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Lot 553
AFTER SIR WILLIAM BEECHEY, RA (1753-1839) PORTRAIT OF HENRY D'ESTERRE DARBY, CAPTAIN OF HMS BELLEROPHON Half length, wearing a Navy uniform, oil on canvas, a copy c.1910 79.5 x 62cm.; with a copy of R. Earlom's mezzotint of the same subject, 1801; a `Plan of the Battle of the Nile`, engraved by S. Hall, 1798; and `The First Bellerophon`, book by Colin Pengelly (London, 1966) (4) Provenance: By descent (by marriage) in the family of Captain Darby ++ The oil relined, retouched damage above the sitter's left shoulder, craquelure; the print worn; the others good.
Lot 105
A 19th century scrap book of portrait engravings, varying sizes; together with assorted unframed prints and engravings to include: Norman Wilkinson - A Hulk at Sea; R.A. Maynard - woodcut; French school - Figures approaching a church, pencil sketch; Lord Viscount Castlereagh mezzotint; Farewell Miss Julie Logan publication for the Times 1931; etching in the manner of Rembrandt etc
Lot 145
S.W. Reynolds after Rev. William Porter'Oxford', two mezzotint engravings from 'Drawings of the late Reverend William Porter', numbered 8 and 9, 17 x 27.5cm; and three further engravings to include: A View of Worcester College; North West View of Friar Bacon's Study; and Stonehenge, all mounted but unframed (4)
Lot 529
Faber (John). Nicolaus Sandersonus A.M. Matheseos Professor Cantabrigiae & R.S.S., after John Vanderbank, circa 1719, uncoloured mezzotint on laid paper, trimmed to image and tipped on to later paper, slight creasing and staining, slight abrasion to the printed surface, one marginal closed tear, 350 x 250 mm, together with Scott (James). Rear Admiral Sir Francis Beaufort, K. C. B. D.C. L. Corr, Mem. Inst. France, F. R. S. Hydrographer to the Navy from 1829 to 1855, Henry Graves & Compy. 1857, uncoloured mezzotint after Stephen Pearce, slight creasing and scratching to the engraved surface, laid on later stiff paper, 495 x 355 mmQty: (2)
Lot 549
Swansea. Buck (Samuel & Nathaniel), The East View of Swansea in the County of Glamorgan, 1748, uncoloured engraved panorama, slight spotting too image, 310 x 800 mm, mounted, framed and glazed, together with Houston (Richard). Samuel Buck [and] Nathaniel Buck, Robert Sayer, 1774, uncoloured mezzotint double portrait on laid after J. Highmore, 230 x 325 mm, mounted, framed and glazedQty: (2)
Lot 495
Peter Lely, 1618 – 1680, Kreis des PORTRAIT DES JAMES CECIL, 5. EARL OF SALISBURY (1691 – 1728) Öl auf Leinwand. Doubliert. 126 x 101 cm. Links unten betitelt „The Earl of Salisbury“. In vergoldetem Prunkrahmen.Im Zentrum der in einem Innenraum an einem steinernen Podest mit Wappenrelief stehende James Cecil. Er trägt antikisierende Kleidung mit goldenen Sandalen, an der Hüftseite einen Degen sowie einen blauen langen Umhang mit Goldrand. Auf dem Podest ist zudem ein mit Federn besetzter Helm abgelegt. Der Dargestellte hat ein zartes Inkarnat, gerötete Wangen und schaut bei würdevoller Haltung mit seinen dunklen Augen aus dem Bild heraus. Nach rechts fällt der Blick ins Freie auf einen Springbrunnen vor einer Brüstung unter blauem Himmel. James Cecil ist wohl hier als vier- oder fünfjähriger Junge dargestellt, zu einem Zeitpunkt, als er beim Tod seines Vaters dessen Adelstitel als Earl of Salisbury, Viscount Cranborne und Baron Cecil erbte. Teils rest., kleine Retuschen.Anmerkung: Es existiert eine fast identische, jedoch seitenverkehrte Mezzotintoradierung des Dargestellten von John Smith (1652-1743), die auf 1695 oder 1696 datiert wird. (1300451)Peter Lely, 1618 – 1680, circle ofPORTRAIT OF JAMES CECIL, 5TH EARL OF SALISBURY (1691 – 1728)Oil on canvas. Relined.126 x 101 cm.Titled “The Earl of Salisbury” lower left.Notes:There is an almost identical but inverted mezzotint etching of the depicted by John Smith (1652-1743), dating to 1695 or 1696.
