Regiomontanus (Johannes Müller) De triangulis planis et sphaericis libri quinque..., second edition, collation: *4 a-o6 p8 : *6 A4 B-Z6 AA6 BB4 CC6, woodcut device to title, engraved historiated initials and woodcut illustrations, 20th century ink provenance note and bookplate to pastedown, first few ff. damp-stained, title with small repairs and reinforced at inner margin, short marginal tears to N¹ and N³ not affecting text, final ff. browned and repaired, occasional light spotting and browning, contemporary vellum, spine with manuscript title in raised bands (mostly chipped away), small contemporary labels to spine and cover, partially removed, [Adams R-281; Norman 1566], tall 8vo (315 x 210mm), Basel, Heinrich Petri & Peter Perna, [1561].⁂ The second, much augmented edition of the first systematic treatise on plane and spherical trigonometry to be published in Europe. Though it was completed in 1464, it remained a manuscript until 1533 where it was first published in Nuremberg by Johann Petri. Regiomontanus's monumental work on triangles was the first printed systematization of the subject as a branch of mathematics independent of astronomy, and contains the earliest statement of the cosine law for spherical triangles, stating the proportionality of the sides of a plane triangle to the sines of the opposite angle. This fundamental proposition of spherical trigonometry appears as theorem 2 in book V of the treatise. In the second part, Regiomontanus proves the errors of Nicolaus de Cusa's theory of squaring the circle, which had a profound effect on the history of navigation (Adams). His contributions were instrumental in the development of Copernican heliocentrism in the decades following his death.
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Lambert (Johann Heinrich) Les propriétés remarquables de la route de la lumière par les airs et en général par plusieurs milieux réfringens sphériques et concentriques, avec la solution des problèmes qui y ont rapport..., first edition, 2 folding engraved plates, endpapers lightly browned with very small contemporary ink numbers to pastedown, occasional spotting, contemporary calf, a little marked and discoloured, joint slightly cracking, 8vo, The Hague, H. Scheurleer, 1758.⁂ Scarce first edition of Lambert's first published book, discussing the path of light rays in air and other media. Lambert began working on aspects of refraction through the atmosphere in 1752, and from 1754 this work was carried out in parallel with his work on photometry. The book is divided into three parts: 'Les propriétés générales de la route, qui la lumière prend, en passant par des milieux réfringens, sphériques et concentriques'; 'Des réfractions astronomiques, de la manière de les déterminer par approximation aussi exactement que l'on voudra, et de leur rapport à divers autres problèmes'; and 'Des réfractions circulaires, de leur usage pour la détermination des réfractions terrestres: et de divers autres problèmes dépendant des réfractions tant astronomiques que terrestres'. Remarkably, during the entire period 1756-58 Lambert was traveling through northern Europe and so carried with him a small library. Lambert mentions that he is working on another work in optics and promises to publish it soon - this would eventually be his Photometria. COPAC lists only the Royal Society copy.Provenance: Title page with ex-libris of great mathematician and engineer Gaspard de Prony (1755-1839).
Osteology.- Havers (Clopton) Osteologia nova, or Some new observations of the bones, and the parts belonging to them, with the manner of their accretion, and nutrition, first edition, initial imprimatur f., 2 engraved plates (1 folding), final advertisement f., red ink stamp to title, lower margins of quires A-D with small worm trace diminishing to a small hole as proceeds, occasionally re-surfacing later to a lesser extent, occasional spotting and light staining, lightly browned, contemporary panelled calf, spine in compartments and with chipped gilt title, joint splitting, but holding firm, ink stains to upper cover, upper outer edge partly worn, rubbed, [Garrison-Morton 387; Norman 1024; Wellcome III p.225; Wing H1162], 8vo, Printed for Samuel Smith at the Prince's-Arms in St. Paul's Church-yard, 1691.⁂ First edition of the first complete and systematic study of the structure of bones. This work also included the first account of the vascular canals of long bones that now bear the author's name.
Reimann (George Friedrich Bernhard) Grundlagen für eine allgemeine Theorie der Functionen einer veränderlichen complexen Grösse, first edition, minor toning or light spotting, some browning and light marking to title and final page, stamp and small paper label to title verso, upper inner corner of first and final pages with minor restorations, later boards, 4to, Göttingen, 1851.⁂ Reimann's doctoral thesis exemplifies the important contributions he made to 19th century mathematics, namely his work in analysis, number theory, and differential geometry. In the field of real analysis, he is known for the first rigorous formulation of the integral - the Riemann integral - and his work on Fourier series. Moreover his contributions to complex analysis include his notable introduction of Riemann Surfaces, first put forward in this thesis. This paper and its sequel, 'Theorie der Abelschen Functionen' (1857), are lauded as some of the most important achievements of analytic number theory, and through his pioneering findings in differential geometry, Reimann laid the foundations for the mathematics of general relativity. Only a few copies were printed for private distribution, and only 3 copies of his dissertation have appeared at auction over the last 30 years.
Quantum mechanics.- Discovery of the Compton Effect.- Compton (Arthur Holly) "A Quantum Theory of the scattering of X-Rays by Light Elements", first edition, in Physical Review, Second Series, Vol. 25, No. 5, May 1923, pp. 483-502, lacking wrappers, modern calf-backed cloth, 8vo, 1923.⁂ Compton's explanation and measurement of what became known as the Compton Effect and proved the dual wave-particle nature of electromagnetic radiation. This paper and its implications resulted in Compton being awarded the Nobel Prize in Physics in 1927.
Bible, Greek & Latin.- Novum testamentum omne, edited by Desiderius Erasmus, collation: Aa-Kk6 a-z A-Z6 &8 : aA bB8, parallel Greek and Latin text, title, dedication and opening of four books with woodcut historiated border, half-page woodcut by HF, woodcut canon tables, head-pieces and historiated and decorative initials, early ink marginalia and inter-linear notes in Latin or Greek, without the two-quire index, as often, lacking final f. (errata/device), title with hole and a couple of make-shift repairs, with loss of part of border and a few letters r&v, repaired tear to p3, &1 detached, a few small wormholes / small traces within text (the latter mostly at end), water-stained / stained, some spotting and light foxing, lightly browned, contemporary blind-stamped vellum, remains of metal clasps, soiled, folio (331 x 215mm.), [Basel], [Johann Froben], [March, 1519].⁂ Second edition of Erasmus' New Testament, with greatly expanded preliminaries, including a letter from Pope Leo X expressing his pleasure at an improved second edition. Our copy with evidence of early scholarship. Provenance: 'Ex bibliotheca Christophori Cretzschmar, Anno 1612'; reference to Vogt Catalogue, 262; 'Henry W. Moule, from A.C. Moule, Jan.13.1922' (ink inscriptions to front pastedown)' 'Mauro' (?17th century ink name to foot of title). Literature: Adams B1680; D&M 4597; VD 16 B 4197.
