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Lot 99
NON LEAGUE / LEAGUE FA CUP 1951/52 Seven programmes covering FA Cup ties in the 1951/52 season all played at Non League clubs against League Clubs. Aylesbury v Watford (lacks staples), Bangor City v Southport (season written on front cover), llkeston Town v Rochdale (fold), King's Lynn Town v Exeter City , Leytonstone v Shrewsbury Town (score/scorers/team changes with match report), Nelson v Oldham Athletic (all 1st Round played 24/11/1951 ) plus a 2nd Round tie Witton Albion v Workington 15/12/1951 (light fold/no writing). As described
Lot 110
World.- Betts (John, publisher) The London Modern Atlas, 26 engraved maps with hand-colouring, mostly double-page, some light spotting and surface dirt, several leaves loose from spine, nicks and tears, original boards with paper label to upper cover, rubbed and worn, folio, [circa 1840-1860].
Lot 113
Globe.- Heymann (Ludwig Julius) Erd-Globus 10 Cent N. d. neuesten Quellen entw., Berlin, terrestrial globe, 12 lithographed gores, turned wooden base with small compass, height 220 mm. (8 3/4 in), diameter approx. 100 mm. (4 in), some signs of wear with rubbing and scuffs, a few splits and cracks restored, light toning to varnish, Berlin [circa 1885].
Lot 98
Sardinia.- Jansson (Jan) Insulae Sardiniae Nova Et Accurata Descriptio, detailed map of Sardinia originally published by Jan Jansson, but this impression with the added imprint of Valk and Schenk and additional gridlines, engraving with original hand-colouring, platemark 407 x 500 mm. (16 x 19 3/4 in), sheet 485 x 600 mm. (19 x 23 5/8 in), central vertical fold with careful repairs to splitting, otherwise minor surface dirt and light browning, marginal nicks to extremities, unframed, Valk and Schenk, [Amsterdam, circa 1644-1680].
Lot 14
NO RESERVE South America.- Chile.- Blaeu (Willem Jansz.) Chili, map covering the coastal region of Chile from approximately Antofagasta in to Cabo Gallegos, oriented north to the left edge, engraving on laid paper without watermark, platemark 360 x 485 mm. (14 1/4 x 19 in), sheet 490 x 640mm. (19 1/4 x 25 1/4 in), Dutch text verso, central vertical fold as issued with small horizontal split in upper margin, light surface dirt and damp-stain, with mark to map in upper right quadrant, unframed, [c. 1640]; together with 2 other maps of Chile, including a miniature map by Barent Langenes' Chili et Patagonum regio, and another by Vaugondy, enrgavings, various sizes, unframed, 17th and 18th century (3)
Lot 96
Russia.- Napoleon.- Neele (Samuel John) Advance of the French Army to Moscow; Retreat of the French Army from Moscow, a pair, maps recording one of the great military campaign disasters, with one map showing the advance, and the other the subsequent retreat of Napoleon's severely weakened army from Moscow, engravings with some original hand-colouring distinguishing forces, each sheet approx. 450 x 520 mm. (17 3/4 x 20 1/2 in), folds as issued, some small tears, mainly marginal, light surface dirt, unframed, 1813 (2)
Lot 94
Russia.- Baltic Sea.- St Petersburg.- Seale (Richard William) A Correct Chart of the Baltick or East Sea from ye Sound to Petersburg from the Latest and Best Observations for Mr. Tindal's Continuation of Mr. Rapin's History, map of the Baltic with inset plan of St Petersburg harbour, engraving with hand-colouring, sheet 380 x 495 mm. (15 x 19 1/2 in), folds as issued, some light offsetting and surface dirt, unframed, [circa 1750].
Lot 23
Asia.- East Indies.- Speed (John) A New Map of East India, map of south east Asia showing from India, Ceylon, Indonesia, Malay Peninsula, and the Philippines, engraving with hand-colouring, platemark 385 x 505 mm. (15 1/4 x 19 3/4 in), sheet 420 x 540 mm. (16 1/4 x 21 1/4 in), central vertical fold with some splitting and careful repairs, nicks to upper corners, only marginal, light handling creases and surface dirt, unframed, Bassett & Chiswell, [1676].
Lot 76
Italy.- Rome.- Nolli (Giovanni Battista), After. Pianta Topgrafica di Roma Moderna e Stratta dalla Grande del Nolli an 1828, detailed plan of Rome, with four inset architectural plans and key identifications to 14 sites of interest in the lower right corner, engraving by , 630 x 840 mm. (24 3/4 x 33 in), dissected and mounted on linen, some folds splitting, surface dirt and light browning, covers detached and lacking spine, but present, 8vo, 1828.
