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Click here to subscribeA Dresden quatrefoil cup and saucer with two blue panels painted with floral sprays and two panels painted with classical Watteau scenes set within gilt borders. Marked AR Augustus Rex, mark used by Helena Wolfsohn, c. mid 19th century. Size: cup 8cm high, saucer 14cm diameter. Condition: some very minor wear to gilding. No other damage or restoration visible under UV light.
Two Dresden quatrefoil twin-handled chocolate cups and saucers, with two yellow ground panels painted with floral sprays and two panels painted with classical Watteau scenes set within gilt borders. Marked AR Augustus Rex - mark used by Helena Wolfsohn from 1843-1883, c. mid 19th century. Size: cups 8cm high, saucers 14cm diameter. Condition: nibbles to rim of one cup. No other damage visible under UV light, some very slight wear to gilding.
Great British and World stamps, including Queen Elizabeth II mint decimal stamps with traffic light strips and blocks, miniature sheets, 1st class, various books of stamps, small number of Queen Victoria stamps, some Queen Elizabeth II used examples, Austria, Argentina, Antigua, Brazil, Bulgaria, Canada, Ceylon etc, housed in three stockbooks and loose in envelopes
John Smellie (British, 1886-1925)Sunlit Meadows, Callander signed 'John Smellie' (lower right), titled to label (verso)oil on canvas71.2 x 91.5cm (28 1/16 x 36in).Footnotes:ExhibitedProbably, Glasgow, The Royal Glasgow Institute of the Fine Arts, 1925, no. 265.ProvenancePrivate collection, UK; thence by descent.Smellie's paintings are rare as he died aged just 39 in 1925, having only recently had the opportunity to devote himself to the life of a professional artist. Nonetheless, he exhibited extensively at the Royal Glasgow Institute, The Royal Scottish Academy and the Paisley Art Institute between 1909 and 1926, and in 1923 had been elected a member of the Glasgow Art Club.The present work is likely to be his previous lost masterpiece of the same title Sunlight Meadows, Callander that was exhibited at the RGI in 1925. It had a price tag of £60, his highest price at the RGI that year. Smellie's obituary in The Herald, July 1925, described him as a 'young artist of great ability and promise, a refined and sensitive colourist and master of technique...A native of Glasgow and well-known and highly-respected in art circles in the city...1925 he won the Glasgow Art Club prize for the best picture by a younger member of the club. In the RSA 1925 he had two pictures well hung and sold, of which the larger is the last picture he painted. All his later landscapes are full of atmosphere and light, and posses charm of harmonious colour and pleasing design.'For further information on this lot please visit Bonhams.com
Joan Eardley RSA (British, 1921-1963)Sun on the Sea oil on board64.5 x 122cm (25 3/8 x 48 1/16in).Footnotes:ProvenanceWith Royal Scottish Academy, Edinburgh, 1959.Mrs N Iona Mitchison (acquired from the above in 1959); thence by descent to the present owners.ExhibitedEdinburgh, Royal Scottish Academy, 1959, no. 221 (published as no. 301).Eardley first exhibited landscapes at the Gaumont Cinema in Aberdeen in 1951. At this time, whilst convalescing from the mumps, she was taken to Catterline near Stonehaven for the first time by her friend Annette Stephen where she stayed at the Creel Inn. Annette bought a cottage - The Watch House - and when she married it was put at Joan's disposal. Thus began her relationship with the area which would shape her later career.Eardley was captivated by the wild seas off Catterline and would often travel from Glasgow when word of an approaching storm reached her. Such was her connection with the place that in 1955, she bought her own house in the village and much of the rest of her career was spent capturing the seas and landscape around Catterline.'I think I am painting what I feel about scenery - but certainly not scenery with a name because that is the northeast - it's just a waves, vast seas, vast areas of cliff.' (F. Pearson, Joan Eardley, National Galleries of Scotland, 2009, p. 55)Eardley's seascapes were painted en plein air, often with larger boards lashed to an easel weighed down by rocks. The power of the sea and ferocity of the wind can be felt in her expressive and immediate brushstrokes, but also in the scratching out of paint and frequent inclusion of sand and other debris either blown onto the work or applied by Eardley herself.Eardley described her working methods:'When I'm painting in the northeast - I hardly ever move out of the village. I hardly ever move from one spot. I find the more I know the place, the more I know the particular spot, the more I find to paint in that particular spot...I very often find I'll take my paints to a certain place that has moved me and I'll begin to paint there and I find perhaps by the end of