Pantaleon (Heinrich) Militaris Ordinis Iohannitarum, Rhodiorum, aut Melitensium Equitum, first edition, collation: ):(6 a-z A-I6K8, woodcut printer's device on title, numerous woodcut illustrations, including maps, views and portraits, some full-page, title lightly browned, occasional light damp-staining, mostly marginal, the odd spot, early ink annotations to margins, modern vellum, folio (305 x 190mm.), Basel, [Thomas Guarinus], 1581.⁂ With views of Jerusalem, Tyre, and Damascus, maps of the Holy Land, Cyprus, the Nile delta, Greece, and the Balkans, and plans of Constantinople and other cities. Literature: Adams P178; VD 16 P 223.
Bolla (Bartolomaeo) Thesaurus proverbiorum italico-bergamasco-urum rarissimorum... nunquam antes stampatorum... italicae linguae amantium ad aperiendum oculos editorum, woodcut ornament on title, woodcut initials, head- and tial-pieces, bookplate of Victor De Guinzbourg to front pastedown, crushed citron morocco, gilt, by Bedford, spine gilt in compartments, some very light rubbing to extremities, [Duplessis 461], 8vo, Frankfurt, Officina Bergamascorum, Ioannem Saurium, 1605.⁂ A clean and handsome copy of this rare collection of Italian proverbs, some of a bawdy and humerous nature.
*** Please note, the description for this lot has changed ***Kircher (Athanasius) Ars magna lucis et umbrae, 2 parts in 1, first edition, additional engraved title by Pierre Miotte, title and half-title with woodcut vignettes, 40 engraved plates, 1 folding, name crossed out at tail of title, some spotting or occasional heavy browning, paper flaw to p.686 not affecting text, endpapers renewed, contemporary vellum, manuscript lettering to spine, corners a little bumped, spine wormholed, folio, Rome, Ludovici Grignani for Hermanni Scheus, 1646. ⁂ First edition of Kircher's principal contribution to optics, discussing the treatment of light, shadow, and colour, while seeking parallels between the action of light and that of magnetism. Among the optical topics discussed and investigated by Kircher in this work are bioluminescence, the projection of sun or candlelight onto mirrors painted in colours or through painted glass spheres, and the military use of mirrors by Archimedes to set fire to Roman ships (a phenomenon that Kircher thought probable). The first published account of the illumination and projection of images appeared in this first edition. The work also includes some of the earliest observations with a microscope, preceding those of Hooke and van Leeuwenhoek by two decades.
Playing cards.- Della Bella (Stefano) Jeux Historiques des Rois de France, Reines renommees, Geographie et Metamorphose, complete series of 4 sets of educational playing cards in 1 vol., 12pp. preliminaries comprising printed title, playing instructions and privilege (dated 1644), 4 complete sets of engraved playing cards comprising title and 52 plates, except for Rois de France which has title and 39 plates (as issued), a few plates loose and a couple misbound, but generally clean and with full margins, minor light foxing and finger-soiling, title of Queens with slight water-stain to corner, contemporary calf, worn, upper joint repaired, 12mo, Paris, Chez Nicolas le Clerc et Florent le Comte, 1698.⁂ Very rare to find complete and in such good condition. The complete series of four educational playing card sets commissioned by Cardinal Mazarin for the instruction of Louis XIV, who ascended to the throne in 1643 under the regency of his mother. They were prepared by Jean Desmarests, a member of the French Academy, and first printed in 1644 under the Paris imprint of Henri Le Gras and Florentin Lambert. After Lambert's death the plates were sold to Florent le Comte who added suit-marks of spades, clubs, hearts, and diamonds, and reprinted them in book form in 1698. It is curious that in this copy the imprint "F. Le Conte" [sic] occurs on the engraved title leaf for the Mythology series but the three other series of playing cards still retain the original "Henri le Gras" imprint [from 1644). The Kings begin with Pharamond and Clodion and end with young Louis (King of Hearts); in some instances, as many as five kings of France are featured on one card, each numbered and listing the length of his reign. The Queens begin with Martesie, queen of the Amazons, and end with Anne of Austria, the mother of King Louis - a single adjective is given at the upper right corner describing each one: pious, cruel, unfortunate, saintly, wise, brave, etc. Geography has a title card showing a twin-hemisphere map and the cards themselves comprise emblems of individual countries (divided into four sections, each a different continent): the Americas are represented by Peru, Mexico, Canada [Nouvelle France], Virginia, Florida, Yucatan, Nicaragua, Quivira [in Wichita, Kansas], Chile, Brazil, Popaian [Columbia], and Castile d'or [i.e. Panama]. Mythology ("jeu des fables") represent the Greek myths, including the stories of the nine Muses, Mercury, Neptune, Pygmalion, Hercules, Jason, Apollo, Narcissus, and Medusa."They are all extremely interesting and of much rarity, and from an artistic standpoint are of value as the work of the famous Florentine engraver Stefano della Bella" (Hargrave, History of Playing Cards, pp. 58-59).
![French Novels.- [Bastide (Jean-François de)] L'Être Pensant, 2 parts, first edition, Amsterdam et se trouve a Paris, Hocherea](https://cdn.globalauctionplatform.com/458dcef5-8ad2-4b82-ac33-ad1800cbd552/8da93387-6055-4b5c-bf53-ad180118653f/468x382.jpg)
French Novels.- [Bastide (Jean-François de)] L'Être Pensant, 2 parts, first edition, Amsterdam et se trouve a Paris, Hochereau, 1755 bound with [Liébaut.] Les Erreurs de l'Amour et de la Vanité; Memoires de la Marquise de Bercaville, errata leaf at end, title with contemporary ink initials to inner margin and small tear to outer, B1 lacking lower outer corner, some light foxing, The Hague, Neaulme, 1755, together 2 works in 1 vol., first editions, contemporary sheep-backed marbled boards, spine gilt with floral motif and green roan label, a little rubbed, one or two small splits to joints, [Martin, Mylne & Frautschi 55.14 & 55.26], 12mo⁂ Library Hub records only one copy of each in the British Isles (Trinity College Dublin for the first, and University of Oxford for the second).
