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Click here to subscribeGreat Exhibition. The Art Journal Illustrated Catalogue. The Industry of All Nations, 1851, wood engraved title and numerous illustrations throughout, occasional scattered spotting mostly to first few leaves, contemporary dark green half morocco, gilt decorated spine, extremities rubbed, 4to (Qty: 1)
Book Of Common Prayer . And Administration of the Sacraments, and other Rites and Ceremonies of the Church, according to the use of The Church of England:..., 1762, printed by Joseph Bentham, later endpapers, minor repair to foot of the title page, slight marks & toning, contemporary full calf, boards & spine heavily rubbed, folio, together with Doré (Gustave) , The Doré Gallery, 10 volumes (bound in 7), circa 1890, 250 black & white engravings, modern endpapers, slightly marked, uniform modern green quarter calf, folio, and other 19th century literature & art reference, including The Holy Bible;..., 6 volumes, by Thomas Scott, 1861, mostly leather bindings, 8vo/folio. (Qty: 26)
Antiquarian Books - Charles Dickens, various novels, Chapman and Hall, London 1890 and onwards, contemporary black quarter-calf and cloth (worn, rubbed, some losses), 4to, (11); The Novels of Victor Hugo, 1903, various, illustrated with etched frontispieces, red cloth, 8vo, (26); Moore's Irish Melodies, rebacked green calf; 19th century juvenile books for boys, original cloth bindings, various; 19th century and later art and antiques collector's reference works, various; etc (4 boxes)
Enguerrand De Monstrelet - The Chronicles of Enguerrand De Monstrelet; Containing an Account of the Cruel Civil Wars Between the Houses of Orleans and Burgundy, translated by Johnes, Thomas Esq., 4 vols (of 5), qto, contemporary full calf, lacking volume of plates, At the Hafod Press, by James Henderson, 1809 and a collection of reference books on art and artists
* SUSAN BROWN (BRITISH), COLOURS OF VENICE II watercolour on paper, signed 50cm x 50cm Framed and under glass. Note: Susan Brown is the recipient of many art prizes and awards for her contemporary paintings these include: The Laing Art Competition; Hunting Art Prize, Regional Winner; Penrose Purchase Prize 2005 and the Singer & Friedlander Sunday Times Watercolour Competition 2001 where she was a finalist. She works predominantly using watercolour and acrylic. Much of Susan's work features European cities. She has focused on man-made structure and city life and man's relationship with his environment. These architectural studies explore the rhythm and movement within buildings and interiors. Susan Brown paintings appear in many notable private and public contemporary art collections. These include: Allied Domecq, Halifax PLC, The Royal Bank of Canada, Jarvis Construction UK, The National Trust, The Sir George Martin Trust, Natwest PLC, Ove Arup & Partners, Provident Financial, Woodmansterne Publications, The Universities of York and Sheffield, Yorkshire Water PLC. In 2019 she has solos shows at the Walker Galleries Harrogate and The Red Rag Gallery, Cotswolds and in 2017 a 100 page book "Susan Brown, Venice Paintings" was published.
* JANET KENYON (BRITISH b 1959), NELSON'S COLUMN (LONDON) watercolour on paper, signed 51cm x 71cm Mounted, framed and under glass. Note: Janet Kenyon is the multi-award winning watercolour artist who has gained an enviable reputation for her innovative use of watercolour and is now widely recognised as one of the UK’s leading watercolour artists. Over the course of her career, Janet has received an impressive number of accolades, including winner of the Sunday Times/Smith & Williamson Cityscape Prize twice , first in 2009 for her painting titled: Northern lights, Blackpool and most recently in 2016 for her painting titled: Gridlock (Manhattan) The Sunday Times Watercolour Competition is the largest and most prestigious showcase of contemporary watercolour painting in the UK. Born and brought up in Bolton, Lancashire in 1959. In 1975 she studied for two years at Bolton College of Art & Design. In 1977 she moved away from Bolton to study at Leeds Polytechnic and later gained a B.A. Hons. in Graphic Design. It was here she began to experiment in watercolour and ever since as continued to push the boundaries of this very difficult medium. For Janet it’s the capturing of natural & artificial light, in her paintings, and the way it interacts with the landscape, alongside the unexpected perspective and sense of space, that ignites her imagination. Janet’s highly individual and distinctive landscapes have been exhibited in many leading galleries including the Mall Galleries, London, The Royal Scottish Academy, Edinburgh and The Lowry Gallery, Salford and can also be found in corporate and private collections throughout the UK and abroad.
