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Lot 254
ANSON GEORGE. A Voyage Round the World ... Compiled ... by Richard Walter. 3 fldg. eng. charts (the frontis chart which shows California as an island is detached along with the front free endpaper but both are present). Rebacked calf. Third Edition, 1748. This edition was published in the same year as the first edition but was issued without the engraved plates; also A True & Impartial Journal of a Voyage to the South-Seas & Round the Globe ... Under the Command of Commodore George Anson, by Pascoe Thomas. old qtr. calf with subscriber's list & detailed Appendix, 1st ed., 1745. (2).
Lot 278
BARRINGTON GEORGE. The History of New South Wales including Botany Bay. Hand col. frontis & 17 hand col. plates. One wood engraving. Rebacked qtr. calf, internal soiling, foxing & spotting. 1802.The first book with hand-coloured topographical views of New South Wales, the number of plates in copies of this work vary.
Lot 1012
A Swiss 18ct gold and enamel cased keyless wind open-faced lady's pocket watch, first half 19th century, with unsigned gilt movement, the gold inner case back detailed 'Moulinie Aine & Cie Geneve', the silvered dial with floral engraved centre and black Roman hour numerals, the case back interior detailed '18K', the case back enamelled with polychrome flowers on a black ground, total weight 27g, case diameter 3.5cm (some faults), with winding key. Note: Moulinie Aine & Cie were reputed watchmakers working in Geneva during the first half of the 19th century.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 609
1903 Medal, Sheffield Wednesday, Awarded to John Napier Malloch, for his participation in an exhibition match v. Notts County at Home Park Plymouth on April 24th 1903. The 9ct Gold hallmarked circular medal with Star and Black Enamel 'Plymouth Argyle' to font, players details, date and hallmark to back, 2.5cm diameter, excluding suspension ring 6.1g, Plymouth were trying to promote a professional Football Club at the time, and invited Wednesday and Notts County to complete for The 'Plymouth Bowl', over 16,000 attended the game which ended with a win for Wednesday, to top a great day for the Owls, their first ever League Championship was confirmed with their league rivals, Sunderland losing thier final game against Newcastle. Players and officials toasted their success by drinking champagne from the Plymouth bowl, Malloch scored twelve goals in 144 appearances for Wednesday
Lot 743
The Following Eighteen Lots Were Once The Property of Don Megson (1936-2023). He played 442 times for Sheffield Wednesday before appearing for Bristol Rovers on thirty one occasions. Later managing them, before managing Portland Timbers in The North American Soccer League, returning for a short spell at Bournemouth in 1983. A True Wednesday legend, he captained The Owls in the 1966 F.A Cup Final, and became the first man to lead his team on lap of honour as losing skipper. Sheffield Wednesday Player's Contract for Don Megson for the season 1953-4, drawn up on behalf of SWFC by the Club Secretary Eric Woodhouse Taylor, on agreement for the player to be paid £4 per week and £3 during the close season, signed by player and secretary.
Lot 6
CRICKET INTEREST. Three early books by James Pycroft (1813-1895). 'The Cricket Tutor' (1862) FIRST EDITION, published by Longman, Green, Longman and Roberts (London) 1862, cloth-bound card cover, 85 pages. 'The Cricket Field' (1851) FIRST EDITION, hardcover, 242 pages. 'Cricketana' (1865) FIRST EDITION, hardcover, 238 pages.'The Cricket Tutor' : condition - no major issues, in good condition, no loose pages.'The Cricket Field' : condition - damage to spine (see photographs), browning and foxing to pages.'Cricketana' : condition - damage to spine (see photographs) browning and foxing to pages.
Lot 3
CRICKET INTEREST. 'The Cricket-Bat and How to Use It' by an Old Cricketer (Nicolas Felix). A treatise on the game of cricket, with practical and scientific Instructions in batting, bowling and fielding. 1861 FIRST EDITION published by Baily Brothers, Cornhill, London. Hard cover, 100 pages.Spine clear and readable, some browning / foxing of pages, no pages loose, in overall good condition.
