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Click here to subscribePatch and a Pawn, Oxenham, Elsie J. Rare First Edition. 1940. London and New York: Frederick Warne & Co., Ltd. 1940, Publisher’s orange-red cloth cover with black outline; black lettering to front and spine; small line drawing of crown to front; frontispiece has 'Tansy pointed with her whip to the green slopes by the lodge'; flyleaf lists just 2 titles - Sylvia of Sarn & Girls of Gwynfa'. With original dust jacket.
The Scotch Forcing Gardener, Comprising the Various Methods of Forcing Grapes, Peaches, Nectarines, Pineapples, Figs, Cucumbers, Melons, Strawberries, French Beans, Cresses, and Mustard: To Which is Added, a List of Fruits Worthy of Cultivation; Rare first edition, Temple, James Graham. Published by James Graham Temple, Edinburgh (1828). Leather boards, with hand written frontis piece by the Royal Horticultural Society. Rare First UK Edition
Camden (William) - Brittania: or, a Chorographical Description, of the Flourishing Kingdoms of England, Scotland and Irenald , translated by Richard Gough. Believed to be Gough 's first translated edition 1695. In age appropriate condition with some scattered spotting, some plates oxidised, small closed tears to outer margins of some leaves, some larger tears and in need of new binding ( Currently original and NOT restored )
Caroll, LEWIS; Sylvie & Bruno Concluded. Very rare First Edition book1893, inscribed by the author. First Edition, presentation copy. With Forty Six Illustrations by Harry Furniss. Published by Macmillan & Co 1893. Beautiful red morocco covers, with gilt borders and panel work to front and verso. Signed / inscribed by the author, Lewis Carroll, to the frontis ' Catherine E Lloyd, with the regards of her old friend, the Author,' and then dated Dec 27, 1893. Finished with a flamboyant swirl, in the hand of the author. Carroll most famously wrote ' Alice's Adventures In Wonderland .' Very rare copy of this book, even rarer with inscription in the hand of Carroll.
IRONCLADS IN ACTION. A SKETCH OF NAVAL WARFARE FROM 1855 TO 1895 WITH SOME ACCOUNT OF THE DEVELOPMENT OF THE BATTLESHIP IN ENGLAND; Wilson, H. W.1898 Reprint. London, Sampson Low, Marston and Company Limited, 1898. Two Volumes. Both with blue boards, and gilt decoration. ALONG WITH: The Downfall Of Spain, similar book. First Edition c1900.Same Author.
[Grecia]. Marmora, Andrea. Della historia di Corfù. Venezia, Curti, 1672. In 4° (227 x 157 mm); [32], 456, [12] pagine. Frontespizio inciso, ritratto dell’autore in ovale inciso da Bosio da originale di Lafevre, 1 carta geografica e 2 vedute a volo d’uccello a doppia pagina, 6 tavole di monete di cui 5 a piena pagina, e 8 tavole a doppia pagina (poche le carte arrossate.) Legatura coeva in piena pergamena con decorazione dorata, sui piatti doppio filetto con fleurons agli angoli interni, tassello in marocchino rosso al dorso per il titolo, tagli rossi a spruzzo. Prima edizione di questo noto trattato, arricchito da 8 tavole con scene mitologiche che non fanno parte dell’edizione. Atabey 774; Blackmer 1082: “First and only edition of the early standard history of Corfu”. € 1200
Giovio, Paolo. Vitae duodecim vicecomitum Mediolani principum. Parigi, Robert Estienne, 1549. In 4° (243 x 173 mm); 199, [1] pagine. Marca tipografica al frontespizio, 10 grandi ritratti xilografici nel testo (piccolo foro di tarlo al margine bianco delle prime 2 carte.) Legatura di poco posteriore in pergamena con tracce di un titolo manoscritto al dorso liscio. Ex libris Horace de Landau. Bell’esemplare con bella provenienza di questa prima edizione. Adams G-694; Schreiber 104: “First edition of this biographical history of the Visconti dynasty, illustrated with 10 splendid woodcut portraits of the Dukes of Milan. These woodcuts are signed with the Lorraine cross, which, together with their superior quality, led to an attribution to Geoffroy Tory. The present woodcut portraits are reduced copies of illuminated portraits in the original manuscript. This is the last of the only five illustrated books issued by Robert Estienne”. € 400