Lot 254
2 Stiche und Mezzotinto "Jamie the Showman" von 1823 1) Thomas Hodgetts (1781-1853), Mezzotinto von 1823 nach einem Gemälde von Robert Edmonstone, Außenmaße 58 x 47 cm, Bildmaße 46 x 37 cm, von der Betitelung unterhalb des Bildes ist nur die Prägung sichtbar. Mit einigen Altersfehlern, sonst fleckenfreier Bildton. In Rahmen 57 x 77 cm. Schönes, eindrucksvolles Bild. - 2) Guckkastenbild "À Paris chez Daumont rue St. Martin", um 1700, "Vue d’Optique Représentant - Le College de l’Université, et celui de la Reine à Oxford". 43 x 30 cm, gerahmt. - Und: 3) Kupferstich um 1740, "Vue de l’Hotel de Ville de Marseille et d’une partie du port". 40 x 27 cm, gerahmt. Start Price: EUR 180 Two Engravings and a Mezzotint "Jamie the Showman" from 1823 1) Thomas Hodgetts (1781-1853), mezzotint from 1823 after a painting by Robert Edmonstone, external dimensions 58 x 47 cm, image dimensions 46 x 37 cm, 55 x 77 cm framed, title obscured, some age-related defects, otherwise good clean condition. Impressive print. - 2) Peepshow picture "À Paris chez Daumont rue St. Martin", c. 1700, "Vue d’Optique Représentant - Le College de l’Université, et celui de la Reine à Oxford". 43 x 30 cm, framed. - And: 3) Copper engraving, c. 1740, "Vue de l’Hotel de Ville de Marseille et d’une partie du port", 40 x 27 cm, framed. Start Price: EUR 180
Lot 112
William Sadler II c. 1782-1839 "Enniskerry, with Sugarloaf Mountain in the Distance and Figures in a Landscape," a pair., O.O.P., 15 h x 23 w cms (6" x 9") both same size In the first of this charming pair of panel paintings, a couple pause outside an inn, to chat to a man leaning on a fence. Behind them, a river cascades under a stone bridge. In the background are houses and a church, and beyond that a mountain. The scene depicted is most likely the village of Enniskerry, with the Sugarloaf Mountain rising in the distance. although there are some ?capriccio? elements that Sadler has introduced, to add interest to the scene, including the church steeple, and the building on the right. While the painting dates from around 1820, St. Patrick?s Church, with its tall steeple was not built until the 1850?s. Enniskerry was developed in the early nineteenth century, as a ?model? village, to house workers on the nearby Powerscourt estate. The second painting depicts a small group of people beneath a tree in a woodland setting. Two standing figures, a man with a walking stick and a woman with a child wrapped in her red coat, look anxiously at the sky, as if anticipating a coming storm. Another figure is seated in a grassy bank. Although best-known for his small landscape and genre scenes, depicting scenes in Wicklow, Dublin and Killarney, William Sadler II was also capable of tackling ambitious subject matter, as with his panoramic paintings, The Battle of Waterloo, The Embarkation of George IV at Kingstown 1821, and A London Capriccio inspired by the Burning of the Custom House 1814?the last of these one of only three known signed works by Sadler. For his smaller paintings he generally used mahogany or copper panels rather than canvas and his paintings often depend upon effects of light, either sunlight or firelight, to silhouette buildings, trees and figures. The motif of the hanging inn sign appears also in his Donnybrook Fair, as does Sadler?s artistic device of introducing a highlighted