Lot 1
CRICKET INTEREST. 'Felix on the Bat'; Being a Scientific Inquiry into the use of The Cricket Bat; together with the History of the Catapulta. Also the Laws of Cricket, as revised by the Marylebone Club, 1845. By Nicholas 'Felix Wanostroct (1804-1876), noted English gentleman cricketer. First published 1845 London: Baily Brothers, Cornhill. This is the THIRD EDITION (1855) re-bound with gilded pages and boxed by noted bookbinder/bookseller Hylton Bayntun-Coward of BathBrowning of pages and some foxing. Ink inscriptions (1862 & 1877) to title page. Condition of new binding is excellent.
Lot 5
CRICKET INTEREST. 'Nyren's Cricketers' Tutor' - John Nyren (1764-1837), Published by Effingham Wilson, London, 1833. FIRST EDITION. Hard cover with paper label. Acknowledged as the first classic in the game's rich literary history.Browning to pages, foxing to title page, cover slightly detached from spine, flyleaf page inscribed in ink: 'Rochdale Cricket Club, July 17th 1889'.
Lot 7
CRICKET INTEREST. 'Oxford Memories' - A Retrospect after Fifty Years by the Rev James Pycroft (1813-1895). FIRST EDITIONS (1886), published by Richard Bentley & Son, London.Some marking and light stains to cover of Vol.2 (Please look at the photographs). All pages in good order, some very light browing/age.
Lot 22
CRICKET INTEREST. Kent Cricket Interest. 'The Story of Canterbury Cricket Week' (1960) by H.W Warner (signed by the author), paper cover, 80 pages. '66 Years' Memories of Kent Cricket (1947) by Sir Charles Igglesden (Second Edition). 'Canterbury Cricket Week - 1842-1891'. * A signed postcard photograph of Colin Blythe, Blythe played for Kent between 1899 and 1914, and played 19 Test Matches for England before being killed in action during the First World War.
Lot 27
* Piranesi (Giovanni Battista, 1720-1778). Piramide di C. Cestio, from Vedute di Roma, 1756, etching on laid paper, the first state (of 3), before the number 44 added to upper right, a few marks to edges, laid down on modern card, back and gilt frame, glazed, plate size 395 x 540 mm (15 1/2 x 21 1/4 ins), trimmed close to plate mark, sheet size 398 x 553 mm (15 5/8 x 21 3/4 ins)QTY: (1)NOTE:Hind 36, i/iii.
Lot 138
* Prinsep (Valentine Cameron, 1838-1904). Portrait of the Artist's Sister, circa 1860, oil on canvas, half-length portrait of a young girl, profile turned to the right, seated in a buttoned yellow chair and looking down with pensive gaze, wearing a flowing black gown with white collar, a beaded necklace, a jewelled ring, and a pink camellia in her auburn hair, holding a feather fan in her right hand, seated against the backdrop of a partly open door and potted lily on a window ledge beyond, re-lined, 41 x 37 cm (16 1/8 x 14 5/8 ins), gilt moulded frame (56 x 49 cm), with printed exhibition label on verso QTY: (1)NOTE:Provenance: Given to David Clayton-Stamm on his 12th birthday in 1923; thence by descent.Exhibited: Val Prinsep RA (1838-1904): A Jubilee Painter, South London Art Gallery, 21 October-10 November 1977, catalogue number 3.A strikingly beautiful portrait of the artist's only sister, Alice Marie Prinsep (1844-1919). The siblings and their two brothers were the offspring of colonial government official and politician Henry Thoby Prinsep and his wife, Sarah Monckton Pattle, one of the celebrated Pattle sisters, of which there were seven. Of this exuberant band, one was the pioneer photographer Julia Margaret Cameron, and another the grandmother of Virginia Woolf and her sister Vanessa Bell. Beautiful and bohemian, Sarah settled with her husband at Little Holland House in Kensington, where they were visited by many of the prominent artistic and literary figures of the day, including Burne-Jones, Leighton, Millais, Rossetti, Dickens, Tennyson, and Thackeray. Val, as he was known, was born in Calcutta, India, but brought up in London. He was taught to draw and paint by George Frederic Watts who was such a close friend of the family that he became a permanent house guest: as Sarah said of the painter, "he came to stay three days, he stayed thirty years". In 1857 Val Prinsep assisted in the painting of the doomed mural at the Oxford Union, with fellow-students Rossetti, William Morris, Arthur Hughes, and John Roddam Spencer Stanhope, amongst others. Afterwards he studied in Paris with Whistler, Edward John Poynter, and George du Maurier, going on to visit Italy with Burne-Jones, where he befriended Robert Browning in the years 1859-60. Prinsep first exhibited at the Royal Academy in 1862, and it is likely around this time that this portrait of Alice was executed. The artist became an Associate of the Royal Academy in 1878, and a full Royal Academician in 1894. He was Professor of Painting at the Royal Academy from 1901 until his death.Art collector and bibliophile Maxwell David Eugene Clayton-Stamm was an authority on the work of William de Morgan and Pre-Raphaelite ceramics. He also facilitated the facsimile publication of the 1819 Blake-Varley sketchbook.
