Young (George). A History of Whitby, and Streoneshalh Abbey; with a Statistical Survey of the Vicinity to the Distance of Twenty-Five Miles, 2 volumes, Whitby: Printed and sold by Clark and Medd, 1817, uncoloured aquatint frontispiece to volume 1 and folding engraved map frontispiece to volume 2, 15 engraved/etched plates and plans (including 5 folding, some offsetting, few neat repaired closed tears to folding plans), wood engraved illustrations to text, one folding table, subscribers list, occasional spotting, modern cloth hinges to endpapers, contemporary marbled calf, rebacked, 8vo, together with:Bewick (Joseph), Geological Treatise on the District of Cleveland, in North Yorkshire, its Ferruginous Deposits, Lias, and Oolites; with some observations on Ironstone Mining, London: John Weale; Newcastle-on-Tyne: Andrew Reid, 1861, 2 folding colour lithograph sectional plans, 2 double-page colour lithograph mine plans, 2 folding tables and large folding colour lithograph map contained in rear pocket, some toning and occasional spotting, 20th-century cream/fawn half calf, spine darkened and some mottling, 8vo,Tate (Ralph & Blake, John Frederick), The Yorkshire Lias, London: John Van Voorst, 1876, advertisement leaf, half-title, 19 lithograph plates, and loosely inserted hand-coloured engraved map, front endpaper with visitors/calling card of Rev. J. F. Blake of Clifton, York to front pastedown, hinges split, original cloth, joints and extremities worn, 8vo,[Hall, George], The History of Chesterfield; with particulars of the Hamlets contiguous to the Town, and descriptive accounts of Chatsworth, Hardwick, and Bolsover Castle, London: Whittaker and Co.; Chesterfield: T. Ford, 1839, engraved frontispiece, additional title and numerous plates, light toning and occasional spotting, top edge gilt, later half calf by Hatchards, gilt decorated spine, 8voQTY: (5)
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Lyell (Charles). Principles of Geology, being an attempt to explain the former changes of the Earth's surface, by reference to causes now in operation, 3 volumes, 2nd edition of volumes 1 and 2, 1st edition of volume 3, 1832-33, half-title to volume 3 only, 2 hand-coloured aquatint plates, 6 uncoloured engraved plates (light damp stain to margins of vol. 1 frontispiece), and 3 maps (2 hand-coloured and 2 folding, also includes a duplicate map 'of extent of surface in Europe' from another edition), numerous wood engravings to text, publisher's adverts at rear of each, occasional offsetting and scattered spotting, contemporary half calf with contrasting labels to spines, extremities lightly rubbed, 8voQTY: (3)NOTE:PMM 344; Dibner 96; Grolier/Horblit 70; Milestones of Science 140; Norman 1398 [all for first edition].A foundational text of modern science and a central influence on the theory of evolution. Lyell demonstrated that large-scale changes in the Earth's physical geography could be explained by uniform geological causes which could be seen in the present day, rather than by catastrophic or biblical events. The implications of Lyell's study would have a profound effect on the development of evolutionary theory. Charles Darwin read the work on his voyage with The Beagle and it greatly influenced his thinking on both geology and evolution. A second edition of the third volume was not published.
Portugal. Du Val (Pierre), Royaume de Portugal, W. Michu, Paris, 1676, engraved map with contemporary outline colouring, large decorative cartouche, slight marginal staining, 545 x 425 mm, with another copy similar, together with Homann (Johann Baptist, heirs of). Regni Portugalliae Provicias tres Septentrionales Beiram, Transmontanam & Interamniam..., [and] Provincias Meridionales Regni Portugalliae Seilicet Extremadura, Transtagana quibus Regnum Algarbiae..., 1800, two engraved maps with contemporary outline colouring, decorative cartouche, titles repeated above the maps in French, some tape staining to the upper margins but not affecting the printed image, each approximately 580 x 465 mm, plus Zatta (Antonio). L'Estremadura di Portogallo Alentejo ed Algarve di Nuova Projezione, Venice, 1775, engraved map with contemporary outline colouring, decorative cartouche with later colouring, 320 x 335 mm, and Seutter (George Matthaus). Portugalliae et Algarbiae Regna..., circa 1720, engraved map with contemporary outline colouring, inset map of Brazil, large uncoloured decorative cartouche, some tape staining to the upper margins but not affecting the printed image, water stained, 500 x 580 mm, with Faden (W.). Chorographical Map of the Kingdom of Portugal Divided into its Grand Provinces..., 1797, engraved map with contemporary outline colouring, light overall toning, slight mount staining, title repeated above the map in Spanish, 750 x 520 mm, with another four maps of Portugal by or after De Vaugondy, Du Val and De Wit, various sizes and condition QTY: (10)