area behind this focal point, adding visual drama to the work. He painted recognisable landscapes, as with the Sugarloaf Mountain or Howth Head, and also ?capricci? where he invented buildings and landscapes. Invariably there is activity in his paintings, with ships heeling in the wind, banditti gathered around a fire, or travellers making their way along a country road. Born in or around 1782, son of a mezzotint artist of the same name, William Sadler II taught art and exhibited in Dublin through the first four decades of the nineteenth century. His father died when he was six years old, leaving Sadler to embark early on a career as a painter. In turn, he had a son, also called William Sadler, who was born in 1808 and is known for a painting of the army barracks (now demolished) overlooking the town of Fermoy. Dr. Peter Murray, 2022
Lot 86
Francis Sartorius the Elder (British, 1734-1804) Hylas, a chestnut racehorse, held by a jockeysigned and dated 'F. Sartorius / Pinxt. 1775' (on the building centre right)inscribed with the biography of the horse (lower left)oil on canvas62 x 75cm;together with a mezzotint of this painting by Henry Kingsbury, two in the lotFootnote: Hylas was a liver chestnut horse sired by Antinous out of a mare by Spectator and bred by the Duke of Grafton. He was sold to the Earl of Ossory in 1774 and then to Mr William Clarke in 1775. The present scene depicts Hylas following his victory in the race for the King’s Plate of 100gns at Burford on the 25th of July 1775, with a Rubbing House visible on the right. There were six runners - a bay named Caffinius, a grey named Rambler, another bay called Upton, a brown named Fellow Commoner and finally a grey called Top-Gallant. The race was run in heats and it only took two before Hylas was declared the winner, as he won both. In the background directly beneath Hylas, Sartorius shows the race in action, with Hylas in the lead and Top-Gallant bringing up the rear. Interestingly, instead of recording either of the heats, Sartorius sets the horses out in their overall finishing order, exactly matching their coat colours and the silks on Caffinius, Fellow Commoner and Top-Gallant. The silks of the other runners, like Hylas, are not recorded. Towards the end of the 18th century, Burford was a significant fixture. Other owners who fielded horses in its most important race included the owner of the famous Eclipse, Dennis O’Kelly, and Willoughby Bertie, 4th Earl of Abingdon, the breeder of Potoooooooo. Following Hylas’ victory at this event against such experienced opposition, it is no surprise that the comparatively humble Mr Clarke wished to have his winner recorded by one of the country's leading equestrian painters. We are grateful to David Oldrey for his assistance with this catalogue entry.Condition report: 78.5 x 91cm framedThe painting is executed in oil on a linen canvas support which has been lined. The paint layer has a prominent network of age cracks, some of which are raised and lifting. There are numerous small, scattered losses at the junctions of the cracks and some scuffs in the paint layer with raised edges. An old damage to the right of the horse has been repaired, the fill is cracked and lifting. The paint layer is worn in many areas. The varnish is yellowed and semi-matte. There are numerous areas of overpaint across the surface.