![Novels.- [Woodfin (Mrs A.)] Histoire de Madame Dubois, half-title, light foxing, Amsterdam et se trouve a Paris, Merigot jeun](https://cdn.globalauctionplatform.com/458dcef5-8ad2-4b82-ac33-ad1800cbd552/8db14de4-17c5-4c5a-a660-ad180117af82/468x382.jpg)
Novels.- [Woodfin (Mrs A.)] Histoire de Madame Dubois, half-title, light foxing, Amsterdam et se trouve a Paris, Merigot jeune, 1769 bound with Femme Malheureuse (La), ou Histoire d'Elise Windham, racontée...dans un Voyage de Salisbury, à Londres, 2 parts in 1, one or two small stains, first part with hole to C1 causing loss of a few words and lower outer corner of E1-4 torn away just touching a couple of letters, part 2 with small paper flaw tear and hole to L2 with slight loss to one word, Amsterdam, 1771, together 2 works in 1 vol., both first editions in French, contemporary sheep-backed blue paste-paper boards, spine gilt in compartments with spider's web motif and green roan label, rubbed, spine a little worn at head with slight loss and torn at foot (latter repaired), joints split, [Martin, Mylne & Frautschi 69.72 & 71.7], 8vo ⁂ Both translations of English novels. The first is a translation of Mrs Woodfin's The Discovery: or, Memoirs of Miss Marianne Middleton, first published in 1764; Library Hub lists only one UK copy (British Library). The second is a translation by Dumanoir of The Distressed Wife, or the History of Eliza Wyndham, published in 1768; Library Hub records 3 UK copies (BL, Oxford & University of Leeds).
![Bible, Greek.- He Kaine Diatheke [graece], collation: [a]2 b-z A-K8 L4 M N8 O4 P8 Q6 R-X8 Y4 Z AA BB8 CC6 DD8 EE2 FF GG8 HH10](https://cdn.globalauctionplatform.com/458dcef5-8ad2-4b82-ac33-ad1800cbd552/31b9cf88-1d1e-4ba9-b812-ad180117a6f3/468x382.jpg)
Bible, Greek.- He Kaine Diatheke [graece], collation: [a]2 b-z A-K8 L4 M N8 O4 P8 Q6 R-X8 Y4 Z AA BB8 CC6 DD8 EE2 FF GG8 HH10 II8 KK10, title with woodcut printer's device, capital spaces with guide-letters, with blanks H8 and KK10, ruled throughout in red, occasional early ink inter-linear notes, title working loose, HH5 detached, occasional spotting and light staining, lightly browned, 17th century calf, gilt, spine ends and corners worn, joints splitting, but holding firm, rubbed, 8vo (163 x 93mm.), Paris, Simon de Colines, 1534.⁂ The first Greek New Testament printed in France, which Darlow & Moule consider 'the earliest attempt at a critical edition'. It is rare at auction. Provenance: The Hon. Shute Barrington, Lord Bishop of Durham (engraved armorial bookplate); 'Bought (through Quaritch) at Sotheby's (Mar 14-15, 1887) for £2.2/-, H.C. Hoskier'; 'Given by H.C. Hoskier, to Henry W. Moule, Feb. 4. 1930' (ink inscriptions to front free endpaper). Literature: Adams B1652; Darlow & Moule 4607; Schreiber, Colines, 110.
Arabic manuscript.- Qu'ran Scroll, purported to have once been displayed above Shah Jahan's Peacock Throne in the Diwan-i-Khas in the Red Fort of Delhi, decorated manuscript on paper, single scroll formed of over 20 paper membranes, entire scroll mounted on fine polished paper forming wider margins around the textual scroll, comprising text from Surah al-Baqarah to al-Nas, being a near-complete Qur'an lacking only the first section of the first membrane (probably removed for the illumination of the opening section: see below), consecutive lines in fine black naskh, surah headings in red, some small sections of text rubbed and a few scattered spots, outer edges of scroll with some light water-staining, in early twentieth-century custom silver chest, inscribed "la Ilaha Ill'Allah Muhammad'ur Aasul'ullah", this contained in another custom-made green morocco box lined with green silk, and these both placed inside a leather travel case fitted with a magnifying glass holder, typed letter from "E.C. Gould" loosely inserted containing provenance and physical description of contents, total length 16,100 mm. (16.1 meters) by 75 mm., probably Delhi], [first quarter 17th century].⁂ An extraordinary manuscript with an apparently distinguished provenance. The typed letter included indicates that the scroll is of extreme cultural and historical significance, as it once "adorned the throne room of the great Moghul Emperor Shahejahan where it had a place of reverence right above the Peacock Throne". The writer then explains that after the Emperor's death a scuffle took place among his attendants over the ruler's most treasured posessions, this being a prominent feature, which resulted in the first two "siparahs" being separated from the rest of the scroll.
Bible, Hebrew.- Quinque libri legis, bound as 5 vol. (order of parts varies from collation given by Adams), collation: a-r8 s10 t-z, aa-kk8 ll4 mm-zz, A-N8 O10 P-Z, AA-DD8 EE4; A-T a-y8; A-Z8; A-Q8 R4; a-x8; aa-ss8; A-P8; A-V8; AA-NN8 OO10; A-K; a-p8; A-Z8, titles in Hebrew and Latin, text in Hebrew, woodcut printer's devices, Hebrew book titles within woodcut cartouche, with all blanks, vol.1 lacking s5&6, ruled in red throughout, later ink marginalia and inter-linear notes throughout, small armorial ink stamp to titles (1 inked out), occasional spotting and light staining, lightly browned, new endpapers, contemporary calf, covers with gilt arabesque centre-pieces, rebacked in 20th century dark brown morocco, corners worn, rubbed, gilt gauffered edges, c.112 x 62mm., [Paris], [Robert Estienne], 1544-1546; and another (slightly shabbier) 5 vol. set, with the missing 2 ff. (not fully collated), 16mo (10)⁂ A 'bijou typographique' (Renouard) by the Royal Printer in Hebrew. It is Robert Estienne's second Hebrew Bible, and considered as one of the finest examples of Hebrew printing. Provenance: 'Henry W. Moule, from A.C.M., for Christmas, 1924' (slip pasted to first front pastedown, along with Moule's own ownership slips in same location of other vol.). Literature: Adams B1224; Renouard, Estienne, 65:1; Schreiber, Estiennes, 82; Mortimer, French, 73.
