1275S previously restored and powered by a Downton 970S unit. According to the accompanying Heritage Certificate, this Austin Mini Cooper S (1,275cc) is a right-hand drive, home-market, single tank car finished in Police White with Tartan Red and Gold Brocade trimBuilt on 24/11/1966, it was dispatched on 01/10/1966 to Voss Motors Limited of Liverpool, and first registered on 16/10/1966Police White was a particular shade designed to be more reflective at night, so we assume this little Cooper was destined for the Merseyside PoliceMore recently, we understand that the car was previously re-shelled as the original bodywork had rotted away and was replaced with a slightly earlier shellThe engine was also replaced with a desirable Downton-tuned 970S unit. The only other obvious variation from the original spec is a Moto-Lita woodrim and reclining front seats but they are correctly trimmed in Tartan Red and Gold BrocadeVery recent attention (August 2023) includes new clutch master and slave cylinders, new solenoid and carburettors cleaned The history file contains 18 pages of invoices dating from 1996 showing work carried out over the years, including re-assembling the vehicle after the re-shell, as well as separate parts invoices dating from 1998. Also in the history file are the accompanying Heritage Certificate, old green logbook, previous MOT Certificates and an earlier photograph of the carOn offer from long-term current ownership, the car sits well on its silver Minilites and looks good in classic Cooper black and white. With a little bit of time, effort and further detailing, this little S could be taken to the next level, and we feel that it's very sensibly-guided given the potential on offer Specification Make: AUSTIN Model: MINI COOPER S MK 1 Year: 1966 Chassis Number: CA2S7932599 Registration Number: EFE 147D Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 29809 Miles Make: RHDClick here for more details, condition report and images
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Heath (William) Collection of 15 Regency era caricatures, all finely hand-coloured, including 'Lork what a long tail our cat has got' [BM Satires 16578], 'Rats in the barn. Or Iohn Bulls famous old dog Billy astonishing the varment' [BM 15699], 'The Wish Granted' [Not in BM Satires], 'Town | Country' [BM 15611], 'The working of the Prophecies of Samuel the Prophet or the brewer suffocated in his own work tub' [BM 12099], 'Kissing hands' [BM 15405], 'The City Address' [BM 15408], 'The Royal foraging cap or new Windsor uniform' [BM 13892], 'Modern method of carrying a majority or prime deep pockets for banging up' [BM 11542], 'Answer to John Bulls complaint' [BM 12556], 'Master Dogberry the parish watchman' [BM 15802], 'Mr Primate - the Churchwarden' [Not in BM], 'Bob tail the turnspit!!! No 3' [BM 15908], 'Chance - the favourite setter' [BM 15909], and 'Snip's Race - or who's in first for the cabbage' [Not in BM], etchings, all with vibrant original hand-colouring, a few with small margins, minor nicks in places, all unframed, many published by Thomas McLean, circa 1800-1830 (15)
A collection of art and artist related books, Sally Mitchell, The Dictionary of Equestrian Artists, David Joel, Monet at Vetheuil 1878-1883, Vern Grosvenor Swanson, Soviet Impressionism, Charles F. Stockey & William P. Scott, Berthe Morisot, Impressionist, Richard Lack, Realism in Revolution, The Art of the Boston School, Pratapaditya Pal, Tibetan Paintings, Christopher Wright, Frans Hals, Christies, Old Master Prints from Chatsworth, 5 December 1985, Daphne Foskett, British Portrait Miniatures, Kenneth McConkey, Impressionism in Britain, Christopher Wood, The Dictionary of Victorian Painters, Daphne Foskett, Miniatures Dictionary and Guide, The Dictionary of British Artists 1880-1940, Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists 1800-1914, Ellis Waterhouse, The Dictionary of British 18th Century Painters in Oils and Crayons (15)
Altniederländische Schule, Meister von Ghent, um 1480DIE HEILIGE KATHARINA VON ALEXANDRIENÖl und Goldauflage auf Holz. Parkettiert.40,5 x 29,8 cm.In teils bemaltem und vergoldetem Rahmen.Das Gemälde zeigt die stehende Heilige Katharina, der christlichen Überlieferung nach, im 4. Jahrhundert die Königstochter von König Costus von Alexandrien und dessen Frau Sabinella, die die heidnischen Praktiken Kaisers Maxentius anprangerte und schließlich wegen Ihres christlichen Glaubens von ihm zum Tode durch das Stachelrad verurteilt wurde. Sie steht triumphierend über dem Körper des liegenden Kaisers, das zerbrochene Rad neben ihr, in bergiger Landschaft und trägt ein prachtvolles, reich mit Gold besticktes langes Gewand, das mit Hermelin besetzt und mit Perlen (als Symbol der Reinheit) verziert ist. Sie trägt eine Turbankrone und hat einen großen goldenen Nimbus um ihr Haupt. Zu den Attributen ihres Martyriums gehören rechtsseitig das große Rad mit Stacheln und ein großes Schwert in ihrer rechten Hand, mit dem sie enthauptet wurde, nachdem das Rad auf ihr göttliches Gebet hin, zerstört worden war. In ihrer linken Hand hält sie ein aufgeschlagenes Buch, ihr Attribut als Schutzpatronin der Gelehrten und Studenten. Im Hintergrund links kniet Katharina vor ihrem Henker, der gerade das Schwert zur Enthauptung schwingt. Auf der Bergspitze tragen zwei Engel ihren Körper weg, um ihn zu begraben. Für einen Aufenthalt des Künstlers in Italien spricht die Vielzahl der Zypressen im Hintergrund. Die scharfen Formen dieser Bäume erinnern an die Stacheln ihres zerbrochenen Rades und betonen die Vertikalität der wichtigsten Kompositionselemente des Gemäldes: Ihr langgestreckter Körper, das Zepter des Maxentius, die Pfosten des Rades und die Landschaft selbst.Provenienz:Lacombe, Paris, bis 1909, dann verkauft an folgende Gesellschaften.Kleinberger, New York und Paris, 1909-1910, als Meister der Legende von St. Lucia, von dem er von George D. Pratt (gest. 1935), Glen Cove, N.Y., als Meister von St. Lucy erworben wurde, und durch Erbschaft an seine Witwe Vera Amherst Hale Pratt, (1935-44).1935 durch Vermächtnis von George D. Pratt vom Metropolitan Museum of Art erworben.Christie´s, New York, 29. Januar 2014, Lot 106. Dort vom jetzigen Besitzer erworben. Literatur:A. Priest, "Loans from the Collection of George D. Pratt", Metropolitan Museum of Art Bulletin, XXXV, Dezember 1940, S. 237, als Kreis des Meisters der Legende der Heiligen Ursula.H.B. Wehle und M. Salinger, The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, S. 77.E. Larsen, Les primitifs flamands au Musée Metropolitain de New York, Utrecht 1960, S. 77.R.H. Wilenski. Flämische Maler, 1430-1830, New York, 1960, I, S. 40-42, 44, 46, 52; II, Taf. 109.M.W. Ainsworth und K. Christiansen, From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, Ausstellungskatalog, New York, 1998, S. 405. (1371691) (†)Old Netherlandish School, Master of Ghent, Ca. 1480SAINT CATHERINE OF ALEXANDRIA Oil and gold on panel. Parquetted.40.5 x 29.8 cm.In partially painted and gilded frame.The painting depicts the standing Saint Catherine, who according to Christian tradition, lived in the 4th century and was the daughter of King Costus of Alexandria and his wife Sabinella. Catherine denounced the pagan practices of Emperor Maxentius and was then condemned by him to death by a spiked wheel for her Christian faith.She stands triumphantly over the body of the reclining emperor, the broken wheel beside her, in mountainous scenery, wearing a magnificent long robe richly embroidered with gold, trimmed in ermine and decorated with pearls, as a symbol of purity. She is wearing a turban crown and has a large golden nimbus on her head. Among the attributes of her martyrdom are the large spiked wheel on the right and a large sword in her right hand, with which she was beheaded after the wheel was destroyed in response to her divine prayer. In her left hand she holds an open book, her attribute as the patron saint of scholars and students. In the background on the left, Catherine kneels before her executioner, who is swinging the sword for her beheading. On the hilltop, two angels carry her body away to bury it. The multitude of cypresses in the background speaks for a possible stay of the artist in Italy. The sharp shapes of these trees evoke the spikes of her broken wheel and emphasize the verticality of the main compositional elements of the painting: Catherine’s elongated body, Maxentius’s sceptre, the wheel´s posts and the landscape itself. Provenance:Lacombe, Paris, until 1909, when sold to the following.Kleinberger, New York and Paris, 1909 – 1910, as the Master of the Legend of St. Lucia, from whom acquired by Georges D. Pratt (d. 1935), Glen Cove, N.Y, as the Master of St. Lucy, and by inheritance to his widow Vera Amherst Hale Pratt, 1935-44).Acquired by the Metropolitan Museum of Art by bequest from George D. Pratt in 1935.Christie´s, New York, 29 January 2014, where purchased by the present owner.Literature:A. Priest, “Loans from the Collection of George D. Pratt”, Metropolitan Museum of Art Bulletin, XXXV, Dezember 1940, p. 237, as Circle of the Master of the Saint Ursula Legend.H.B. Wehle and M. Salinger, The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, p. 77.E. Larsen, Les primitifs flamands au Musée Metropolitain de New York, Utrecht 1960, p. 77.R.H. Wilenski, Flemish painters, 1430-1830, New York, 1960, I, pp. 40-42, 44, 46, 52; II, pl. 109.M.W. Ainsworth and K. Christiansen, From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, exhibition catalogue, New York, 1998, p. 405.