Lot 7086
Francis Blomefield: 'An Essay Towards a Topographical History of the County of Norfolk', London, William Miller, 1805-1810, 11 volumes, mezzotint portrait frontis plus 3 folding engraved maps/plans (Norwich, King's Lynn, and Map of Marshland that is often lacking) plus 33 engraved plates (many folding) plus 14 pedigrees on 15 folding sheets as called for, half titles, uniform old cloth gilt, leather gilt title labels to spines. Clean and tidy set of Blomefield's comprehensive history of the county of Norfolk, widely considered to be detailed, reliable and comparable with the best county histories of the period; together with a well illustrated biography of Francis Blomefield, Norfolk's greatest antiquarian, by Stephen Govier, 2011, signed by the author (12)
Lot 7201
TURNER, J. M. W. (Joseph Mallord William Turner 1775-1851), BROOKE, Stopford Rev. (Stopford Augustus Brooke 1832-1916: 'The Liber Studiorum of J. M. W. Turner, R.A., Reproduced in facsimile by the autotype process from examples of the best states in possession of the Rev. Stopford Brooke, M.A.; Each plate accompanied with a critical notice by him.. In Two Volumes.', London: Henry Sotheran & Co., 1899, Second edition. Very good original bindings. Limited edition of 150 copies. 71 plates as listed. 2 matching volumes, oblong folio. 11.5" x 15.5" x 1.0". Vol.I. : [10pp.]/pp.76 + Plates Nos.I. - XXXVI. Vol. II. : [4pp.]/pp.84/[7pp. - Appendix] + Plate Nos. XXXVII - LXXI. Original green buckram with bright gilt titles to each front board and spine. Boards dis-coloured and edges rubbed, but bindings in very good condition. Top page edges gilt. Original black endpapers. Toning to free-endpapers, and last leaf of each volume, otherwise clean throughout. All plates in very good condition. "The Liber Studiorum, a series of Turner's landscape and seascape compositions published as prints in etching and mezzotint, has been described as perhaps containing 'the pith of all that is best in his life and work', central to Turner's career as the most personal and carefully conceived series of prints in his entire oeuvre', or at least the 'most complete document of Turner's attitude to his art in the first decade of the [nineteenth] century', and 'one of the most comprehensive exercises in publication ever mounted by a great artist.' The Latin title may be translated as 'Book of Studies..." - Tate Gallery. (2)
Lot 722
A QUANTITY OF PICTURES AND PRINTS ETC, to include a unsigned interior study of two female figures sorting through clothes, oil on canvas, approximate size 60cm x 90cm, a rural scene with thatched cottage signed G W Freezov, oil on card, a woodblock print of ducks in flight, indistinctly signed, Norman Hirst 'Portrait of a Lady' mezzotint with facsimilie signature, a framed Biblical tapestry together with an assortment of prints etc Condition: the paintings are in good condition, most of the prints are in fair to poor condition, most items are very dusty (two boxes and loose)
Lot 55
** Christopher Richard Wynne Nevinson (1889-1946)The Roof Gardens (Black 57)Mezzotint, 1918, a fine impression, signed in pencil, on on F.J. Head laid paper, with full margins, 210 x 115mm (8 ¼ x 4 ½ in)Provenance: From an important private American collection.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Lot 352
FRANCIS BLOMEFIELD & CHARLES PARKIN: AN ESSAY TOWARDS THE TOPOGRAPHICAL HISTORY OF THE COUNTY OF NORFOLK, London, printed for William Miller by W Bulmer, 1805-10, 11 vols, plates and pedigrees collated complete, vol 1 mezzotint portfrontis detached, interleaved throughout, a few of the blank leaves with additional material, ideal project for extra illustration, old half calf worn, armorial bookplates of Frederic William Steward, (11)
Lot 1298
A pair of late 19th century mezzotint Russian Orthodox icon prints to include a child Christ holding the Globus Cruciger and another of Christ Pantocrator. Each having a pair of Milagro beneath with one set being hammered in stamped 800 continental silver depicting a man and woman and the other set stamped in copper sheeting depicting a man with moustache and a building. Both framed and glazed with cream mount beneath. Measures 74cm x 53cm.
Lot 20
Polar.- Ross (Sir John) Narrative of a Second Voyage in Search of a North-West Passage and of a Residence in the Arctic Regions ..., 2 vol. in 1 (including Appendix), first edition, 45 engraved, lithograph and mezzotint plates, 21 hand-coloured and 3 trimmed, 6 charts and maps, 1 folding, list of subscribers at end, some new tissue-guards, scattered spotting, bookplate, contemporary calf, rebacked retaining original backstrip, slight bumping to corners and extremities, 4to, 1835.