Lot 12
* Hollar (Wenceslaus, 1607-1677). Portrait of Albrecht Dürer’s Father, after Albrecht Dürer, 1644, & Sir Thomas Wentworth, First Earl of Strafford, after Anthony van Dyck, 1640, etchings, very good impressions, Dürer’s Father the second (final) state, the details printing with crispness and clarity, on laid paper, with narrow to thread margins, platemark 22.3 x 16.3 cm, sheet size 23 x 17 cm, in very good condition, a couple of horizontal creases visible verso, Thomas Wentworth on fine laid paper with a Double Headed Eagle watermark (similar to Heawood 1300, dated 1644), trimmed on or within the platemark, retaining a blank border around the image and text, sheet size 32.1 x 21.6 cm (12 5/8 x 8 1/2 ins), mounted, framed and glazed, 52.5 x 37.5 cm and 56 x 43 cmQTY: (2)NOTE:Portrait of Dürer’s Father: Pennington 1389 ii/ii; New Hollstein (Hollar part III) 692 II/II; Portrait of Thomas Wentworth: Pennington 1508a, New Hollstein 289; the latter formerly with Craddock and Barnard according to label on verso.The Royalist Sir Thomas Wentworth (1593-1641), 'Knight Earle of Strafforde', was executed by Parliament in 1641. Hollar recorded the event in the etching of that year, ‘The true maner [manner] of the execution of Thomas Earle of Strafford’, an impression of which is held by the Metropolitan Museum of Art (Accession Number: 17.3.3280).
Lot 393
* Thornycroft (William Hamo, 1850-1925). The Sandal, bronze with dark brown patina, depicting a nude female standing on one leg, tying a sandal and leaning on a tree stump, initialled 'H.T. 1899' to top of base, inscribed 'Cire perdue cast 1916' and signed to side of bronze base, figure 22 cm high, mounted on red veined marble block 8.2 cm high, 30.2 cm total height, small later label to base with indistinct name (possibly a previous owner)QTY: (1)NOTE:Another similar bronze entitled 'The Sandal' was first exhibited by Thornycroft at the Royal Academy in 1903 (no.1729) and was part of a series of around fifteen statuettes of nudes, cast using the cire perdue process, particularly suitable for producing small bronzes.Thornycroft designed these small models both for his own satisfaction, but also to provide affordable bronzes for a private market.
Lot 30
* Piranesi (Giovanni Battista, 1720-78). Veduta del Ponte Lugano su l'Anione, from Vedute di Roma, 1763, etching on laid paper, a strong impression of the first state (of 4), with the artist's address and price, laid down to sheet edges on modern card, trimmed to, or just inside the plate mark, some marks and small abrasions, sheet size 455 x 660 mm (18 x 26 ins)QTY: (1)NOTE:Hind 68 i/iv.
