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Click here to subscribeBadge. British Indian. 105th (Madras Light Infantry) Victorian Officer's shako plate circa 1869-78. Very fine die-stamped rich gilt crowned laurel sprays surrounding a curled bugle horn inscribed MADRAS LIGHT INFTY resting in laurel and palm sprays; floreated 105 to voided centre; CEDE NULLIS applied scroll below. Loops. VGC Became 2nd Bn. King’s Own Light Infantry (South Yorkshire Regt) on 1st July 1881. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
King's Shropshire Light Infantry Officer's forage cap badge circa 1881-1902. Fine die-stamped facetted silvered star mounted with gilt circlet SHROPSHIRE; green cloth centre bearing silver strung bugle with KLI between the cords. Loops GC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Durham Light Infantry Victorian Officer's 1889 HM silver DLI pagri badge. Fine Birmingham hallmarked die-stamped bugle ornamented with laurel strung from an Imperial crown, floreated lined DLI between the cords H & S (Hobson & Sons) Hinge & hook present, pin absent VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. The Duke of Cornwall Light Infantry Officer's helmet plate circa 1901-14. Splendid gilt crowned star mounted with Garter and laurel sprays with silver scroll THE DUKE OF CORNWALL LT. INFY; green velvet centre bearing gilt strung bugle, crossed feathers with red inlays and silver turreted archway. Three loops. VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 53rd (Shropshire) Regiment of Foot Victorian shako plate circa 1869-78. Good scarce die-stamped brass crowned laurel sprays enclosing the Garter, the seeded centre pierced with stencilled numerals 53. Loops. VGC Following Cardwell's reforms of the Army, 53rd became 1st Bn King's Light Infantry on 1st July 1881, later KSLI. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Welsh Glamorgan Light Cavalry Volunteers Victorian Mounted Officer's Bridle Horse Bit. A rare mid 19th Century example of a steel bit retaining both white metal regimental bit bosses. Some age wear. GC. The Glamorgan Light Cavalry Volunteers was disbanded in 1866. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. King's Own (Yorkshire Light Infantry) Victorian Officer's helmet plate circa 1891-1901. Fine scarce rich gilt crowned star mounted with Garter and laurel sprays bearing silver scroll THE KING'S OWN YORKSHIRE LIGHT INFANTRY, black enamel centre with silver French Horn and central Rose. Three loops VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 77th (East Middlesex) Regiment of Foot Victorian Officer's shoulder belt plate circa 1830-55. Good scarce gilt rectangular plate mounted with silver Prince of Wales's plumes, coronet and motto over floreated 77 set within laurel sprays bearing a scroll inscribed PENINSULA. Two hooks and two studs. VGC 77th Foot (East Middlesex) sent East in 1854. Served with Light Division in Bulgaria and the Crimea. Fought at Alma, Inkerman and throughout the siege of Sevastopol taking part in both assaults on the Redan. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. 68th (Durham Light Infantry) Regiment Victorian pre 1855 Officer's shoulder belt plate. Good scarce copper gilt rectangular plate mounted with silver tri-part honour scrolls to top and bottom; between, a crown over laurel and palm sprays with central strung bugle, 68 between the cords. Two hooks and two studs. VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Ceylon Light Infantry display side drum. A good post war rope tensioned brass example. The dark blue body bearing title scroll over golden bugle strung from Prince of Wales's feathers with CLI cypher between the cords. Complete with rims and skins. The instrument's accuracy is neither warranted or implied. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
17th Light Dragoons plate warmer circa 1823-33. A really splendid and extremely scarce New Stone example by Spode. The border and centre richly ornamented with floral patterns. At the head of the border, set on crossed lances, a skull with crossed bones above, surmounted by XVII; a scroll across the lower part of the lances “or gloryâ€. Ornate handles with gilt decoration. No maker's stamp or pattern number. (diameter approx 9 1/2 inches) 17th Light Dragoons returned to England in 1823 after a long period of active service and were constituted as a corps of Lancers. It would seem lightly that the regiment took this opportunity to order this service from Spode to replace breakages overseas and to display their new Lancer status. The regiment served throughout the Crimea and on 25th October 1854 took part in the famous “Charge of the light Brigade†led by Captain William Morris; redesignated 17th Regiment of Lancers on 17th August 1861 and 17th (Duke of Cambridge’s Own) Lancers on 19th June 1876. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