the summer I haven't moved from that place - my paintings are still there and I've worn a kind of mark in the ground and I leave my paints there overnight and I seem to build up a sort of table and...a studio seems to have arrived outside' (F. Pearson, Joan Eardley, National Galleries of Scotland, 2009, p. 55).Sun on the Sea shows a rare break in Eardley's clouds, as the sun fights to push through the passing storm. The introduction of this light source brings glints of blues, golds, and pinks across her otherwise full and tempestuous sea. These colours contrast heavily with the coastline still in shadow and rendered in dark paints, some of which are thickly applied to create impasto and others thinly enough to allow the paint to drip down the image. The scale on which Earley has painted pulls the viewer in to her tumultuous and ever-changing landscape in which one can almost feel the bitter wind and spray whipping off the sea.Eardley, who died at the tragically young age of 42 in 1963, was one of Britain's most remarkable artists of the post war period. And Sun on the Sea is a very fine example of one of her deeply expressive seascapes from this later period in her life and career.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Francis Campbell Boileau Cadell RSA RSW (British, 1883-1937)Ben Cruachan across the Sound of Mull signed 'F.C.B.Cadell' (lower right), inscribed and initialled 'Absorbent Ground - never varnish - F.C.B.C.' (verso) oil on panel38 x 45cm (14 15/16 x 17 11/16in).Footnotes:ProvenancePrivate collection, UK.Cadell first travelled to Iona in 1912 and from then he would visit almost every summer to paint its distinctive landscape and beaches. Despite the frequency of his travels in this region, views on Mull are a rarity when compared with those on Iona, which have become ubiquitous within the canon of Colourist painting. This perhaps being due to the fleeting nature of his travel through Mull in order to make his away to and from Iona. In the present work, one gets the sense that Cadell happened upon this beautiful composition whilst walking to the coast, however all of the finest elements of his paintings on the west coast of Scotland come to fruition here. There is an immediacy and pace that one can sense in the painting - indicative of Cadell's desire to capture a fleeting moment en plein air - highlighted by the patchwork of strong angular brushstrokes built up with areas of fluid paint over the water and beaches. Perhaps most distinctive in the work is Cadell's ability to render the subtleties of changing light, most notably in the effect of the clouds moving across the landscape, and in particular Ben Cruachan in the distance. This Mull view represents a rare example of the artist's west coast landscapes not painted on Iona and highlights the quality of an artist at the very peak of his powers.For further information on this lot please visit Bonhams.com
Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965)Spring in Spain signed 'Anne Redpath' (lower left)oil on board38 x 51cm (14 15/16 x 20 1/16in).Footnotes:ProvenanceWith Mercury Gallery, London, 1970.The Fleming-Wyfold Art Foundation, no.102.Anon. sale, Christie's, Edinburgh, 1 November 2001, lot 152.The late Sir John Craven (acquired at the above sale).Redpath travelled extensively in Europe during the 1950's. Her journey to Spain in 1951 was the first in a series of exploratory visits to new countries which galvanised her work. She loved the intense light, dramatic hillsides and simple architecture. The arid and colourful landscapes lent itself well to her palette and dry impasto. A critic in The Scotsman wrote 'Spain has done something to her as she passes it on. She has the mark of the artist – a real reaction to a theme'. (Patrick Bourne, Anne Redpath 1895-1965: Her Life and Work, Edinburgh, 1989, p.52).Preferring to exhibit the products of these trips in groups, Redpath's one woman show at the Scottish Gallery in 1953 were almost all Spanish themed.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
No Reserve - 18K Yellow Gold tennis bracelet set with approx. 4.62 ct. champagne diamonds. Set with 33 brilliant cut champagne diamonds of approx. 4.62 ct. (0.14 ct. each) (SI - P / light brown). In good condition. Hallmarks: Dutch assay mark 750. L: 18 cm. Weight: 21.48 grams. This lot will be auctioned without reserve price.
No Reserve - 14K Yellow gold flower brooch set with ruby, tourmaline and diamond. Set with five faceted natural rubies of approx. 1.10 ct. in total (approx. 4.2 x 3.2 x 2.0 mm), two baguette cut tourmalines of approx. 1.10 ct. in total (approx. 5.7 x 3.8 x 3.2 mm) and four brilliant cut diamonds of approx. 0.02 ct. in total in a white gold setting. In good condition with light signs of use. Hallmarks: Dutch assay mark 585. LxW: 3.9 x 2.2 cm. Weight: 4.74 grams - this lot will be auctioned without reserve price.