Lot 175
* Italian School. Virgin and Child, first half 19th-century, oil on thin wood panel, 135 x 90 mm (5 1/4 x 3 1/2 ins), in a gothic style gilded wood tabernacle frame (213 x 121 mm), together with After Pierre-Auguste Cot (1837-1883). The Swing (Springtime), miniature oil on wood panel, a late 19th-century oval copy (the much larger original dating from 1873), 122 x 95 mm (4 3/4 x 3 3/4 ins), ebonised oval wood frame, glazedQTY: (2)
![* Ardizzone (Edward, 1900-1979). The Model and her Reflection, 1960 [but later], lithograph, from the posthumous edition of 7](https://cdn.globalauctionplatform.com/8f89f8bc-16e9-487b-9e12-b03600e8e973/2fddbcd5-f5be-43f3-9fdf-b03800b4d755/468x382.jpg)
Lot 259
* Ardizzone (Edward, 1900-1979). The Model and her Reflection, 1960 [but later], lithograph, from the posthumous edition of 75 impressions issued in 1999, titled and numbered 30/75 in pencil, image size 24 x 35.5 cm (9 1/2 x 14 ins), sheet size 50 x 65.5 cm (19 3/4 x 25 3/4 ins), together with Trumm (Peter, 1888-1966). Der Liebevolle Monch, etching on thick cream wove paper, signed and inscribed 'Eigenhandiger Probedruck', plate size 128 x 175 mm (5 x 6 7/8 ins), sheet size 170 x 235 mm (6 3/4 x 9 1/4 ins) QTY: (2)NOTE:Provenance: Collection of the artist Leonard McComb (1930-2018).The lithograph was first issued in 1960 in an edition of only 25 impressions.
![* De Jode I (Pieter, 1570- 1634). The Last Judgment, after Jean Cousin the Younger, 1615 [but later], engravings, eleven (fro](https://cdn.globalauctionplatform.com/8f89f8bc-16e9-487b-9e12-b03600e8e973/89b99ab0-2586-435e-b5c4-b03800b45a4a/468x382.jpg)
Lot 19
* De Jode I (Pieter, 1570- 1634). The Last Judgment, after Jean Cousin the Younger, 1615 [but later], engravings, eleven (from the set of 12) plates, comprising all nine of the main engraved scenes and two (of three) engraved plates of text, re-issued by Pierre Drevet (1663-1738), Paris, circa 1730, very good impressions on laid paper with margins, the sheets with overall toning, image size 47.8 x 40.3 (18 3/4 x 15 7/8 ins), sheet size 59.8 x 42.8 cm (23 1/2 x 16 7/8 ins)QTY: (11)NOTE:Hollstein 83.First published in 1615, after The Last Judgement by Jean Cousin the Younger (1522-1593), an oil on canvas measuring almost five feet square, originally in the Church of Vincennes, and now housed in the Musée du Louvre, Paris. This set was published after 1726, the year the print publisher and graveur du Roi Pierre Drevet (1663-1738), who had acquired the plates, moved to the Palais du Louvre. The Resurrection of the Dead is inscribed with his address. The plates are intended to be placed together to form one continuous large-scale scene, pasted together three across and four down: at the top God in judgement amid Saints, martyrs and angels; in the centre, devils raising the dead in a city that is being destroyed by thunderbolts; in the foreground, angels and devils disputing the fate of the risen dead; and along the bottom Bibical texts and dedication.
Lot 46
* Piranesi (Giovanni Battista, 1720-1778). Veduta dell'insigne Basilica Vaticana coll'ampio Portico, e Piazza adjacente, from Vedute di Roma, 1775, etching on laid paper, the first state (of 3), before the addition of the number 2 to upper right margin, laid down on modern card, narrow margins (trimmed to the plate mark on lower margin), some marks and small abrasions, short tear repaired to centre of upper margin, plate size 480 x 715 mm (19 x 28 1/4 ins), sheet size 487 x 730 mm (19 1/4 x 28 3/4 ins)QTY: (1)NOTE:Hind 120 i/iii.