[Gesuiti]. Constitutiones Societatis Iesu cum earum declarationibus. Roma, Tipografia del Collegio Romano dei Gesuiti, 1583. In 8° (168 x 112 mm); 309, [71] pagine. Frontespizio architettonico inciso (bruniture.) Legatura coeva in pergamena floscia con unghiatura, tracce di 2 bindelle e titolo manoscritto al dorso. Prima edizione della stesura definitiva del testo latino con le glosse marginali o “Dichiarazioni”. De Backer-Sommervogel V, 77; Quaritch catalogo 1226, The Society of Jesus, No. 9: “The Constitutions of the Society of Jesus. From its place in Sommervogel’s chronological listing we deduce that this edition is the first printing of the authoritative final recension of the Latin text”. € 400
Faujas de Saint-Fond, Barthélemy. Descrizione delle esperienze della macchina aerostatica dei signori di Montgolfier. Venezia, Antonio Graziosi, 1784. In 8° (218 x 138 mm); xxxii, 320 pagine. Antiporta figurata, 9 tavole incise ripiegate, 5 tabelle parzialmente ripiegate (restauro al margine inferiore del frontespizio.) Legatura coeva in mezzo vitello con angoli, fregi e titolo dorato al dorso, tagli a spruzzo blu (piccole mancanze). Esemplare fresco e marginoso di questa prima edizione italiana. PMM 229: “Faujas de Saint-Fond’s ‘Description of the Aerial Machine of MM. Montgolfier’ was the earliest record of this flight, written and published in the very year of its accomplishment. It is the first serious treatise on aerostation as a practical possibility”. € 300
Cruveilhier, Jean. Atlante generale della anatomia patologica del corpo umano. Firenze, Vincenzo Batelli, 1843. In 2° (462 x 320 mm); 59, [1] pagine. 232 tavole litografiche fuori testo, con una ripiegata e per lo più colorate su disegno di Ottavio Muzzi, ciascuna con due o più figure, indice analitico di tutte le materie contenute per ordine alfabetico su due colonne (qualche fioritura all’occhietto.) Legatura coeva in mezza pelle marrone con fregi e titolo in oro al dorso (sciupata). Esemplare fresco e con barbe di questa prima edizione italiana. Garrison e Morton 2286: “The fine illustrations of gross pathology make this, one the greatest works of its kind. Cruveilhier gave the first description of disseminated sclerosis. Hypertrophic pyloric stenosis and ulceration of the stomach due to hyperacidity were also for the first time described in the above work”. € 300
Della Croce, Giovanni Andrea. Cirugia universale, e perfetta di tutte le parti pertinenti. Venezia, Nicolò Pezzana, 1661. In 2° (330 x 227 mm); [16], 540 [i.e. 544] pagine. Marca tipografica al frontespizio e circa 190 grandi figure xilografiche nel testo (piccolo foro di tarlo al margine bianco di qualche carta, leggero alone al margine bianco superiore delle ultime carte.) Legatura in pergamena antica con titolo manoscritto al dorso (sguardie nuove). Opera di fondamentale importanza per la storia della chirurgia. Contiene la prima illustrazione di un intervento neurologico, e si dedica in particolare alle ferite dovute alle armi da guerra. Durling 1805; Wellcome 1669; Garrison-Morton 4850.4: “Croce improved the instruments for trephination, and published classic woodcuts depicting the operation, including the first illustration of a neurological surgery actually taking place. The work is also important for Croce’s descriptions of cranial and cerebral diseases. In hundreds of woodcuts of instruments and procedures Croce illustrated all of the instruments used before and during his own time”. € 800