Altniederländischer Meister des 16. JahrhundertsRUHE AUF DER FLUCHTÖl auf Eichenholz, oben halbrund und geschweift geschlossen, parkettiert.81 x 55 cm.Gerahmt.Altar- oder Andachtsbild, in dem das Thema der „Ruhe auf der Flucht“ in eine hügelige Landschaft gesetzt ist, mit einer Burgruine im Hintergrund. Die beiden Figuren - Mutter Maria mit dem Kind und Joseph - füllen beherrschend das Bildformat. Dabei wird Maria ein entsprechend etwas größerer Bildraum zugedacht, auch das auffallende Rot in ihrem Kleid dominiert farblich im Bild, zusammen mit dem leuchtenden Weiß ihres Schultertuches. Mit beiden Händen hält sie das auf ihrem Schoß stehende Kind, dessen Blick ihr zugewandt ist. Die bedeutendere Rolle der beiden Gestalten kommt auch hier der Maria zu, mit prominenter Platzierung im Bild. Josephs Kleiderfarben wirken dagegen zurückhaltend. Jedoch lässt sein Gesicht erkennen, dass es sich hier um ein Portrait handelt - wie zumeist vom Auftraggeber. Dies erklärt auch die Bescheidenheit der Gewandung. Der junge Baum, der mittig im Bild emporragt, ist traditionell als Symbol für das Aufkommen des jungen Christentums mit der Geburt Jesu zu verstehen. Auch die Früchte am Boden sind symbolisch zu deuten: die Frucht erinnert an den Sündenfall im Paradies-, die Traube an den Opfertod Jesu und den Wein des Abendmahls. Die Gesamtkomposition des Bildes, besonders die Mariendarstellung zeigt den Einfluss des Malers Jan Gossaert, genannt Mabuse (1478-1532). Somit steht die Datierung hier im Zusammenhang mit dessen Werk. A.R. (13703373) (11)Old Netherlandish Master, 16th centuryREST ON THE FLIGHTOil on panel, with half-round and curved finish at the top; parquetted. 81 x 55 cm.The overall composition of the painting, especially the depiction of the Virgin shows the influence of the painter Jan Gossaert, also known as Mabuse (1478 - 1532). The dating of the present painting is thus related to his oeuvre.
Altniederländischer Meister, um 1550AUFERSTEHUNG CHRISTIÖl auf Holz.109 x 69 cm.Das Tafelbild dürfte für den Altar einer Schlosskapelle oder den Nebenaltar einer Kirche geschaffen worden sein. Die im N.T. erwähnte Szene hat der Maler sehr figurenreich und lebendig geschildert, ganz im Gegensatz zu den gängigen Darstellungen dieses Motivs anderer Meister. Der aus dem Grab Auferstandene erscheint oben im rundbogigen Bildfeld vor rotem Velum, von Putten gehalten. Darüber hinaus wird die Christusfigur von einer Wolkenhülle umfangen. Bei genauerer Betrachtung zeigt sich hier, dass die meisten der Wächter und ihrer Begleitfiguren den Auferstanden nicht wirklich sehen. Zudem ist der Sarkophag geschlossen gezeigt. Die Auferstehung versteht der Maler also nicht in materiellen Sinn. Diese Beobachtung bestätigt sich umso mehr, wenn wir sehen, dass diejenigen Wächter, die den Auferstandenen sehen, stehend wiedergeben sind, - der das Wunder nicht Erkennende dagegen wird auf dem Boden liegend gezeigt. Zweifellos liegt hierin eine theologische Aussage, was dem Werk zusätzliche Bedeutung gibt. (1360981) (10)Old Netherlandish Master, ca. 1550THE RESURRECTION OF CHRIST Oil on panel.109 x 69 cm.
Deutsche Schule des 18. Jahrhundertsaus dem Besitz von Wolfgang JoopPORTRAIT EINER DAME DES HOCHADELS, FRIEDERIKE CAROLINE MARKGRÄFIN VON BRANDENBURG-ANSBACH, GEB. VON SACHSEN-COBURG-SAALFELD (1735 – 1791)Öl auf Leinwand. Doubliert.117 x 92 cm.In prachtvollem Rahmen.In einem palastartigen Innenraum das Dreiviertelbildnis nach links einer eleganten Dame in einem goldenen, bekrönten Sessel. Sie trägt ein mit floralem Muster besticktes silbernes, glänzendes Kleid mit Rüschenärmeln und Spitze verziertem Dekolleté, an dem eine große Diamantenbrosche und der Sternkreuzorden für Damen mit der Aufschrift „Salus et Gloria“ (Heil und Ruhm) an schwarz-seidener Bandschleife befestigt sind. Zudem trägt sie einen roten Samtmantel, der mit Nerz gefüttert ist. In ihrem Schoß hält sie mit der linken Hand ein kleines Hündchen. Zu ihrer rechten Seite ein goldener Hocker mit rotem Samtkissen mit goldenem Band und Quaste, auf dem die preußische Königskrone und die Markgrafenkrone liegen - eine Identifikation der Portraitierten als die Markgräfin untermauernd. Sie hat ein feines, schmales zur Seite gerichtetes Gesicht mit geröteten Wangen, trägt eine weiße Perücke mit Schmuckaufsatz, wertvolle Ohrringe und eine enganliegende Kette auf einem kleinen Spitzenkragen um ihren Hals. Zudem hat sie eine schmale lange Nase und mit ihren glänzenden Augen schaut sie würdevoll aus dem Bild heraus. Repräsentatives, qualitätvolles Portrait mit vielen feinen Details, besonders Kleidung und Schmuck werden dabei hervorgehoben. Provenienz:Anonyme Versteigerung (Sammlung Karl Graf von Maldeghem).Christie’s, Auktion 2408, Amsterdam, 24. März 1999, Art and Antiques from German Noble Houses, Lot 121.Sammlung Wolfgang Joop, Villa Wunderlich, Berlin.Christie's, Auktion 14445, London, 18. Oktober 2017, Villa Wunderkind: Selected Works from the Private Collection of Wolfgang Joop, Lot 17.Dorotheum, Wien, 18. Dezember 2019, Gemälde Alter Meister, Lot 258.Anmerkung 1:Wir danken Frau Anna Eunike Röhrig für freundliche Hinweise bezüglich der Identifikation der Dargestellten.In Berufung auf Ludwig Meyer wurde das Portrait der Markgräfin bereits identifiziert und in das Jahr 1754 datiert.Anmerkung 2:Der Sternkreuzorden ist ein 1668 gegründeter österreichischer Damenorden („Hochadeligen Frauenzimmer-Sternkreuzorden“). Zu den höchsten Schutzfrauen gehörten zwischen 1720 und 1780: Wilhelmine Amalie von Braunschweig-Lüneburg, Maria Theresia von Österreich und Maria Ludovica von Spanien. Die derzeitige Großmeisterin des Ordens ist Gabriela von Habsburg. (1301402)German School, 18th century,Collection Wolfgang JoopPORTRAIT OF AN ARISTOCRATIC LADY, FRIEDERIKE CAROLINE MARQUESS OF BRANDENBURG-ANSBACH, NÉE. OF SAXONY-COBURG-SAALFELD (1735 – 1791)Oil on canvas. Relined.117 x 92 cm.Distinguished, high-quality portrait with many fine details, especially with regards to the highlighted clothing and jewellery. To the sitter’s right, a golden stool with a red velvet cushion with a golden band and tassel, on which lie the Prussian royal crown and the margrave’s crown – underpinning an identification of the sitter as the margravine. Provenance:Anonymous sale (The Property of Karl Count of Maldeghem).Christie’s, Sale 2408, Amsterdam, 24 March 1999, Art and Antiques from German Noble Houses, lot 121.Collection Wolfgang Joop, Villa Wunderlich, Berlin.Christie's, Sale 14445, London, 18 October 2017, Villa Wunderkind: Selected Works from the Private Collection of Wolfgang Joop, lot 17.Dorotheum, Vienna, 18 December 2019, Old Master Paintings, lot 258.Notes:We would like to thank Anna Eunike Röhrig for her notes and kind advice regarding the identification of the sitter.With reference to Ludwig Meyer, the portrait of the Margravine was identified and dated to 1754 before.