Lot 32
Belgium.- Antwerp.- Keere (Pieter Van Den) Marchionatus Sacri Romani Imperii, plan of Antwerp and its environs, with panoramic view within a decorative cartouche in the lower centre, with many ships, and oversized decorative figures in local costume in the corners, engraving, an excellent richly inked impression, on laid paper without watermark, sheet 385 x 495 mm. (15 1/4 x 19 1/2 in), trimmed just within the platemark to borderline, faint central vertical fold with careful minor restoration to old splitting, light surface dirt, unframed, Antwerp, [circa 1617].
Lot 24
NO RESERVE Southeast Asia.- Indonesia.- Brion de la Tour (Louis) Premiere Carte des Isles de la Sonde, map of Sumatra, showing parts of the Malaysian Peninsula and Singapore, Java, and Borneo, from 'Histoire Universel', engraving with hand-colouring, sheet 265 x 375 mm. (10 1/2 x 14 3/4 in), horizontal and vertical folds, some light browning and surface dirt, unframed, [circa 1780].
Lot 53
Germany.- Speed (John) A Newe Mape of Germany, including the Netherlands, parts of France, Denmark, Poland and Switzerland, with 8 vignette city views above, including Vienna, Prague and Cologne, and 5 pairs of costume figures of various regions and social classes arranged to either side, engraved map with hand-colouring, platemark 405 x 530 mm. (15 7/8 x 20 7/8 in), small margins, with lower left edge slightly trimmed, some small repairs to holes in the upper left and right, otherwise minor marginal nicks and splits repaired, rough edges, light even toning with some sufarce dirt, unframed, George Humble, 1626.
Lot 74
Italy.- Sicily.- DuVal (Pierre) La Sicile, avec les Anciens Noms de Presque Toutes ses Places, Rivieres, Chasteaux, &c. et Diverses Observations Nouvelles, map of Sicily with the island divided into three regions and with a large, flaming Mount Etna, engraving with hand-colouring, platemark 370 x 480 mm. (14 1/2 x 18 7/8 in), sheet 445 x 580 mm. (17 1/2 x 22 3/4 in), central vertical fold, careful repairs to minor marginal tears, some surface dirt and light browning, unframed, Paris, 1675.
Lot 52
France.- Esnauts (Jacques) & Michel Rapilly. Nouveau Plan Routier de la Ville et Fauxbourgs de Paris, detailed plan of Paris, with decorative cartouche in the upper left with the Coat of Arms of the City of Paris, inset map of the city environs, and text columns with key, engraving on laid paper, sheet 560 x 800 mm. (22 x 31 1/2 in), central vertical fold wit hold repairs verso, horizontal fold to upper section with small tear at junction of two folds, marginal nicks and tears, some repaired, light surface dirt, unframed, Paris, 1783.
Lot 46
NO RESERVE France.- Jansson (Jan) Nova Et Accurat Descriptio Delphinatus Vulgo Dauphine, detailed map of central France, specifically the region around Grenoble and Gap, engraving with original outline hand-colouring, platemark 385 x 520 mm. (15 1/8 x 20 1/2 in), sheet 510 x 605 mm. (20 x 23 3/4 in), Latin text verso, minor nicks and tears, some handling creases, light surface dirt, unframed, [circa 1635-1666]
Lot 145
England & Wales.- Cary (John) Cary's New Map of England & Wales with Part of Scotland..., unsual format with map presented as loose plates in slipcase, including title, general map, and sheets 1-80, lacking plate 62 (blank sea), engravings with hand-colouring, each sheet approx. 255 x 205 mm. (10 x 8 in), all plates trimmed to borderline, nos. 1-72 with number tab in upper centre, scattered spotting and light browning, marbled slipcase, calligraphic pen and ink label to upper cover, very worn and scuffed, 1794.
Lot 29
Australia.- Gold mining.- Gall & Inglis (Edinburgh publishers) Australian Colonies and New Zealand, 5 maps on one sheet as issued, with areas for gold mining delineated in gold-coloured ink, lithograph with some original hand-colouring on wove paper, sheet 505 x 580 mm. (19 7/8 x 22 3/4 in), central vertical fold with splitting and repairs verso, marginal nicks and tears, handling creases, light even toning, unframed, [circa 1850s].
Lot 43
Europe.- Roman Empire.- d'Anville (Jean Baptiste Bourguignon) Orbis Romani Pars Occidentalis, engraved map with outline hand-colouring, sheet 705 x 560 mm. (27 3/4 x 22 in), several old folds, thin tissue support verso with minor repairs to splitting and loss, light surface dirt and handling creases, unframed, 1763.
