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Lot 149
Dress.- Duties of a Lady's Maid (The); with Directions for Conduct, and Numerous Receipts for the Toilette, only edition, engraved frontispiece, contemporary calf, gilt, spine faded, 1825 § Whole Art of Dress! (The) or, The Road to Elegance and Fashion...Gentleman's Costume...By a Cavalry Officer, first edition, hand-coloured lithographed frontispiece, 6 lithographed plates of coats, neckwear, hats, boots etc., 36pp. publisher's catalogue at end, frontispiece with tape stain to foot and defective at upper inner corner (repaired and loss to corner supplied in watercolour), stain to lower margin of title and some other leaves, modern boards preserving original pictorial wrapper to upper cover, rubbed and stained, 1830 § Holt (Ardern) Fancy Dresses Described; or, What to Wear at Fancy Balls, fifth edition, plates, 16 chromolithographed, original cloth, gilt, Debenham & Freebody, [1887], all a little rubbed, 8vo (3)⁂ The first is scarce, with only 6 copies listed by Library Hub.
Lot 137
Wollstonecraft (Mary) Thoughts on the Education of Daughters: with Reflections on Female Conduct, in the more important Duties of Life, first edition, with G6 a cancel (as usual), contemporary ink inscription "?E.Milnes 1799" to head of title and with another name crossed out causing slight loss to upper margin, title and final leaf, one or two margins lightly browned, modern half calf over marbled boards, spine with raised bands and morocco label, [Gumuchian 5855; Rothschild 2595; Windle A1a], 8vo, J.Johnson, 1787.⁂ The author's scarce first book, a precursor to her famous Vindication of the Rights of Woman of 1792, and for which she was paid ten guineas by Johnson. Written while running a school, the book is a collection of essays including short pieces on the theatre, dress, marriage and much else.
![[Essex (John)] The Young Ladies Conduct: or, Rules for Education...with Instructions upon Dress, both before and after Marria](https://cdn.globalauctionplatform.com/0c5be023-91b9-447b-ad4d-ae1d00a00107/fe91089e-5f56-4fd3-823a-ae1d00a2538b/468x382.jpg)
Lot 130
[Essex (John)] The Young Ladies Conduct: or, Rules for Education...with Instructions upon Dress, both before and after Marriage. And Advice to Young Wives, only edition, woodcut head- & tail-pieces, factotum initials, paper flaw tear to fore-margin of H3 not affecting text, very occcasional soiling but generally an excellent clean and tall copy, engraved bookplate (Henry Streatfeild of Chiddingstone Castle, Kent), contemporary blind-panelled calf with double gilt fillet border, a little rubbed and marked, rebacked preserving old gilt spine, corners repaired, [Heltzel 553], 8vo, John Brotherton, 1722.⁂ John Essex (c.1680-1744) was a dancer, choreographer, and dance & music instructor who became a moderniser in the art of dance teaching and brought French ideas to the London studios. This work is addressed to the parents of young ladies, advocating good conversational skills, wisdom and honesty, and the importance of both dance and music in their education. Like Mary Astell he warns young women to be shrewd in choosing a husband.Rare in commerce.
Lot 26
French school; late 18th century."Portrait of a Lady. 1805.Oil on canvas. Re-drawn.Signed, dated and located.Size: 53 x 42,5 cm; 75,5 x 63 cm (frame).This portrait shows the mark of the great French masters of the XVIIIth century. Half-length portrait of a middle-aged lady, wearing a striking red dress, from which a wide white collar contrasts with the intensity of the dress. As in the rest of Europe, portraiture became the leading genre in French painting in the 18th century, as a consequence of the new social structures that were established in the Western world during that century, embodying the ultimate expression of the transformation in the taste and mentality of the new clientele that emerged among the nobility and the wealthy gentry, who took the reins of history in this period. While official circles gave precedence to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraiture was in great demand for paintings intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.
Lot 133
Pair of "Cap i pota" figures. Spain, first half of the 18th century.Carved and polychrome wood. Nimbuses in silver (with contrasts).Measurements: 50 cm and 53 cm high.Pair of dressed images representing two saints kneeling in an attitude of veneration and exaltation of the word of God. Both figures stand out for their delicate and finely worked polychromy, especially in their hands and faces, with masterly details in their features and expressions. They have silver nimbuses on their heads, identifying them as saints, and one of them holds a staff with a double-barred cross. The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with royal robes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards.
