Bühnen- und Theatermalerei, vor allem aber den Veduten der Lagunenstadt. Der Einfluss seines fast gleichaltrigen Zeitgenossen Luca Carlevaris (1663/65-1729/31) war nicht nur für ihn, sondern auch für weitere Vedutisten Venedigs von Bedeutung. 1717 wird er erstmals in der Liste der venezianischen Maler erwähnt und etwas später, 1739, erhielt er den Titel des „Priors“ der Gilde „Collegio dei Pittari“. Abgesehen von seiner Vedutenmalerei machte er sich auch einen Namen im Bereich des Bühnenbildes. So ist sein Wirken für die berühmten venezianischen Theater und Opern wie dem Teatro San Angelo und dem Teatro San Cassiano dokumentiert, darunter für Aufführungen von Vivaldi, Pollarolo oder Orlandini, Musiker von Weltruhm. Neben diesen untergegangenen Bühnenbildern sind uns jedoch seine Venedig-Ansichten erhalten geblieben, in denen deutlich der Sinn für theatralische Lichteffekte zu erkennen ist, was den Bildern Lebendigkeit vermittelt.Bernardo und sein Sohn „Canaletto“ arbeiteten in demselben Atelier zusammen. Hier wirkten anfänglich auch die weiteren Mitglieder der Malerfamilie, wie Bernardo Bellotto (1721-1780) und Pietro Bellotto (1725-1800). In der Vedute hat Bernardo Canal die Ponte dei Tre Archi markant und dominierend ins Bild gesetzt. Es ist die einzige Dreibogenbrücke der Stadt, deren Gestaltung an eine weit frühere Holzbrücke erinnern sollte. Die drei Bögen beherrschen den gesamten unteren Bereich des Gemäldes, für das der Maler dementsprechend auch ein betontes Breitformat gewählt hat. Die im Schatten liegende Brücke überspannt den Cannaregio Kanal und verbindet den Bezirk Fondamenta Cannaregio mit dem Fondamenta San Giobbe. Sie wurde anstelle einer früheren Steinbrücke 1688 von dem Architekten Andrea Tirali überwiegend in Klinker aufgeführt. Der im hellen Licht stehende Palazzo mit seiner Bogen-Fensterreihe schräg dahinter, ist nicht mehr erhalten, er wurde bereits zwischen 1789 und 1805 abgebrochen. Es ist der Palazzo Balbi-Valier Sammartini, dessen Fassade hier als eine theatralische, äußerst bildwirksame Überhöhung erscheint. Eine wenig später entstandene Vedute des Sohnes Canaletto zeigt an dieser Stelle schon eine andere Bebauung, weit weniger repräsentativ. Belebt wird die Architekturlandschaft durch Staffagefiguren auf der Brücke sowie in Gruppen an den Ufern, in der zeitgemäßen Kleidung des 18. Jahrhunderts, vor allem aber auch durch die drei Gondeln unter dem mittleren Brückenbogen. Eine der Gondeln zeigt einen Kajütenaufbau, darin Figuren, daneben ein höfisch gekleideter Herr, dessen Gondel neben Gepäck auch einen Vogelkäfig transportiert. Ein Stich von Domenico Lovisa, 1717 in seinem „Il Gran Teatro di Venezia“, veröffentlicht, zeigt variierende Kompositionen dieser Ansicht. A.R.Anmerkung:Von der hier vorliegenden Version ist mindestens ein weiteres Gemälde bekannt geworden (Kunsthandel Rom, 1955, welches Dario Succi in die Jahre 1738/40 datiert), jedoch wie gewöhnlich mit einigen Detailunterschieden. Eine weitere Version nahezu in gleicher Größe und mit rauchendem Kamin links oben wurde 2011 in bei Porro & C. in Mailand als Bernardo Canal, dann bei Bonhams in London als zugeschrieben versteigert. Literatur:Vgl. Rodolfo