Stukeley (William). Abury, a Temple of the British Druids, with some others, described..., London: the author, 1743, facsimile reprint, [London: Reid, 1838], 40 engraved plates (including folding bird's-eye view frontispiece, 2 other folding plates and 4 double-page plates), some marginal browning mostly to plate edges and occasional browning to central folds of some double-page plates, occasional light spotting, original publisher's boards, joints split and wear to extremities, folio QTY: (1)
Delaporte (Yves & Etienne Houvet). Les Vitraux de la Cathedrals de Chartres, hisroire et description, 4 volumes [1 text plus 3 plate volumes], Chartres: É. Houvet, 1926, colour & monochrome plates & illustrations, some toning & light spotting, rebound in modern uniform green cloth, large 4to, together with:Berserik (C. J. & J. M. A. Caen), Silver-Stained Roudels and Unipartie Panels before the French Revolution, Fladers, Vol. 1: The Province of Antwetp, 1st edition, Belgium: Brepols, 2007, numerous colour illustrations, original boards, front board top right corner bumped, large 4to, plusMarks (Richard), Stained Glass in England during the Middle Ages, 1st edition, London: Routledge, 1993, numerous monochrome illustrations, original cloth in dust jacket, covers lightly rubbed, 8vo, and other stained glass reference & related, including Corpus Vitrearum, 3 volumes, 1978-2000, original cloth in dust jackets, large 4to, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/folio QTY: (4 shelves)
Griffith (Richard). Geological and Mining Survey of the Connaught Coal District in Ireland, Dublin: Graisberry and Campbell, 1818, hand-coloured engraved folding section (some offsetting) and hand-coloured engraved folding map with 8cm repaired closed tear to left-hand, manuscript number to upper margin of title, final leaf of text strengthened to upper margin, some light offsetting, toning and occasional spotting, edges untrimmed, modern cloth-backed boards, 8voQTY: (1)
Whitehurst (John). The Works of John Whitehurst, F.R.S. with Memoirs of his Life and Writings, 4 parts, including Appendix in one, 1792, engraved portrait frontispiece (margins cut down and lined to verso), 11 engraved plates (including plate 2 printed on two separate leaves as fig. 1 & 2, three plates are double-page and four are folding), occasional light spotting, contemporary half calf, rebacked preserving original spine, 4to, together with:[Hutton, James], Transactions of the Royal Society of Edinburgh volume V (portion only), Edinburgh: T. Cadell Jun. and W. Davies, 1805, portion comprising pages 39-126 only (John Playfair's biography of James Hutton, pages 39-99 and Minutes of the Life and Character of Joseph Black, M.D. addressed to the Royal Society of Edinburgh by Adam Ferguson, pages 101-117 and Appendix, pages 119-126), edges untrimmed, 20th-century cream/fawn half calf, slim 4toQTY: (2)NOTE:The contents call for seven plates, other copies recorded as having between seven and eleven plates. The volume comprises Memoirs of the life and writings of the author -- An inquiry into the original state and formation of the earth -- An attempt toward obtaining invariable measures of length, capacity, and weight, from the mensuration of time, independent of the mechanical operations requisite to ascertain the center of oscillation, or the true length of pendulums -- Appendix to Mr. Whitehurst's Attempt toward obtaining an invariable measure / the editor -- Three papers, on different subjects, from the Philosophical transactions: I. Thermometrical observations at Derby. II. An account of a machine for raising water, at Oulton in Cheshire. III. Experiments on ignited substances.Clockmaker John Whitehurst (1713-1788) was a member of the Lunar Society and made significant early contributions to the science of geology, the Works containing his most important book, An Inquiry into the Original State and Formation of the Earth.
