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Click here to subscribe8 x Benham Covers Featuring H.M. Queen Elizabeth The Queen Mother, Colonel in Chief The Black Watch, The Light Infantry, The Kings Regiment, The Queen's Royall Hussars, 9th/12th Royal Lancers, The Royal Anglian Regiment, 1st Queen's Dragoon Guards, The Royal Army Medical Corps, good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Spanish school, 18th century."Christ with angel collecting his spilled blood".Oil on sackcloth.Measurements: 88 x 71 cm.An iconography of medieval origin, the theme of the angel collecting in a chalice the blood that flows from the wound of the crucified Jesus, appears here in this painting of late-baroque period. The winged figure, depicted as an archangel, holds the sacred cup in both hands, symbolising the Eucharist and the sacramental conversion of wine into redemptive blood. Expressive contrasts of light model both bodies to make them emerge from the dark background.
Spanish school of the late 18th century, early 19th century."Still life with flowers".Oil on canvas.Unsigned.Size: 60 x 44 cm; 76 x 61 cm (frame).In this canvas the author presents us a still life of flowers of clear baroque influence, directly inspired by the great Spanish masters who shaped the genre in our country: Sánchez Cotán, Van der Hamen, Tomás Yepes, Pedro de Camprobín and -to a greater extent because we are in front of the typology of still life of flowers- Juan de Arellano, this last one born in Madrid in 1614 and died in the same city in 1676.The origin of the still-life genre in Spain dates back to the early 17th century, when it was still approached in a rational, rigorous style of Mannerist inheritance. However, as the Baroque progressed, still lifes and flower paintings became increasingly more dynamic, the compositions became more open and more naturalistic and theatrical. The flowers of the full Baroque period are shown, as we see here, completely open, almost on the point of wilting and very volumetric, bringing dynamism and a sense of scenography to the image, thus leaving behind the static and contemplative mood of the still life of the early Baroque. The composition is also rooted in the Spanish Baroque, with the elements that make up the still life set against a classicist landscape background, open on one side and closed on the other. Other typical features of the traditional Spanish still life, which the artist mastered with mastery, are the careful study of the light, which creates sharp contrasts to enhance the volume of the various elements; the care taken with the qualities of the different fruits, flowers and objects; and the accentuated realism with an almost illusionistic accent, supported by rigorous drawing and the skilful use of chiaroscuro.
Italian school; 18th century."The Transfiguration".Oil on canvas.It has repainting and restorations.It has a new frame and lateral extensions.Measurements: 102,5 x 82 cm; 118,5 x 98 cm (frame).It is the representation of the passage of the transfiguration of Jesus, event narrated in the synoptic Gospels according to St. Luke, St. Mark and St. Matthew in which Christ metamorphoses, becoming a radiant figure in divine glory. In this way, Christ appears in the centre, standing in a break of glory, floating above the apostles and the Virgin, who also contemplates, kneeling, the transfiguration of her son. The composition of the scene is defined by a clear symmetry in which the figure of Christ acts as the axis of symmetry, with his arms open in the form of a cross, while in the lower area, on either side, are the apostles, who have been depicted as similar figures, bearded and with their faces tilted upwards to observe Jesus.The work, which represents one of the most important episodes of the New Testament, does not faithfully follow the scriptures, as in this image we can see eleven of the apostles, while the biblical text only mentions the presence of Peter, James the Elder and John. Standing on the mountain, Jesus begins to give off bright rays of light, and it is then that the prophets Moses and Elijah appear at his side and speak with him. Jesus is then called "Son" by a heavenly voice, representing God the Father, as at his baptism.
Dutch School, ca. 1600."Village in a Landscape.Oil on panel.It has micro-cracking, but it is in very good condition.It can make pair with the lot 35266808.Measurements: 26 x 32,5 cm; 39,5 x 46,5 cm (frame).Scene in which a lake landscape is presented embedded in rich autumnal shades. Compared to other European schools, Dutch painting developed an early interest in landscape painting as an independent genre. Although in the 17th century landscape painting continued to depend on genre themes, it became an undeniable protagonist, as can be seen in scenes such as the present one. The lake is impregnated with an infinite number of tonal cadences, which are jaspered with glaucous and blue tones amidst the golds that catch the last rays of a fading sun. Humble houses border the lake, with peasants in the foreground working in silence, oblivious to the viewer.It was undoubtedly in Dutch painting that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, a taste for the real and material, and sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideals that were alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Dutch School, ca. 1600."Village in a Landscape.Oil on panel.It has micro-cracking, but it is in very good condition.It can make pair with the lot 35266807.Measurements: 26 x 32,5 cm; 39,5 x 46,5 cm (frame).The flat orography characteristic of the Netherlands is expressed in this landscape with sown fields that escape towards a bluish horizon. A golden halo toasts the surface of the fields, and behind them is a city (perhaps Utrecht or Rotterdam), with the Gothic cathedral standing out among the houses. The perspective has been intuitively worked by superimposing chromatic shifts from plot to plot, demarcated by the thickness of the vegetation. Compared to other European schools, Dutch painting was interested in landscape painting as an independent genre at an early stage. Although in the 17th century landscape painting continued to depend on genre subjects, it became undeniably important, as can be seen in scenes such as the present one.It was undoubtedly in Dutch painting that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, a taste for the real and material, and sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideals that were alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Flemish school; 17th century."Pastoral scene".Oil on canvas.It has a 19th century frame.Measurements: 62 x 85 cm; 71 x 91 cm (frame).Oil on canvas of horizontal format, in which an image of country or pastoral character is developed. In the foreground, the author places a group of characters accompanied by several animals. The figures depicted in the scene are a group of men and women who, by their gestures and disposition, are resting. The large presence of the landscape and the small size of the figures reveal the artist's special interest in capturing the landscape.It is worth mentioning that this was a period in which the feeling that man and nature should be complementary, one reflected in the other, began to take hold. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. This idea was established through two main strands: the dramatic, with its turbulent, fantastic views, and the naturalistic, which emphasised images of peaceful, serene nature, as in this case. It is this second conception that we see embodied in the present work; the painter seeks to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. Indeed, the artist's use of light here conveys a dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. Landscape, however, is made up of very different types of manifestations which are not comparable; it does not affect all the national schools equally, remaining more faithful to tradition in schools such as the Italian, French or Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centred on the foreground.