Modern Practical Farriery: A Complete System of the Veterinary Art, by W. J. Miles, London: William Mackenzie, [c.1880], contemporary half crushed morocco. Together with Farriery Improv'd: A Compleat Treatise upon the Art of Farriery, by Henry Bracken, second edition, London: J. Clarke, 1739, board detached as found (2)
λAnthony Abrahams (British, 1926-2019) Balancing Bronze, signed and numbered edition 1 of 9 65cms high, 54cms wide, 22cms deep On view at: The Sculpture Park Anthony Abrahams read English Literature at Pembroke College, Cambridge, and subsequently studied painting at the Anglo French Art Centre, London. Abrahams then pursued a career in advertising until, in 1991, he turned to sculpture. Abrahams’ carefully poised, enigmatic figures follow a tradition in British sculpture that began in the 1950’s with sculptors such as Armitage, Butler, Chadwick, Frink and Meadows. The exaggeration of some features and the repression of others, unified by formal and textural qualities, give his sculpture a personal and expressive quality as if Prehistoric fertility symbols had been reborn in the contemporary world. His emblematic figures, caught in playful postures, remind us of ourselves and of those familiar to us. His last major public work, Ozymandias, King of Kings, can be seen at King's Place, London λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Hairdressing.- Stewart (James) Plocacosmos: or The Whole Art of Hair Dressing..., first edition, lacking half-title, with engraved frontispiece printed in sanguine and 10 engraved plates, light foxing or browning, contemporary half morocco, g.e., slightly rubbed, rebacked preserving old spine (faded), corners repaired, 8vo, for the Author, 1782.⁂ Scarce work on all aspects of hair and hairdressing including growth & care and the effects of diet & lifestyle, tools, false hair, head dresses and cosmetics; the plates depict the extravagant hairstyles of the time. ESTC lists 5 locations in the UK: Birmingham Central Libraries, BL (2 copies), Edinburgh University, Bodleian, and Wellcome Institute.
Conjuring.- Hocus Pocus, or the Art of Conjuration..., half-title, ?lacking engraved plate, contemporary ink signature to title, half-title, title & final leaf slightly short at fore-edge, small portion torn away from fore-margin of D12, final leaf torn and repaired, modern blue crushed morocco, slight spotting and worming, spine faded, 12mo, W.Lane, 1795.⁂ Unrecorded edition. ESTC does not list this title at all and we have been able to find only 2 copies of the work on WorldCat (University of Alberta & University of California), both 1792 edition and calling for an engraved plate.
Trees & gardens.- The Country-mans recreation, or the art of planting, graffing, and gardening, in three bookes. The first declaring divers wayes of planting, and graffing ... also how to cleanse your grafts and cions, how to helpe barren and sicke trees, how to kill wormes and vermin and to preserve and keepe fruit, how to plant and proyne your vines, and to gather and presse your grape ... how to make your cider and perry ... The second treateth of the hop-garden, 3 parts in 1, woodcut illustrations including a series of knots and mazes at the end, some fraying, particularly at start and end, just touching woodcuts at end, some staining, lightly browned, loose in contemporary sheep, worn, [Fussell pp.37-38; Henrey 47; Hunt 233; STC 5874], small 4to, Printed by B. Allsop and T. Fawcet for Michael Young, 1640.⁂ Book 1 is an anonymous reprint of Mascall's A Booke of the Art and Maner, howe to plante and graffe all sortes of trees; book 2 is likewise an anonymous reprint of Reginald Scot's A perfite platforme of a hoppe garden; and book 3 is a reissue of The Expert Gardener (STC 11562).
Scotland.- [Leveson-Gower (Elizabeth, Marchioness of Stafford, later Duchess of Sutherland)] Views in Orkney and on the North-Eastern Coast of Scotland, [one of 120 copies for presentation to friends], this copy with slip inscribed "Sir George Beaumont Bart. with Ly Stafford's compts." tipped to front free endpaper (?part of original wrapper), half-title, etched title with vignette map, 12 vignettes and 31 plates on 28 sheets, mostly views, half-title and title foxed, some other spotting, mostly marginal or to tissue guards, handsome contemporary straight-grain turquoise morocco with border of gilt rules and ornaments, spine gilt in compartments with ornaments and five double raised bands, turn-ins with gilt rules & corner-pieces and dentelles in blind, g.e., a little rubbed and spotted, endpapers slightly damp-stained, folio, [privately printed], 1807.⁂ Sir George Beaumont (1753-1827) was an art collector, patron and amateur painter. He was a founding member of the British Institution and had strong and influential views on contemporary artists, favouring Constable but harshly critical of Turner. He was instrumental in the establishment of the National Gallery in 1824 by promising to donate 16 of his Old Master paintings, on condition that the government purchase the collection of the recently-deceased John Julius Angerstein for the nation. His paintings formed the first bequest the following year. The author's husband, the Marquess of Stafford, was also a significant art collector, having inherited a fine collection from his uncle which he greatly expanded, helped by being fabulously wealthy.