Mesched Meisterteppich antik.206 cm x 132 cm. Handgeknüpft. Wolle auf Baumwolle. Wohl noch Naturfarben. Wohl 100 - 150 Jahre alt. Sehr feine Knüpfung. Circa 8 x 8. Etwa 640.000 Knoten pro Quadratmeter. (400 KPSI). Unter anderem gleichmäßig dünner. Zustand siehe Fotos. Insgesamt guter Zustand. Versand kann organisiert werden.Mesched master carpet antique. Hand knotted. Wool on cotton. Probably still natural colors. Probably 100 - 150 years old. Very fine knotting. Approximately 8 x 8. 640,000 knots per square meter. (400 KPSI). Among other things, evenly thinner. See photos for condition. Overall good condition. Shipping can be organised.
Early Old Master School Portrait of a Gentleman. Oil on panel. Appears to be unsigned, inscribed verso. Provenance: Butterfield and Butterfield Auction (San Francisco) 1990's, partial label verso. Housed in a later added tabernacle frame. Sight Size: 16 x 12 in. Overall Framed Size: 27 x 22.5 in.
1955 Riley RME Transmission: manualMileage:51657Despite producing some fine small saloons and sporting cars while carving out an enviable competition record for itself during the early 1930s, Riley had lost its battle to remain independent and was part of the Nuffield Organisation by the decade's end. Rileys of the immediate post-war years were, nevertheless, recognisably products of the 'old firm'. Most popular of these was the 1.5 litre RMA sports saloon, which came with torsion bar independent front suspension, hydro-mechanical brakes and Riley's classic twin-camshaft, overhead-valve engine in four-cylinder guise. An improved version, the RME, with fully hydraulic brakes appeared in 1952 and continued in production until 1955.This example of a late Riley RME was first registered on 4th January 1955 and is presented in Brunswick Green over black coachwork with complementary green leather trim. This lovely well-maintained example shows the perfect balance of patina with the 1.5 litre engine starting on the button when inspected. The car is accompanied by a wealth of paperwork from invoices to owners' club magazines and even spares. The front seats have been retrimmed but are very well matched to the original rear, the headlining and woodwork are also in very good order throughout. In 2018 the car underwent a £4,000 engine overhaul, and after his purchase in 2020 our vendor has continued to maintain and improve the car. This RME benefits from a new radiator and the history file demonstrates a new water pump kit and master cylinder in 2022. A reliable, solid example of the wonderful classic Riley which comes with a lovely history including original manuals, toolkit and invoices. A delightful classic in good condition which is ready to be enjoyed.Guide Price £7,000-£10,000
1986 BMW E28 M535i Transmission: manualMileage:109566The E28 BMW 5-Series, released in September 1981, was BMW's breakthrough executive saloon. Designed by the iconic BMW designer Claus Luthe, the E28 was initially sold with a combination of four and six-cylinder engines, but in 1984 BMW revealed the very first M5 at the Amsterdam motor show. When it was launched 42 years ago, the new BMW E28 5-Series looked like little more than a facelifted BMW E12 5-Series, a car that had been around since 1972. The E12 had earned itself a fine reputation as a well-made, mid-range saloon that ranged from the 518 to the hot-rodded 528i and M535i.The E28 5-Series range started with the 518, powered by a 90bhp four-cylinder known by its M10 engine code. A 518 with optional five-speed gearbox and power steering was next up the chain, followed by six-cylinder cars, all with five speeds and PAS, with the 125bhp M20 520i and 150bhp M30 525i, plus the 184bhp M30 528i with standard alloy wheels and electric front windows. A three-speed ZF automatic box was optional on all six-cylinder cars as well. The 535i came in two forms, the M535i with the plastic bodykit (bumpers, sills and arch spats) and special metric wheels, plus a metal-bumper version that looked like most other models but had the same special wheels and arch spats. Both models had the Bilstein dampers and M Technic suspension. The M535i was by far the more popular model; the metal bumper version was discontinued but remained available to special order and was renamed 535i SE. This is an exceptional unmolested example of the super cool E28 M535i with the all-important dog leg first gearbox. We are informed the car has led a very gentle life and has been maintained exceptionally well by the fastidious owner while sitting on original old stock E28 M5 wheels with Michelin Pilot Sport tyres. The Diamond Black bodywork is beautiful after a significant body restoration costing in excess of £10,000, all the floors are solid and jacking points excellent. The invoices for recent maintenance are endless but include, a new master cylinder, accumulator, bushes, exhaust, shock absorbers, viscous fan, front brake calipers, rear main seal, new control arms, plus much more. Boasting a great specification including electric sunroof, rear head rests, on board computer, head light wash wipe, rear blind and a Blaupunkt Bremen radio to give you the period look but with modern functionality. Present is a great service history with ample service and parts invoices, original dealer plates and the vendor who has owned the car for the last four years assures us it drives faultlessly and is ready to enjoy and impress at any car show. The original full book pack is there with original dealer cards and service book. With an MoT test certificate valid until March 2024, this is a very well 'sorted' and exceptionally well presented example of one of the 80's most iconic cars. * Interested parties should note that the private registration plate shown is to be retained by the vendor and a new, age-related registration issued instead
Binding.- Bible, English.- The Holy Bible, Containing the Old and New Testaments, and The Apocrypha, 3 vol., engravings by Charles Heath after Richard Westall, presentation inscription to front free endpaper of vol.1, occasional very light spotting, contemporary straight grain purple morocco, blind-stamped panelling with gilt heightening, with central '"Cathedral" design of alter with architectural backing, spine gilt with decorative pieces in compartments, folio, 1815.⁂ Provenance: Presentation inscription from William Chafy (1779-1843), Master of Sidney Sussex College, Cambridge and chaplain in ordinary to George III, George IV, William IV and Queen Victoria.