Lot 304
A pair of 19th century porcelain vases, with floral encrusted decoration, a Staffordshire porcelain floral decorated part dessert service, a Noritake dish and two Royal Doulton character jugs and items (qty)Report by PMTwelve x platesFour x low pedestal dishesTwo x high pedestal dishesNoritake DishTwo x small Royal Doulton toby jugsTwo x Victorian porcelain flower vasesTwo x etched red glass vasesDessert Service:Plates: one plate has a very small chip to the rim.All twelve plates are showing light wear and loss to the gilding, especially around the rim and very light scratching to the paintwork.No significant damage or cracks.All plates require a good clean.Low Pedestal Dishes:All four are showing light wear and losses to the gilding. One bowl is cracked, running 6 cm from the rim towards the centre and branching off in two directions.High Pedestal Dishes:Both dishes are showing light wear and losses to the gilding, especially around the rim and light scratching to the paintwork.One dish has a significant crack running from the rim through to the centre of the dish and through the floral motif.One vase has a firing error/crack on the foot. Please see illustrations.2 Noritake DishShowing light wear but free of damage.3. Victorian flower vases:Both vases have a repaired handle having been re-glued.Both vases have a chip and loss to the rococo decoration on the handles.Loss and wear to the gilding around the rim of both pieces.Small chips and losses to the flower work on both pieces - mostly to the edges of petals. One vase has a firing error/crack on the foot Please see illustrationsRed Glass Vase:These appear very dirty with wear to the feet from display but otherwise free from damage
Lot 143
* Chalice Veil. A late 16th/early 17th century embroidery, Italian, needlework chalice veil, depicting a central Lamb of God symbol and lettering 'ECCE AGNs dEI qUI' ('Behold the Lamb of God'), within a border, surrounded by four angel figures and various symbols and birds, including a phoenix above and below with stitched lettering 'FENICE', with wide outer strapwork and foliate border incorporating hand-stitched rolled hem, worked in cross stitch and back stitch on fine cotton lawn, mainly in shades of pink, green, blue, yellow, and cream, and including metalled threads, some light spotting, loss of stitching in places, upper left corner slightly torn and frayed, 55 x 53 cm (21.5 x 21 ins), hand-stitched at top edge to a piece of backing linen (Qty: 1)NOTESProvenance: The Iklé Collection, sold at Christie's, South Kensington, 'Fine Costumes & Textiles - The Collector's Sale', 4 December 2007, lot 7. Leopold Iklé was born into a family of textile manufacturers in Hamburg in 1838. He worked as a travelling salesman from the age of 15 for the family firm of Iklé Freres which specialised in making machine laces, and had branches in St. Gallen, Paris, London, Berlin, Vienna and New York. He was always a serious student and collector of historic textiles, and his collection, which began life housed in a box in his office, eventually filled his home in St. Gallen. In 1904 he donated a substantial part of it to the Textile Museum in St. Gallen. After his death in 1922, another portion of the collection was auctioned in Zürich. The remainder passed to his sons, and further pieces from the Iklé Collection were sold by members of the family at Christie's in 1989 and 2007. A rare early chalice veil, in very good condition; the delicate fabric is robust, and the natural dyes are still fresh, the pink cochineal dye remarkably so. For a not dissimilar piece see a sampler in the V&A collections which was made by Jane Bostocke in 1598 (T.190-1960).
Lot 162
* Embroidered picture. A basket of flowers, English, early 19th century, woolwork picture, depicting a basket containing a variety of flowers, including roses, tiger lilies, carnations, heartsease, and tulips, hand-stitched in wool, in shades of pink, blue, green, yellow, and brown, some light fading of colours, using long and short stitch, satin stitch, and stem stitch, on a light brown wool ground, some stitches broken (most notably some of those forming the upright bars of the basket), 50.5 x 55.5 cm (20 x 22 in), framed and glazed, together with: A medieval lady with a bird of prey, early-mid 20th century, gros-point wool picture after a German School painting, depicting a young lady in flowing gown and coronet, with a bird of prey on her right hand, against a stone arcade with columns giving way to a vista beyond, 79 x 65 cm (31 x 25.5 in), mounted, framed, and glazed, plus a framed Swati embroidery, 63.5 x 37.5 cm (25 x 14.75 in) (Qty: 3)
Lot 169