![Bible, Greek.- Tes Kaines Diathekes Apanta [graece], Novum Testamentum, 2 parts in 1, first edition, second issue (with Novem](https://cdn.globalauctionplatform.com/458dcef5-8ad2-4b82-ac33-ad1800cbd552/72119022-0996-46d7-9cd9-ad180119298e/468x382.jpg)
Bible, Greek.- Tes Kaines Diathekes Apanta [graece], Novum Testamentum, 2 parts in 1, first edition, second issue (with November in colophon), collation: a-z, A-K; aa-zz8, titles Greek and Roman type, text Greek type, titles with woodcut basilisk devices, woodcut decorative initials and head-pieces, colophon f. with woodcut printer's device verso, with one of 2 final blanks, occasional spotting and light staining, very lightly browned, 19th century blind-tooled morocco, gilt titled spine in compartments, rubbed, g.e., 16mo (129 x 79mm.), Paris, Robert Estienne, [November], 1546.⁂ First edition, second issue, of Estienne's Greek New Testament. Literature: Adams B1657; Mortimer, French, 74; Renouard, Estienne, 65:2; Schreiber 90; Darlow & Moule 4616.
Thomas Bush Hardy (British 1842-1897)The Hamose PlymouthWatercolourSigned and titled (lower right)24.5 x 36cm (9½ x 14 in.)Provenance:Rudolph Ackerman, LondonBerwick House, ShropshireCondition Report: Under glass, unexamined out of glazed frame. Light surface dirt throughout. Otherwise appears to be in good original condition. Would benefit from unframing and cleaning the inside of the glass. Condition Report Disclaimer
Follower of Theodore RusselPortrait of a lady in Tudor dressOil on panel fragment37 x 24.5cm (14½ x 9½ in.)Unframed Provenance:Lord Christopher Thynne, Longleat House, WiltshireThence by descent to the present ownerCondition Report: Fragment attached to four wooden mounts which in turn have been fixed to a backboard (creating a floating effect). On examination out of glass, reveals two fine vertical cracks running through the sitter's face. The smaller of these two cracks with some flaking and associated loss just below the eye. The second crack also with some loss but this is smaller than the first. One or two other areas of flaking throughout. Most noticeably to the jewel at the bottom of the sitter's hat. Light craquelure throughout together with some ingrained surface dirt. Some spots of retouching visible in natural light. Some rubbing and abrasions to the extreme edges. Inspection under UV reveals retouching throughout most significantly to the sitter's torso. Condition Report Disclaimer
Follower of Paolo UcelloPortrait of a woman in side profileOil on panelInscribed ALZETATIN (lower right)25.3 x 17cm (9¾ x 6½ in.)Provenance: From the private collection of Sir David and Lady ScholeySir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The panel is bowed. There is a large area of loss approx. 1cm diameter to the right edge. There are a number of repairs throughout the panel, the most prominent being one to the sitter's left shoulder and one to the sitter's chest where there is associated loss, flaking and protruding blobs of a brown substance, presumably this was applied during the repair process. There is an area of lifting and uneven paint surface to the lower left edge. Significant surface cracks and scratches throughout. Areas of retouching visible in natural light. Inspection under UV reveals retouching throughout, the true extent of which is possible masked by a green cloudy varnish. Condition Report Disclaimer
Circle of Cornelius Johnson (British 1593-1661)Portrait of Grace Thomason with pocket watchOil on canvasLater inscribed Grace Thomason 1662' (upper left)71.5 x 59cm (28 x 23 in.)Condition Report: The canvas has been relined. The paint is thin in places, there is some rubbing and associated losses to the framed edges. Some surface dirt and scattered spots of paint loss throughout. Some craquelure throughout, most noticeable to the face. Ultraviolet light reveals scattered retouching but a masking varnish may conceal further restoration. Condition Report Disclaimer
Dutch School (17th century) Portrait of gentleman with a white ruffOil on panel51.5 x 44cm (20¼ x 17¼ in.)Provenance:Sale, Sotheby's, House sale, 11 November 1996, lot 187Condition Report: There are two vertical splits to the panel running the length of the work with associated retouching visible in natural light. Surface dirt throughout. Rubbing to the framed edges. The paint is thinning and some further retouching visible to the naked eye. Ultraviolet light reveals infilling and retouching throughout and a green varnish.Condition Report Disclaimer
Circle of John Riley (British 1646-1691)Portrait of a gentleman traditionally identified as Sir James Richardson(c.1645-1717), 4th Baronet of Nova ScotiaOil on canvas, oval74 x 64cm (29 x 25 in.)Condition Report: The canvas has been relined. There is some fine surface cracking. Under UV light there are some spots of restoration on the sitter's face and in broader background areas but this is not visible to the naked eye. It has been cleaned and re-varnished.Condition Report Disclaimer
Dutch School (17th century)Portrait of a lady Oil on canvas 53 x 49.5cm (20¾ x 19¼ in.)Condition Report: The canvas has been relined. There is heavy craquelure throughout along with surface dirt and some rubbing to the framed edges. Ultraviolet light reveals evidence of retouching but a masking varnish is concealing restoration.Condition Report Disclaimer
Follower of Ferdinand BolPortrait of a lady, thought to be a member of the Thys family, three-quarter-lengthOil on canvasPainted with coat-of-arms (centre right)121 x 97.5cm (47½ x 38¼ in.)Condition Report: The canvas has been relined. There is scuffing and associated losses to the framed edges. There is evidence of old craquelure and a line of cracking through the centre of the composition, visible to the naked eye. Evidence of bitumen particularly to the centre left. Ultraviolet light reveals retouching throughout and what appears to be a line of repair through the sitter's left hand. Condition Report Disclaimer
After Sir Anthony Van DyckPortrait of Henrietta Maria (1609-1669) in a white dress with pink bows and a lace collarOil on canvas60 x 49cm (23½ x 19¼ in.)Provenance: Sale, Christie's, South Kensington, 18 August 1982, lot 7The present lot derives from the prototype in The Royal Collection Trust (RCIN 404430).Condition Report: Canvas has been relined. There are visible stretcher marks, craquelure and losses throughout. There is evidence of old restoration, including overpainting throughout and a heavy varnish which prevents satisfactory examination under ultraviolet light. Much of the definition to the dress has been lost and there appears to have been a reaction to the darker paint which has resulted in an uneven surface.Condition Report Disclaimer