English County Regiments 8 x Hollow Silver Regimental Sweetheart Brooches. Comprising: North Staffordshire with Birmingham 1898 hallmark ... Oxfordshire Light Infantry unmarked silver (repair to hook). ... Royal Berkshire with unmarked silver (possibly converted from a hat pin).... Royal Berkshire 2nd Battalion with Birmingham 1892 hallmark (hookr eplaced) ... Worcestershire. with London 1904 hallmark (polished). ... Worcestershire with Birmingham 1911 hallmark (repaired) .... accompanied by similar Army Service Corps with Birmingham 1897 hallmark 1914... Royal Artillery with London 1903 hallmark (damaged A/F). All complete with pin and hook fitting. (8 items) INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Highland Light Infantry 1900 shako. Good dark blue body with diced band red-white-red and red-green-red. To the front, a white metal post 1902 shako badge and cord boss mounted with white metal thistle device. Complete with mohair plaited cap lines and woollen ball tuft. Black patent leather peak and chin strap. The interior with leather sweatband and original maker's label for F.Jacobson 1900. GC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
South African Light Horse Boer War sheet brass slouch hat badge circa 1899-1902. Good thick brass Maltese cross example. Arms bearing SALH initials, 1899 to centre. (Owen 661). GC Raised 8.11.1899 under Lt.Col. Hon. J.H.G. Byng, Known as The Sakabulas from the black tail feathers of that bird worn in the slouch hats. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
Badge. Scottish. Highland Light Infantry Victorian Officer's HLI shoulder belt plate circa 1881-1901. Fine scarce seeded gilt rectangular plate mounted with silver thistle star and coiled bugle, gilt Imperial crown, HLI monogram, ASSAYE scroll and Elephant. Two hooks and two studs. VGC INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
The Midland Pullman poster 1961 121cm x 125cmEdges need restoration. There are four brown stains above the wording ‘London St Pancras dep’. Two pieces of old cellophane have caused staining/ discolouration to the top to bottom edge of the left hand side. Light creasing and top corners have been lost. Also a 27cm tear below the train buffers.
* English School. Cattle in an open landscape, circa 1840s, oil on panel, a bull and a heifer stand beside a stream winding through meadows, with three further cattle in the background, indistinctly initialled lower right, light wear and some marks to recto, board size 33 x 28 cm (13 x 11 ins), in a carved wooden gilt frame (49.5 x 44 cm)QTY: (1)
* Qian Songyan 錢松岩 (1899-1985). Red Cliff, circa 1975, woodblock print heightened with transparent and opaque watercolour on laid paper, red seal to lower left, Chinese characters and additional red seal to top right, light spotting to the upper and lower sheet edges, sheet size 59.5 x 41.5 cm (23 1/2 x 16 1/4 ins), unmounted QTY: (1)NOTE:Qian Songyan was a native of Yixing, Jiangsu Province, and originally began studying painting with his father. In 1923 he graduated from the Jiangsu Provincial No. Three Normal College. He taught at art academies in Suzhou and Wuxi. His works have been exhibited across China and the world.Provenance: purchased by the current owner from Rong Bao Zhai, a famous woodblock printing studio in the antique street Liuli Chang, in Beijing, China.
* Leighton (Clare, 1898-1989). Cotton Pickers, 1941, wood engraving on wove paper, signed, titled 'Cotton', and numbered 20/30 in pencil, a deep impression, with margins, 'BPL 490' to verso, detailed research notes in pencil to backing board, minimally tipped onto backing board, image size approx. 14.7 x 10.2 cm (6 x 4 ins), sheet size 19.3 x 15 cm (7 3/4 x 6 ins), window mountedNOTE:Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian.'Cotton Pickers' was a commission for The Rochester Print Club, and was subsequently published in Elsie Syminton’s By Light of Sun, 1941.