Lot 1585
An early 19th century oval coloured mezzotint of faggot gatherers, 19 X 15.4cm, together with a pine framed watercolour of children, after Morland (2).Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.
Lot 610
A collection of prints and watercolours; to include, a mill and a ruined gatehouse, watercolour on paper, 25.5 x 36cm & 24.5 x 36cmm. A pair (2); George Hayter (1792-1871), Southampton river from Weston Grove, titled and dated '1832' (across the bottom), pencil on paper, 11.5 x 24cm; Norris Fowler Willatt (1859-1924), A Surry Heath, signed 'N. Fowler Willatt' (lower right), gouache on paper, 36 x 52cm; Circle of George Hayter (1792-1871), an Assyrian scene, signed or inscribed and dated 'G Hayter 19/1/29' (lower right), pen ink and pencil on paper, 21 x 25cm; Charles Brooke Bird (1856-1916), Norman arches, etching on paper, signed 'Charles Bird' (lower left), 37 x 26cm pl.; After Claude Lorraine, Plate 24 The Beauties of Claude, mezzotint on paper, 23 x 28cm pl.; John Tallis & co, The Great Exhibition, coloured etching on paper, 118 x 26cm; Mabel Catherine Robinson, Shakespeare's bust in the parish church at Stratford on Avon, signed 'M.C. Robinson (lower right), coloured etching on paper, 29 x 21cm (8)
![After John Raphael Smith (1752-1812). Lady Elizabeth Compton, [1780 or later], pastel and chalk, depicting a half-length port](https://cdn.globalauctionplatform.com/9a21f8f7-bb3e-4455-8db4-ae4400b9af6b/83a97082-00ab-4f3e-ab82-ae4600db77c1/468x382.jpg)
Lot 24
After John Raphael Smith (1752-1812). Lady Elizabeth Compton, [1780 or later], pastel and chalk, depicting a half-length portrait of a young woman, her head tilted to the left, wearing a dress with large ribbon at breast, full sleeves, thin cape and pearls in her full, powdered hair, laid onto board, 61 x 46cm (24 x 18 1/8ins), hand written note on verso 'Lady Elizabeth Compton the original pastel by J.R. Smith', framed and glazed (71 x 56cm) Qty: (1)Footnote: The present work appears to be an early copy in pastel after the mezzotint by John Raphael Smith published in 1780, itself based on the original portrait by William Matthew Peters. Lady Elizabeth Compton (1760-1835) married Lord Augustus Henry Cavendish, the 4th Duke of Devonshire (later the Earl of Burlington), in 1782. Through her marriage she was later known as Lady Elizabeth Cavendish, Countess of Burlington.
Lot 33
Bloteling (Abraham, 1640-1690). Self Portrait of Anne Killigrew, circa 1680's, mezzotint by Bloteling after Anne Killigrew (1660-1685), a rich impression of the second (final) state, printing with effective contrasts, on fine laid paper with a partially visible letters watermark, with margins, a short repaired tear and a short tear at the lower sheet edge, a nick and and the extreme corner tip lower right lost, otherwise generallly in good condition, plate size 26.1 x 18.5 cm (10 1/4 x 7 1/4 ins), sheet size 32 x 22 cm (12 1/2 x 8 5/8 ins), together with Head of a bearded beggar in profile, facing right, etching after Sir Anthony van Dyck (1599-1641), a very good, clear impression, presumably on laid paper, with a narrow margin at bottom, otherwise retaining a blank fillet of paper around the borderline, laid down on card, a small hole at the upper sheet edge, sheet size 27.2 x 20.8 cm (10 3/4 x 8 1/8 ins)Qty: (2)Footnote: Provenance: Christopher Mendez, London.Hollstein 176 (Self Portrait of Anne Killigrew). Anne Killigrew (1660–1685) was an English poet and painter, extolled by contemporaries as 'A Grace for beauty, and a Muse for wit.' Killigrew's poems were circulated in manuscript and published posthumously in 1686 after she died from smallpox at the age of just 25.