Lot 311
* Rossiter (Anthony, 1926-2000). Evening Lake, watercolour and gouache on paper, initialled 'AR' upside down lower left, sheet size 45.7 x 75 cm (18 x 29 1/2 ins), artist's name and 'Sunset over Hunsflet? Lake 7' to verso in pencil, mounted, framed and glazed (64.7 x 94.3 cm) label with artist's name and address adherred to verso along with title 'Evening Lake' in black pen and artist's name and address in pen to verso, together withChilterns, poster designed by Rossiter to promote London Railway's Country Walks booklet, 1958, colour lithograph on board, first two lines of text to lower margin, signed and dated in lithograph lower right, sheet size 89.7 x 63.5 cm (35 3/8 x 25 ins), mount with some watermarks to lower edge, framed and glazed (102 x 74 cm)QTY: (2)
Lot 302
* Ogilvie (Mark Grant, 1909 - 1969). Portrait of John Betjeman, circa 1927, brown ink, initialled 'M.O.G' to lower right, some previous adhesive marks to extreme edges, image size 24.5 x 19.5 cm (9 5/8 x 7 5/8 ins), a notecard adherred to verso with Mark Ogilvie Grant printed header reads 'John Betjeman having tea with the 'artist' in Quin & Axten's, Brixton, in the course of which he penned the first lines of "Will you have cold supper or a hot high tea which, Aunt Eva, which shall it be?" circa 1927', framed and glazed (38 x 31 cm)QTY: (1)NOTE:Provenance: Private Collection, Hampshire.Grant was a British diplomat, a botanist and one of the earliest members of the Bright Young Things. Despite his earliest frivolous past, he became a hero during the 1940–1941 Greek campaign.
Lot 105
* Smith (John ‘Warwick’, 1749-1831). A View in Wales, circa 1785, watercolour, laid to sturdy laid paper, inscribed in the lower margin in pencil ‘John ‘Warwick’ Smith / 1749-1831 / a View in Wales.’, later (Colnaghi ?) pencil number A21356 lower right verso, 14.5 x 23 cm (5 3/4 x 9 ins), mounted, unframed QTY: (1)NOTE:Provenance: Colnaghi by 1958; Iolo Aneurin Williams (1890-1962), collector and author of Early English Watercolours and Some Cognate Drawings by Artists born not later than 1785 (London: Connoisseur, 1952) purchased by him from Colnaghi in April 1958 for £14.The artist toured Wales for the first time in 1785.
Lot 41
* Piranesi (Giovanni Battista, 1720-78). Veduta degli avanzi del Tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace from Vedute di Roma, 1774, etching on thick laid paper, the first state (of four), an excellent impression, laid down to sheet edges on modern card, narrow margins, some minor marks and abrasions to margins, plate size 490 x 720 mm (19 1/2 x 28 1/2 ins), sheet size 500 x 720 xx (19 3/4 x 28 1/2 ins), mounted QTY: (1)NOTE:Hind 114 (i/iv). Wilton-Ely 247. Focillon 751. Ficacci 985.
Lot 43
* Piranesi (Giovanni Battista, 1720-78). Veduta interna della Chiesa della Madonna degli Angioli detta della Certosa che anticamente era la principal sala delle Terme di Diocleziano, from Vedute di Roma, 1774, etching on thick laid paper, the first state (of four), a rich and enticing impression, tipped onto modern card, narrow margins (trimmed to plate mark to left and right sides), some minor marks and abrasions to margins, plate size 490 x 715 mm (19 1/4 x 28 ins), sheet size 505 x 725 mm (20 x 28 1/2 ins), mountedQTY: (1)NOTE:Hind 129 i/iv. Wilton-Ely 262. Focillon 835. Ficacci 1000.
Lot 343
AR * Moody (Victor, 1896-1990). Seated Nude, oil on canvas, study of a seated female nude in side profile, head turned towards the observer, one arm outstretched, signed lower left, 61 x 51 cm (24 x 20 ins), framed (70.5 x 60 cm), together with an exhibition catalogue of the work of Victor Moody by Liss Fine Art (2012)QTY: (2)NOTE:Victor Moody was born in Lambeth and studied at Battersea Polytechnic and the Royal College of Art under William Rothenstein. He first exhibited at the Royal Academy in 1931, and held a one man exhibition Recent Work by Victor Moody at the Goupil Gallery in 1939.