English School (17th century)Portrait of a ladyOil on canvas52 x 44cm (20¼ x 17¼ in.)Condition Report: The canvas has been relined. The paint is thinning and there is significant ingrained dirt throughout. There appears to have been considerable repairs to old damage, particularly noticeable to the sitter's head and left side of her face and also to the lower left corner. There is some undulation to the canvas and visible stretcher marks. There is a heavy masking varnish and ultraviolet light reveals evidence of retouching. Would recommend viewing before bidding.Condition Report Disclaimer
Mary Beale (British 1632-1697)Portrait of a lady in a blue cloak and orange dressOil on canvas, in a feigned cartouche75.5 x 61cm (29½ x 24 in.)Condition Report: Relined. Light surface dirt throughout. Craquelure throughout with infilling and retouching visible in natural light. Some areas of loss, with associated retouching. The upper edge added later possibly part of the reline and framing process. Inspection under UV reveals scattered infilling and retouching throughout. Condition Report Disclaimer
After Sir Peter LelyPortrait of Sarah Jennings, Duchess of MarlboroughOil on canvasInscribed (lower left)126 x 101cm (49½ x 39¾ in.)Provenance:Sale, Christie's, 7 September 2005, lot 21 (as Attributed to Kneller)The present work appears to be based on a stipple engraving by Samuel Freeman published 1826 (a copy held at the National Galleries of Scotland), described as 'After/Attributed to Peter Lely'.Condition Report: The canvas has been relined, visible along upper framed edge. There is craquelure and surface dirt throughout as well as surface scuffs and abrasions. There are patches of retouching visible in natural light. Ultraviolet light reveals further scattered retouching throughout.Condition Report Disclaimer
Circle of Sir Godfrey Kneller (British 1646-1723)Portrait of Mrs Elizabeth PeggeOil on canvas77 x 63.5cm (30¼ x 25 in.)Provenance: According to the family archive this oil was given to the the late Jennifer da Silva's mother in 1934 by Lady Williams-Taylor, then of Eaton Square.Condition Report: The canvas has been relined. There is ingrained surface dirt and light craquelure throughout. Ultraviolet light reveals evidence of retouching throughout but a masking varnish conceals the extent of restoration. Condition Report Disclaimer
Follower of Jacob HuysmansPortrait of a lady in a white dressOil on canvas34 x 30.5cm (13¼ x 12 in.)Provenance:Cornelia, Countess of Craven, Coombe Abbey No.413, sold by order of the trustee, Sotheby's, London, 27 November 1968, as 'Knapton'Sale, Christie's, South Kensington, 8 March 2001, lot 218Condition Report: Relined. Light surface dirt and craquelure throughout. One or two light surface scratches most notably above the sitter's head. Rubbing and abrasions to the framing edges. The canvas has slipped in its frame and the reline is visible to the upper edge. Inspection under UV reveals scattered retouching throughout together with a green cloudy masking which may be concealing further retouching. Condition Report Disclaimer
English School (circa 1770)Portrait of John Thomas Ellis (1756-1836)Oil on canvas, feigned ovalIndistinctly signed and dated Van der Mijn 1764 [?] lower left77 x 63.5cm (30¼ x 25 in.)Provenance:Private CollectionThence by descent to the present owner John Thomas Ellis (1756-1836) was the son of Brabazon Ellis of Wyddial Hall and Mary Sewel. John Thomas Ellis married Marianne, daughter of John Heaton of Bedfords, Essex in 1786. (See Lot 123). John Thomas Ellis and Mary Sewel had 5 children, Charles Arthur Hill Heaton-Ellis (1789-1865) was the youngest. (See Lot 128)John Thomas Ellis was the MP for Lostwithiel between 1784 and 1790. Condition Report: Relined. Upper right edge of this reline is visible in the frame. Craquelure and surface dirt throughout. Including a small area of bird excrement, this can easily be removed. Some scattered retouching can be seen in natural light. Signed VAN DER MIJN and indistinctly dated 17[64] ? lower left . Stretcher marks visible in a raking light. One or two small flaking losses scattered throughout. Inspection under UV reveals scattered retouching throughout with a green cloudy masking varnish. Condition Report Disclaimer
English School (19th century)Portrait of Charles Arthur Hill Heaton-EllisOil on canvas130 x 105cm (51 x 41¼ in.)Provenance:Private CollectionThence by descent to the present owner Charles Arthur Hill Heaton-Ellis was the son of John Thomas Ellis and Marianne Heaton. His grandfather was John Heaton (See Lot 123). Charles' son Edward Henry Brabazon Heaton-Ellis (1834-1870) married Louisa Harriott Kingscote whose grandfather was Benjamin Bloomfield, 1st Lord Bloomfield (See Lot 127)Condition Report: The canvas has been relined. There are visible stretcher marks along with craquelure and some surface dirt throughout. Some light bitumen at the upper edge. The canvas is undulating at the corners and there are a number of small losses to the lower quadrant. Ultraviolet light reveals scattered retouching throughout.Condition Report Disclaimer
Attributed to Isaac Seeman (British ?-1751)Portrait of a gentleman traditionally identified as John Ashburnham, 1st Earl of Ashburnham (1687-1737)Oil on canvas, in a feigned oval77 x 63.5cm (30¼ x 25 in.)Provenance:Private Collection, Boston, USACondition Report: The canvas has been relined. The reline is visible at the right hand edge. Stretcher marks visible in a raking light. There is a heavy varnish throughout. Inspection under UV reveals evidence of retouching throughout but a heavy green masking varnish is present which may be hiding the true extent of retouching. Ready to hang.Condition Report Disclaimer
Maltese(?) School (18th/19th century)Portrait of a saint blessing a childOil on metalInscribed HELIS I (upper left)16.5 x 12.5cm (6¼ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The paint surface is dirty throughout with ingrained dirt and some losses. The metal sheet is dimpled and starting to oxidise on the reverse. Ultraviolet light reveals scattered retouching. Would recommend viewing.Condition Report Disclaimer
After Jean-Antoine WatteauL'indifférentOil on panel27 x 19cm (10½ x 7¼ in.)UnframedProvenance: The Estate of the late David Fyfe-JamiesonAfter the original painting held by the Louvre, Paris.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Light surface dirt throughout. Some areas of craquelure, especially to the figure's chest, arms and hat. Some surface scratches with associated loss. Rubbing and abrasions to the panel edges. An area of loss and associated retouching, visible in natural light running across the width of the panel through the figure's hips. Inspection under UV reveals scattered retouching and a green cloudy masking varnish, which may be masking further evidence of restoration. Condition Report Disclaimer