Circle of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."Saint".Oil on canvas glued to panel.It has restorations.It has slight air bubbles caused by the adhesion of the canvas to the board.Measurements: 39,2 x 27,8 cm; 48 x 37 cm (frame).In this portrait we can appreciate the author's taste for veracity, as the face of the protagonist has been painted with great naturalism. The work represents the bust of a mature man, arranged on a neutral background. The face is the absolute protagonist of the work, magnificently modelled through a skilful use of light and shade, with appropriate contrasts that enhance the plasticity of the features. The gaze is the focus of our attention, and it is reflected with a veracity typical of a careful study of life.The treatment of light and the workmanship of the piece bring this work closer to the artistic circle of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing, characteristics that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushwork that the artist learned directly from Ribera's work.
Dutch or French school, ca. 1700."Portrait of a lady.Oil on original canvas.New stretcher.Frame 19th century.With restorations.Measurements: 73 x 57 cm; 87 x 70 cm (frame).In this work a young lady is represented as Saint Agnes, with a lamb (the main iconographic attribute of the saint, symbol of her purity) and a stick instead of the palm of martyrdom. The brushstroke, loose and with great mastery and precision, denotes a rapid and skilful execution, as can be clearly seen in the young woman's hair and the lamb's fur. The light reflects his knowledge of Italian tenebrism: a spotlight that enters the painting from the lower left corner and falls directly on the main areas of the image, leaving the rest enveloped in a nuanced half-light and supporting the construction of the volumes and the space.
Spanish school; 17th century."Still life of hunting with cat, mushrooms and figs".Oil on canvas.Measurements: 85 x 133 cm; 107 x 154 cm (frame).In this canvas the author offers us a still life of classic style, rooted in the Spanish tradition of the genre, with a clear and ordered composition and an expressive treatment of the light, which produces expressive shadows on the right side and enhances the volume of the different objects.In the present painting, the artist pays great attention to the precision of the brushstroke and the atmospheric and chromatic sensitivity of the artist; nothing distracts the eye, which remains attentive to the smallest detail. However, despite this apparent austerity and economy of means, there is still a taste for the theatricality and deception typical of the Baroque, precisely in the naturalism of the image, so precise and perfect that it is a deceptive illusionism.
Flemish school of the 17th century."Hunting scene".Oil on canvas. Retouching.The sky has restorations and repainting.Measurements: 95 x 115 cm.We see in this canvas a hunting scene with different animals (a bear and up to six dogs), a particularly violent moment full of tension and even pathos, features that are reflected in the composition, the light and the chromatism as well as in the expressions of the animals. The scene is accompanied by a human presence as the owner of the animals is shown unsheathing a spear while threatening the bear. During the 17th century in Flanders there was a growing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialised, painting medium-sized works that gradually increased in format, with still lifes, animals, landscapes and genre scenes. Paintings reproducing collectors' cabinets of the period are explicit in this respect, to the point of giving rise to a new, independent genre of painting. Undoubtedly, the future of this painting would have been different without Rubens, whose art revolutionised the Flemish art scene by introducing a new, fully Baroque approach and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopaedic display of his countrymen's precious depictions. The specialists, either indebted to his manner or subordinate to his work, worked along new lines, adding an accessory object, a landscape or a decorative background to their compositions. Within 17th-century Flemish still-life painting two trends can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos. This work belongs to the second of these schools, which is characterised by following the Rubensian Baroque in a purely dynamic sense. Dynamic still lifes are characterised by compositions with pronounced diagonals, as seen here, and by the frequent presence of live animals interacting with the objects in the still life, captured in full movement.