Twenty One Books or Catalogues on Japanese Mingei, Studio or Contemporary Ceramics, including; 'Folk Arts and Crafts of Japan' by Kageo Muraoka and Kichiemon Okamura; 'The Art of Bernard Leach' Edited by Carol Hogben; 'Beyond East and West' by Bernard Leach; 'The Retrospective Exhibition of Shoji Hamada/The National Museum of Modern Art, Tokyo/1977'; Christie's Studio Pottery catalogue 15.11.2000; Chris Carter catalogue/2008; 'Pioneer Studio Pottery/The Milner White Collection' by Sarah Riddick; 'Studio Porcelain' by Peter Lane/Foreword by David Leach; 'The Potter's Directory of Shape & Form' by Neal French; 'Ceramics of the Twentieth Century' by Tamara Preaud/Serge Gauthier; Bonhams Contemporary Ceramics Catalogue/19th July; 'Pottery, A complete step-by-step guide' by Geraldine Christy and Sara Pearch; 'Concept and Form'/Bernard Leach Exhibition Catalogue curated by Emmanuel Cooper; 'The New Ceramics/Trends and Traditions' by Peter Dormer; 'Michael Cardew/A collection of essays with an introduction' by Bernard Leach; together with eight Bonhams Contemporary Ceramics Catalogues, and a quantity of Japanese text ceramic books (lot). Please note that this is a group lot where condition may vary; some areas of deterioration, wear and/or soiling extant.. Please note that this is a group lot where condition may vary; some areas of deterioration, wear and/or soiling extant.
Spanish lexicon.- Luna (Juan de) A Short and Compendious Art for to Learne to Reade, Write, Pronounce and Speake the Spanish Tongue, first edition in English, text in Spanish and English on facing pages, additional title-page in Spanish ('Arte breve, y conpendiossa para aprender a leer, escrivir, pronunciar y hablar la lengua Espanola'), small woodcut device to titles, woodcut initials and head-pieces, closely shaved at head, occasionally touching headlines, D3 with neatly repaired tear at foot, portion torn from margin of H3, touching text, contemporary limp vellum, head of spine repaired, preserved in custom drop-back box, [STC 16925], 8vo, by William Jones, 1623.⁂ Rare. The author was a Spanish-born protestant who spent much of his early career teaching Spanish in France. Luna moved to England in 1621, likely fleeing persecution of Protestants following to failed Huguenot rebellion of 1620. This edition is in fact the third edition overall, following a solely Spanish-language printing in 1615 and a French-Spanish version in 1616.
Archey.- [Markham (Gervase)] The Art of Archerie. Shewing how it is most necessary in these times for this Kingdome, both in Peace and War, and how it may be done without charge to the Country, trouble to the People, or any hinderance to necessary Occasions. Also, of the Discipline, the Postures, and whatsoever else is necessarie for the attayning to the Art, first edition, woodcut frontispiece, initials and head-pieces, closely trimmed, occasionally affecting headlines and catchwords, occasional soiling, lacking front free endpaper, ink ownership inscription to head of A1 recto, contemporary mottled calf, gilt, sympathetically rebacked, retaining original backstrip, [Schwerdt II, p.10; STC 17333], small 8vo, by B[ernard] A[lsop] and T[homas] F[awcett] for Ben: Fisher, and are to be sold at his shop, at the signe of the Talbot without Aldersgate, 1634.⁂ Rare, we can trace only 2 copies at auction in the last 70 years, including this one in 1979. "First edition of a book on archery, which, although it does not actually include the chase, describes fully how the bow and arrow was used in early times for all purposes." - Schwerdt. Provenance: D.G. Int. Temp. Soc. (ink inscription).