Galton (Francis). Hereditary Genius: An Inquiry into its Laws and Consequences, 1st edition, London: Macmillan and Co, 1869, 2 folding plates, smaller illustrations in text, 'from the publishers' inscribed to head of half-title in a contemporary hand, ex-library with stamps to recto and verso of title, endpapers and blanks renewed, modern green half calf gilt over marbled boards, a few light marks, 8vo, together with:Culpeper (Nicholas). The Complete Herbal; to which is now added, upwards of one hundred additional herbs, with a display of their medicinal and occult qualities, new edition, London: Thomas Kelly, 1850, engraved portrait frontispiece, 20 hand-coloured plates, scattered light spotting, endpapers renewed, modern half calf gilt, 4to, withLettsom (J.C). Of The Improvement of Medicine in London, on the basis of public good, 2nd edition, London: James Phillips, 1775, half-title, folding frontispiece (with Birmingham Medical Institute stamp), spotted, endpapers renewed, modern brown buckram, 8vo, with 8 others related including James Paget's Records of Harvey (1846, inscribed by the author) and J.H. Sheldon's Haemochromatosis (1935)QTY: (11)
Du Maurier (George). The Martian, a novel, large paper edition, London: Harper & Brothers, 1898, monochrome illustrations, minor marginal toning, top edge gilt, original quarter vellum, boards & spine lightly rubbed, large 4to, limited edition 174/250, together with:Anderson (A., illustrator), Aucassin and Nicolette, translated by Harold Child, London: Adam & Charles Black, 1911, 6 colour illustrations, period inscription to the front endpaper, endpapers toned, some light toning & spotting throughout, top edge gilt, original decorated white cloth, boards & spine slightly rubbed, large 8vo, plus other late 19th & 20th-century illustrated literature, including works by Charles Dickens, J. M. Barrie, William Makepeace Thackeray, Hugh Thomson, Rudyard Kipling, all original cloth, many gilt decorated, G/VG, 8vo/4toApproximately 70 volumes QTY: (3 shelves )
Purcell (Henry, 1659-1697). Te Deum et Jubilate, for Voices and Instruments perform'd before the Sons of the Clergy at the Cathedral-Church of St Paul. Compos'd by the late Mr. Henry Purcel, 1st engraved edition, London: John Walsh, circa 1720, engraved title (verso blank), 18 pages of engraved music, on laid paper, small closed tear to foot of p. 7/8 without loss, light marks to margins (generally clean), wide margins, bound with Bononcini (Giovanni, 1670 – 1747). The Anthem which was Performed in King Henry the Seventh Chapel at the Funeral of the most Noble & Victorious Prince, John, Duke of Marlborough. The Words taken out of Holy Scripture. And set to Musick by Mr: Bononcini, London: J. Walsh, circa 1737, engraved title numbered 631 to lower right corner (verso blank), 19 pages of engraved music, generally clean with margins, 18th century bookplate of John Lightwood to front pastedown, 20th century quarter black morocco (by Maltby of Oxford) with gilt spine label, and 18th century black morocco gilt title label to upper cover, some minor marks, folioQTY: (1)NOTE:Purcell: Smith (Walsh) 5951; RISM P5816; Smith & Humphries 1255. Bononcini: Smith & Humphries 189; RISM B3600.
Dostoevsky (Fyodor). The Possessed. A Novel in Three Parts, from the Russian by Constance Garnett, 1st edition in English, London: William Heinemann, 1913, half-title, 'Presentation Copy' blind-stamp to title upper margin, spotting to endpapers, original red cloth with decorative spine, rubbed and dust-soiled with light stain to top outer corner of upper cover, spine slightly faded, 8voQTY: (1)NOTE:First published in Russky Viestnik (The Russian Messenger) in Moscow in 1871-72, this was the work's first appearance in English. It was the third volume of Dostoevsky's works translated by Garnett between 1912 and 1920.
Hughes (John). Poems on several Occasions. With some select Essays in Prose, 2 volumes, London: J. Tonson and J. Watts, 1735, engraved portrait frontispiece to first volume and three plates, some browning and spotting, contemporary calf, gilt decorated spines without title labels, joints cracked, 12mo, together with:Waller (Edmund), The Works of Edmund Waller, Esq; in Verse and Prose, Published by Mr. Fenton, London: J. Tonson, 1730, engraved portrait frontispiece, 2 plates (including 1 with short closed tear), early 19th-century half calf, black morocco title label to spine, joints cracked, 8vo,Prior (Matthew), The Poetical Works ... now first collected, with explanatory notes, and memoirs of the author, 2 volumes, London: W. Strahan, T. Payne, J. Rivington and Sons, J. Dodsley [& others], 1779, half-titles, engraved frontispiece to first volume, one engraved portrait illustration, light toning to first and last few leaves, all edges gilt, early 20th-century dark green half calf, morocco title labels to spines, 8vo,[Warton, Thomas], The Oxford Sausage: or, Select Poetical Pieces, written by the most celebrated wits of the University of Oxford, London: J. Fletcher and Co., 1764, wood engraved illustrations, some light dust-soiling and toning, contemporary calf gilt, rebacked, lacking title label to spine, upper board with insect damage and consequent slight leather loss, 8vo,Sedley (Charles), The Works of the Honourable Sir Charles Sedley, Bart., containing his poems, Plays, &c..., 2 volumes, London: S. Briscoe, 1722, titles in red and black, contemporary calf, joints split, worn, 12mo, plus other 18th and early 19th-century antiquarianQTY: (22)
Meredith (Louisa Anne). Some of My Bush Friends in Tasmania, Native Flowers, Berries and Insects, 1st edition, London: Day & Son, 1860, additional chromolithographic title, 11 chromolithograph plates, 3 further chromolithographic embellishments to text, occasional light toning, hinges repaired, all edges gilt, contemporary black half morocco gilt, rubbed, folioQTY: (1)NOTE:Ferguson 12508. Meredith emigrated to Tasmania in 1839. She was possibly the first female photographer of the region, although none of her photographic work survives.