ENGLISH SCHOOL, 17TH CENTURYPORTRAIT OF A LADY, HALF-LENGTH, WITH A BLACK LACE MANTLEOil on canvas74 x 59.7cmIn a 17th Century carved wood frameProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Some craquelure in the lighter areas of the skin of the figure. Surface dirt and discolouration of the varnish. UV light reveals restored areas mainly in the face, hair, neck, body and right hand of the figure. Condition Report Disclaimer
A PAIR OF CARVED AND POLYCHROME DECORATED 'BLACKAMOOR' FIGURES 19TH CENTURY, PROBABLY VENETIAN Modelled in opposing contrapposto form- one hand held up holding a cornucopia shaped bracket, on floral decorated pedestal bases- possibly associated 190.5cm high overall Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: In common with most large figures of this type- strong light and UV shows evidence throughout to both of remedial work (restoration and repainting, retouching) to shrinkage cracks, rubbed decoration, small damages to exposed limbs, necks, faces and cornucopia. The latter look to have later tops and there are suggestions from inspection that these may have been fitted as lamps at one stage- now removed.Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
ENGLISH SCHOOL (19TH CENTURY)A CLASSICAL CAPRICCIOOil on board119 x 212 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Numerous cracks creating a pattern of fine horizontal lines on the overall surface of the panel. Two larger horizontal cracks at 1/3 and 2/3 from the top across the entire width of the panel. Panel is slightly warped. A thick layer of surface dirt and a discolouration of the varnish, which prevents proper inspection under UV light. Paint thinning in areas. Condition Report Disclaimer
A LARGE PAIR OF BRONZE AND GILT BRONZE CANDELABRALATE 19TH CENTURY FRENCH Female figural stems supporting ten light candelabra, cockerel mounted bases 152.5cm high, 38cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with loss to patina from cleaning- notably around necks and hands. These present well from a distance but close-up- lack of detail, slightly crude casting with evident bubbling and weak finishing (notably to midriffs). There are some nail re-pinning to mounts, some distortion to shapes of candelabra arms and also to spot details such as base of lantern stem. Variances in gilding coloursToo heavy for scales but would think somewhere in the region of 12-18kg eachPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A LARGE REGENCY PAINTED PLASTER FIGURE OF A WOMANIN THE MANNER OF HUMPHREY HOPPER, CIRCA 1820 Depicted standing, classical robes, plinth base, unmarked figure 134.5cm high, base 42cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surface looks to have been redecorated in pale white, blue and slight pink washes. This is impermeable to strong and UV light, but we would suggest that it probably covers restorations to both arms, hands and possibly the neck. Object to her left hand is incomplete. Some rubbing and loss to surface notably at exposed extremities and around neck and nose. Base chips, some sizeable and with knocks and subsequent hairlines including one running from front centre edge of plinth back into feet.base 41.7cm wide, 33cm deep. With regards question of the weight- too heavy for us to weigh- would suggest this is a careful lift by two strong people. Please see numerous additional images for visual references to condition which form part of this condition report.In the additional images the figure can be seen on top of a white painted base- this is NOT included in the lot. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A PAIR OF NAPOLEON III GILT BRONZE AND METAL SIX LIGHT TABLE CANDELABRA FRENCH, CIRCA 1870 Each with panels of classical women and musical instruments to the bases 63cm high overall, bases 17cm wide Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. both have plain central nozzle and flued surrounding nozzles suggesting the central one may have been replaced. Some distortion to the arms, bases with wear to edges and corners. Colour variance to gilding suggesting there has been some remedial gilding to rubbed sections. SOme later splash adn gilding rubbing. Bases have 1 blank face, pair of musical trophy faces and 1 female figure face. Glass and chains look to be laterPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A GOOD PAIR OF CARVED AND POLYCHROME STANDING 'BLACKAMOOR' FIGURES VENETIAN, 19TH CENTURY Depicted standing, turban and robe vestments, richly painted, single arm outstretched, with associated but matching decorative bases 184cm high overall, figures 132cm high, bases 44cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House Antiques Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Present well in the flesh but under strong light and UV- evident signs of retouching repainting throughout. Additionally some signs of restoration- notably to raised loops by neck, around necks and around hands. Both with radiating hairline shrinkage cracks running from face/neck into shoulder, one additionally with signs of shrinkage and repair to left leg above kneePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A CARVED MARBLE FIGURE EMBLEMATIC OF WINTER LATE 18TH/EARLY 19TH CENTURY, PROBABLY ITALIAN The child modelled as a young Hercules, Nemean skin over his shoulders, unsigned 91.5cm high, base 25cm diameterProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surface overall is dirty and has a slight sugar 'twinkle' under strong light. It may be that the piece has spent some time outside in the past. Slight softening and lack of definition to detail. Natural small fissure holes to marble throughout. Right foot 'index' toe rubbed end. Please see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF ORNATE CUT GLASS, GILT BRONZE AND METAL MOUNTED FIVE LIGHT TABLE CANDELABRA PROBABLY FRENCH, MID/LATE 19TH CENTURY Each with central stem with spiral twist cut mounts above leaf decorated branch support, numbered for the arms 56cm high, 40cm wide overallProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The branches are formed as scrolls terminating in butterfly winged nude half women which support the candleholders above. Approximately 40% of all lustre drops with loss to ends. Some vacant holes to drip pans for mounting with more chains. Rubbing and some nibbling to hobnail banding of bases.Please see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A BRONZED METAL FIGURE OF A NEOCLASSICAL MAIDENAFTER JOHN BELL, 20TH CENTURY On stepped simulated marble mounted base, now fitted as a lamp 210.5cm high, 45.5cm wide at the hips Provenance:Barnwell Manor, NorthamptonshireWindsor House Antiques Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Under strong light and UV shows restorations to right wrist and shoulder- overall surface quite rough in areas- dirt build up. Lantern looks to be a later replacement. Base with largish chips to variegated midsection and plinthELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use.Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