No Reserve - Certified natural unheated star sapphire of 5.74 ct. Cabochon cut light blue natural unheated star sapphire of approx. 5.74 ct. (9.61 x 8.60 x 6.74 mm). Certificate from the Dutch Gemstone Laboratory. In good condition. Serial number: NEL report no. E-19673 of 16.12.2022. This lot will be auctioned without reserve price.
No Reserve - Pomellato 18K rose gold Iconica ring. Very light rose gold. In good condition. Hallmarks: Dutch assay mark 750, signed Pomellato, numbered P180002053, jeweler's mark S+C: Schaap en Citroen, Diemen, 2006-. Ring size: 17.5 mm / 55 mm. width: 1.2 mm. Weight: 14.96 grams. This lot will be auctioned without reserve price.
No Reserve - Alphonse Augis 18K yellow gold "plus qu'hier, moins que demain" pendant. In good condition, light signs of use. Hallmarks: Dutch assay mark 750, signed A. Augis and maker's mark, Belgian import mark Beheyt Frères. LxW: 3.0 x 2.0 cm. Weight: 3.63 grams. This lot will be auctioned without reserve price.
No Reserve - Certified natural unheated star sapphire of 3.26 ct. Loose cabochon cut light violetish-blue natural unheated star sapphire of 3.26 ct. (8.49 x 6.38 x 5.48 mm). Certificate from the Dutch Gemstone Laboratory with number E-19675 dated 16.12.2022. This lot will be auctioned without reserve price.
No Reserve - Lot of a silver brooch, a bangle bracelet and a pendant. Including a blue enamel brooch by Norwegian designer Jacob Tostrup, a Dutch hammered bangle bracelet by S. Limpens (835 Dutch assay mark, Minerva, 1990) and a circular openwork pendant. In good condition, light signs of use. Weight: 47 grams. This lot will be auctioned without reserve price.
FRED YATES (BRITISH, 1922-2008)A Day at the Seaside oil on canvas-board 27 x 38cm (unframed) Provenance The Estate of the ArtistCondition reportThe board has been cut so the upper, lower and right edges are unfinished, otherwise the board is sound and flat; light surface dirt and flecks of paint loss, upper centre and off the left border. No sign of retouching under ultraviolet. Unframed.
WILLIAM CROSBIE (BRITISH, 1915-1999)Munnie and Janette (1937) titled (lower left) watercolour and gouache 56.5 x 64cm ARR Provenance Aitken Dott & Son, Castle Street Edinburgh; Private collection, UK Exhibited Edinburgh, Aitken Dott & Son, Castle Street, The Scottish Gallery Summer Exhibition 1978, no. 92Condition reportPinholes to upper left and right corner, minor creasing off the lower left border and areas of light surface staining, otherwise good condition overall; framed and under glass, unexamined out of frame.
HERMAN M LIJFTOGT (DUTCH, B. 1951)Still Life With Blue Tile signed and dated 'M. LijFTOGT 1995' (lower left) and inscribed and dated (verso) oil on canvas 20.5 x 25cm ARR Provenance Waterman Fine Art Ltd., Jermyn Street, London; Private collection, UKCondition reportOriginal canvas; slightly uneven varnish in some areas, otherwise the paint surface is in good, clean condition overall; no sign of retouching under ultraviolet light.
SIR KYFFIN WILLIAMS (BRITISH, 1918-2006)Twitch, Study of a Lurcher signed with initials 'KW.' (lower right) charcoal and watercolour 30 x 50cm ARR Provenance Acquired by the current owner's parents, who lived next to Kyffin Williams, directly from the artist, thence by descent; Private collection, UK Footnote The lurcher in the picture belonged to the vendor's family.Condition reportThe sheet is sound and flat; media spots around the main composition and a couple of very light stains off the upper border; good condition overall; framed and under glass, unexamined out of frame.
FABIAN PEREZ (ARGENTINIAN, B. 1967)Tango signed 'f perez' (lower right) and numbered '76/195' (lower left) print in colours 56 x 75cm Provenance DeMontfort Fine Art; Forest Gallery, Guildford; Private collection, UKCondition reportAppears in generally good condition.Frame has a few light knocks and scratches.