* Strang (William, 1859-1921). Portrait of Sir Henry Rider Haggard, 1911, etching with drypoint on cream paper, printed with light plate tone, one of 35 published proofs, signed 'David Strang imp' bottom left, signed 'Wm Strang fec. DS' bottom right on behalf of the artist by David Strang, inscribed 'Final St.' in pencil below image, research notes to verso, plate size 39.7 x 27.4 cm, framed and glazed (59 x 45 cm)QTY: (1)
* Reni (Guido, Calvenzano di Vergato 1575-1642 Bologna). Three Putti, circa 1630, pen and brown ink on laid paper, bearing later identification inscription in pencil at lower left recto 'Guido', collector's mark of Sir George Clausen lower right (Lugt 539), mounted on early 19th century light blue laid paper with blindstamp armorial collector's mark of the Earl of Shrewsbury to upper right recto and upper left verso (Lugt 2688), additionally inscribed in a late 19th or early 20th century hand in brown ink to upper margin verso 'Guido Reni (Earl of Shrewsbury's Coll:)', sheet size 181 x 137 mm (7 1/8 x 5 3/8 ins),later antique-style moulded frame, glazed, frame size 36 x 30.5 cm (14 x 12 ins) QTY: (1)NOTE:Provenance: Charles Talbot (1753-1827), 15th Earl of Shrewsbury, of Alton Towers, Staffordshire (Lugt 2688), his blindstamp recto and verso of blue laid paper support; Sir George Clausen ( 1852 – 1944), artist and collector, with his blindstamp recto (Lugt 539).The technique of cross hatching appears again in the artist’s A Sibyl writing, a Putto to the Left, pen and ink over red chalk, measuring 22.5 x 19.5 cm (8 7/8 x 7 5/8 inches), dated to about 1630 by Nicholas Turner, sold at Sotheby’s, New York, 27 January 2001, lot 48, for $11,000 hammer (£7,500). In view of the similarity of technique, we have dated the present drawing to circa 1630.Charles Talbot (1753-1827), 15th Earl of Shrewsbury, of Alton Towers, Staffordshire, formed a large art collection, which was viewed by Gustav Waagen in 1835 (Art Treasures of Great Britain III, p. 381). Waagen mentions a large number of paintings, most of them from the Italian school, many of which were purchased in 1829 from Madame Bonaparte, and some from the dealer Michael Bryan (1757-1821). The family died out with Lord Charles's nephew, John, in 1852. The present drawing was possibly included in the sale of 440 lots of prints and drawings belonging to the Earl of Shrewsbury (and others), of which 28 were drawings, at Sotheby’s, London, 13 to 15 March 1858.
* English School. An album of watercolours, circa 1830s/40s, containing approximately 48 watercolours of Heidelberg, Dresden and other continental topographical views, some mounted and loose, plus approximately 65 sheets of prints, some with multiple mounted engravings, portraits etc. a few Baxter prints etc, largest watercolour 32.5 x 22.5 cm, occasional light spotting and stains, original half calf album, rubbed with some wear, 40 x 31 cmQTY: (1)
* Hollar (Wenceslaus, 1607 - 1677). The Four Windmills, after Jan Breughel, 1650, etching on laid paper with foolscap watermark, the first state (of 2), with printed inscription to lower margin of the plate 'Brüghel pinxit' and 'W. Hollar fecit 1650. Ex Collectione Arundeliana', a very good impression with strong contrasts, old ownership inscription in brown ink to lower left corner of the plate verso 'cc', and further neat pencil inscription just below the platemark verso '1215. Apell in Dresden 1861', light mount stain, plate size 118 x 170 mm, sheet size 190 x 240 mm, framed and glazed (with 20th century typewritten description of the print and provenance information to verso)QTY: (1)NOTE:Provenance: Ciccri Collection (according to typewritten note pasted to verso of the frame); Aloys Apell, printdealer, Dresden, by 1861; purchased from the London printdealer Robert Dunthorne in 1912 (typewritten note to verso). Pennington 1215 i/ii; New Hollstein (Hollar Part IV) 1104 i/ii.The Earl of Arundel employed Wenceslaus Hollar as artist-in-residence to make drawings of his extensive art collection. Some of these drawings are now the only record of the contents of that impressive collection. Hollar was able to make prints from the drawings of the Arundel collection which were produced in three issues.
* Van den Berge (Pieter, 1659-1737). Portrait au Naturel d'un Elephant et d'un Rinoceros Arrivez de puis peu des Indes Orientalles a Londres, 1686, [Amsterdam], Jacques Le Moine de l'Espine, circa 1686, mixed method engraving on laid paper, some light soiling, lower outer corners to verso slightly skinned, with short closed tear to left corner (generally without loss), plate size 231 x 322 mm (9 1/8 x 12 3/4 ins), with margins, sheet size 252 x 347 mm (10 x 13 3/4 ins)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wurzbach, Niederländisches Künstler-Lexicon, 33.