EMILE JEAN MARIE BRUNET (FRENCH 1869-1943)THE DANCING MAIDENOil on canvassigned (lower right)81 x 63 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Discolouration of the varnish, particularly visible along the lower edge. Paint loss around the edges, a larger area in the corner lower left. A bulging indentation to the right of the musician's face with corresponding paint loss. UV light reveals large areas or restoration, including in the vase, in the sky, in the entirety of the dancing figure and along the upper edge. Condition Report Disclaimer
VENETIAN SCHOOL, 18TH CENTURY FIGURES IN A VENETIAN PIAZZA Oil on panel20 x 28 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Abrasions around the edges resulting from contact with the frame. An area of bulging paint above the architecture in the sky in the right hand corner, possibly resulting from a heat source such as a candle. UV light reveals extensive retouching in the entirety of the painting. Condition Report Disclaimer
AFTER SALOMON KONINCKJUDAS RETURNING THE PIECES OF SILVEROil on panel53.5 x 80cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Two horizontal cracks across the width of the panel slightly below 1/3 and slightly above 1/3 of the panel. Another horizontal crack running to the centre of the panel from the right hand side, approx.. 8 cm from the top, and a horizontal crack running from the left of the panel up to slightly above the scribe's hat. Paint slightly bulging in areas, revealing exposure to heat. Overall discolouration of the varnish. UV light reveals retouching of the abovementioned cracks as well as other scattered retouches. A few small specks of paint loss. Condition Report Disclaimer
ATTRIBUTED TO HENRY JOSEPH ANTONISSEN (FLEMISH 1737-1794)HERDSMAN WITH CATTLE ON A COUNTRY ROAD Oil on canvas 52.7 x 66.2 cmProvenance:Dreweatts, 20th April 2017, lot 421Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Some surface dirt and slight discolouration of the varnish including signs of mould. A diagonal abrasion with corresponding paint loss above the roof of the central building (approx.. 8 cm in length), as well as in the corner lower left and on the left hand side of the gate. UV light reveals several retouches, including larger areas of approx.. 5 cm in the road below the central figure as well as in the sky on the right above the river. Condition Report Disclaimer
A LARGE AND IMPRESSIVE GILTWOOD 18 LIGHT CHANDELIER PROBABLY LATE 19TH/EARLY 20TH CENTURY, IN THE FRENCH EARLY 18TH CENTURY MANNER With S-scroll arms on two tiers, 6 lights above, 12 lights below, the whole on spiral turned floral stem approximately 238cm high, 132cm wide overallPLEASE NOTE; This lot is on view at Barnwell Manor where it will remain for collection by the successful purchaser Condition Report: PLEASE NOTE; This lot is on view at Barnwell Manor where it will remain for collection by the successful purchaser Condition Report Disclaimer
FRENCH SCHOOL, 18TH CENTURY PORTRAIT OF ETIENNE REYNAUD, AGED 67, SEATED HALF-LENGTH, HOLDING A BOOKOil on canvas57.5 x 47.5 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Paint thinning in areas. UV light reveals retouching, mainly along the left hand edge, to the right of the book, in the figure's neck and in the background to the right of the figure. Condition Report Disclaimer
FOLLOWER OF CORNELIS JANSSENS VAN CEULENPORTRAIT OF A FRANCIS, LORD COTTINGTON, CHANCELLOR OF THE EXCHEQUER IN 1629, BUST-LENGTH, IN A BLACK COAT AND LACE COLLAROil on canvas73 x 57.5cm (28½ x 22½ in.)After the portrait of Francis Cottington, 1st Baron Cottington (1578-1652) in the collection of the National Portrait Gallery (NPG 605)Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined. Stretcher marks clearly visible. Craquelure across the entire surface of the canvas. Surface dirt and discolouration of the varnish. Several old restoration visible to the naked eye as well as under UV light. Condition Report Disclaimer
An unusual Indian carpeton light blue ground with charming geometric motifs,433cm x 199cmThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A silk Hereke rugWest Anatoliaon light brown ground, the whole filled with bold lotus flowers and interlacing palmettes132cm x 90.5cmFootnotes:Please note that in the printed catalogue, this has 472 under the image but it is 473.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A late 19th century French gilt bronze clock garniturein the Louis XV style, the elaborate cartouche case cast with panelled acanthus foliate scrolls and flowers and quiver of arrows and torch trophy, the top surmounted by a putto holding a sun dial, the integral platform base with foliate pierced apron and scrolling feet, the 5' enamel Roman dial with outer five minute Arabic track, the brass twin train movement with Brocot type escapement and outside countwheel striking on a bell, with pendulum and winder, the matching five light candelabra with the acanthus cast urn nozzles and dished drip pans on floral and foliate bulbous baluster foliate panel cast supports and corresponding footed bases, the clock, 43cm high, the candelabra, 45cm high (3)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of French black patinated and gilt bronze three light wall appliquesin the Restauration stylethe multi-scrolling reeded candle arms with flared nozzles issuing from a lotus cast and flared central fitting, with acanthus lower collar and acorn finials and pineapple terminals, on scrolling and foliate cast bracket supports, fitted for electricity, 41.5cm high (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An impressive 19th century Italian gilt tole, carved wood and cut glass eight light tent and bag chandelierin the Empire stylethe central girdle issuing foliate carved scrolling arms with cylindrical nozzles and lobed and turned collars, interspaced with decorative flower head scrolls, beneath a further swept smaller girdle, similarly mounted with alternating flower head and eagle and acorn spray scrolls, the corona with six outward scrolling palm leaves, the whole hung and strung with faceted beaded pendant chains with corresponding pear shaped drops, faceted pointed decorative drops, and strings of faceted beaded chains, the base with faceted lustre pendant drops circlet and plain ball terminal, 160cm drop approximately, 135cm diameter approximatelyThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of late 19th century Meissen porcelain figural four light candelabraformed as rustic groups in 18th century dress, one as a seated lady with a young boy standing on her lap, the other as a seated gentleman with a young girl standing on his lap, both above the scrolling foliate nozzles, the swept shaped canted square bases moulded with shells and enamelled with birds and flowers, the detachable floral encrusted three branch candelabra fitments with foliate nozzles about a further raised floral encrusted nozzle, the bases with underglaze blue crossed sword factory marks, old damages, repairs and old restorations, 49cm high overall (4)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A very rare late 19th century Japanese brass Dai-Dokei with side-pendulum and engraved dial platesurmounted by a heavy bronze straight-sided bell mounted on a turned brass post set on the overhanging brass top plate, the shaped rectangular dial plate engraved with scrolling foliage around the rotating 3.5'' twenty-four hour dial now marked in Roman hours twice I-XII, subdivided into ten minute divisions, with brass alarm setting hand and elaborately pierced stationary hour hand, the weight-driven birdcage movement with twin vertical verge escape wheels and double-sided pallets, each wide swing of the crutch (pendulum now lacking) acting on alternate wheels, with trains of four wheels, each wheel of brass and with solid centres to steel high-count pinions, the striking train with solid brass toothed count wheel striking the hours, 1-12 on a vertical hammer, governed by a four-vane fly, 27cms highFootnotes:Japanese lantern clocks belong to a larger group of traditional Japanese clocks known as Wadokei. Within the category of 'lantern clock' are various sub-divisions, including Dai-dokei which are lantern clocks that were displayed under a hood on a specially made four-legged stand, Yagura-dokei a lantern clock on a pyramidal prism stand and a Hashira-dokei the closest to a European lantern clock, which would sit on a wood wall bracket, occasionally with a hood. It is difficult to say definitively which category this clock belongs to as it does not have a stand or bracket with it. However, it is clear from examining the movement that it is not missing any side doors, which suggests that it would have been covered by something to protect it from the elements. Furthermore, as it has a four wheel train it is considered to be a larger clock, by Wadokei standards, which means it is unlikely to be hung on a wall; most Japanese house walls at this time were made of light wood and paper, with the exception of the central wooden beam which supported the structure. Considering these two factors, this clock can be tentatively classified as a Dai-dokei, though this remains conjecture.This is likely to be a transitional clock; beginning in 1873 Japan converted their national time system from temporal hours to equally divided hours. Before this date, most clocks made in Japan had dials and striking that reflected a day being variably divided into six toki during the day, and six during the night. The exact length of the toki would vary depending on the season; however, there would always be six divisions in both day and night. The numbers used to refer to each toki were a sequence from 9-4 with 9 representing midnight, 6 representing dawn down to 4, before repeating the sequence with 9 representing midday and 6 representing dusk. The numerals would be represented by animals as well, with twelve animals used so that in conversation 'the toki of the Horse' clearly referred to 9 during the day (or Noon), whereas 'the toki of the Rat' was 9 during the night (midnight). In order to display this on a clock dial a foliot escapement was used which could be regulated to go faster or slower depending on the day; double foliots were created as well with automatic, cam-assisted switch over between the daylight rate and the night time rate. Clocks without foliot escapements would be provided with moveable hour plaques, which could be pushed manually or mechanically around the chapter ring as the season dictated.In 1875, the first clock factory opened in Japan, primarily making American-type domestic clocks, all with uniform hours. Before this point, all clocks in Japan had been made by individual clockmakers; there was no wholesale 'rough movement' industry either, so generally one craftsman would create a clock from metal plate and rod, perhaps spending a year making each one. This accounts for the unique qualities of the clocks made before 1875; although they look similar, no two are interchangeable. This clock has a pendulum movement and vertical double crown wheel escapement, which is occasionally seen pre-1873, but a fixed Roman numeral chapter ring as well as a standard 12-hour count wheel, both features which were not seen until after 1873. However, the spring finger on the striking detent which connects with the hour pin on the back of the revolving dial is a pre-1873 construction, as is the traditional bell with its thickened inner rim. It seems likely that this clock was made circa 1873, having a combination of older and newer features, looking similar to other earlier clocks, but using the new system of time display. That it is a fully brass movement and has a fixed hour hand with a revolving dial, suggests it is at the later end of the Wadokei timeline.Provenance-Sold in these rooms 12 December 2018, Lot 101Strachan, A. (2014) 'Japanese Clocks,' Horological Journal, Volume 156 (9), pgs. 394-398 (Accessed 9 May 2022).Ward, F. A. B. (1956) 'Informal Meeting', Antiquarian Horology, Volume 1 (11), pgs. 169-170 (Accessed 9 May 2022).Strachan, A. WADOKEI.ORG: Sharing a passion for Japanese Edo Period Clocks. Available at: https://wadokei.org/ (Accessed 9 May 2022).Japan Clock & Watch Association (2022) History of the Japanese Horological Industry. Available at:https://www.jcwa.or.jp/en/etc/history01.html (Accessed 9 May 2022).For further information on this lot please visit Bonhams.com
A pair of late 19th/early 20th century French gilt bronze and biscuit porcelain four light figural candelabrathe three acanthus scrolling arms with foliate urn nozzles, each centred by a corresponding nozzle with leafy collar, raised on knopped acanthus central stems, the figural porcelain supports formed as twin classical maidens flanking drapery, raised on fluted half column pedestals with moulded fruiting vine borders, the circular plinths mounted on toupie feet, 63cm high (2)For further information on this lot please visit Bonhams.com