FRED YATES (BRITISH, 1922-2008)The Church signed 'YATES' (lower right) oil on board 31 x 61cm (unframed) Provenance The Estate of the ArtistCondition reportMinor abrasions to the corners but generally the board is sound. Scattered surface dirt and light surface abrasions in the sky. No sign of retouching under ultraviolet. Unframed.
FRED YATES (BRITISH, 1922-2008)The Girl in the Window signed 'FRED YATES' (lower right), titled (lower left) oil on canvas 50 x 42cm (unframed) Provenance The Estate of the ArtistCondition reportOriginal canvas. Some areas of impasto have been compressed around the sitter's face; otherwise good clean condition overall with no sign of retouching visible under ultraviolet light; unframed.
FRED YATES (BRITISH, 1922-2008)A bright terrace; A rocky coastline (verso) signed 'YATES' (lower right) oil on board 65 x 45cm (unframed) Provenance The Estate of the ArtistCondition reportSome abrasions to corners and boarders, otherwise board is sound and flat; areas of dirt to the impasto some of which has been slightly compressed; scattered surface abrasions in the sky. No sign of retouching under ultraviolet light. Unframed.
FRED YATES (BRITISH, 1922-2008)The Hillside Terrace signed 'FRED YATES' (lower right) oil on canvas 61 x 91.5cm (unframed) Provenance The Estate of the ArtistCondition reportOriginal canvas; pins to the lower right and left corners; pinholes to the upper left and right corners; scattered surface dirt, particularly in the sky, upper centre; no sign of retouching under ultraviolet light. Unframed.
FRED YATES (BRITISH, 1922-2008)Neighbours in the street oil on board 40 x 51cm (unframed) Provenance The Estate of the ArtistCondition reportThe board is sound and flat; some light staining to the paint surface off the upper right border, otherwise good condition overall with no sign of retouching under ultraviolet light.
FRED YATES (BRITISH, 1922-2008)A rocky coastline oil on board 61 x 110cm (unframed) Provenance The Estate of the ArtistCondition reportMinor abrasions to the boarders and corners, otherwise the board is sound. Scattered surface dirt, particularly to the pronounced white impasto, some of which has been slightly compressed;Small patch of board showing upper centre sky, could be due to paint loss.No sign of retouching under ultraviolet light; unframed.
Viola 15 3/8" one piece back, ebony fingerboard, rosewood tailpiece and pegs, labelled 'Friedrich Kochendorfer Atelier Fur Geigenbau Stuttgart 1901', with bow stamped 'W Seifert', ivory tip, cased with a small quantity of musicWith Non-Transferable Standard Ivory Exemption Declaration Number 4FW6E5GY Some light marks from usage, appears to be no cracks or repaired cracks
Two late 19th /early 20th century Chinese porcelain ovoid jars, one decorated with qutrolobed panel of a bird perched amongst blossoming plants and leafy branches to front and back, against an all over reserve of lotus flower heads and light leaf scrolls, blue your character Kangxi marks to base the other with prunus blossom on cracked ice ground based with double circleLocation:If there is no condition report shown, please request
Three pairs of late 20th Century triple pleat curtains having a Oriental theme with images of peacocks and Feilong cloud dragons on a beige ground with blue border with beige lining, two pairs measuring 70cm wide x 140cm drop each curtain and the other pair 97cm wide x 215cm drop each curtainLocation:Condition:Good, dry cleaned, light sun damage to linings.
An early/mid 20th Century Chinese navy silk overcoat embroidered with satin stitches and Chinese knots depicting ornate butterflies, blossoming vines and flora, the sleeves having deep gold coloured cuffs embroidered with blue floral designs, having a 4 gold tone knot button fastening, 54" chest x 47" long. Location:Condition: sun damage/light mark to lining where it had been stored inside out.Location:If there is no condition report shown, please request
A mid 19th Century Anglo-Indian embroidered cape having blue ground with intricate cream silk embroidered images of shells, a cream tassel fringe, 2 small blue pockets to the lining and cream silk lining, approx 40" chest x 32" long. Location:Condition: sun damage/light mark to lining where it had been stored inside out.