* Clothing. A lady's walking dress, circa 1870s, hand-made two-piece silk gown, with bands of fine brown and white stripes between wider purple stripes, mostly hand-stitched, but some machine-stitching (e.g. to hem of skirt), comprising: a boned and fitted cuirass bodice with stand-up collar (latter with metal hook and loop), terminating in a 'v' waist at front and back embellished all round with a tassel trim, long sleeves with wide tucked cuffs, front opening with 8 domed covered buttons and corresponding button holes, 3 further buttons to either side below waist, and 4 buttons to each cuff, buttons all matching (some surface wear and indentations), lined with brown cotton twill, and sleeves lined with fine linen, light staining to underarms, some minor soiling and wear to cuffs, bust 72 cm (30 in), waist 61 cm (24 in), length excluding trim 63.5 cm (25 in); and a matching long gathered skirt, linen waistband with later non-matching hook and eye, one large patch pocket mimicking tucks on cuffs, embellished with three more matching buttons and tasselled fringing, length 101.5 cm (40 in), together with several other items of Victorian clothing, comprising: a boned striped silk bodice and several matching pieces of fabric (including an unfinished skirt); a black damask fitted and boned long jacket, internal black twill ribbon waist band with dressmaker's details in gold 'Kerkham & Son, Costumiers, High Street, Kings Lynn'; and another boned jacket, of black satin lined with crimson satin, plus some hand-made Edwardian clothing: a matching embroidered cream muslin skirt and blouse (latter lace-trimmed), and 2 cream skirts, one of plain silk, the other with herringbone stitch and large floral cutwork insertions, various sizes and condition (Qty: 10)
Lot 172
* Shawls. A large Norwich shawl, circa 1820s, cream shawl, with narrow woven border of small boteh motifs to long sides, and wide woven border of larger boteh motifs to short sides, in shades of red, blue, and green, short fringed edging to short sides, a number of small tears and holes, 269 x 126 cm (106 x 49.5 in), together with 3 other woven Norwich shawls, one mustard ground and the others cream ground, all with some wear, and a large black silk shawl, possibly Norwich, with alternating stripes of plain colour block and boteh motifs, in good condition, plus: A Scottish crinoline shawl, circa 1860s, large shawl in two colours, half cream and half fawn, with wide woven paisley border to short sides, and narrow woven border to long sides and across middle linking the two colours, wide fringed edging to short sides (worn with loss in places), some light markings and occasional small holes, 302 x 151 cm (119 x 59.5 in) (Qty: 6)
Lot 180
* Curtains. A pair of scarlet damask curtains, 19th century, two hand-stitched damask curtains, possibly bed curtains, each composed of 3 pieced drops and close-gathered with two rows of stitching at top edges, matching bullion fringe to leading edges, some light marks, each with one small hole towards bottom hem, drop 282 cm (111 in), width excluding fringe 250 cm (98.5 in), together with another large red curtain, machine and hand-stitched heavy damask with large pattern (fabric probably earlier than production), composed of two pieced drops, tufted fringing to lower and leading edges, pleats removed from top edge, lower hem weighted at one corner, a few small holes, drop 223.5 cm (88 in), width 180 cm (71 in), plus a pair of brocade curtains with pattern of crowns, Tudor roses, and feathers in cream on a pink ground, rufflete tape sewn to top edges, lower edges unhemmed, one curtain with adhesive paper label written in manuscript 'material produced for the coronation of Edward VIII', somewhat worn, drop 236 cm (93 in), width 170 cm (67 in) (Qty: 5)
Lot 183
* Lace samples. A trade display of lace, Italian, late 19th century, 32 cream lace samples, comprising reticella and similar needle-made laces, some light dust-soiling, 12 x 10 cm (5 x 4 in) and smaller, each hand-stitched one above the other to a long piece of scarlet satin (some becoming unstitched in places), with adjacent strip of beige Aida cloth worked in cross-stitch in red silk thread with lace identification number, price in lira, and sometimes name (e.g. Scarabei, Rosazze, Stella Polare), matching stitched lettering to lower edge of Aida 'A prezzo del piccolo pizzo che é unito ai campioni è di L 1 al metro', knotted tassell border along right-hand edge and top and bottom edge of Aida, overall width and length (including tassels) 33 x 269 cm (13 x 106 in) (Qty: 1)NOTESA very unusual piece of trade advertising. There are no signs of the piece ever having been hung up or affixed to anything; most probably it was intended for use by a travelling salesman to display examples of his wares.