B[ulwer] (J[ohn]) Philocophus: or, The deafe and dumbe mans friend. Exhibiting the philosophicall verity of that subtile art, which may inable one with an observant eie, to heare what any man speaks by the moving of his lips. Upon the same ground, with the advantage of an historicall exemplification, apparently proving, that a man borne deafe and dumbe, may be taught to heare the sound of words with his eie, & thence learne to speake with his tongue, engraved frontispiece, with initial 'A Reflection of the Sence and minds of the Frontispiece' f. (not recorded in ESTC), [Wellcome II, p. 270; Wing B5469], for Humphrey Moseley, and are to be sold at his shop in Pauls Church-yard, 1648 bound with Pathomyotomia or a Dissection of the significative Muscles of the Affections of the Minde, [Norman, his sale, lot 340; Wellcome II, p. 270; Wing B5468], by W.W. for Humphrey Moseley, and are to sold at his shop at the Princes Armes in St. Pauls Church-yard, 1649, together 2 works in 1 vol., first (and only) editions, woodcut initials and decorations, occasional light spotting or browning, contemporary calf, neatly and sympathetically rebacked, retaining much of original backstrip,12mo.⁂ The M. C. Lefferts - Beverly Chew copy of two rare treatise by Bulwer.Provenance: M. C. Lefferts; Beverly Chew; Frederick Spiegelberg (bookplates).
Husbandry.- B[lagrave] (J[oseph]) The Epitome of the Art of Husbandry, first edition, engraved additional title, printed title within double-ruled woodcut border, woodcut head-pieces, 3 advertisement ff. at end, spotting and browning, contemporary sheep, rebacked, [Fussell pp.76-7; Wing B3115], 8vo, for Ben. Billingsley and Obadiah Blagrave, 1669.⁂ Rare, ESTC lists 5 copies only of this edition (2 in the UK) and the last copy we can trace at auction was in 1966. This copy with an additional three leaves of advertisement not called for in ESTC. Includes material on saffron, hops, liquorice, song birds and fruit trees.
Machiavelli (Niccolò) The Works, [translated by Henry Neville], first edition in English, general and divisional titles, 3ff. advertisements, titles within ruled woodcut borders, woodcut devices to titles, general title foxed, occasional light browning, the odd spot, bookplate to general title verso, contemporary speckled calf spine gilt in compartments, lacking spine label, corners bumped, [Wing M128] folio, for J. S., to be sold by Robert Boulter at the Turks-head in Cornhil, against the Royal Exchange, 1675.⁂ A very good copy of Machiavelli's collected works, comprising The History of Florence, The Prince, The Discourses and The Art of War.Provenance: Algernon Capell, 2nd Earl of Essex (1670-1710, nobleman, soldier and courtier (armorial bookplate))
Metallurgy.- Pettus (Sir John) Fleta Minor. The Laws of Art and Nature, in Knowing, Judging, Assaying, Fining, Refining, and Inlarging the Bodies Confin'd Metals, 2 parts in 1 vol., first edition, engraved portrait frontispiece, numerous engraved illustrations, woodcut initials, occasional light spotting or finger-soiling, but a very good copy generally, contemporary calf, sympathetically rebacked, rubbed, [ESTC R5570; Wellcome II 527], folio, for the author, by Thomas Dawks, his Majesty's British printer, at the West-end of Thames-street, 1683.⁂ The first part comprising the first edition in English of Lazarus Ercker's 1574 treatise on ores. The second part is a dictionary of metallurgical terms by Pettus.
* SUSAN BROWN (BRITISH), COLOURS OF VENICE II watercolour on paper, signed 50cm x 50cm Framed and under glass. Note: Susan Brown is the recipient of many art prizes and awards for her contemporary paintings these include: The Laing Art Competition; Hunting Art Prize, Regional Winner; Penrose Purchase Prize 2005 and the Singer & Friedlander Sunday Times Watercolour Competition 2001 where she was a finalist. She works predominantly using watercolour and acrylic. Much of Susan's work features European cities. She has focused on man-made structure and city life and man's relationship with his environment. These architectural studies explore the rhythm and movement within buildings and interiors. Susan Brown paintings appear in many notable private and public contemporary art collections. These include: Allied Domecq, Halifax PLC, The Royal Bank of Canada, Jarvis Construction UK, The National Trust, The Sir George Martin Trust, Natwest PLC, Ove Arup & Partners, Provident Financial, Woodmansterne Publications, The Universities of York and Sheffield, Yorkshire Water PLC. In 2019 she has solos shows at the Walker Galleries Harrogate and The Red Rag Gallery, Cotswolds and in 2017 a 100 page book "Susan Brown, Venice Paintings" was published.