Dürer, Albrecht. Della simmetria de i corpi humani, libri quattro. Venezia, Domenico Nicolini da Sabbio, 1591. In 2° (310 x 210 mm); [6], 143 [i.e. 141], [1] carte. Marca tipografica al frontespizio e all’ultima carta, illustrazioni e diagrammi xilografici nel testo e a tutta pagina di cui 3 ripiegati (fori di tarlo al frontespizio e su poche carte, gore d’acqua, sporadiche fioriture.) Legatura in piena pergamena (sguardie nuove). Prima edizione italiana a cura di Antonio Gallucci, che aggiunge anche delle sue considerazioni sull’arte e sulla poesia. Wellcome I, 1920; Adams D-1055; Choulant 145: “The work embodies the first application of anthropometry to aesthetics, and is technically interesting because it contains the first attempts to represent shades and shadows in wood engraving by means of crosshatching”. € 1500
Vasari, Giorgio. Le vite de piu eccellenti architetti, pittori, et scultori italiani, da Cimabue insino ‘ tempi nostri. Firenze, Lorenzo Torrentino, 1550. In 4° (205 x 135 mm); 3 parti in 2 volumi; 552; [2], 555-992, [44] pagine. Frontespizi architettonici xilografici con vedutina di Firenze ai frontespizi, illustrazione allegorica incisa in legno a piena pagina in fine (delicati rinforzi al margine esterno del primo frontespizio, abili restauri all’angolo superiore esterno alle pagine 595-606, piccoli difetti.) Legatura del secolo XX in pergamena con titolo in oro su doppio tassello al dorso liscio. Tassello del libraio e stampatore Pietro Agnelli di Milano, della libreria antiquaria Rappaport di Roma ed ex libris di Giovanni Pietro Toesca. Esemplare proveniente dalla biblioteca di uno dei più grandi storici dell’arte del Novecento italiano di questa prima edizione che è il primo libro organico di storia dell’arte, nonché la fonte spesso unica di notizie biografiche degli artisti a cavallo tra Medioevo e Rinascimento. PMM 88: Le vite sono “a vital contribution to our understanding of the character and psychology of the great artists of the Reneissance, a term (Rinascita) which he was the first writer to use”. (2 volumi) € 8000
Omega - a gentleman's steel cased 'Speedmaster Professional' Chronograph manual wind wristwatch, black dial with applied luminous markers, centresweep seconds, triple register recording hours, minutes & continuous seconds, tachymeter bezel, movement signed Omega & numbered 32196476, calibre 861, dust cover, case with tachymetre bezel, back of case signed Omega with Speedmaster emblem and inscribed with 'The First watch worn on the moon. Flight qualified by NASA for all manned space missions', case numbered 145.022/ST 71, Omega crown & pushers, case 42mm diameter on Omega articulated steel bracelet, no documents or box. In good working order. Slight scuffs to crystal. Both watch and bracelet cosmetically grubby. The Omega bracelet is marked 1171/1
Three Delft polychrome plates, the centre of the first painted with a yellow bodied parrot perched in a red, green and blue tree, 22.5cm (8.75 in) diameter, the second with a yellow bird on blue and manganese rocks, 26.5cm (10.5 in) diameter and the last by the Porcelain Claw factory and of a vase of green feather like leaves, 13.5cm (5 .25 in) diameter (3) There are glaze losses to the rims together with minor chips
A small William IV/Victorian silver vinaigrette, by Jesse Sargeant, Birmingham 1837, of rectangular shape, engine turned, the cover with foliate scrolled edge, engraved C Ronald inside the cover, crested, 3.7cm, 0.67oz; together with a George IV silver vinaigrette, by William Simpson, Birmingham 1826, rectangular with foliate engraved design, floral edge and reeded sides, 3.3cm, 0.50oz (1.19oz combined) (2) First in good condition, no splits or holes, hinge tight, grill unmarked , the second has a repaired and unmarked grill and is slightly out of shape
Two 18th century air twists, a pair and another flute, the tall slender bell bowl of the first on double helix stem and circular foot, 20.5cm (8 in) high, the second smaller, 16.5cm (6.5 in) high, the pair of flutes with facetted bowls, 23cm (9 in) high and the slender trumpet bowl of the last on clear stem and folded foot, 21cm (8.25 in) high (5) (D) The sir twist both have chips to their feet.