Viala (Pierre, and Victor Vermorel). Ampelographie, volume 3 only, 1st edition, Paris: Masson et cie, 1902, 100 full-page chromolithograph plates at rear (with tissue-guards), one plate with large closed tear (just below image), occasional light toning, a few tissue-guards damp stained (with occasional offsetting), hinges repaired, original green buckram, spine lettered in silver, folio (34.5 x 25 cm)QTY: (1)
Gilpin (William). Observations relative chiefly to Picturesque Beauty, made in the Year 1772, on several parts of England; particularly the Mountains, and Lakes of Cumberland, and Westmorland, 2 volumes, 3rd edition, London: R. Blamire, 1792, half-title to first volume, upper margin of titles with ownership inscription 'Marianne Philips 1793', 27 plates aquatint plates (mostly tinted) and 3 hand-coloured plans, contemporary calf, rebacked, leather surface to boards worn, 8vo, together with:Gilpin (William), Observations on the River Wye, and several parts of South Wales, &c. relative chiefly to Picturesque Beauty; made in the Summer of the Year 1770, 3rd edition, London: R. Blamire, 1792, 17 tinted aquatint plates, light offsetting to text, armorial bookplate with double-headed eagle crest and motto 'altius ibunt qui ad summa nitantur', contemporary calf, neatly rebacked preserving original spine with morocco title label and double-headed eagle gilt crest, 8vo,Gilpin (William), Three Essays: on Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape: to which is added a Poem, on Landscape Painting, London: R. Blamire, 1792, half-title, 7 aquatint plates (some tinted and one hand-coloured), contemporary speckled calf, gilt decorated spine with morocco title label, joints split and wear to extremities, 8voQTY: (4)
![Lewis (Matthew Gregory). The Monk. A Romance, 3 volumes, Waterford: J. Saunders, 1796 [i.e. 1818], half-titles discarded, adv](https://cdn.globalauctionplatform.com/06960e46-dc7c-49b2-836c-b03600e595e8/29ffa2db-50a9-4975-81c7-b03701206acc/468x382.jpg)
Lewis (Matthew Gregory). The Monk. A Romance, 3 volumes, Waterford: J. Saunders, 1796 [i.e. 1818], half-titles discarded, advertisement leaf (B5) bound before title in volume 1 (bearing watermark date '1818'), few other leaves also with watermark date '1818', light damp cockling to leaves, front blanks with early ownership inscription 'John F. M. Dovaston, West Felton, Salop, 3 vols. bds. 10/6', endpapers renewed, later 19th-century/ early 20th-century black half morocco gilt, spine torn at head and repaired, 12moQTY: (3)NOTE:ESTC T169350. The spurious (or forgery) Waterford edition of 'The Monk', dated 1796, but with paper watermarked 1818; printed from the second edition of 1796, with the 'Haughty Lady' conclusion.John Freeman Milward Dovaston (1782-1854) was a poet and naturalist. He was born in Twyford, West Felton, Shropshire on an estate called "The Nursery" that was created by his father John Dovaston (1740–1808). John Dovaston Jr. was a friend of Thomas Bewick, and offered additions and corrections to the fifth edition of his History of British Birds.
![Bible [English]. [The Bible that is, the Holy Scriptures conteined in the Olde and Newe Testament. Translated according to th](https://cdn.globalauctionplatform.com/06960e46-dc7c-49b2-836c-b03600e595e8/ba8ddf24-5261-4008-a1ef-b03701205c1b/468x382.jpg)
Bible [English]. [The Bible that is, the Holy Scriptures conteined in the Olde and Newe Testament. Translated according to the Ebrewe and Greeke, and conferred with the best translations in diuers languages..., Imprinted at London: By Christopher Barkar, 1576], lacking general title and three other preliminary leaves (of the two preliminary leaves present, one is misbound and the other crudely lined to verso and repaired), New Testament title present with woodcut, Apocrypha present, double-page woodcut plate 'The forme of the Temple and citie restored', leaf after New Testament title with woodcut map to 'The Description of the Holie Land', few woodcut initials, illustrations and plans to text, initial two leaves of Book of Genesis torn at foot with slight loss and crudely repaired to lower margin and fore-margin, some close trimming to few running titles, small hole to 2T6, long closed tear to 2X3, 2X4 and 5P6, two small holes to 5E2 affecting few letters of text, bound with Book of Psalms The Whole Booke of Psalmes, collected into Englishe meter by Thomas Sternh. John Hopkins and others..., Imprinted at London by John Day, 1576, title within woodcut border, light toning, minor damp stains, occasional scattered spotting and marks, endpapers renewed, near contemporary calf covered lower board with gilt decorative motives to centre, modern brown morocco upper board and spine, original spine with 19th-century maroon morocco title label preserved, small folio (25.7 x 17.7 cm)QTY: (1)NOTE:Darlow & Moule 107; Herbert 144; STC 2118. There are two small folio editions of this date, which, while closely resembling one another, are yet quite distinct. The Bible in this lot is version B.