* TIM DOLBY (BRITISH b 1954), BURNISHED Verre Églomisé, signed 60cm x 90cm Framed. Note: The term Verre Églomisé is derived from the French for glass (verre) and Glomy (églomisé) from Jean-Baptise Glomy an 18th Century Parisian art dealer who re-popularised the technique. It is a very old technique first used in pre Roman times but became popular again in the 15th Century and has been used in many art and craft forms with a resurgence of interest taking place now. Essentially it involves a mix of applying Gold leaf, painting and engraving onto the back of glass. This requires the Artist to be able to build up the image in reverse to what is the norm when painting on the front side. That is to say, the top layer goes on first and subsequent layers are applied until finally you apply the background layer. Gold leaf is applied using a substance called Isinglass to create a firm bond between leaf and glass. It comes from the swim bladders of fish and creates an invisible bond leaving the leaf with a mirror like surface on the glass. When combined with enamel paint the result are paintings which are highly dynamic as they catch the light and reflect differently as you move around the room. Over the years, Tim Dolby has developed a mastery of the technique in a unique contemporary style.
* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b 1944), HOME FOR TEA mixed media on panel, signed 45cm x 50cm Mounted, framed and under glass. Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings, Singapore and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.
* JANET KENYON (BRITISH b 1959), NELSON'S COLUMN (LONDON) watercolour on paper, signed 51cm x 71cm Mounted, framed and under glass. Note: Janet Kenyon is the multi-award winning watercolour artist who has gained an enviable reputation for her innovative use of watercolour and is now widely recognised as one of the UK’s leading watercolour artists. Over the course of her career, Janet has received an impressive number of accolades, including winner of the Sunday Times/Smith & Williamson Cityscape Prize twice , first in 2009 for her painting titled: Northern lights, Blackpool and most recently in 2016 for her painting titled: Gridlock (Manhattan) The Sunday Times Watercolour Competition is the largest and most prestigious showcase of contemporary watercolour painting in the UK. Born and brought up in Bolton, Lancashire in 1959. In 1975 she studied for two years at Bolton College of Art & Design. In 1977 she moved away from Bolton to study at Leeds Polytechnic and later gained a B.A. Hons. in Graphic Design. It was here she began to experiment in watercolour and ever since as continued to push the boundaries of this very difficult medium. For Janet it’s the capturing of natural & artificial light, in her paintings, and the way it interacts with the landscape, alongside the unexpected perspective and sense of space, that ignites her imagination. Janet’s highly individual and distinctive landscapes have been exhibited in many leading galleries including the Mall Galleries, London, The Royal Scottish Academy, Edinburgh and The Lowry Gallery, Salford and can also be found in corporate and private collections throughout the UK and abroad.
Andrews (H.C.) A Catalogue (Raisonné) of the Original and select Pictures, now exposed to the Public, at the London Gallery, 22 Piccadilly...the sole Property of H.C.Andrews...now offered to the Public for sale..., only edition, 16 engraved plates, some foxing, contemporary half calf, rubbed, 8vo, printed by B.R.Howlett, 1813.⁂ Scarce catalogue of Old Master paintings. The title describes the collection, "tending to illustrate, by examples, the rise, progress, decadence, and subsequent revival of the Art...collected..in the course of the last 18 years; many when last on the Continent...The only authentic specimen of the Works of Leonardo da Vinci, is in this Collection". The latter depicts Francis I of France as John the Baptist, the price quoted is £10,000.COPAC records only one printed copy (British Library); WorldCat lists that and 3 others (Rubenianum, Antwerp; Bib. Nat., Paris; Metropolitan Museum, NY).
Taylor (George Watson) [Sale Catalogue] Catalogue of the Choice, Curious, and Splendid London Library...removed from his Mansion in Cavendish Square, 2 parts in 1 vol., advertisement leaf at end, prices and some buyers' names supplied in manuscript, contemporary ink signature of Francis ?Tuckett on front free endpaper and with 20pp. manuscript notes bound in at end (mostly relating to Dibdin), title spotted, Part 1 lacking pp. 43-46, original boards, uncut, rubbed, Evans, 1823; [Sale Catalogue] Catalogue of the Magnificent Assemblage of Property at Erlestoke Mansion near Devizes, in Wilts., lithographed frontispiece of Erlestoke Park (foxed at edges and with light offsetting from title), some prices in manuscript, contemporary half calf, a little worn, upper cover becoming loose, label chipped, [Lugt 13046], George Robins, 1832, 8vo & 4to (2)⁂ George Watson Taylor (1771-1841) was an English sugar plantation owner and politician who used his wife's fortune to assemble a significant library and art collection. His library included incunabula on vellum, Caxtons, and Dibdin's works on large paper made nearly £9000. By 1832 he was in financial difficulties and was forced to sell his collection at Erlestone Park, raising £30,000. He is depicted kneeling in the painting by P.A.Wonder of Patrons and Lovers of Art of 1826, for General Murray, along with Murray, Rev. William Holwell Carr and the artist, which was used on the dust-jacket of the first edition of The English as Collectors.