Lot 237
* Brangwyn (Frank, 1867-1956). Via Dolorosa, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 38 x 35.1 cm (15 x 13 3/4 ins), sheet size 63.7 x 45.6 cm (25 x 18 ins), together with: Tramps Resting, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 30.4 x 37.7 cm (12 x 14 7/8 ins), sheet size 45.5 x 62.7 cm (18 x 24 5/8 ins), plus: Men with Performing Animals, 1911, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 27.9 x 36.6 cm (11 x 14 3/8 ins), sheet size 45.6 x 63.5 cm (18 x 25 ins), the etchings contained in (partial) Brangwyn Portfolio, by E.F. D'Alignan & Paul Turpin, 1927, with illustrated title on cover, text by Steinlen in French and English, list of illustrations (of the first part I-L only) in French and English, 12 illustrations only, including the 3 listed etchings, also including one original lithograph: Revolt 1920, the remainder being lithographic reproductions of watercolours, drawings & pastels, many with stencil-added chalk or watercolour, plus: Catalogue of Ninety-Six Etching by Frank Brangwyn, A.R.A., London: The Fine Art Society, January 1912, 12pp., two etching titles added in contemporary ink manuscript to final leaf, lightly foxed, original printed wrappers (toned), slim 8voQTY: (2)NOTE:The three etchings are listed in the Catalogue Raisonne as E938, E937 and E837 respectively (numbers 84, 90 & 77 in the portfolio). The lithograph Revolt is P1328 (portfolio number 46). The other illustrations present are portfolio numbers 26, 28, 34, 41, 51, 61, 65 & 87.
Lot 35
* Piranesi (Giovanni Battista, 1720-78). Veduta dell’ Arco di Constantino, from Vedute di Roma, 1771, etching on thick laid paper, a strong impression of the first state, laid down on later card, central fold, trimmed to plate mark, small area of dust soling to upper left of image, small creases to top right, plate size 470 x 705 mm (18.5 x 27.5 ins), sheet size 665 x 890 mm (26 x 35 ins), framed and glazed, with Frost & Reed printed label to verso QTY: (1)NOTE:Hind 97, i/iii; Ficacci 968. Engraved in Rome by Piranesi, and first published by his son Francesco in Paris in 1771.
Lot 42
* Piranesi (Giovanni Battista, 1720-78). Veduta del Tempio detto della Concordia, circa 1774, etching on thick laid paper, the first state (of three), a vibrant impression, laid down to sheet edges on modern card, narrow margins, plate size 470 × 700 mm (18 1/2 × 27 1/2 ins), sheet size 480 x 710 mm (19 x 28 ins)QTY: (1)NOTE:Hind 109 i/iii; Focillon 829; Wilton Ely 242.
Lot 36
* Piranesi (Giovanni Battista, 1720-78). Veduta dell’ Arco di Tito, 1771, etching on thick laid paper, the first state (of four), a vibrant impression, laid on later card, central fold, thread margin to top of image, other three margins trimmed to plate mark, repaired marginal closed tear to top of image, plate size 480 x 71 mm (19 x 28 ins), sheet size 715 x 950 mm (28 x 37.5 ins), framed and glazedQTY: (1)NOTE:Hind 98, i/iv; Ficacci 969. ?
Lot 26
* Sandby (Paul, 1731-1809). Seven etchings from Eight Views of Windsor Great Park, 1754-1758, etchings after Thomas Sandby, very good impressions on sturdy laid paper, comprising the dedication plate, 1754, second (final) state,The Cascade and Grotto (Sandby and Thomas Rooker), 1754-1758, a rare trial proof impression before completion of the sky and other detalls and before letters, also two impressions of the first state (of two), and two impressions of View from the North Side of the Virginia River near the Manour Lodge, 1754-55, three of the latter four with an Auvergne watermark (see Heawood 426-427); and Windsor Terrass looking Westward, 1776, all with margins, except Gunn 149 (trimmed just within the platemark, retaining a blank border and text around the borderline) and Gunn 228 (trimmed to the subject and laid down on a sheet of backing paper), sheet size 44.4 x 62.8 cm (17 1/2 x 24 3/4 ins) and smallerQTY: (7)NOTE:Gunn 146b, 147 (3), 149 (2), 228.
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596780 item(s)/page