Lot 185
* Doilies. A set of six Spitalfields silk brocade mats, early 20th century, a set of circular brocade mats composed from pieces of 18th century Spitalfields silk, backed with linen and with looped fringe edging, some light marks, diameter 26 cm (10.25 in), together with 53 other mats and doilies, including: a set of 12 lace-edged circular mats hand-painted in watercolour with landscapes, some identified in contemporary manuscript on versos ('Poole Estuary', 'Old Harry', 'Brading Downs', 'Poole Harbour', etc.), spotted, one faded and indistinct; a set of 12 square drawn threadwork mats hand-worked in gold thread on linen; and a set of 12 square doilies hand-painted in watercolour and gouache on cream silk with birds (nuthatch, budgerigar, gold crest, green woodpecker etc.), together with part of lid from old Fortnum & Mason cardboard box bearing manuscript note in ink pertaining to first item 'Best Table Mats made by me from old Queen Anne silk dress', with later pencilled note beneath 'No Not Q.A. Circa 1760 Spitalfields V&A Dating. H.B.' (Qty: 59)
Lot 186
* Handkerchief. A large handkerchief commemorating W.G . Grace, 1895, fine linen, printed in black with central portrait of the cricketer and his sporting biography within a circular border detailing his centuries from 1866 to 1895, some light age spotting and marks, right-hand corners with very slight fraying to hem, a few small holes, 54 x 58 cm (21.25 x 22.75 in) (Qty: 1)
Lot 203
* Guida (John, 1897-1965). Fashion illustration, 1931, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a long brown flared skirt with lemon-coloured long sleeves and pale brown torso, signed and dated in charcoal lower right, some light spotting and marks, sheet size 69 x 50 cm (27 x 19.75 ins) (Qty: 1)
Lot 207
* Fashion designs. A collection of original drawings by Patricia Forbes, 1935-1938, 17 pencil or pen & ink studies on card or paper (some on tracing paper), most with watercolour, including designs for dresses and gowns, jackets and coats, hats and head ornaments, some with inset smaller drawings showing different angles, and some annotated with details of fabric etc., two with artist's address on verso '30 Lexham Gardens, W.8.', and one giving her address as '1 Church Rd. Osterley Middx', occasional spotting and light marks, one or two closed edge tears, all but one signed, many dated, 25.5 x 18.5 cm (10 x 7.25 in) and smaller, together with two felt tip drawings of children by May Brookes (Qty: 19)NOTESA collection of well-executed Art Deco fashion designs, some annotated by the artist, for example: "Evening cape made in face cloth of velvet and appliquéd with slipper satin"; "Short evening jacket made in satin, quilted and studded with diamanté"; "Evening coat made in velvet with hood, note back fullness".
Lot 212
* Shoes. A pair of ladies' platform shoes, Mitzi, 1970s, brown leather, with stitched detail, some light scuffing and marks, approximate size 6, heel height 92 mm (3.5 in), platform height 37 mm (1.5 in), length 249 mm (9.75 in), together with another pair similar, and six other pairs of shoes, including 3 pairs Edwardian shoes, and a pair of Gamba Mary Janes, some worn, together with a collection of ladies' accessories, mostly early 20th century, e.g. 14 pairs of gloves, including satin evening gloves, and 5 pairs of long kid leather gloves (one pair with ink name 'M. Wallis' on inside); several reticules; a number of hair bands and head pieces; several pairs of stockings; some belts, garters and suspenders; a few hats; some fragments of lace and embroidery, including two pieces of metallic lace; and an orange ostrich feather fan (and several other ostrich feathers) (Qty: -)NOTESProvenance: From the families of Marie Carmichael Stopes (1880-1958) and Sir Barnes Neville Wallis (1887-1979) by direct family descent.
Lot 216
* A Hellenistic Marble Figure of Aphrodite, circa 2nd century B.C., three-quarter length carved white marble, some age discolouration, partial loss to the nose, small damage with loss to the right leg just above the knee, small portion to front of left leg with old repair, and further repair to the back of the figure on the left side, height 53cm (20.75ins), mounted on a modern wooden plinth, height 13 cm (overall height 66 cm, 26 ins) (Qty: 1)Condition Report: This fine Roman marble is in relatively good condition, apart from the main named defects, which are:- loss to the lower part of the nose- small concave area of loss above the right knee- small oval portion at the base of the left leg repaired, with clear sign of the join where the old repair was made- similar, larger repaired oval portion to the left-hand side of the back of figure, below the shoulder blade and above the waist, with clear sign of the outline of the old repairThe head has also been relatively well repaired around the neck area, presumably from when it was previously broken. The join is relatively neat, and the head is clearly original to the rest of the body.There are some other surface marks and light discolouration consistent with ageProvenance: Collection of Mark Oliver (1899-1987), Edgerston, Roxburghshire, Scotland, thence by descent.This sculpture was inherited by the present owner in 1989 following the death of Mark Oliver in 1987. The work is listed on an inheritance inventory dated 27 July 1989 by an Edinburgh firm of solicitors acting on behalf of the family. It was listed on this inventory as "Greek Sculpture: Aphrodite", with a probate value of £3,500.The current owner recalls showing it to school friends in the family home in the 1960s.Mark Oliver was co-owner with Richard Edward Arnesby ('Ted') Wilson, of the Savile Gallery, 29 Bruton Street, New Bond Street, London, during the 1920s, which specialised in Old Master paintings and drawings (exhibitions included Drawings by Giovanni Battista Tiepolo, Savile Gallery, May 1928, Drawings by Old Masters, Savile Gallery, 1930). The gallery also showed work by Walter Sickert (1860-1942), who apparently gave Mark Oliver some tutoring in painting. A finely modelled marble figure of Aphrodite, the goddess depicted standing with her weight on the right leg, undraped, with left arm formerly raised and head turned slightly to the right. Derived from the 2nd Century B.C. Aphrodite of Melos, or Venus de Milo (itself a hellenistic variant of the late 4th or 3rd Century B.C. Aphrodite of Capua), and the Aphrodite Diadoumene (in which the goddess has her hair tied back). For comparison, a Hellenistic Marble Torso of Aphrodite, circa 2nd Century B.C., of the type called Aphrodite Anadyomene, height 13 inches (33 cm), was sold at Sotheby's New York, Egyptian, Classical and Western Asiatic Antiquities, 3 June 2015, lot 40.