Attributed to Benedetto Luti (Italian 1666-1724)Choir boy holding a crucifixOil on copper, oval, unframed10.5 x 8cm (4 x 3.1/8in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Surface dirt throughout. Some spots of retouching to the background visible in natural light. Some light surface scratches throughout. Inspection under UV reveals scattered retouching to the aforementioned areas of the background and some further areas around the lower edge and to the sitter's face. Condition Report Disclaimer
Dutch School (late 17th century)Self portrait of an artist at his easelOil on canvas21.5 x 16.5cm (8¼ x 6¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. Condition Report: The canvas has been relined. There is craquelure throughout and some surface scratches and dirt. There is no evidence of retouching under ultraviolet light although there is a heavy varnish which may conceal some restoration.Condition Report Disclaimer
Alessandro Casolani (Italian 1552-1606)The expulsion from ParadiseInk and washInscribed with collectors initials PH for P. Huart (Lugt 2084) (lower right)10.5 x 14cm (4 x 5½ in.)Provenance:Sale, Sotheby's, London, 1st December 1983, lot 186The Estate of the late David Fyfe-JamiesonBritish Museum label verso compares the present work with a sheet of studies for the same composition in the Uffizi (no. 4876F).David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work has been laid down. Discolouration throughout the sheet. With general wear commensurate with age to the extreme edges. There are two small white blemishes to the left side of the sheet and a small area of possible water damage approx. 1cm to the lower left corner. There is a further white blemish approx. 1cm to the lower edge. Small tear approx. 6mm to the upper right edge. One or two spots of surface dirt throughout. Light undulation to the sheet. Under glass, unexamined out of glazed frame. Dimensions including frame: 30 x 32cm Condition Report Disclaimer
Jan Pietersz Saenredam (Dutch 1565-1607) (After Abraham Bloemaert)Die Geschichte des ersten MenschenpaaresFive engravings, 1604, framed togetherEach sheet: 26.5 x 19.2cm (10¼ x 7½ in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Each sheet has been hinge mounted with white tape at the top two corners, and appear to have been previously cleaned. The margins have all been cut down. There are some very minor and very isolated, small brown spots to each sheet but these are very small and barely noticeable. The first sheet has two small areas of skinning to Eve's stomach. Each sheet appears to have been previously folded in half horizontally, and although this crease is quite defined to the reverse, it is much lighter recto. Some light handling softness to the extreme edges. All sheets appear to be in good condition commensurate with age. Condition Report Disclaimer
David Cox Senior (British 1783-1859) Bolsover Castle Watercolour 26 x 36cm (10 x 14 in.) Provenance: Berwick House, Shropshire Condition Report: The colour is a little down and there is some light discolouration to the sheet. Very light undulation to the sheet. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
Italian School (18th century)A Venetian capriccioOil on canvas57.5 x 90.5cm (22½ x 35½ in.)Provenance:Mrs George DrewFrom the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. There is some light surface dirt throughout, rubbing to the framing edges and light stretcher marks visible. There is a surface scratch visible to the lower left edge and some lines of faint scarring to the paint along the lower quadrant, possibly caused by the relining process. There is a slightly uneven paint surface to the upper corners. Ultraviolet light reveals some scattered retouching throughout and traces of a varnish.Condition Report Disclaimer
Nicolaas Reijers (Dutch 1719-1784)The Madonna and Child with puttiOil on shaped canvasSigned and dated 1759 (lower left)131 x 74cm (51½ x 29 in.)Condition Report: Relined. Surface dirt, scratches and abrasions throughout. Stretcher marks and associated craquelure visible. The paint is wearing thin in places and there are one or two spots of retouching visible to the naked eye. Inspection under UV reveals some very light scattered retouching throughout, together with traces of a green cloudy varnish. Condition Report Disclaimer
Circle of Angelica Kauffmann (Swiss 1741-1807)Allegories of Prudence; Fortitude; Justice Oil on canvas, tondo Each diameter 30cm (3)UnframedProvenance:Sale, Sotheby's, New York, 8 June 2007, lot 365, sold for $42,500 (as Attributed to Angelica Kauffmann) Condition Report: Justice:Relined. Craquelure and surface dirt throughout, rubbing and abrasions to the framing edges. Some areas of infilling visible in natural light. Some ingrained surface dirt. Small area of repair to the sitter's lower right arm, approx. 1cm. Inspection under UV reveals light scattered retouching throughout and traces of a green cloudy varnish. Prudence:Relined. Craquelure and surface dirt throughout, rubbing and abrasions to the framing edges. Some retouching visible in natural light. Light surface scratching throughout. Inspection under UV reveals light retouching throughout and traces of a green cloudy varnish. Fortitude:Relined. Craquelure and surface dirt throughout, rubbing and abrasions to the framing edges. Some retouching visible in natural light to the edges. Light surface scratching throughout.Inspection under UV reveals light retouching throughout and traces of a green cloudy varnish. Condition Report Disclaimer
Johann Christian Vollerdt (German 1708-1769)Villagers in a castle landscapeOil on canvas Signed with strengthened signature and dated 1762 (lower left) 62 x 78cm (24¼ x 30½ in.)Condition Report: The canvas has been relined. There is superficial dirt and craquelure. Ultraviolet light reveals retouching throughout, including to two significant diagonal repaired tears (approx 40cm each). In restored condition, ready to hang.Condition Report Disclaimer
Carlo Bonavia (Italian fl. 1788)Mediterranean harbour by moonlightOil on canvas 65.5 x 86cm (25¾ x 33¾ in.)Provenance:Falkenberg, and thence by descent to his great-granddaughterSale, Sotheby's, New York, 26 January 2007, lot 210,sold for $48,000According to the Sotheby's catalogue entry, in 2007, the attribution was confirmed, on the basis of photographs, by Dr. Ermanno Bellucci. Condition Report: The canvas has been relined and the edge of the reline is visible to the framing edges. Craquelure and light surface dirt throughout. Stretcher marks are visible and there is an uneven varnish. There are one or two very minor spots of retouching visible in natural light. Inspection under UV shows traces of a green cloudy varnish which may be masking further restoration, however the only retouching observed are the areas previously mentioned above. Condition Report Disclaimer