* Bridgeman (Emma Laura G., 19th century). A sketchbook of Wales, 1843, 37 pencil and chalk mounted sketches of Welsh topographical landscapes, buildings, and costume, one or two heightened in bodycolour, most captioned to lower margins or to blank sheets, various sizes, the largest 185 x 255 mm, the smallest 70 x 90 mm, smaller sketches mounted two to one sheet, a couple of sheets detached with some light marginal stains, pencil note at front 'Sketches by E. L. G. Bridgeman, 1843', original morocco-backed boards, rubbed with some wear to spine, oblong 4to QTY: (1)NOTE:The competent sketches include views of Hafod, house and grounds, Periran falls, Valle Crucis Abbey, Chepstow, Harlech, Caernarfon and Conway Castles, Snowdon, Dolbaddern Tower, Barmouth, and adults and children in Welsh costume.There is a 2-page letter from Liz Whittle, who researched the artist and subject matter in 2002 and provides some useful and detailed background information on the sketchbook.
* German School. Bamberger (Fritz, 1814-1873). Mountain scene with figures, 1844, pencil sketch, signed to lower right, a few light spots (11 x 17 cm), mounted on card with tissue guard, together with:Coastal Scene, circa 1845, pencil sketch, signed to lower right, a few light spots, (11 x 17 cm), mounted on card with tissue guard, plus La Granja, 1857, pencil sketch, signed to lower right, a few light spots, (12 x 21.5 cm), mounted on card with tissue guard, withBraun (L. V.). A View of Heidelberg, 1859, pencil sketch, dated with presentation inscription by the artist in brown ink at foot, a few spots, (11 x 16 cm), with 3 others similarQTY: (7)
* Leighton (Clare, 1898-1989). Trolling for the Bluefish, circa 1950s, wood engraving on japon, signed, titled and numbered 'V/50', with margins, old tape to two corners, minimally tipped to backing board, very light spotting, image size 5.3 x 12.1 cm (2 1/4 x 4 3/4 ins), sheet size approx. 12 x 18.5 cm (4 3/4 x 7 1/4 ins), window mountedQTY: (1)NOTE:Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian.An apparently unrecorded issue printed in colour, separate from the standard edition of 75 published and numbered with Arabic numerals, rather than Roman and Arabic. The image was later published in Leighton's book Where Land meets Sea: The Tide Line of Cape Cod (1954).
* Furse (Charles Wellington, 1868-1904). A small archive of works by or relating to the artist, including a number of works by Charles Wellington Furse: a pencil study of the upper back and arms of a male nude on grey textured laid paper, signed in pencil lower right, upper right corner slightly creased, sheet size 27.3 x 39.1 cm (10 3/4 x 15 3/8 ins); a pen and ink drawing of Cecil Rhodes, dated 1896, with folds and a few edge-tears (one with loss to lower edge), sheet size 20.3 x 16.5 cm (8 x 6 1/2 ins), laid down on card (26.9 x 21.4 cm); and 13 small juvenile sketches of horses, figures, and dogs, mostly annotated 'Charlie' and dated 1873, some laid down on paper (adhesive show-through in places), 11.5 x 18 cm (4 1/2 x 7 ins) and smaller, and a collection of works by other hands, including a signed pen & ink head and shoulders sketch of a woman by Pietro Annigoni, dated 1954, a sketchbook belonging to Charles's brother the sculptor J.H.M. Furse, containing approximately 25 leaves of drawings, mostly head studies in pencil (some crossed through in pencil), but also a drawing of a greyhound in sanguine, a few sketches of other animals, several of festoons of fruit, 1 or 2 drapery studies, and a couple of landscapes in coloured chalks, sheet size 30.5 x 24.5 cm (12 x 9 3/4 ins), page block becoming loose in original cloth, large 4to, and a scrap album containing a variety of drawings, engravings, and manuscript writings, including a number of pen & ink or pencil caricatures and a scissor cut silhouette of a child, original gilt and blind decorated red calf, worn, 4toQTY: (a folder)NOTE:Charles Wellington Furse studied at the Slade School in London and the Académie Julian in Paris. He is known to have developed a talent for drawing at an early age, and this is borne out by some of the sketches offered here which were executed at the age of just six. Furse is particularly known for his portraiture, which demonstrates a novel sense of immediacy in direct contrast to much for the staid studio portraiture which had gone before. His sitters are often painted engaged in a sport or pastime, unconscious of being observed, giving the appearance of a snapshot in time. One such example is the impressive oil of four children on horseback entitled 'With the York and Ainsty - The Children of Mr Edward Lycett Green', a work conveying movement and colour, light and energy.