Lot 233
* Florentine School. Descent of the Holy Spirit, circa 1500-1525, metalpoint on laid paper, heightened with lead white, on a prepared reddish brown ground, with inscription in brown ink to centre of lower edge (probably in an 18th century hand) 'Leonardo da Vinci', outlines of the figures and architectural setting pricked for transfer, some surface marks and light losses, with old restorations, extreme lower right outer corner replaced, laid down on 18th century pale blue backing paper, with double rule border in brown ink, 338 x 274 mm (13.25 x 10.75 ins), framed and glazed (Qty: 1)NOTESProvenance: Private Collection, Herefordshire. Drawings on a prepared colour ground as here are prevalent in late 15th and early 16th century Italian drawings, especially by Florentine artists. For similar examples see Chapman & Faietti, Italian Renaissance Drawings (2010), numbers 47 and 69 (Perugino and Raffaellino del Garbo). The present work appears to be a cartoon for a larger design, as the drawing is finely pricked along its main outlines for transfer, perhaps for an embroidery, the drawing then to be pounced with chalk or charcoal, leaving a faint dotted line on the intended surface.
Lot 235
* Attributed to Parmigianino (Girolamo Francesco Maria Mazzola, 1503-1540). Saturn seated on a rock with his hand on a child lying on the ground, pen and brown ink and brown wash on laid paper, some light soiling and surface marks, remains of printed text from a 17th or 18th century missal or prayer book to verso, and remnant of old blue backing paper to each corner verso, also inscribed in an early hand to verso in brown ink 'Rous' (probably later 17th century), sheet size 15.5 x 15 cm ( (Qty: 1)NOTESProvenance: Collection of Michael Jaffé (1923-1997), former director of the Fitzwilliam Museum, Cambridge. The inscription to verso suggests an early owner by the name of Rous. The only name that we can suggest might be compatible is Francis Rous (1581-1659), Speaker of the House of Commons and prominent member of the Barebones and Rump Parliament.
Lot 236
* School of Girolamo Francesco Maria Mazzola, called Parmigianino (1503-1540). A Marriage Ceremony, red chalk on cream laid paper, repaired tear to right margin extending from the middle of the sheet edge upwards into the image (generally without loss), central horizontal crease, light soiling and creases to edges, sheet size 366 x 238 cm (14.5 x 9.4 ins), mounted on modern cream baking paper, modern frame, glazed (Qty: 1)NOTESProvenance: Private Collection, Herefordshire, England.
Lot 237
* Follower of Albrecht Durer (1471-1528). Hercules, 16th century, pen and brown ink on laid paper, single rule border to outer edges, some surgace marks and light creases, minor loss to extreme lower right corner (repaired), several abrasions and minor nicks to sheet edges, with subsequent restrengthening to verso, inlaid to 20th century cream backing paper, sheet size 264 x 382 mm (10.4 x 15 ins), inscribed in pencil (possibly in Michael Jaffe's hand) 'H. S. Reitlinger Colln.', window-mounted (Qty: 1)NOTESProvenance: Henry Scipio Reitlinger (1882-1950); presumably included in his sales, Sotheby's London, 10 February or 14 April 1954; Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. A large 16th century version in pen and ink of Durer's famous woodcut of 1496 Hercules conquering the Molionide twins (Bartsch 127; Meder Hollstein 238; Schoch, Mende and Scherbaum 105). The original block measures 390 x 283 mm. Durer produced several large woodcuts with predominantly biblical subjects, but only one with a mythological theme. The subject matter has resulted in much scholarly discussion but it is generally agreed that it represents Hercules slaying the conjoined twins Eurytus and Kteatus. The present work inverts the format of the print, dispensing with the original foreground and distant coastal landscape background, creating a horizontal landscape format, adding some foliage to the left and additional trees on the right.