A pair of early 20th century silvered two light wall-sconcesin the Baroque stylethe twin branches terminating in candle nozzles and drip pans of typical form, the back plate with pierced foliate and animal motifs surmounted by a pair of winged putti, adapted for electricity 22.5cm high (2)For further information on this lot please visit Bonhams.com
A pair of late 19th century French gilt bronze figural four light garniture candelabrain the Louis XVI style, the figures in the manner of Claude Michel (French, 1738-1814) known as Clodionthe two pairs of asymmetric fruiting acanthus scrolling arms with urn nozzles and beaded drip pans, supported by infant satyrs, on elaborate circular pedestal bases, with floral cast garlands, laurel wreath borders and scrolling side pieces, 51cm high overall (2)Footnotes:This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Sir William Hamo Thornycroft, British (1850-1925): A patinated bronze figure of 'The Iron Age'the male figure depicted in labourer's dress in contrapposto stance, a pick held over his left shoulder, raised on square base, signed and dated to the top of one corner Hamo Thornycroft 1907, the opposing corner inscribed and numbered HT 1302(?), the side of the base with title THE IRON AGE, 34.5cm highFootnotes:The figure of 'Iron Age' comes under the umbrella of 'New Sculpture,' of which Thornycroft was a leading light. The idea of 'realism' was a recurring one that preoccupied the sculptor and which is reflected in his work. The New Sculptors tried to find ways to bring the sculptural body to life making it appear life-like without wishing to make it a 'display of flesh.' This tension is apparent in much of Thornycroft's with the figure of the 'Mower,' and the present lot being prime examples . In 1885 Thornycroft gave a lecture at Royal Academy where he commented that the 'considerable and sustained advance of sculpture' was due to, in part, to 'the closer study of nature.'LiteratureD. Getsy, The Problem of Realism in Hamo Thornycroft's 1885 Royal Academy Lecture, The Walpole Society 69 (2007): pp. 211–25.For further information on this lot please visit Bonhams.com
A matched late 19th century French gilt bronze clock garniturethe clock in the Louis XV stylethe elaborate waisted cartouche case cast with acanthus foliate scrolls and flowers, the top surmounted with fruiting acorn leaves, the integral scroll footed platform base with rocaille and foliate apron, the 4' enamel Roman dial with outer five minute Arabic track, the brass twin train movement with Brocot type escapement striking on a bell, with pendulum and winder, the four light gilt bronze and black slate four light three branch candelabra with cusped column supports, (3)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An early 20th century Italian turned and carved alabaster plaffonierof shallow dished form in the Pompeian style, the lobed button centre set within an ochre stained floral garlanded border, the matching bronzed metal and alabaster ceiling rose mounted with a central rod three light fitment, together with three bronzed metal fancy link suspension chains, the plaffonier, 21cm high, 56cm diameter, the rose and suspension rod fitment, 72cm drop, all approximatelyFootnotes:ProvenancePurchased Guinevere Antiques Ltd.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Baikie (William Balfour). Narrative of an Exploring Voyage up the Rivers Kwo'ra and Bi'nue (commonly known as the Niger and Tsadda) in 1854, 1st edition, London: John Murray, 1856, frontispiece, title vignette, folding lithograph plate, folding map, partly unopened, light stains to endpapers, original cloth, spine faded, some dampstaining to covers, 8voQTY: (1)NOTE:An account of the first successful Niger expedition of 1854, funded by the Liverpool entrepreneur Macgregor Laird, aimed at opening up West Africa to trade by steamships able to navigate the key rivers into the interior. A scottish naval surgeon and naturalist, William Balfour Baikie (1825-1864) took command of the expedition after the death of the ship's captain, and was the first to successfully trial the use of quinine on board quinine; not one of the Europeans on board the Pleiad died of fever.
* Gillray (James, 1757-1819). "Ay, here's the Masculine to the Feminine Gender". Enter Cowslip with a Bowl of Cream..., H. Humphrey, June 13th 1795, etched caricature with contemporary hand-colouring, large margins, 345 x 245 mm, together with Operatical Reform - or - La Dance a l'Eveque, H. Humphrey, March 14th 1796, etched caricature with contemporary hand-colouring, torn with loss to the upper left corner, professionally repaired and restored, thread margins, 255 x 355 mm, with A Corner near Bank - or - An Example for Fathers -, H. Humphrey, Sept. 26th. 1797, etched caricature with contemporary hand-colouring, light overall toning, torn with loss to the lower right corner but not affecting the printed image, crudely repaired, 350 x 260 mm, plus Field Marshall Count Suwarrow-Romniskoy..., H. Humphrey, May 23rd 1799 [but later impression], uncoloured etching, trimmed to neatline, tipped on to later paper, 345 x 2145 mm, and Cruikshank (Robert). La Promenade, C. Tregear, 1828, etched caricature with contemporary hand-colouring, laid on later paper, 350 x 250 mmQTY: (5)
Gilbert (Charles Sandoe). An Historical Survey of the County of Cornwall: To which is added, a complete heraldry of the same, 2 volumes, 1st edition, Plymouth-Dock: J. Congdon, 1817-20, engraved frontispieces and additional titles, engraved dedication, double-page map, 48 engraved plates, including aquatints and wood-engravings, 25 pages of armorials (close-trimmed), additional plates noted at pp. 720, 741, 850 & 864 in volume 2 according to a note tipped-in at front of volume 1, occasional light offsetting, contemporary half calf, rebacked with original spines relaid, a little rubbed and scuffed, 4to, together with Gilbert (Davies). The Parochial History of Cornwall, founded on the manuscript histories of Mr. Hals and Mr. Tonkin: with additions and various appendices, 4 volumes, 1st edition, London: J.R. Nichols and Son, 1838, half titles, some light spotting and small marginal stains, top edge red, later half calf, spines with red and black labels, a little rubbed at spine ends, 8voQTY: (6)
Ireland (Samuel). Picturesque Views on the River Thames, from its Source in Gloucestershire to the Nore: with observations on the public buildings and other works of art, 2 volumes, London: T. & G. Egerton, 1792, half titles, additional aquatint titles, 2 maps, 52 sepia aquatint plates, occasional offsetting and light spotting, bookplates of Alfred George Renshaw, all edges gilt, contemporary green straight-grained morocco, spines faded top brown, a little rubbed and scuffed, 8vo QTY: (2)NOTE:Abbey Scenery 430.