An 18th century illusion glass and a later rummer, the trumpet bowl of the first on teared bun knop and folded foot, 11.5cm (4.5 in) high, the ogee bowl of the second on bun knopped stem and domed square foot, 12.5cm (5 in) high (2) (D) One corner of the square foot of the rummer has been chipped off
Gaspar Adriaensz. van Wittel, called Vanvitelli (Dutch, 1652-1736) The Villa Borromeo at Isola Bella on Lake Maggiore pencil and brown ink, squared for transfer in sanguine on one sheet 36½ x 49.30cm (14 x 19in) Provenance: The Property of the Estate of the late Professor S. F. C. Milsom Bartolomeo Cavaceppi, Rome; Acquired by Vincenzo Pacetti, circa 1801, n. 261; P. Fatio; his sale, Geneva, Rauch, 13-15 June 1960, lot 399, When acquired by Agnew's, London; From whom acquired (with its pendant, see below) by the late owner Exhibited: Rome, Galleria Gasparrini, Vanvitelli ed altri vedutisti, 1966, no. 32. London, Agnew's, The Italian Scene: Drawings by Vanvitelli, 1961, no. 7 (exhibition label verso). Literature: Dessins Anciens et Modernes, vente Nicolas Rauch S.A., auction catalogue, Nicholas Rauch, Geneva 13-15 june 1960, p. 131. The Italian Scene: Drawings by Vanvitelli, 1961, exhibition catalogue, London, Agnew and Sons, 1961, no. 7. G. Briganti, Gaspar van Wittel e l'origine della veduta settecentesca, Rome, 1966, p. 276, no. 30d, illustrated. Vanvitelli ed altri vedutisti, exhibition catalogue, Rome, Galleria Gasparrini, 1966, no. 32. A. Zwollo, Hollandse een Vlaamse veduteschilders te Rome, 1675-1725, Assen, 1973, p. 122, no. 243, fig. 209. G. Briganti, Gaspar van Wittel, Milan, 1996, p. 335, no. D138, illustrated p. 336. Other Notes: Label reads verso: 'Vanvitelli, born in Holland in 1652, lived in Italy from the age of nineteen. Prolific in oils, his works on paper are extremely rare'. Isola Bella, the most famous of the Borromean Isles in Lake Maggiore, contains the residence of the Counts Borromeo. Isola Bella was named after Isabella d'Adda, who married Carlo III Borromeo (1586-1652). A companion drawing by Vanvitelli, 'View of Isola Bella on Lake Maggiore' was sold by Christie's, London, 2 July 2013, lot 27, for £21,250. Vanvitelli was commisioned to execute three different views of the Borromean islands, which resulted in numerous versions being created; 12 paintings of the islands (Briganti, 1996, nos. 333-344) and five drawings (Briganti, nos. D138, D139, D143, D389, D410) The present study is a preparatory sketch for the view of Isola Bella, of which four painted versions are known (Briganti, 1996, nos. 334, 336, 338, 340). The first of these painted versions is in the Colonna Collection; the second is in a private collection, Rome (formerly Colnaghi, London); the third is known to have been with an antique dealer in Rome; the last version's present whereabouts are unknown. All the views of the Borromean Islands in the Colonna Collection, Rome, have been dated by Briganti to 1690. The present study depicts the island seen from the Gulf of Borromeo, but omitting the Villa Borromeo, which is however in the finished painting.Some dirt and discolouration under the glass and a little foxing.
Carl Goebel (Austrian, 1824-1899) Karthauser Closter - a Carthusian monastery signed and dated lower left "C Goebel 1851" watercolour 29 x 44cm (11 x 17in) Provenance: Private collection, Suffolk. Other Notes: Carl Goebel the Younger received his first training from his grandfather, the Academy Professor and sculptor, Joseph Klieber, who taught his grandson at the Academy of Fine Arts from a very young age. In 1838 the young Goebel was awarded the Fuger Composition Prize when only fourteen years old. He went on to work in the major courts of Europe and travelled extensively, painting landscapes.A little browning and loss of colour.