Lot 239
* Italian School. Draped female figure holding a staff, 16th century, pen and light brown ink on laid paper, sheet size 136 x 77 mm (5.4 x 3.1 ins), laid down on 20th century backing paper, window-mounted (Qty: 1)NOTESProvenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge. Inscribed on the backing paper in Michael Jaffe's hand 'on back of the old mount { D A 76'. The present work bears some comparison to figure drawings by Girolamo da Carpi (1501-1556).
Lot 244
* Circle of Annibale Carracci (1560-1609). Study of a man with his right hand holding the hilt of his sword, seen from below, black and white chalk on light brown laid paper, additional drawing to verso in black and white chalk of a head and torso viewed sideways, turning towards the viewer, a few marks and small nicks to left margin, irregularly shaped, laid down on outer edges to modern backing card, 285 x 195 mm (7.7 x 11.25 ins), window-mounted (Qty: 1)NOTESProvenance: Collection of Michael Jaffe CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.
Lot 246
* Attributed to Zampieri ( Domenico , Il Domenichino , 1581-1641). Putto falling backwards, red chalk on a pale red chalk background, on laid paper, laid down on a sheet of 18th century laid backing paper (watermarked), with pencil triple rule outer border, inscribed in brown ink in an 18th century hand 'Domenichino' lower right, and 'Carlo' lower left, some surface marks and light soiling, minor loss to extreme upper left corner, and scratch towards lower left margin, with minimal loss, sheet size 246 x 201 mm (9.7 x 7.9 ins), backing sheet 31 x 26.5 cm (12.2 x 10.5 ins) (Qty: 1)NOTESProvenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge. The early inscription 'Carlo' on the backing paper may refer to Carlo Maratta (1625-1713) as a previous owner of this drawing. Fellow artist Maratta famously owned a substantial collection of Domenichino's drawings, purchased from that artist's pupil Francesco Raspantini. In turn, Maratta sold part of his collection, mainly drawings and cartoons, to Giovanni Francesco Albani, later Pope Clement XI, who tried to prevent their sale abroad. They were eventually acquired from Alessandro Albani by King George III of England and reside today in the collection at Windsor Castle.
Lot 253
* Italian Mannerist School. Portrait of Giuseppe Cesari, il Cavaliere d'Arpino, 1627, black chalk on vellum, signed with initial F lower right, inscribed in pencil to verso in a contemporary hand (possibly the artist) 'Ca Joseph Ca'sari Arpinas Pictor celleb. 1627', outer edges restrengthened with paper to verso,some light toning to outer margins (probably due to paper restregthening), sheet size 211 x 164 mm (8.3 x 6.5 ins), hinge-mounted on 20th century backing card (Qty: 1)NOTESProvenance: Private Collection, Herefordshire, UK. Known as the Cavaliere d'Arpino, Giuseppe Cesari (1568-1640) was the son of the painter Muzio di Polidoro. Arriving in Rome in 1582, he entered the studio of Niccolò Circignani, and was quickly promoted from garzone to junior painter on the team frescoing part of the Vatican Loggie for Pope Gregory XVIII, while still in his teens. Shortly thereafter Arpino was working as an independent artist, and from very early in his career he enjoyed an elite and important clientele. He was mainly employed in ambitious decorative schemes, including a series of decorative friezes at the Palazzo del Quirnale (since destroyed), the sacristy of the Certosa di S Martino in Naples from 1589 to 1591, the cappella Paolina in S Maria Maggiore from 1605 to1612, as well as still extant frescoes in the Palazzo dei Conservatori, Rome. He reached the height of his reputation with the direction of the mosaic decorations for the cupola of Saint Peter's (1603-12). Cesari attained a high social position and was able to buy a palace on the Via del Corso in Rome and another in Arpino. After the death of Pope Clement VIII, however, he fell into disgrace. In 1607, he was falsely accused of possessing firearms and was imprisoned and all his goods confiscated. As part of the negotiations for his release, a settlement was reached through which the nephew of Pope Paul V, Scipione Borghese, gained possession of Cesari's important collection of paintings. He was elected principal of the Accademia di San Luca, the guild of artists in Rome, in 1599, 1615, and 1629.