Letarouilly (Pl.). Édifices de Rome Moderne ou Recueil des palais, maisons, églises, couvents..., 2 volumes,Liege, D. Avanzo, 1843, numerous engraved architectural plans & plates, tear to the frontispiece of volume 1, some light toning, spotting & wear, gutters cracked, marbled endpapers, contemporary uniform gilt decorated half morocco, boards & spines rubbed, loss to the head of the spine of volume 2, folio, together with:Schimmelpenninck (Mary Anne), Theory on the Classifaction of Beauty and Deformity, and their correspondence with physiognomonic expression,..., London: printed for John and Arthur Arch, 1815, 37 of 38 monochrome plates (lacking no.20), ex-libris bookplate to the front endpaper, title page torn & repaired, some light spotting & toning throughout, contemporary half calf, boards & spine slightly rubbed, loss to the head & foot ofthe spine, 4to, plusElsam (Richard), An Essay on Rural Architecture, illustrated with original and oeconomical designs:..., 2nd edition, London: printed for Lackington, Allen, and Co., 1805, 29 of 30 aquatint plates, ex-libris bookplate to the front endpaper, some light toning & minor marks, partially detached throughout, contemporary front & rear boards detached, lacking spine, large 4to, and other 19th century architecture & plate books from the library of Mark Girouard, 4to/folioQTY: (40)
Roger (Thomas). S. Augustines Manuel Conteining Special and piked meditations, and godlie praiers:..., London: printed by Henrie Denham, 1581, 19th century inscriptions to the front endpapers, ex-libris bookplate to the front pastedown, leaves closely cropped to the head of the text-block, detached binding, rear board entirely detached, 19th century embossed full calf, boards & spine rubbed, small 8vo, together with:Moore (Thomas), The Commonwealth of Utopia:..., London: printed by B. Alsop & T. Fawcett, 1639, later endpapers, small loss to the foot of the title page through to pp.27, some light toning & wear, contemporary full calf, boards & spine slightly rubbed, small 8vo, plusFletcher (John), Wit Without Money, a Comedy, 4th edition, London, 1711, engraved frontispiece, some light spotting & marginal toning, modern blue cloth, boards & spine slightly marked, slim 8vo, and other 16th to 19th century miscellaneous literature, including Sacre Historiae Acta a Raphaele Urbin in Vaticanis Xystis... Rome, 1649, 49 etched plates, 19th century gilt decorated half calf, rubbed, oblong folio, mostly leather bindings, overall condition is generally fair/good, 8vo/folioQTY: (3 shelves)
Bindings. Sculpture. Egyptian - Assyrian - Greek - Roman..., Illustrated Hand-books of Art History, by George Redford, 1888, wood engraved frontispiece and illustrations, contemporary calf by Mudie, elaborate gilt decorated spine, 8vo, together with history of the Conquest of Mexco..., by William H. Prescott, new edition, London: George Routledge and Sons, 1866, engraved frontispiece, light spotting, front blank free endpaper inscribed 'Alfred Musgrave from Lady Windsor Decr. 1867', contemporary calf by Bickers and Son, gilt decorated spine, extremities slightly scuffed, 8vo, and The Chantry Priest of Barnet, A Tale of the Two Roses, by Alfred J. Church, 4th thousand edition, London: Seeley & Co., 1885, chromolithograph and sepia lithograph plates, contemporary calf by Bickers and Son, gilt decorated spine, 8vo, with The Bible of St. Mark..., by Alexander Robertson, London: George Allen, 1898, monochrome plates from photos, all edges gilt, early 20th-century green morocco gilt by W.J. Mansell, 8vo, plus other 19th & early 20th-century decorative leather bindings, mostly 8voQTY: (23)
Augustine (Saint, Bishop of Hippo). [Sermones sancti Augustini ad heremitas, Paris: de Marnef, 1519], lacking title (A1), leaf A2 and C7, first leaf of text with decorative initial (with small worm hole) and lower margin with early ownership signature 'Methas', double-column gothic text throughout, old manuscript annotation to verso of final leaf under colophon, light damp-staining at gutter of some leaves, some toning and occasional dust-soiling, later front free endpaper with title written in manuscript, near contemporary vellum, small 8voQTY: (1)NOTE:No UK institutional location found, with five UK locations of electronic copy of original example held at Bibliothèque Nationale de France, Paris.Colophon reads: 'Aurelii Augustini ad fr[atr]es in mo[n]te finiu[n]t sermones Parisius imp[re]ssi Anno d[omi]ni Millesimo q[ui]ngentesimo XIX tertia vero die mensis Aprilis'