Illuminated Manuscript Leaves. A group of nine illuminated manuscript leaves on vellum from a Book of Hours, probably Italian, circa 1450, 9 manuscript leaves (not sequential) on vellum in brown ink, with additional titles and prompts in red, written on both sides of the leaf, mostly 14 lines per page, with 14 larger illuminated initials, 13 line fillers, and 43 smaller illuminated initials, all in gold, blue and pink, with outlines in black, some light handling marks, sheet size 175 x 130 mm, bound together in near-contemporary vellum, with early (probably 16th century) unrelated manuscript title in brown ink to rear cover: 'Lettere di Uffiziosita, e denotizia dell assenzione di caviete...', and late 19th/early 20th century note inside front wrapper in pencil: 'Manuscritto del Secolo XVo' , loosely contained in 17th century Italian brown calf binding, with decorated endpapers in gold on a red ground, together with another smaller manuscript leaf on vellum from a Book of Hours, 15th century, in brown ink with one small illuminated initial, sheet size 150 x 90 mm, QTY: (1)NOTE:The text begins with words used for the Magnificat from Luke, chapter 1: 'Deposuit potentes de sede, et exaltavit humiles. Esurientes implevit bonuses et divites dimisit inanes' (He hath put down the mighty from their seats, and exalted them of low degree. He hath filled the hungry with good things; and the rich he hath sent empty away). Other text includes parts of the Litany of Loreto: 'Concede nos famulos tuos, quaesumus, Domine Deus, perpetua mentis et corporis sanitate gaudere: et gloriosa beatae Mariae semper Virginis intercessione...' (Grant, we beseech Thee, O Lord God, that we Thy servants, may enjoy lasting health of mind and body, and by the glorious intercession of the Blessed Mary, ever Virgin), and the Anthem of the Blessed Virgin: 'Gratiam tuam, quaesumus Domine, mentibus nostris infunde: ut qui, Angelo nuntiante, Christi Filii tui incarnationem cognovimus, per passionem ejus et crucem ad resurrectionis gloriam perducamur' (Pour forth, we beseech thee, O Lord, thy grace into our hearts; that we to whom the Incarnation of Christ thy Son was made known by the message of an angel, may by his Passion and cross be brought to the glory of his Resurrection)
Saint Jerome. Diui Hieronomi in vitaspatru[m] percelebre opus oculos mortalibus celu[m]que aperiens: cui[us] lectura p[ec]c[a]toris etia[m], saxeu[m] cor emollit deq[ue] hu[n]c per actis criminib[u]s co[m]pu[n]gi et dolere co[m]pellit..., [Lyons]: Stephanum Balam, 1509, title printed in red and black with woodcut illustrations, woodcut illustrations including full-page illustrations of Christ on the cross, printer's woodcut device to final leaf verso, text in double column, occasional worming, mainly front and rear, affecting some images and text to title and preliminaries, occasional light soiling, contemporary calf, rebacked, a little rubbed with small wormtracks, small 4to QTY: (1)
Mackay (Charles). The Thames and its Tributaries; or, rambles among the rivers, 1st edition, 2 volumes, London: Richard Bentley, 1840, wood-engraved vignette half-titles, wood-engravings and decorative initials to the text, occasional spotting to preliminaries, ownership inscriptions erased from title upper margins, contemporary black half calf gilt over green marbled boards, rubbed, 8vo, together with Evans (John). Richmond, and its vicinity, with a glance at Twickenham, Strawberry Hill, and Hampton Court, 1st edition, Richmond: James Darnill, 1824, lithograph frontispiece, 3 lithographs, occasional light spotting, contemporary calf gilt, lightly rubbed, 12mo, plus another copy of the same work bound in 20th-century green morocco gilt, lightly rubbed, 12mo, and 26 others relatedQTY: (30)
Antoninus (Saint, Archbishop of Florence). Confessionale de Santo Antonino Arcineschono de Firenze, Venice: Giovane Padovano, 1543, title printed in red and black within woodcut border (insect predation affecting image top right), woodcut initials, lacking leaves K1-2 & K6-8 at end, occasional marginal insect damage, some toning and water stains, bookplate of Esther & Leonard Baskin (Leonard Baskin, 1922-2000, US sculptor and graphic artist), later half buckram, 8vo, together with [Butler, Samuel]. Hudibras. The First and Second Parts. Written in the time of the Late Wars, corrected and amended, with several additions and annotations, 2 parts in one, London: printed by T.N. for John Martyn and Henry Herrington, 1674, lacking final leaf pp. 411-12, some light spotting and a few small tears, early ownership signatures including P. Wharton, bookplate of The Right Hon. The Earl of Wigtown, Lord Fleming and Cumbernauld, 18th-century calf, foot of spine chipped, a little rubbed with small repairs, 8voQTY: (2)NOTE:Sold with all faults not subject to return.