AR * Fedorovitch (Sophie, 1893-1953). Young Man, circa 1937, acrylic on acetate, a design for a ballet costume, inscribed ‘young man / ?’ to lower left of image, pencil inscription to verso ‘Horoscope / musical scenes’, remnants of old tape to top of sheet to verso, bottom edge of sheet unevenly trimmed, approx. sheet size 43 x 24 cm (17 x 9 1/2 ins)QTY: (1)NOTE:Sophie Fedorovitch was a Russian-born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his first choreographed ballet in 1926 until her accidental death in 1953. In her 2012 article in Research in Dance Education, Elizabeth McLean's view was that Fedorovitch had a "formative influence" on British ballet design of the 1930s and 1940s, and that she should be considered the equal of her contemporary, Christian Bérard.Horoscope is a ballet created in 1937 by Frederick Ashton (1904-1988) with music by Constant Lambert (1905-1951) and costume design by Sophie Fedorovitch. It was premiered by Vic-Wells Ballet at Sadler's Wells Theatre in January 1938, and starred Michael Somes as The Young Man and Margot Fonteyn as The Young Woman.Provenance: From the estate of Martyn Thomas (partner of Frederick Ashton), thence by descent to the present owner.Please note, in the printed catalogue for this sale this work is listed as being by the designer Derek Jarman. Information has recently come to light that this is the work of Sophie Fedorovitch.
* Callot (Jacques, 1592-1635). Gentleman with Sword, & Noblman with Folded Cloak, from the series La Noblesse, circa 1623, two etchings on laid paper, one with a partial shield watermark, some light surface marks, trimmed to plate margins, sheet size 146 x 95 mm (5 3/4 x 3 3/4 ins) and similar, 20th-century wood frames, glazed, with old pencil description pasted to verso of eachQTY: (2)NOTE:Lieure 554 and 558; Pawlak 1147 and 1151.
* Boldrini (Nicolo, active 1540-1566). Landscape with a milkmaid at right and a boy at left, after Titian, circa 1535-40, woodcut on laid paper, some light overall spotting, trimmed to black outer borderline (occasionally with some encroachment to lower left margin, sheet size 373 x 524 mm (14 3/4 x 20 5/8 ins), mounted to modern card at upper left and lower right corners only, window-mounted, 20 th century black and gilt frame, glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Muraro & Rosand 21.
* Dutch School. Candlelight Scene, early 19th century, oil on wood panel, depicting a small group of people standing and sitting outside around a table, a basket of plums in the centre, scene lit by candle light, 29 x 23 cm (11 3/8 x 9 ins), 'cantino?' in black ink and fragment of hand written paper adherred to verso, cleaned early 20th century by Messers Paris of Liverpool, framed (43 x 37.5 cm)QTY: (1)NOTE:Provenance: The fragment of paper suggests that this painting was found in a cupboard in 3 New Quay, Liverpool in 1916, after an office move.