Lot 104
Attributed to SEBASTIANO CECCARINI (Fano, Italy, 1703-1783)."Portrait of a lady with flowers.Oil on canvas.Size: 104,5 x 75,5 cm.Female portrait in which the painter shows the figure of a young lady with her hair tied up, adorned with flowers, and dressed with an elegant dress of historicist character that forms expressive folds worked with a chiaroscuro of great expressiveness, which moves away from the classical canons and provides volume, movement and naturalism to the figure. The dress reveals a large neckline and forearms. The young woman also shows an ideal face with symmetrical, idealised features, clearly classical in origin, and an expression of serene beauty that is reminiscent of classical antiquity. The artist thus offers us an image of restrained, delicate and elegant expressiveness. The figure is set in a landscape of bright tones that harmonise with her dress, creating a scene of clear, radiant aesthetics. Timeless and symbolic in character, we can identify this image with an allegory of Spring, rooted in classicism as regards its concept but totally nineteenth-century in its conception, which leaves aside the iconographic charge to symbolise the season only through the flowers and the girl's youth and beauty.With regard to the technical and formal aspects, the artist shows great mastery of his craft, a virtuosity that is particularly evident in details such as the hair and the flowers, which are also worked with short brushstrokes. However, where the artist's personality shines through most strongly is in the work on textures and qualities, subtly and masterfully achieved. We see the slight folds of the crumpled fabric of the girl's skirt, the delicate quality of the flower petals, the warmth and tenderness of the flesh tones and even the lightness of the young woman's hair, which seems to flow like sea foam.Sebastiano Ceccarini (1703-1783) was an Italian Baroque painter. He was a pupil of Francesco Mancini and a teacher of his nephew Carlo Magini. He painted in Rome during the papacy of Pope Clement XII, painting an altarpiece for a chapel in the Quirinal, belonging to the Swiss. Another of his well-known and praised works is the painting of an altarpiece, depicting the Madonna and Child with St. Francis and St. Sebastian and the Castle of Mondolfo in the background, for the church of St. Sebastian in Mondolfo.
Lot 79
Madrid school; circa 1780."Portrait of a lady laureate".Oil on canvas.The painting has some leaps and tears in the canvas.It has a golden frame from the 20th century.Measurements: 74 x 59 cm; 89 x 74 cm (frame).On a black background in complete darkness the figure of a young woman is cut out. She is presented to the spectator in a very close-up and standing, although her figure can only be seen up to her waist. Her white dress stands out against the background and her pearly skin adds light to the scene, softening the portrait of the young woman. With a penetrating gaze that fixes on the viewer, together with the richness of her dress and earrings, the sitter indicates her high social standing and wealthy status. A notable feature of the portrait is the bouquet of flowers hanging from her neckline and the wreath of laurel and flowers adorning her hair, which is largely due to an allegorical interest that may represent abundance or even fertility. It should be noted that during the 18th century portraits of ladies bearing allegorical attributes or even elements from classical antiquity became popular, in many cases portraying themselves as Greek or Roman goddesses.The establishment of the court in the city of Madrid led to a great development of portraiture, not only at a technical level influenced by the fashions and styles of each period, but also in relation to the painters' mastery of this genre and the impetus offered by the city's large clientele, who requested this type of work with the intention of immortalising their likeness as a sign of power and social relevance. Portraiture during this period was varied and wide-ranging, with numerous influences and largely determined by the tastes of both the clientele and the painter himself. However, this century saw the emergence of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality and character of the human being, beyond his external reality and social rank, in effigy. During this century, portraiture had become consolidated among the upper classes and was no longer reserved solely for the court. For this reason, as the 18th and even more so in the 19th century, the formulas of the genre became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus.
Lot 21
Four Chinese reclining stoneware figures in traditional dress, on wooden stands, a pair of reproduction armorial jars with covers, a small flared rimmed bowlCondition report: Armorial jars with discolouration and wear commensurate with age, particularly around base and lid. Chips to the glaze around the coats of arms. Small bowl has chips to the decorative foliage and wear commensurate with age. Figures have damage to the glaze and discolouration on all figures. Repair with visible glue to the yellow figure and the pink lady figure.
Lot 25
Lladro wedding figurines, all from the Black Legacy Collection 'Wedding Day Bride and Groom' model no. 5274, 'Wanda' model no. 6182, 'Winds of Romance' model no. 6783, 'Velisa' model no. 6181, 'Sharia' model no. 6180, tallest 32cm highCondition report: Overall collection of dust and minor markings throughout. Small discoloured marking to one dress and break of a finger with visible glue marks.
Lot 384
A late 19th/early 20th century French SFBJ bisque head doll, size 8, with impressed marks to the back of the head, also marked 'Tete Jumeau' in red, having blue glass eyes, open mouth with four teeth, composition jointed body, and clothed in a blue dress, with leather boots, measuring 50 cm tall
Lot 44
A late 19th century German Simon and Halbig bisque head doll, possibly a reproduction with the words "S & H 1079 DEP Germany 15" impressed to the back of the head, having a brown wig, weighted brown eyes, open mouth with four teeth, pierced ears, composition limbs, and wearing a laced white dress, measuring 66 cm tall
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228098 item(s)/page