Norton, Robert The Gunner, shewing the Whole Practise of Artillery with all the Appurtnenances thereunto belonging. Together with the making of extraordinarie Artificiall Fire-workes, as for Pleasure and Triumphes, as for Warre and Service. London: by A. M. for Humphrey Robinson, 1628. Folio (28 x 18cm), contemporary mottled calf, spine relaid, label renewed, [14] 46 43-46 51-100 99-158 [2] pp., signatures A6 B2 [superscript 2]B2 C-Y4 (blanks 'A1' and 'Y4' early but probably not original), woodcut border to title, 29 engraved plates (numbered 1-11 and 13-27, 3 unnumbered, 20 folding, many closely trimmed cropping margins of image, the unnumbered plates all half-sheets, possibly comprising halves of other plates originally printed as folding sheets, and plate 12 with number cropped), diagrams in text, tear to head of spine, variable damp-staining, C3 with chip and closed tear in top margin, closed tear in L4, plate 8 (facing p. 138) with old repair [Cockle 114, calling for 'twenty-four full-page engravings'; ESTC S115254, calling for 29 plates of which 2 unnumbered and 25 folding; STC 18673] Note: Note: An army officer and writer, Robert Norton (d. 1635) studied under John Reynolds, master gunner of England, and in 1627 was granted for life the post of engineer of the Tower of London. The plates, captioned in French and German, are printed from Theodor de Bry's plates to the 1614 edition of Ufano's Tratado della Artilleria, from which the work was adapted. ESTC traces eight copies in UK libraries; a handful of copies have appeared at auction, with varying plate counts, the folding plates often divided by binders into separate half-sheets.Provenance: William Clarke (ownership inscriptions dated 1681 to initial blank); Stephen Hungerford Pollen (c.1869-1935), British army officer (bookplate), F. B. Lorch, South African business executive and military historian (red morocco book-label); H. H. Boyd (recent bookplate).
John Constable RA (English, 1776-1837) View of the back of Willy Lott’s House with Log-cutter, 1814. Inscribed upper left with the brush ‘June 1814’; and, on verso (in a later hand), ‘J. Constable [R.A.]’ Oil on canvas laid on canvas, 11 ½ x 9 5/8in. (29.2 x 24.4 cm.). English, early 19th century, swept gilded frame inscribed on the slip “Willy Lott’s House Flatford”. The frame bearing a plaque inscribed with the artist’s name “J. Constable” and dates “born 1776 died 1837”. *Provenance: by descent from the artist to his grandson Hugh Golding Constable (1868-1949); Leggatts by 1899 (probably no. 14, ‘Willy Lott’s House, Flatford’ in Catalogue of Pictures & Watercolour Drawings by John Constable R.A., Leggatt’s, Nov 1899); Caroline M.G. Williams (1933-2018), probably inherited from her grandparents Frederick and Ann Williams; and from 2018, by inheritance. **Literature: C. Peacock, John Constable; The Man and his Work, 1965, revised edition 1971, plate 26 and p.142; R. Hoozee, L’Opera Completa di Constable, 1979, no. 194; see also under G. Reynolds, The Early Paintings and Drawings of John Constable, 1996, p.194 (where discussed in connection with related drawing, no 14.25, in collection of Royal Albert Memorial Museum, Exeter). Note: We are grateful to Anne Lyles for confirming the authenticity of this work based on first hand inspection and for providing the following catalogue essay. ***“This fascinating oil sketch, dated by Constable ‘June 1814’ on the upper left, was last recorded in the scholarly literature on the artist in 1979, when it was catalogued by Robert Hoozee in a catalogue raisonné of the artist’s work published by Rizzoli. It thus now reappears here, on the market, after a gap of over forty years. The sketch has a firm provenance reaching as far back as the nineteenth century when it was owned by Constable’s grandson, Hugh Golding Constable (1868-1949), who subsequently sold it to distinguished Fine Art dealers Leggatt Brothers. It almost certainly featured (as number 14, ‘Willy Lott’s House’) in Leggatt’s historic exhibition mounted in their Cornhill Gallery in November 1899, the first to be devoted solely to Constable’s work. When painting in Suffolk in the early part of his career, it was Constable’s regular practice to make oil sketches in the open air. It seems more than likely that this sketch was made by him directly from nature, a conclusion which his inscription on the upper left, with the date ‘June 1814’, tends to support. It relates closely to a pencil sketch in the Royal Albert Memorial Museum, Exeter (fig.1) which was catalogued by Graham Reynolds as ‘ A house amid trees’ (G. Reynolds, Early Paintings and Drawings, no. 14.25). Both Reynolds (op.cit) and Constable scholar Ian Fleming-Williams described the farmhouse in the drawing (and thus by implication the same building in this related oil sketch, which they knew only through reproduction) as an unidentified Suffolk farmhouse (Constable: a Master Draughtsman, Dulwich Picture Gallery, 1994, see under cat. 25 and pp 136-8). However it is now clear that both drawing and oil sketch actually show Willy Lott’s House, the building at Flatford which appears in two of Constable’s most famous paintings, The Hay Wain, 1821 (National Gallery) and The Valley Farm, 1835 ( Tate Britain), but from an unusual angle at the back. This sketch’s original title, as first recorded in the nineteenth century when owned by Hugh Golding Constable and then sold by Leggatt’s, can therefore now be reinstated. When this sketch was first reproduced in the Constable literature by Carlos Peacock (John Constable: the Man and his Work, 1965; revised edition 1971), the author described it as apparently showing a man using a pole to manoeuvre a floating branch. Peacock was presumably basing his interpretation of this figure on his reading of another oil sketch by Constable, Willy Lott’s House from the Stour, c.1812-13, showing the house from the opposite side where a man adopting a similar strenuous posture is polling a ferry boat on the water through the shortcut to the mill stream, Victoria & Albert Museum (fig. 2). As Peacock himself recognised, the latter sketch closely relates to Constable’s painting of The Valley Farm in Tate Britain. However, it would seem that the figure in this oil sketch is actually standing on dry land, and apparently cutting logs, perhaps from a recently felled tree”. Anne Lyles. ****The tiny hamlet of Flatford situated on the north bank of the river Stour in Suffolk is at the centre of the area now known as “Constable Country” where the great painter grew up and which provided the inspiration for much of his work. Willy Lott was a tenant farmer who lived in the house in Flatford attached to the land that he farmed. He lived there for over eighty years and spent only four nights away from the house in his whole life. For Constable the house became emblematic of the rural way of life that was so precious to him. In Edwardian times the house became known as Willy Lott’s Cottage, but John Constable knew it as Willy Lott’s House, as it has been renamed today. *****The English Romantic painter John Constable RA (1776-1837) was best known for his views of the English countryside particularly the area surrounding the river Stour that is known today as “Constable Country”. Born in the Suffolk village of East Bergholt, he entered the Royal Academy schools in 1799 and later exhibited at the Royal Academy and Paris Salon. He made many open-air sketches and used these as the basis for his large exhibition paintings which were completed in the studio. Like many other artists, Constable was influenced by the work of Dutch 17th century painters however he moved away from the idealism expected of the period and experimented with a much freer style of representation, particularly in his studies and sketches. Along with J.M.W. Turner, Constable revolutionised landscape painting in the 19th century and had a profound effect on European artists, particularly in France. As such, Constable is regarded as a precursor of the Impressionists. ******With regard to the attribution, we are pleased to have received the endorsement of Sarah Cove ACR, FIIC, FBAPCR, accredited conservator of paintings and an acknowledged authority on the work of John Constable. Sarah has seen the work and is fully in agreement that this is a work by John Constable. She also anticipates that there would be a significant improvement to the appearance of the painting if it was cleaned. ** CONDITION: The painting has been wax lined and given a thick coat of varnish within the last fifty years and is in stable condition. The conservator and founder of the Constable Research Project, Sarah Cove ACR, FIIC, FBAPCR, has seen the oil sketch and anticipates that there would be a significant improvement to its appearance if it was cleaned. Her approach would be to clean the painting, removing much of the wax that it visible around the edges and on the back and potentially on the surface and remove any old retouchings. If required she would remove the painting from its lining canvas and return the oil sketch to its original structure. Sarah can be contacted at sarahcove101@gmail.com for further information about the conservation of the painting.