Charles Jervas (British c.1675-1739)Portrait of General Tyrrell Oil on canvasWith later inscription General Tyrrell/Jervais (sic) Pinx. (lower left) 125 x 99cm (49 x 38¾ in.)Condition Report: The canvas has been relined and is slightly slack on the stretcher. There are visible stretcher marks and rubbing to the framed edges. Ultraviolet light reveals evidence of scattered retouching, but a green masking varnish may obscure further restoration. In generally good restored condition.Condition Report Disclaimer
French School (late 18th century)Portrait of a lady said to be Louise Fave de BreuilOil on canvas77.5 x 62cm (30½ x 24¼ in.)Condition Report: The canvas has been relined and there is a patch lower centre, but the repair to the corresponding area to the front is not visible with the naked eye. There is an area of retouching to the sitter's right arm (approx. 10cm) which is visible in natural light. Craquelure throughout. Stretcher marks visible Inspection under UV reveals some scattered retouching throughout.Condition Report Disclaimer
Follower of Arthur DevisPortrait of a lady beside an urnOil on canvas107 x 71cm (42 x 27¾ in.)Condition Report: The canvas has been relined. The paint surface is dirty and there is evidence of old craquelure throughout. There is a circular scuff to the lower left quadrant. Ultraviolet light reveals retouching throughout, notably to the lower edge and the face, as well a heavy green varnish. Condition Report Disclaimer
Thomas Frye (Irish 1710-1762)Portrait of a Gentleman, seated three-quarter-length, at a table Oil on canvas125 x 104cm (49 x 40¾ in.)Original 18th century carved and gilded frame. Provenance:Sale, Christie's, London, 19 June 2012, lot 100 The Irish-born Thomas Frye was one of the most original artists and designers of the 18th century. He engraved a celebrated series of life-size heads in mezzotint as well as being the founder and manager of the Bow porcelain factory in East London where he designed many of the early figures. Ill-health from the factory caused him to retire to Wales in 1759 when he took up oil painting again, from when this portrait likely dates. Condition Report: The canvas has been relined. There is surface dirt, including white blemishes and craquelure throughout. There are light stretcher marks visible. Inspection under ultraviolet light reveals scattered retouching throughout and a heavy varnish. In overall reasonable condition.Condition Report Disclaimer
Follower of William HamiltonElegant figures before a flower-wreathed urn in landscape gardenOil on canvas laid on board, oval58 x 69.5cm (22¾ x 27¼ in.)ProvenancePrivate Collection, The Manor House, Stanford in the Vale, Oxfordshire.Condition Report: Canvas is laid on to board and this appears to be providing good support. There are broad areas of surface cracking and paint shrinkage particularly to the edges and dark pigment areas. UV light reveals scattered areas of restoration in these regions. There is a thick layer of surface dirt and varnish and would benefit from some restoration.Condition Report Disclaimer
English School (19th century)Portrait of a young man, head and shouldersOil on panel 30.5 x 25cm (12 x 9¾ in.)Condition Report: Vertical crack to the panel approximately 10cm starting at the upper edge of the work and finishing just above the sitter's eye. A number of smaller cracks visible to the sitter's forehead and lower face. Ingrained surface dirt abrasions and surface scratches throughout. Fine craquelure predominantly to the darker pigments and with some associated flaking. There are a number of areas of retouching visible in natural light. Inspection under UV reveals light scattered retouching throughout, would recommend viewing. Condition Report Disclaimer
Attributed to James Lonsdale (British 1777-1839)Portrait of a gentleman holding an albumOil on board30.5 x 24cm (12 x 9¼ in.)Provenance:Sale, Christie's, South Kensington, 8 March 2001, lot 268Condition Report: Light craquelure throughout but also with some bitumen damage to the darker pigment areas. Small area of loss to the left of the sitter's right ear approx. 3mm. There is an uneven varnish. Some spots of retouching can be seen in a natural light. Inspection under UV reveals significant retouching and infilling together with a green cloudy varnish. Condition Report Disclaimer
Follower of Peter MonamyA naval engagementOil on canvas85 x 137cm (33¼ x 53¾ in.)Provenance:Sale, Dreweatts, Newbury, 11 February 2009, lot 66Purchased from the above by the present ownersCondition Report: The canvas has been relined. The paint is wearing thin in places and there is ingrained surface dirt. There is scattered craquelure throughout. Ultraviolet light reveals retouching throughout and a heavy varnish. Condition Report Disclaimer
Josiah Boydell (British 1752-1817) The Captive, from Sterne Charcoal, chalk and watercolour 35.5 x 46cm (13¾ x 18 in.)Provenance: The collection of the late Dinny Cory (1919-2012) (nee Dawn Davidson)Exhibited: London, Shakespeare Gallery, Drawings After the Most Capital Pictures in England, 1790 no. 31Literature: Benedict Nicholson, Joseph Wright of Derby : Painter of Light (London: Paul Mellon Foundation for British Art :Routledge & Kegan Paul Ltd.; New York : Pantheon Books, 1968), p. 241-242, no. 216The present lot is a rediscovered drawing, once exhibited by John Boydell at the Shakespeare Gallery on Pall Mall in 1790. The drawing is a precise and exquisite drawing after The Captive, from Sterne by Joseph Wright of Derby completed in 1774, held by the Vancouver Art Gallery in Canada, currently on long term loan to the National Gallery of Canada.Wright was born in Derby in 1734 into a family of lawyers but he chose to move to London in 1751 to pursue his career as a painter, studying for two years under Thomas Hudson. Wright started his career focusing mainly on portraiture and landscape, experimenting with the effects of tenebrism in painting. Despite spending most of his career working in Derby, it is recorded that Wright took a trip to Italy setting off in 1773 with his wife Ann and fellow artists John Downman and Richard Hurleston.It is believed that by late summer 1774 the couple were in Rome. Whilst few canvases have survived from this period, it is believed that The Captive from Sterne is the only piece produced during his Rome visit. The subject of the work derives from Laurence Sterne's novel A Sentimental Journey, set in 1762 when Britain was at war with France and foreign travel risked imprisonment. The main character is a court jester named Yorick who imagines losing his passport, being held captive in the Bastille and eventually released because he is thought to be an important person.An engraving was made after the painting by Thomas Ryder in 1779, likely from this drawing by Josiah Boydell. The engraving was published in 1786 by John and Josiah Boydell (and likely available to purchase from the Shakespeare Gallery exhibition in 1790.)John Boydell & The Shakespeare Gallery John Boydell (1720-1804), Josiah's uncle, was a publisher