* Vicentino (Giuseppe Niccolo, active c.1510-c.1550). Olympus (Surprise), after Girolamo Francesco Maria Mazzola, known as Parmigianino, circa 1540s, chiaroscuro woodcut on laid paper, published by Andrea Andreani (1540/46-1623), Henry Foster Sewall's collector's mark to verso (Lugt 1309), numerous other stamps to verso: 'Duplicate sold by the Museum of Fine Arts, Boston', 'M. F. A. H. D. F. Coll. No, 1700', 'Forbes Library, Northampton, Mass.', minimally tipped-on to backing board, remnants of old tape to verso, a few old creases, some minor discolouration to lower portion of sheet, sheet size 24.4 x 15.7 mm (9 1/4 x 10 ins), framed and glazed (41 x 31.5 cm), together with Prestel (Johann Gottlieb, 1739-1808). Saint Francis, Catherine and Jerome, 1786, chiaroscuro woodcut printed in pale green, blue, brown and black, 25.6 x 19.6 cm (7.75 x 10.1 ins), laid down on old paper, framed and glazed, together with Prestel (Marie Catherine, 1747-1794). Roman Sacrifice (after Abraham Bloemaert), 1780, chiaroscuro aquatint in dark brown, light brown and black, 16 x 12.5 cm (6.3 x 4.9 ins) mount aperture, framed and glazed, plus Kirkall (Elisha, c.1682-1742). Noah's Sacrifice, after Paolo Veronese, circa 1724, etching and mezzotint, overprinted with a woodcut block, old fold, some creases, closed tears to lower margin, plate size 48 x 33 (19 x 13 ins), sheet size 54 x 37 cmQTY: (4)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Olympus (Surprise) is also attributed to Ugo da Carpi (1450/80-1532).
* McElhinney (Douglas Thomas, 20th century). Bottles, August 1986, acrylic on board, depicting six light brown bottles sitting on red rectangles, honesty seed sitting in one bottle, a cream, brown and white background, signed and dated upper left, 60 x 122 cm (23 5/8 x 48 ins), framed and glazed (74 x 136.5 cm)QTY: (1)
* Marieschi (Michele, 1710 - 1743). Aedis divi Rocchi facies rudis adhuc ex cocto latere..., from Magnificentiores Selectioresque Urbis Venetiarum Prospectus, 1741, etching on thick laid paper, printed with great clarity, possibly an early/lifetime impression of the first state (of four) before the addition of plate numbers, with margins, tipped onto backing board, light mount staining, plate size 31.7 x 48 cm (12 1/4 x 19 ins), sheet size 37 x 55 cm (14 1/2 x 21 1/2 ins), framed and glazed (46 x 61.5 cm), together withGaspari (Pietro, circa 1720-1785). Moles sepulcralis semiruta, aliis Sarcophagis et Aedificiis instructa, circa 1771, etching and engraving on laid paper with watermark of three crescent moons, a good impression with margins, plate size 312 x 425 mm (12 1/4 x 16 3/4 ins), sheet size 340 x 450 mm (13 1/4 x 17 3/4 ins) QTY: (2)
* Martin (John, 1789-1854). Adam and Eve - The Morning Hymn, 1825, mezzotint on laid paper, a proof of the small plate version of Paradise Lost by John Milton, printed by J Lahee, and published by Septimus Prowett, 1825, overall toning, 27.3 x 37.1 cm (10 3/4 x 14 5/6 ins), toned to verso, mounted (40.5 x 50.5 cm) together withWith the Approach of the Arch Angel Raphael and Adam and Eve Driven out of Paradise, two mezzotints on laid paper, proofs from the small plate version of Paradise Lost by John Milton, printed by J. Lahee, and published by Septimus Prowett, 1825, some handwritten notes in brown ink to lower margin, some overall toning, some light abrasion to paper lower middle, closed tear to right margin to latter, 29.6 x 39 cm (11 6/8 x 15 3/8 ins), mounted (40.5 x 50.5 cm), plusEarlom (Richard, 1743-1822). Liber Veritatis, No. 104 & 125, from the Original Drawing in the collection of the Duke of Devonshire, after Claude Lorrain, published by John Boydell, 1st Sept 1775 & 1st Jan 1776, mezzotints, plate size 20.8 x 26 cm (8 1/8 x 10 1/4 ins), both mounted, framed and glazed (40 x 45 cm) and Lake Zuz, a mezzotint by Ruskin after Turner, in need of some restorationQTY: (6)
* Hennell (Thomas Barclay, 1903-1945). An Irish Tenement, near Rathcoursey, County Cork, 1927, ink and wash on laid paper, signed in pencil under mount ‘T H’, further signed in full and inscribed verso, dated 1927 and titled Rathcoursey, mount aperture 21cm x 27cm ( 8.25 x 10.75 ins), full sheet 24cm x 31.3cm (9.4 x 12.4 ins.), sheet beyond aperture mount stained, and occasional light spots, loose in original ebonised frame, further inscribed by a later hand with artist’s name and title to backboard.QTY: (1)NOTE:Provenance: Private Collection, Kent, UK.