Late 16th century follower of Girolamo Francesco Maria Mazzola, called Parmigianino The Mystic Marriage of St Catherine – Virgin and Child with St Joseph and St Catherine of Alexandria receiving the ring oil on panel 58 x 47cmProvenance:Christie’s, London, 6 July 1889, lot 107, as ‘Parmegiano [sic] The Marriage of St. Catherine’, when acquired by Horace Smith-Bosanquet of Broxbournebury for £7.7.0,Thence by descentParmigianino painted the subject of the Mystic Marriage of St Catherine at least four times (see versions at The National Gallery, London; The Louvre, Paris; Bardi, Church of Santa Maria Addolorata and The National Gallery of Parma). The present composition seems to be unknown from drawings by Parmigianino or any later copies, but is clearly very closely indebted to the great Mannerist master from Parma.The painting is executed in oil on a thick wooden panel support, probably poplar, with two tapered battens set into dovetail grooves. The panel has some evidence of old woodworm damage and has developed a slight vertical curvature. The paint layers have some cracking around the edges. In the main areas of the composition the paint layers are in a good, stable condition. There are scattered areas of overpaint across the surface which are reasonably well matched to the original but matte. The varnish is dull and slightly yellowed. There are scattered fly spots across the surface.Framed 81.5 x 70.5cm
Dickens (Charles), A selection of early volumes by the author to include Bleak House, London: Bradbury & Evans, 1853 with illustrations by H. K. Browne with plates and frontispiece; The Life & Adventures of Martin Chuzzlewit, London: Chapman & Hall, 1892, gallows sign £100, half leather bound by J.A. & N.S. Ltd, Regent Street; Master Humphey's Clock bound in two volumes with Barnaby Rudge, London: Chapman & Hall, 1840/41, with illustrations by Cattermole and Browne with additional frontispieces by Landells; Master Humphries Clock, in three volumes bound with Barnaby Rudge and The Old Curiosity Shop, London: Chapman & Hall, 1840/41 with illustrations by Cattermole and Browne with additional frontispieces by Landells and Sibson, quarter calf with raised bands and gilt tooling with marbled boards; together with Wright (Thomas) & Evans (R. H.), Historical and Descriptive account of the Caricatures of James Gilray, London: Henry G. Bohn, 1851, later rebound half red leather (8) CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A collection of French & British selected wines. The lot comprising of two Cointreau Liqueur 40% vol 70cl & 1 litre bottle, a Cointreau Liqueur Extra Dry Angers France 24 70cl 70% proof, a Dow's Master Blen Finest Reserve Port 20% vol, 75cl, a British Sherry Rich Cream 1 litre 15% vol, a Gonzales Byass Tio Pepe Jerez Xeres Sherry Palomino Fino 1 litre, 15% vol, a Taylor's Select Reserve Port 75cl 20% vol, a St Michael 10 years old Port matured in oak cask Portugal 75cl 20% vol, a Drambuie the cream liqueur 70cl bottle 17% vol, together with Le Piat de Beaujolais 1988 Appellation Beaujolais Controlee 75cl 12.5% vol.
Rare Antique Japanese Chefs knife SET of two knifes signed ARITSUGU & ITTETSUSAI.Knife 1).Rare Antique Japanese Chefs knife signed ARITSUGU, just had a full Polish and sharpen by Togi in Japan who is retired Japanese sword polisher.Hand forged laminated iron, water quenched blade in the tradition of the samurai sword.Blades been languishing in storage for decades, so was very stained, old worn signature polished out by Togi.Highest Quality Blond Buffalo Horn Tsuba, & Camelia wood handle, fits the hand like a glove.Condition of knife exhibits loving care.Exceptional Highest Quality chefs knifes like this are fast becoming unobtainable in Japan.Razor +++++ sharp blade Warning .Aritsugu at his very best.Honyaki quality blade.Length 300mmKnife 2).Rare Antique Japanese Chefs knife signed ITTETSUSAI, exhibits Honyaki hall markings of Samurai sword Hamon on the verso & front side.Hand forged laminated iron, water quenched blade in the tradition of the samurai sword.Exceptionally Razor +++++ Sharp Be Warned .Blond Buffalo Horn Tsuba, Camelia wood handle of the very highest Quality.Blade has series of very small nicks in cutting edge %75 up the blade, about 1.6cm longGentle Soft stoning will remove these.Master Craftsman hand engraved with beautiful hand engraved ITTETSUSAI signature,Blue Tamahangane used by ITTETSUSAI is engraved on the blade, this produces the Highly desirable Razor+++++ edge that can be sustained for longer periods & produces a Beautiful Clean cut to fish flesh.Length 415mm.Cost of both knifes when new would exceed USA $6,000.00
An early 18th century pewter charger, having a wide single-reeded rim bearing several touch marks, initials and armorial, glued-on label verso with image of marks states 'Made by Sir John Fryers, BART, Master Pewterer, Alderman of The City of London, circa 1700, see Cotterells mark No.1790', dia.46.5cm.Note: Sir John Fryer, 1st Baronet (1671–1726) was a Presbyterian layman, London pewterer, merchant and Lord Mayor of London. He was created a baronet on 13 December 1714.Howard Herschel Cotterell, author of Old Pewter, Its Makers and Marks, first published 1929.
BEN NEVIS 10 YEAR OLD SINGLE HIGHLAND MALT WHISKY 70cl 46% vol, Glenlivet Aged 12 Years Single Malt Scotch Whisky 70cl 40% vol, Glenlivet aged 12 years in oak casks 70cl 40% vol, Glenfiddich Special Reserve aged 12 years Single Malt Scotch Whisky 35cl 40% vol, Glenfiddich Signature Malt Aged 12 years Single Malt Scotch Whisky 35cl 40% vol and Jack Daniel's Master Distiller Tennessee Whiskey 750ml, 45% ALC./VOL. numbered 03 4577 59 02 (6) Condition Report:Available upon request
A folio of Old Master and later pictures and prints, including Johann Ignaz Zimbal (1722-1795), St. John the Evangelist Writing the Apocalypse on Patmos, signed within the plate, s.l., n.d. [c. 1760-70], etching, 29.6 x 20.4cm; Nicolas Mignard (1606-1668), after Annibale Carracci (1560-1609), Anapias and Amphinomus saving their family from an Etna eruption, from Homer's Odyssey, [Avignon]: Pierre Mariette II, 1637, etching and engraving, chipped in places, et al., 26 x 43.5cm; Joseph Vernet (1714-1789), Retour de la Pêche, first state, signed within the plate, s.l., n.d. [18th century], etching, 32.7 x 25.3cm; thirteen early 19th century British portrait stipple engravings, including the artists James Northcote, Joseph Nollekens with his bust of Charles Fox, Benjamin West ,George Romney, James Barry, Joseph Farington, Thomas Stothard, David Wilkie, and other Royal Academicians; William Young Ottley (1771-1836), after Pieter/Peeter Boel (1622-1674), The Wild Boar Hunt, [London, 1828], etching, 19.1 x 32.9cm; India and the British Raj, a commemorative printed silk, to General Lord Wolseley of Cairo on his being awarded the Gold Casket of the Corporation of the City of London, dated April 1883, further British Army portraits; untraced lithograph, Battle of the Locks and Keys, s.l., s.n., n.d. [c. 1830], 30.5 x 40.5cm; 19th century hand-coloured etching of a butterfly, monogrammed RN; pen and ink study of a fisherman and harbour scene; a mid-19th century named-view etching of Cardigan Bay, [Wales], dated 1869; 19th century British and French portrait and landscape etchings, including Corot; proof lithographs printed on India paper, then rolled onto sheets; etc., early 19th century morocco-backed folio, rubbed and tired, (approx. 50)
Creative Master Northcord, a boxed bus group to include UKBUS 1053 Alexander ALX400 - Bodied Dennis Trident "Ensignbus", UKBUS 5108 Mercedes-Benz "Citaro" along with others (see photo). Conditions appear to be Excellent to Near Mint in Good outer rigid Perspex cases/window boxes and Good outer slip sleeves. Window box appears split with old price sticker. (4)
Four boxed reels of 1/4" recording tape, one marked '10cc Album 19 May 83 Henry OLD MIX MASTER', two reels with 'Sunset Sound' labels dated 24th March 1982 with ten tracks from 'Ten out of 10', a fourth reel dated 1983 'Henry'.These items are sold as artefacts only, without copyright. Any reproduction is strictly prohibited.