Meinhold (William). Sidonia The Sorceress, the supposed destroyer of the whole reigning Ducal House of Pomerania, translated by Lady Wilde, Mary Scheidler The Amber Witch, 2 volumes, 1st trade edition, London: Reeves and Turner, 1894, some light toning & spotting, original uniform green cloth with gilt decorated spines, boards & spines slightly rubbed & marked, 8vo, together with:Ouspensky (P. D.), The Symbolism of The Tarot, philosophy of occultism in pictures and numbers, St. Petersburg: 1913, endpapers slightly spotted, some toning throughout, contemporary blue cloth, boards & spine lightly marked, slim 8vo, plusHine (Reginald L.), Dreams and The Way of Dreams, 1st edition, London: J. M. Dent & Sons, 1913, signed & inscribed by the author to the front endpaper, some light spotting & toning, top edge gilt, original cloth, boards & spine lightly rubbed, 8vo, and other mostly 20th-century witchcraft, occult & supernatural reference & related, mostly original cloth, some in dust jackets, G/VG, 8voQTY: (2 cartons)
Van de Velde (Th. H.). Sex Efficiency Through Exercises, special physical culture for women, 1st edition, London: William Heinemann, 1933, 54 full page illustrations plus 480 cinematographic 'flip-book' illustrations to the rear, previous owner inscription to the half-title, some light toning, rear gutter cracked, original blue cloth, spine lightly rubbed to head & foot, 8voQTY: (1)
* Gibraltar. An album containing 35 drawings of Gibraltar and some of Tangiers, attributed to James Bucknall Estcourt (1802-1855), 1820s, comprising pen and ink or pencil and mostly sepia watercolour and wash or pencil drawings, many dated in the image, mostly 20 x 29 cm and similar sizes, mounted (and some loose) to album leaf rectos with ink captions to mounts, scenes including landscapes, forts, castles, some occasional browning, contemporary half calf, worn, upper cover detached, 4to, and one panoramic watercolour view laid on cardQTY: (1)NOTE:James Bucknall Estcourt (1802-1855) served in the 43rd Monmouthshire Light Infantry, being promoted Lieutenant in December 1824, and Captain on 4 November 1825. He spent the next five years of his military life in Gibraltar and these drawings all seem to have been done by him in this period.
Boxing Natasha Jonas signed 12x8 inch colour photo. Natasha Jonas (born 18 June 1984) is a British professional boxer who has held the unified WBC, and WBO female light-middleweight titles since 2022. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Joseph Teal Cooper, English 1682-1743- A still life of melon, pears, plums and grapes on a stone ledge, a landscape beyond; oil on canvas, signed 'JTeal. Cooper.' (upper centre), 63.6 x 76.2 cm. Provenance: Private Collection, Sweden. Note: Cooper has been described as the first significant professional native painter of fruit and flower still lifes in England. The similarity of his work to that of Neapolitan painters Luca Forte (c.1615-c.1670), Paolo Porpora (1616-1673) and Abraham Brueghel (1631-1697) has fuelled suggestions that he received some training in Naples. His paintings, especially signed examples, are rare to come on to the market and only one attributed work (an unsigned still life at Plas Newydd, Anglesey) is in any public collection in the United Kingdom. The present work is a particularly charming example of his oeuvre, with fruit which is so ripe and verdant that it almost opalesces in the light.
Henry Dawson, British 1811-1878- River landscape with a sailing boat; oil on panel, signed with monogram and dated 'HD 41' (lower left), 36.1 x 54.3 cm. Provenance: Private Collection, UK. Note: Dawson started his working life in a Nottingham lace factory, producing paintings as an artistic autodidact, with little or no formal training, aside from six lessons from James Baker Pyne (1800-1870) in 1838. Alongside exhibiting Dawson's careful observation of the landscape around him, the present work reveals the influence of J.M.W. Turner (1775-1851), particularly in the broad, light-filled skies, which are reflected in the shimmering water below. Indeed, Dawson was clearly highly interested in the depiction of water, with his output consisting largely of maritime scenes, and landscapes occupied by rivers and seas.