Paris (Matthew). Flores Historiarum per Matthaeum Westmonasteriensem collecti: praecipue de rebus Britannicis: Ab exordio mundi usque ad annum Domini MCCCVII. Et Chronicon ex Chronicis, ab initio mundi usque ad annum Domini MCXVIII deductum: Auctore Florentio Wigorniensi monacho. Cui accessit Continuatio usque ad annum Christi MCXLI per quendam euisdem coenobii eruditum, 2 parts in 1, Francofurti: Typis Wechelianis apud Claudium Marnium & heredes Joannis Aubrii, 1601, publisher's woodcut device to title and verso of final leaf, woodcut initials, occasional early annotations in brown ink (especially to the chronicle of Florence of Worcester towards rear of volume), probably in the hand of Robert Jocelyn, Earl of Roden, some light foxing and a few small marginal waterstains, old annotation referring to the 'Catalogus Histor' of John Joscelyn to recto and verso of front endpaper, engraved armorial bookplate of the Earl of Roden K. St. P. to front pastedown, with old shelf label to upper outer corner, old calf, modern good-quality reback, folioQTY: (1)NOTE:Provenance: Robert Jocelyn, 3rd Earl of Roden (1788-1870), styled Viscount Jocelyn between 1797 and 1820, Irish Tory politician and supporter of Protestant causes (bookplate).Reprint of the second edition (London, 1570) of Matthew Paris's important historical chronicle (formerly attributed to 'Matthew of Westminster'), as edited by Matthew Parker. The text covering the period to 1259 is based on the author's Chronica Majora; the 1259-1307 text was compiled and composed by various writers at St. Albans and Westminster; the text from 1307 to 1325 is by Robert of Reading. Includes the chronicle based on the work of Marianus previously attributed to Florence of Worcester, now attributed to John of Worcester.
* Chinese Gardens. 13 large 20th-century decorative Chinese garden views, 3 with hand colouring, untrimmed edges, each approx 510 x 880 mm (printed area), together with:Cochin (Nicolas). Siege views: Ager, En Catalogne and Mondemi en Luxembourg, circa. 1657, 2 folding engraved hand-coloured views of sieges, decorative foliate cartouches with blank titles, wide margins, a little spotting and offsetting, toning to folds, each approximately 450 x 550 mm (plate size), plusItalian Architecture. 10 large 19th-century engravings of Italian Architecture, all with hand colouring, some light spotting, 390 x 500 mm (printed area), and Burkner (Hugo). The Frieze in the Throne-Room of the Royal Palace in Dresden, painted in fresco, by Edward Bendemann, Hering & Remington, Gallery of German Art, circa. 1849, 15 etched plates (some with later colouring or partially coloured), somewhat spotted mainly to margins, original cloth-backed printed boards, upper cover detached, rubbed and worn rubbed and marked to edges, tall folioQTY: (26)NOTE:Sold as a collection of prints not subject to return.
Moryson (Fynes). An Itinerary written by Fynes Moryson gent. Firft in the Latine Tongue, And Then Translated By him into English, Containing His Ten Years Travell Throvgh The Twelve Domjnions of Germany, Bohmerland, Sweitzerland, Netherland, Denmarke, Poland, Italy, Turky, France, England, Scotland and Ireland. Diuided into III Parts, London: Printed by John Beale, dwelling in Alderfgate ftreet, 1617, several woodcut maps and plans to text, contemporary ownership inscription to title-page 'John Rowe?' brown ink, ocassional light damp staining to a few leaves, lacking blanks to front and rear, A4 with tear to lower corner affecting a few letters, leaf Oo2 torn with text loss, sf4 with small loss to margin, Aaa4 with small loss to lower corner, Eee3 torn with text loss, Hh6 with loss to lower edge affecting some words, Ttt1 upper inner edge detached, original calf backed boards with gilt embossed arabesque to middle of upper and lower boards, early initials scratched to upper cover 'DR', some other scratch marks to surface, neatly rebacked, folioQTY: (1)NOTE:STC 18205.