Altmeister 18. Jahrhundert Portrait einer jungen Adeligen am Steinbrunnen, old master 18th century portrait of a young noblewoman,Öl/Leinwand, keine erkennbare Signatur, Darstellung einer sitzenden jungen Schönheit in Tracht am geprägtem Steinbrunnen mit Putte als Wasserspeier und weiter Landschaft im Hintergrund, H 52,5 cm x B 44,5 cm, Prunkrahmen mit plastischen Blatt- und Banddekor 73 x 64 cm, Craquele
Altmeister 18. Jahrhundert, romantische Landschaft mit Blick auf Festung, old master 18th century, romantic landscape with a view of the fortress,Öl/Leinwand, unbekannter Maler des 18. Jahrhunderts, keine erkennbare Signatur, weite Landschaft mit Brücken, pausierenden Wanderer, Hirten mit Schafen und Blick auf eine Festung, H 72,5 cm x B 91,5 cm, Rahmen 80,5 x 98,5 cm, Craquele, rest.
Maximilian von Geer (1680 München - 1768 ebenda)Schloss Nymphenburg mit dem Rondell von der OstseiteHöchst detailreiche, um 1730 entstandene Miniatur-Ansicht des Schlosses aus der Vogelschau, im Vordergrund belebt durch eine reiche Staffage aus Arbeitern bei dem Bau des Stichkanals (1728-1730 unter Kurfürst Karl Albrecht). Der Betrachter blickt auf die im Wesentlichen ab 1716 errichtete, imposante Sommerresidenz der Kurfürsten von Bayern mit dem großen Park - ein Gesamtkunstwerk des Barock und des Rokoko. Das zur bayerischen Landeshauptstadt München gehörende Schloss Nymphenburg zählt als einzigartiges Bauensemble zu den größten Schlössern Deutschlands und zu den bedeutendsten Europas. Besonders beeindruckend ist es von der östlichen Parkseite mit dem Rondell, dessen Bebauung zu seiner Zeit als architektonische Sensation galt. Maximilian von Geer hatte eine Stellung als "kurfürstl. Truchseß" und Miniaturmaler am Münchener Hof. Gouache/Papier oder Pergament. Ca. 20 cm x 14,5 cm. Original-Rahmen. Provenienz: Aus dem Nachlaß einer bedeutenden norddeutschen Privatsammlung; Wohl ehemals in der Sammlung der Kurfürsten von Bayern; Auktion "Old Master Drawings (...)" Sotheby's, New York, 21.01.2003, Lot 101.A view of Schloss Nymphenburg near Munich. Gouache on paper or vellum. Original frame.
Maximilian von Geer (1680 München - 1768 ebenda)Vedute von Schloss Fürstenried mit höfischer JagdgesellschaftHöchst detailreiche, durch die vielfigurige Staffage belebte, um 1730 entstandene Miniatur-Ansicht des heute zu München gehörenden Jagdschlosses aus der Vogelschau. 1715-1717 wurde im Auftrag von Kurfürst Max II. Emanuel von Bayern durch Hofbaumeister Joseph Effner das bereits bestehende Herrenhaus, das mitten im damals genannten Hirschjagdpark lag, als Jagd- und Lustschloss mit einem Barockgarten umgestaltet und vergrößert. In Fürstenried umbenannt, diente es während des 18. Jhs. als Zentrum für repräsentative Hofjagden. 1727, zur Geburt des Kurprinzen Max III. Joseph, ging das Schloss als Kindbettgeschenk an die Kurfürstin Maria Amalie von Österreich, die Gemahlin des späteren Kaisers Karl Albrecht, des Sohnes und Nachfolgers von Kurfürst Max II. Emanuel. Von 1777 bis zu ihrem Tod 1797 diente das Schloss dann der Kurfürstin Maria Anna Sophia von Sachsen, der Gemahlin von Max III. Joseph, nach dessen Tod als Witwensitz. Maximilian von Geer hatte eine Stellung als "kurfürstl. Truchseß" und Miniaturmaler am Münchener Hof. Gouache/Papier oder Pergament. Ca. 20 cm x 14,5 cm. Original-Rahmen. Provenienz: Aus dem Nachlaß einer bedeutenden norddeutschen Privatsammlung; Wohl ehemals in der Sammlung der Kurfürsten von Bayern; Auktion "Old Master Drawings (...)" Sotheby's, New York, 21.01.2003, Lot 102.A view of Schloss Fürstenried near Munich. Gouache on paper or vellum. Original frame.
Maximilian von Geer (1680 München - 1768 ebenda)Vedute von Schloss Dachau mit einem FalknerHöchst detailreiche, durch eine reiche, vielfigurige Staffage belebte, um 1730 entstandene Miniatur-Ansicht. Von einer Anhöhe blickt der Betrachter auf das im 1. Viertel des 18. Jhs. durch den Hofbaumeister Joseph Effner (der selbst aus Dachau stammte) im Auftrag von Kurfürst Maximilian II. Emanuel von Bayern im Régencestil umgestaltete Schloss. 1717 erhielt das Schloss durch Joseph Effner und seinen Bruder Johann Christoph Effner überdies einen Garten im barocken Stil. Maximilian von Geer hatte eine Stellung als "kurfürstl. Truchseß" und Miniaturmaler am Münchener Hof. Gouache/Papier oder Pergament. Verso alte Inv.-Nr.; Ca. 20 cm x 14,5 cm. Original-Rahmen. Provenienz: Aus dem Nachlaß einer bedeutenden norddeutschen Privatsammlung; Wohl ehemals in der Sammlung der Kurfürsten von Bayern; Auktion "Old Master Drawings (...)" Sotheby's, New York, 21.01.2003, Lot 100.A view of Schloss Dachau with falconer. Gouache on paper or vellum. Original frame.
Maximilian von Geer (1680 München - 1768 ebenda)Vedute der Burg Trausnitz mit der Stadt LandshutHöchst detailreiche, um 1730 entstandene Miniatur-Ansicht, im Vordergrund belebt durch eine Staffage aus Winzern bei der Arbeit im Weinberg. Von einer Anhöhe blickt der Betrachter auf das an der Isar gelegene Landshut als alte Residenzstadt der Wittelsbacher, Herzöge und Kurfürsten von Bayern. Die über der Stadt gelegene mittelalterliche Burg Trausnitz diente über Jahrhunderte hinweg als Sitz der Wittelsbacher. Bis in das späte 16. Jahrhundert erlebte sie zahlreiche Um- und Ausbauten zum Schloss, noch in den 1870er-Jahren ließ König Ludwig II. zahlreiche Räume der Anlage prunkvoll verzieren und ausstatten. Maximilian von Geer hatte eine Stellung als "kurfürstl. Truchseß" und Miniaturmaler am Münchener Hof. Gouache/Papier oder Pergament. Verso alte Inv.-Nr.; Ca. 20 cm x 14,5 cm. Original-Rahmen. Provenienz: Aus dem Nachlaß einer bedeutenden norddeutschen Privatsammlung; Wohl ehemals in der Sammlung der Kurfürsten von Bayern; Auktion "Old Master Drawings (...)" Sotheby's, New York, 21.01.2003, Lot 98.A view of Trausnitz Castle and Landshut. Gouache on paper or vellum. Original frame.