Circle of Jean Baptiste Camille Corot, French 1796-1875- Femme nue; oil on paper laid down on board, 20.8 x 30.4 cm. Provenance: Private Collection, UK. Note: Corot focused on women toward the end of his lengthy career and, in doing so, carried his contemplative designs, soft brushwork, muted palettes, and peaceful, harmonious compositions - the hallmarks of his landscapes - to the female body. The anonymous artist here - almost certainly influenced by the French master - presents a particularly intimate and beguilingly beautiful depiction of a posed model in the artist's studio. While the woman's body is bathed in light, her demurely concealed face remains in shadow.
Rembrandt Harmensz. van Rijn, Dutch 1606-1669- The Descent from the Cross by Torchlight; etching and drypoint, 1654, on laid paper, a very fine, rich and velvety impression, printing with intense contrasts, with small margins, the sheet 20.4 x 16.2 cm. Provenance: The estate of the late designer Anthony Powell (1935-2021), London. Note: Bartsch, Hollstein 83; Hind 280; New Hollstein 286. 'When evening fell, there came a man of Arimathea, Joseph by name, who was a man of means and had himself become a man of Jesus. He approached Pilate and asked for the body of Jesus; and Pilate gave orders that he should have it. Joseph took the body, wrapped it in a clean linen sheet, and laid it in his own unused tomb.' Matthew 27: 57-61. This print is amongst the most melodramatic of all Rembrandt's prints, and the composition is highly original. The focus is not the centre, but the upper left, the foreground being dominated by the bier to the right of which Joseph of Arimathea is kneeling, having draped the sheet which would receive Christ's body. As there is only one source of light - the torch held aloft by one of the men - attention is focused on the grisly detail of the nail through Christ's right foot. The man seen from behind is perfectly depicted, and one can almost feel the full weight of the body he is bearing. In a wonderful touch a hand comes out of the gloom to the right, as another man comes to his assistance. The print belongs to a small group of mid-sized prints, all created in 1654, on the Life of Christ. It may be that Rembrandt envisaged a larger series, but the subjects he did realise are: 'Christ at Emmaus: The larger Plate', 'The Entombment', 'The Presentation in the Temple in the dark Manner' and the present 'Descent from the Cross by Torchlight' (New Hollstein 283-286). These four prints are characterised by an extensive use of drypoint and plate tone. In all of them, the depiction of light is at the formal challenge that Rembrandt set himself, be it the supernatural light emanating from the Redeemer Himself in 'Christ at Emmaus', the barely lit internal spaces in 'The Entombment' and 'The Presentation', or the torchlight in the present plate, with the latter three being true night scenes.
Carl Wuttke, German 1849-1927- Sunset at Mena; oil on canvas laid down on board, signed 'C. Wuttke' (lower right), inscribed and dated 'Mena 22/11 1905.' (lower left), 32.9 x 48 cm. (unframed). Provenance: Anon. sale, Christie's, London, 27 September 1988, lot 132. Private Collection, UK. Note: Wuttke produced striking works from his travels across Europe and further afield, including the United States in 1893, and China and Japan in 1898. He also travelled to North Africa, visiting Algeria, Egypt, and Sudan, and it is from these experiences that many of his most significant and recognisable works originate. The present work depicts Mena (typically known as Abu Mena) in Egypt, and is characteristic of Wuttke's style, exhibiting his bold use of colour, with the pinky orange hues and the light blue of the water in the distance effectively evoking the hazy evening light as it falls on the landscape.
Circle of Pietro Dandini, Italian 1646-1712- Moses Striking Water from the Rock; oil on canvas, 71.6 x 59.2 cm. Provenance: Private Collection, UK. Note: The present work recalls canvases by Dandini, in its dramatic rendering of the compositional elements in high Baroque style. The anonymous artist here has adopted stark contrasts of light and shade, deep colours, and an overall dynamism to achieve a sense of grandeur and awe for his rendering of the Old Testament scene in which the prophet Moses strikes the grounds to draw forth water for the Israelites.
Jean Amédée Baudit, Swiss 1825-1890- A moonlit landscape with two figures walking towards a cottage, beside a lake; oil on panel, signed and dated 'A Baudit 1859.' (lower left), 34.6 x 57.1 cm. Provenance: Private Collection, UK. Note: This moonlit landscape is a particularly atmospheric example of Baudit's work, depicting two travellers on a path, heading towards some form of dwelling with smoke rising from its chimney. Baudit frequently experimented with the depiction of light, setting his compositions at various times of day or, as in the present work, at night, with the bright light of the moon here reflected off the water below, only just illuminating, tantalisingly, the surroundings.
Samuel Brunner, Austrian 1858-1939- Two studies of men, seated full-length and wearing head coverings; each oil on canvas, the first signed 'S. BRUNNER.' (upper right), the second signed 'S. BRUNNER. BRUNN' (upper right), each 31.9 x 22.7 cm., a pair (2). Provenance: Private Collection, UK. Note: Brunner was a highly versatile artist, with his subjects ranging from cityscapes and allegorical compositions to Orientalist scenes, as in the present works. These paintings radiate light, powerfully evoking the bright sunlight of the scenes, which are set in desert-like landscapes. Brunner's use of impasto lends a realistic sense of physical depth and texture to the works, effectively evoking the folds of the fabric which clothe the sitters, and the cracks and imperfections in the walls behind.