AR * Tanner (Robin, 1904-1988). Autumn, 1935, etching on laid paper, an early impression of the second state (of two), signed and dated lower right in pencil 'Robin Tanner. fec. et imp. 1935', open hand watermark, the full sheet, light mount staining, small area of scattered spotting to lower left, plate size 33.5 x 31.7 cm (13 x 12 1/4 ins), unmountedQTY: (1)NOTE:Garton 18.
* Various Artists. Centenaire de la Statue de la Liberté. Lithographies Originales de Michel Dubre, Michel Lacoste, Hugo de Saint-Morand, Eric Schlumberger, Eric Gaudin and Katia Schmitt, Paris; Editions E. F. Mourlot, 1986, a complete set of six original colour lithographs celebrating the centenary of the Statue of Liberty by Dubre, Lacoste, Saint-Morand, Schlumberger, Gaudin and Schmitt, on Arches paper, each signed and numbered 86/250 in pencil, 'Mourlot Paris' blind stamp to each, portrait and landscape orientations, in excellent condition (light handling crease to lower left margin of Schlumberger), sheet size 75.5 x 54 cm (29 3/4 x 21 1/4 ins), with title, forward and justification on four sheets, all loosely contained in original blue linen portfolio with ties, title embossed in gilt on uppers, large folio (77.5 x 55.5 cm)QTY: (6)
* Piranesi (Giovanni Battista, 1720-1778). Antiquus Circi Martial cum Monumerierten Adiacentia Prospectus ad Viam Appiam (Frontispiece to Le Antichità Romane III), 1756, etching on laid paper, a vibrant impression, 'Gio. Batta. Piranesi inv. dis. e incise' to lower left, central fold, large margins, light mount staining, minimally tipped onto mount with tape, plate size 40 x 60 cm (15 3/4 x 23 1/2 ins), sheet size 52.7 x 69.7 cm (20 3/4 x 27 1/2 ins), framed and glazed (62 x 87 cm) QTY: (1)NOTE:Wilton-Ely 422; Focillon 287; Ficacci 279.
* Scultori (Adamo, circa 1530-1585). Three Putti with Dolphins, after Giulio Romano (c.1499-1546), circa 1560, engraving on laid paper, double ring fleurs-de-lye watermark, with Enrico Lodolo's collector's mark to verso (Lugt 1725), and another unattributed collector's mark to verso, tipped onto backing board, trimmed to image, some scattered spotting, sheet size 11.6 x 16 cm (4 1/2 x 6 1/4 ins), window mounted, and Three Men Sacrificing a Pig (Allegory of Autumn), after Giulio Romano, circa 1560, engraving, a later issue (probably later 18th century) on wove paper, 'Fabriano' watermark, partial 'Calgogra...' blindstamp to right of sheet, research notes in pencil to verso, light spotting, tipped onto backing board, with margins, plate size 12 x 16 cm (4 3/4 x 6 1/4 ins), sheet size approx. 19 x 22.8 cm (7 1/2 x 9 ins), window mounted, plus Saenredam (Jan Pieterszoon, 1565-1607). Sarah, from 'The Wives of Abraham, Isaac and Jacob' after Hendrick Goltzius (1558-1617), circa 1597, engraving on paper, closely trimmed to three edges, small areas of staining, mount aperture 21.2 x 16 cm (8 1/4 x 6 1/4 ins), framed and glazed (37.5 x 30.5 cm), with The bowed Woman cured by Christ, after Hendrick Goltzius, circa 1595, etching on paper, partial collector's stamp in red to lower left recto, trimmed to image (with loss of lower text portion), mount aperture 17.3 x 13.7 cm (6 3/4 x 5 1/4 ins), together with a further collection of loose woodcuts and printer's marks, most trimmed to image, some with printed text to verso QTY: (Approx. 22)NOTE:Estate of Michael Jaffé art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent
* Durer (Albrecht, 1471-1528). Virgin and Child seated by a tree, 1513, etching on laid paper, a later copy in reverse (probably late 16th century), without the date near the upper margin, some marks and light stains, upper left corner replaced, trimmed to platemark, sheet size 116 x 75 mm (4 5/8 x 2 15/16 ins), hinge-mounted on modern cardQTY: (1)NOTE:See Meder 34.