John Constable, RA (British, 1776 –1837) A Fishing Boat on Brighton Beach , circa 1824 pen and brown ink over pencil 17 x 17cm (7 x 7in) Provenance: Isabel Constable (1822-1888), the artist's daughter (Presumably from the collection of one of the artist's children (a 20th century inscription on the reverse reading 'Col Isabelle Constable', suggests this)); thereafter acquired by Sir Robert Witt Exhibited: The Royal Society of British Artists, Suffolk Street, 200th Exhibition, including a loan collection of Victorian and Edwardian draughtsman, Winter 1943-44, No 528, A Fishing Boat , Constable, lent by Sir Robert Witt Other Notes: Anne Lyles writes: Constable's visits to Brighton began in 1824 when he took a house there for a few months in the hope that his wife Maria and their children would benefit from the sea air. The family returned to the town for further extended visits in 1825-6 and then again for the long summer of 1828. Constable would join them there as often as he was able, benefitting from the regular coach service which ran between London and this now fashionable coastal resort. The house which Constable selected for the family in 1824 was situated on the western edge of Brighton, not far from the beach, and indeed it was not long before he began to make sketches, initially in oils, of the life along the shore. At first he was dismissive of the town, writing in a letter to his friend John Fisher - penned shortly after his arrival - that it was nothing but 'Piccadilly … by the sea-side' (R.B.Beckett, ed, John Constable's Correspondence: VI; The Fishers, 1968, p.171; letter postmarked 29 August 1824). In fact Brighton was still a working fishing town around this date, and indeed in the same letter Constable told Fisher how much he admired the various 'picturesque' fishing boats on the beach, and these - and their crew - were soon to become a subject of his close scrutiny. Constable's first visits to Brighton in May and June, 1824 were quite brief , but when he returned in July he was able to spend the rest of the summer there, remaining until October. In September and October he embarked on a series of drawings many of which, like A Fishing Boat on Brighton Beach, are carefully worked in pen and ink (or fine brush) over pencil, to which he sometimes added monochrome wash. Ian Fleming-Williams identified some twenty-five to thirty drawings of this rather formal character which take as their theme the long-shore fishing fleet at Brighton and the men who worked it (Ian Fleming-Williams, Constable and his Drawings, 1990, pp.205-9). They generally show the vessels beached (there was no port at Brighton so boats had to put into the shore at high water and then beached as the tide receded), with their sails and nets drying. As Fleming-Williams noted, Constable initially made these drawings in a large sketchbook, measuring about 7 1/8 x 10 ¼ cm (18.1 x 26.1 cm), with a Whatman watermark of 1821, which he had first started using the year before. The sketchbook was later dismantled, and its individual sheets are now spread across a range of public and private collections (Graham Reynolds, The Later Paintings and Drawings of John Constable, 1984, nos 24.26-42 and 45-49; Graham Reynolds, The Early Paintings and Drawings of John Constable, 1996, Appendix, nos 24.26A and 24.31A; and Christie's, Old Master and British Drawings, New York, 27 Jan 2016, lot 89). A Fishing Boat on Brighton Beach is so close in style to these drawings, particularly two examples in the Victoria and Albert Museum (Reynolds 1984, op. cit, nos 24.45 and 24.48) which are similarly executed in pen and ink over pencil, that it seems highly likely that it, too, was originally made on a page of this same sketchbook, and then - at some stage after being removed from the book - was cut down, probably on the left. Fleming-Williams has suggested that these Brighton boat drawings may well be connected with a proposed publishing project that Constable mentions to Fisher in a letter dated 17 December 1824 (R.B.Beckett, op.cit, p. 184). In this letter the artist explains that he had recently met up, in London, with the Anglo-French dealer John Arrowsmith who had just commissioned him to make twelve finished drawings of Brighton boat and beach scenes taken from those (numbering about thirty, he said) which were in his sketchbook. They were to be engraved in England, by S.W.Reynolds, and then published in Paris. It is not clear whether Constable had already been in discussion about this venture with Arrowsmith prior to their meeting in London in December. It is thus difficult to know whether, when making the Brighton beach drawings, the artist was doing so specifically with this project - or even another engraving project - in mind. In all events, Fleming-Williams suggested that Constable is likely to have initially sketched the drawings on the spot in pencil, and then worked over them some time later in pen and ink or wash, perhaps in connection with the Arrowsmith project. The publishing venture itself, however, seems to have come to nothing. A Fishing Boat on Brighton Beach has the collector's mark of Sir Robert Witt ( 1872-1952) on the verso ( Frits Lugt, Les Marques de Collections de Dessins & d'Estampes, Fondation Custodia, 1921, 1956 and 2010, no. 228b). Witt was an important collector of prints and drawings. Although he disposed of some of these during the course of his life-time, he bequeathed a substantial portion of his collection, including drawings by Constable and Gainsborough, to the Courtauld Institute of Art in London.One foxing spot in the middle by the sail. Some discolouration to the cream background, particularly down the right-hand edge.
George Richmond (British, 1809-1896), and the Richmond family A Portrait of a Young Lady seated, inscribed in pencil 'Geo. Richmond delt. 1860'; together with a portfolio of loose studies to include landscapes, still-lifes, nudes, portraits, animal studies and various prints, including two nude studies bearing initials and dated 'GR 1879' and a drawing inscribed 'Mary Richmond, Dec ?/52'. drawings, watercolours, etchings and prints, various sizes, 56 x 41cm (22 x 16in) (album) Provenance: By descent within the Richmond familyall loose, except one framed, few mounted; Portrait of a Young Lady inscribed 'Geo. Richmond delt. 1860' with several foxing spots mostly to the bottom and left margin; others occasional foxing and some staining, some worn edges, few with previous signs of affixation; the first nude study bearing initials 'GR 1879' with severe wrinkling of the edges and foxing; the second nude study with several foxing spots.