Circle of Pierre-Étienne-Théodore Rousseau, French 1812-1867- A wooded landscape under grey skies; oil on canvas, bears inscription 'No 430' on the upper horizontal stretcher bar, 11.1 x 26.2 cm. Provenance: Private Collection, UK. Note: The delicate brushwork in the foreground and middle distance of the present work appears characteristic of Rousseau's technique, as does this anonymous artist's skilful use of aerial perspective and the prevailing lilac tone of the sky. Intimate in scale and painted thinly and swiftly with dabs of light cream in the middle ground, this sketch is not primarily devoted to the luminous sky, but to recording the woods and fields at dusk beneath heavy clouds. The artist has adopted a panoramic format in which parallel bands of earth and sky meet at the horizon, and indeed the wide horizontal format serves to emphasise the expanse of view. Like much of Rousseau's work, the tonality is restrained and muted.
Iosif Evstaf'evic Krachkovsky, Russian 1854-1914- A wooded river landscape; oil on canvas, signed in Cyrillic (lower left), 61.7 x 107 cm. Provenance: Private Collection. Note: Born in St Petersburg, Krachkovsky studied at the Imperial Academy of Arts there from 1871, where he was taught by Michail Konstantinovich Klodt (1835-1914), whose other students included Nikolay Dubovskoy (1859-1918) and Gevorg Bashinjagyan (1857-1925). Klodt was one of the leading landscape painters of 19th-century Russia, and his influence on Krachkovsky’s work is unmistakeable, with the latter particularly inspired by his broad, expansive views. Whilst still studying, Krachkovsky won awards for his paintings ‘Morning’, in 1878, and ‘Evening’, in the following year, titles which reveal his fascination with the depiction of light, and the way in which it transforms the landscape it illuminates over the course of a single day. This is a preoccupation which endured throughout the artist’s career, illustrated by his repeated return to scenes set at sunrise and sunset. In 1880, Krachkovsky embarked on extensive travels across Europe, visiting Munich, Berlin, Milan, and Madrid, and settling into the bustling artistic hub of Paris before his return to St Petersburg in 1884. His talent was recognised by contemporaries across Europe, with exhibitions of his work held at St Petersburg in 1902, and in Paris and Nice in 1908. The present work is a particularly charming example of Krachkovsky’s oeuvre, depicting as it does an idyllic, open landscape undisturbed by human presence. It gestures towards the Realist tendencies of his teacher Klodt, and of many of his contemporaries in the ‘Peredvizhniki’, or ‘Itinerant’, movement, which rejected the Academic tendency to value the ‘High Art’ of history scenes above the genre of landscapes. This painting also exhibits Krachkovsky’s preoccupation with the changing light throughout the day, with a very faint pinky hue towards the horizon gently and masterfully suggesting the eventual coming of sunset.
Attributed to Benjamin Barker of Bath, British 1776-1838- View of Colerne; oil on card, bears inscription 'Benjamin Barker' on the reverse, 17.4 x 23.2 cm. Provenance: with P. & D. Colnaghi, London (according to an inscription on the backing board). Private Collection, UK. Note: Benjamin Barker was the brother of Thomas Barker of Bath (1769-1847), whose output also consisted almost entirely of landscapes. Upon his visit to Bath in 1807, Benjamin West (1738-1820) commented that 'The two Barkers [are] very ingenious;... Benjamin, the younger brother, is the better landscape painter' (J. Farington's Diary, vol.VIII, 10 November 1807). The present landscape depicts the tower of the Church of St John the Baptist at Colerne, sitting atop a hill about 8 miles from the city of Bath. The artist's use of yellows and browns effectively evokes the light cast by the setting sun, set against the hazy blues of the distant hills which stretch into the horizon.
Eduard Veith, Austrian 1856-1925- The Queen; oil on canvas, signed 'E VEITH' (centre right), 60.5 x 49.7 cm. Note: Veith studied under Ferdinand Laufberger (1829-1881) at the Museum of Applied Arts in Vienna. He worked as a portraitist and stage designer, producing stage sets and collaborating with the artists Fellner & Helmer, who built a number of theatres across the Austro-Hungarian Empire. Indeed, Veith's theatrical experience is strikingly evident in the present work, which, like many of the artist's paintings, depicts a woman dressed in ornate and elaborate costume. Veith often depicted allegorical characters, repeatedly returning to this figure of 'the Queen', an approach which reveals the artist's Symbolist tendencies. Here, the artist's use of impasto lends the jewels, which adorn the sitter, an effective sense of depth, rendering them as almost tangible objects which glitter in the light. The subject is possibly shown in the guise of Queen Theodora (c.500-548), the Byzantine empress and wife of Emperor Justinian (482-565). Condition Report: Held in the original frame.