[Waldie (John)] A Catalogue of Pictures, Statues...Books...at Hendersyde Park, second edition, tinted lithographed frontispiece (foxed), contemporary half calf, privately printed, Kelso, 1825 § Britton (John) An Historical Account of Corsham House..., engraved frontispiece, foxing, C2 & 3 defective at upper outer corner with loss of some text, contemporary roan-backed boards, for the Author, 1819 § Mason (W.H.) Goodwood: its House, Park and Grounds with a Catalogue Raisonné of the Pictures, engraved plates, original cloth, rebacked, 1839 § Scharf (George) Catalogue Raisonné; or, a List of the Pictures in Blenheim Palace, presentation copy from the author to the Countess of Darnley and from her to Lady Pelham, frontispiece (loose), plate of artists' signatures at end, contemporary half morocco, 1862 § Robinson (J.C.) Catalogue of the Various Works of Art forming the Collection of Matthew Uzielli, plates, foxing, original cloth, 1860 § Liverpool (Earl of) Catalogue of the Portraits, &c. at Holker Hall, Lancashire, plates, original cloth faded, Manchester, 1906, rubbed, 4to & 8vo (6)
Collecting.- Smith (John) A Catalogue Raisonné of the Works of the most eminent Dutch, Flemish, and French Painters, 9 vol. including supplement, half-titles in vol.1-8, lithographed or engraved portraits, most a little foxed, some offset onto titles, John Sheepshanks's copy with his engraved bookplate, handsome contemporary tree calf with gilt Greek key border, by Rivière, spines gilt in compartments with red and brown roan labels, a little rubbed, mostly to joints and edges, upper joint of vol.9 split, 8vo, 1829-42.⁂ Good association copy of an important reference work including biographies, descriptions of the pictures, prices achieved at auction, locations in galleries and private collections, and engravers of paintings.John Sheepshanks (1787-1863) was a cloth manufacturer from Leeds who assembled a notable collection of art by living British artists and presented it to the nation in 1857, for the education of artists and the public. It was displayed in specially-built galleries in the South Kensington Museum, now the Victoria and Albert Museum.
Art Journal (The). Illustrated Catalogue of the International Exhibition 1862, wood-engraved decorative title and illustrations, contemporary half calf, 1862 § National Exhibition of Works of Art, at Leeds, 1868. Official Catalogue, bookplate of Rev.T.Milville Raven, contemporary half morocco, Leeds, 1869 § Gatty (Charles T.) Liverpool Free Public Museum. Catalogue of the Mediaeval & Later Antiquities contained in the Mayer Museum, including the Mather Collection of Miniatures and Medals relating to the Bonaparte Family, plates, original cloth, rubbed and faded, Liverpool, 1883 § Monkhouse (Cosmo) The Manchester Whitworth Institute. Historical Catalogue of the Collection of Water-colour Drawings by Deceased Artists, large paper copy printed on rectos only, plates, original cloth, gilt, Manchester, 1894, rubbed; and 2 others including a volume of the Illustrated London News of 1862 with reports of the International Exhibition, v.s. (6)
NO RESERVE Hodgkin (John Eliot) Rariora being Notes of some of the Printed Books, Manuscripts...collected (1858-1900), 3 vol., titles with decorative border, plates, original buckram, t.e.g., others uncut, slightly soiled, [1900]-02; [Sale Catalogues] The J.E.Hodgkin Collections. Catalogue of the Works of Art, 6 vol. in 1, plates, all but the last vol. neatly ruled in red and with prices and buyers' names in manuscript, contemporary red morocco, gilt, t.e.g., others uncut, a little rubbed, upper joint cracked, Sotheby's, 1914, 4to (4)⁂ The third volume of the first contains a useful section on fireworks. The sale catalogues comprise: Works of Art, Commemorative Medals, Autograph Letters, Engravings, Trade Cards, Book-plates & Broadsides, and the Library.