Follower of Hans Holbein the Younger (German, 1497-1543) Portrait of Queen Jane Seymour (1508-1537) half-length, her hands folded, wearing a pear-shaped pendant jewel of rubies and pearls oil on panel, in an elaborate frame surmounted by the Royal Crown carried by an angel's wings 64 x 48cm (25 x 19in) The angel’s wings at the top of the frame are part of the Seymour family coat-of-arms.The Seymour arms were then augmented with the lions of England with the consent of King Henry VIII himself. Provenance: Patrick Campbell Johnston, 16, St James's Place (according to a label on the reverse); Believed to have been acquired sometime in the first half of the 20th Century by the parents of the late owner. Other Notes: Jane Seymour (1509-1537) was the third wife of King Henry VIII of England and mother of the future King Edward VI. She succeeded - where Henry's previous wives had failed - in providing a male heir to the throne. Jane's father was Sir John Seymour of Wolf Hall, Savernake, Wiltshire. She became a lady in waiting to Henry's first wife, Catherine of Aragon and then to Anne Boleyn, who had married the King in 1533. On 30 May 1536, Henry and Jane were quietly married a few days after Anne's execution. In October 1537, she gave birth to Prince Edward but died a few days later and was buried at Windsor. During her life as Queen, Jane had managed to restore the Princess Mary, Henry's daughter by Catherine of Aragon, to her father's favour, presumably as the King was believed to have genuinely loved Jane and did this to please her. This portrait derives from the prime original which Holbein painted shortly after the sitter's marriage to the King, which is now in the Kunsthistorisches Museum, Vienna (also on panel, size 65 x 47cm), and for which there is a preparatory drawing now in the Royal Collection at Windsor Castle (50 x 27cm) [see K. T. Parker, The Drawings of Hans Holbein in the Collection of His Majesty The King, 1945, p.47, No.39]. Due to the Queen's untimely death giving birth to a male heir and the consequent elevation of the late Queen's Seymour relations, numerous repetitions were made in the Holbein studio for others at Court seeking the King's approval and the Seymour family's patronage (ref. K T Parker, ibid, " ... the artist seems to have used the study repeatedly"). One such, though considerably larger (on panel, 102 x 77.5cm) is at Woburn Abbey in the Bedford Collection which is believed to date between 1545 and 1550, at the very time that Jane's star during the reign of her son was in its ascendancy. The present painting is on a panel which has a felling date of post circa 1532. It is therefore perfectly possible that the present painting was worked on in Holbein's studio in his lifetime and its apparently earlier unfinished state would seem to suggest that. A version post-dating Holbein's death taken from the original or the preparatory drawing is more likely to have been completed. A copy is less likely to have been painted much later in the 16th Century during the reign of Elizabeth when the Seymours were no longer considered important or influential, and especially on a panel prepared from a tree felled in the 1530s. It would seem that the present painting was subsequently in the 19th Century "improved" by the addition of the gold and green curtain. The pear-shaped pendant-jewel, which Queen Jane is shown wearing, is that set with a table-cut sapphire and a red stone (either a ruby or a spinel) which was a piece of jewellery that Henry's fifth wife, Katherine Howard, is known to have worn. This sort of recycling of jewels was then common practice. The condition report concerning the dating of this painting and the panel, from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online.Oil on panel formed of three boards in vertical alignment. Central join has been recently repaired. Slight vertical warp to the panel. Retouching to sitter's forehead. Paint layer of face simply painted, slightly worn. Under drawings is now visible through the paint layers. Costume and curtain appear to be later reworkings, with unusual surface texture in the paint in these areas. Varnish is dull and uneven. Some wear to gilding on frame, crown decoration is insecure. Sold with a reproduction seal of the Queen's arms supported by the lion and unicorn . The condition report concerning the dating of this painting and the panel from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online. Jane Seymour, Queen of England 1536 Oil on wood, 65,5 x 40,5 cm Kunsthistorisches Museum, Vienna Label to reverse: Patrick Campbell Johnston 16 St James's Place
Central European School (mid 17th Century) Allegories of Spring and Autumn - Spring, Portrait of a lady, three quarter length, in a red dress trimmed with Brussels lace, with a feather in her cap, holding flowers and a rose; and Autumn, Portrait of a lady in a black dress trimmed with Brussels lace, holding a basket of fruit the first inscribed "VER" upper right; the second inscribed upper right "Autumnus" oil on canvas (a pair) 88 x 71cm (34 x 28in) Provenance: From a Kent country house.Lined. Somewhat flattened and rubbed. Autumn has a double scratch by the shoulder of the sitter.