whose contributions to the print-making industry helped Britain become one of the leading players in engravings: his entrepreneurial approach to the traditional artist/patron relationship put the dealer at the forefront of business representing and promoting both artists and patrons. Boydell saw opportunity in producing prints of highly prized paintings by esteemed artists, that had won prizes, such as that at the Society of Art; subsequently the print market boomed, under his guidance, during the 1760s to 1790s. Some of Boydell's greatest success came from prints after paintings by Richard Wilson, Joshua Reynolds and Joseph Wright of Derby.In 1770, Boydell rented large premises in Cheapside for his latest project producing prints based on paintings of Shakespearian subject matter, where he employed many engravers. Original paintings were exhibited in the gallery, with individual engravings and volumes of engravings together with text plates from the plays for sale. By 1789 he had to expand into a second gallery, the Shakespeare Gallery at 52 Pall Mall. However, financial pressures of the project started to prove too difficult to manage. This was caused by artists such as Joshua Reynolds demanding high prices. In 1786, Reynolds charged £500 for his painting of Macbeth and the Witches and when Joseph Wright's painting of Romeo and Juliet was rejected, Wright accused Boydell of favouritism and of prioritising artists such as Benjamin West Over others.'Has it not equal, nay much more work in it ? It is not as highly finished ? And has not the public spoke as well of it ? Then why should you attempt to make any difference in our prices?' To which Boydell responded 'Had I ever presum'd to have classed the historical painters of this country perhaps Mr Wright's name would not have stood exactly where [he] has been pleased to place himself.'This correspondence illustrates the fractured relationship between Boydell and Wright. Joseph Wright is known to have presented several works to the Shakespeare Gallery. In 1790 according to 'A Catalogue of Pictures &c. In the Shakespeare Gallery' Wright submitted Prospero's Cell, from the Tempest.John Boydell started to exhibit other works for sale, stating in the 1790 exhibition catalogue 'the following miscellaneous pictures are placed in the middle compartment of the gallery'. These works included 'The Murder of James the Fifth King of Scotland by Graham &c.' painted by John Opie and 'Portrait of G.A. Elliot, Lord Heathfield,' by Sir Joshua Reynolds.Josiah Boydell, a trained engraver, was heavily involved in the Shakespeare Gallery with his uncle. The preface for the 1790 exhibition catalogue is signed off by Josiah along with John Boydell and George Nicoll. It is also evident that Josiah Boydell was involved from an artistic perspective. After studying the exhibition catalogue of 1790 it became evident that John Boydell had thought of additional ways of making income. An additional section in the exhibition is titled 'Drawings After the Most Capital Pictures formerly in the possession of the Earl of Orford at Houghton in Norfolk, lately purchased by the Empress of Russia' located in 'the room opposite the gallery'. There is a nota bene stating 'All these drawings were made by Messrs. Joseph and George Farington and Josiah Boydell.' Indicating that John Boydell was using his talented and established team of engravers to produce drawings after notable paintings as well.This section leads through to 'Drawings after the most capital pictures in England'. The drawings were made by four artists, primarily known as engravers, Josiah Boydell, George Robertson, Richard Earlom and Joseph Farington.Exhibition number 31, hung 'over the Chimney in the Great-Room' at the Shakespeare Gallery in 1790 is the present lot. The exhibition reference can be found in the catalogue on page 137 which has been digitised and is available to browse on the British Library website. Boydell also produced another work after Wright which, like The Captive was held in the private collection of Edward Pickering Esq. titled Maria, from Sterne.The exquisite handling of the present drawing reflects the precision and accuracy approached by any trained engraver. Josiah Boydell, an established engraver, has entered the history books as a print-maker. However, the discovery of this drawing and the detailed analysis of The Shakespeare Gallery exhibition catalogue reveals a great deal more about Josiah and his artistic abilities. Condition Report: Under glass, unexamined out of glazed frame. The sheet is not laid down. Minor abrasions to the edges. Old vertical tear running from the centre of the top edge down to the top of the arch. Line surface scratching to the bottom right corner. The surface appears generally well preserved. Presented in a 18th century carved wood frame with numerous chips and losses. Condition Report Disclaimer
David Roberts (Scottish 1796-1864)Interior of Rosslyn ChapelOil on canvas Signed and dated 1844 (lower right) 112 x 86cm (44 x 33¾ in.)Provenance:Joseph Feilden (1792-1870), Witton Park, Lancashire, bought from the artist for £100By descent to his son, General Randle Feilden, C.M.G. (1824-1895)R.J.E. Buckingham, his sale, Christie's, 17 April 1964, lot 148, (150 gns.)Thence by descent to the present owner Exhibited:London, British Institution, 1844. no. 12Manchester, Royal Manchester Institution, 1845, no. 125Edinburgh, Royal Scottish Academy, 1845, no. 37Blackburn, An Exhibition for the Opening of the New Art Gallery, 1894, no. 25 (lent by General Feilden)Literature:Listed in the artist's Record Book under no. 115James Ballantine, The Life of David Roberts, R.A., 1866, pp. 159, 250, no. 127Condition Report: Not relined. The canvas is a little slack. There are stretcher marks visible in a raking light and craquelure throughout. Rubbing and abrasions to the framing edges. An area of retouching to the lower right quadrant visible in natural light. Inspection under UV reveals light scattered retouching and infilling together with traces of a green cloudy varnish. Condition Report Disclaimer
Alfred Stannard (British 1806-1889)Yarmouth HarbourOil on canvasSigned (heightened) and dated 1859 (lower right)26.5 x 33.5cm (10¼ x 13 in.)Provenance:The Exors of the late Mr. F.P. HillExhibited:London, The British Institution, 1860Norwich, Norwich Castle Museum, Exhibition of Norwich School Pictures, 1927, no. 91Condition Report: The canvas has been relined. There is some fine surface cracking but the paint layer appears to be stable and the surface impasto is well preserved. Under UV light areas of retouching are visible along the lower edge. The white horizontal lines in the foreground and the white spots in the sky appear to be discoloured retouch too. It is presented in a carved wood frame. Condition Report Disclaimer
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