Jameson (Mrs. Anna) A Handbook to the Public Galleries of Art in and near London, with Catalogues of the Pictures, 2 vol., first edition, contemporary half roan, spines chipped at head, 1842; Companion to the most celebrated Private Galleries of Art in London, signed presentation copy from the author to Lady Noel Byron inscribed on half-title, contemporary half roan, spine gilt, 1844; Memoirs of Early Italian Painters, 2 vol. in 1, contemporary half calf, spine gilt, label chipped, 1845; Sacred and Legendary Art, 2 vol., fourth edition, original cloth, spines faded, one torn, 1863; Memoirs of the Beauties of the Court of Charles the Second, fourth edition, contemporary red morocco, gilt, 1861, some plates, occasional spotting, rubbed; and 5 others by or about Mrs. Jameson, 8vo & 4to (12)⁂ "Mrs Jameson was unusually diligent in seeking out facts and wrote them up with verve and what amounted to remarkable critical honesty for her time. Private Galleries, in particular, is a key work in the history of collecting." The English as Collectors, p421. The latter includes the Royal collection, the Bridgewater, Sutherland and Grosvenor galleries, and the collections of the Marquess of Lansdowne, Sir Robert Peel, and Samuel Rogers.
New Pocket Companion for Oxford (A)...to which are added Descriptions of...Blenheim, Ditchley, Heythrop , and Nuneham..., new edition, folding engraved map, 8 engraved plates, one loose and frayed at edges, original wrappers, rubbed and soiled, spine worn, preserved in modern board slip-case, Oxford, J.Cooke, 1809 § [Blore (Thomas)] A Guide to Burghley House, engraved frontispiece and plate, double-page pedigree, foxing, first few leaves loose, modern half calf preserving part of old spine, Stamford, Drakard, 1815 § Simond (Louis) Journal of a Tour and Residence in Great Britain...by a French Traveller, 2 vol., first English edition, 21 hand-tinted aquatint plates by J. Clark after the author, 2 folding tables, engraved illustrations in text, advertisements at end of vol.2, contemporary calf, a little worn, Edinburgh, George Ramsay, 1815 § [Patmore (P.G.)] British Galleries of Art, 2 vol. including an extra-illustrated volume of plates, modern morocco-backed cloth, 1824 § plates Evans (John) An Excursion to Windsor...including an account of Strawberry-Hill and of Hampton-Court, second edition, half-title, engraved frontispiece (offset on title), light staining, original cloth, uncut, damp-stained, 1827, most rubbed, 8vo et infra (6)
Rogers (Samuel) [Sale Catalogue] Catalogue of the Very Celebrated Collection of Works of Art...also, the Extensive Library..., 5 parts in 1 vol., ruled in red with prices and buyers' names supplied in manuscript, manuscript list of totals at end, title with short tear to lower edge and light water-staining to first few leaves, contemporary half morocco, t.e.g., rubbed, [Lugt 22964], Christie & Manson, 1856; and 2 others by or about Rogers, 8vo (3)⁂ Samuel Rogers (1763-1855) was a banker, poet, art collector and connoisseur whose lifetime spanned the peak of English collecting but he bought astutely and is supposed never to have exceeded £250 on a purchase. He acquired mainly Italian and English paintings and was one of the first to collect early Italian art but he also amassed prints & drawings, antiquities, sculpture, Greek vases, coins and furniture, and a vast library. The sale lasted for 20 days and totalled £45,188. 14s. 3d.; the National Gallery purchased several paintings besides the three Rogers bequeathed to the Gallery.Frank Herrmann's "favourite collection of 'works of art' of every kind!" The English as Collectors, p.435.
Roscoe (William) [Sale Catalogue] Catalogue of the very select and valuable Library..., 1816; [Sale Catalogue] Catalogue of the Genuine and Entire Collection of Prints..., 1816; [Sale Catalogue] Catalogue of the...Collection of Drawings and Pictures..., 1816, 3 parts in 1, prices and some buyers' names in manuscript (names shaved), some spotting, contemporary half russia, worn, spine defective, Liverpool, Winstanley; List of the Numbers and Prices of the Library..., bound with similar lists for prints and drawings & pictures with index, original wrappers, torn, frayed and detached, Macclesfield, 1818; On the Origin and Vicissitudes of Literature, Science and Art, and their Influence on the Present State of Society. A Discourse delivered on the Opening of the Liverpool Royal Institution..., first edition, browned, modern marbled boards, Liverpool, 1817; and another on Roscoe, 8vo & 4to (4)⁂ Roscoe's art collection was intended to illustrate the rise and progress of the Arts and he was particularly interested in early Italian art or Primitives, being one of the first British collectors in this area. The List of Prices is interesting for it includes a 'Memoranda' leaf at the end which states that the collections of drawings and that of Italian pictures were each offered for sale as a collection, for £1000 in both cases (plus £500 for the German & Flemish paintings), but there being no bidders the items were then sold individually. According to the manuscript list of totals in the previous lot the prints made £1901 4s, the drawings £646 6s 6d. and the pictures £2885. This item is scarce; although occasionally found bound with the catalogues COPAC & WorldCat record only 2 separate copies of the 16pp. list of the library prices (Oxford and Trinity College, Hartford Ct.), and only one of the 10pp. list of print prices (Oxford) with no mention of the further 6pp. of prices of the drawings and pictures.