Maximilian von Geer (1680 München - 1768 ebenda)Vedute von Schloss Berg am Starnberger See mit einer großen JagdgsellschaftHöchst detailreiche, um 1730 entstandene Miniatur-Ansicht aus der Vogelschau. Dargestellt ist eine vielfigurige, höfische Jagdgesellschaft mit einer Vielzahl von Booten und Hunden bei der Jagd auf einen Hirschen, auf der rechten Bildseite ist das kurfürstliche Prunkboot zu sehen, auf der linken Bildseite das Schloss mit seinem Barock-Garten. Das 1676 durch Kurfürst Ferdinand Maria von Bayern erworbene Schloss erlebte seine Glanzzeit unter den Kurfürsten Maximilian II. Emanuel (1662 - 1726) und Karl Albrecht von Bayern (1697 - 1745; seit 1742 als Karl VII. auch Kaiser des Heiligen Römischen Reiches), als dort prunkvolle Feste und Jagden stattfanden. Maximilian von Geer hatte eine Stellung als "kurfürstl. Truchseß" und Miniaturmaler am Münchener Hof. Gouache/Papier oder Pergament. Verso alte Inv.-Nr.; Ca. 20 cm x 14,5 cm. Original-Rahmen. Provenienz: Aus dem Nachlaß einer bedeutenden norddeutschen Privatsammlung; Wohl ehemals in der Sammlung der Kurfürsten von Bayern; Auktion "Old Master Drawings (...)" Sotheby's, New York, 21.01.2003, Lot 104.A view of Schloss at Lake Starnberg with hunting party of the Elector of Bavaria. Gouache on paper or vellum. Original frame.
America.- Robertson (William) The History of America, 2 vol., first edition, folding engraved plate, vol. 2 bound without title, bound without maps, a1 vol.1 with short marginal tear, 3A1 vol. 2 with marginal tear and neat old repair, scattered spotting, armorial bookplate, previous owner's ink signature to vol. 1 title and head B1 vol. 2, contemporary tree-calf, rebacked retaining original backstrip, neat repairs to corners, a little rubbed, [Sabin 71973], 4to, 1777.⁂ Provenance: Bookplate and ink ownership signature of Isaac George Manley (1755-1837). As a child Manley sailed with Captain Cook on the Endeavour during his first round the world voyage. Manley was a servant to the Master Robert Molineaux, but was promoted to Midshipman on the voyage back to England. He remained in the Navy eventually rising to the rank of Admiral.
Poor & Poor Laws.- Davison (John) Considerations on the Poor Laws, second edition, some spotting and browning, modern bookplate and signature of Bryan Kjeith-Lucan, old marbled wrappers, rubbed, spine faded, Oxford, 1818 § Strickland (George) A Discourse on the Poor Laws of England and Scotland, on the State of the Poor in Ireland, and on Emigration, first edition, bookplate of Ferguson of Raith, contemporary half calf, rubbed, rebacked, [Goldsmiths' 25374; Not in Kress], 1827 § [Hayter (Sir William Goodenough)] Proposals for the Redmption of the Poor's Rates, by means of Emigration, first edition, title and last leaf a little soiled and stained, modern morocco-backed marbled boards, [Goldsmiths' 21901; Not in Kress], 1817 § Digest of the Evidence (A) taken before the Select Committee of the House of Commons on Andover Union...By a Barrister, first edition, without publisher's catalogue, A.L.s. relating the attempted suicide of a Major Whittaker tipped in at beginning, contemporary half calf, spine repaired, [Goldsmiths' 34801], 1846; and 14 others on the poor and poor laws, 8vo (18)⁂ The last concerns the Andover Workhouse scandal where the inmates were treated appallingly inhumanely and, due to the master stealing their provisions, were driven to consume the bones which they were given to crush for fertiliser.
A RARE NOH MASK OF YASE-ONNAJapan, 19th centuryFinely carved and decorated in creamy white and polychrome pigments over wood to depict a gaunt, emaciated woman with heavy-lidded eyes and slender red lips, the eyes and mouth pierced, the back with the signature within a recessed reserve reading Kurozuru 黒鶴.HEIGHT 20 cmCondition: Very good condition with minor wear, a small age crack to the chin, minor flaking to lacquer around the edges.Provenance: From a French private collection.Kurozuru 黒鶴 literally means 'Black Crane'. This name is likely based on Shakuzuru ('Red Crane'), a master Noh mask carver from the Nanbokuchu period (14th century).Japanese Noh theater is magnificent and rarefied - a living Buddhist performance art more than 700 years old with roots and formal elements much older. In the 14th century, the performer-playwright and head of a performing clan family Kan'ami Kiyotsugu (1333-84) wrote the play Motomezuka (“The Sought-for Grave”), which tells the plight of a maiden who committed suicide after two young men killed each other when fighting over her. Kan'ami's son, Zeami Motokiyo (c. 1363-c. 1443), further refined both the artistic and spiritual qualities of the play. Yase-onna represents the suffering spirit of a woman who dies from a problematic love relationship and is associated with the character Unai in Act Two of Motomezuka.Literature comparison: Compare a related Noh mask of Yase-onna, dated circa 19th century, illustrated in Nakanishi, Toru (1960) Noh Masks.Auction comparison: Compare a closely related Noh mask of Ko-omote with similar features, also dated 19th century, at Lempertz, Asian Art, 5 June 2015, Cologne, lot 800 (sold for 23,560 EUR).
ANDO HIROSHIGE II (1826-1869): TAKANAWABy Ando Hiroshige II (1826-1869)Japan, 1864Color woodblock print on paper. Vertical Oban. Published by Fujikeo. Titled Takanawa, from the series Edo Meisho Zue (Views of Edo). The woodblock print series Edo Meisho Zue by Hiroshige II was designed and published between 1862 and 1864. It shows famous places of Edo, the Eastern Capital, in the old ukiyo-e tradition of Utagawa Hiroshige (1797 - 1858). It is like a nostalgic view back in history, shortly before the new era of modernization and westernization would change Japan's capital rapidly. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression with vivid colors. Trimmed margins and creasing along the centerfold. Reinforced with paper tape along top-right corner for stability.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Ando Hiroshige II (1826 - 1869)Ando Hiroshige II was the chief pupil of the great master Hiroshige. He first used the name Shigenobu, but when Hiroshige died in 1858, he married his daughter and took the name Hiroshige II. Around 1865 the marriage was dissolved, and he retired to Yokohama and reverted to the name Shigenobu. Today, he is more usually referred to as 'Hiroshige II'.Dimensions: Image size 33.5 x 22 cm
A set of burned guardianship and death registry documents as seen in Spectre (MGM, 2012).The guardianship document is dated January 21, 1983, in the interest of James Master Bond, 12 years old. The document is signed by temporary guardian Hannes Oberhauser and legal guardian Charmian Bond. The order comes with an accompanying envelope, sealed with a button and string. The death registry document is ascribed to Monique Delacroix Bond, dated November 7, 1982; cause of death: Injuries and lung failure as a consequence of climbing accident.Spectre is the twenty-fourth installment in the James Bond spy film series and starred Daniel Craig as "Bond."14 x 8.5 inches (Largest)
A 33-inch oak baseball bat prop with wood-burned lettering that reads "Wonderboy" alongside a lightning bolt from the production of Barry Levinson's drama film, The Natural (Tri-Star Pictures, 1984). Together with a crew t-shirt and a collection of small props and production ephemera from an assistant prop maker (whose hands can been seen applying the lettering to the bat in the shots included in the final film).The film stars Robert Redford as "Roy Hobbs," a Nebraskan baseball player who is signed to the New York Knights as a middle-aged man after being shot as a teen hopeful. The Natural was nominated for Academy Awards for Best Actresss in a Supporting Role (Glenn Close), Best Cinematography (Caleb Deschanel), Best Art Direction (Mel Bourne et. al.), and Best Music (Randy Newman), making $48 million at the box office.The bat is introduced during the dramatic opening sequence of The Natural and plays a pivotal role throughout the film. First, in the early 1910s, a young Hobbs (Mark Atienza) harvests the wood from the tree that was struck by lightning as his father was suffering a fatal heart attack. He then shapes the wood into a bat and burns "Wonderboy" and the bolt along the side. The film jumps to 1939, with a middle-aged Hobbs signed to the New York Knights. Hobbs is immediately sidelined by "Pop" Fisher (Wilford Brimley) who thinks he is too old, until he impresses the coach with his batting skills. Pop asks to see the bat Hobbs had been using, and