* Welch (Denton, 1915-1948). Portrait of Noel Cousins, circa 1940s, ink and wash on buff paper, a characterful sketch of the semi-nude sitter reclining in a deckchair, his left arm drawn across his torso, with the use of light pink wash to highlight his lips, nipples and thumb nail, unsigned, remnants of another work in ink to verso, the lower half of two nude male figures and a Faun, with a conch shell and scabious-like flower at their feet, and a small area of repeated patterning to the lower left corner, even mount staining to recto, roughly trimmed edges, three very small closed tears to two margins, a few old creases, remnants of old adhesive to verso, sheet size approx. 32.5 x 21 cm (12 3/4 x 8 1/4 ins), window mounted, together with another sketch by the same artist, Reclining Male, 1943, pencil on laid paper, a recumbent semi-nude male leaning on his left arm, inscribed 'Noel Adeney' and 'July 30 1943' in pencil to left of image, with a manuscript note 'sketch by Denton Welch bought from Henry Boxer 39, Kew Road, Richmond Dec. 1984’, remnants of another sketch in pencil and ink to verso of a partially dressed figure, mount staining to recto, a few small stains, some spotting and remnants of old tape to verso, sheet size 17.5 x 24.5 cm (7 x 9 3/4 ins).QTY: (2)NOTE:“Noel Cousins who frequently went out painting with Denton Welch in the Hadlow Road years, remembers that DW did not have a very clear idea what the finished picture would be like.’’ James Methuen-Campbell interviewing Cousins for his biography Denton Welch: Writer and Artist (1984). Noel Cousins was a painter who was active from 1957 to 1965.Noël Gilford Adeney (1890-1978) was a British artist, known for her landscape and still life paintings and a member of The London Group. She is known to have drawn a portrait of Welch which sold at Sotheby's in 1997. Welch also appears as "Merton Hughes" in Adeney's 1956 novel No Coward Soul.
* Prout (Samuel, 1783-1852). Five Studies of Ancient Buildings and Coastal Scenes: Étretat, Dover, Public House and Wooden Gate, pencil on pale cream wove paper, some light handling marks, each mounted (Dover and Wooden Gate window-mounted), mount aperture 22.6 x 14.5 cm (8 7/8 x 5 3/4 ins), brown ink annotations by Ruskin to verso of Étretat and later inscription by Douglas Grant, (37.5 x 28.7 cm)QTY: (5)NOTE:Brown ink annotations to paper laid down on verso of Étretat mount show figures and writing 'J.R.3' to upper right corner, lower margin with '8 12 14 5 Dover/ 39 30/69 one added. 70/ Double. 39,40/ Étretat two double ...', later inscription in pencil 'This Sam. Prout drawing came from the collection of John Ruskin & the figures & writing below are in his hand. Douglas Grant'. Douglas Grant was a Professor of American Literature at Leeds University from 1949 to 1960.
AR * Walker (David, 1934-2008). Costume design for Cinderella’s stepsister, 1965, pencil, ink and wash on wove paper, inscribed ‘Cinderella – Covent Garden 1965. Sud(?) sister (2nd costume) Ballroom’, three annotated design notes in pencil, a few pinprick holes from old staples, very small tear to top right, light mount staining, old tape to all sides on verso, sheet size 47.5 x 32 cm (18 3/4 x 12 1/2 ins), framed and glazed (54 x 41 cm)QTY: (1)NOTE:This costume was designed for the Royal Ballet’s 1965/66 production of Prokofiev’s Cinderella, and was worn by Frederick Ashton (1904-1988). Ashton not only choreographed the ballet but also danced the role of one of Cinderella’s stepsisters, alongside Robert Helpmann. The cast also included Margot Fonteyn as Cinderella, David Blair as The Prince, and Wayne Sleep as the Stepsisters' Suitor.David Walker was a prolific British designer whose work encompassed film, theatre, ballet and opera. After study at the Central School of Arts and Crafts he went on to work for many of the world’s major theatre, dance and opera companies, including the Royal Ballet, English National Ballet, the Metropolitan Opera, the National Theatre, and the RSC. In 1971 Walker was awarded an Emmy for ‘Outstanding Achievement in Costume Design’ for his work on Hamlet.Provenance: From the estate of Martyn Thomas (partner of Frederick Ashton), thence by descent to the present owner.
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