Lot 254
* Evelyn (Mary, 1635-1709). Study of a hand holding a breast, pencil on laid paper (chain lines 21 mm wide), depicting the right hand of a lady resting on her right breast, signed in ink by the artist below image 'Mary Evelyn: f:t', spotted, sheet size 16 x 21.5 cm (6.25 x 8.5 in), mounted, framed and glazed (Qty: 1)NOTESProvenance: John Evelyn (1620-1706), Wotton, Surrey; by descent to Cecil John Alvin Evelyn (1904-1976), Stonor Park; possibly sold Sotheby's, Important Old Master Drawings , 3 March, 1966; estate of the late John Lawson (1932-2019). John Evelyn's collection was stored with the Honorable Sherman Stonor (1913-76), at Stonor Park, Henley-on-Thames, Oxfordshire. C.J.A. Evelyn, author of a number of mathematical papers and books, was a Tenant for Life to the Family Estates and Heirlooms from 1925-1965. Mary Evelyn, wife of acclaimed diarist and founding member of the Royal Society John Evelyn, was the only child of Sir Richard Browne and his wife Elizabeth Pretyman. Her father was a Royalist, and was appointed to the position of English resident in Paris in 1641 by Charles I. He remained in Paris until 1660, serving the young Charles II after his father's death. During this period Browne's house in Paris became a focal point for exiled Royalists, one of which was John Evelyn. When Evelyn married Mary Browne on 22nd June 1647 the bride was only twelve or thirteen years old; she remained with her parents for the next few years, returning to England in 1652 to live with her husband at Sayes Court in Kent, a property which was owned by the Browne family. In 1699 John Evelyn inherited the family seat of Wotton House in Surrey, his elder brother having no issue to pass the estate onto. Mary Evelyn received a good education, which included instruction in drawing as well as French, Italian, and mathematics. She is recognised in her own right for her artistic and literary works, especially her pithy correspondences which shed light on many of the intellectual debates and public characters of the era.
Lot 269
* Venetian School. Saint Roch, pen, brown ink and brown wash on pale grey-blue laid paper, heightened with white and black chalk, some marks and minor surface defects, light horizontal central crease, laid down on old laid paper, 45.2 x 29 cm (17.75 x 11.5 ins), window-mounted (Qty: 1)NOTESThe pilgrim Saint Roch (1295-1327) journeyed from his home in Montpellier to Rome, during the course of which he cured plague victims in Aquapendente. A cult of veneration developed around him in the 15th and 16th centuries, following the translation of his relics to Venice. According to legend, when Saint Roch was stricken with the plague he was cured with the assistance of an angel and a dog who brought him bread each day. He was especially venerated in Venice, where outbreaks of the plague occurred regularly.
Lot 270
* North Italian School. The Angel in the Carpenter's Shop, circa 1600-1625, black chalk on cream laid paper, some marks and light soiling, several indistinct drapery studies in black chalk to verso, sheet size 31 x 19.5 cm (12.2 x 7.7 ins) (Qty: 1)NOTESProvenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.
Lot 274
* Circle of Ciro Ferri (1634-1689). The Assumption of the Virgin, black chalk heightened with white chalk on a pale brown wash prepared ground, on laid paper watermarked with an eagle within an oval surmounted by a crown (similar to Gravell Watermark Archive online, Eagle. 285.1, dating to the mid-18th century), partly squared for transfer to upper portion, a few light stains to outer edges (old glue marks to each corner showing through), sheet size 288 x 196 mm (11.3 x 7.7 ins), inlaid to modern (20th century) backing paper, old gilt frame, glazed, with remains of an Agnew & Sons Ltd yellow printed label to verso (name only visible), and four-line 20th century ink inscription (now only faintly visible): 'From the Collection of the Baron Horace de Landau/Rothschild representative to the Govt. of the Kingdom of Italy...' (Qty: 1)NOTESProvenance: Baron Horace de Landau (1824-1903); Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Baron Landau acted as representative of the Rothschild Bank in Turin from 1862. Loans negotiated by Landau on behalf of the Piedmontese Government led to the establishment of Italian National Unity in 1864. Having purchased the Villa Normanby from James de Rothschild in 1866, Baron Landau devoted himself to his library (he was one of the first to employ a full-time librarian for his collection) and art collection. The Landau library was sold at Sotheby's, London, in three portions between July 1948 and October 1949, and represented the first post-war sale in Britain of a foreign library.
Lot 298
* English Neoclassical School. A group of four pen and ink drawings of classical Greek mythological figures, circa 1775-1800, 4 pen and brown ink studies on laid paper, with pencil and occasional brown wash, each with further figure studies to verso, 165 x 190 mm (6.5 x 7.5 ins) and smaller, mounted together on a large sheet of contemporary pale blue wove backing paper, with single-line ink border to each image, together with a similar pen and brown ink composition study of three classical maidens on a garden balcony with putto and warrior, on laid paper with partial unidentified watermark, 160 x 195 mm (6.25 x 7.75 ins), light diagonal crease towards top margin, tipped onto a part sheet of printed text from the Boydell Shakespeare edition of King Henry V, plus three unrelated pen and ink studies of figures, late 18th or 19th century (Qty: 8)
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