Stafford Gallery.- Ottley (William Young) & Peltro William Tomkins. Engravings of the Most Noble The Marquis of Stafford's Collection of Pictures in London, 4 vol., half-titles to vol.1 only, 13 engraved plans and 126 plates, many with multiple images, tissue guards, some light foxing to plates, mostly marginal, vol.1 broken and loose, modern half morocco, uncut, original paper labels preserved on upper covers (rubbed and chipped at edges), Printed by Bensley and Son, 1818 § Young (John) A Catalogue of the Collection of Pictures, of the most noble the Marquess of Stafford, 2 vol., half-titles, engraved portrait and plates, many with multiple images, foxing, contemporary burgundy straight-grain morocco, spines gilt, uncut, rubbed, spines faded, 1825 § Britton (John) Catalogue Raisonné of the Pictures belonging to...the Marquess of Stafford, in the Gallery at Cleveland House, engraved frontispiece and plan, both foxed and offset, old ownership label of Frederica Sophia Broke pasted at head of title, contemporary half calf, rubbed, 1808; and another, v.s. (8)⁂ The gallery at Cleveland house was built by the Duke of Bridgewater in 1797 to house his purchase of part of the famous Orléans Collection, and on his death his superb art collection was inherited by his nephew, George Leverson-Gower, who became the 2nd Marquess of Stafford in 1803 and the 1st Duke of Sutherland in 1833. Stafford was the wealthiest man in England for much of his life and he greatly extended the collection, adding another picture gallery by C.H.Tatham in 1805-06 which became known as the Stafford Gallery.The first item contains plans of the rooms and the pictures on the walls. "This catalogue, in four monumental quarto volumes, was probably the most luxurious to have appeared in England by 1818...The collection was not only the most important of its day but one of the few open to the public...". The English as Collectors, p.432
Stowe.- Temple-Nugent-Brydges-Chandos-Grenville (Richard, 2nd Duke of Buckingham) [Sale Catalogue] Catalogue of the Contents of Stowe House, near Buckingham, lithographed frontispiece and 2 plates, some prices and buyers' names supplied in manuscript, original printed blue wrappers, rubbed, frayed at edges, modern marbled slip-case, [Lugt 19122], Christie & Manson, 1848; [Sale Catalogue] Catalogue of the Library removed from Stowe House, Buckinghamshire, 1849 bound with The Stowe Granger. Catalogue of Engraved British Portraits, [Lugt 19255], 1849 and Catalogue of the remaining portion of Engraved British Portraits, [Lugt 19283], 1849, together 3 works in 1 vol. (the second bound last), a few prices and buyers' names in manuscript, modern half morocco, calf label, S.Leigh Sotheby & Co. § Forster (Henry Rumsey) The Stowe Catalogue Priced and Annotated, mezzotint frontispiece of Rembrandt's Unmerciful Servant' (foxed), title in red & black, lists of both subscribers & purchasers, plates, advertisements at end, contemporary blind-stamped cloth, rebacked in calf, 1848 § Thompson (E.Maunde) Catalogue of a selection from the Stowe Manuscripts...in the British Museum, plates, bookplate of Rev. C.H.Middelton Wake with A.L.s. from the author to him tipped in, original cloth-backed boards, 1883 § [Sale Catalogue] The Ducal Estate of Stowe, catalogue no.300, plates, folding colour plans, joints split, original cloth-backed boards, rubbed, spine torn, Jackson Stops, 1921; and another on Stowe, v.s. (6)⁂ Group of sale catalogues of various portions of the great art collection and library at Stowe, following the bankruptcy in 1847 of the Duke of Buckingham and Chandos, who was rumoured to have left for the Continent with debts exceeding £1,000,000. The first sale of the contents totalled £75,562 4s 6d. It included the famous "Chandos Portrait" of Shakespeare which sold to the Earl of Ellesmere for £372 15s. and in 1856 became the first donation to the newly-created National Portrait Gallery. "A tragic sale this...It lasted thirty-five days and the prices were incredibly low. This was probably because such a vast accumulation of treasure by many generations of a single family was just more than the trade, collectors and local gentry between them could absorb at one go." The English as Collectors, p.435
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