Hobbs explains its origins, saying that he made it as a kid and "wanted it to be a very special bat." The disbelieving Pop asks "Red" (Richard Farnsworth) to measure and weigh the bat, telling Hobbs that "if it comes up to specifications, we'll let you use it." It does, and he proceeds to break the Knights out of their slump.The bat props for the film were designed by prop master Barry Bedig, based on the Louisville Sluggers widely used in the 1930s. The props accompanying the bat include: two baseballs, one with red and black stitching used during filming, the other with red stitching used during the production but not during filming; a group of paper props from the production including player roster and training schedule pamphlets, various score books and scorecards; and a pair of prop tickets to the game between the Chicago Cubs and New York Knights (Wrigley Field).The production ephemera includes: a crew baseball shirt (white and navy blue, 3/4 sleeve, with two buttons and "Hollywood Rental Co., Inc. printed on the chest and "The Natural / Filmed Summer 1983" on the back along with a graphic of a baseball player), no size or label present; 24 color photos from the set, including one of Redford out of costume on the field, a Tri-Star Pictures parking placard that reads "Tri-Star Pictures / Now Filming / 'The Natural,'" several call sheets, shooting schedules and shot lists, and a folder of orientation material for shooting in Buffalo, NY (including maps, memos, and information about local restaurants).Includes a DVD of the film.33 inches (bat)
ATTRIBUTED TO GEORGE M. MILLER (SCOTTISH/AMERICAN, 1819) A CARVED WHITE MARBLE BUST OF AN EMPRESS OR GODDESS LATE 18TH OR EARLY 19TH CENTURY An idealized Classical form of a goddess or Empress, depicted wearing laurel wreath of victory, hair gathered to the reverse, turned socle base, unsigned approximately 50cm high, base 17.5cm diameter A plaster version of this bust is in the Athenaeum in Philadelphia and is titled "Minerva" and recorded as being by George M Miller Miller had emigrated to Philadelphia in 1798 and a recorded work by him is known dated 1803 - a profile relief of Thomas Jefferson In 1813 he became a fellow of the Columbian Society of Artists and a member of the Pennsylvania Academy of the Fine Arts. He seems to have worked primarily in wax- with 21 portrait examples known including a wax profile of J Wephous Curiger now in the Bloomfield Moore Collection Philadelphia. Additionally he worked in marble, plaster and advertised his abilities as a restorer of broken works. 1814 he wrote to the directors of the Athenaeum of Philadelphia in 1814 offering to gift them sculptures of Washington, Franklin, Bishop White, and Shakespeare, along with casts of the "Venus de Medici, the Empresses Ottavia, & Valerie, two Antique Funeral Urns, a small whole length figure of Antinous, small Busts, of Suzanna, & Adonis. The three first of the busts are bronzed, the others waxed, the urns varnished..." Whilst the bust is now titled "Minerva" it may be that originally it was titled something else by the sculptor. For a similar example in marble- please see Sotheby's London, Old Master Sculpture and Works of Art & Old Master Sculpture, 9th July 2015, lot 182 £12,500 Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Overall with surface dirt- that has become engrained to recesses. Some spot splash stains. The end of the nose and back of hair rubbed- some edge wear to laurel wreath. Neck with some white marks- possibly from handling. Lower edge- to cleavage- with some wear and loss- also visible to folds of clothing. Natural inclusions and stone faults. Reverse with rough finish. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Albrecht Dürer (German 1471-1528)The Flight into EgyptWoodcut, from the Latin edition of 'The Life of the Virgin', with a fleur-de-lys watermark and Latin text verso29.2 x 20.5cm; 11½ x 8in (image)Provenance:Sotheby's, London, Old Master, Modern & Contemporary Prints, 6 December 2001, lot 88, where purchased by the present private collector
Albrecht Dürer (German 1471-1528)The Glorification of the VirginWoodcut, from the Latin edition of 'The Life of the Virgin' with Latin text below38 x 21.1cm; 15 x 8¼in (sheet)ProvenanceSotheby's, London, Old Master, Modern & Contemporary Prints, 6 December 2001, lot 88, where purchased by the present private collector
Attributed to Guilio Campi (Italian 1508-1573)A centaur holding a puttoInscribed Michelangelo (lower left) Parmigianino (lower centre) and Fra Sebastiano (lower right)Pen and brown ink, and brown wash heightened with white on pink prepared paper29.1 x 20.2cm; 11½ x 8inProvenance:Archibald George Blomefield Russell (1879-1955) (L.2770a);Christie's, London, Old Master Drawings, 10 July 2001, lot 28, where purchased by the present private collector
Giovanni Francesco Barbieri, il Guercino (Italian 1591-1666) Study of a flying putto Signed and dated by Sir John Charles Robinson J C Robinson/1859 (in ink to verso) and further inscribed From the Bouverie Collection/Guercino/No 510 ( to verso) Red chalk 20.5 x 17.1cm; 8 x 6¾in Provenance: By descent from the artist to the Gennari family, Casa Gennari, Bologna; Probably, Francesco Forni, Bologna; John Bouverie, Northampton (c.1723-1750) (L.325; stamp lower left); By descent to his sister, Anne Bouverie (d.1757), Betchworth, Surrey; By descent to her husband, John Hervey (d.1764), Betchworth, Surrey (no mark, see Lugt Supplement 2858c); By descent to his son, Christopher Hervey (d.1786), London and Betchworth, Surrey; By descent to his aunt (John Bouverie’s surviving sister), Elizabeth Bouverie (d.1798), Teston, Kent; By bequest to Sir Charles Middleton, later 1st Baron Barham (1726-1813), Teston, Kent; By descent to his son-in-law, Sir Gerard Noel, 2nd Baron Barham (1759-1838); By descent to his son, Sir Charles Noel, 3rd Baron Barham, later 1st Earl of Gainsborough (1781-1866), Exton Park, Oakham (no mark, see Lugt Supplement 2858c); His sale, Christie’s, London, 20 July 1859; Sir John Charles Robinson (1824-1913) (L.1433; lower left); Sotheby's, London, Old Master Drawings, 12 March 1963, lot 35; Private Collection, WiltshireThe present work is consistent in style and technique with Guercino’s studies for putti in red chalk of c.1635-1645. A similar example is in the Morgan Library and Museum (no.IV, 168b), the pose of which has much in common with our work. The Morgan example has been dated to 1636-38. From the same moment, is a lost Guercino altarpiece for Carpi of c.1637, now known through a copy in the Pinacoteca di Spoleto. Professor David Stone has noted the similarities between one of the putti in this work and our sheet, including the treatment of the right arm and belly, as well as the facial features. Although Stone does not feel our work is a preparatory study for the Carpi altarpiece, the comparison helps establish the attribution of the drawing and demonstrates the consistency of Guercino's types and ideas in this period. We are grateful to Professor David Stone for his assistance cataloguing the present work on the basis of photographs. A copy of his full report is available on request.
Attributed to Biagio dalle Lame, called Biagio Pupini (Italian act.1511-1551)Saint Paul preaching to the AtheniansBlack chalk, pen and brown ink, and brown wash heightened with white on green prepared paper27 x 40.8cm; 10¾ x 16inProvenance:John and Alice Steiner;Christie's, London, Old Master Drawings, 10 July 2001, lot 23, where purchased by the present private collectorExhibited:New Haven, Yale University Art; Santa Barbara, Santa Barbara Museum of Art; Springfield, Springfield Museum of Fine Arts; and Williamsburg, Muscarelle Museum of Art, Old Master Drawings From the Collection of John and Alice Steiner, 1986-1987, no.25
Gerrit Adriaensz. de Heer (Dutch 1606-1670)A bagpiper playing for villagers before the ruins of an innIndistinctly signed ** Heer (to rock, lower centre)Pen and brown ink on vellum45.1 x 37.1cm; 17¾ x 14½inProvenance:Ronald Searle (1920-2011) (his stamp to backing sheet);Christie's. London, Old Master Drawings, 10 July 2001, lot 167, where purchased by the present private collector
George Haydock Dodgson (1811-1880)Regent's Dock Viaduct on the London and Blackwall RailwayPencil and watercolour with scratching out26.1 x 42.6cm; 10¼ x 16¾inProvenance:Sotheby's, London, Old Master Paintings - European Works of Art - British Paintings - British Watercolours, 28 May 1998, lot 530;Henry Potts, Chillingham
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