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Lot 27
BONARELLI, Prospero (1588-1659). Il Solimano. Florence: Pietro Cecconcelli, 1620. 4° (202 x 160mm). Engraved title, 5 double-page plates by Jacques Callot after the designs of Giulio Parigi (2 repaired tears on plate 2, slight abrasion on F1 affecting a few letters, some occasional pale spotting.) 18th-century vellum, morocco lettering-piece (front hinge cracked, lettering-piece chipped). Provenance: Wilmot Vaughan, first Earl of Lisburne, Ireland (1730-1800, bookplate). FIRST EDITION, second state of the title. Bonarelli's great tragedy was performed in Florence in 1618. Jacques Callot illustrated the work, following the designs of his tutor and colleague, Giulio Parigi, an architect and the chief designer of courtly festivities under the Grand Duke, Cosimo II de' Medici. Both Parigi and Callot were employed by the Medicis, and under their patronage Callot made his many improvements in etching. This is one of the last books he produced for the Medicis, since he returned to his native Nancy following the death of Cosimo II in 1621. "The dramatic finale shows the city of the tyrant Soliman in flames, The moveable scenes -- THE FIRST IN THE HISTORY OF THE THEATRE -- picture contemporary Florence. The whole of its effective contrasts of dark and light, seems fantastic, yet it is the rational and realistic portrait of a fantastic, imaginary subject" (Otto Benesch, Artistic and Intellectual Trends from Rubens to Daumier, Cambridge, 1942, p.17). Berlin Katalog 4112; Brunet I, 1089; Cicognara 1086; Gamba 1810; Lieure 363-368. View on Christie's.com
Lot 713
A signed etching of children playing on a round-a-bout, signed Soper, various prints of the Lake District, Salisbury etc, a pencil sketch painted by Aldersley, a Moorland Scene oil on canvas initialled C H, a watercolour signed M Reddoch Smith of Alfriston in Sussex, various photographic prints, a lithograph titled Maiden`s Prayer, a photograph of Manchester Dental School "Final Student`s Year - 1920-21", a school photograph, an oil painting signed by Sarah Greenhaulsh of the East Cornwall Society of artists etc
Lot 705
Clérisseau (Charles-Louis) Roman Ruins drawings in pen black ink with grey and occasionally brown wash over etched outlines six 355 x 294mm. (14 x 11.5in.) to 395 x 315mm. (15.5 x 12.25in.) remainder 175 x 175mm. (7 x 7in.) one circular to 288 x 193mm. (11.3 x 7.6in.) light browning to two drawings a few old creases and very small rubbed spots; with 3 drawings of geological features by another(?) hand and a group of engraved studies of the human body from an 18th century drawing book mounted on large folio sheets of laid paper a disbound section of a larger album 1760s or 1770s(14) ***Provenance: from the collection of the architect James Paine 1717-1789. Paine visited Rome in 1755. (Ironically as a confirmed Palladian he was to lose commissions in 1765 at both Nostell Priory and Kedleston Hall to James Adam who completed the houses in neo-classical style.) Charles-Louis Clérisseau artist architect and archaeologist won the Prix de Rome in 1746 and studied under Pannini at the French Academy in Rome from 1749 to 1754. There he absorbed the influence of his close friends Piranesi and Winckelman and after 1754 became tutor in architectural drawing and theory first to William Chambers then to Robert Adam with whom he travelled widely between 1754 and 1757. His influence on the Adam brothers` developing neo-classical style was immense. McCormick (op. cit.) concludes an account of their relationship thus: “Therefore the true beginning of the Adam style with its wealth of delicate ancient-inspired decorations vaulted ceilings screens of columns niches and rooms in a great variety of shapes derives from Clérisseau.” The present group of drawings all appear to be vedute di fantasia imaginative works incorporating elements drawn from observation. Drawing over an etched outline was a not uncommon technique for 18th century artists but the circular drawing of a mausoleum or sepulchral hall illustrated here appears to be Clérisseau`s only composition over an etching to be hitherto recorded. Two other examples are known. One is in the vast collection of Clérisseau`s drawings bought by Catherine the Great in 1779 and now in the Hermitage St. Petersburg. It is illustrated as no.59 in the Louvre catalogue (see below) and described as the only example of a drawing over etching in that collection. The other with minor variations of detail and shading is in the Fitzwilliam Museum. A version in gouache - Clérisseau`s more usual medium - is in Sir John Soane`s Museum (Inv. P.97). The dating of his drawings is problematic since he produced many with only minor variations over a period of more than three decades. He was selling drawings to Grand Tourists by 1753 exhibited his architectural capricci in London in the early 1770s and continued to work in similar style in St. Petersburg and Paris well into the 1780s. A date between 1760 and 1780 for the present group appears most probable. References: Thomas J. McCormick Charles-Louis Clérisseau and the Genesis of Neo-Classicism 1990; Charles-Louis Clérisseau: dessins du musée de l`Ermitage Saint-Petersburg Musée du Louvre 1995.
![[Fishing] Henry Wilkinson (1921-) `The Pool` Coloured etching Limited edition 59/100 Signed lower left 28.5cm x 38cm; and `Ch](http://lot-images.atgmedia.com/SR/35772/2794319/827-2010525153944_468x382.jpg)
![[Shooting] Henry Wilkinson (1921-) Retrievers alert Coloured etching Limited edition 5/200 Signed lower right 27.5cm x 36cm;](http://lot-images.atgmedia.com/SR/35772/2794319/839-2010525153958_468x382.jpg)
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