Follower of Sir Peter Lely (1618-1680) Portrait said to be of Hortense Mazarin, Duchess of Mazarin (1646-1699), niece of Cardinal Mazarin pastel on canvas, unframed 38 x 30cm (15 x 12in) Hortense Mancini, Duchesse Mazarin (6 June 1646, Rome – 9 November 1699, Chelsea) was the favourite niece of Cardinal Mazarin, chief minister of France. She was a mistress of Charles II, King of England, Scotland and Ireland. She was the fourth of the five famous Mancini sisters, who along with two of their female Martinozzi cousins, were known at the court of King Louis XIV of France as the Mazarinettes. Charles II of England, the first cousin of Louis XIV, proposed to Hortense in 1659, but his offer was rejected by Cardinal Mazarin who believed the exiled king to have little in the way of prospects. Mazarin realised his mistake when Charles was reinstated as King of England only months later. Mazarin then became the supplicant and offered a dowry of 5 million livres, but Charles refused.Unframed and dirty.
Two pairs of decorative cufflinks, the first of gilt bead and wirework in spherical form (diameter 1.4cm), with chain connections and flattened torpedo backings, marks on both ends distinct but not recognised, including '833' implying 20ct gold; the other pair with rectangular bi-coloured mother of pearl cameo plaques each depicting a classical warrior's head in plumed helmet, length 2cm (2)
Henry Crowther (British, fl.1905-1939) A dark bay hunter and a Jack Russell terrier before a country house signed lower left "Crowther" oil on canvas 55 x 75cm (21 x 29in) Other Notes: Henry Crowther was an equestrian and sporting artist whose work developed over a long career. Henry Crowther first exhibited in 1875 at the Royal Pavilion Gallery in Brighton, and then at the Royal Academy from 1876 to 1898. He concentrated on dog paintings from 1900 until 1933 and was the first artist to attend Crufts Dog Show in order to obtain commissions.Rather shiny varnish. Three old repaired tears. Two damages under the horse's back legs, a paint loss to the horse's neck and a horizontal line of damage in the top left-hand corner.
George Paice (British, 1854-1925) "Athel", a dark bay hunter in a stable with a black cat signed lower left "G Paice '95" oil on canvas 62 x 74cm (24 x 29in) Quite dirty. One old repaired tear. Craquelure. Athel was a brown gelding foaled in 1889 by Atheling out of Ada by Massinissa. Bred in Ireland by John Nolan. Won the Leopardstown Grand Prize for 2 year olds worth £876 first time out for J Daly. Transferred to England and won a further 22 races spread over the season 1892 to 1898. None was of great importance, indeed his Irish win was the best of all. At Manchester in November 1898 he is recorded as having “broken down and died on returning to the paddock”. Most of his English wins were for Mr Ross, including the 7 he scored in 1895, the year of this picture. (Athel was officially a “brown” but he was in reality a dark bay). We are grateful to David Oldrey for his assistance with the catalogue entry
A mid 18th century Delft blue and white dish, possibly London and another possibly Liverpool, the centre of the first painted with a peacock perched on an island by a rock within four sprays of flowers on the rim, 34cm (13.25 in), the second with ships sailing by a tower at the mouth of an estuary, 34cm (13.5 in ) diameter (2) Both have glaze losses and chips to their rims
Two red and white part chess sets, one ivory, the other bone, the first with turned pieces, the king 8.5cm (3.25 in) high and the Indian bone set ornamentally and ring turned, the kings 9cm (3.5 in) high The bone set lacks a red pawn, the ivory set lacks its King and has further chips and damages which include the loss of four ball knops from pawns. the heads of the white king and bishop currently loose and the ball knop to the red queen already glued back
Five various carved green stone tikis, one with red jewelled eyes, 5cm (2 in) high, the largest and smallest with uncoloured eyes, 6 and 3cm (2.25 and 1.25 in), the other two with red eye rings, all with gilt suspension loops (5) Other Notes: In Maori mythology, Tiki was the first man to be created by Tane, the god of forests and birds.