Hall (Edward). The Union of the Two Noble and Illustre Famelies of Lancastre & Yorke beeying long in continual discension for the crowne of this noble realme, with all the actes done in bothe the tymes of the princes, bothe of the one linage and of the other, beginnying at the tyme of Kyng Henry the fowerth, the first aucthor of this deuision, and so succesffiuely proceadyng to the reign of the high and prudent prince Kyng Henry the eight, the vndubitate flower and very heire of both the sayd linages, London: Richard Grafton, 1548, facsimile title, dedication, preface and 3 other preliminary leaves all in facsimile, main text printed in black letter and commences on A1 (folio I) and ends on 3U5 (folio CCLVII), woodcut initials, final leaf with tear and small loss of text, the same leaf repeated in facsimile and then facsimile leaves thereafter to the end, lacking leaves 2E2-5 & 2I2-5 in Richard III, and 2R8 blank? at end of Edward IV, leaf 3I1 in Henry VII partly supplied in facsimile, leaf 2K5 in Richard III with loss of headline from insect predation, lacking leaf 2K6 in Richard III (blank?), first leaf A1 with wormtrack and resultant loss of text, 3G6 with repaired tear, occasional early marginalia and annotations including a cartoon of a figure with tethered animal (partly shaved to verso of 3E4 in Henry VII), occasional light damp stains and soling, a few small marginal wormholes, bookplate of Graham Hirth, 20th-century half calf over marbled boards, folio, 267 x 185 mm QTY: (1)NOTE:ESTC S121062; STC 12722. Rare in any condition. Provenance: nineteenth-century manuscript note at front copies the title, followed by a price 4.4.0. Grafton 1550, then "The above (copied from Jacksons catalogue for 1831) is the title of this book and the price of a perfect copy - for this which I bought of Cryer of Wakefield I gave £1.1.0 - but it must be worth 3.0.0 - M. Seatcherd". There is a portrait print of a Morrison Seatcherd, by Henry Adlard in the British Museum. Modern pencil note to front pastedown states the facsimile leaves were from the British Museum copy. Complicated collation, copies vary in components but seems to conform to signatures from the 1548 first edition.Important source for Shakespeare's conventional history plays. Due to the work's Protestant leanings Queen Mary issued a proclamation in 1555 calling for the book to be destroyed, which most likely explains the scarcity of early editions. Sold with all faults not subject to return.
Plinius Secundus (Gaius Caecilius). Epistole di G. Plinio, di M. Franc. Petrarca, del S. Pico della Mirandola et d'altri excellentiss. huomini. Tradotte per M. Lodovico Dolce, Venice: Gabriel Giolito de Ferrari, 1548, [4],164 leaves, including colophon at the end, some woodcut initials, occasional light spotting, contemporary limp vellum, spine with title supplied in ink manuscript, bookplate of John T. Betts, Pembury to front pastedown, together with Dilly (Antoine). De l'Ame des Betes, ou apres avoir démontré la spirtualité de l'ame de l'homme, l'on explique par la seule machine, les actions les plus surprenantes des Animaux, 1st edition, Lyon, Anisson & Poysuel, 1676, margins lightly toned, late 19th century printed ownership of William Reynolds Streatham, London, to front pastedown, and 20th century signature of D. L. Cumming to front endpaper, contemporary calf, old re-back, some wear to joints and corners, 12mo, plus Petrus Lombardus. Textus Sententiarum, Paris, Johannis Barbier for Petri Baquelier & Dionysii Roce, 1508, ccxiii, [12], clxxxiiii (with colophon at end), [12], [31] leaves, lacking blank at end (Ddd8), title printed in red and black, criblé woodcut initials, black letter text, occasional marks, later marbled endpapers, later half calf over dark blue cloth boards, rubbed and a little wear, small thick 8vo, and other various other early antiquarian including L. Carrion, Emmendationum et Observationum liber primus, Paris, 1583, L'introduction au Traité de la Conformité des Merveilles Anciennes avec les Modernes..., Guillaume des Marescs, 1572, an early 19th century manuscript volume titled to spine 'Pious Meditations', etc.QTY: (12)NOTE:Pliny: Bongi, I207 'Questo libro, che non ebbe ristampe e che quindi e piuttosto raro'.Dilly: Barbier I, 126; Cioranescu 25776.
Justinian. Justiniani Institutionum Libri IIII; Juris Civilis Rominitia et Progressve ad leges XII; Tituli Tractatusq, Juris C. Studio in primis necessarii, 3 parts in one, [Geneva]: Joannis Crispini, 1574, first title with woodcut border, the two other titles with woodcut device, occasional light toning and marginal water stains, a few annotations, mainly to first title, later calf, covers with arabesque decoration in gilt, spine rubbed with splits and losses, frayed cloth ties, 8voQTY: (1)
Holinshed (Raphael). The Firste volume of the Chronicles of England, Scotlande, and Irelande. Conteyning, the description and chronicles of England from the first inhabiting unto the conquest..., Faithfully gathered and set forth, by Raphael Hollinshed, volume 1, First Part only, London: Imprinted [by Henry Bynneman] for George Bishop, [1577], [8],124[really 126], 289pp., woodcut title (some marks and light soiling, contemporary inscription in brown ink at foot 'God save the Quene, Simon...stripsit', slightly cut down, restrengthened to fore-edge to verso), black letter text in double column, numerous woodcut illustrations, text generally in clean condition, lacks r1 (the divisional leaf between the first and second parts), endpapers renewed, 19th-century half-calf, some marks, and light edge wear, modern calf reback retaining 19th-century morocco title label to spine, folioQTY: (1)NOTE:STC13568.The first two parts (of four) of the first volume of Hollinshed's chronicles, which contain source material for Shakespeare's King Lear and Macbeth.
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