Pallucchini, La pittura nel Veneto, II Settecento, Mailand 1996.Vgl. Filippo Pedrocco, Visions of Venice: Paintings of the 18th Century, New York 2002.Annalia Delneri (Hrsg.), Da Canaletto a Zuccarelli: il paesaggio veneto del Settecento, Udine 2003. Vgl. William George Constable, Canaletto. Giovanni Antonio Canal 1697-1768, Oxford 1989. (1370315) (11) (†)Bernardo Canal,1674 Venice – 1744 ibidVENICE - VIEW OF THE PONTE DEI TRE ARCHI (THREE ARCHES BRIDGE) Oil on canvas.73.5 x 112.5 cm.Framed.At least one other painting of the present version is known (Art Trade Rome, 1955, dated by D. Succi to 1738/40), but as is usual with several differences in the details. Another version of almost the same dimensions was sold at auction in 2011 in Milan (Porro & C.) as “Bernardo Canal“, then in London (Bonhams) as “attributed“ (there with a smoking chimney in the top left).Literature:cf. Rodolfo Pallucchini, La Pittura nel Veneto, II Settecento, 1996.Filippo Pedrocco, Visions of Venice: Paintings of the 18th Century, New York 2002.cf. Annalia Delneri, Da Canaletto a Zuccarelli: il paesaggio veneto del Settecento, 2003, Provincia di Udine, Assessorato alla Cultura. cf. W. G. Constable, Canaletto. Giovanni Antonio Canal 1697 - 1768, Oxford 1989.

Francesco Tironi, um 1745 Venedig – 1797 BolognaDER BACINO DI SAN MARCO MIT SAN GIORGIO MAGGIORE UND DER PUNTA DELLA DOGANAÖl auf Leinwand. Doubliert.66,5 x 84,5 cm.In Louis XV-Stil-Rahmen.Beigegeben ein Gutachten von Dr. Federica Spadotto, Padua, 27. Juni 2022, in Kopie.Unter hohem blauen Himmel mit einigen hellen Lichtstreifen am Horizont der ruhig verlaufende große Kanal, von der Sonne beschienen. Linksseitig am Ufer stehend eine Reihe von Palastgebäuden, während auf der rechten Seite die Insel San Giorgio Maggiore mit der gleichnamigen Kuppelkirche San Giorgio mit der Renaissance-Fassade und dem großen dahinterliegenden hohen Campanile zu erkennen ist. Auf dem Wasser selbst einige Boote, darunter besonders auffallend im Vordergrund eine mit zwei elegant gekleideten Damen besetzte Gondel, die zum Anlegen auf das linke Ufer zusteuert.Der Maler war nahezu vergessen, bevor ihn Hermann Voss 1927/28 mit seinem Werk über die Veduten Venedigs wieder bekannt gemacht hat. Über die Biografie des Malers ist nicht viel bekannt, er stammte wohl aus einer Familie aus Friaul. Neben Gesamtansichten und Stadtveduten allgemein berühmter Plätze findet sich im Werk Tironis nicht selten die Erfassung intimerer Stadtteile oder einzelner Bauten, wobei die beige-braune Farbgebung meist typisch für seine Werke ist.Literatur:Vgl. William George Constable, Canaletto, Giovanni Antonio Canal 1697 - 1768, Oxford 1962. Vgl. Antonio Morassi, Guardi, I dipinti, Mailand 1993.Vgl. Federica Spadotto, Io sono ‚700. L‘anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018.Vgl. Maria Stefani Mantovanelli, Francesco Tironi, in: Arte Veneta, 1969, Nr. 24, S. 253-254. (1370953) (13)Francesco Tironi,ca. 1745 Venice – 1797 BolognaTHE BACINO DI SAN MARCO WITH SAN GIORGIO MAGGIORE AND the PUNTA DELLA DOGANA Oil on canvas. Relined.66.5 x 84.5 cm.Accompanied by an expert’s report by Dr Federica Spadotto, Padua, 27 June 2022, in copy.