Lee (John Edward). Isca Silurum or an Illustrated Catalogue of the Museum of Antiquities at Caerleon, London: Longmans Green Longmans & Roberts, 1862, 52 lithograph plates including some hand-coloured (few with light damp-stain), bound with Supplement to "Isca Silurum," or an Illustrated Catalogue of the Museum of Antiquities at Caerleon, Newport: Monmouthshire & Caerleon Antiquarian Association, 1868, four lithograph plates, contemporary red half morocco, joint slightly rubbed, large 8vo, together with:Merewether (John). Diary of a Dean. Being an Account of the Examination of Silbury Hill, and of various Barrows and other Earthworks on the Downs of North Wilts, opened and investigated in the months of July and August 1849..., London: George Bell, 1851, 34 lithograph plates, armorial bookplate of John Etherington Welch Rolls of The Hendre, Monmouth to upper pastedown, original cloth, lightly mottled, slim 8vo,Morgan (Thomas). Romano-British Mosaic Pavements..., London: Whiting & Co., 1886, numerous chromolithograph and lithograph plates and plans (some folding), one folding plate strengthened to folds with adhesive tape, original cloth gilt, frayed at head and foot of spine and with dark mark, 8vo, plus three others including Evans (John). The Ancient Stone Implements, Weapons and Ornaments, of Great Britain, 2nd edition, revised, Longmans, Green and Co., 1897, with a loosely inserted autograph letter signed by the author, original cloth gilt, 8vo; English Historical Society (London). Nennii Historia Britonum. Ad fidem codicum manuscriptorum recensuit J. Stevenson, London, 1838, verso of half-title with letterpress Member's copy ownership of Sir George Staunton, Bart., contemporary half sheep, 8vo; Cutts (Edward). A Manual for the Study of the Sepulchral Slabs and Crosses of the Middle Ages, London: John Henry Parker, 1849, ink stamp to verso of title and to few other leaves, contemporary half calf, library classification number at foot of spine, extremities rubbed, 8voQTY: (6)
Shadbolt (Sydney H). The Afghan Campaigns of 1878-1880, compiled from official and private sources, 2 volumes, 1st edition, London: Sampson Low, Marston, Searle, and Rivington, 1882, portrait frontispiece to volume 1, 6 maps, 20 leaves of mounted portraits, early 20th-century brown ink ownership inscription of Edwina Collins to head of front blank, light occasional spotting, contemporary red half morocco gilt, upper cover of a volume detached, marked and rubbed, 4toQTY: (2)
Cartographic Ephemera. Maps, Valentines and Postcards, late 19th and early 20th-century, a collection relating to love, marriage and courtship, including; Land of Matrimony. circa 1850, pen and watercolour allegorical map by an unknown artist, laid on later card, 105 x 325 mm together with; Beeching (G. S.). Map of Matrimony, circa 1880, colour lithograph allegorical map on card, trimmed close to printed edge, 80 x 120 mm, Nister-Dutton. Cupid's Railway Map, circa 1920, chromolighograph folding valentine card, size when open 70 x 250 mm (with reproduction of the same), Photochrom Co Ltd. Map of Marriageland, circa 1905, chromolighograph postcard, used, a few small areas of loss, 90 x 140 mm, Mappa do Coração. an unattributed colour lithograph showing an allegorical island of love in the shape of a heart in Portuguese, 140 x 90 mm, Knight Bros. (publishers). Chart of Betrothal Bay shewing the Male Route to Churchdoor, tinted lithographic postcard in the form of an allegorical map of the route to marriage, used, light spotting to verso, 90 x 140 mm, Knight Bros. (publishers). Truelove River. colour lithograph postcard showing an allegorical map and poem, 140 x 90 mm, Valentine's card. circa 1903, chromolighograph card with a manuscript map of lovers' route to bliss, light spotting, overall size 100 x 100 mm and 3 others related, various sizes and condition QTY: (12)