A late 19th century Swiss Black Forest oval jewellery caskethaving hinged lid carved with cock and hen pheasant finial and swing out sides with four circular trays, blue silk interior height 25.5cm., length 27.2cm. Condition: Key absent. Slight chip to beak of cock pheasant. Some wear and fraying to silk interior and would benefit from a light clean
A pair of modern American silver three light candelabrastamped Towle Sterling,of plain screw fitting sectional design with twin scroll branches on weighted spreading bases, covering to dwarf form or single candlesticks (2)height 35cm.Condition: One candlestick has a slight lean. occasional minor knocks
A champagne swizzle stick, a silver-gilt vesta case, other itemsfirst stamped 585 to suspension ring, telescopic action, engraved to barrel, second, Birmingham, 1912, William Aitken, of oblong curved form with hinged lid and foliate decoration together with a money clip stamped sterling, and a faux tortoiseshell cigarette holder, (4)first length extended 13cm., weight approx. 3.4gCondition: Swizzle stick with knocks and cracks, light rubbing to vesta. knocks to money clip
A 9ct gold keyless full hunter pocket watchcircular white enamel dial with black Roman numerals, minute track, subsidiary seconds dial and blue steel hands signed Elgin, seven jewels movement signed Elgin and numbered 23242173, plain case back and dust cover hall marked for Chester 1920case diameter 54mm., gross weight approx. 116.7g Condition: Does not wind. No guarantee can be offered as to the full working order. Some light surface scratches and wear to case Dust cover marked for 9ct gold
George III and later silver to include a sifter spoon, teaspoons and condiments spoonsvarious dates, makersto include a George III later berried sifter spoon with gilt bowl, London, incuse duty mark, 1784, Hester Bateman, a set of Old English pattern teaspoons, London, 1796, makers mark W.E. a matches set of six Old English pattern teaspoons, a bright cut dessert spoon, a pair of fiddle a thread pattern salt spoons, two pairs of George IV/ William IV fiddle pattern salt spoons, initialled, a Victorian fiddle pattern cream ladle, pair of fiddle pattern condiments spoons, pair of engraved fiddle pattern salt spoons and five odd condiment spoons, (qty)first length 17.5cm., weight approx. 15.29oztCondition: matched teaspoons with light dings and dents to bowls. Gilt various rubbed and worn on all salt and condiment spoon bowls,
A Spode Felspar porcelain bat-printed chestnut basket and stand c.1820circular with pierced sides and twin branch handles, drab cream ground border bat printed with ornithological vignettes and floral sprays, gilt line border, printed factory marks diameter 23.5cm.,Condition: Good condition. No chips, damage or hairlines, some light rubbing to gilt
A Regency giltwood and gesso convex wall mirrorthe circular plate within reeded ebonised slip, cavetto moulded frame with flowerhead bosses and ribbon tied moulded outer border, surmounted by paired dolphins and a hippocampus crestdiameter 51cm., height 99cm.Condition: The mirror plate is original has some light foxing. Regilt. Minor losses to gesso in several places, gilt original with some light rubbing. Crack to pendant drop. Original back boards. Later piece of timber added behind hippocampus to reinforce crest
A Wedgwood twelve piece 'Persephone' and 'Harvest Festival' dinner service designed Eric Ravilious printed in blue and black comprising twelve 25.5cm diameter dinner plates, twelve 23.5cm diameter plates, twelve 23.5 cm diameter bowls, eight twin handled soup bowl and stands, twelve 17.8 cm diameter side plates, four tureens and covers, two gravy boats and stands, four graduated oval meat plates and a sugar basin, printed factory marks, painted red pattern no. AL9984, date codes mostly for 1953 and 1954, (67)various Condition: Most pieces marked Persephone. Four tea plates, five 23.5 diameter plates, eight dinner plates two tureens a gravy boat and stand two soup bowl and the sugar basin marked Harvest Festival Moslty very good condition without chips or damage. One Persephone 25.5 cm. plate has light crazing and staining . One soup bowl stand has a faint star hairline to centre One gravy boat is stained to underside of foot
After William Redmore Bigg. Two hand coloured stipple engravings by William Ward'The Truants' and 'The Romps', on wove, published June 1st 1801, Gate Street Lincolns Inn Fields, laid down on paper , gilt and mahogany frames, (2)each 38x 45 cm., each 54 x 62 cm.Condition: Some minor occasional light spotting to both across engraving
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