Lot 312
A collection of 17th century and later ephemera, works on paper, and prints, including Local Interest, Politics & Satire and Law & Order- Nottingham & the 1865 General Election, The Electioneering Times: Of Fun and Humour on the Forthcoming Election, No. 1, Saturday, July 8th, 1865, Nottingham: Printed at the "Electioneering Times Office", comically illustrated with a naïve woodcut of satirical cartoon-caricatures, 4to, (1); All Round The Clock, and Electioneering Chronciles, Nos. 4 & 5, Saturday, June 24th & July 1st, 1865, Nottingham: Printed at the "Independent" Office, Freeman's Yard, 4pp & 8pp, 4to, (2); an early Victorian manuscript, The weeks in which the Magistrates attend with the Mayor at the Police Office [...], November 9 1842 to November 9 1843, ink MS on red-ruled paper, 25cm x 40cm, (1); 18th century and Romantic engravings, including James Barry, (1); Hasluck's Plates of Carpentry and Joinery, chromolithographs, folio, (1); Snuff, early 18th century and later clippings from newspapers and Parliamentary Acts, including Black Letter printing; Postal History, Queen Victoria, Penny Red letter front; Nottingham and Ilkeston Turnpike Trust, (2); Nottingham Canal, Lenton; Midland Railway; late Victorian license for one male servant, Hucknall, dated 1897; Chinese painted landscape watercolour; other painted Chinese silks; World War One grave registration and photograph, (2); Grand Tour, two 18th century engravings of the Portland Vase; Chinese antiquities, engravings; landscape, portrait and other engravings, including a mezzotint; maps and charts; early 20th century and later b/w antiquarian and architectural photographs (qty); Folk Art, illustrated manuscript prayer, (1); etc
Lot 45
Stukeley (William). Itinerarium Curiosum: or, an account of the antiquities, and remarkable curiosities in nature or art, observed in travels through Great Britain, 2 volumes in one (Centuria I & II), London: Messrs. Baker & Leigh, 1776, engraved frontispiece, 179 engraved plates, maps and plans only (of 205, including 3 folding), ownership inscription "Reeve, Richmond, Surrey" at head of first title (ink library stamp at foot of titles and classification numbers and cancelled ink stamp to verso of each), small library ink stamp to lower margin of title and plate margins (mostly to margins, within platemark & occasionally touching image), marbled endpapers with armorial bookplate of William Stukeley to upper pastedown and two early 20th century library labels attached, contemporary diced calf, elaborate gilt decorated spine with contrasting morocco labels, old paper label at foot of spine, joints slightly cracked at head & foot of spine, extremities slightly rubbed, folioQty: (1)Footnote: Upcott xxx. The work contains a mezzotint plate of the appearance of the total solar eclipse from Haradon Hill on May 11, 1724.This volume includes a 2-page letter tipped onto the front free endpaper from Anna M. Reeve of 2 Pembroke Villa[s], Richmond Green, dated March 12th 1920, "Dear Mr Barkas, In my possession I have seven volumes of Doctor Stukeley's works. They are large & in excellent preservation and I shall be very pleased to present them to the Richmond Free if acceptable. Dr Stukeley was my Great Great Grandfather. Next week you may like to come in & see them late in the afternoon. With kind regards, yrs. sincerely, Anna M. Reeve."
Lot 187
Philibert-Louis Debucourt (French 1755-1832) after Carle Vernet (1758-1836) Cheval Effrayé par la Foudre; Chasseur Égaré Two, both mezzotint Both 52.6 x 64.7cm; 20¼ x 25½in (image) Together with Nicholas François Regnault (French 1746-1810); Matin; Soir; A pair, both coloured stipple engraving; 35.5 x 45.7cm; 14 x 18in (image) (4)
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