Cunningham (C. D.). The Pioneers of the Alps, 2nd edition, London: Sampson Low, Marston, Searle, and Rivington, 1888, photogravure portraits throughout, smaller illustrations in-text, original red pictorial cloth gilt, lightly rubbed, tall 8vo, together with:Gilbert (Josiah, and G. C. Churchill). The Dolomite Mountains. Excursions through Tyrol, Carinthia, Carniola, & Friuli in 1861, 1862, & 1863, with a geological chapter, and pictorial illustrations from original drawings on the spot, 1st edition, London: Longman, Green, Longman, Roberts, & Green, 1864, 6 chromolithographs, 2 folding maps, wood-engraved illustrations in-text, front hinge cracked, original maroon cloth gilt, spine faded with extremities worn with loss, 8vo, plusCoxe (William). Travels in Switzerland, and in the country of the grisons: in a series of letters to William Melmouth, 3 volumes, 2nd edition, London: T. Cadell, 1791, 5 engraved plates, 2 folding maps, intermittent spotting, contemporary sprinkled calf, rebacked (with endpapers renewed), red morocco title labels lettered in gilt, some light wear, 8vo, plusBall (John, editor). Peaks, Passes, and Glaciers. A Series of Excursions by Members of the Alpine Club, 1st edition, London: Longman, Brown, Green and Longman and Roberts, 1859, half-title, vignette title, 8 chromolithograph plates (including frontispiece), 9 maps, further woodcuts in-text, bookplate of the Swiss Alpine club to front blank recto, all edges gilt, modern half calf gilt, with older contrasting morocco spine labels relaid, 8vo, with 6 other 19th-century leatherbound volumes on the AlpsQTY: (12)
Fergusson (James). The Illustrated Handbook of Architecture, 2 volumes, London: John Murray, 1855, engraved illustrations throughout (a few full-page), lightly spotted, modern blue quarter morocco gilt, 8vo, together with:White (Gilbert). The Natural History of Selborne; observations on various parts of nature; and the naturalist's calendar, new edition, London: Whittaker, Treacher, & Co, 1833, engraved frontispiece, engraved plates throughout, bookplate of John & Evelyn Dudley-Scott to front pastedown, top edge gilt, late 19th-century blue half morocco gilt, some light wear, small 8vo, plusMolière. Oeuvres Complètes de Molière, 2 volumes, Paris: furne, Jouvet et Cie, 1880, half-titles, engraved portrait frontispiece to volume 1, engraved plates throughout, spotting, contemporary full vellum gilt, red morocco spine labels (chipped), some light wear, 8vo, with 2 cartons of mostly 19th-century bindings, mostly leather QTY: (2 cartons)
Pennant (Thomas). A Tour in Wales, 2 volumes, 2nd edition, London: Benjamin White, 1784, 49 engraved plates (of 53, however with 10 supplemental plates), lightly spotted, contemporary tree calf, spine elaborately gilt, contrasting morocco labels, joints cracked, some wear to extremities, 4to, together with:Bingley (William). North Wales; including its Scenery, Antiquities, Customs, and some sketches of its Natural History, 2 volumes, 1st edition, London: T. N. Longman and O. Rees, 1804, engraved frontispieces, 12 engraved pages of music, spotting, modern red half calf gilt, 8vo, plusWarner (Richard). A Walk Through Wales, in August 1797, Bath: R. Cruttwell, 1798, half-title, aquatint frontispiece, lightly spotted, endpapers renewed, modern half calf gilt, red morocco title label, 8vo, withWarrington (William). The History of Wales in nine books, 2nd edition, London: J. Johnson, 1788, 2 engraved folding maps, folding genealogy, scattered spotting, light scattered spotting, contemporary calf, rebacked, red morocco title label lettered in gilt, rubbed and marked, 4to, plusBatty (Robert). Welsh Scenery from Drawings, Large Paper copy, London: John Murray, 1823, half-title, 35 engraved plates, light scattered spotting, hinges cracked, contemporary green cloth, rubbed, spine faded, 4to, withRoscoe (Thomas). Wanderings and Excursions in South Wales; including the scenery of the River Wye, 2 volumes, 1st edition, London: C. Tilt, [1836], engraved titles, 93 engraved plates, lightly spotted, original publisher's red full morocco gilt, spines faded, lightly marked, 8vo, with 12 other 19th-century volumes on Wales, a majority leatherboundQTY: (23)
Bindings. Lang (Andrew, translator). Aucassin & Nicolette, Old World Edition, Portland Maine: Thomas B. Mosher, 1897, etched frontispiece on Japanese vellum, title in red and black, top edge gilt, gilt decorated turn-ins, 19th-century light brown morocco by Zaehnsdorf, spine and boards gilt decorated with repeated heart and floral motif, some discolouration to lower right corner of upper board, slim 8vo, limited to 500 copies, together with Shakespeare (William). The Sonnets..., London: George Bell and Sons, 1991, title in red and black, inscription to front free endpaper, all edges gilt, 20th-century red-brown morocco by M. Marshall, spine inlaid with tudor rose motif, repeated gilt tudor rose motif to boards, short 8vo QTY: (2)
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