Three 18th century memorial rings, the first with an oval grisaille-painted ivory plaque depicting a grieving woman by an urn under a weeping willow, to a plain white enamelled band inscribed 'Jane Dyne, Ob 13 April 1781, Ae [aetatis=aged] 14' ; the second of flattened ropetwist form with interlocking black enamel bands inscribed respectively 'Jane Wowen, Ob 10 Dec 1758, Aet 60' and 'John Wowen, Arm [armiger=has the right to bear arms], Ob 1 June 1760, Aet 74; the third with a near-circular glazed plaque depicting in gold two hearts beneath a crown, closed back set to a wavy black enamelled band (damaged) with worn inscription reading 'E.S [?], Ob 25 Oct 1767, Ae 58'; ring sizes respectively N, H½ , K-L (3)
An Irish Regency gilt Suite in the manner of Thomas Hope, circa 1805 comprising a sofa and a pair of armchairs of Grecian style, carved with fluted cornucopia arms and on monopodia legs, each carved with lion masks and paw feet (3) Sofa 89cm high x 170cm wide Chairs 89cm high x 67cm wide Provenance: Private Collection, Norfolk Purchased circa 1976 By repute from Caledon Castle, County Tyrone Literature: Clifford Musgrave Regency Furniture 1800 to 1830; 1961; Fig 41A Percy MacQuoid and Ralph Edwards Dictionary of English Furniture from the Middles Ages to Late Georgian Period; 195; Fig 279 Ralph Edwards The Shorter Dictionary of English Furniture 1987; page 165, fig 196 The Country Life Library of Antiques, Chairs, Edward T Joy, Revised Edition 1980, page 86, figure 67 (illustration of sofa) Splendour and Elegance: European Decorative Arts and Drawings from the Horace Wood Brock Collection; Museum of Fine Art , Boston From 1800-1810, Regency gilt neoclassical style furniture became very fashionable. Thomas Sheraton (1751-1806) in his influential book The Cabinet Dictionary of 1803 introduced designs subsequently copied and adapted by clients and their designers. A close example in design to Sheraton's drawings in the Cabinet Dictionary is the couch now on display at the Victoria and Albert museum designed by Gillow & Co in 1805 for the Reverend Edward Hughes and the Marquess of Sligo. There are similarities in design to this suite. At the same time well known Regency designers such as Thomas Hope and Henry Holland published their own designs. Thomas Hope's authorative publication of 1807 Household Furniture and Interior Decoration, included examples of monopedia legs with animal heads. The monopodium, a decorative support consisting of the head and one leg of an animal, often a lion or a leopard was first seen in Roman furniture but revivied during the late 18th Century. As with Sheraton, Hope's designs were taken and adapted by cabinet makers throughout England and Ireland. During his Grand Tour from 1794-1796, the English architect and designer Charles Heathcote Tatham (who studied under the cabinet maker John Linnell) drew similar monopodia to this suite and which were later published by Henry Holland.The frames have been regilded with some wear to the arms terminals
An 18th century Savona and another drug jar, possibly Brussels, the two bun shaped lobes of the first painted in blue with putti above and below the label, 'Ung. Rasino', 21cm (8.25 in) high, the white waisted cylindrical sides of the second inscribed in manganese 'A Portulacae' within blue and coloured flowers, 20.5cm (8 in) high (2) (D) The Savona jar is radially cracked with restoration to chips from its rims. The second jas has glaze losses to its rims
Rackham, Arthur (Illustrator), two titles to include; The Rise of the Niblung pub. Heinemann, 1939, first edition, bound in publishers green cloth, with twenty-four full page coloured illustrations, as called for, together with The Compleat Angler pub. Harrap, 1931, with twelve full page coloured illustrations, as called for, (2)
BEMELMANS, Ludwig - a collection of five titles, four with dust wrappers to include Madeline in London pub. 1962, first edition; Madeline and the Bad Hat pub. 1958, first edition; Madeline pub. undated, first edition; Madeline's Rescue, undated, first edtion and Madeline's Christmas pub. 1984 (5)
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